"“He was in Luther and Nobody Loves an Albatross.” “Ectopic pregnancy.” “Chalky under-taste.” “Tannis root.” “All of them witches.” “What have done to his eyes?” “He has his father’s eyes!” “The Year is One!” And that’s just off the top of my head. Movies are rarely as quotable as Rosemary’s Baby, and no other horror movie comes close. Of course, those quotes come from a screenplay, written by Roman Polanski, who was faithful to the novel by Ira Levin. The whole enterprise is both hilarious and unnerving, a combination that is hard to pull off. It’s one of those movies, should you stumble upon it while flipping channels, you just can’t turn off."

"A shocking parable for authoritarian populism. There’s nothing else like Canoa. Although Cazals and cinematographer Álex Phillips Jr. use only static shots, the movie is structurally fleet, shuffling chronology and cycling between faux-documentary, historical re-creation, and purely dramatic modes. I can’t think of anything else that so successfully fuses dyed-in-the-wool radical filmmaking and horror. There’s a wry on-screen narrator who creates this Brechtian distancing effect and manages to sound sinister while providing facts and statistics about life in rural communities, and by the end we’re in something like the Jonestown machete massacre. Ostensibly less outré yet harder to swallow than Salò, this is an unsettling, essential gem."

"It was a great year for films. [laughs] Seeing that movie is one of the reasons I wanted to move to London, because it’s quite swinging — it’s like this weird mixture of a Hammer horror film and swinging London. There’s a scene where they cut from, I don’t know, 1569 or whatever, and it cuts to rock music and a jet airplane, so there’s a weird juxtaposition of things. I’ve gotten to know Christopher Lee over the years and I know that he would not say that this was one of his favorite films. I think it was Hammer on the decline and they thought, ‘Hey, let’s get hip,’ which was a mistake. But I enjoy mistakes sometimes."