Andrew Repasky McElhinney

The greatest cult horror and science fiction films of all-time are studied in vivid detail in the second volume of Time Warp. Includes groundbreaking classics like "Night of the Living Dead," and "The Texas Chainsaw Massacre," and sci-fi gems such as "Blade Runner," and "A Clockwork Orange."

From "The Rocky Horror Picture Show" to "The Big Lebowski" and everything in between, this fascinating deep-dive documentary begins its celebration of the greatest cult movies of all-time discussing the birth of the midnight movie.

Magdalen is a tavern Scheherazade, a prostitute who sells stories in a seedy Philadelphia dive bar. Her clients include Mr. Jones, an angry black businessman who wants to hear the same graphic, sexual fantasy every night; Jace, a droll, Mishima-loving slacker/writer looking for an ending to his novel; Phil, a precocious skater-boy who wants to understand his dead father; and Edward, a shy 53-year-old virgin looking for love. Alix D. Smith is Magdalen McElhinney, a tough, brainy femme noir, whose name suggests that the film's director is the father she talks about obsessively. Littered with literary and cinematic allusions, the film's narrators make Magdalen part Warholian confessional and part Brechtian taproom comedy.

The final volume of Time Warp digs deep into what makes us laugh over and over again as we reveal the greatest cult comedies and campy classics of all-time. From "Fast Time at Ridgemont High" and "Office Space" to "Monty Python and the Holy Grail," and "Showgirls."

A woman is obsessed with a mysterious black box.

Magdalen is a tavern Scheherazade, a prostitute who sells stories in a seedy Philadelphia dive bar. Her clients include Mr. Jones, an angry black businessman who wants to hear the same graphic, sexual fantasy every night; Jace, a droll, Mishima-loving slacker/writer looking for an ending to his novel; Phil, a precocious skater-boy who wants to understand his dead father; and Edward, a shy 53-year-old virgin looking for love. Alix D. Smith is Magdalen McElhinney, a tough, brainy femme noir, whose name suggests that the film's director is the father she talks about obsessively. Littered with literary and cinematic allusions, the film's narrators make Magdalen part Warholian confessional and part Brechtian taproom comedy.

Magdalen is a tavern Scheherazade, a prostitute who sells stories in a seedy Philadelphia dive bar. Her clients include Mr. Jones, an angry black businessman who wants to hear the same graphic, sexual fantasy every night; Jace, a droll, Mishima-loving slacker/writer looking for an ending to his novel; Phil, a precocious skater-boy who wants to understand his dead father; and Edward, a shy 53-year-old virgin looking for love. Alix D. Smith is Magdalen McElhinney, a tough, brainy femme noir, whose name suggests that the film's director is the father she talks about obsessively. Littered with literary and cinematic allusions, the film's narrators make Magdalen part Warholian confessional and part Brechtian taproom comedy.

Magdalen is a tavern Scheherazade, a prostitute who sells stories in a seedy Philadelphia dive bar. Her clients include Mr. Jones, an angry black businessman who wants to hear the same graphic, sexual fantasy every night; Jace, a droll, Mishima-loving slacker/writer looking for an ending to his novel; Phil, a precocious skater-boy who wants to understand his dead father; and Edward, a shy 53-year-old virgin looking for love. Alix D. Smith is Magdalen McElhinney, a tough, brainy femme noir, whose name suggests that the film's director is the father she talks about obsessively. Littered with literary and cinematic allusions, the film's narrators make Magdalen part Warholian confessional and part Brechtian taproom comedy.

The Elliot estate was once a thriving plantation, but by the 19th century, the family has crumbled under the weight of its own excesses. If sordid sexuality and insanity don't claim their lives, a malevolent force lurking on the land certainly will. Is it a supernatural entity, or simply the poverty-stricken locals seeking revenge? In between the killings, which are regarded with mild interest at best by the surviving members of the family, dysfunctional relationships play out in slow motion. There is an unhappy marriage, affairs with servants, homosexual trysts... Marj Dusay and Ryan Foley star in this award-winning chiller from auteur Andrew Repasky McElhinney.

The Elliot estate was once a thriving plantation, but by the 19th century, the family has crumbled under the weight of its own excesses. If sordid sexuality and insanity don't claim their lives, a malevolent force lurking on the land certainly will. Is it a supernatural entity, or simply the poverty-stricken locals seeking revenge? In between the killings, which are regarded with mild interest at best by the surviving members of the family, dysfunctional relationships play out in slow motion. There is an unhappy marriage, affairs with servants, homosexual trysts... Marj Dusay and Ryan Foley star in this award-winning chiller from auteur Andrew Repasky McElhinney.

The Elliot estate was once a thriving plantation, but by the 19th century, the family has crumbled under the weight of its own excesses. If sordid sexuality and insanity don't claim their lives, a malevolent force lurking on the land certainly will. Is it a supernatural entity, or simply the poverty-stricken locals seeking revenge? In between the killings, which are regarded with mild interest at best by the surviving members of the family, dysfunctional relationships play out in slow motion. There is an unhappy marriage, affairs with servants, homosexual trysts... Marj Dusay and Ryan Foley star in this award-winning chiller from auteur Andrew Repasky McElhinney.

Based on the 1928 novella written by Georges Bataille, the film takes place in a seemingly abandoned house where a group of people engage in bizarre wordless acts. Just as the book does, the film spans several vignettes.

Based on the 1928 novella written by Georges Bataille, the film takes place in a seemingly abandoned house where a group of people engage in bizarre wordless acts. Just as the book does, the film spans several vignettes.

Based on the 1928 novella written by Georges Bataille, the film takes place in a seemingly abandoned house where a group of people engage in bizarre wordless acts. Just as the book does, the film spans several vignettes.

Tom Collier (Christian Pedersan) shocks his moneyed father Rufus (James Laster), lawyer Owen Arthur (Konya Hood), and nosy neighbor Grace Macomber (Anne Bailis) by suddenly announcing his engagement to poor but eminently respectable socialite Cecelia Henry (Kristina Valada-Viars). A fragmented whirligig of romantic intrigue, Animal Husbandry is a word-for-word production of a 1931 play, performed in modern dress.

Tom Collier (Christian Pedersan) shocks his moneyed father Rufus (James Laster), lawyer Owen Arthur (Konya Hood), and nosy neighbor Grace Macomber (Anne Bailis) by suddenly announcing his engagement to poor but eminently respectable socialite Cecelia Henry (Kristina Valada-Viars). A fragmented whirligig of romantic intrigue, Animal Husbandry is a word-for-word production of a 1931 play, performed in modern dress.

A poor but talented little drummer boy seeks to win the friendship of the pretty girl he knows from the playground. Loaded with humanity, pageantry, sentiment and laugh-out-loud humor, Christmas Dreams is wordlessly told through color, movement and dance. A talented little Drummer Boy seeks to win the friendship of the Pretty Girl from the playground. He dreams an enchanted Christmastime world that fantastically the Pretty Girl shares.

A disembodied voice struggles to make ethical judgements about a sinister experiment.