Thank you!

Culture Shock: Festival of Fantastic Film | Showroom Cinema Join us for the second edition of Culture Shock: Festival of Fantastic Film, a genre film festival from the makers of Celluloid Screams that celebrates classic and contemporary sci-fi, fantasy, horror...

The second annual Culture Shock festival (from the folks at @celluloidscreams.bsky.social) kicks off at Sheffield's Showroom Cinema in just two weeks. You won't find more eclectic genre programming – Possession, A Chinese Ghost Story, Dead Mountaineer's Hotel, R.O.T.O.R. – anywhere else.

The Eureka Classics release of Wolfgang Petersen’s Enemy Mine, in a clear amaray case and featuring original poster artwork: Dennis Quaid and Louis Gossett Jr (in make-up as the alien Drac) face each other in front of a blue and purple hued space scene. The case is being held up in front of shelves filled with Eureka releases.

I've just realised it's been 10 years now since I made my first contribution to a Blu-ray release. I wrote an essay on Wolfgang Petersen's Enemy Mine (still a firm favourite) for Eureka in 2016. A decade later, I'm producing discs for them – all thanks to this underrated little sci-fi film, I guess.

Threads and the making of the Sheffield mind "The film had genuinely traumatised him in a way that has made him ready for the end of the world at any moment"

Just been reminded – by an exciting email from Severin – that I forgot to share this piece from the Sheffield Tribune when it was published. We've talked to a lot of people about Threads and our upcoming documentary Survivors: The Spectre of Threads, but this is my favourite interview we've done.

One of my favourite pieces of art I have ever commissioned, by the exceptionally talented @carlydraws.bsky.social.

I've finally got my framed #ArtOfAction poster, featuring my introduction to #TheAdventuresOfRobinHood (1938), on the wall.

You can read "Robin Hood And The Stuntman Lost In Time" below.

#FilmSky

Might be one of those odd ones where the year of production has become confused with the year of release over time. Either way, a cool film.

I'm pretty sure that one was first premiered in 1980 and then released more widely in 1981, so I don't think of it as part of the 1981 werewolf wave (I also have it filed away in my head as "Return of the Wolfman," so it took me a second to figure out which one you meant!). Great film though.

I wrote a PhD and a book about werewolf films and didn’t include Wolfen because… they’re not werewolves. Full Moon High is the other werewolf movie of 1981!

Did a new Blu-ray cover… whysoblu.com/cecile-is-de...

Saw this last Saturday and it’s the standout of the year so far for me. Performances are fucking incredible.

Title card for The Man in the Back Seat (1961), with the title written in white block capitals against the leather seats in the back of a car.

Picked up the BFI’s new release of Strongroom and absolutely loved supporting feature The Man in the Back Seat. Incredibly nippy at 57 minutes(!), it’s a very tense crime thriller that follows two petty crooks desperately trying to offload their injured victim without getting caught. Great stuff.

Slipcase artwork for the Eureka / Masters of Cinema release of The General. Packaging design by Nick Wrigley.

Slipcase artwork for the Eureka / Masters of Cinema release of Cécile is Dead. New artwork by Sean Phillips.

Slipcase artwork for the Eureka / Masters of Cinema release of Trace of Stones. New artwork by Carly A-F.

Eureka's May titles have just been announced, all of them a total blast to work on: Buster Keaton's masterpiece The General on 4K UHD, an excellent and underseen outing for Inspector Maigret in Maurice Tourneur's Cécile is Dead and Frank Beyer's controversial Trace of Stones, one of DEFA's finest.

Gen Z is reviving DVDs and Blu-rays, with local video rental shops reporting record months and membership numbers as young people embrace physical media.

Read more: www.latimes.com/entertainmen...

Two things that will make me think very carefully about whether I really want to read a book are the present tense and the second person.

Top 10 Blu-rays (UK) for February 2026 Another month - is it February already? - another packed release schedule in 1080p blu-ray land. Lets see which ones are worth picking up, shall we?

It has made my day to see Eureka's release of Jakob the Liar – the only East German film to ever be nominated for an Academy Award – top the @avforums.bsky.social list of Top 10 Blu-rays for February 2026. It was a genuine honour to produce this one and I'm really very proud of it.

Cover art for the Chasm Films release of Taxidermia (2006), featuring art by John Dunn. A man (Marc Bischoff as Lajoska Balatony) stands naked in front of a green painted background. His body is painted in hues of green and red. There is stitching down his chest and his right arm is raised in the air. Subtle lines separate his lower arms and his head from his body.

We've been working on Chasm Films, a new home video label dedicated to underground world genre cinema, for ages – so it's great to see our first release announced with huge thanks to @filmsradiance.bsky.social for hosting us. Taxidermia is beautiful, bonkers and a world Blu-ray premiere. Pick it up.

Three large rectangular signs affixed to the side of a grey apartment building read “MARTIANS LOVE LAW.” The signs are white with blue text outlined in red. Residents are hanging red and blue flags from nearby windows. A television camera is visible in the bottom right of the frame.

Of all the new-to-me films I watched last year, the one I think about most often is Piotr Szulkin's War of the Worlds: Next Century. A radical approach to the familiar alien invasion narrative about the evils of media manipulation (and martians obviously). Available on disc from Radiance.

It's from before my time at Eureka – so I can confidently say I agree with you!

Thanks Johnny! Yeah, White Mare is a cracker. If you have the disc, the extra feature and the shorts all worth watching too.

It is, yes. Next one up will be Son of the White Mare, date TBA. Potentially some others to follow. Danger: Diabolik unlikely as we don't have theatrical, it's a Paramount film (which is not to say it couldn't just be booked from Paramount by anyone who wanted to screen it).

I had a blast talking about the mighty Rear Window (a personal all-timer) with @fatscoleman.bsky.social for @top100pod.bsky.social. I really love this film and hope it comes across in our discussion.

Still on Rarewaves at £26, which beats the £30+ on ebay.

💥NEW EPISODE!💥This month Tim is joined by @craigimann.bsky.social from Eureka Entertainment to discuss Alfred Hitchcock's REAR WINDOW (1954). Available wherever you get your podcasts.

A photograph of Peter Lorre about to hit Santa Claus with a baseball bat.

Merry Christmas!

a poster for absolute cinema shows a man sitting in a chair ALT: a poster for absolute cinema shows a man sitting in a chair

Ho ho ho and Merry Christmas! With so many classic films screening on UK television over the Christmas period, I thought I'd start a thread of what to look out for over the coming days...

Long shot, but if you have a VPN try setting it to a location outside of the EU. A website that normally doesn’t ask me for age verification did so this morning in compliance with some new EU regulation or other so I popped over to Canada and no problem after that. May not help but worth a go!

If they are I have already deleted it from my short term memory…

Just done the ritualistic flick through the seasonal Radio Times and pleased to see that 1) the BBC has remembered films made before 1980 and 2) New Year’s Eve on BBC Four is wall-to-wall Jaws programming. What better way to welcome 2026 than watching Jaws 2.

Packshot of the Eureka Classics release MARTIAL LAW: LO WEI'S WUXIA WORLD, featuring THE BLACK BUTTERFLY (1968), DEATH VALLEY (1968) and VENGEANCE OF A SNOWGIRL (1971). Artwork by Grégory Sacré (Gokaiju).

Great to see a Eureka release make it onto the Sight and Sound Discs of the Year (in the current issue of the print magazine) for the second year running. A very fun one to work on, co-produced by myself and Jacob Milligan.