At the same time as exhibition venues for B films vanished, the independent film movement was burgeoning; among the results were various crossovers between the low-budget genre movie and the "sophisticated" arthouse picture. Director Abel Ferrara, who built a reputation with violent B movies such as "The Driller Killer" (1979) and "Ms. 45" (1981), made two works in the early nineties that marry exploitation-worthy depictions of sex, drugs, and general sleaze to complex examinations of honor and redemption: "King of New York" (1990) was backed by a group of mostly small production companies and the cost of "Bad Lieutenant" (1992), $1.8 million, was financed totally independently. Ferrara followed these two movies with "Body Snatchers" (1993), a major-studio remake of the sci-fi classic and an acknowledgment of his debt to the B's of an earlier generation. Larry Fessenden's micro-budget monster movies, such as "No Telling" (1991) and "Habit" (1997), reframe classic genre subjects—Frankenstein and vampirism, respectively—to explore issues of contemporary relevance—animal experimentation, ecological destruction, drug addiction, and fin-de-siècle urban romance. Written and directed by Jeremy Horton, "100 Proof" (1997) is based on the true story of a killing spree that occurred in Lexington, Kentucky, a decade earlier. Praising its authentic depiction of the impoverished milieu in which it is set, critics variously described its style as evoking a home movie or a reality-style TV police series. Joe Leydon of "Variety", capturing the way it crossed the line between genre and art film, called it a "diamond in the rough, or at least a shiny bit of jagged rhinestone."