In the 1950s and 60s British horror was booming. Most of the fame and infamy was enjoyed by Hammer but forever in their shadow was Amicus. Amicus was known for horror anthologies, a production model based on not being able to afford name actors for
Released to Blu-ray by the excellent Indicator label this week, The Legacy is a 1978 British-American horror mystery starring real-life couple Katherine Ross, Sam Elliott and The Who’s frontman Roger Daltrey. Ross and Elliott star as Maggie Walsh and Pete Danner, lured from their home
Ken Russell is a bit of a devil. In all his films you can see an unabashed joy of sex, life, and kitsch whilst having the underlying thread of Christianity throughout; explicitly or otherwise. Lair of the White Worm is no exception but, against his
The most famous monsters in Hammer Studios’ repertoire were essentially the same ones Universal had hit paydirt with in the 1930s: Dracula, Frankenstein’s Monster, the mummy. But Hammer had plenty of other things to shock and disturb audiences with – zombies, Satanists, aliens, man-lizards and, at
The midnight movie is an icon of cinema folklore that is synonymous with the American cult film. Australian cinema and the idiosyncrasies of ‘Ozploitation’ are rife with the specifics of what it takes to be a fabled midnight movie. Before going any further perhaps a
Ealing Studios are regarded as the bastion of post-war Cinema, the home of the finest comedies Britain has ever produced, but what is often overlooked is their innate Gothicism. With the artifice of its sets and the embers of Victorian London architecture, there is a
Gremlin shenanigans be damned! No-one can slow the good ship Eclectica. It’s the big 4-0, and we have an Amicus/Hammer double with “The Skull” and “The Man Who Could Cheat Death”, the latest installment in our ongoing effort to cover Shinya Tsukamoto’s filmography with “Snake
Each and every Halloween a classic Horror film is lavished with a limited cinema run. Taking high street cinema chain Cineworld for example, over the last two years they have screened Wes Craven’s 1984 classic Nightmare on Elm Street and Joe Dante’s anarchic delight, Gremlins.