Pearce’s Film Reviews

224 Films have been rated or reviewed by Pearce.

Love Lies Bleeding (2024): Funny, tense, disturbing and often absurdist, this marks both director Rose Glass and star Katy O'Brian as major talents.
Rock 'n' Roll High School (1979): PJ Soles shoulda had a bigger career, unfortunately she's known more for her lesser roles in Halloween and Carrie than for this.
Only God Forgives (2013): Gorgeous to look at but monumentally silly.
Animal House (1979): Probably the best of these frat boy shenanigans movies, all of which are full of "they wouldn't do THAT now" moments.
Brawl in Cell Block 99 (2017): Why is it so long? Why is the dialogue so laboured? Why do they linger on the gore until it looks like bits of rubber?
Ring, The (2002): Take a foreign–language film with an elegantly simple premise, douse it liberally in special effects and over–explanations, turn the scariest ending of all time into "a damp child looked at me" and voila, Hollywood remake.
Pearl (2022): And the award for Most Acting goes to Mia Goth, whose performance was applauded by people for whom size matters.
Crimson Peak (2015): Heathcliffe, it's me Cathy, and Jane Eyre, and Rebecca, so warmed–over let me in your window
Jack's Back (1988): An underrated little psycho thriller that bears absolutely no resemblance to the synopsis above. Best watched with no spoilers though so don't look up what it's really about!
K-20 - Legend Of The Mask (2008): Inspired by the work of Japanese writer Edogawa Rampo, this is a fun pulp adventure in the vein of '90s movies like The Shadow or The Rocketeer.
Eko Eko Azarak (Wizard of Darkness, Birth of the Wizard, Misa the Dark Angel) (1995): Proof that a woman can direct a movie that's just as exploitative of female nudity as a man. Also, it's quite good.
Suspiria (1977): Look if you don't turn it up LOUD you haven't really seen it.
Re-Animator (1985): Night of the Giving Head.
Grudge, The (Ju-On) (2003): On a recent rewatch this held up remarkably well, though I think you could probably throw each individual sequence from the first four movies in this series (two directi–to–video, two cinema) and reassemble them in any order.; DVD $19.95
Pontypool (2008): Kiss is kill
Fascination (1979): Why yes, I would let Brigitte Lahaie scythe me, why do you ask?rn
Crazies, The (1975): The humour in this was so dark I thought I'd gone blind. I particularly like when Richard France develops a cure and gets too excited about it.
Blue Sunshine (1975): Man I wish the acid was still that good by the time I got hold of some
Brood, The (1979): Cronenberg's scariest by far, and his first time working with really good actors (Samantha Eggar and Oliver Reed, shame about the main guy)
Lisa and the Devil (1972): I'm sure David Lynch never saw this movie but if he did, he'd blush.
Baron Blood (1972): Incredibly rote script enlivened by Bava's knack for unstoppable atmosphere and his macabre sense of humour, as well as Elke's garish wardrobe and talent for screaming. Joseph Cotten isn't trying though, he looks bored.
Hatchet For The Honeymoon (1970): Starts as a slasher and turns into a ghost story. Fabulous performance from Laura Betti, who was Pasolini's Muse.
Beastie Boys Video Anthology (2000): Whatever else this is, the dvd is one of the best uses of the medium ever.
Danger Diabolik (1968): Fabulous score, great female lead, incredible visuals, so much better than its sister movie Barbarella because this one was made by an actual director instead of a vapid himbo.; Blu-Ray $24.95
Kill Baby Kill (Operazione paura; Curse of the Living Dead) (1966): What does that title even mean? Anyway, Fellini ripped this o... I mean paid homage to it in his Toby Dammit segment of Spirits of the Dead so you know it's good.
Inseminoid (Horror Planet) (1981): Truly awful, the "best" part was the insemination tube which at least made me feel slightly ill. Is that better or worse than no reaction at all? You decide!
Planet of the Vampires (1965): Amazing atmosphere, Bava could conjure entire worlds from smoke and coloured lights.
Switchblade Sisters (1975): I remember trying to rent this from Aro back in the day but the tape was missing. The woman behind the counter apologised and assured me it was a great movie. I managed to rent it a couple of weeks later and she was right.
Arena, The (Naked Warriors) (1973): Surprisingly stylish, mostly due to its Italian crew (especially cinematographer Aristide Massaccesi aka Joe d'Amato) but still not one to watch with the kids or Grandma. Incidentally despite his credit, Joe Dante claims he did not edit it.
Foxy Brown (1974): Although not quite as good as the earlier and still–unavailable Coffy, to which this is an unofficial sequel, this still features the best ever on–screen use of a pickle jar.
Big Bird Cage, The (1972): Even this relatively light–hearted entry in the genre should be kept away from polite company.
Big Doll House, The (1971): There's a scene early in this when a female prison guard conducts an "internal examination" of an incoming prisoner then wipes her fingers on her shirt. That sets the tone. Extremely grody but well made.
Women in Cages (1971): Any movie with Pam Grier is worthy of two stars, even this one.
99 Women (1969): The movie that kicked off the entire Women In Prison craze of the '70s when it unexpectedly went to the top of the US box office, it's tame compared to later movies and a great introduction to the unique charms of Senor Franco.
Faster, Pussycat! Kill! Kill! (1966): If you don't love this movie we can't be friends.
Caged Heat (1974): One of the best movies to come out of one of the worst genres.
Mask of Satan (Black Sunday) (1960): Well yes, I would probably succumb to the undead kiss of Barbara Steele, why do you ask?
Spirits of the Dead (Histoires Extraordinaires) (1969): Five stars for the third segment. Four stars for the second segment. One star for the first segment. Average rounded up to four stars. Just skip the worthless Vadim part and pretend it's a two–parter.
Vampyros Lesbos (1970): Proud to have the adoption certificate for this on my wall, it's my favourite screen version of Dracula.
Bloody Judge, The (Trono di fuoco, Il) (1970): It's funny how Christopher Lee pretended to get mad over all the times that Jess Franco put him in pervy movies like this, yet continued going back to work with him again and again and apparently was quite friendly with him off–screen.
Witchfinder General (The Conqueror Worm) (1968): This kicked off a very dubious series of movies about women being tortured as witches but is one of the few of the entire cycle to have a conscience and not play it for pervy thrills.
Bad Lieutenant (1992): Dropping this an entire star because Led Zeppelin's lawsuit removed the Schooly D track that originally drove this movie... now only people who saw it at the cinema will remember that.
Devils, The (1971): Release the uncut version, Warner Brother, you cowards!
Bucket of Blood, A (1959): The best beatnik movie ever made, this minor classic is 65 minutes of fun.
Ghost Stories (2017): All build–up, no pay–off.
Muppets, The (2011): I dreaded the idea of a Muppet movie from people out of the Apatow stable but this works beautifully.
Whistle and I'll Come to You (1968): The only ghost in a sheet that's actually scary.
Crimes of Passion (1984): Part of Ken Russell's final stretch as a truly great director, helped by a marvellously profane script from Barry Sandler and a superb lead from Turner. Perkins does his usual turn but at least the movie around him is better than, say, Edge of Sanity.
Cosmopolis (2012): The beginning of Robert Pattinson shaking off his typecasting. He gets better but he's definitely trying here.
Pi (1998): Whenever a director starts off with an Eraserhead, expect a turbulent career.
Memoria (2021): One of those movies you need to see with the best sound system possible and with absolutely no distractions.; DVD $29.95
Exotica (1994): Christ, that ending. A masterpiece of story structure as emotional manipulation.
High-Rise (High Rise) (2015): The book was science fiction but the movie is a period piece, which demonstrates where this adaptation went wrong. Instead of being a near–future warning it becomes this–never–happened nostalgia. Watch Cronenberg's Shivers instead.
Crash (1996): This was very controversial despite being a very toned down, smoothed out adaptation of a book that was already almost quarter of a century old, proving there's still plenty books can do that films can't – even if just because they won't let you.
Fall (2022): Very by–the–numbers but the most vertiginous movie I've seen. I HATE heights.
In Fabric (2018): When it comes to horror movies about a red dress there's this and I'm Dangerous Tonight. That one's bad. This one is great.
Suspiria (2018): I thought that a remake of my favourite horror movie was guaranteed to be rubbish because the original was purely about style and not story but you know, this was aight
Seance (2000): If you expect this to turn out the same as the eariler movie, you're in for a rough ride.
Paprika (2006): You can't convince me that Christoper Nolan didn't see this before making Inception.
Paranoia Agent (TV Series) (Mousou dairinin) (2004): Some episodes play like deleted scenes from director Satoshi Kon's earlier work, but there's a dazzling array of ideas in here.
Videodrome (1983): How does a movie about videotapes and cable TV remain so relevant in 2024? Extraordinary, genuinely visionary, featuring a career–best performance by James Woods. The New Flesh still seems new, even after many imitations (some by Cronenberg himself).
Tetsuo: The Iron Man (1989): I think this was the first movie I ever rented from Aro, back in probably 1991. I've rewatched it every couple of years ever since.
A Snake of June (2002): Maybe the best film from one of Japan's noisiest filmmakers, this one actually makes room for real human emotion amidst the chaos.
Femme Fatale (2002): The big twist in this movie either makes or breaks it. I'm in favour. Antonio Banderas' character might be the stupidest guy in a neo noir since Peter Berg in The Last Seduction, though.
Mission: Impossible (1996): Rewatched this shortly before seeing the new one, which turned out great because that refers directly back to this one many times! The plot is nonsense though.
Raising Cain (1992): I always liked this but the recent–ish director's cut, which rearranges the structure, turns this from minor to major De Palma. Frances Sternhagen's big speech is both an acting and camera tour de force with a fantastic punchline.
Untouchables, The (1987): Overrated gangster movie with a bland lead, disappointing villain performance from De Niro, a too–80s style for a period piece and an unusually lacklustre Morricone score. I usually love De Palma but not this time. Mamet's script sucks.
Wise Guys (1986): Oh dear. Bravura visual style doesn't help much when you make a comedy that just isn't funny.
Body Double (1984): Ignore the star rating because if you hate this movie, we can't be friends.
Scarface (1983): Incredible style (the chainsaw scene is justly famous) but as with Peter Jackson's King Kong, this is a fairly close remake that's unnecessarily twice as long as the original.
Dressed to Kill (1980): The movie Dario Argento wishes he was good enough to direct.
Fury, The (1978): A great series of set–pieces in search of a movie. I bet John Cassavetes and Brian De Palma hated each other.
Carrie (1976): Four stars just because nobody else has managed the "look like you're using psychic powers" facial expression even one tenth as effectively as Sissy Spacek.
Mars Attacks! (1996): Broad comedy and many homages to '50s sci fi classics make this a huge winner for me, though it's a bit too obvious that they used the soundtrack from The Day the Earth Stood Still as a temp track.; DVD ~~$19.95~~ $14.95
Starship Troopers (1997): Casting perennial villain actors Michael Ironside and Clancy Brown as the inspiring father figure characters while putting Doogie Howser MD in a Gestapo uniform helps explain why this movie failed in the USA and succeeded in Europe.
Basic Instinct (1992): Incredible style and a star–making performance from Stone in this film about a femme fatale easily outmaneuvering every man who crosses her path. Maybe the perfect example of director & cast elevating a bad script.
Total Recall (1990): It's fun to see the influence of an uncredited David Cronenberg (who wrote thirteen drafts of the script before bailing) and to imagine his choice of Richard Dreyfuss in the lead. Still good even with a confused–looking Arnie at the centre.
Dredd (2012): If we could get the look of the Stallone movie, the attitude (and star) of this movie and the sense of humour of Robocop all in one place, we might finally get a proper Dredd movie. This'll do in a pinch.
Robocop (1987): Sorry Karl Urban, this is still the best Judge Dredd movie.
Fourth Man, The (1983): A multi–layered film that works both a straight horror and as a satire of arthouse pretension.
Showgirls (1995): It's funny how people were all over Verhoeven's use of tackiness as satire & subversion in his macho sci–fi action movies, but as soon as he turned to female–led movies like this and Basic Instinct it was taken at face value.
Female Yakuza Tale (Yasagure anego den: sôkatsu rinchi) (1973): From the director of movies like Shogun's Joy of Torture and Inferno of Torture, so you know it's classy. None of the style of the first movie.
Cell, The (2000): Best watched with the isolated score turned on so you can enjoy the incredible visuals & soundtrack without getting distracted by the dreadful script & acting.
Score (1973): One of the few movies in this genre to be both funny and sexy, sometimes simultaneously. I saw it in mixed company and everyone had a good time.
Lickerish Quartet, The (1970): Amazing soundtrack.
Naked Lunch (1992): Funny and some great parts, but I cannot give more than three stars to a movie which takes a classic of queer literature and puts a heterosexual love story at the centre.
Sex and Fury (Furyô anego den: Inoshika Ochô) (1973): Extremely stylish – the nude swordfight at the start is a stunner – but it meanders after a while and the subplot with Christina Lindberg isn't terrible interesting.
Existenz (1998): I think of this as Videodrome 3 as along with Naked Lunch, it follows the same structure. All three movies have very similar abrupt endings too!
Crimes of the Future (2022): I love it when Cronenberg lets his weird sense of humour off the leash – most notable Naked Lunch, eXistenZ and here. Kristen Stewart and Don McKellar are especially funny.; DVD $29.95 | Blu-Ray $34.95
Dracula - Pages From A Virgin's Diary (2002): One of the more interesting Dracula movies, this abandons the cliches and finds an interesting new structure. Staging Lucy's blood transfusion as a gang rape was astonishing and lays bare some unintentional subtext from the book.
Scanners (1981): Cronenberg says this was made from an unfinished script – it shows. I was surprised to find that star Stephen Lack was great in an earlier movie, The Rubber Gun; he's terrible here. Ironside & McGoohan rule though.
Horror of Hammer, The: Too many of these are the inferior US trailers, but the audio commentary by a trio of experts is a lot of fun.
Burning, The (1981): The first Miramax film and you'd believe a sex predator was involved in making it... brilliant gore effects.
Twitch of the Death Nerve (Bay of Blood) (1971): Several of the deaths in this were ripped off directly by the first two F13 movies, though the filmmakers claimed not to have seen it. The connection is that the US distributor of this, Phil Scuden, produced those movies.
Evil Aliens (2005): I feel slightly responsible for this because I read the original treatment and gave the feedback that it was unintentionally very funny – it was then turned into a weak intentional comedy.
Blood for Dracula (1974): The cast & crew finished Flesh for Frankenstein, went for lunch and haircuts, then started this in the afternoon. If you like one you'll like both, I slightly prefer the other.
Depraved (2019): One of the better modernisations of Frankenstein – there's plenty to choose from and this is Fessenden's second.
Flesh for Frankenstein (1973): New York trash art + Italian trash horror = hilarious trash masterpiece.
On Her Majesty's Secret Service (1969): Weird that the most sensitive Bond movie is also the most faithful to the book.
Shin Godzilla (2016): Devastating satire of failed attempts to deal with disaster, spiced up with a grotesque body–horror take on Godzilla. Watch bureaucrats argue over which meeting room to use while Tokyo is destroyed.; Blu-Ray $34.95
Giant Behemoth, The (Behemoth the Sea Monster) (1959): As opposed to a small behemoth?
Perfect Blue (1997): Don't watch it after dropping acid.
Godzilla (Gojira) (1954): Despite endless much more whimiscal sequels, this still works as an ellegory for nuclear destruction. The fact that the filmmakers witnessed the devastation first hand no doubt helped. The FX are actually better than in many of the subsequent films.
Halloween H20 (1998): Not a great movie, but it compares well to the 2018 reboot which for some reason got raves despite just being a retread of this one.
Halloween (2018): What on Earth happened to David Gordon Green? He used to be such an interesting filmmaker but now he seems content to tread water with dumb comedies and horror retreads. This is just the 7th Halloween movie repeated.
Z (1968): This movie made me angry in the best way, and it's sadly still relevant to the modern world.
Video Nasties: Moral Panic, Censorship & Videotape (2010): If you're not squeamish, this is a must–see documentary about so much more than the titular subject that packs an incredible amount into a short running time.
One Cut of the Dead (Kamera wo tomeruna!) (2017): Don't read anything about this movie before watching it, and don't turn it off if you think it's bad – keep giving it a chance.
I'm Your Man (2021): Maybe my favourite movie of 2021, this was funnier and more charming than I expected while actually mining new material from the well–worn premise of "what's the difference between human and machine?"; DVD $29.95
Raw (Grave) (2016): A compelling central performance, masterful command of style & pacing and superb horror setpieces mark this as one of the best takes on the vampire story in years.
Possessor (2020): Deeply nihilistic movie about someone destroying their own humanity works on multiple levels. The scene where someone has a job hijacking webcams to surveil people's material possessions sums up the themes nicely.
Cutthroat Island (1995): Believe the hype, this is endless lifeless action scenes rampaging through an empty story while a charismatic cast gets lost in the noise. Frank Langella looks like he's having fun.
Thin Man, The (1934): I felt drunk just watching this.
Psycho Goreman (2020): A bit self–conscious and with too many flaccid scenes, this still has enough inspired moments (including a great ending) and fun performances (especially the lead girl) to get over the finish line
Go (1999): One of the great Christmas ensemble movies, this saga of many people consistently making believably bad decisions is a riot of misadventure and a real time capsule for those of us who were young and dumb in the '90s.; Poster (G) $9.95
Caddyshack (1980): Proof that a movie doesn't need plot or character if it's funny enough.
Eternals (2021): Someone please rescue Chloe Zhao from Disney, this movie wastes her talents. The script seems unfinished and the cast seems to be acting in different movies to each other.
Roger Corman Collection #2 (Creature from the Haunted Seas, It Conquered the World) (1956-1961): It Conquered the World is one of the all–time great cheapies and it has Lee Van Cleef as a scientist. Also, it's under 70 minutes so it can't waste too much of your time.
Tuff Turf (1985): If you like endearing '80s cheese about the outsider who triumphs over the bullies, this is yet another one. Makes a good Spader double with the much more vicious The New Kids.
Brother from Another Planet (1984): Joe Morton might be the most expressive actor on Earth. He sells his character's intellect, empathy and alien nature without ever uttering a word. The movie skips the tracks when it loads up one subplot too many but there are a lot of great moments..
Suicide Club (Suicide Circle) (2002): If the tone and content of this movie isn't to your taste, just wait ten minutes and it will transform into something completely different.
Premium Rush (2012): Expert chase scenes abound in this inventive action thriller highlighted by a great villain performance from Michael Shanon. The only explanation I can think of for this not being a hit is the irrational hatred many people have for cyclists.
Celine & Julie Go Boating (Celine et Julie vont en bateau) (1974): A spectacular movie which wrings magic from every frame despite using no special effects whatsoever: a symbol drawn absently with a shoe, the wind through the trees, a shot of a cat, and we're convinced something uncanny has happened.
10 (1979): This was a genuine surprise, what looked from the outside like a sexist comedy turned out to be a penetrating examination of male sexual inadequacy and ego, with expert slapstick to make it more palatable to a wide audience.
American Gigolo (1980): Unusual and highly stylised character study with many unexpected touches. Great early role for Bill Nunn.
Wing Chun (1994): One of the few old–school martial arts movies to put Michelle Yeoh front and centre, this silly comedy succeeds almost entirely on her enormous charisma and screen fighting skill. It's more than enough.
Girlfight (2000): I hate to bag on a fellow reviewer but putting Girlfight in the same category as Million Dollar Baby is like saying The Devil Wears Prada is like The Diving Bell and the Butterfly.
Crimes of the Future (1970): A more elaborate but less interesting companion to Stereo, this goes a bit deeper into the body horror that would characterise Cronenberg's career.
Stereo (1969): Hypnotic to the point of being sleep–inducing, this is a deceptively calm beginning to the director's feature film career.
Vampires (1998): I saw this the same night as Bride of Chucky and was appalled that the then–newest John Carpenter movie was so easily outclassed by Child's Play 4.
Puppet Master: The Littlest Reich (2018): This retread goes for mindless button–pushing over innovation or entertainment and finishes with a frustrating non–ending which hints at a sequel that isn't getting made. Some amusing bits and a nice cast but mostly a waste of time
Dagon (2001): On the one hand, this is just about the most faithful HP Lovecraft adaptation of all time. On the other hand, it's kind of a remake of Splash.
We Are Still Here (2015): Acceptable homage to early '80s Italian horror that manages to fall into that deadly zone where the plot isn't nonsensical enough to be Weird but isn't coherent enough to be interesting. Great cast,
Doll & Em (TV Series) (2014): People who dismiss this as "lightweight" or "pleasant enough" should read The Male Glance by Lili Loofbourow, which contrasts the reception this got with the overrating of True Detective.; DVD ~~$19.95~~ $14.95
Night of the Hunter, The (1955): I'd like to go back in time and kick the arse of every critic who slammed this and every audience member who stayed away, so that we were robbed of more movies directed by Charles Laughton.; DVD ~~$24.95~~ $18.70
Thunder Road (2018): One wonders what Robert Mitchum would have done with this material.
Thoroughbreds (2018): If A24 remade Heathers it would look a lot like this coldly effective black comedy about two young women who realise that empathy is a hindrance in getting what you want.
Top Gun (1986): This isn't the beginning of supposedly 'liberal' Hollywood making recruitment films for the military (nor the end – see Captain Marvel for a particularly blatant example) but it is one of the most blunt.
Ryuichi Sakamoto: Coda (2017): Unusually rich and thoughtful documentary that goes into Sakamoto's obsessions and activism as much as his music.; DVD $29.95
Josie and the Pussycats (2001): This funny & subversive satire on media manipulation and product placement got a hostile reception from the entertainment press so out of proportion to the actual movie, I have to wonder if they struck too close to home.
Woman, The (2011): Extreme horror that attempts a faminist viewpoint but fumbles the execution. Good lead performances, awkward filmmaking.
May (2002): An uneven effort redeemed by a spellbinding lead performance, this promised better things from the director and star that sadly never materialised.
Jennifer's Body (2009): Striking and unconventional feminist horror movie that was received poorly by people who clearly expected something else.
Sucker Punch (2011): What happens with an action director with nothing much on their mind decides they're an auteur and makes a personal indulgence? I guess this.
Dawn of the Dead (Zombies, Dawn of the Dead) (1979): This global pandemic sucks, let's go live at the mall.
Lair of the White Worm (1988): Common wisdom says that a film adaptation of a novel never improves on its source. Here's a big exception, an outrageously inventive movie based on an extremely dull book.
Whisperer in Darkness, The (2011): The switch from their superior, silent Call of Cthulhu to this sound movie reveals the limitations of the amateur actors involved. The addition to the climax was a bad idea. Good effort though.
Ouija: Origin of Evil (2016): Great period detail including digitally adding cigarette burns to make it look like a 35mm print, fine performances (especially from young Lulu Wilson), probably the best officially licensed movie based on a board game to date.
Under the Silver Lake (2018): Some movies are mysteries. This one is a code cracker. If you solve the t–shirt with the circles on it at the start, you're on your way.
Game of Death (1973): Cheap and nasty American cash–in, only gets two stars for the too–short fight scenes with the real Bruce at the end. You're better off watching the uncut footage on disc 2.
Game of Death 2 (1981): Once this stops being a Brucesploitation movie and develops its own identity, it's a weird and wildly entertaining psychotronic kung fu oddity with great high–kicking fights featuring Korean master Hwang Jang–lee. Much better than Game of Death 1.
Way of the Dragon (1973): Bruce's only film as director is one of his best, and was the model for local comedy Tongan Ninja. Too much broad comedy but when the fight scenes finally arrive they're superb.
Enter the Dragon (1973): The third–best Bruce Lee kung fu film after Fists of Fury & Way of the Dragon. Director Robert Clouse doesn't know how to film fight scenes, but it has blaxploitation–era charm, a rare chance to hear Lee's real voice & a glimpse of the great Angela Mao.
Super (2010): Great combination of black comedy, serial killer movie and masked avenger film. Probably the only vigilante movie that really gets at how disgusting the genre is. Makes a perfect double with Bobcat Goldthwaite's God Bless America.
God Bless America (2011): A little too didactic, but funny and unafraid to go wildly over the top into taboo territory. Would make a great double feature with James Gunn's Super.
Sleeping Dogs Lie (2006): Probably the best romantic comedy about blowing a bulldog that has yet been made.
Quills (2000): A contentious portrait of Sade, who definitely was not the slightly naughty luvvie he is portrayed as here, but spirited entertainment.
Harry Brown (2009): Daft reactionary nonsense, likely to appeal to stuffy old farts who would like to be allowed to shoot their young noisy neighbours.; DVD $14.95
Batman: The Dark Knight Rises (2012): Just another right–wing power fantasy, only more overblown and pompous than usual.
Hitcher, The (1986): This was probably Rutger Hauer's last great performance before he started sleepwalking through everything. He's terrifying.
Last House on the Left, The (1972): They don't make them like this anymore, thank goodness. The scenes of atrocity are convincing, but other dialogue scenes are risible and the frequent stabs at broad comedy are cringeworthy. Historical value only.
White Christmas (1954): More like Shite Christmas.
Zulu (1969): This might be a handsomely mounted epic, but it still depicts Black Africa as a faceless horde of savages. Well made and well acted by those who actually get speaking roles (ie the white people) but still racist af.; DVD ~~$19.95~~ $14.95
Vampire Circus (1972): The closest Hammer ever got to the style of the better erotic Euro–horror masterpieces of Jean Rollin, José Larraz and Jess Franco, only a choppy story lets it down.
Upgrade (2018): A clever story, top action scenes and a strong lead performance add up to a highly entertaining movie. With a touch more social commentary this could almost be a modern Robocop.; DVD $29.95 | Blu-Ray $34.95
Downhill Racer (1969): The story of an utter tool who believes the world should be handed to him on a plate because he knows how to ski, this movie knows what its lead character is and judges him accordingly. Great skiing scenes too.
Star Wars: Episode IV - A New Hope (1977): The misadventures of two robots who fall in with the wrong crowd.
Escape from New York (1981): For a movie with such huge reputation and influence, this sure runs out of steam early. Some great individual scenes and atmosphere, but needs more energy and narrative drive.
Killing Fields, The (1984): Amazing filmmaking and acting, this brings rich humanity to one of the darkest periods of the 20th century. Just when it looks like it's going to be a "white saviour" film it switches viewpoint and becomes devastating.
Hospital, The (1971): Dynamite black comedy about the American health system that plays like the collapse of an entire society.
Wrong Box, The (1966): Dated British farce that leans too heavily on comic performances without enough diverting incidents. The beginning is the best part, where the potential recipients of the legacy are whittled down.
Gambit (1966): It's no Charade, but I do love a good heist flick. The cast is great, but the denouement is unsatisfying.
Woman Times Seven (1967): As a showcase for Shirley Maclaine this is fantastic as she excels in a variety of wildly different roles. But like most portmanteau films it's uneven and you find yourself waiting for a segment to end in the hope that the next will be better.
Alfie (1965): The weird thing about this movie is that apparently a number of men took Alfie for a role model when he's clearly supposed to be unsympathetic and ultimately just pathetic.
Billion Dollar Brain (1968): After two relatively low–key entries, Ken Russell takes over the series and kills it, amping an already ridiculous plot up to 11 with campy visual excess. Entertaining but almost makes Bond look realistic.
Funeral in Berlin (1966): Less showy but just as impressive as The Ipcress File, this almost hits LeCarre territory. The initial escape across the wall is astonishing.
Ipcress File, The (1965): Stylised to the point of ridiculousness, this is still a surprisingly down to earth spy thriller from a lot of the same people who made Bond movies.
People Places Things (2015): As generically bland as its title, this wastes a good cast in a movie that slips from the memory even while it's still playing.; DVD $19.95
Dear White People (2014): Funny and clever, with a number of star turns from then–unknown actors.
Get Carter (1971): Forget Alfie, this is why Michael Caine was great. He takes an unredeemable villain and makes you root for him. The blaxploitation remake Hit Man is also worth a look.; DVD ~~$19.95~~ $14.95
La Dolce Vita (1960): One of those movies where you continually say, "Oh so THAT'S what all those other directors were trying to do!"
Pulp (1972): Quirky and episodic, this is amusing but feels like they started shooting with an unfinished script and never figured out an ending. The cast is fun especially Lionel Stander as a cheerful goon.
Kong: Skull Island (2017): Nimbly side–stepping the racism and colonialist garbage of most earlier Kong movies, this combines top–notch kaiju action with a great cast and a tinge of anti–war commentary.
Child's Play 3 (1991): Hysterical British tabloids blamed this for a tragic real–life child murder, but the only thing I could imagine it inspiring is a nap. They seem very fond of scapegoating movies for real social problems in the UK.
Child's Play 2 (1990): Despite a great cast (pairing Jenny Agutter and Gerrit Graham is inspired) this is dullsville until the amusing platform game–inspired ending.
Child's Play (1988): One of the better late '80s slasher movies, which is admittedly a low hurdle to clear. One star off because the best part is the ending, which it rips off from Trilogy of Terror.
Bombshell: The Hedy Lamarr Story (2017): Conventional in style but eye–opening in content, this makes a strong case for the now little–remembered star to be considered one of the most important innovators of the 20th century.; DVD $24.95
Sleuth (1972): Clever but stagy, this twisty tail is an actor's showcase in which Caine easily upstages the hammy Olivier. The over–stuffed production design by Ken Adam is distracting.
Ariel (1988): If you're looking for the perfect double feature for Down By Law, this is it. Funnier than a movie which starts with the main character's father committing suicide in the toilet has any right to be.
Curious Case Of Benjamin Button, The (2008): Great direction can't save a witless and pointless script which – as others have observed – Eric Roth seems to have self–plagiarised from Forrest Gump.
Face in the Crowd, A (1957): This compelling black comedy is just about as relevant in the Trump era as it must have been sixty years ago. Only the ending seems out of date in America's post–scandal era.
Happy Death Day (2017): Fairly amusing, but why are all the characters in modern slashers unlikeable jerks? Would it be so bad for us to care whether they live or die, or were just able to stand watching them for 90 minutes?
Ring (Ringu) (1998): Ring contains the single scariest scene I've ever encountered in a horror movie. Bravo.
Zardoz (1974): One of the few science fiction films to actually approach the visionary imagination of the best literary SF.
Female Convict Scorpion: Jailhouse 41 (1972): Redeemable trash, anchored by an intense and iconic almost silent lead performance by Meiko Kaji. Great filmmaking from a period in Japanese film history where even the best were often reduced to making sordid exploitation movies.
Beyond the Valley of the Dolls (1970): The greatest movie ever made. Deserves to be studied alongside Shakespeare. "Taste the black sperm of my vengeance" is the best line of dialogue in any movie. Take your grandparents to see it.
Modesty Blaise (1966): Looks great, arch turn by Dirk Bogarde as the villain, Stamp and Vitti are gorgeous, but as entertainment it's flat.
Shivers (They Came From Within) (1975): If only they'd kept Cronenberg's original title, Orgy of the Blood Parasites. Probably the best sex zombie movie ever made.; DVD $14.95
Final Conflict, The (The Omen III) (1981): Four stars just for the baby killing scene
Candyman (1992): This was a breath of fresh hair in the horror–starved early '90s. It still holds up today, helped immeasurably by Tony Todd's extraordinary presence and voice.
Beyond, The (E tu vivrai nel terrore - L'aldilà) (1981): This is one of the few surreal horror movies that actually resembles a dream. Fulci actually pulls off some remarkable atmosphere to go with his shoddy gore effects. Watch for hints that the cast are having a ball cracking each other up.
Themroc (1973): There's no dialogue in this movie, only gibberish spoken with French accents. I found it utterly delightful. One of a select group of anarchic counter–cultural movies in which cops are cannibalised (see also Pink Flamingos).
Martin (1977): This is my favourite vampire movie, and is easily George Romero's most beautiful and emotional work. The melanchonia is leavened by a strong sense of irony throughout.
Phenomena (Creepers) (1984): This one bugged me. Argento monkeys around with his formula too much. The worst part is a decent '80s metal soundtrack that never matches the visuals.
Prime Cut (1972): This is one of those early '70s movies that would never get made today. Hard to believe a movie like this exists with major stars from a major studio. Might put you off eating sausages.
Belko Experiment, The (2016): I expected more from this writer, who usually manages a few original ideas. Not this time. This is just one more of those "lock people up to kill or be killed" movies that we've seen too many of lately.
Phantom of the Paradise (1974): They say that De Palma is just a Hitchcock imitator, but nobody else could have made THIS movie. Neatly straddles his earlier satirical movies and his later horror/thrillers, with great songs to boot.
Blow Out (1981): What if Hitchcock and Antonioni had collaborated on The Conversation? From hilarious slasher movie opening to emotionally raw ending, this is a masterpiece.
Octagon, The (1980): The introduction of the ninja to American cinema, so either add or deduct a star depending on whether you think that was a positive or negative development. It's a decent US action movie of the period, hampered only by Chuck's extreme lack of charisma.
Howling II, The (Your Sister Is A Werewolf) (1985): One of the all–time great bad movies, this has it all: werewolf orgies, Christopher Lee in '80s shades, a catchy but terrible soundtrack, midgets with exploding eyes, the woman who inspired Brown Sugar killing Jimmy Nail, you name it.
Q: the Winged Serpent (1982): A cop dressed as a mime watches in horror as a giant lizard drops Shaft off a building. Why aren't you watching this right now?
Hell Up in Harlem (1973): Thrown–together sequel contradicts the first movie and doesn't make much sense. The score by Edwin Starr is good and The Hammer is made of charisma, but as a movie it's rubbish.
Superfly (1972): The only reason this movie has a rep is because of Curtis Mayfield's music. Watch Shaft or Cleopatra Jones instead.
Hills Have Eyes 2, The (1985): I added one star because it's probably the only horror movie with a flashback by a dog, but this sequel suuuuucks.
Spider Baby (1964): This is like the adventures of the Addams Family's disreputable perverted cousins.
Saragossa Manuscript, The (1965): I thought this would be a po–faced arthouse weirdy, but it's actually quite hilarious in the manner of a Bunuel movie.
Batman (1989): If the script was up to the aesthetics and the acting, this would be a stone cold classic. I'll deduct a star for the story and another for the awful Prince soundtrack (I love Prince but he's a terrible fit here).
Fat City (1971): Susan Tyrrell was a force of nature. This whole movie is compelling, but her scenes are electric.
Dear Zachary (A Letter to a Son about his Father) (2008): Devastating documentary that punches you in the face over and over again. The filmmaking is amateurish but the personal nature of it more than makes up for this.
Battletruck (Warlords of the 21st Century) (1982): Worth a look to see Bruno and actors from Gliding On in a post–apocalypse setting. The truck is fun, too.
Friday Foster (1975): Minor and tame compared to Coffy and Foxy Brown, but you can't get those in NZ so this will do for now. Grier spends too much time getting saved, not enough time kicking arse.
Castle of Fu Manchu, The (1969): One of the two or three worst movies I've ever seen, and I LIKE Jess Franco. Resorts to using footage from a previous entry and tinting b&w stock footage blue and pretending that it's colour. Atrocious.
Freeway (1996): Genuinely great low–budget black comedy with a great cast, a lot of memorable dialogue, and an unusually gutsy role for Reese Witherspoon. Makes a great double feature with the same writer's Guncrazy.
Marebito (2004): Perhaps director Shimizu\'s most unconventional movie, Marebito is one of those stories that can be read either as one person\'s subjective descent into madness, the supernatural, or both. Ominous and unpredictable, it uses its low budget as a virtue.

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Pearce’s Film Reviews