Only Bong Joon Ho’s second movie, 2003's Memories of Murder already shows the masterful brush strokes of a confident young artist, writing a thought provoking, multi-layered script (based upon a series of real life murders as well as Alan Moore’s graphic novel “From Hell”) that is paired with a mesmeric visual onscreen presence. Set in a rural town in South Korea, this is a location that has been left behind. Usually a peaceful, quiet place (except when the trains pass through), October 1986 has brought with it the dead body of a young woman – both raped and murdered. Riots and protests routinely pop up in this fractured time and setting.

Next time you see your friends, you might just want to take a gander into their peepers, for if we learn one thing in today’s feature, it’s that Death Has Blue Eyes (aka The Girl Is a Bomb). A 1976 Greek film written and directed by first time film maker Nico Mastorakis (though his more famous cult classic Island of Death was released first, it was in fact made second), this one is a mish-mash of C movie ideas rolled into a honey-trap of underwhelming baklava (sadly, the Greek pastry does not make an appearance in the flick). Feeding off of the James Bond and giallo craze of the time (as well as any other genre they could pop in), financed by the porn king of Greece, and with a budget so low that the writer/director would not earn one penny (or should I say drachma), in the end, it does intriguingly share some similarities with Brian De Palma’s Carrie – which was released the same year as this one. Keep in mind, perhaps, the fact that this is arguably the first supernatural film to be made in Greece – so maybe we can be kind in saying that it has a good concept that just isn’t executed particularly well.

“The cruelest dream, reality”. . . a lyric from The Offspring’s iconic song that shares the same title as this article, speaks volumes to today’s feature. 1986's River’s Edge, written by Neal Jimenez and directed by Tim Hunter, takes a bleak look at the lives of a group of teens growing up in northern California during the MTV generation. Arguably holding a twisted link to Stand by Me, which was released the very same year, this holds the lens to older teens. . . focusing more on the Kiefer Sutherland character’s age group rather the tweens of that feature. A dual analysis could definitely reap some benefits.

Let’s face it, M. Night Shyamalan’s Glass (2019) was always going to find itself in a precarious position. Following arguably his second most lauded film, 2000's Unbreakable, and the unexpected hit sequel to it, 2016's Split, the movie could be considered as fragile as the title itself. For the most part panned by critics, yet more respected by its audience, over the past two or so years, it has become one of those love it or hate it type of features. And perhaps rightfully so, for it highlights both the best and worst of what Shyamalan has offered us over his decades long career – well planned out and most scrumptious visuals, his patented cameos, showing off the sights in and around his hometown of Philadelphia, talky dialogue, as well as those controversial third acts (including those hit or miss twists).

1984's Red Dawn, adapted for the screen and directed by John Milius, has been called many things – ‘the most right-wing blockbuster ever made’, ‘the most violent movie ever made’. . . but, by today’s standards, it is hard to take all of this too seriously (especially that latter statement – things have gotten a whole lot bloodier as time has gone by). An entertaining (if outrageous) B-style movie premise that pulls from old westerns (think High Noon, Rio Bravo and The Cowboys) and guerrilla warfare tactics, this version of 1989 (it is set five years in the future) finds a secret Russian, Cuban, and Nicaraguan alliance bringing with it an unexpected invasion of the United States. . . seen specifically in Calumet, Colorado (this the beginnings of World War III).

Perhaps the most wild and audacious opening ever seen in a giallo, 1975's Autopsy, co-written and directed by Armando Crispino, starts with a rotisserie of people committing suicide in both shocking and outlandish ways. . . only for the camera to then take us into one of the last taboo places in film, the morgue, to show us the bodies piling up in the life of half American/half Italian Simona Sanna (Mimsy Farmer) – this is clearly not the Rome we normally see in movies. Now, you may be wondering what all these bodies have to do with her. . . well, she is a young doctor working on a research project revolving around the difference between suicides and well hidden murders made to look like the former. As you might imagine, it is grave subject matter. . . so much so that she is struggling in her romantic relationship with photographer Riccardo (Ray Lovelock) and is even hallucinating that those dead bodies are coming back to life.