Tail Pop

“Body Double” hit me like a freight train, and it’s easy to see why: I’d argue that there’s never been another film that combines true formal mastery with quintessentially ’80s midnight movie sleaze.

The “House of Games” big twist hit me like a left hook — and that was just at the end of the first act. Its world, a stripped-down modern-noir dreamscape, cast a kind of mysterious spell. And the language? It was Mamet operating at his peak. I mean, c’mon.

‘I couldn’t deal with what I was seeing. I felt betrayed.’

The lights came on… Shock. Silence. “Oh man, we’re just working on a schlock low-budget Roger Corman sci-fi,” we thought.