Special Editions are nice, quality hardback editions of select new Headpress titles, which are available up to twelve months before the trade paperback edition is in the shops or online. But what is NO ISBN? DAVID KEREKES explains.
As many of us find solace in ‘comfort reading’, JENNIFER WALLIS revisits teen horror fiction of the 1980s and 90s, from Point Horror to ‘spooky’ anthologies.
The self-published fanzine Stink was a means for the young NICK CATO to write about the films he loved. Alas, the Xerox zine format is all but dead these days, much like the grindhouse cinemas in which Nick saw many films. Suburban Grindhouse is a marriage of the two.
Le Video in SF and Kim’s in NYC offered impressive selections of Hong Kong films, but many fans had to locate a rental shop in their local Chinatown. STEFAN HAMMOND explains.
The posthumous release of a concert album in 1977 brought a resurgence of interest in the Beatles. But what happened to the ad that accompanied it?
Originally published in 1934, Elizabeth Jenkins’ Harriet is an unsettling account of murder, one that foregrounds victims rather than perpetrators.
Short films were once a mainstay of cinemagoing, playing as support to the main feature. Some were good, many were bad. The Orchard End Murder was excellent.
A critical look at the Netflix documentary series, Don’t F**k With Cats, which has earned both praise and opprobrium for its exploration of the case of Luka Magnotta. By Jennifer Wallis.
The premise: a phantom witch, her lips and eyes sewn shut, haunts the small town of Black Spring. Read Paul Miller’s review of Thomas Olde Heuvelt’s HEX.
Two British proto metal bands are resurrected by Rise Above Records, Barnabus and Cycle. Joe Scott Wilson is thankful.
Hong Kong is no longer the world’s third largest film industry nor is it a British colony. It’s now (take a deep breath) the Hong Kong Special Administrative Region of the People’s Republic of China. Or just call it Hong Kong, or the HKSAR. However, the trailers below are very …