LOST GIRLS: THE PHANTASMAGORICAL CINEMA OF JEAN ROLLIN

Canadian micro-publisher Spectacular Optical is pleased to announce a new book focused on the career of French fantasy and horror filmmaker Jean Rollin, LOST GIRLS: THE PHANTASMAGORICAL CINEMA OF JEAN ROLLIN, penned by all women critics, scholars and film historians. Set to be released in the summer of 2017, this collection of essays covers the wide range of Rollin’s career from 1968’s LE VIOL DU VAMPIRE through his 2010 swansong, LE MASQUE DE LA MÉDUSE, touching upon his horror, fantasy, crime and sex films—including many lesser seen titles. The book closely examines Rollin’s core themes: his focus on overwhelmingly female protagonists, his use of horror genre and exploitation tropes, his reinterpretations of the fairy tale and fantastique, the influence of crime serials, Gothic literature and the occult, as well as much more.

LOST GIRLS is the third book in Spectacular Optical’s ongoing series of limited run film and pop culture books, which includes KID POWER! (2014) and SATANIC PANIC: POP CULTURAL PARANOIA IN THE 1980s (2015) and will precede the previously announced YULETIDE TERROR: CHRISTMAS HORROR IN FILM AND TELEVISION, which will be released in fall of 2017.

Curated and edited by Samm Deighan (DIABOLIQUE), contributors to LOST GIRLS include some of the most important critical voices to emerge over the last decade of genre journalism: Alexandra Heller-Nicholas (SENSES OF CINEMA), Kat Ellinger (DIABOLIQUE), Virginie Selavy (ELECTRIC SHEEP), Alison Nastasi (SATANIC PANIC: POP-CULTURAL PARANOIA IN THE 1980s), Marcelline Block (ART DECADES), Rebecca Booth (DIABOLIQUE), Michelle Alexander (CINEMADROME), Lisa Cunningham (THE LAUGHING DEAD: THE HORROR-COMEDY FILM FROM BRIDE OF FRANKENSTEIN TO ZOMBIELAND), Heather Drain (DANGEROUS MINDS), Erin Miskell (THAT’S NOT CURRENT), Gianna D’Emilio (DIABOLIQUE)—and more to be confirmed.

MULHOLLAND DRIVE Ending Explained

MULHOLLAND DRIVE is a complex and surreal film directed by David Lynch, known for its non-linear narrative and dreamlike sequences. The ending is open to interpretation and has been the subject of much debate among viewers. Here's a breakdown of the ending: Diane's Dream vs. Reality: Throughout the film, there are two main narrative threads: one follows Betty/Diane's dreamlike experiences in Hollywood, and the other delves into Diane's harsh reality. The ending reveals that the majority of the film has been a dream constructed by Diane Selwyn, a failed actress, as a means to escape the guilt and pain of her actions. Betty/Diane's Descent into Madness: Betty, played by Naomi Watts, represents Diane's idealized self—a hopeful and innocent aspiring actress. However, as the film progresses, it becomes clear that Betty's story is unraveling, and her identity begins to merge with Diane's. This culminates in the revelation that Betty is merely a construct of Di...

Final Destination Bloodlines Set to Bring Fresh Horrors to the Franchise

The long-running and fan-favorite horror series Final Destination is set to make its return with Final Destination Bloodlines, bringing a new chapter of supernatural terror to the big screen. Scheduled for a theatrical and IMAX release on May 16, 2025, in the U.S. (and internationally beginning May 14), the film promises to continue the franchise’s tradition of chilling premonitions and inescapable fate. The upcoming installment features a fresh ensemble cast, including Kaitlyn Santa Juana (The Friendship Game, The Flash), Teo Briones (Chucky, Will vs. The Future), Richard Harmon (The 100, The Age of Adaline), Owen Patrick Joyner (Julie and the Phantoms, 100 Things to Do Before High School), and Anna Lore (They/Them, Gotham Knights). Also joining the cast are Brec Bassinger (Stargirl, Bella and the Bulldogs) and horror icon Tony Todd, who reprises his role from the original Final Destination films. Todd, best known for his chilling portrayal of the titular character in the Candyman fra...

4K Blu-ray Review: Drop (2025) — A Tense, Tech-Driven Thriller That Mostly Sticks the Landing

In Drop, director Christopher Landon (Freaky, Happy Death Day) crafts a nerve-wracking thriller centered on a devastating dilemma: would you take a life to save the ones you love? The story follows Violet, a widowed single mom attempting to re-enter the dating world after years of grief and recovery. Played with emotional precision by Meghann Fahy, Violet finds herself on a promising first date with the affable and seemingly genuine Henry (Brandon Sklenar) in an elegant, glass-walled Chicago restaurant. But their evening takes a sinister turn when Violet receives a disturbing message via a sleek, anonymous app called DigiDrop: if she doesn’t kill her date before the check arrives, her son and sister will die. What unfolds is a tightly wound 95-minute thriller that feels both classic and timely. The film builds its suspense through confinement, not action. Most of the story unfolds in real-time at their dinner table, creating a pressure-cooker environment that reflects Violet’s psycholo...

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