Saturday, 12 August 2017

Mid Year Top 10!

It's been a packed year for top-tier cinema so far, honestly one of the strongest I can recall. Here for your perusal, ranked in poster form, are my picks for best of the year so far. With some exciting films still to debut over the next few months (BLADE RUNNER 2049; THE ENDLESS; BRAWL IN CELL BLOCK 99), I'll be interested to see how much the following list has changed come December.











Saturday, 5 August 2017

Sphinx Pinastri

While on the hunt for material for the Cronenberg post below this one, I stumbled on these striking unused posters for Peter Strickland's wonderful THE DUKE OF BURGUNDY. They are the work of Parisian graphic designer Vincent Petitjean, whose other film related designs you can see here.

As a bonus, feast your eyes on some behind the scenes shots, thanks to the perpetually enlightening and insightful Kino Images blog.

Sunday, 30 July 2017


Time to resurrect this long running series of posts, celebrating alternate art inspired by the films of David Cronenberg.


Today it's time to don your blood-red surgical gown, and dust off your trusty Clark Nova. We're diving into two tales of addiction: a gynaecological nightmare, and the hallucinatory birth of one of the 20th century's greatest works of  literary art. So, roll up your sleeves and have a taste of the Black Meat, this is DEAD RINGERS and NAKED LUNCH.


Scream Factory blu ray cover (artist unknown)

Of Stick and Bone

Beautiful artwork for Mondo's OST by Randy Ortiz


Lovely journal entries from Emanuel Santos

Lavish poster design from Maxime Dickner

The winner this Dispatch is Rich Kelly for his stunning work for Mondo's vinyl soundtrack


Monday, 17 July 2017

George A. Romero

I could write thousands of words on the life of George A. Romero, but frankly I'm feeling too gutted to put the words together. His influence on horror, on cinema, is inestimable. His influence on me personally since 1979 has been profound.

Cultural iconoclast. Cinematic maverick. Rebel. Romero's films held a mirror up to the western world, encouraging us to reflect on and examine some of our ugliest problems: greed, xenophobia, social injustice, militancy, and nationalism. In his life and work he was fiercely independent, never compromising his values, toiling to the end outside of the corporate studio system that he railed against.

And the man was quintessentially cool, a quality that saturates his entire filmography. Countless imitators have tried to equal the badass chemistry of Peter, Roger, Fran and Stephen, but only Romero could have created an elite squad of apocalyptic survivors as perfectly cool as that foursome.

In 1968 the release of NIGHT OF THE LIVING DEAD heralded the modern era of horror cinema. The father of that epoch is gone, but his legacy lives on in every film, every shot, every frame of the genre that he was so instrumental in shaping.