Pop & Unpop Culture. The best in independent publishing.
JENNIFER WALLIS on Andrew Sinclair’s 1973 film, Blue Blood, its real-life and fictional inspirations, and — more importantly perhaps — an arresting performance by Oliver Reed.
What is a custom movie? David Kerekes looks at Mail Order Murder: the Story of W.A.V.E. Productions and talks to filmmaker, William Hellfire.
In the final instalment of her Fear Street review trilogy, Lakkaya Palmer considers the history lessons contained in Fear Street: Part Three – 1666.
In her second blog on Netflix’s Fear Street trilogy, Lakkaya Palmer reviews the 1978 instalment, where slasher tropes abound…
It’s made a bloody splash on Netflix this July, but is the Fear Street trilogy just for kids? Lakkaya Palmer argues there’s much more to it, but reader beware … this contains spoilers.
Jennifer Wallis reviews Network’s newly-restored DVD release of Just Like a Woman (1966), and enters a surreal cinematic world where hippies, Nazi architects, and unhappy wives find their place in 1960s London.
In her second blog on mothers in horror, LAKKAYA PALMER considers involuntary motherhood in Rosemary’s Baby and Hereditary.
Jennifer Wallis reviews Network’s newly-remastered release of Brian Desmond Hurst’s Behind the Mask (1958), a cautionary tale of nepotism and competition in a 1950s hospital.
Tasteless or underrated? Jennifer Wallis makes the case in support of Michael Winner’s supernatural horror The Sentinel.
A recent addition to the stable of Netflix docuseries, Crime Scene: The Vanishing at the Cecil Hotel is not the crime the makers had hoped it to be. David Kerekes and Jennifer Wallis look for the abyss.
Power Snatched artwork by L Jamal Walton
Power Snatched artwork by L Jamal Walton
