Best Films of 2025

With so many so-called blockbusters, Oscar-bait films and international sleepers, I only managed to see 37 titles released in 2025, some of which technically released in another country last year. The overall quality was slim pickings for me. Anyway, here are the best new films I saw:

Warfare (Alex Garland & Ray Mendoza)

A gripping and intense story based on the memories of two Navy SEAL platoons involved in a tense firefight after the Battle of Ramadi in 2006. It’s a tough film to watch due to its harrowing and uncompromising nature. Both the sound and visuals made me regret not seeing it in the cinema during its brief theatrical run. ★★★★

 

The Ugly Stepsister (Emillie Blichfeldt)

Emillie Blichfeldt’s twisted take on the classic Cinderella fairytale is a grotesque critique of impossible beauty standards and nobility. Inspired by Cronenberg’s body horror and Borowczyk’s aesthetics, it’s one of this year’s unexpected surprises. Glad Second Sight is releasing it on 4K UHD early next year. ★★★½

 

Steppenwolf (Adilkhan Yerzhanov)  

From Kazakhstan comes a bleak and brutal post-western featuring a protagonist who's more villainous than the archetypal antihero we're accustomed to. The contrast of life being treated worthlessly against the stunning vista of the Kazakh Steppe evokes the post-apocalyptic Mad Max films by George Miller. ★★★½

 

Weapons (Zach Cregger)

Cregger’s sophomore effort, a compelling mystery about the disappearance of a school class during the night, unfolds through non-linear chapters told through the perspectives of individual characters. It’s a surprisingly engrossing slow burner featuring one of this year’s most ghastly film characters. ★★★½

 

Nosferatu (Robert Eggers)

You know it's been an abysmal year for cinema when Robert Eggers's weakest effort thus far still makes it on your end of year list. It's also testament to the auteur's skills and talents surpassing any major misgivings I had with his remake of the bootleg Dracula tale. ★★★½

28 Years Later (Danny Boyle) 

Danny Boyle and Alex Garland created what's arguably the most significant game changer for zombie movies since George A. Romero’s Night of the Living Dead (1968) with 28 Days Later (2002). Their return to the franchise proved to be highly divisive, as it diverged from audience expectations. Despite this, I found it fascinating to learn about the evolution of the Rage virus along with a ravaged Great Britain. What I didn't expect were a compelling family drama and a commentary on Brexit. ★★★½

Lurker (Alex Russell, 2025)

Alex Russell’s directorial debut is a gripping psychodrama about a disturbed fan’s parasocial relationship with a rising celebrity. The film’s cringe-worthy moments and awkwardness are so intense that they leave you feeling unclean. Théodore Pellerin and Archie Madekwe deliver great performances. ★★★½

 

The Surfer (Lorcan Finnegan) 

Nicolas Cage undergoing some form of mental breakdown or existential crisis has practically become a genre in itself. Lorcan Finnegan’s The Surfer is a surreal comedy and psychological thriller that showcases Cage’s talents and the best film I've watched set mostly in a parking lot. Cage's most entertaining movie since Mandy (2018). ★★★½

 

Warfare | Opening minutes

Alex Garland & Ray Mendoza | 2025

 

 

Around this time of year, I usually try to be open-minded and hope to find notable films I might have missed in the foreseeable future. However, for the time being, I’ve really had enough. The output was so poor to mediocre that I can't even be bothered with compiling a Worst of 2025 list.

 

I hope 2026 is a significant improvement, or else I might lose my mind.

A Million Bucks or Chunks of Meat?

Night of the Juggler (Robert Butler, Sidney J. Furie, 1980)

Robert Butler and Sidney J. Furie’s Night of the Juggler (1980) doesn't feature any juggling in it. Also, very little of it is set at night. What it is, however, is a tough, frenetic and very gritty crime thriller set in New York City during the late 1970s. Furthermore, it serves as a perfect snapshot of the urban metropolis and its people from this period, in a similar vain to The Taking of Pelham One Two Three (1974), Ms. 45 (1981) and Wild Style (1982). All films which also received the 4K UHD treatment this year. 

In the heart of New York City's Central Park, a teenage girl is snatched by ruthless psychopath, Gus Saltic (Cliff Gorman). He's set his sights on a million dollar ransom for the city that he believes has wronged him. He refused to acknowledge the young girl he has abducted is not the daughter of a rich property developer, but of blue-collared truck driver and former ex-cop Sean Boyd (James Brolin). Boyd will do anything in his power to rescue his daughter from Saltic, including facing off with various seedy lowlifes and a cop who harbours a personal vendetta against him.

James Brolin’s wild mountain man look—shaggy hair, bushy beard and plaid shirt—seems intentional, almost designed to set him apart from the New Yorkers portrayed in the film. But since Night of the Juggler was shot in 1978, just before he starred in The Amityville Horror (1979), where he looked and dressed almost the same, I’d say that was merely Brolin’s fashion sense back then. His character, Sean Boyd is introduced as a bit of a cheeky Jack the Lad in the film. His early scenes show him decapitating a poor rat with a paper guillotine, saving the office secretaries from anymore distress. Following that, he purchases three hot dogs for breakfast for himself and his young daughter, Kathy (Abby Bluestone). The tough living of father and daughter is really touching, establishing the bond between the pair before the event of the kidnapping.

Boyd is almost unstoppable as he desperately tries to get his daughter back. The chase scenes both on foot and on wheels are exciting and thrilling. In one sequence, a sympathetic cabbie, played by a young Mandy Patinkin, seems to be having a blast weaving through New York traffic with Boyd. His Latin accent is like a sneak peek to his most famous line from his filmography.

In another scene, Boyd searches for a possible clue to find Saltic in a seedy peep show. It's delivered with comic effect as the desperate man has to feed coins into a machine to question a naked dancer, played by none other than the famous pornographic actress Sharon Mitchell, to chase a possible lead. A scene reminiscent of the Frankie Goes To Hollywood sequence from Body Double (1984).

Cliff Gorman appears to be having the time of his life as a racist psychotic antagonist. An odious individual, nicknamed by the South Bronx locals as The Moleman because he lives below the ruins of his tenement and lurks in the sewers. Saltic mistakes Boyd's daughter for the child of a wealthy property developer who he blames for ruining his area:

"All the rich bastards lie. That's how they get rich and that's how they stay rich. They're not putting anything over on me because I'm wise to their tricks with their taxes and bullshit and all the little games they play so good, huh? They're all in it together, juggling the books. Well now they're gonna pay. Now I'm gonna be the juggler. I'm gonna juggle the books my way and it's gonna balance out to me." Gus Saltic.

Gorman’s performance is incredibly menacing and deeply unsettling. His opening scene is him sitting at a diner, transforming his breakfast into a face and then ruining it with heaps of ketchup. You don’t need to be a psychiatrist to realise he’s playing a complete nutter. Another wonderful detail about Gorman’s madman is his giggle, which is reminiscent of Renfield’s iconic laugh from Dracula (1931). 

Ironically, he would play a polar opposite character as a compassionate detective in the part after-school special, part sleazy crime thriller Angel (1984).    

Richard Castellano, best known for playing Clemenza in The Godfather (1972), portrays Lieutenant Tonelli, the typical world-weary cop, who is both helpful and a hindrance for Boyd. He even keeps Saltic in the dark about the fact that he has kidnapped the wrong girl. Every movie cop has a little quirk or something odd about them; Tonelli’s is the headache from his daughter’s wedding plans. He talks about it all the time in the film, even using it as an excuse to call home while he’s conducting a phone tap.

Dan Hedaya plays Sergeant Barnes, the crooked cop who’s got a grudge against Boyd. Boyd snitched on him and destroyed his life. Thus, Sgt Barnes acts as a secondary antagonist in the film, and is quite possibly almost as unstable as Saltic. He recklessly shoots at Boyd with a shotgun on the busy streets, even though there are civilians everywhere. Plus, when he finally catches Boyd, he shows how little he cares about his former colleague’s daughter by refusing to send the police to her recently discovered location.

Finally, Maria (Julie Carmen) is a beautiful clerk at the dog pound who assists in locating Saltic. She feels for Boyd’s plight and joins him in his search for Kathy. This decision adds a further obstacle to the mix: the local Latino gang, who are not happy with a "gringo" on their turf with a Butter Pecan Rican. 

Night of the Juggler, based on William P. McGivern’s 1976 bestseller, had a rather bumpy journey to the screen. James Brolin got hurt on a stunt prop, which left him with a limp and a plaster cast. Sidney J. Furie wasn’t happy with how things were going and left after filming about a third of the movie. Robert Butler then took over. Filming begun in the summer of 1978, yet the finished product would not be released until two years later. The fast-paced chase in the first act isn't repeated for the rest of the film. But don’t worry, there are still some amazing moments too, like Boyd’s final showdown with Saltic.

Lieutenant Tonelli’s constant complaints about his daughter’s wedding feel a bit forced and predictable. Thankfully, they are not annoying enough to be irritating.

Seargeant Barnes might seem a bit out there in the film, though. Having a secondary antagonist among all the other challenges Boyd has to overcome to find his daughter is a bit much. Still, Hedaya’s performance is really memorable, no matter what.

Night of the Juggler is a film that really has earned its cult following. It’s a fascinating blend of sleaze, violence and a delightful nod to unapologetic film making seldom made today. Plus, its reputation really took off as a title that wasn’t given a proper home on physical media, other than being only available on VHS. Thankfully, this changed thanks to Kino Lorber in the US and Radiance’s new Transmission imprint in the UK.

I really enjoyed this! It's essentially "What if Taken was a Seventies film?" It felt like a trip down memory lane and it truly lived up to its reputation, even with a few obvious flaws. Night of the Juggler will definitely find appreciation by anyone who loves gritty crime thrillers from the 1970s and early 1980s. It’s packed with a dark and cynical atmosphere and keeps you on the edge of your seat with genuine suspense and tension. I’d definitely recommend it.

Moggy Cheung

The Cat (Lam Nai-Choi, 1992)

Hong Kong cinema is often characterised by its eccentricity and unconventional style, drastically  distinguishing it from Hollywood. Consequently, its genre output attracts international audiences with a taste for insane content. My first exposure to Lam Nai-Choi’s work was his unofficial adaption of the popular manga, Riki-Oh: The Story of Ricky (1992). Set in a sadistic prison, the film’s excessive violence and gore made it a splatterfest classic comparable to Peter Jackson’s Braindead also released that year. Regrettably, I remained unfamiliar with Nai-Choi’s other films until they became more available relatively recently. Produced directly after his magnum opus, The Cat (AKA The 1000 Years Cat, 1992) is a surreal sci-fi horror that achieves almost the same heights; a feat in itself, considering how much Riki-Oh is an incredibly tough act to follow.

Sourced from the popular series of books written by Ni Kuang, concerning the paranormal/science fiction novelist Wisely, played by Waise Lee (seriously!) in the film. The Cat is an adaptation of The Old Cat. The film revolves around three extraterrestrials stranded on Earth: one, a young woman named Princess (Gloria Yip); her elderly bodyguard, Errol (Lau Siu-Ming); and a black cat known as the General, who are after an artefact which will aid them to defeat a powerful enemy and help them return home.

The plot is largely secondary to the film’s visual spectacle, which is just as well as the original director assigned to direct The Cat constantly demanded for script changes, as revealed by screen writer Gordon Chan in an interview in the 88 Films' Blu-ray release. Amusingly, once Nai-Choi was hired to direct the picture, he wasn't in the least bit bothered about the screenplay. For those familiar with 1980s cult sci-fi classics The Thing, The Terminator, The Hidden, and The Blob you will no doubt spot their inspirations on the film. A gun deal involving the possessed Wang Chieh-Mei (Phillip Kwok) unfolds in a manner that is reminiscent of the scene where Arnold Schwarzenegger's killer cyborg is tooling up in a gun shop.

Aside from the melting pot of obvious influences, the film also exhibits unusual tonal shifts. While The Cat primarily qualifies as a science fiction horror film due to its subject matter, gory violence and special effects, it occasionally resembles a Saturday morning children’s show in relation to its peculiar sense of wonder and naivety. Conversely, some scenes featuring Wisely and his girlfriend Pai So (Christine Ng) are shot in a manner reminiscent of an erotic film. Wisely is portrayed as intensely horny around his partner, while the camera focuses on Pai So’s perspiring body. The gratuitous close-ups are predictably jarring from the rest of the film.

The pièce de résistance is an epic junkyard brawl between the titular character and a dog. The sheer absurdity of the fight is difficult to describe, but the sight of a cat performing a suplex on a dog is a sight for the eyes and one that won't be forgotten easily. This was all achieved before the advent of computer-aided effects, with much of the grandiose battle executed using hand puppets, stop-motion animation and practical effects. It is undoubtedly one of the most ludicrous fights I involving domestic animals I have ever witnessed. Incredible.

Nai-Choi’s film does not merely culminate in a single impressive fight sequence; it merely set a precedent for the remainder of the film. A particular highlight is the alien antagonist, still possessing Wang Chieh-Mei’s body, conducting bullet-ridden destruction upon Wisely’s home. The scene is characterised by a distillery's worth of vodka stored in the premises used as Molotov cocktails, which burn with napalm-like intensity. You know you aren't watching a Hollywood film when one of its main cast members is doused in flame retardant and performing their own stunts amongst all the fire and carnage. Then again, how many of Hollywood's thespians are like Phillip Kwok, serving as a stunt co-ordinator on their film?

The alien antagonist undergoes transforms into an even more monstrous entity once the General is revitalised by a beam of light from its home world. Simultaneously, the antagonist attacks diners in a canteen with appendages reminiscent of the creature from The Thing. The practical effects are remarkably well executed and evoke a sense of nostalgia for an era when computer-generated visual effects were not so prevalent. Ultimately, the extraterrestrial villain smothers the entire building when it assumes the form of a colossal, gelatinous mass. This is what I live for.

According to Asian film expert Frank Djeng, the villain was an analogical representation of  Britain's handover of Hong Kong to China. Thus, the scenes where Philip Kwok acquisition of black market Chinese Army weapons, along with him manifesting into a giant, red amalgamated monster, depicts the fears and woes of Hong Kong's citizens. You would never know it, unless someone told you. As an ignorant foreigner, I just assumed it was all inspired by some of Hollywood's greatest sci-fi horror films from the 1980s. 

Interestingly, a Japanese version of the film titled Nine Lives was produced concurrently using some of the same cast, sets and effects. The differences between the two films are numerous but the use of an alternative director and Japanese actor Hidekazu Akai as the lead are the most significant. Admittedly, I have not yet seen the Japanese version but further details regarding the changes between the two films are listed on this website.

 

The Cat is an amazingly eccentric film that should appeal to anyone with an interest in unconventional and whimsical films from around the world. Its influences are evident yet it instils its own brand of bizarre entertainment; making it a unique viewing experience. The fact that Lam Nai-Choi chose to retire from the film industry after helming The Cat is noteworthy, as it's a magnificent mic drop for any director. 

 

Lovers of psychotronic cinema will dig this.

Giallo Queens

Even though I still have a mountain of film reviews to get to, I’m compelled to chat about some of my favourite female characters from giallo films. As someone who loves both giallo and slashers, the former often leads into the latter, so the giallo queens are often progenators for scream queens and final girls in most cases.

These heroines would largely differ from their counterparts by being maturer in age (although, not considerably), independently spirited and stunningly glamorous. Therefore, they were another captivating element to a fashionable world full of blood, leather gloves and shameless product placement. 

Without further ado, here are five of your host's favourite giallo queens:

Edwige Fenech

You might say it’s cronyism, but Edwige Fenech truly deserves her giallo crown, regardless of being married to Luciano Martino, the producer of many of her best gialli — and many of which were also directed by her brother-in-law, Sergio. She showed she was a versatile actress beyond having to just yell ‘Pronto? Pronto? Pronto?’ into a phone like many of her peers. For instance, drinking dog’s blood at a Satanic cult shindig in All the Colours of the Dark (1972)..

She had the opportunity to go beyond just playing the damsel in distress waiting to be rescued. She was practically a villain flirting with her uncle and getting off with her aunt in Your Vice Is a Locked Room and Only I Have the Key (1972).

Plus, Fenech’s amazing on-screen chemistry with spaghetti western star and giallo king George Hilton in three classic films made them the Vivien Leigh and Clark Gable of the giallo world; albeit with plenty of nudity and sex.

Fenech also starred in Andrea Biachi’s Strip Nude for Your Killer (1975), which, aside from the unintentional sleaze and endless depravity, ends with the possibility of her being sodomised for the sake of a comedy ending. She also co-starred with Michael York and Donald Pleasence in Ruggero Deodato’s late-game entry Phantom of Death (1988), a film that is often labelled a giallo, although it's liberally applied here.

In Italy, Fenech is mostly known for a bunch of Italian sex comedies; the nation’s very own Barbara Windsor, if you will. For the rest of us, she’s better known for starring in some of the best gialli ever produced, which makes her the numero uno giallo queen.

Recommendations:

Five Dolls for an August Moon (Mario Bava, 1970)

The Strange Vice of Mrs. Wardh (Sergio Martino, 1971)

All the Colours of the Dark (Sergio Martino, 1972)

The Case of the Bloody Iris (Giuliano Carnimeo, 1972)

Your Vice Is a Locked Room and Only I Have the Key (Sergio Martino, 1972)

 

Barbara Bouchet

Barbara Bouchet might have been an unofficial Miss Moneypenny and one of Captain Kirk's snogs, but to anyone familiar with the giallo genre, she is unquestionably one of its A-listers.

 

Bouchet shone in Emilio P. Miraglia’s gothic-tinged The Red Queen Kills Seven Times (1972) and Lucio Fulci’s controversially provocative Don’t Torture a Duckling (1972), which really put her on the map as a standout actress in the giallo genre.

 

She also starred in some of the more erotic films in the genre. Silvio Amadio’s Amuck! (1972) is a prime example, where she finds herself in the crosshairs of a couple with questionable tastes, played by the experienced Hollywood actor Farley Granger and the Italian enchantress Rosalba Neri (another entry on this list).

 

Another film that is worth mentioning is her brief appearance as an unfortunate prostitute who meets a gruesome end in the strange film The French Sex Murders. This film features a host of cult Euro-film stars, Anita Ekberg, Howard Vernon and the aforementioned Rosalba Neri to name a few. However, the film’s real highlight is its detective character, played by the American actor Robert Sacchi, who obviously got the part for remarkably looking like Humphrey Bogart. By no means a recommendable film, but an strange oddity for giallo addicts.

 

Barbara Bouchet also ventured into Eurocrime and Poliziotteschi action thrillers, such as the fantastic Italian gangster film Milano Calibro 9 (1972), Ricco: The Mean Machine (1973) and the unbelievably misogynistic Cry of a Prostitute (1974) starring Henry Silva. Her films are the very reason Quentin Tarantino looked like a gormless film nerd when photographed with her.

 

Recommendations:

Black Belly of the Tarantula (Paolo Cavara, 1971)

The Red Queen Kills Seven Times (Emilio Miraglia, 1972) 

Don't Torture a Duckling (Lucio Fulci, 1972) 

Amuck! (Silvio Amadio, 1972)

 

Anita Strindberg

Swedish actress Anita Strindberg's legacy in giallo is as well defined as her cheekbones.

 

With her captivating looks and outstanding acting, she quickly moved from supporting roles such as Lucio Fulci’s A Lizard in a Woman’s Skin (1971) to the main protagonist in Sergio Martino’s jet-setting thriller, The Case of the Scorpion’s Tail (1971).

 

Her most remarkable role, and perhaps the best in the entire giallo genre, is that of the wife of a decadent author who is both physically and mentally mistreated by him in Sergio Martino’s, Your Vice Is a Locked Room and Only I Have the Key (1972). In a perfect world, Liza Minelli should have given her Best Actress Oscar for Cabaret (1972) to Anita Strindberg for her outstanding performance in this Edgar Allan Poe-inspired giallo.

 

Strindberg would also play a grieving mother alongside one-time Bond actor George Lazenby in Aldo Lado's whodunnit Who Saw Her Die? (1972). A dark film where the killer is dressed like a Monty Python granny. This giallo ought to interest fans of '70s British horror as it contains some uncanny similarities to Nicholas Roeg's classic Don't Look Now (1974), despite preceding it by a couple of years.

Yet to see The Two Faces of Fear (1972) and believe me, I've tried tracking it down countless times. Therefore I can't recommend it. I have seen the Haitian giallo Tropic of Cancer (1972), but it's largely forgettable, other than Anita Strindberg being in it. The same goes for Puzzle (1974), where she has a very minor role.

 

Murder Obsession (1981) was one of her final films before she from acting. It's sometimes described as a giallo, but it's more of a supernatural slasher, in my opinion. Regardless of genre, it's an underrated film and deserves more love from Italian horror fans.

 

Recommendations:

A Lizard in a Woman's Skin (Lucio Fulci, 1971)

The Case of the Scorpion's Tail (Sergio Martino, 1971)

Who Saw Her Die? (Aldo Lado, 1972)

Your Vice is a Locked Room and Only I Have the Key (Sergio Martino, 1972)

 

Suzy Kendall 

Suzy Kendall might not have starred in as many gialli as the rest of her peers, but quality over quantity is more than applicable for the former missus of one half of Derek and Clive. Her films are legitimately amongst the best in the genre.

 

The British actress, best known for To Sir, with Love (1967) and Up the Junction (1968), would get a taste for the psychological thriller in the obscure home invasion film The Penthouse (1967). A foray of thrillers would follow, most of which were giallo, but the bizarre thriller Assault (1971) is worth a mention on account of it being produced by Eric Rogers of the Carry On film series.

 

The actress made her official debut in giallo with Dario Argento's classic The Bird with the Crystal Plumage (1970). The terror laced scene where she is trapped in her apartment whilst the killer whittles her front door with their knife, is one of the seminal set pieces in the film and one of the obvious examples as to why it helped reinvigorate the genre.

Kendall would also appear in Sergio Martino's Torso (1973), a giallo which can just as easily be labelled a slasher, thanks to containing many elements with it. Above all, it's the final act of the film, where Kendall's character finds herself trapped in a country home while the killer chops up her classmates oblivious of her presence, that truly takes it into slasher territory. 

 

Umberto Lenzi's problematically named giallo Spasmo (1974) would mark her final role in the genre. Perhaps not one of the director's best known films, but it's one of his better entries in the genre. Well worth checking out as it features one of giallo's most recognisable faces in Italian genre cinema, Ivan Rassimov. It also boasts a great score by Ennio Morricone, too.

 

Decades after retiring from film, Kendall would make a return as Toby Jones's mum in Peter Strictland's fantastically surreal Berberian Sound Studio (2012); a hypnotic ode to Italian film set in the '70s.

 

Recommendations:

The Bird with the Crystal Plumage (Dario Argento, 1970)

Torso (Sergio Martino, 1973)

Spasmo (Umberto Lenzi, 1974)

 

Nieves Navarro (AKA Susan Scott)

Spanish actress Nieves Navarro began making real moves in spaghetti westerns in the 1960s. Her glamorous appeal was a match made in heaven when she transitioned into a giallo queen at the star of the 1970s.

 

The actress would play memorable supporting roles in some major gialli, but it wasn't until the Death... films, directed by her husband Luciano Ercoli, that she would get to play more leading roles. 

Navarro's fiery, Latin temperament made the characters she played stand out from the more timid and fragile female protagonists one would find in gialli. This virtue would also lend to being a weakness at times, as she would avoid major red flags and be completely unaware of any potential dangers until it eventually comes knocking at her door.

 

After the classic era of the giallo had passed, Navarro would appear in much smuttier genre offerings, notably some of the Black Emanuelle films starring the cult actress Laura Gemser. As much as I'm a fan of Joe D'Amato's Emanuelle and the Last Cannibals (1975), it's hard to argue with these films not being a low point for any actor, sadly.

 

Recommendations:

The Forbidden Photos of a Lady Above Suspicion (Luciano Ercoli, 1970)

Death Walks On High Heels (Luciano Ercoli, 1971)

All the Colors of the Dark (Sergio Martino, 1972)

Death Walks at Midnight (Luciano Ercoli, 1972)

So Sweet, So Dead (Roberto Bianchi Montero, 1972) 

Death Carries a Cane (Maurizio Pradeux, 1973)

 

Marina Malfatti

Even though Marina Malfatti never had a lead role in a giallo, she has played many supporting roles where she is a genuine scene-stealer and far more memorable than the main female character. Therefore, Malfatti is a sound choice to complete this list.

A big part of what makes her interesting is her posh persona, no matter the character she plays. It is often enhanced by an upper class English accent for the international dub version.

However, what really makes her stand out is the outrageous outfits she wears. Her signature look is usually revealing her midriff and showing off a lot of cleavage, whether she is in sparkly tops or sheer gowns with plunging necklines that go all the way down to her navel.

 

My favourite Malfatti role is her playing Edwige Fenech's bourgeios, British neighbour in Sergio Martino's classic All the Colours of the Dark (1972). She's perhaps at her most stylish as she's dressed similarly to Ingrid Pitt's iconic blue gown from Countess Dracula (1971), replete with a choker. Her piercing stares and graceful poise reinforce the untrustworthy aristocrat vibe exuding from her roles. As evident when I recently watched for the first time The Blood-Stained Lawn (1973); which is not a giallo, in my opinion, given it features a blood-sucking robot.

 

Recommendations:

The Night Evelyn Came Out of the Grave (Emilio Miraglia, 1971)

All the Colors of the Dark (Sergio Martino, 1972)

The Red Queen Kills Seven Times (Emilio Miraglia, 1972) 

Seven Blood-Stained Orchids (Umberto Lenzi, 1972)

 

I had planned to include ten giallo queens in this list, but since I started working on it during the summer heatwave (which I admit was on and off), it might have taken another five months to wrap it up. Still, it’s a great reason to create another list down the road when I have more time to dedicate and focus on this subject matter.

Viewings: November 2025

With the long, cold nights in full effect, binging on movies with a hot cup of cha is a necessary survival tactic for your host. The majority of November's viewings are rewatches, but there are a couple of first time gems worth praising.

Edward G. Robinson proving simpin' ain't easy in Fritz Lang's superb Scarlet Street is easily my favourite find this month. Ought to check out The Woman in the Window (1944) considering it's practically the same cast and crew involved.

Fast forwarding to the present day, Alex Russell's psychological drama Lurker is a compelling tale of fan love and obsession with a neat little twist.

Film:

La Chienne AKA The Bitch (Jean Renoir, 1931)*

The Glass Key (Stuart Heisler, 1942)*

This Gun for Hire (Frank Tuttle, 1942)

Scarlet Street (Fritz Lang, 1945)*

The Curse of Frankenstein (Terence Fisher, 1957)

The Angry Red Planet (Ib Melchior, 1959)*

Dark of the Sun (Jack Cardiff, 1968)*

Daughters of Darkness (Harry Kümel, 1971)

The Omega Man (Boris Sagal, 1971)

The Case of the Bloody Iris (Giuliano Carnimeo, 1972) 

Death Falls Lightly (Leopoldo Savona, 1972)* 

The Bloodstained Lawn (Riccardo Ghione, 1973)*

Murder by Decree (Bob Clark, 1979)

 Altered States (Ken Russell, 1980)

The Beyond (Lucio Fulci, 1981)

Ms .45 (Abel Ferrara, 1981)

Wild Style (Charlie Ahearn, 1982)

Re-Wind (Hisayasu Satô, 1988)*

Hardware (Richard Stanley, 1990)

Nikita (Luc Besson, 1990)

Dead End (Jean-Baptiste Andrea, Fabrice Canepa, 2003)

The Mother of Tears (Dario Argento, 2007)

Sunshine (Danny Boyle, 2007)

The Ruins (Carter Smith, 2008)

Nightcrawler (Dan Gilroy, 2014)

Frankenstein (Guillermo del Toro, 2025)*

Lurker (Alex Russell, 2025)*

One Battle After Another (Paul Thomas Anderson, 2025)*

Warfare (Alex Garland, Ray Mendoza, 2025)

 

Television:

Blake's 7 - Series 2 (Various, 1979)  

Prisoner: Cell Block H - Episodes 3-10, Series 1 (Various, 1979)*

Mastermind - Episodes 16-19 (Bill Wright, 2025 / 2026)* 

*First time viewings.

 

Dada Debaser Notes:

• I discovered The Misfits' Walk Among Us album cover originated from a scene from The Angry Red Planet.
• Surprised by how brutal Jack Cardiff's Dark of the Sun was; especially when it's made out to be a '60s men-on-a-mission actioner with Rod Taylor, Jim Brown and Kenneth More.
• Can't overstate my love for This Gun for Hire. Alan Ladd being an unfathomably based hitman might possibly be the earliest example of the anti-hero assassin in a film. Not hard to see the on-screen chemistry shared with Veronica Lake, either; considering she was an absolute smoke show in it.
• It's a shame Ladd and Lake's The Glass Key isn't on the same level as This Gun for Hire. Despite the so-so direction and a convoluted plot, there's a cool escape sequence in it, as well as a death by cuckoldry scene, which makes it at least memorable.
• Despite its title and associated cast, I should have realised The Bloodstained Lawn wasn't a giallo once I spotted the robot chilling in the background. Very dull and meandering, but Marina Malfatti is a definite highlight as an aristocratic noble using the aforementioned robot to suck the blood out of working class undesirables and selling it. Plus, she wears revealing garments like in her gialli. Sweet!
• Nearly seventy years old and Hammer's The Curse of Frankenstein does everything better than Mexican Tim Burton's adaptation of Mary Shelley's classic novel. It wasn't struck by Disneyfied visuals, uneven pacing and Cushing and Lee weren't playing characters with daddy issues.
• A film I never totally understood (and still don't, to be honest), is Ken Rusell's Altered States. William Hurt experiencing religious visions in a sensory depravation chamber and consuming enough psychedelic drugs to turn him into primal matter are worth watching the film, however. I love the caveman scene.
• Both of Arrow's restorations for Ms .45 and Wild Style look incredible in 4K. It's crazy how well they depict early '80s New York City on such small budgets. In the very remote chance an Arrow rep is lurking here, can we please get The Exterminator (1980) next year?
• The Mother of Tears is a perfect example as to why a director should never finish their trilogy if too much time has passed. Dario Argento fell off well before producing this unintentional comedy. I'm dreading Gareth Evans announcing The Raid Part III.
• Serious question for all the “Paul Thomas Anderson is the master of modern cinema” people: which brand of colouring crayon tastes the best?
• Already discussed the second season of Blake's 7 in detail, but I feel compelled to include Shivan's scene just to end the month on a high:

Blake's 7 | Voice from the Past | Shivan Scene

George Spenton-Foster | 1979 

A Stan Is Born

Lurker (Alex Russell, 2025)

One of my favourite books is John Ronson’s The Psychopath Test. An absorbing read that provides collective examples of psychopathy within human society; including cases amongst corporate and governmental sectors. A defining constant in all the cases noted, is the lack of genuine empathy a psychopath exhibits; an obvious sign in identifying a wolf in sheep's clothing. (The smartest ones attempt to feign it, however.) Writer and director Alex Russell’s debut feature Lurker (2025), a film dealing with celebrity obsession and the infiltration of the sycophantic inner circle of an emergent pop musician, automatically brought me back to Ronson's book.

Lurker follows Matt Morning (Théodore Pellerin), a young retail clerk at a Los Angeles clothing store frequented by local celebrities. A chance encounter occurs when Oliver (Archie Madekwe), a British singer, visits and is impressed by Matt’s choice of song playing in the shop. The two strike up a friendship which leads to Matt being invited to the singer’s concert and spending time backstage with him. It is not long before Matt is doing menial chores for Oliver in his Los Angeles apartment; including catering to the singer’s sceptical entourage. Thus Russell’s drama follows Matt’s social ascent through the ranks of Oliver’s inner circle and becoming something of a celebrity himself.

In one instance, Oliver is filming a sheep for his latest music video. Noah (Daniel Zolghadri), the videographer has run out of battery power for his camera despite being certain he had packed an extra battery pack. Matt conveniently has his own camcorder and offers advice on how to shoot it and integrate it with the existing footage. This was clearly intentional sabotage by Matt, but proved beneficial for the protagonist as it elevated his social standing within Oliver’s hierarchy.

The music video itself serves as a direct metaphor between celebrity and fandom. Matt’s camcorder is mounted on the sheep which provides its perspective of Oliver; effectively satirising fans as herdlike suckers. A fitting comparison given the deification of celebrities in the modern era.

However, Jamie (Sunny Suljic), a work colleague from the clothing store, disrupts the social climb. He asks Matt if can attend one of Oliver’s parties and subsequently gains entry to the star’s circle. Jealousy arises when Jamie receives more attention than Matt. During a London concert tour, Matt’s psychopathy becomes more than evident when he injures Jamie during a photo shoot. Consequently, he is expelled from Oliver’s circle and returns to L.A. To regain his position, Matt resorts to unethical methods, including providing backstage passes and spiking the drinks of two underage girls. The after-party being unknowingly recorded with cameras installed in Oliver’s house. This situation creates a blackmail scenario where Matt exerts control over the pop star.

The power shift in the film’s final act occasionally approaches psychological thriller territory, producing genuinely tense scenes. A notable example is the scene in which Oliver enters Matt’s room to retrieve the incriminating footage on a SSD. This sequence exemplifies the strained nature of their relationship being taken to an extreme with an unexpected and awkward homoerotic wrestling scene. WTF?

A low-fi narrative exploring themes of cliques, loneliness and parasocial relationships, Lurker examines the lengths an obsessive individual would go to find a sense of belonging. While the film is not new territory, as evidenced by the 2023 film Saltburn (also featuring Archie Madekwe) which explored similar themes in the context of class, Alex Russell’s work is more nuanced and less exaggerated than Emerald Fennell’s. In contrast, Lurker is more grounded in reality and makes a parasitic individual like Matt more believable as a character existing in our world. Additionally, Matt Morning makes for a good fit as the manipulative little brother of the ghoulish Louis Bloom.

The lyrics in Oliver’s latest music video provide a contrasting perspective, illustrating the chilling conclusion that love and obsession are synonymous for the celebrity who craves adulation. This creates an unhealthy symbiotic relationship between star and fans. Consequently, much like the film’s many awkward scenes, the message lingers long after the credits roll.

Perhaps the most intentionally cringeworthy film released this year; a noteworthy achievement given Nicolas Cage’s hell in The Surfer. More significantly, it marks an impressive feature debut for writer and director Alex Russell. Primarily targeted at Gen Z with crossover appeal, Lurker is a worthy standout this year.

Picks of 1975

It's been fifty years since the term summer blockbuster entered the modern lexicon. That's largely attributed to Steven Spielberg's Jaws being one of the greatest box office success stories ever; as well as being culturally impactful, even today. Therefore, it would lay down the blueprint for event movies ever since.

Picks:

Autopsy (Armando Crispino) 

Brannigan (Douglas Hickox) 

Bucktown (Arthur Marks)

Countess Perverse (Jesús Franco)  

Deep Red (Dario Argento)

The Devil's Rain (Robert Fuest) 

The Eiger Sanction (Clint Eastwood)

Eyeball (Umberto Lenzi) 

Footprints on the Moon (Luigi Bazzoni, Mario Fanelli) 

French Connection II (John Frankenheimer) 

Ilsa, She Wolf of the S.S. (Don Edmunds)*

Jaws (Steven Spielberg) 

Lips of Blood (Jean Rollin) 

The Man Who Would Be King (John Huston)

Monty Python and the Holy Grail (Terry Gilliam, Terry Jones) 

Night of the Seagulls (Amando de Ossorio) 

One Flew Over the Cuckoo's Nest (Milos Forman)

Picnic at Hanging Rock (Peter Weir)

Race with the Devil (Jack Starrett) 

Rollerball (Norman Jewison) 

Shivers (David Cronenberg)

Supervixens (Russ Meyer)

Switchblade Sisters (Jack Hill)

Glaring Blind Spots:

Dog Day Afternoon (Sidney Lumet); Hard Times (Walter Hill); and Night Moves (Arthur Penn).

Could have added a few more to the list, like The Stepford Wives, but way too much time has passed since last seeing any of them. No idea if they still hold up.

* Still banned outright today by the BBFC.

There'll Be Masterpieces

Scarlet Street (Fritz Lang, 1945)

To distance myself from this year’s cinematic tripe, I sought a vintage film. A public domain title from a YouTube channel I subscribe to caught my eye; Fritz Lang’s film noir Scarlet Street (1945). There is a particular satisfaction in experiencing a film for the first time, especially one as old as Scarlet Street, which exceeds all expectations and predictions. Given the film’s focus on deception, it is ironic that it actually fooled me.

Chris Cross (Edward G. Robinson) is a middle-aged dreamer whose life feels unfulfilled. He would rather be a fine art painter than a cashier. His boss’s affair with a young woman further exacerbates his drudgery. He is also burdened by his domineering wife Adele (Rosalind Ivan) who idolises her late husband and is more interested in her radio show The Happy Household Hour. Returning home from a formal dinner party, Chris accidentally knocks out a mugger with his umbrella while rescuing Katherine ‘Kitty’ March (Joan Bennet*). Unbeknownst to Chris, the mugger is Kitty’s boyfriend Johnny Prince (Dan Duryea) who she conceals from him after persuading him not to report the attack to the police. Kitty presumes Chris is wealthy given his formal attire. She is also aware of his gullibility and sees potential in charming some money out of him. The hustle is set.

Edward G. Robinson portrays Chris Cross, a man experiencing a mid-life crisis, with remarkable authenticity. The character was already diminished to an impotent individual well before succumbing to the influence of Bennet’s femme fatale. His unhappy marriage has him reduced to doing all the domestic work in the home. To keep out of Adele's way, he's forced to do his weekend painting in the bathroom. In a notable scene, Chris is depicted wearing an impractical frilly apron as he carves liver for dinner. At that moment, Adele enters and interrogates him about his relationship with Kitty. Is his affair with Kitty rumbled? The camera zooms in on him as he stares at the knife in his hand. Robinson’s expression conveys the turmoil within his mind.

Similarly, Joan Bennet’s Kitty is another unfortunate individual; despite her deceitful nature she remains a victim. She is constantly abused by Johnny and her money is frequently stolen from her. Her appearance is merely a tool for her boyfriend to exploit on gullible men. Yet she is hopelessly in love with him, even addicted to his influence. Her cruel control over Chris is a reversal of her relationship with Johnny. Consequently, selling Chris’s lucrative paintings, even taking credit for them, highlights her indifference towards the hapless cashier. In the ultimate act of domination, when Chris asks her to paint her, she hands him a bottle of nail polish and raises her foot. “Paint me, Chris! Obligingly, he stoops to one knee and paints her toes. Like a cat with cream, she declares “They’ll be masterpieces.” In that moment I both admired Joan Bennet’s performance and wished for a fitting consequence for her character.

Dan Duryea’s portrayal of Johnny Prince should not be underestimated. His dominance over Kitty and dependency on money completes the ménage à trois of deception. Kitty is thus a tool for him to exploit. However, he is intelligent enough to be aware that Chris is the golden goose in the love triangle. Without him there is no fancy pad, fast car and wads of cash. Duryea’s conman is a compelling character. Initially he pretends to be a boyfriend of Kitty’s friend Millie Ray (Margaret Lindsay) but Chris has his suspicions. These are proven correct when he encounters Kitty and Johnny in a loving embrace which effectively triggers the film’s chilling direction.

Scarlet Street was not the first adaptation of Georges de La Fouchardière’s 1929 novel La Chienne (translating to English as The Bitch). That honour would go to the French dramatist André Mouëzy-Éon’s 1930 stage play. Jean Renoir would adapt it for film the following year. Scarlet Street was a reunion for its three main actors and director, as they had all worked together the previous year on The Woman in the Window (1944). Scarlet Street shares many similarities with its earlier French counterpart, although it had to adhere to the Hays Code at the time. Consequently, the professions of its two con artists were made considerably more vague including Edward G. Robinson’s. The film was still banned in some states. Having recently watched Renoir’s film, I find Scarlet Street considerably superior. 

The subplot involving Adele’s first husband is a notable element of Renoir’s La Chienne that surpasses Lang’s remake. It is less awkwardly introduced in Renoir’s film. However, this is not sufficient reason to choose it over Scarlet Street. Lang’s film is superior in every other department; better direction, superior acting, beautifully photographed scenes and no jarring time jumps. Furthermore, Lang draws upon his German Expressionist roots in the final ten minutes, veering into psychological horror territory. This is surprisingly downbeat given the era and beyond the black comedy of Renoir's original. In conclusion, only the most pretentious of cinephiles would opt for La Chienne over Scarlet Street. The cinematic equivalent of someone preferring Bob Dylan’s All Along the Watchtower over Jimi Hendrix’s superior cover.

Scarlet Street is a highly engaging film noir from Fritz Lang. It shifts between comedy and melodrama at times before concluding in Poe-esque horror. A cautionary morality tale at its core, it features a particularly early scene where the superstitious Cross is the third to have his cigar lit with the same match. Despite crossing his fingers, it spells doom for all of Lang’s characters. While one might escape justice, no one escapes their fate. An excellent film.

 *Didn't realise Joan Bennet was Madame Blanc in Dario Argento's Suspiria (1977) until now.