This page shows you the list charts. By default, the movies are ordered by how many times they have been marked as a favorite. However, you can also sort by other information, such as the total number of times it has been marked as a dislike.
Movies reviewed on the Outside the Cinema podcast including movies watched or reviewed during special live shows and the top 6 list from ep. 100. End of the year roundtables and tv-shows (Firefly, Buffy) are not included so far. Comments, questions, remarks? Feel free to leave a comment!
Movies covered with Ryan are 1-99
Movies covered during ep. 100: 195-236
Kickstarter movies: 557-568, 571-588, 591-619,
2008 - 01-87
2009 - 88-236
2010 - 237-341
2011 - 342-437
2012 - 438-533
2013 - 534-623
2014 - 624-
Missing because movie is not in IMDB:
The eye of the condor, episode 320.
Something Weird is a company specializing in the release of exploitation films of all varieties. This list will seek to list all the full-length films released on DVD by Something Weird. I will be excluding the extensive DVD-Rs, digital downloads, bonus shorts and Bucky Beaver stag loops, etc. For the bonus shorts and Bucky Beaver stuff, this is primarily due to most of them being unlisted on iCM.
*Note: Not all titles were sourced from SomethingWeird.com due to the company's lack of a complete Catalog listing (They only list in print titles). Additional titles were sourced from Amazon and other online retailers. As a result, some titles may still be missing.
USA Up All Night (also known as Up All Night and Up All Night with Rhonda Shear) is an American cable television series that aired weekly on Friday and Saturday nights on the USA Network. The show aired from 1989 to 1998.
The program consisted of low-budget films, bookended by in-studio or on-location comedy skits featuring the show's hosts. In addition to skits, the hosts would also provide sardonic comments about the featured film(s), and observations on various Hollywood- and/or New York City-area clubs and attractions (when the series was shooting out of studio). Including commercials, the program typically ran from 11 p.m. to 5 a.m.
Compiled by Edward Margulies and Stephen Rebello, the caustically clever authors of Movieline magazine’s popular feature “Bad Movies We Love”, this outrageous 1993 book leaves no stone (including Sharon) unturned as it skewers some of Hollywood’s biggest big-budget film fiascos ever and the stars and filmmakers who made it all happen.
Moviedrome was a series of cult files shown by the BBC with a short introduction from Alex Cox (or Mark Cousins in later years) beforehand that explained why it was important or interesting. There's a list of all the films shown in Moviedrome here http://www.kurtodrome.net/moviedrome.htm and I thought it would be nice to have a version of that list here to keep track of how many I've ssen.
The weirdest, the strangest, the oddest cinema from the farthest reaches of the globe. No Ozu, No Godard, No Antonioni, nothing so respectable. Only sleaze, horror, action, fantasy, whatever. The undefinable, the unnacceptable, the unreal.
Original blog: http://worldweirdcinema.blogspot.com/
The author currently blogs for the Mondo Macabro DVD label: http://mondomacabrodvd.blogspot.com/
and runs their official Facebook page: http://www.facebook.com/mondomacabrodvd
"Some films should never have been made. They are too unsettling, too dangerous, too challenging, too outrageous and even too badly made to be let loose on unsuspecting audiences.
Yet these films, from the shocking Cannibal Holocaust to the apocalyptic Donnie Darko, from the destructive Tetsuo to the awfully bad The Room, from the hilarious This Is Spı¨nal Tap to the campy Showgirls, from the asylum of Das Cabinet des Dr. Caligari to the circus of Freaks, from the gangs of The Warriors to the gangsters of In Bruges and from the flamboyant Rocky Horror Picture Show to the ultimate cool of The Big Lebowski, have all garnered passionate fan followings.
Cult cinema has made tragic misfits, monsters and cyborgs, such as Edward Scissorhands or Blade Runner's replicants, heroes of our times. 100 Cult Films explains why these figures continue to inspire fans around the globe. Cult film experts Ernest Mathijs and Xavier Mendik round up the most cultish of giallo, blaxploitation, anime, sexploitation, zombie, vampire and werewolf films, exploring both the cults that live hidden inside the underground (Nekromantik, Café Flesh) and the cult side of the mainstream (Dirty Dancing, The Lord of the Rings, and even The Sound of Music).
100 Cult Films is a true trip around the world, providing a lively and illuminating guide to films from more than a dozen countries, across nine decades, representing a wide range of genres and key cult directors such as David Cronenberg, Terry Gilliam and David Lynch."
Based on the book by Rob Hill, it seeks to catalog the best of the worst films of all time. It's comprised of four sections:
#1 - #25: Action
#26 - #51: Sci-Fi/Fantasy
#52 - #76: Horror
#77 - #102: The Rest
De Nederlandse fans hebben gesproken. Wat is de beste horror-, sciencefiction-, fantasy- of cultfilm aller tijden? Schokkend Nieuws deed ter gelegenheid van zijn honderdste editie een oproep aan lezers, fans en collega-filmjournalisten een lijstje samen te stellen met de tien beste genrefilms aller tijden. De oproep leverde maar liefst 719 verschillende titels op. De honderd beste films staan afgedrukt in de 100e editie van de tweemaandelijkse filmglossy (IMDb List: http://goo.gl/vsKfJ).
"Despite the often stereotypical notions of Bollywood, it’s not all weddings, wet saris and running around trees. In the 1970s, Indian cinema gave birth to a new breed of action movie, one that combined its own exuberant traditions with foreign influences like the gritty urban crime thrillers of the New Hollywood, Hong Kong martial arts cinema, and Italian exploitation fare.
This was the domain of hard fighting he-men stars like Amitabh Bachchan, Dharmendra and Feroz Khan and badass, whip-wielding heroines played by the likes of the gorgeous Zeenat Aman, Hema Malini, and Rekha.
Let world cult cinema fanatic Todd Stadtman be your guide through this world of karate killers, femme fatales, space age lairs, bombshells and booby traps with Funky Bollywood, a book with an attitude as freewheeling and feisty as its subject matter, bursting with colour and imagination on every vibrant page."
Published in 2003, Entertainment Weekly Magazine described their Top 50 Cult Movies thusly: "most died at the box office, some of them horribly. Mangled and despised, they were re-animated on video. And now they compose our cultural Esperanto, a subliminal vocabulary of vaguely subversive images, ideas, and phrases that we continue to obsess over and dissect at parties, around water coolers, in bars, over the blaring banalities of the mainstream media din. They are Cult Movies...So if you take your dead evil and your buckaroos banzai-ed, pour yourself a tall glass of Kool-Aid and peruse this list…"
Note: Reader response to the original list was so great, that EW subsequently annexed their list with 11 “readers’ choice” picks. Why 11? Well, it's one longer, isn't it …?
A simplistic definition of the horror genre assumes that it has to contain monsters and to follow a strict set of genre rules. I believe, however, that horror has the potential to work on a number of different levels, both metaphorical, existential and purely visceral. By its very nature it creates possibilities for expression of pretty complex questions about the nature of existence; more importantly it allows questioning film-makers to completely shatter any pre-existing ideas about what can be defined as normal. Here it is used to explore and criticise society in ways no other genre can, primarily because it is much maligned and misunderstood; film-makers have the freedom to create metaphysical spaces that would be otherwise impossible. In this list I'm interested in looking at those aspects of particular films which make them stand out from the others, which make fans of those of us who are attuned to what horror sometimes tries to communicate (and alienates as many). Horror is also an ambiguous zone of possibility that allows experimentation with forms of representation not allowable in anything outside the avant-garde. These days it's hard to find a horror film that really touches you deeply in the nightmarish kind of way true horror really should. The more recent Hollywood spectacles may look good but lack true depth, often providing a humanistic outlook frosted with a prudishly moral acceptance of empty concepts. In short, I rarely see anthing that more than skirts the edges of true horror. Sometimes you have to look really hard, both into the past and to films that aren't produced by the formulaic cemetery for cinema which calls itself an industry. The idea is to include some of them here. I'm going to try to suggest in short some of the reasons why I've added them to the list (with as few spoilers as possible); the ultimate plan is to include at my website more detailed analyses and descriptions which you can find here: http://www.nachtschimmen.eu/places/projects/ESHCC. My other lists contains films that follow the rules set by Hollywood and are not necessarily awful, but should in any case be avoided by anyone who expects something cogent from the genre. Any suggestions for this or my other list are welcome; I'd love to be made aware of more truly weird and exceptional horror films that may be worthy of this list. I'd also like to thank Frank Edelamn who is the sole creator of his astoudingly complete exploration of low-budget, exploitation and anti-Hollywood cinematic offerings in his extensive website, both well written and well-researched. He calls it, aptly, 'Critical Condition' and can be found at the following URL: http://www.critcononline.com. His site and advice helped me add many of the titles to this list.
"Presenting the information movie fans need about those films that the insiders seem to know and love, this handy guide to cult flicks offers perceptive and entertaining entries containing an outline of the plot, characters, and themes; insight into why the film is considered a classic; and essential little-known facts. Featuring such favorites as Barbarella, Betty Blue, Harold and Maude, Roger and Me, The Wickerman, and Withnail and I, this book highlights the best films from more than 50 years of movie making. Also explored are the qualities that make a film a cult movie and whether a film can be both cult and a box office hit."