Both films are the story of a lone, jaded gunslinger in a lawless wasteland, but instead of being set in the rurally nostalgic heartland, they're set in the dilapidated coastlines of an empire in decline.
These 32 films make the case for the recently-escaped-or-released-mental-patient narrative as its own subgenre, replete with a language of recurring themes, plot devices, and character archetypes.
Gazing upon this vast collection of images with an abundance of rare and previously unseen stills, one cannot help but feel that Gottlieb-Walker captures the films' ontological identity.
John Carpenter's classic siege thriller isn't quite the old Hollywood throwback it's reputed to be, but it offers a striking reworking of genre mechanics and imagery to make up for its unsentimental atmosphere.
I picked up this book with tears of joy streaming down my face, thanking the cosmos that someone finally wrote an exhaustive book for horror fans. But my tears of joy turned to tears of anguish, my fists clenched strands of hair wrenched from my head.
The impact of Alien is undeniable, and with Prometheus breathing new, terrifying and artistic life into the saga, Alien's legacy could go anywhere. However, Alien didn't spring, fully-formed onto movie screens as the near-perfect Star Beast that it is.
Matthijs van Heinjningen Jr.'s prequel to John Carpenter's The Thing summons the chilly vibe and the cinema-sexual psychoanalytic undertone of the best of '80s genre cinema. It's only the generic modern "female empowerment" story that seems dated.
