Sentences with phrase «of exploitation flicks»

(Proving that one can argue the merits of Quentin Tarnatino's films, but not his encyclopedic knowledge of exploitation flicks.)

Larger question: Why are we getting all of these arthouse versions of exploitation flicks?

Underneath the pretty prestige of the Australian New Wave, there was a mass of exploitation flicks rife with gore and nudity.

Not exact matches

In this postmodern exploitation flick loosely based on «Little Red Riding Hood,» the uneducated daughter of a drug - addicted prostitute flees the foster - care system in search of her long - lost grandmother but meets up instead with a serial killer.

Although the title invokes the memory of the 1960s Django movies, its Deep South setting and sub-plot regarding Mandingo fighting bring to mind the film Mandingo and the exploitation flicks that followed in its wake.

She then joined a sizable cast of twentysomething actors (including Patty McCormick, Richard Dreyfuss and Kevin Coughlin) in the Sam Katzman - produced exploitation flick The Young Runaways (1968).

The tango between Stuntman Mike's juiced - up black Charger and the white, Vanishing Point Dodge Challenger of his quarry (which includes the incomparable stuntwoman Zoe Bell) plays out like the rape / revenge foundation for countless exploitation flicks in the vocabulary of film - familiar backroads, with muscle cars the ram and receptacle.

A living, breathing celluloid invasion flick led by a breathless ensemble of off - the - grid, in - over-their-head rockers who sell the shit hitting the fan with every quaking splinter of their being, Jeremy Saulnier's grimy, nasty, punk exploitation film is a 12 - gauge blast of ultraviolence that doesn't stop to ask about your feelings as its slashing you up the middle.

Add to that a partnership with Nicolas Winding Refn, which has gifted us two restored classics, including low - budget exploitation flick The Nest of the Cuckoo Birds and 1967's Hot Thrills and Warm Chills.

His career thus far both in front and behind the camera has been diverse to say the least from exploitation flicks shot for almost nothing like the Amateur Porn Star Killer series, to a film more considered and meaningful (and genuinely haunting) like My Name Is «A» By Anonymous, and scoring a lead role in an Albert Pyun one take film called The Interrogation of Cheryl Cooper.

While this eagerly - anticipated cautionary tale of Orwellian dimensions does address a litany of timely themes ranging from greed to loyalty to exploitation to corruption, it nevertheless remains, at heart, a high attrition - rate, splatter flick designed to satiate the bloodlust of kids weaned on gory computer games.

Grau provides a brief, optional introduction to the picture, hoping it causes us «extreme suffering» and putting his finger, by that statement, on the exact reason a lot of us are drawn to exploitation flicks.

The picture is akin to non-alcoholic beer and decaffeinated coffee — a thrill-less thriller, slash-less slasher flick, and nudity-less German exploitation film (that at least keeps its water sports), the worst thing about The Pool is the amazing breadth of its banality.

The film is set during the post-production of a fictional, third - tier exploitation flick, the kind of revenge - of - the - witch potboiler Lucio Fulci could have knocked out during his prolific heyday.

Quentin Tarantino quipped that his Kill Bill movies gave us one film for the price of two, but Grindhouse, a fan - boy evocation of»70s exploitation flicks, is two for the price of one.

A social horror with a lot on its mind, one that works as a purely popcorn exploitation flick but is rife with deep - seated meaning, Get Out is a beefy conscience tickler that ticks all the boxes and then some and will deservedly remain in the best of modern horror conversation for years to come.

She did appear in Gothic & Lolita Psycho, a wild exploitation flick from Go Ohara, who also directed the big screen version of hack - and - slash game Onechanbara.

No other filmmaker can channel the sophistication of Jean - Luc Godard and the violence of John Woo through the veil of a 1970s exploitation flick — much less attempt to in a coherent state of mind.

The idea of a Lost Highway for a post-UFC world is an appealing proposition, at least in cinephilic circles where high - art and exploitation flicks freely intermingle.

Grindhouses were cheap cinemas in the 1970s which showed B - rate exploitation flicks all day long — usually in the form of double bills.