Racism has always been a red-hot button obsession of Fuller's ever-present like a festering ooze in his films from Run of the Arrow to The Crimson Kimono to China Gate to the rabid Shock Corridor. But in no other Fuller film has racism been depicted in a such a raw-boned and festering way as in Fuller's final Hollywood film, White Dog, barely released by Paramount in 1982 amid false charges of racism against Fuller by the NAACP.
Continue reading: White Dog Review
Justice arrives in the laconic form of Griff Bonnell (Barry Sullivan), the federal marshal who comes to town with his two brothers, Wes (Gene Barry, grizzled) and Chico (Robert Dix, resembling a young Robert Vaughn), ready to clean things up. This interferes with the desire of Jessica's wastrel brother Brockie (John Ericson) to do things like get drunk and terrorize the town with the forty guns, and so the big showdown is set up. Jessica gets stuck right in the middle, torn between wanting to protect little Brockie and falling in love with Griff, a legendary gunslinger who's just about as granite-hewn as she is; an impressive feat.
Continue reading: Forty Guns Review
As the first American feature to be shot in Japan after WWII (its home-grown film industry had been trucking right along since not long after the peace treaty was signed), House of Bamboo makes the most out of its setting, and its spell-binding Cinemascope compositions make up most of the reasons to see it. The film opens on a supply train puffing across a snowy landscape that's hijacked by a gang of thieves who are more than happy to garrote the Japanese and U.S. guards on board before making off with the loot, .50-caliber machine guns. It's a sharply executed piece of work and ends with a hammer blow: achingly beautiful Mount Fuji, as shot between the boots of a dead soldier.
Continue reading: House Of Bamboo Review
It didn't come to pass.
Continue reading: The Big Red One Review
Samuel Fuller, best known for his masterful psycho-ward thriller Shock Corridor, made Pickup because he (per his interview on the new Criterion DVD) wanted to get inside the mind of the pickpocket, show how he lives, and really show the audience what he's all about. That's an admirable goal, and the film's opening scenes -- wherein a seedy-looking Richard Widmark is spied plying his trade on a subway -- give us about all the insight anyone really needs into the pickpocket life.
Continue reading: Pickup On South Street Review
Once a fire fighter, always a fire fighter.
Today (September 14th) marks the 25th anniversary since the album's 1993 release.
Labrinth has teamed up with Sia and Diplo to form a new supergroup: LSD.
Hardy is apparently crafting a set of hip-hop and grime tracks with the help of former Bowie producer Sam Williams.
The Struts teamed up with Kesha for a red and gold themed music video as part of their collaboration on 'Body Talks'.
Brody Dalle's band dropped their first new music since 2003's 'Coral Fang'.
These screen heroes became real life heroes when they put their lives on the line.
Sometimes actors are not acting.
A Western that's thoroughly urban in its outlook, Sam Fuller's Forty Guns was made at...
The limits of the lengths to which dazzling camerawork and curled-lip noir bluster can make...
The cult of Samuel Fuller, while abated somewhat in recent years (if for no other...