On The Cultural Gutter, I’m writing about Folk Horror for the Atomic Age. These Are the Damned is a curious film that effectively pulls off the difficult stunt of starting off as one type of story but ending up a very different type, equal parts crime melodrama, science fiction, and folk horror.
A double agent operating in London dreams of retiring, but his life is complicated when he is assigned to assassinate a traitor: himself. With one foot in the pop art fantasy of James Bond and another in the grim world of John Le Carre, A Dandy in Aspic never quite succeeds at being either.
Another stroll through some of (but by no means all of) my favorite places in New York City, this time spread out across Brooklyn, Manhattan, and The Bronx (we’ll get to you, Queens; as for Staten Island, I’ll see what I can do). Another of the many things I like about this city — and…
Nestled with irony between a McDonald’s and a casino is Prague’s Museum of Communism (only the KGB Museum has a more deliciously ironic location, next door to the heavily guarded U.S. embassy). It walks the thin line between being another tacky tourist trap museum (which I love) and an actual educational experience (which I also enjoy), with the over-arching message of, “Communism — that sure did suck.”
Released in 1958, Return of Dracula comes many years after the Dracula craze in particular and the Universal monsters in general had been relegated to the past in favor of atomic terrors and science fiction. Long enough, I suppose, that someone was thinking it was time for a revival, or that they were feeling nostalgic about the old films.
This German-French-Soviet film is very much like an episode of Star Trek — with all the well-meaning ham-handedness that implies — only with more grime, blood, and full frontal male nudity.
Films such as Footmen, as mentioned before, would typically be shown in small churches, and would be followed by an altar call, during which those audience members who had yet to do so, shaken by what they had seen, would step forward and, just as Judy had done at the film’s conclusion, accept Jesus Christ as their lord and savior.