Cult Films
“I’ve come here to chew bubblegum and kick ass. And I’m all out of bubblegum.” Justin McNeil reviews Jonathan Lethem’s non-fiction book,They Live, an examination of the movie of the same name.
If you’re looking for one cuh-ray-zee scene (and I’m talking wild, man) then shuffle down to the East Village for Roger Corman’s hipster horror-comedy A Bucket of Blood, now playing at Anthology Film Archives as part of their Corman retrospective.
Dean Wareham, of the revered Galaxie 500, Luna, and now Dean & Britta, on curating and scoring 13 Most Beautiful People, a new DVD of Warhol Screen Tests.
The mythology around Kent Mackenzie’s 1961 film The Exiles is better known than the film itself.
When I first saw David Lynch’s Lost Highway upon its theater release in 1998, I found myself seduced by what have become classic Lynchean touches: the opening sequence of bifurcated highway strip, its noirish titles, its lushly choreographed scenes and hearty use of the sexual and the grotesque—in sum, its unimpeachable stylishness.
Geoffrey O’Brien and Luc Sante unearth the subtext that was Times Square in the ’60s, “the round-the-clock festival of junk culture and lyrical sleaze.”
Hip Hop began at a time when the disco craze was reaching its peak.
Filmmaker Gordon Stevenson reflects on the death of Mirielle Cervenka, “a poet and a pagan,” and the uncanny similarities between Cervenka’s fate and that of her on-screen character in his film Ecstatic Stigmatic.
