Merchant Ivory Productions was riding high after the crossover success of their 1985 E.M. Forster adaptation A ROOM WITH A VIEW. The film was universally celebrated by critics and audiences alike, and...

The “castle doctrine” is a legal principle holding that someone’s residency offers certain immunities over the use of deadly force in protecting it – in other words, a man’s home is his castle, and he...

In the long history of cinematic musicals, WEST SIDE STORY remains one of the most perfect fusions of story and style, with form and content blending together to such a degree that it’s difficult to t...

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When we first see Paul (Marlon Brando) in Bernardo Bertolucci’s LAST TANGO IN PARIS, he’s walking aimlessly across the Pont de Bir-Hakeim, his head cradled in his hands, screaming blasphemies at the h...

Full Moon may be Charles Band’s longest-running venture, but it hasn’t been without its own share of changes over the years – and a few bumps on the road along the way. After losing his distribution d...

TRIUMPH OF THE WILL is a triumphant expression of film form that just so happens to expresses a grossly repugnant ideology – and contrary to some perspectives, those two elements aren’t mutually exclu...

Given Charles Band’s predilection for milking all of his Full Moon intellectual properties for every last penny that they’re worth, it was perhaps inevitable that DOLLMAN and DEMONIC TOYS would both e...

“Hey, what’s this – one of Bluto’s tricks? I’m in the wrong movie!” So says the animated Max Fleischer version of Popeye that appears before the opening credits of Robert Altman’s 1980 film POPEYE, an...

One year after making the leap from the malevolent miniature threats of DOLLS and PUPPET MASTER into miniature heroes (albeit reluctant ones) in DOLLMAN, Charles Band took one step backwards and just ...