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Ari Aster’s “Eddington” is here.

The movie, which pits a small-town sheriff (Joaquin Phoenix) against his mayor (Pedro Pascal), set during the early days of the global pandemic, is fierce and raw. Considering this is from Aster, the director of “Midsommar,” “Hereditary” and “Beau is Afraid,” it is also confrontational and strange and deeply funny, with the action set at the precipice of the complete breakdown in communication that accompanied lockdown. (Indiewire called it “the first truly modern American Western.”)

And if you come out of “Eddington” looking for more offbeat westerns to watch, we’ve got seven that should fill that void nicely.

Paramount “Bad Company” (1972)

In the 1960s and 1970s, there was a slew of what were referred to as “acid westerns” – westerns that were set in the distant past but that embraced the counterculture of the period, including, of course, recreational drug use. (Hence the “acid” in “acid western.

This week on the Empire Podcast we kindly request that you do not adjust your speakers, or your headphones, before diving in. "Why?" we hear you cry. Well, simply put, because Ralph Ineson's voice really is just that deep and sonorous — as you'll hear in the first of our two interviews this week, which sees Chris Hewitt sit down with the actor who plays the planet-eating entity Galactus in next week's The Fantastic Four: First Steps to talk about joining the MCU and how his voice is his passport. [1:04:38 — 1:20:16 approx] The second interview we have for you this week finds Chris having a deeply engrossing chat with Repo Man and Walker director Alex Cox about his days hosting BBC 2's much-missed cinematic gateway, Moviedrome. [30:44 — 44:01 approx]

Then, Chris is joined back in the podbooth by Helen O'Hara and John Nugent for another fun episode in which they discuss Rachel Zegler's...

The UK’s biggest film magazine returns! 168 pages, and it’s crammed with movies. Order your copy right here (and thank you!)

Meet issue 56 of Film Stories magazine, with 168 pages! On really nice paper too. A film magazine the kind of which people used to make, and we’re still making. Please order a copy and spread the word!

We’re 100% independent, so this is an absolute labour of love for us.

We’re really proud of it. We hope you’re going to like it, and we hope you might consider supporting it. Sold primarily via mail order, and popping up in a few WHSmiths travel stores around the country too, here’s the cover of the new issue…

And inside?

Independent Movie Takeover!

• Heather Graham tells us about her jump to writing and directing indie feature

• Gareth Edwards on his jump from indie filmmaking to rampaging dinosaurs

• Two...

Last Updated on Jun 10, 2025 @ 17:19:14 Pm.

Mafia: The Old Country isn’t far away, with fans desperate to get their hands on the prequel, and developer Hangar 13 is certainly making sure that excitement hits as high a level as possible, with a new dev diary hitting the internet showcasing the graphical side of the studio’s next adventure.

On a backdrop of gorgeous visuals, Game Director Alex Cox says:

“Mafia is a game that’s always defined by its cinematic presentation. It was important that the game has the same production values that players have come to expect from a Mafia game, and in fact, that we’ve managed to elevate those.”

As the just over four minute dev diary shows, as well as the multiple trailers at this point, Mafia: The Old Country certainly looks the part in both cinematic presentation and graphical fidelity that Alex Cox and his team are aiming for,...

Mafia: The Old Country just went full nerd mode, and honestly? It’s about time. Hangar 13’s latest developer diary reads like they hired actual historians instead of just Googling “Sicily 1900s” and calling it research.

This isn’t some half-hearted authenticity marketing speak. These developers are out here tracking down century-old knife-making techniques like they’re writing a dissertation.

With 68 days left until August 8, the countdown’s ticking faster than a Lupara reload. And if this research obsession pays off, we might finally get the Sicilian crime story that doesn’t feel like a Hollywood fever dream.

When developers become historians

Most studios would slap some sepia filters on generic Mediterranean architecture and call it authentic Sicily. Not Hangar 13. They’ve gone completely overboard with their research for Mafia: The Old Country, and it’s genuinely impressive how far they’re willing to dig.

The team traveled to Sicily multiple times,...

Simon Mein, a stills photographer for over 30 years including on many Mike Leigh films, has died aged 68.

British photographer Mein died on Sunday, May 25.

Having studied sculpture at Exeter University then worked as an assistant to British photographer Antony Armstrong-Jones, Mein began working regularly as a stills photographer in the 1980s, on films including David Lean’s A Passage To India, Alex Cox’s Sid and Nancy and Peter Weir’s Dead Poets Society.

He began working with Leigh on 1990’s Life Is Sweet – the first of 12 features on which the duo collaborated, including Naked, Secrets & Lies, Mr. Turner...

Future director Alex Cox moved from his native England to Los Angeles in 1977 because he found the British film scene to be lacking. While attending UCLA, he made his first short, "Edge City," a bitter, talky, semi-surrealist film about struggling artists wandering the uglier parts of the city, having conversations about the nature of artistic success. ("Edge City" is on YouTube.) That short led to a plum deal with Mike Nesmith (of the band The Monkees), who secured over a million dollars for Cox's first feature, 1984's "Repo Man," a seminal film of the punk rock scene and a legit cult phenomenon. "Repo Man" wasn't initially a hit, but its soundtrack (full of L.A. hardcore) sold so well that it was re-released, becoming a financial success. 

Cox came to love punk rock, already somewhat embodying its spirit in his outsider view of filmmaking. In 1986, the filmmaker made "Sid and Nancy,...

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A film adaptation of Hunter S. Thompson's zonked-out, gonzo 1971 autobiography "Fear and Loathing in Las Vegas" began in earnest as long ago as 1976. The story goes that Larry McMurtry signed on to adapt Thompson's unadaptable novel into a screenplay, but that the project fell apart. Several notable filmmakers each flirted with the idea of making a "Fear and Loathing" movie, including Martin Scorsese, Oliver Stone, and even famed animator Ralph Bakshi. 

The film didn't make it to the big screen until 1998, when audiences were treated to an ultra-chaotic version directed by Terry Gilliam. Production on the 1998 version started six years earlier, in 1992, when Rhino Films (!) sought to produce a version directed by Lee Tamahori. Tamahori couldn't do it, however, as he was busy shooting either the lugubrious noir "Mulholland Falls" or the survivalist thriller "The Edge." Johnny Depp,...

When last we saw Emilio Estevez, he was serving a hilariously tiny, get-the-f***-out-of-my-house bottle of water to his "St. Elmo's Fire" co-star Andrew McCarthy in the latter's cringy-fascinating documentary "Brats." Estevez can be a refreshingly candid interview subject, but judging from the tensed shoulders and the unblinking death stare he had fixed on McCarthy, he did not appear to be in the mood to take a stroll down Brat Pack memory road that day.

Why was Estevez so on edge? McCarthy's antsy demeanor and scattered line of questioning made it fairly plain this project should've never made it outside of his therapist's office. I would've given him the short water treatment, too. But perhaps something else was eating at Estevez.

Looking back at Estevez's 52-year acting career (stretching all the way back to his uncredited debut in Terrence Malick's 1973 masterpiece "Badlands"), he's been a pivotal part of some pop cultural touchstones.

The 1986 drama Sid And Nancy was overlooked by all the major awards ceremonies, but its reputation has only grown with time. Walker director Alex Cox’s biopic tells the story of Sex Pistols bassist Sid Vicious, and his chaotic love affair with Nancy Spungen. It is notable as being one of Gary Oldman’s first films – he is compelling as Vicious throughout – while Chloe Webb is uniformly excellent as Spungen, by turns bratty, domineering, and oddly vulnerable. But it’s not merely the great performances of the two leads that makes it so effortlessly watchable.

The 1987 sci-fi action classic RoboCop is one of those rare perfect movies. Everything about it works just right. The satire. The violence. The characters. The design of RoboCop himself. And it’s difficult to follow up perfection. Which is evident in RoboCop 2, a movie that tried to carry on the story… But ended up feeling tonally inconsistent and a bit scattered. It’s a fun movie, but not on the level of its predecessor. And now, we’re going to dig into just what happened to RoboCop 2.

Orion Pictures had a big hit on their hands with RoboCop, which they released on July 17, 1987. Made on a budget of just under fourteen million dollars, the film earned more than fifty-three million dollars at the box office. So, of course, Orion wanted to replicate that success as quickly as possible. They hired RoboCop writers Edward Neumeier and Michael Miner to...

Director Paul Thomas Anderson’s mysterious Leonardo DiCaprio-led 2025 movie could be the most surprising action movie, well, ever. The Academy Award-nominated filmmaker will join forces with the Academy Award-winning star for this year’s One Battle After Another, which has reportedly now had a test screening. And the results are...unexpected.

Known for the likes of Boogie Nights, Magnolia, and There Will Be Blood, One Battle After Another has now been described as the “closest we’ll ever get” to a Paul Thomas Anderson making a “full-on action movie.” The footage that was shown included “tentpole-level spectacle,” including “loads of action and car chases,” and a “phenomenal” car chase climax. According to The Film Stage and their sources, One Battle After Another could be the director’s most mainstream movie yet. “It could definitely appeal to a lot of people, starting with Leo and the scale that is present,...

“I need to start figuring out what the f— to say,” Paul Thomas Anderson recently said when it came to his biggest project yet, a $115 million Warner Bros. summer tentpole with a cast featuring Leonardo DiCaprio, Sean Penn, Regina Hall, Teyana Taylor, Wood Harris, Alana Haim, Benicio del Toro, and Chase Infiniti. The promotion has not begun yet ahead of its August 8 release, but the film, which runs just under three hours, held its first test screening in Phoenix, Arizona at the Harkins Theatres Norterra 14 with the director in attendance and we have the first details.

Speaking with a lucky attendee at the screening, Anderson confirmed the film––which is titled One Battle After Another––is nearly finished, helping squash those unsubstantiated reports of the film being delayed. As early rumors hinted, it is indeed a modern take on Thomas Pynchon’s 1990 novel Vineland. While Donald Trump isn’t mentioned,...

In the last couple years I’ve conducted two very long interviews with Rob Tregenza, whose journey through cinema comprises four independent features of staggering vision (one being the sole film Godard produced outside his own direction), Dp duties for Alex Cox and (with remarkable strife) Béla Tarr, and ambitions for a fifth film. In our second conversation he surprised me: our first chat helped fuel The Fishing Place, a project he directed in Norway with elaborate crane systems (recalling his debut Talking to Strangers) and featuring, in his words, “the best [actors]––technically and artistically––I’ve ever had the blessing to work with.”

Tregenza’s own Cinema Parallel––distributor of Tarr and Godard when no American company bothered touching their work––will give The Fishing Place a one-week run at MoMA starting February 6 and in LA via Laemmle on March 7, ahead of which we’re pleased to exclusively debut a trailer.

Throughout his lengthy Hollywood career, Gary Oldman has stepped outside himself and transformed into another person dozens of times. While so many of us will forever remember him for his fictional undertakings in projects like the Harry Potter franchise and Bram Stoker’s Dracula, the actor certainly has a particular knack for portraying real-life figures. From the troubled Sex Pistols bass player, Sid Vicious, in Alex Cox’s Sid and Nancy to his work as assassin Lee Harvey Oswald in Oliver Stone’s JFK, the actor has perfectly stuck the landing on numerous historical figures during his tenure in the biz. But, above all the others, it would be his work in Joe Wright’s 2017 biographical feature, Darkest Hour, that saw Oldman rise to new heights through his role as Winston Churchill. Right now, audiences can head over to Netflix, to see Oldman masterfully depict the ex-Prime Minister in the...

Emilio Estevez made his big screen debut at the age of 11 in the film "Badlands," Terrence Malick's mood drama starring Emilio's father Ramón Estévez, who was better known by his screen name Martin Sheen. When Emilio was 14, he flew with his father to the Philippines for another film shoot. Sheen was playing the lead role in Francis Ford Coppola's "Apocalypse Now," and the young Emilio was hired to appear as an extra. Sadly, his scenes were cut, but Estevez was inspired by his experience to write a play called "Echoes of an Era," and perform in the lead role. He was officially an actor like his father. 

After graduating high school, Estevez eschewed college and entered show business. What followed was a decades-long and prolific career that brought him into the center of the Hollywood mainstream. In the 1980s, Estevez was part of a generation of rising actors...

To watch Marco Bellocchio’s incendiary poliziottesco film Slap the Monster on Page One is to realize that the playbook of fascism has hardly changed over the past half-century. Exposing the thinly veiled collusion of right-wing politicians and reactionary media outlets, the demonization of leftist protesters, and the hypocritical piety that ran rampant during Italy’s “years of lead,” Bellocchio’s film probes the ways in which truth is undermined to shape public opinion and sway elections.

As the editor of Il Giornale, a fictional Italian newspaper, Giancarlo Bizanti (Gian Maria Volontè) certainly understands the power of seizing control of a narrative before one’s even been formed. Speaking to the lonely, embittered Rita (Laura Betti)—whom he manipulates into betraying her left-wing activist ex, Mario (Carrado Solari), ultimately falsely implicating the man in the murder of his current girlfriend, Maria (Silvia Kramar)—he says, “Let’s not try to lose our sense of reality.

NYC Weekend Watch is our weekly round-up of repertory offerings.

Film at Lincoln Center

The new 4K restoration of Sergei Parajanov’s Shadows of Forgotten Ancestors is now playing.

Bam

Robert Frank and Rudy Wurlitzer’s Candy Mountain begins screening in a new restoration. (Watch our exclusive trailer debut.)

Museum of the Moving Image

Monsters Inc. and What About Bob? play in a Frank Oz retrospective; Chantal Akerman’s American Stories: Food, Family and Philosophy screens on Sunday; The Texas Chain Saw Massacre shows throughout the weekend.

Metrograph

The Decameron, Fellini Satyricon, In America, Teenage Mutant Ninja Turtles, The Legend of Suram Fortress, Corpse Bride, All the President’s Men, The Candidate, We Won’t Grow Old Together, Valerie and Her Week of Wonders, and Momma’s Man show on 35mm; an Azazel Jacobs series and Follow the Money: Kimberly Reed Selects begin; The Phantom of Ester Krumbachová, Rabbit on the Moon,...

Ridley Scott's 2001 horror thriller "Hannibal" was a long-in-the-tooth sequel to "The Silence of the Lambs," both of them based on the works of author Thomas Harris. "Silence of the Lambs" was a boffo blockbuster when it came out in 1991, winning many Oscars and making millions. Anthony Hopkins took the world by storm with his lip-smacking performance as Dr. Hannibal Lecter, a brilliant psychiatrist with a penchant for mutilating, killing, and often eating his victims. At the end of "Lambs," Hannibal escapes his high-security prison and proceeds to wreak havoc in the world.

In "Hannibal," however, we learn that Dr. Lecter left one of his victims alive. Mason Verger (Gary Oldman) was a child stalker who, years ago, fell into Lecter's psychiatric care. Lecter, being a brilliant manipulator of minds, convinced Mason to use his autoerotic asphyxiation noose while slicing off his own face and feeding it to nearby dogs.

Having established himself with a string of low-budget, transgressive films, New Queer Cinema luminary Gregg Araki expanded his budgetary and artistic palette with his so-called Teen Apocalypse Trilogy, a series of narratively unrelated but thematically linked features about LGBTQ youths living on the margins of a Los Angeles redolent of the desiccated outskirts of the city as seen in Alex Cox’s Repo Man. Like that film, 1993’s Totally F***ed Up, 1995’s The Doom Generation, and 1997’s Nowhere are informed by the legacy and aesthetics of punk, but Araki builds on that foundation with styles drawn from the queer underground, as well as the rise of ’90s alternative music in its myriad forms of noise.

Totally F***ed Up sets the general narrative tone and atmosphere for all three features in the trilogy. Though it does have certain narrative through lines, the most significant of which is telegraphed by...

An eventful week in the waning days of a medieval English village provides the narrative backbone for Harvest, Athina Rachel Tsangari’s moody-verging-on-mopish adaptation of Jim Crace’s novel of the same name. The book is written in a bewitching prose style somewhere between a monologue and a first-person essay. Dialogue is sparse, much of it denoted as overheard half-phrases, and the overall ambience alien, which is more than apt for a setting—a lord-of-the-manor-ruled agricultural collective—effectively lost to time.

Tsangari, who co-wrote the screenplay with Joslyn Barnes, finds her own way into this foreign land by accentuating the grit and the grime. This is evident in everything from Sean Price Williams’s grainy 16mm cinematography (some sort of crud is always visible at the edges of the frame) to the lead casting of Caleb Landry Jones, a performer who often seems like he’s just emerged dazed and confused from primordial sludge.

The utter weirdness of Alex Cox’s remarkable debut—a document of L.A.’s hardcore punk scene that’s also an ode to its car culture, a critique of the American middle class, and a kind-of sci-fi comedy about a radioactive Chevy Malibu—would seem to preclude its existence. And yet here it is. Forty years later, Repo Man is no worse for the wear. Not so much ahead of its time as outside of it, the film’s L.A. punk particularities have broadened over the years. Its ennui has endured not just as a portrait of a certain generation of angry adolescents, but as one of angry adolescence writ large. In a way, the film’s timelessness has always been assured by Cox’s restless protagonist, Emilio Estevez’s suburban punk-cum-repossession agent Otto, who’s always seemed like a bit of a nonentity.

As much as Repo Man...

Like any movie genre, the Western has its fair share of popular subgenres. Well-known Western subgenres include neo-Westerns, revisionist Westerns, and spaghetti Westerns. More obscure Western subgenres include acid Westerns, meat pie Westerns, and weird Westerns. Influential film critic Pauline Kael coined the term acid Western in 1971 in her review of Alejandro Jodorowsky's El Topo.

In the mid-1990s, Jonathan Rosenbaum expanded upon the definition of acid Westerns. He noted acid Westerns are a type of revisionist Western that reflected the counterculture ideologies of the 1960s and 1970s. Acid Westerns have a hallucinogenic quality that is often aided by surrealist imagery. Rosenbaum also stated that in traditional Westerns, a character's journey West resulted in freedom and prosperity. In Acid Westerns, Rosenbaum argued a character's journey is a march toward death. Clint Eastwood's High Plains Drifter, Jim Jarmusch's Dead Man, and Sam Peckinpah's Pat Garrett and Billy the Kid...

For those who like a good dose of honesty and chaos, the 1984 punk cult classic debut from Alex Cox, Repo Man is out in a 4K/Blu-ray combo. The release is beautiful; from the physical booklet to the actual restoration, this is a release you’ll want to pick up. Repo Man follows the raucous Bud, played by the legendary Harry Dean Stanton, Rip. He takes young punk Otto (a young Emilio Estevez) under his wing, and together, the two of them are nihilistic urban cowboys on the brink of annihilation, of both themselves and the other criminals and punks they collide with in Los Angeles. Otto and Bud get into trouble ¾ a lot. They fight...

[Read the whole post on screenanarchy.com...]...

Mafia: The Old Country, the highly anticipated fourth installment in the beloved series, is set to take players on a thrilling journey through the gritty underworld of early 20th-century Italy.

But while the game promises to be a masterclass in storytelling and immersive gameplay, there’s one country where the Mafia franchise is more than just a popular video game series—it’s a matter of national pride!

Over time, the series has developed a global fan base. | Image Credit: Hangar 13

That’s right, we’re talking about Czechia (also known as the Czech Republic)—the birthplace of the series and a country where the games are celebrated as a “national institution.” But what is it about this Central European nation that makes it such a hotbed for Mafia fandom?

A Homegrown Franchise with a Global Reach

The Mafia series has come a long way since its humble beginnings in the Czech Republic.

Is there a more entertainingly batshit movie from the ‘80s than Repo Man?

English filmmaker Alex Cox’s 1984 directorial debut is a satirical black comedy set in a version of Los Angeles (undoubtedly inspired by Cox’s years studying film at UCLA) where the food—even the alcohol—is blandly,...

Stars: Alex Cox, Niketa Roman, Satish Ratakonda, Harper Taylor, Brynn Taylor | Written and Directed by Phil Tippett

Mad God is a stop-motion, post-industrial, post-apocalyptic fever dream. It was brought to us via crowdfunding by Phil Tippett, a man who has Star Wars, Robocop and Jurassic Park in his resume. I assume Phil is the titular Mad God, rather than any of the monsters on display.

Visually, as grim as the views here are, the talent and craft on display here are incredible. The monster design, and the stop motion is all top-notch. There aren’t conventional acts in this film. As I sit here, I am not sure if moving scenes around, at random, twisting the mad rubrics cube would have made any difference. It is an hour and 20 minutes of grim suffering that has little of a linear path (that I can see).

We kick off, with an incredibly compelling opening.

1992's secret Doctor Strange movie attempt with Doctor Mordrid could have drastically changed Marvel's cinematic landscape. The movie lost its licence for Doctor Strange before it was completed. Doctor Mordrid, a low-budget hero, shares similarities with Doctor Strange, ultimately shaping Marvel's occult cinematic future.

Before the MCU became the giant it is today, a secret Doctor Strange movie was created in 1992 that you probably never heard of. Benedict Cumberbatch's Doctor Strange is the definitive live-action adaptation of the Marvel Comics mainstay, with Strange's MCU story now being one of the most central in the current Multiverse Saga. By now, the character is privy to the McU's most mind-bending narratives and visuals, which are befitting of his entire Mo. Previous live-action iterations of Doctor Strange, however, weren't quite as much of a spectacle.

The first attempt to bring Doctor Strange to live-action was in the 1978 television movie, Dr. Strange starring Peter Hooten and Jessica Walter.

Alex Cox's 1984 punk rock sci-fi riot "Repo Man" is one of the defining films of its decade. It follows a disaffected punker named Otto who resents that he has to take a wage-slave job in the blasted-open, comedically meaningless landscape of Reagan's America. He finds solace and job satisfaction as a repo man, serving as the angry inversion of consumer culture. If we are defined by what we consume, then the repo man robs us of meaning, laying bare the fragility of modern economics. Also, be sure to keep your middle fingers highly raised at all times. 

The magical McGuffin of "Repo Man" is an elusive 1964 Chevy Malibu, marked for repossession. The driver, however, is J. Frank Parnell (Fox Harris), and he seems to be unbalanced, having had a lobotomy at some point. Also, his trunk contains the corpse of a radioactive alien. Whenever someone tries looking in the trunk,...

23 years into his film career, Tom Hardy is still impossible to pin down. Is he a leading man? A full-on movie star? A character actor? Would he be perfectly happy to just make Venom movies until he retires?

Here's what we do know about Hardy: he's handsome, he loves trying on weird accents (which we ranked here at /Film), and he commits fully to every role whether it's a prestige picture or a superhero flick. Critics dig him (even if they do not dig the "Venom" movies at all), and he's tremendously respected by his fellow actors. He's one of the best we've got. But it's been 16 years since his breakthrough bravura performance in Nicolas Winding Refn's "Bronson," and, for whatever reason, the Academy of Motion Picture Arts and Sciences' membership has only managed to nominate him for one measly Oscar.

What gives?

While he's been magnificent in very...

For this week’s column, I spoke to Dawn Baillie, who is responsible for, or who has collaborated on, some of the most iconic American movie posters of the last four decades, from The Silence of the Lambs (1991) to Barbie (2023). Her work is currently the focus of an extraordinary ongoing exhibition at Poster House in New York City.I asked her if she would humor me by selecting her top ten movie posters of all time, now a tradition for this column. She most graciously accepted the challenge. Baillie’s top ten and comments are listed below in descending order. She explained that these are all posters she “refers to often,” and presents her selection with the caveat that she could easily list 50 more. Dawn Baillie’S Top Ten Favorite Movie POSTERS1. USA one-sheet by Erik Nitsche for All About Eve (Joseph L. Mankiewicz, USA, 1950)When we talk about encapsulating...

Killer Collectibles highlights five of the most exciting new horror products announced each and every week, from toys and apparel to artwork, records, and much more.

Here are the coolest horror collectibles unveiled this week!

Furiosa: A Mad Max Saga 4K Uhd from Warner Bros.

Furiosa: A Mad Max Saga drives onto home video on August 13 via Warner Bros. The fifth installment in the post-apocalyptic action franchise is presented on 4K Ultra HD with Dolby Vision/Hdr and Dolby Atmos audio.

Mad Max creator George Miller directs from a script he co-wrote with Nico Lathouris (Mad Max: Fury Road). Anya Taylor-Joy, Chris Hemsworth, Tom Burke, Alyla Browne, and Lachy Hulme star.

Five featurettes are included: Highway to Valhalla: In Pursuit of Furiosa, Stowaway to Nowhere, Metal Beasts & Holy Motors, Darkest Angel: Anya Taylor-Joy as Furiosa, and Motorbike Messiah: Chris Hemsworth as Dementus.

The Toxic Avenger Figure from Super...

Marking one of their biggest 4K months yet, Criterion has announced a September lineup led by Gregg Araki’s Teen Apocalypse trilogy of The Doom Generation, Nowhere, and Totally F***ed Up in a rather full set, and all but the last in 4K. One of Criterion’s earliest titles, John Mackenzie’s The Long Good Friday, is receiving a sizable 480-to-2,160 upgrade; a more recent addition, Repo Man, also gets upgraded, hopefully fueling further interest for Alex Cox’s recently announced sequel.

On the new-film front, Andrew Haigh’s All of Us Strangers makes the most-enviable home debut possible. And with regard to films I never thought would be presented in such profound resolution, Todd Solondz’s Happiness is given the 4K treatment, at long last supplying a companion to Life During Wartime.

See artwork below and find more details at Criterion:

The post The Criterion Collection’s September Lineup Includes Gregg Araki,...

Eulogizing the 1960s in a haze of marijuana smoke, psychotropic apparitions, ether vapors, and coke sweats, Terry Gilliam’s adaptation of Hunter S. Thompson’s brilliant, notorious 1971 novel Fear and Loathing in Las Vegas has aged startlingly well. Picked up by Gilliam when fellow cinematic madman Alex Cox dropped out, the project was long thought to be the most preposterous screen adaptation ever mounted—an impossibly addled switchback ride through the death rattles of the 1960s, compacted and then stretched out like silly putty over a three-day fever dream in the heart of Sin City.

For Gilliam, the sheer outrageousness of the dystopian Freedomland that Thompson had found or hallucinated about out in the desert while covering the Mint 400 motorcycle race for Sports Illustrated presented a perfect outlet for his giddy, often disturbing brand of inventiveness, and, indeed, Fear and Loathing stands as the Monty Python alum’s last completely successful work.

Chad Daybell was sentenced to death Saturday, two days after an Idaho jury found him guilty in the 2019 murders of his former wife Tammy Daybell and two children of his current wife, Lori Vallow Daybell.

On Thursday, Daybell was convicted of first-degree murder and conspiracy charges — including insurance fraud and grand theft — in connection to the 2019 killings. The jury began weighing Daybell’s punishment on Friday, and after about eight hours of deliberation, recommended the death penalty.

Judge Steven Boyce formally imposed the sentence of death Saturday, saying it was appropriate under the law,...

NYC Weekend Watch is our weekly round-up of repertory offerings.

Film Forum

Films by Oshima, Tony Scott, Alex Cox, John Carpenter, Abel Ferrara, and Tobe Hooper play in “Out of the 80s“; Le Samouraï continues in a new 4K restoration; Back to the Future plays on Sunday.

Museum of Modern Art

A massive overview of Bulle Ogier has its final weekend with two films by Rivette.

Museum of the Moving Image

The Thin Red Line, The Big Lebowski, and Defending Your Life all play on 35mm as part of “See It Big at the ’90s Multiplex.”

Bam

The rarely screened films of György Pálfi are given a retrospective.

Metrograph

Films by Haneke, Kiarostami, and more play in an mk2 retrospective; Saturday brings Three Days of the Condor on 35mm; ’90s Noir, Euro-Heists, Dream with Your Eyes Open, and Ethics of Care, continue, while a Chris Marker series includes Sans Soleil and a shorts program.

Chad Daybell, the Idaho man charged with the 2019 killings of his former wife, Tammy Daybell, and two children of his current wife, Lori Vallow Daybell, was found guilty of first-degree murder by an Idaho jury on Thursday, CBS reported.

Daybell was also found guilty of conspiracy to commit murder in his former wife’s death, conspiracy to commit murder and grand theft by deception in the deaths of Lori’s seven-year-old son “JJ” Vallow and 16-year-old daughter Tylee Ryan, and insurance fraud. The prosecution requested the death penalty, and the...

Richard Foronjy, who spent more than eight years in prison before he turned to acting and appeared in such films as Serpico, Midnight Run, Repo Man and Carlito’s Way, died Sunday, his family announced. He was 86.

Foronjy said he was arrested more than 20 times for “forgery, bank robbery, credit card rip-offs, assorted crimes and skullduggery … [guilty of] almost everything except drugs and homicide,” he said in a 1987 interview with Upi’s Vernon Scott.

The Brooklyn native was convicted only once, but that got him an 8½-year stretch in the New York prisons Sing Sing and Attica before he was released when he was 32.

In Hollywood, not surprisingly, Foronjy specialized in portraying cops and crooks.

He was a cop killer in his screen debut, Serpico (1973), and cops in The Morning After (1986) and Prince of the City (1981), all for Sidney Lumet. “I was especially good at playing cops, no doubt because I got to...

To celebrate the release of Once Upon a Time in the West on 4K Ultra HD today, as part of a 4K Uhd & Blu-Ray Collector’s Edition, we have a Collector’s Edition to give away to a lucky winner!

Director Sergio Leone’s monumental Western classic Once Upon A Time In The West celebrates its 55th anniversary this year and to mark the occasion Paramount Home Entertainment will release the fully restored film for the first time on 4K Ultra HD on May 13, 2024, as part of a 4K Uhd & Blu-ray Collector’s Edition.

One of the most iconic and influential movies ever made, Once Upon A Time In The West has been restored from the original 35mm Techniscope camera negative by Paramount’s archive team, L’Immagine Ritrovata and The Film Foundation. This restoration honours the 2007 Film Foundation photochemical restoration overseen by legendary director Martin Scorsese by matching its build and colour palette.

Stars: Cedric Jonathan, Kennedy Wilson, Jaqueline McNulty, Craig Nigh, Van Quattro, Brenna Jones, Nik L. Guerra, Larissa Dali, Gary Kent, Don Daro, Michael L Garcia Jr. | Written by Stefan Ruf, John Herndon | Directed by Stefan Ruf

Stefan Ruf says that Coyote Woman, his follow-up to Motorpsycho Maniacs aka Sex Terrorists on Wheels, was inspired by both Ralph Nelson’s Soldier Blue and Bruno Mattei’s Scalps. That combination of critically acclaimed sadism and grindhouse sleaze certainly caught my attention and all but demanded I give it a review.

Deep Water and his warriors attack a family of settlers, scalping the parents and abducting the two daughters Iris who escapes on the way back to their village, and Cynthia (Jaqueline McNulty; The Great Turkey Miracle) who is adopted into the tribe.

Ten years later, J.J. Glanton and his right-hand man Judge Holden decide they’ve had enough of the Texas Rangers...

Eight months after his second wife, Lori Vallow, was sentenced to life in prison without the possibility of parole for the murders of her seven-year-old son “JJ” Vallow and 16-year-old daughter Tylee Ryan, as well as conspiring to kill his first wife, Tammy Daybell, Chad Daybell is standing trial in Idaho for the same crimes.

Daybell is charged with three counts of first-degree murder, three counts of conspiracy to commit murder, grand theft, and insurance fraud. If convicted of the murder charges, he faces the death penalty — a possibility dismissed...

Dynamite Entertainment’s “King Kong: The Great War” #5, is written by Alex Cox and illustrated by Tommaso Bianchi, with covers by Jae Lee, Jackson Guice and Joe DeVito:

“…our heroes finally reach the safety of high ground as they scale the deadly island’s skull-shaped mountain. Safe from ‘Kong, they can see human civilization in the distance. But will the cave in which they have taken refuge prove to be a sanctuary — or a mortuary?!?…”

Click the images to enlarge…...

Ethan Coen's queer roadtrip film "Drive-Away Dolls" is set in 1997, and feels like an escapee from that era, for better and for worse. On the one hand, it possesses all the impish, make-the-straights-squirm energy of a legit '90s indie lesbian farce. It is not just upfront about its queerness, but confrontationally playful about it. "Drive-Away Dolls" unapologetically and cartoonishly plunges audiences into lesbian basement make-out parties and rowdy gay bars, flinging about cunnilingus jokes, masturbation scenes, and multiple on-screen dildos with gleeful impunity. It's a lightweight, weirdly teen-friendly (but very R-rated) slumber party movie with an upbeat and liberating "be gay, do crime" vibe. It's a queer, hand grenade-shaped squeak toy. 

On the other hand, however, "Drive-Away Dolls" is being released in 2024, and the very fact that it depicts queer characters having queer sex and talking about queer issues isn't nearly as confrontational as it once was. There...

Repo Man 2: The Wages of Beer will be blending sci-fi and punk rock with a modern twist on technology and nostalgia. Director Alex Cox reveals Otto's new repo methods in the internet age, longing for beer, booty, and a world without nuclear war. The cult classic sequel promises a fresh take on Otto Maddox's journey, blending nostalgia with contemporary themes for a wild ride.

The 1980s gave birth to a film that would etch its name in the annals of cult cinema history: Repo Man. Directed by Alex Cox, the movie blended sci-fi elements with punk rock ethos, creating a unique and unforgettable experience. Fast forward to the present, and Cox is set to revisit this iconic universe with the announcement of a sequel, Repo Man 2: The Wages of Beer.

In a recent interview with Inverse, Cox shared insights into the upcoming project, revealing that the...

Alex Cox returns after forty years with "Repo Man 2: The Wages of Beer." This sequel makes up for Universal's unofficial sequel, "Repo Men." "Repo Man 2" will add to "Repo Man's" big but unofficial film universe.

It was recently announced that Alex Cox is returning to his 1984 cult classic, Repo Man, with an upcoming sequel, Repo Man 2: The Wages of Beer, which will fix a 14-year old injustice created by Universal when they made their own unauthorized Repo Man sequel. Repo Man 2: The Wages of Beer is a direct sequel to the 1980s hit, Repo Man. According to director Alex Cox, Kiowa Gordon has signed on to play Repo Man's Otto Maddox, and rather than repossessing cars, the iconic lead character will be surfing the internet and hijacking onboard computers.

In an interview with Inverse, Cox spoke about his Repo Man sequel: "Otto, who has...

Classic 80s movie Repo Man is getting a long-awaited sequel with the same director. Originally released in 1984, Repo Man gained a dedicated following and became a cult classic. Titled Repo Man 2: The Wages of Beer, the sequel will satr Kiowa Gordon.

The classic 1980s movie Repo Man is getting a surprise sequel with the original director. Originally released in 1984, Repo Man is a dark comedy about a young man who is recruited by a car repossession agency to find a Chevy Malibu that is wanted for a $20,000 bounty. In the years since its release, the film has become a cult classic.

As per Variety, Repo Man will now be getting a sequel. Titled Repo Man 2: The Wages of Beer, the sequel will be directed by original Repo Man director Alex Cox. The film is set to star actor Kiowa Gordon, taking over for Emilio Estevez. The filmmakers explain...

Get ready to dive back into the punk rock sci-fi wasteland of 1984’s Repo Man — a sequel, titled Repo Man 2: The Wages of Beer, has been announced, with the original writer and director, Alex Cox, set to return.

The story was first reported by Variety, who confirmed that Cox would be in the director’s chair, with Kiowa Gordon (Twilight) starring as the punk-turned-repo-man, Otto, portrayed by Emilio Estevez in the original. Plot-wise, the new film will pick up right where the original left off, following Otto after a brief trip “across the infinities of time and space,” which has only aged him “exactly 90 minutes.”

According to filmmakers, Repo Man 2 will “deliver an enthralling mix of punk energy, existential comedy, and unconventional storytelling, navigating the absurd and chaotic world of repo men into a new age of nuclear brinkmanship and driverless cars.”

Repo Man 2: The Wages of Beer...

Repo Man 2: The Wages of Beer's writer and director, Alex Cox, reveals the upcoming film's plot, character details and filming window.

The film is partly a reimagining and partly a sequel to the 1980s cult classic Repo Man, also directed by Alex Cox. In an interview with Inverse, Cox revealed some significant details about the upcoming sequel, which he aims to start filming around June/July 2024. Cox shared that Repo Man 2: The Wages of Beer follows Otto's (Kiowa Gordon) transition from cruising through rough neighborhoods in search of cars to utilizing internet searches and hacking into onboard computers. Cox replaced Otto's original actor Emilio Estevez with Kiowa Gordon from The Twilight Saga as the lead.

Related 10 '90s Cult Classics That Are Ready For A Remake From Pretty Woman to Armageddon, there are some popular '90s cult classics that would make a great modernized version of the beloved storylines.

Repo Man 2: The Wages of Beer will see Otto trade in punk rock for tech upgrades in the repo world of 2024. Alex Cox hopes to begin filming the sequel with Kiowa Gordon and Angela Sarafyan in June or July. The iconic punk rock soundtrack and black humor of the original will make a comeback in this highly anticipated sequel.

Alex Cox, writer and director of the 1984 cult classic Repo Man, has revealed details about his upcoming sequel, Repo Man 2: The Wages of Beer. Starring Emilio Estevez as Otto Maddox, a young punk rocker turned reluctant “repo man” in pursuit of a vehicle with extra-terrestrial connections, Cox’s sci-fi comedy garnered widespread acclaim on its original release. Bolstered by an iconic punk rock soundtrack featuring the title track sung by Iggy Pop, the original Repo Man would go on to be considered one of the best independent movies of the 1980s.

“It’s a mystery… it’s a comedy… it’s a chase… it’s the forces of law against the representatives of discontented youth… against the finest minds in government… and they’re all in pursuit of a ’64 Chevy Malibu from… who knows where,” the original theatrical trailer for 1984’s Repo Man previewed. A fitting description for an oddball cult classic that’s… getting a sequel?!

40 years later, director Alex Cox is returning to the world of Repo Man with sequel Repo Man 2: The Wages of Beer, and Indiewire broke the news of the project this week.

According to the site, the upcoming sequel Repo Man 2 will “take place in a world of self-driving cars and an even more pressing threat of global destruction.”

“The advent of incredible technology means, for the repo man, that everything has changed — and nothing has changed,” Cox explained to Indiewire in an email this week.