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The Cultural Gutter

Thoughtful Writing About Disreputable Art

Carol Goes to Fantastic Fest 2026!

By Carol on September 24, 2026 • ( Leave a comment )

Fantastic Fest 2026: Terms & Conditions (USA, 2026)

By Carol on September 23, 2026 • ( Leave a comment )

Fantastic Fest 2026: Kung Fu Deadly

By Carol on September 22, 2026 • ( Leave a comment )

Fantastic Fest 2026: Girl In The Night!

By Carol on September 21, 2026 • ( Leave a comment )

Fantastic Fest 2026: Donkey Princess

By Carol on September 19, 2026 • ( Leave a comment )

Fantastic Fest 2026: Kylgor In The Grisly Abyss!

By Carol on September 18, 2026 • ( Leave a comment )

Unabsolved Transgressions, Surrealism, and a Chorus of Furies: A Wounded Fawn (2022)

By Carol on December 22, 2022 • ( 12 Comments )

Travis Stevens’A Wounded Fawn (USA, 2022) is entirely my thing. It’s a nice mix of art house and genre, which is one of my favorite things. It blends fine art—in this case the art of Surrealists (and friends) Leonora Carrington, Remedios Varo and Kati Horna—1970s horror/giallo, Classical Greek […]

The Gutter’s Own Carol + The Feminine Critique’s Emily watch a Christmas movie!

By Carol on December 18, 2022 • ( Leave a comment )

The Gutter’s own Carol Borden joins Emily Intravia to discuss A Christmas Village (2018) on a Stocking Stuffer episode of the Feminine Critique. “Is it love, or just a head injury? Such are the questions asked on this special visit to A Christmas Village, a 2018 film made […]

Watch 80 Free Documentaries from Kino Lorber!

By Guttersnipe on December 17, 2022 • ( Leave a comment )

So many Kino Lorber documentaries to watch and you can watch them here. (Thanks, Stephanie, and via Open Culture).

The Filmi Ladies on Indian Superstar Madhubala!

By Guttersnipe on December 16, 2022 • ( Leave a comment )

The Gutter’s own Beth Watkins and Pitu Sultan talk about the Indian Golden Age Superstar Madhubala on the Filmi Ladies podcast! “What can we say? She’s so talented, so funny, so beautiful, so lush! We deliberately chose some less-discussed movies from her filmography: yes, we do Mahal (1949), […]

(Kinda) Like A Dragon–Takashi Miike’s Ryu ga gotoku (2007)

By Sachin Hingoo (he|him|his) on December 15, 2022 • ( 2 Comments )

Video game adaptations have a rocky history in film. For every good-to-ok one, like Mortal Kombat (1994), Sonic The Hedgehog (2020) or Werewolves Within (2021), there are scores of films that don’t do justice to their digital counterparts. The K:D ratio* just isn’t great for these movies, partly […]

The Feminine Critique on Once Upon A Christmas (2000) with Keith Allison!

By Guttersnipe on December 14, 2022 • ( Leave a comment )

Gutter Emeritus Editor Keith Allison joins Emily Intravia to discuss Once Upon A Christmas on The Feminine Critique‘s Stocking Stuffers! “If you survived Y2K, you can survive this one: Emily time travels back TWENTY TWO years for The Gate director Tibor Takacs first entry into the fruitful world […]

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The Cultural Gutter is a website dedicated to thoughtful writing about disreputable art. The site is updated every Thursday afternoon. Carol Borden, Sachin Hingoo, Alex MacFadyen, Beth Watkins, and Michelle Kisner probe science fiction, draw out the best in comics, stare deeply into the screen, sink their fangs into horror, dally with romance, speedrun their brains on videogames, grapple with wrestling, and explore so much more. Our Guest Stars shine here. Thanks to Gutter aesthetic director Brian Kirby for all his swank art. Thanks to EJ Lee for providing the fantastic art we used in the Cultural Gutter book. The Cultural Gutter's signature nail polishes, "Disreputable," and, "Disreputable 2: Hellcat," were created by Andrea Evans of MPZ Cosmetics. MPZ Cosmetics also teamed up with Dill McKinley to recreate the classic fragrance, Cornichon by Dill McKinley for Gutterthon 2021. Follow us on Bluesky, Facebook, and Mastodon. We do not accept unsolicited pitches.

No part of this text or any text on the Cultural Gutter site may be used to train artificial intelligence systems without the written permission of the author and The Cultural Gutter.

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