Eloy de la Iglesia was a vital Spanish filmmaker in the waning days of General Franco’s regime. He was especially renowned for his groundbreaking quinqui (delinquent crime) features, queer-themed dramas, and erotic thrillers, all of which pushed the boundaries of the country’s fascist censorship standards. He also made a number of films in the giallo tradition, including straight-forward, Hitchcockian productions, like The Glass Ceiling (Spanish: El techo de cristal, 1971) an

1998. Bill Clinton's affair was uncovered, leading to his impeachment -- bad behavior we now know was only the tip of the iceberg. Andrew Wakefield published a bullshit study that lead to the current, deadly anti-vax movement. Google was founded, arguably launching our current tech oligarchy. Lastly (but perhaps most importantly) New Line Cinema's expensive TV-to-movie adaptation Lost in Space cratered at the box office, grossing only $136.1 million against an $80 million bud

It's the stuff of contemporary Hollywood legend. After making ends meet as a stand-up comedian and scoring parts here and there (including the last Dirty Harry movie, The Dead Pool, and Earth Girls Are Easy), Jim Carrey first landed on the public's radar as the token white guy on the Wayans Brothers comedy show "In Living Color." Although the show turned Carrey into a rising star, Hollywood moves slow, but in Carrey's case, the wait would pay off when not one, not two, but th

For the most part, the giallo and poliziottescho booms were populist fads, cranked out quickly for low budgets and released in other countries as straight exploitation market fodder. But there were exceptions – films with arthouse aspirations that played with genre, ignored clichés, and gained international prestige. The best examples (as far as I’m concerned) would be Elio Petri’s savvy satirical thriller Investigation of a Citizen Above Suspicion (Italian: Indagine su un ci