It’s difficult to overstate the scale of impact that Image Comics had on not only comic books, but broader entertainment in the early ‘90s. The short version of the story is that, in 1992, a group of all-star artists – Jim Lee, Todd McFarlane, Erik Larsen, Marc Silvestri, Rob Liefeld, and Whilce Portacio – along with veteran writer/artist Jim Valentino (who had experience with independent publishing), felt underappreciated and underpaid working for Marvel and left the number

Have you ever wondered what a Soviet era Lithuanian version of Ken Russell’s Tommy (1975) might look like? Right, of course, we all have. And what if that Soviet era Lithuanian Tommy took on the sensibilities of early-’70s folk horror, namely Robin Hardy’s The Wicker Man (1973), but with the whimsical parts emphasized over the existential horror? Well, that’s the best shorthand I can muster to describe Arūnas Žebriūnas' singularly odd-yet-familiar feature The Devil’s Bride (L

Gary Sherman’s Raw Meat (aka: Dead Line, 1972) is the first and still the best of a small, but well-loved subgenre of movies about (usually) cannibalistic, feral people living in underground subway tunnels beneath major cities, who murder and (usually) eat the foolish commuters who breach their domain. Films that followed its lead include Douglas Cheek’s cult-favourite C.H.U.D (1984), Christopher Smith’s Creep (2004 – a film that was accused of ripping Sherman off), Maurice D

At the close of the 1990s, South Korean cinema, television, and K-Pop music made a splash in the Western world. This era is generally referred to as the Korean Wave (K-Wave) or Hánliú. Still speaking generally, North American film fans took early notice of the area’s renaissance in filmmaking, either around the international releases of Kang Je-gyu’s spy thriller Shiri (1999) or Kwak Jae-yong's romantic comedy My Sassy Girl (2001). The rest of us caught up quickly after, whe

Often overshadowed by his more famous contemporary and countryman Jan Švankmajer, Czech stop-motion animator Jiří Barta’s storied career extends back to the late ‘70s, when he made his debut short, Riddles for a Candy (Czech: Hádanky za bonbón, 1978, available as part of this collection), at Trnka studios, so-named for the Godfather of Eastern European animation, Jiří Trnka. Barta continued dabbling in surrealist short subjects until 1986, when he released his first feature,

In the tradition of Kihachi Okamoto’s misanthropic classic Sword of Doom (Japanese: Dai-bosatsu tôge, 1966) and other downbeat samurai films, like Masaki Kobayashi’s Harakiri (aka: Seppuku, 1962) and Toshio Matsumoto’s Demons (Japanese: Shura, 1971), comes Tokuzô Tanaka’s The Betrayal (Japanese: Daisatsujin orochi, 1966) – a lesson in the delicacy of social standing, the futility of morality, and the foolishness of loyalty. From its melancholic beginnings, The Betrayal steadi

After just over a decade of redefining the horror genre for the New Hollywood era, George A. Romero had his first brush with mainstream, studio distribution profitability with 1982’s Creepshow, which he made in collaboration with white-hot novelist Stephen King. Unfortunately, his refusal to compromise with studio mandates made it difficult to redeem the industry caché he’d earned. First, plans for the third film in his Dead series, Day of the Dead (1985), were dialed back to

The Hindi cinema scene, colloquially known as Bollywood, is typically remembered for light-hearted romantic musicals, historical melodramas (which are also often musicals), and thinly-disguised remakes of Hollywood hits. In truth, the region is among history’s most prolific movie machines and its output encompasses more or less every genre under the sun.

Lam Nai-Choi, sometimes credited as Simon Lam, began his career as a cinematographer and shot films for Shaw Bros., including Sun Chung’s The Avenging Eagle (1978) and The Kung Fu Instructor (1979). Soon after, he relocated to rival studio Golden Harvest, where he directed some of the most unhinged films of the early Cat. III era. His masterpiece is probably the demented Indiana Jones meets Mr. Vampire meets Evil Dead extravaganza The Seventh Curse (1986), based on prolific S

At the turn of the ‘70s, Shaw Bros. Studios, like everyone else, was caught off-guard and playing catch-up with Bruce Lee’s megahit The Big Boss (aka: Fists of Fury, 1971) – the film that turned rival studio Golden Harvest into a market threat and heralded a new style of action movie, dubbed kung fu. While Lee’s overwhelming charisma and physical skill were key to the film’s success, writer/director Lo Wei was certainly an important...