Readers of Erik Larson's The Devil in the White City already know about Holmes, the "Monster of 63rd Street" whose Englewood mansion concealed numerous torture chambers and who murdered countless people before he was discovered and hanged in 1896.
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H-bomb tests in the Pacific create oozing radioactive creatures that attack and dissolve humans in this Japanese sci-fi flick from 1958, directed by Ishiro Honda (Godzilla).
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Shot clandestinely over three and a half years, Stephanie Black's documentary about the exploitation of Jamaican and other Caribbean sugarcane workers in Florida is a good example of investigative reporting of outrages that occur under our very noses—good enough to win the prize for best documentary at the 1990 United States Film Festival.
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Directed by Detlef Sierck shortly before he became Douglas Sirk, this Nazi-era vehicle (1937) for superstar Zarah Leander evokes the semiracist ambience of an Esther Williams-Fernando Lamas musical of the 50s.
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In his powerful and original video Fast Trip, Long Drop (1993), Chicagoan Gregg Bordowitz examined his life since learning that he was HIV positive; this eye-opening sequel (2001, 52 min.)
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Set in Chicago, Ricardo Islas's 2002 video is a tiresome pseudodocumentary about the making of his earlier epic, a Spanish-language horror flick called Amor Brujo.
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Janusz Zaorski, whose feature A Happy New York played in the 1997 Polish Film Festival in America, directed this 2002 feature about two kids who get into trouble as computer hackers.
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Without being any sort of miracle, this engaging and lively exploitation fantasy-thriller (1995) about computer hackers, anarchistic in spirit, succeeds at just about everything The Net failed to—especially in representing computer operations with some visual flair.
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The title of this 2009 French drama refers to both the 13th-century Catholic mystic and a doleful 21st-century virgin named after her (Julie Sokolowski), who's evicted from her rural convent for her excessive piety and self-abnegation.
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Except for the opening scene, when two Palestinian youths are seen fleeing Israeli soldiers, writer-director Rashid Masharawi refrains from dramatizing the usual adversarial encounters in this captivatingly elegiac 1996 film.
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