By Tom G. Wolf
Death is a touchy subject for most people. Intellectually, we know it’s inevitable, and yet it’s almost never discussed—until necessity intervenes. And for those of us who have spent time contemplating how we’ll depart this mortal coil, it tends to be in a fairly hopeful fashion: we’re lucid, surrounded by friends…
One of the most irksome things about my drizzly homeland of the United Kingdom is the widespread domestic habit of mistaking the material benefits of industrial and Colonial wealth, post-war socialism, and a happy lack of mass violence—all of which, for a good half century, guaranteed a relatively safe and stable life, good opportunities to better your lot, free healthcare, welfare, and a relatively graft-free state—for something as ineluctable as rain…
By Jake Pitre
The loss of filmmaker Nicolas Roeg at the age of 90 in November was deeply felt by cinephiles. Roeg was one of the most singular voices in movies for much of the twentieth century, influencing directors as varied as Christopher Nolan and Steven Soderbergh. When considering his legacy, it’s worth highlighting his most accomplished decade: the 1970s…
At the dawn of the 1970s, film audiences in the West began to discover martial arts films from East Asia. And one of the results of that cross-cultural exchange is this odd yet remarkable document from 1973, La dialectique peut-elle casser des briques? (Can Dialectics Break Bricks?)…
Resistance to Trump has been led by women in various forms: protesting, volunteering, donating, contacting elected officials, and becoming elected officials. As I’ve observed and participated in these activities, I’ve frequently wished that more people had the opportunity to appreciate All I Wanna Do, a 1998 film that subverts ‘80s sex comedy tropes through a distinctly female lens…
If you’re possessed by the devil, you’ve been corrupted—and if you’ve been corrupted, that means you were innocent to start with. Demonic possession isn’t so much about the evil that enters you as it is about asserting that the evil comes from outside. The devil exists to tell us we’re pure…
He was a working-class loner, with roots in the social realist British New Wave of the late 1950s and early 1960s—plays, novels, and films associated with the “angry young men” exploring the very class tensions that Wilson’s “New Britain” had ostensibly smoothed over. Callan occupied a violent and grubby world, with one foot in the sinister bureaucracy of a professional intelligence service, and another in the criminal underworld of London…
The first time I saw John Carpenter’s Halloween, I was five. No, I didn’t have terrible parents, but I did sneak downstairs after bedtime, sometime around the eponymous holiday, to find out what they were watching. I had nightmares for weeks, and, when my parents found out it was because I watched a horror movie behind their backs, I got in trouble…
I’m not likely to add much to the thousands upon thousands of words penned over the past decade or so on how formative an experience watching Children of the Stones (1977) as a kid was. Now considered one of the signal works forming the foundation of the British folk horror and hauntological aesthetics, the series is a brilliant melding of folk memory and technological aspiration, of magic and science, of tradition and progress, done in that ineffable way that only the British seem able to express satisfactorily…
By K.E. Roberts
During the 1970s, original, feature-length scares could be found on TV almost every night of the week. They were cheap to make and, after Rosemary’s Baby and The Exorcist, we were trembling and defenseless. The best known of these quickie horrors, many of which dealt enduring trauma to a generation of children often home alone…
We Are the Mutants 