If you watch The Party’s Over and Last Summer in a row and you'll come away realizing not only was the dream of the 1960s a lie, but we've never actually accomplished anything.

We tend to think of Fascism as everyone “agreeing” to the same ideals, but those boundaries are rarely ever publicly decided. Instead of a commentary on what fascism does, Salo presents what it allows for.

Jenna and Veronica (and some technology failure) talk about overhyped movies – including Hereditary, mother!, and Three Billboards Outside Ebbing, Missouri – and who gets to decide on what’s overrated or not.

Black 47 and Bad Day for the Cut both star bearded Irish men with rifles who are out for blood over political strife. So if you want some charming accents and a whole lot of violence, look no further than this double feature.

The season of spoops is upon us, boils & ghouls. So you know what that means… let’s go crazy horror-style! Take your “Tomatometer,” put it in a box, mail it to your butt, and open your minds to the healing power of schlock.

Burt Reynolds will be remembered for being gorgeous, funny, and a great actor. But I’m here to make sure people know that he was also a sensitive, sweet and easily shocked mama’s boy from the South.

We're back, and this week Dan and Carlo take the wheel of the podcast and speed off, careening right off a cliff and into cult cinema territory - hand in hand.

This week on the podcast, we’re getting heisty! That’s like feisty, but with heists - listen in, won’t you?

Back in the ‘90s there was this one guy, a stoic blob who had neither much in terms of discernible charm, nor was he ever willing to show off much of anything he picked up in all his years training under several alleged martial arts masters, but still gained worldwide fame in the world of kicking ass and taking names. Join us, as we take a look at the early works of Steven Seagal, and question his status as a citizen of Earth.

A creepy carnival clown Hunger Games lead by Malcolm McDowell dressed as Marie Antoinette via Rob Zombie? Sadly, 31 was just a bloody, boring mess.

"Girls With Guns" as a sub-genre was an absolute phenomenon in Hong Kong between the ‘80s and ‘90s where the climate for female empowerment in male-dominated exploitation cinema reigned supreme.

On the latest episode of Notes From The Back Row, we have four segments covering one Lucio Fulci fantasy classic, two giallo-inspired films for an inspired double-feature, three films from the career of Oliver Reed, and a segment called The Watchlist.

Freddy’s Dead is both a deviation from, and constrained by its formula. But I love it because it’s a fascinatingly desperate attempt to re-capture some of the magic that kickstarted Freddy Mania. Join us as we perform a compost-mortem on this universally reviled sequel in the Nightmare on Elm Street series.

People who dislike musicals like to make claims about how unrealistic they are while they stand in line for yet another superhero movie, but nobody who likes musicals is dying for realism. Read about Xanadu, Phantom of The Paradise and All That Jazz.

www.Back-Row.com has grown sentient, with four mouthes and eight ears, and transformed into: Notes From the Back Row! In this first episode, Carlo, Dan, Jenna and Veronica talk about all things Jeff Goldblum. They discuss both his movies, and their desire to shed their limbs and morph into him.

You may not have heard of him, but Michael Greer managed to make a modest but impressive dent in the oppressively straight world of cinema in the late '60s and early '70s. Greer went from comedy clubs to the silver screen without ever pretending he was anything other than what he was – unabashedly out of the closet.

Take a dip into the world of Australian cinema’s homoerotic undertones – from Mad Max to The Rover. A country so manly that in some ways it’s like masculinity folded in on itself and emerged as a new beast.

Myra Breckinridge is indeed a failure of an adaptation, yet I suspect the intensity of the vitriol towards this film is about something beyond just the admittedly poor direction; most likely it has more to do with the unconscious biases Vidal set out to skewer to begin with.

The charges against Martyrs range from misogyny, to torture porn, to support for getting what you want by any means necessary. It’s an unsettling and rightfully polarizing film, but I'd like to take a closer look at what exactly it is saying, and how many (if any) of these claims have validity.

That's right folks, pretty soon we'll be able to violently murder each other next to some sweet-ass concentric circles, just like our forefathers envisioned. You might scoff, but we've been dreaming of this future for a long time.