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Gerard Damiano’s moody 'porno-chic' title The Devil in Miss Jones (1973) straddles an odd divide between art house and hardcore pornography. Upon release it was described as "More morality play than masturbation aid." It follows the tragic story of Justine Jones (Georgina Spelvin), who dies by suicide only to end up facing an eternity in Hell because she took her own life. She insists that if she’s given another chance she can ensure she lives a life that truly warrants such eternal damnation. So begins an X-rated and oddly emotional odyssey of lust. The lush piano driven score courtesy of Alan Shuman highlights the melancholy at the heart of the story and negates typical conventions of kinky Seventies porn soundtracks. Head over to Paracinema.net to read my review of Shuman’s wistful score. While you’re there, why not pre-order a copy of issue 16 of Paracinema Magazine? It’s packed with in-depth critiques and articles on the likes of The Devils, Assault of...

Ever since Mary Shelley’s Creature first spoke, uttering the words "I expected this reception [...] All men hate the wretched; how, then, must I be hated, who am miserable beyond all living things!" , horror has provided a voice for the voiceless. It has made readers and audiences privy to the outsider's perspective, and in doing so, has challenged mainstream, ‘normative’ values and presented the experiences of the marginalised and ‘othered’. From ground-breaking literary works by Mary Shelley, Ann Radcliffe, Shirley Jackson and Angela Carter, to trailblazing filmmakers such as Lois Weber, Alice Guy-Blaché and Maya Deren, whose work flickered fiercely across the early silver screen, women – historically silenced and marginalised, and currently living in a world where violence against women and girls is practically ambient - have used horror to interrogate and subvert traditional male-centric narratives and examine themes of agency, bodily autonomy, motherhood and restric...

1996 Dir. Alan Smithee 2127. A scientist onboard a space station attempts to complete the task began by his ancestor centuries ago; to destroy the puzzle box that, when solved and opened, allows the demonic entities known as Cenobites to enter our world and cause havoc and untold suffering in the name of pleasure. Written by Peter Atkins, with Clive Barker serving as executive producer, Bloodline is the centuries-spanning origin story of the puzzle box that featured throughout all the Hellraiser films up until this point - and the sequels which followed. Acting as a doorway to hell itself, the box, an amalgamation of alchemy and science, grants demons access to our world. Director Kevin Yagher disowned the film when the studio began re-editing it, ordering re-writes and re-shoots, and generally interfering with his grand vision. And what a vision this could have been. The tale of a family plagued for generations by demons who wish to create a permanent doorway into our world;...

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