The cruellest scientific experiment in television history has recommenced after a hiatus of nearly two decades. Spank The Monkey puts on his lab coat to revisit Mystery Science Theater 3000.
Spank The Monkey doesn’t usually enjoy movies about children, but he’ll make an exception for Lone Wolf and Cub
Spank The Monkey reviews a new documentary telling the story of Japan’s most unGoogleable rock band
Spank The Monkey previews the 2017 edition of the Japan Foundation Touring Film Programme, showing in cinemas around the UK for the next two months
Part of an occasional series in which Spank The Monkey travels to foreign countries, watches films in unfamiliar languages, and then complains about not understanding them. This episode: Poland, Christmas 2016
Spank The Monkey reviews a Hong Kong action movie which benefits hugely from the contributions of the man they call The Portly Kicker. (It’s true, look it up.)
In another walk down memory lane we revisit one of our most popular posts, by Spank the Monkey, probably because it contains the line My cock rages on, my cock rages on.
Blood rains down from an angry sky
My cock rages on, my cock rages on
– Traditional gladiators’ drinking song. Apparently.
This is the story of a television drama that everyone thought was a bit of a joke. Except that the joke was on the people who abandoned it after the first couple of episodes, and failed to spot it slowly turning into one of the most deliriously entertaining shows on the box, despite the untimely death of its leading actor. The most recent season of Spartacus is about to be released on home video: let me explain why you should be buying it.
Part of an occasional series in which Spank The Monkey travels to foreign countries, watches films in unfamiliar languages, and then complains about not understanding them. This episode: Dubai, October 2016.
The UK’s 11th annual celebration of Korean cinema begins in London tonight. Spank The Monkey presents a preview.
Spank The Monkey looks at Criterion’s new release of a neglected landmark in Japanese cinema.
Musashi Miyamoto is the Samurai. No, scratch that: Musashi Miyamoto is the Samurai. For generations of Japanese, this 17th century wandering swordsman has been the ideal representation of the country’s warrior class. A painter, an author, and a swordsman who won over sixty duels: if he didn’t already exist, someone would have had to invent him. And even though he did exist, people have been inventing him anyway: for centuries Japanese culture has repeatedly taken the bare bones of his story and manufactured new myths out of it. Continue reading The Samurai Trilogy