Snobbin: Beautiful Trash in the Pop Culture Gutter

While not a return to the form of his classic gialli days, this fairly straightforward thriller shows that Argento can still make a suspenseful, cinematically interesting picture. 

239. Law of the Border (1966), Omar Lutfi Akad, Dadas 240. Laura (1944), Otto Preminger, 20th Century Fox 241. Yellow (2013), Ryan Haysom, Saboteur 242. The Rise and Fall of the Clash (2012), Danny Garcia, Icon 243. The Weather Underground (2002), Sam Green and Bill Siegel, Shadow 244. On the Bowery (1956), Lionel Rogosin, Milestone 245. Gil Scott-Heron: Black Wax (1983), Robert Mugge, Mug-Shot  246. Manos: The Hands of Fate (1966), Harold P. Warren, Emerson 247. Moonlight (2016), Barry Jenkins, A24 248. Joe Strummer: The Future is Unwritten (2007), Julien Temple, Vertigo/IFC

99. Hail Caesar! (2016), Coen Brothers, Universal 100. Amuck! (1972), Silvio Amadio 101. Salad Days: A Decade of Punk in Washington, DC (1980-90) (2014), Scott Crawford, MVD 102. Color Me Obsessed: A Film About the Replacements (2011), Gorman Bechard, What Were We Thinking Films 103. D.O.A. (1950), Rudolph Maté, United Artists 104. The Money Pit (1986), Richard Benjamin, Amblin 105. Frank Zappa: From Straight to Bizarre (2012), Tom O'Dell, Sexy Intellectual Promotion 106. The Ringling Brothers: Kings of the Circus (2000) 107. Castle Freak (1995), Stuart Gordon, Full Moon 108. Near Dark (1987), Kathryn Bigelow, F/M

79. Breakfast With Hunter (2003), Wayne Ewing 80. Blow-Up (1966), Michelangelo Antonioni, MGM 81. The Case of the Bloody Iris (1972), Giuliano Carnimeo 82. Lone Wolf and Cub: Baby Cart at the River Styx (1972), Kenji Musimi, Toho 83. Spasmo (1974), Umbero Lenzi 84. The Case of the Scorpion's Tail (1971), Sergio Martino,  Copercines, Cooperativa, Cinematográfica, Devon Film 85. The Trouble with Angels (1966), Ida Lupino, Columbia 86. Do Not Disturb  (1965), Ralph Levy and George Marshall, 20th Century Fox 87. The Central Park Five (2012), Ken Burns, Sundance Selects 88. Torso (1973), Sergio Martino, Joseph Brenner

57. The Blob (1958), Irvin Yeaworth, Paramount 58. Park Row (1952), Samuel Fuller, United Artists 59. Tillie's Punctured Romance (1914), Mack Sennett, Keystone 60. Viva Joe Strummer: The Clash and Beyond (2006), Mike Parkinson 61. The Red Queen Kills Seven Times (1972), Emilio Miraglia 62. The Night Evelyn Came Out of the Grave (1971), Emilio Miraglia 63. Don't Torture a Duckling (1972), Lucio Fulci, Medusa 64. The Black Belly of the Tarantula (1971), Paola Cavara, MGM 65. Devil's Doorway (1950), Anthony Mann, MGM 66. A Colt is My Passport (1967), Takashi Nomura, Nikkatsu

Jean Rollin is my current director of choice. I've been enamored with his beautifully shot, dreamy movies about vampires and existential death. The lovely and horrific images that flit with little apparent reason through his films with zero regard for consequence have me hooked. Of course, I need to watch more of his films to develop an appreciation for the breadth of his work. Most of his films fall into the French genre, Fantastique, which combines elements of horror, science fiction, and fantasy, and can easily hook any horror fan with an addiction to Foreign films. As an avid horror movie buff, with a deep appreciation for foreign horror, I'm surprised that I have never seriously considered Rollin. His bizarre plots are reminiscent of Michelle Soavi's Cemetery Man (a long time favorite) or more straightforward Luis Buñuel. The cinematography is beautiful, and the landscapes are easily as remarkable as early Argento, or the Gothic forest scenes of the best Paul Nasc...