The Polonia Brothers are perhaps the ultimate ‘if you know, you know’ figures in the annals of cult film fandom. Twins Mark & John rose to indie horror prominence as teenagers when their inscrutably strange, shot-on-video slasher Splatter Farm somehow got a nationwide VHS release in 1987. Their biggest hit was Feeders (1996), an alien invasion movie that was miraculously carried by Blockbuster Video. The rental giant was desperate to put anything vaguely resembling Roland Emm

TWIN WARRIORS, MUSCLEBOUND BARBARIANS, UNDEAD HORDES, EVIL KINGS, ENSLAVED PEASANTS, MYSTICAL WARFARE, BLOODTHIRSTY GODS & PLAYBOY PLAYMATES…ALL ON A BUDGET!! In the wake of John Milius’ Conan the Barbarian (1982)   and the dawn of home video’s dominance in genre filmmaking spaces, independent studios kicked off a short-lived, but prolific series of B-to-Z grade sword & sorcery, fantasy, and barbarian movies. Join Gabe and returning guest Luana Saitta as we look at three film

Poliziotteschi are remembered for their outrageously dangerous stunts, not-so-casual misogyny, fascist power fantasies, ultraviolence, and sleaze factor, but the genre had its prestige entries, too. For example, Elio Petri’s Investigation of a Citizen Above Suspicion (Italian: Indagine su un cittadino al di sopra di ogni sospetto, 1970) won the Best Foreign Film Oscar and Francesco Rosi’s Illustrious Corpses (Italian: Cadaveri eccellenti, 1976) won Best Film and Best Director

The revisionist western is, by its nature, a subversion of storytelling tradition. In America, this typically meant pushing back against the romanticized, black & white mythology of the Old West. In Europe, particularly Italy and Spain, they used American history as a backdrop while examining their own modern politics. One of the rarer examples of western revisionism came from the Soviet Union, where the iconology of the Hollywood western was typically used to explore regiona

A truly innovative and unique filmmaker, Teruo ‘King of Cult’ Ishii’s prolific career encompassed almost 100 features, shorts, and television episodes, ranging from the children’s sci-fi serial Super Giant (Japanese: Sūpā Jaiantsu; aka: Starman and Spaceman, 1957-1959) to mainstream hit Abashiri Prison (1965), which inspired no fewer than 17 sequels. But his enduring legacy is a series of pinku eiga thrillers and ero guro shockers, including Shogun’s Joys of Torture (Japanese

Generally overlooked outside of his home country, Nobuhiko Obayashi was among the most unique and unpredictable Japanese filmmakers. Including experimental shorts, his work spanned 75 years from 1944 to 2019. Known for combining avant-garde and commercial sensibilities and best remembered stateside for House (1977) – an anarchic horror comedy co-written with his then-teenage daughter, Chigumi, that achieved retrospective cult status, thanks to a Criterion Blu-ray – Obayashi’s

Before he was a cult film superstar, Takashi Miike was a working-class filmmaker toiling away in the coal mines of Japanese V-cinema (the region’s equivalent to direct-to-video). His career exploded in the wake of his now classic, anti-romantic horror movie Audition, which premiered in October of 1999, but caught on, thanks to a wider Japanese release and multiple festival showings in 2000. Soon, American and European audiences were looking into Miike’s already extensive film

The concept of body horror as a vehicle for exploring women’s mental health and other feminist philosophy was brought to mainstream attention in recent years, thanks to Coralie Fargeat’s surprise awards darling, The Substance (2024)...

The 1970s were a golden age of made-for-TV horror in America, fronted by Steven Spielberg’s Duel (1971), Robert Day’s Initiation of Sarah (1978), and the wider oeuvre of Dan Curtis, including the soap opera Dark Shadows (1968-’69), The Night Strangler (1973), and Trilogy of Terror (1975). These films established new formulas that flourished, despite the limitations presented by FCC standards & practices. During the 1990s, Stephen King adaptations grew beyond theaters and made

Perhaps the most unusual aspect of Belgian martial artist turned international superstar Jean-Claude Van Damme’s already unusual career was the number of times he played dual roles. He appeared as twins separated at birth in Ringo Lam’s Maximum Risk (1996), he played clones in Lam’s Replicant, and time travel helped him to play different versions of the same guy in Peter Hyams’ Timecop (1994). This all originated with Sheldon Lettich’s Double Impact, a moderate hit that Van D