BearManor Media News — horror
ANOTHER proud Dollar Baby filmmaker
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ANOTHER Dollar Baby filmmaker who received his copy of STEPHEN KING DOLLAR BABY:ENCORE! This is Maximilian Blaska, he wrote & produced the Stephen King Dollar Baby film, THE LAST RUNG ON THE LADDER.
another happy Dollar Baby filmmaker book owner!
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Here's yet another happy Dollar Baby filmmaker book owner.This is director James B. Cox. He directed the Stephen King Dollar Baby film, GREY MADDER.
WHY BRING BACK “HURRICANE BILLY”? (Willian Friedkin book)
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WHY BRING BACK “HURRICANE BILLY”? By NAT SEGALOFFSpecial to BearManor Media ©2026 Nat Segaloff Lunching at the Algonquin round table in the 1920s, critic Alexander Woollcott, who had just published a book, wistfully mused, “What is so rare as an Alexander Woollcott first edition?” Tired of his bravado, columnist Franklin Pierce Adams shot back, “An Alexander Woollcott second edition.” (Amazon affiliate link above) In the publishing world, a second edition differs from a second printing in that the latter is merely an additional press run dictated by sales, whereas the former offers the author the chance...
Q&A with “Not Coming to a Theater Near You!
Q & A with “Not Coming to a Theater Near You!: 50 Great Direct-to-Video Action Flicks of the Early 2000s” author Bryan Kristopowitz (Contains amazon affiliate link) Q: Why write about direct-to-video action movies, specifically direct-to-video action movies from the early 2000s? A: First, I genuinely like direct-to-video action movies, and I like them unironically. That can be hard for people to grasp sometimes or understand because there’s an ongoing perception that a movie that goes direct-to-video is somehow a lesser movie and should be ignored or made fun of. That, to me, is just wrong. It isn’t as...
new review for The Symphony behind the Screams
"There was a time when aficionados of Hammer Films’ memorable film scores had to make do with the odd scrap recorded here and there. That, however, is a situation that has thankfully been remedied over the years, with most of the striking orchestral scores now available in some form or other — particularly those composed by the man who was the doyen of the field, and who might be called its most significant practitioner (in much the same way that Terence Fisher is recognised as Hammer’s key director): the late James Bernard. But Bernard was not alone in his...