Out There in the Dark

If cinema is the closest thing we have to time travel, then watching "old" movies is our most direct portal into the psyche of the past. These films do more than just capture a moment; they contextualize the global industry’s shifts, the trends of the era, and the evolving politics and psychologies of the public. So many movies, so little time—but we’re on the case. In this installment of our ongoing series, "Criminally Forgotten Movies," we dig through the archives to unearth two cinematic gems that deserve a second look. Tom’s Selection: The 1943 American horror-thriller The Seventh Victim (dir. Mark Robson). This cult classic feels startlingly ahead of its time, weaving together threads of nihilism, "Goth" sexuality, and progressive subtexts. Azed’s Pick: The 1979 "love" story Chilly Scenes of Winter (dir. Joan Micklin Silver). A masterclass in late-70s ennui, this film captures the aimlessness of aging hippies in the pre-Reagan era. Starring John Heard and the late Mary Beth Hurt, it remains one of Azed’s all-time favorites. Join us as we bridge the gap between film history and the cultural snapshots these masterpieces left behind.

Roger Corman (April 5, 1926 -May 9, 2024)—an iconic figure whose influence on Hollywood is nothing short of legendary—traversed the cinematic landscape from the late 1950's to the 1990's. Celebrated as the "Pope of Pop Cinema," the "Spiritual Godfather of the New Hollywood," and the "King of Cult," Corman was a pioneering force in independent filmmaking, forever reshaping the industry with his innovative spirit. Throughout his illustrious career, Corman collaborated with an impressive roster of emerging filmmakers, many of whom would go on to dominate the industry. Names such as Francis Ford Coppola, Martin Scorsese, Ron Howard, James Cameron, and Jonathan Demme began their journeys under his mentorship. It has often been remarked that Corman’s guidance served as a vital training ground—what James Cameron famously referred to as the "Roger Corman Film School." His influence extended beyond mentorship; he was a catalyst for creativity and innovation. Nicolas Roeg served as the cinematographer for The Masque of the Red Death, while many of his protégés achieved Oscar success. Corman’s reputation for fostering talent with a blend of encouragement and challenge left an indelible mark on cinema. As he famously advised, “If you do a good job on this film, you’ll never have to work for me again,” exemplifying his role as both mentor and pioneer in the cinematic world. Join Azed and Tom as they explore the life and work of Roger Corman, a true maverick and inspiration for all aspiring filmmakers.

One of the least explored subgenres in cinema is the short-lived, radical category known as "punk film." This genre emerged in response to the rise of punk music in the late 1970s, which served as a counterpoint to the hedonistic glam of disco and dance music—a genre I also enjoy. However, punk's emergence was more than just a musical trend; it was a political reaction against the shift toward right-wing and neoliberal policies in Britain and America. Punk embraced a "DIY (Do It Yourself)" ethos that challenged the notion of expertise as an elitist barrier to creative expression. With this DIY spirit, anyone could participate and create without needing to be a skilled musician or filmmaker.Notable examples of punk cinema include Susan Seidelman's *Smithereens* (1982), Allan Moyle's *Times Square* (1980), Julien Temple's *The Great Rock and Roll Swindle* (1980), and Gregg Araki's *The Doom Generation* (1994). However, the film that arguably stands as the "Citizen Kane" of punk cinema is Alex Cox's *Repo Man* (1984). This visionary film captured the punk ethos of early 1980s Los Angeles. *Repo Man* is smart, bizarre, hilarious, and cosmic—making it one of the standout films of the underground cinema of that decade. Join Azed and Tom as they explore this remarkable work by the often-overlooked Alex Cox.

With the passing of David Lynch we mourn the loss of a true artist and spiritual guide. Anyone familiar with Lynch, the man and his work, knew him to be a study in the paradoxical. His All-American "boy next door" character and rural common sense, always sat oddly beside the nightmare cinematic worlds he created. Mel Brooks, who hired him to direct The Elephant Man, called him "Jimmy Stewart from Mars". For all the debate around auteurism, Lynch was the quintessential auteur. His films, from Eraserhead, through to the brilliant third season of Twin Peaks, are ireplicable, as influential as he has been, there is no equivalent visionary in today's cinematic landscape. Blending elements of surrealism, film noir, german expressionism, horror and soap opera, Lynch's oeuvre stands as a coherent, if highly symbolic, statement on darkness and light, good and evil, memory and fantasy. In this sense, Lynch was more than just a great film director, his life and work are a model of the "art life", wherein one dedicates themselves fully to the serious pursuit of art as a way to excavate the hidden, often horrific, realities behind the facades of the seemingly banal everyday. Join Azed and Tom as they pay tribute to one of the greatest artists of our lifetime.

At one point in the 70's everyone was wearing clogs and in the 80's, we were handing out Best Picture awards to movies like, Driving Miss Daisy and calling it a sign of progress. So it's a good idea to check in with your once loved cultural artifacts to make sure you aren't still listening to Jesus Jones or defending Dan Brown books . In that vein, Tom and Azed discuss two movies they both used to really like and now feel a bit less enthusiastic about. Oddly, and completely randomly, both of us chose movies by Kubrick: Lolita (1962) and The Shining (1980). We discuss the difficulty in translating good books to film, the limits of interpretation, and Kubrick's pattern of focusing on what has been called "the banality of evil". Tom also gives us an update on some of his favourite screenings at this years TIFF.

After a short hiatus, Azed & Tom return for this very special epsiode dedicated to the often overlooked character actor. Although a somewhat vague label the character actor is usually understood to be a film or television performer who specializes in portraying unique, offbeat, colorful characters in supporting roles. While leading actors receive most, if not all, of the accolades for a film or series' success, it is often the character actors who steal the show and add texture and depth to otherwise pretty standard material. In this episode, we list off some of our favourite character actors and some key performances that have become iconic. A few of the actors we discuss here; Jennifer Coolidge, Harry Dean Stanton, Madeline Khan, Andre Braugher, Jason Robards, Terri Garr and more.

In this episode, Azed & Tom delve into the captivating world of acclaimed filmmaker Martin Scorsese and the resounding critical acclaim surrounding his latest masterpiece, "Killers of the Flower Moon." In this episode, we explore the widespread praise and recognition that this film has garnered, exploring its profound impact on both critics and audiences. "Killers of the Flower Moon" has captivated viewers and critics alike, provoking widespread acclaim for its compelling storytelling, breathtaking cinematography, and outstanding performances. Starring Leonardo DiCaprio, Robert De Niro and the wonderful Lily Gladstone, the film transports audiences to the 1920s, immersing them in the chilling true story of the Osage Nation murders. Critics have lauded Scorsese's impeccable direction, praising his ability to create an immersive and unsettling atmosphere. The film's evocative cinematography, helmed by acclaimed cinematographer Rodrigo Prieto, captures the era's social and cultural context with stunning precision, enhancing the narrative's tense and mysterious elements. Azed & Tom also take a deep dive into Scorsese's illustrious career, discussing his unique style, thematic preoccupations, and his knack for creating mesmerizing cinematic experiences.With a career spanning over five decades, Martin Scorsese has cemented himself as one of the most influential and celebrated directors in the history of cinema. Known for his visceral storytelling and impeccable attention to detail, Scorsese has crafted an impressive portfolio of timeless classics, including "Taxi Driver," "Goodfellas," and "Raging Bull".

In a series we are calling Criminally Forgotten, we pluck out discarded, overlooked or misunderstood gems from the past. In this episode, we unearth a relic from the archives, Bill Gunn's 1973 art/horror/vampire movie Ganja & Hess . Gunn, a literate, smart, cultured person who came from the Theatre and the literary arts was tasked with replicating the immense success of the iconic African-American vampire film, Blacula (1972). What he produced instead was a complete departure from the tropes of the vampire genre, creating a meditative, artistic, dream like movie that utilizes what some critics have called, "Haptic visualization". The writer Donato Totaro describes Haptic cinema as; "... unlike Western ocularcentrism, which values sight as the greatest epistemological sense, intercultural cinema embraces the proximal senses (smell, taste, touch) as a means for embodying knowledge and cultivating memory” (Donato Totaro, Canadian Journal of Film Studies) Ganja & Hess has been cited as an important film in the African-American canon, as it dispels stereotypes of Blaxploitation and African-American culture promoting an art house, experimental style more notable in Foreign cinema at the time. Join Azed and Tom as they discuss this unique horror film...just in time for Halloween!! "If Shaft is Barry White and Melvin Van Peebles’s Sweet Sweetback’s Baadasssss Song is the Sex Pistols, then Ganja & Hess is John Cage". Jaime N. Christley, Slant Magazine