Reviewer: Steve Dollar
Rating (out of 5): ****

No cinematic moment of 2008 was as remotely satisfying to me as watching the opening sequence of Vampire Girl vs. Frankenstein Girl on the big screen at IFC Center two summers ago, where it played as the centerpiece of the New York Asian Film Festival. As cheesy-sleazy keyboard riffs conjured mid-1960s garage rock on the soundtrack, the formidably fiendish Vampire Girl (Yukie Kawamura) laid waste to her schoolgirl nemeses, using her supernatural skills to strip the very flesh from their pretty little noggins, exposing manic, chattering deathheads. The feverish quality of the low-budget (but zesty) CGI and the take-no-prisoners action practically has this grisly-cute confection peaking in its first two minutes, but once they get your attention, directors Yoshihiro Nishimura (Toyko Gore Police) and Naoyuki Tomomatsu never relinquish it.

Reviewer:Craig Phillips
Rating (out of 5): ***

I find Splice maddening, provocative, erratic, brave enough to suggest something greater, hard to dismiss, but ultimately frustrating. It's an intriguing film that touches on hot-button issues involving bioethics and corporate science, things that not only "could happen" but are happening. The early David Cronenberg influence in the new film byCube director Vincenzo Natali is clear, and that's both a compliment and a burden. I say this not just because it's a Canadian production, but because the film manages to weave in the gross out with the cold and clinical, with a distinctly wry Canadian sense of humor that is sometimes overlooked in Cronenberg's best work, too. Essentially a modernized take on the age old mad scientist creating a monster tale, as well as cautionary tale on genetic engineering, Splice has its effectively scary moments, but it is not quite on a level with The Fly.

Disturbing Night At The Movies:” The Ultimate List of Dangerous Films (or How I Misspent My Youth Watching Slashers, Sickos, and Psychos Instead of Reading Shakespeare)

By Simon Augustine

One should judge a man mainly from his depravities. Virtues can be faked. Depravities are real. -Klaus Kinski 

Please Do Not Read This Article If You Are Under The Age of 25.

Introduction: Q: Are We Not Men? A: No, We Are Disturbed

There is a whole underground army of moviegoers out there, scouring the internet for undiscovered treasures, rifling through what is left of sketchy video stores, prying open dark vaults to find the dusty reels of forgotten anti-masterpieces. The cinematic warriors of whom I speak - constantly fighting normal moral conventions, the prodding of their own consciences, and the eternal “tsk-tsking” of the world at large - are the “Disturbists:” cinephiles devoted to the most disgusting, terrifying, upsetting, gory, profane, irreverent movies ever made: the Canon of Disturbing Cinema.

Acclaimed director Park Chan-wook (Oldboy; Lady Vengeance) returns with his highly anticipated vampire film Thirst, an official selection at the 62nd Cannes Film Festival. Song Kang Ho plays a respected priest who turns into a vampire after a medical experiment gone wrong. His newfound thirst for blood and deadly attraction for his best friend's wife (Kim Ok-bin) drives him down a road of lust and depravity. For the Thirst soundtrack -- the score draws from Bach's Cantata BWV 82a Ich Habe Genug and original compositions, as well as 1930s and 40s Korean music--Park Chan Wook teams up again with music director Jo Young-wook, who also provided the music for many of Park's other films.

And now, thanks to GreenCine and Focus Features, you can win the film's soundtrack CD and poster in our Thirst-y new contest.

Click below for all the details on how to enter and win.