This is a list of all the films that I have watched and reviewed during my career as a film reviewer...and it's growing by the day. To check out my reviews go to www.subcultureentertainment.com... it links to all the reviews I have written in my career.

Films That I Have Reviewed During My Career

This list includes every movie I've collected through years. I started collecting movies in 2003-2004. Sadly there's quite a few movies in my collection that I have yet to watch. Movies that I haven't given a rating are either on my to-watch-list or just movies I've seen already but cant remember them well enough to give a rating.

Nowadays I very rarely buy DVD's, so about 3/4 of the movies are blu-ray and some are 4K too.

As far as I can remember, this is the complete list of films I have watched in my life.

Kim Basinger, Russell Crowe, Kevin Spacey, Danny DeVito, and Guy Pearce in L.A. Confidential (1997)

The decade when directors seize the steering wheel, studios gamble on risk, and a scrappy shark named Jaws accidentally invents the modern blockbuster—just as Star Wars fires it into hyperspace.


* New Hollywood’s rebel parliament – Coppola’s The Godfather I & II (1972/74) turn crime sagas into family tragedies; Scorsese’s Taxi Driver (1976) and Mean Streets (1973) stalk urban malaise; Altman free-forms with MASH* (1970) and Nashville (1975); Lumet dissects media rage in Network (1976) while Ashby channels counter-culture drift in Harold and Maude (1971) and Coming Home (1978).



* Blockbuster big-bang – Spielberg’s Jaws (1975) proves summer can belong to a single movie; Lucas answers with Star Wars (1977), welding myth and merch for good. Their widescreen aftershocks reshape studio economics overnight.



* Genre reinventions & midnight cults – Horror mutates from gothic to gut-level: Craven’s Last House on the Left (1972), Friedkin’s The Exorcist (1973), Carpenter’s slasher blueprint Halloween (1978), Romero’s consumer-zombie satire Dawn of the Dead (1978). Kung-fu fever breaks out with Bruce Lee’s Enter the Dragon (1973); blaxploitation struts in Shaft (1971) and Super Fly (1972); camp explodes at midnight with The Rocky Horror Picture Show (1975) and Eraserhead (1977).



* Global auteur counterpoint – Germany’s New Cinema blooms: Fassbinder’s Ali: Fear Eats the Soul (1974), Herzog’s Aguirre, the Wrath of God (1972), Wenders’ Alice in the Cities (1974). Italy wrestles with power in Bertolucci’s The Conformist (1970) and Pasolini’s Salò (1975). Japan’s post-studio wave roars through Oshima’s In the Realm of the Senses (1976) and Kurosawa’s comeback Dersu Uzala (1975). In Iran, Kiarostami begins with The Traveller (1974); in Senegal, Sembène’s Xala (1975) anchors African cinema.



* Documentary & vérité grit – Maysles’ Gimme Shelter (1970) and Grey Gardens (1975) blur fly-on-the-wall intimacy; Hearts and Minds (1974) and Harlan County U.S.A. (1976) weaponize nonfiction against war and labor exploitation.



* Animation & fantasy evolve – Bakshi’s rotoscope rebels (Fritz the Cat, 1972; Wizards, 1977), while Rankin/Bass craft stop-motion epics and Miyazaki debuts with Lupin III: The Castle of Cagliostro (1979), hinting at Studio Ghibli magic to come.


By 1979, the silver screen straddles two poles: gritty, director-driven confessionals and hyperspace-sized popcorn dreams. The Seventies prove cinema can be both personal diary and global carnival—sometimes within the same double bill.

Screenprints on My Mind – The Auteur Seventies (1970-1979)

Klaus Kinski in And God Said to Cain... (1970)

Glenn Close, Noomi Rapace, and Christian Rubeck in What Happened to Monday (2017)

just many really bad, but somehow funny pieces

Cüneyt Arkin in The Man Who Saved the World (1982)

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