In 1989, underground filmmaker Shinya Tsukamoto wrote, directed, produced, edited, and co-starred in Tetsuo: The Iron Man. It became astoundingly influential in the cult, cyberpunk, and pop art scenes of the era, leading to surprising mainstream penetration in the form of movies (Darren Aronofsky’s Pi [1998], for example, would not exist without Tetsuo’s success), music videos (Portishead’s “Machine Gun”), and advertising (Tsukamoto teamed with Trent Reznor for an MTV promo t

It’s always exciting when I get a review copy of a film I almost covered for a podcast. It’s extra exciting when I get a review copy of a film I almost covered on multiple episodes of the podcast. Donald Farmer’s Scream Dream (1989) was initially going to be included on the four-part podcast Patrick Ripoll and I recorded about Shot-on-Video (SOV) Horror Movies (listen to part one here). Then it was going to be included with our two-part SOV Addendum podcast (listen to part on

BATTEN DOWN THE HATCHES AS WE TAKE A DIVE INTO THE MORE BUDGET-FRIENDLY VERSION OF THE DARK AND BRINY!! Gabe and Patrick Ripoll are back with another look at the Deep Sea Sci-fi/Horror movies of the year 1989 (and 1990, if we’re getting technical). We talked about three studio-backed productions in part one. Now, part two covers the four indie releases: Mary Ann Fisher’s Lords of the Deep, Antonio Margheriti’s Alien From the Deep (Italian: Alien degli abissi, aka: Alien from

Sold as a softcore curiosity in the midst of the Porno Chic boom (“Women will understand…Men will be shocked,” cried the adline), Theodore Gershuny’s Sugar Cookies (1973) was a commercial and critical flop, and would’ve been little more than a forgotten oddity, had it not been for the uncommon confluence of cult stars that made it.

In early 2023, perennial Genre Grinder podcast co-host Patrick Ripoll and I recorded a two-part piece on the giallo movies released during the genre’s peak year (in terms of theatrical output), 1971 (listen to it here and here). Of the 40-plus gialli and giallo-adjacent films I researched, we covered 12, which I picked based on their accessibility, familiarity of the filmmakers, and particular thematic qualities that I hoped would paint the most complete picture of the genre

A contemporary of Kinji Fukasaku, Sadao Nakajima was another hit-maker for Toei Studios during the ‘70s, who found success across genres, especially softcore and exploitation with titles like Twisted Sex (Japanese: Sekkusu dokyumento: Seitôsaku no sekai, 1971), The Kyoto Connection (Japanese: Poruno no joô: Nippon sex ryokô, 1973), and Girl Boss: Escape From Reform School (Japanese: Sukeban: Kankain dassô, 1973). He grew into an influential figure during a wave of popular jit

The so-called spaghetti westerns were a series of European films set largely in the American west, made mostly by Italians, shot in Spain, and often co-financed by West Germans. They were designed for multiregional release and utilized international casts to aid sales in other countries. These efforts ensured that the spaghettis were popular across Europe, North America, and Asia, especially in Japan, where the genre’s connections to samurai cinema weren’t forgotten, and in H

Welcome back to Wizard Jail – a limited run series from Director’s Club, Tracks of the Damned, and 96 Greers podcast co-host Patrick Ripoll and Genre Grinder creator Gabe Powers where they talk about, what else, but the 1987 syndicated cartoon series Visionaries: Knights of the Magical Light. We’ve been off the clock for about six months now, but we’re back with the penultimate podcast, covering episode twelve, Honor Among Thieves – a mile a minute mish-mash of new monsters,

1978 was the big turning point year for young Jackie Chan. Director Yuen Woo-ping had finally unlocked his comedic potential with a pair of hits, Snake in the Eagle’s Shadow and Drunken Master, Chen Chi-hwa utilized his newfound charisma in Half a Loaf of Kung Fu and Snake & Crane Arts of Shaolin, and, finally, producer/director/production company head Lo Wei tapped him for two more films, Spiritual Kung Fu and, the subject of this review, Magnificent Bodyguards, which was no

Arguably, the most important figure of the first Hong Kong New Wave (along with Ann Hui), Tsui Hark became best remembered for directing and producing lavish special effects fantasies, supernatural comedies, wuxia melodramas, and heroic bloodshed shoot ‘em ups that re-introduced Hong Kong filmmaking to Western audiences, eventually legitimizing the region’s box office viability alongside the likes of Jackie Chan, John Woo, Sammo Hung, and...