Forbidden Planet (1956)
Even if I tried, I couldn't understate the importance of Forbidden Planet to film-making, both as an influence, and as a milestone from which we've come far.
It begins as the sort of film that makes you smile, makes you want it to last forever. It makes you want to be there, with them. I want to meet Frank. I want to be Frank.
A Fistful of Dollars (1964)
An iconic work from a man who would become a legend, this is a film you've almost already seen, owing to its towering influence on the genre.
Blood Feast (1963)
Blood Feast might be an easily dismissed laugh, but don't be surprised if a few of the images stick with you, in that dark part of your mind that relishes the macabre.
Final Girl (2015)
Final Girl just barely makes it into the so-bad-it's-good category, but only if you can manage to look past how seriously it takes itself.
Bone Tomahawk (2015)
It's not perfect - it stumbles a few times as a western and it's certainly no gore-fest - but there's a lot of style and a whole lot more substance than you might expect.
America 3000 (1986)
Sadly, America 3000 is everything that can go wrong with a b-movie, without the charm or the fun, baked into 90 minutes of Cannon slop.
Beneath scores points for the ride, but it gets lost in a mountain of other horror flicks - the ones that won't take the time to dig a little deeper.
It's first-class naughtiness; a stunning achievement for a master near the end of his career, pushing the envelope as he always had, winking coyly and giggling at his own twisted joke.
Ginger Snaps (2000)
A tale of two twisted suburban sisters battling a very bloody, um, transformation.
Hard to Kill (1990)
Hard To Kill combines over-the-top action, a ridiculous story, and a hilariously clichéd soundtrack into something Mason Storm himself couldn't resist.
Girl House (2014)
Girl House delivers a climactic orgy of slayings and stabbings with just the right amount of tension to keep up the pace. And, boobs.
The Invisible Man (1933)
It's an attempt to use extraordinary visuals to counterbalance meandering dialogue, and it very nearly succeeds.
A surprising and thoroughly enjoyable film, [REC] roots itself in the real world just enough to stand tall where most of its peers stumble.
Tusk is an interesting idea that's partly well-executed but ultimately a drifting mess, anchored only by a very solid Michael Parks.
The Killing (1956)
The Killing dives deeper than expected and reveals more with each visit, an energetic and determined debut from a master of the form.
We Are What We Are (2013)
We Are What We Are has more to offer than you might suspect, and its secrets - while haunting - are no match for the darker struggles of human existence it uncovers.