It came out in the Mid-80’s but Brazil blew my mind when I saw it as a teenager. That sort of strange, design aesthetic is really Terry Gilliam’s stock in trade, but I love the weird mix of industrial collapse with 1950’s austerity Britain.
Our Man Flint and In Like Flint starring James Coburn pretty well roasted all the spy tropes of the time, as well as Dean Martin’s Matt Helm movie (The Silencers, etc.)
Plus, lots of “sci-fi” like Japan’s Starman movies (Attack from Space, Invaders from Space and Evil Brain from Outer Space) apparently cornered the market on form-fitting silvery costumes. These were used from dresses with hundreds of jewels (Forbidden Planet) to radiation suits. The inside of a space ship might look like the back room of a bar with overflowing ashtrays and wooden furniture holding up panels of blinking lights, but it screamed SCIENCE FICTION because the crew was wearing shiny silver onesies.
Some of Ken Russell’s movies have a unique artificial and hallucinogenic quality to them, with a hefty dose of camp.
Tommy, The Devils, Salome’s Last Dance and Lair of the White Worm are particular favourites of mine.
Desperate Remedies was an odd little NZ movie that I came across in the 90’s, starring Hercules’ little mate from the TV series, Michael Hurst. That had a very similar vibe to Ken Russell, with abstract sets like a stage play instead of any location shooting.
For stylised presentation, Peter Greenaway’s well worth watching: Zed and Two Noughts and Drowning By Numbers were probably his high point