When it comes to tactless examples of vigilante cinema, there’s something about the simple sleeze of James Glickenhaus’ fascinatingly nasty The Exterminator that really stood
When it comes to tactless examples of vigilante cinema, there’s something about the simple sleeze of James Glickenhaus’ fascinatingly nasty The Exterminator that really stood
The vigilante genre – especially ones that also dabble in Nam-sploitation – tend to be quite a grim prospect both in tone and in (pun