By: Joshua Glenn

A scene from LES VALSEUSES (1974)

By: Lynn Peril

Scream­ingly funny, yet type­cast forever as Ted Baxter.

By: Alix Lambert

Hurt Locker was very good — not always a pre­requisite for Oscar-winners

By: David Smay

Eyes Without a Face: dis­passionate yet romantic, gory yet lyrical

By: Joshua Glenn

A scene from THE MAN WHO KNEW TOO MUCH (1934)

By: David Smay

The boundary between uncanny and uncanny-­fantastic is a difficult one.

By: David Smay

Liminal Horror movies — between the super­natural and the every­day.

By: David Smay

Why are horror movies from 1960-63 so resistant to critical analysis?

By: Adam McGovern

As Batman, he disclaimed heroism without undermining it.

By: Lucy Sante

Jules Verne on laudanum, and four other writers rolled into one.

By: Mimi Lipson

When trash meets art.

By: Mimi Lipson

She excelled at rapacious clingers, albatrosses, and bad mothers.

By: Lynn Peril

“You just write yourself the part, and then you play it.”

By: Joshua Glenn

A scene from FOR THOSE WHO THINK YOUNG (1964)

By: Joshua Glenn

A scene from BEACH PARTY (1963)