Who doesn’t like a bit of emphatic contrast now and then?
Attack of the 50-Foot Woman (1958), in which a good stomping is ever so much more cathartic than a mere divorce…

The Giant Behemoth (1958), in which Eugene Lourie makes that dinosaur movie of his again…

Time Bandits (1981), in which there’s no way in hell I can adequately sum it all up in one sentence…


Willow (1988), in which George Lucas stripmines the high fantasy genre every bit as thoroughly as he once stripmined sci-fi, but fails to achieve quite the same impact on pop culture at large.


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