Best Old Films Discovered in 2024

Way less golden oldies this year since I felt obligated to review every one I discovered and liked; which in turn, took up some precious film time. However, it was still a productive year for vintage finds considering it introduced to me some excellent films from around the world; not to mention a genuinely great late era Italian horror I had absolutely no prior knowledge of.

Here are the film gems I discovered this year; along with personal ratings of them over on Letterboxd:

 

1. The Swimmer (Frank Perry, 1968)

★★★★

Frank Perry's psychological drama revolves around Ned Merrill (Burt Lancaster), a middle-aged man with a bizarre obsession to journey home by swimming in their pools; often intruding in the gardens of his friends. Ned calls it "the Lucinda river", after his wife, which in turn becomes a fascinating odyssey for its protagonist and the viewer. 

 

A cutting critique on the American Dream and the the mental state of its protagonist. An unconventional role one for Lancaster, but a superb performance, regardless.

 

A strange and enthralling social commentary, presented as an offbeat drama with a lot of depth to it. Highly recommended.

2. The Spider Labyrinth (Gianfranco Giagni, 1988)

★★★★

Nino Celeste's cinematography is absolutely gorgeous and a major highlight of the film; the Argento-esque scenes are particularly breathtaking. Its aesthetic beauty is definitely a reason why I'm smitten by this film.

The Lovecraftian horror really takes the film into vintage Fulci territory and succeeds with a suitably oppressively foreboding atmosphere.

Definitely deserves a spot as one of the best late game Italian horror films, out there. So glad it's been rescued from relative obscurity. Makes me wonder if there are any other lost Italian horror gems out there awaiting discovery.

3. The Appointment (Lindsey C. Vickers, 1981)

★★★★

Considering The Appointment was released during the hayday of the video nasty, it's a virtually a bloodless affair. Foreboding, atmospheric dread is its main objective.

Edward Woodward is great at playing authoritarian figures who’ve bitten off more than they can chew in horror films.

For fans of British horror, it's a winner. Effective as a slow burn chiller that doesn't abuse one's patience with a long arse run time; and rewarding to the observant who can spot hidden clues and symbolism within.

4. Dementia (John Parker, 1955)

★★★½

A curious oddity from the 1950s. Dementia's production history is just as strangely fascinating as the contents of the film. A weird anomaly which ought to be recognised by both film historians and genre heads as genuinely being ahead of its time.

Although not quite on the same tier as the movies that it inspired, Dementia is unquestionably a remarkable effort given the talents involved, along with it being such a mind blowing discovery.

An anachronistic film which should appeal to armchair shrinks and anyone interested in surrealist films and vintage B-movies.

5. Door (Banmei Takhashi, 1988)

★★★½

Yasuko Honda (Keiko Takahashi - Banmei's other half) is a young, yuppie housewife living in an apartment block, faced with daily harrassment by aggressive traders.

Door is fundamentally a stalker thriller; a popular theme for its time. However, Door possesses idiosyncratic features which distinguishes it from its peers. There's a distinct European aesthetic throughout the film; for instance, Yasuko's appartment is decorated with western style art and sculptures such as Greek statues.

Its cinematography, courtesy of Yasushi Sasakibara, lends a distinctive De Palma/Argento flavour to it, too.

6. The Hunting Party (Don Medford, 1971)

★★★½

You're in for a tough and unapologetic Western when it cold opens with a real life scene of a cow having its throat cut. If that isn't shocking enough, it's intercut with Candice Bergen being raped by her sadistic husband played by Gene Hackman. Calamity Jane this ain't.

While Hackman is away on a hunting trip (which involves torturing an Asian prostitute) with his rich pals, Bergen is kidnapped by a permanently perspiring Oliver Reed (still rocking the Urbain Grandier look) and his gang of outlaws, where she's also raped by him.

There really are no good guys in this film, in case you were wondering. Downbeat film, but riveting, regardless.

7. The Night Visitor (László Benedek, 1971)

★★★½

Framed by his relatives and forced to take a plea of insanity by his corrupt lawyer, Salem (Von Sydow) is condemned to a life in a remote, medieval-style asylum for the criminally insane somewhere in the Scandanavian frozen tundra.

László Benedek spends much of The Night Visitor's running time on Salem. Taking account that it's a revenge plot, Salem is almost portrayed as an anti-hero.

It isn't until the final act, where the film goes into more horror territory, that Salem displays his villainous tendencies. Ironically becoming into the very type villain he was accused of  being.

8. The Sniper (Edward Dmytryk, 1952)  

 

★★★½

Genuinely surprised a film with such a dark subject matter would ever be released by a Hollywood studio — particularly Columbia Pictures. What would have been more fitting as a low-budget exploitation film produced by the likes of B-movie legend, George Weiss back in the day, is a highly polished and thoroughly thrilling Stanley Kramer production.

The Sniper is not only an excellent film noir, but a serial killer film which might have been ahead of its time.

9. Shanty Tramp (Joseph G. Prieto, 1967)

 

★★★½

Unsurprisingly, Shanty Tramp never earned any plaudits for its handling of social political issues; especially ones engrained in America's turbulent racial history.

Realistically speaking, the film was made to court controversy in the aid of getting bums on seats. Almost sixty years on, and it still packs some punch to the easily offended today. 

However, for those of a less sensitive disposition, Shanty Tramp excels at weaving an entertaining exploitation romp; comparable to such Southern trash masterpieces Two Thousand Maniacs! (1964) and Mudhoney (1965). For this reason alone, Shanty Tramp is an uncouth, yet beguiling film that is definitely worth seeking out.

10. Eyes of Fire (Avery Crounse, 1983)

 

 ★★★½

Robert Eggers's The Witch (2015) is Dada Debaser's pick for the best horror film of the 2010s. Therefore, when Avery Crounse's obscure eighties folk horror, Eyes of Fire (1983) is referenced by various film buffs as an ancestral forerunner, it becomes worthy of my time.

Set in the hostile American wilderness during the colonial era, Crounse's low budget effort comes across as Arthur Miller's The Crucible pollinated with David Lynch's weirdisms; in particular Twin Peaks (1990). It's equal parts a historical tale and also a surreal, trippy nightmare.

11. Guest House Paradiso (Adrian Edmondson, 1999)

★★★½

Guest House Paradiso is loud, crude and unapologetically juvenile. Witnessing Eddie and Richie administering Looney Toons level of violence to one another is like watching Laurel and Hardy ramped up to eleven.

The film isn't only reliant on its cartoonish violence, it also possesses some truly idiotic dialogue, like the Richie having to repeat 'it's pronounced "Thwaite"' whenever trying to correct anyone from saying his surname as Twat. Much like Hyacinth Bucket has to endure.

Very much in the immature spirit of Peter Jackson's early gross out films.

There were some other notable films I discovered this year, which I didn't rate as high as the picks above, but felt a positive appreciation for.

The Camp on Blood Island (Val Guest, 1958)

Hammer's very own The Bridge Over the River Kwai (1957). Offensively un-PC by today's standards, but Val Guest really manages to turn a fairly straightforward tale about British PoWs planning a revolt against a sadistic Japanese commandant to avoid being massacred into a riveting film.

Guns, Girls and Gangsters (Edward L. Cahn, 1959)

B-movie noir where released con Gerald Mohr plans to rob an armoured van, along with stealing his ex-cellmate's wife, played by blonde bombshell Mamie Van Doren. The clincher is her hubby is the mean and trigger happy Lee Van Cleef, and he's just broken out of jail. Great pacing and witty fast-talking noir speak make this a fun watch.

The Possessed (Luigi Bazzoni, Franco Rossellini, 1965)

Mystery thriller set in an out season tourist resort. Both the film's cinematography and overall atmosphere reminded me of Antonioni's Decadence trilogy, although this is far less up its own arse than those films.

 

The Secret Cinema (Paul Bartel, 1966/1968)

Quirky and surreal short where a woman discovers her life is being filmed and secretly screened amongst her social circle. A spiritual predecessor to the likes of The Truman Show (1998).

Tony Arzenta (Duccio Tessari, 1973)

The plot about a hitman planning to retire going awry is hardly new, but it's worth a watch when it's Alain Delon as the lead. Despite the usual plot beats, there are some nice action set pieces involving the hellbent assassin taking on the European crime syndicate. 

 

Gleaming the Cube (Graeme Clifford, 1989)

Convinced the film's script could have been applied to any popular eighties trend without needing to be changed much. It's a showcase for skate boarding, and it includes Tony Hawk driving a Pizza Hut delivery truck, so that should set the tone of the film. Christian Slater changing his usual clobber to get close to his dead brother's girlfriend is absolutely hilarious. I also really liked his best mate's bunker crib.

Run and Kill (Billy Tang, 1993)

This Cat. III thriller goes in a completely wild direction that I was never able to predict. It includes one of the most horrifying scenes that I might have watched in Hong Kong cinema.

Shredder (Greg Huson, 2001)

Expected to find this ski resort slasher to be dire, but it turned out to be surprisingly decent. Lots of obvious stereotypes from the noughties era and unashamedly low brow, but Shredder wound up having some unexpected charm for me.

Project Wolf Hunting (Kim Hong-sun, 2022)

Works better as a back-from-the-pub action gorefest rather than The Raid-like on a ship it was promoted as. Ought to have developed further in the writing process, as the super soldier plot is undercooked. However, it's hard to be too critical with all the enjoyable violent splatter delivered on screen.

 

 

Not film related, but vintage TV I really enjoyed this year were Children of the Stones (1977), Blake's 7: Season One (1978), some old episodes of Doctor Who on BBC iPlayer and the few episodes of Sapphire and Steel (1979-1982) I managed to catch on Rewind TV.