Alias’ Carl Lumbly and Michael Vartan on Its Legacy and Streaming Rebirth
Alias actors Carl Lumbly and Michael Vartan recall their work with J.J. Abrams, Jennifer Garner, and others on the spy/sci-fi action thriller, now airing on Disney+.
mystery
Criminal Subterfuge and Dark Desires in Chabrol’s Minimalist Murder-Mysteries
While murder and crime certainly run deep in Claude Chabrol’s world of subterfuge, the dark desires of human nature that provoke them run immeasurably deeper.
Director Nicholas Ashe Bateman on His Debut Fantasy ‘The Wanting Mare’
Director Nicholas Ashe Bateman on films as images from our dreams and subconscious and his fantasy debut, The Wanting Mare.
Alfred Hitchcock’s ‘Rich and Strange’ Is a Grimly Comic Journey to the Limits of Marriage
Hitchcock’s Rich and Strange follows a clueless English couple wandering the world and being chastened by what they find: their flawed selves.
Not So Elementary: ‘The Sherlock Holmes Vault Collection’ Offers Rare Deductions
We thoroughly inspect the four 1930s features and bonuses in The Film Detective’s The Sherlock Holmes Vault Collection.
Alfred Hitchcock Plays with Trains in ‘Number Seventeen’
Alfred Hitchcock’s Number Seventeen isn’t a great film but a good one that reminds us of what a casually obsessive craftsman he was.
Is Syfy’s ‘Chucky’ the Horror We Deserve?
Chucky is still a doll possessed by a person possessed by a demon, but there’s something far more nefarious going on in Syfy’s new series, Chucky.
‘Sideways’ and ‘The Archivist’ Author Rex Pickett on the Lure of Dark Archives
Irreverent and with skin as thick as a pachyderm, mystery author Rex Pickett talks with PopMatters about the forces that compelled him to write The Archivist.
Horror Is a Trojan Horse in Welsh Director Lee Haven Jones’ ‘The Feast’
Lee Haven Jones on his debut horror film ‘The Feast’, which is influenced by the ancient Welsh Mabinogion literature of chilling folk tales, legends, and myths.
Whose Nostalgia Drives Edgar Wright’s Psychological Horror ‘Last Night in Soho?’
Is ‘Last Night in Soho’ a critique of nostalgia, or does it use nostalgia to suggest new possibilities for a cross-generational alliance among women and girls?
The Syllabus of ‘Filibus’ the Gentlewoman Thief
WWI was underway when silent film Filibus hit theaters, so this elegant, war-free escapism of immorality among the ruling class may have provided mass therapy.