Snobbin: Beautiful Trash in the Pop Culture Gutter

189. The Cynic, The Rat, and the Fist (1977), Umberto Lenzi, Medusa 190. Parting Glances (1986), Bill Sherman, Cinecom 191. Albino Alligator (1997), Kevin Spacey, Miramax 192. Vengeance of the Mummy (1975), Carlos Aured, Lotus 193. With Byrd at the South Pole (1930), Jesse L. Lasky and Adolph Zukor, Paramount 194. Louie Bluie (1985), Terry Zwigoff, Corinth 195. Until The Light Takes Us (2008), Aaron Aites and Audrey Ewell, Variance 196. The Living Dead Girl (1982), Jean Rollin, Films A.B.C. 197. Y Tu Mamá También (2001), Alfonso Cuarón, 20th Century Fox 198. The Thin Blue Line (1988), Errol Morris, Miramax

179. Enter the Dragon (1973), Robert Clouse, Warner Bros. 180. The People Who Own the Dark (1976), Leon Klimovsky, TreFilms 181. The Man Who Saw Frankenstein Cry (2010), Angel Agudo, Scifiworldentertainment 182. Your Vice Is a Locked Room and Only I Have the Key (1972), Sergio Martino 183. Seven Deaths in the Cat's Eye (1973), Antonio Margheriti, Falcon International 184. Piccadilly (1929), E.A. Dupont, British International 185. TNT Jackson (1974), Cirio H. Santiago, New World 186. Heaven's Gate: The Untold Story (1999), Sergio Myers, 7 Ponies 187. Welcome to Leith (2015), Michael Beach Nichols and Christopher K. Walker, First Run 188. Violent Naples (1976), Umberto Lenzi, Pan-European

169. Tootsie (1982), Sydney Pollack, Columbia 170. Three Colours: Red (1994), Krzysztof Kieślowski, France 3 Cinema 171. The Taking of Pelham One Two Three (1974), Joseph Sargent, United Artists 172. The Infiltrator (2016), Brad Furman, Broad Green 173. The Talented Mr. Ripley (1991), Anthony Minghella, Paramount/Miramax 174. Manchester By The Sea (2016), Kenneth Lonergan, Amazon 175. The Petrified Forest (1936), Archie Mayo, Warner Bros. 176. The Public Enemy (1931), William A. Wellman, Warner Bros. 177. Empusa (2010), Jacinto Molina, Artistic Metropol 178. Kilma, Queen of the Jungle (1975), Miguel Iglesias, Profilmes

159. The Tomb of the Werewolf (2003), Fred Olen Ray, Macabre 160. Licántropo: El asesino de la luna llena (1997), Francisco Rodríguez Gordillo 161. El Aullido Del Diablo (1987), Paul Naschy, Freemont-Nasch 162. They Live By Night (1948), Nicholas Ray, RKO 163. Falcon Rising (2014), Ernie Barbarash, Moonstone Entertainment 164. Bananas (1971), Woody Allen, United Artists 165. King Solomon's Mines (1937), Robert Stevenson and Geoffrey Barkas, Gaumont 166. Lady Snowblood: Love Song of Vengeance (1974), Toshiya Fujita, Toho 167. The 400 Blows (1959), Francois Truffaut, Les Films du Carrosse 168. Antoine and Colette (1962), Francois Truffaut, Ulysse

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...

Those who have spent any time around me know that I have never been a fan of Progressive rock. At first mention of genre stalwarts like Yes, Emerson, Lake and Palmer, and King Crimson, I clam up, only to have apoplectic fits of rage later at home while jamming out to the Dead Boys. And don't even get me started on Rush -- I could write an entire blog post on their fan base alone. Yet when it comes to horror movie soundtracks, I rave endlessly about the merits of bands like Goblin who epitomize the genre in every way, except for the fact that they made the music (mostly) for the best Dario Argento films, including Suspiria and Deep Red . Their intelligent and intricate, yet propulsive, themes make these great films even better. In fact, those who question Argento's ability as a director must admit that his choice of music is integral to the horror and suspense he creates. Goblin is a huge part of that. Their pieces move the films along by providing tension and drama at oppo...