Over on the Alcohol Professor, I have a three-parter about the famed American Bar in London’s upscale Savoy Hotel. But Spies at the Savoy doesn’t restrict itself to a history of the bar, since I have no self-control. It also covers a history of cocktails themselves, the birth and evolution of hotel bars and cocktail culture in New York, the ties between the Savoy and the British intelligence service during WWII, and what exactly it all has to do with shoving your arm up a horse’s butt.
Power pop fans sometimes try to swell the ranks of their chosen obsession by widening their nets to include within it acts that are not necessarily deserving of the label. Take for example, The Quick, a fixture of LA’s club scene in the 70s often cited as power pop standard bearers.
The greatest compliment you could pay an exploitation film is to say it looks like they designed the poster first and then recreated it on screen. This formulation describes Inframan perfectly. It is, in many ways, a perfect film, in that it is resoundingly successful in achieving what it sets out to do.
On the Cultural Gutter, Over the Moon, Comrade is my look at the Soviet science fiction adventure Cosmic Voyage and the film that inspired it, Fritz Lang’s Woman in the Moon.
One of the great films of the Hong Kong New Wave, Tsui Hark’s Chinese Revolution era adventure is notable for focusing not on the war or heroic men, but on the friendship that grows between three women who find themselves involved in a tangled web of espionage.
On The Cultural Gutter, I’m fighting the Battle of the Brains, a look at the classic B-movie Fiend Without a Face.
On Alcohol Professor, Sinning is Sydney is a rough and tumble quick guide to some of the city’s best and most historic bars and pubs.
Steve McQueen stars as a San Francisco cop assigned to protect a witness against the Mob. Before the film winds to its thrilling conclusion on the tarmac of San Francisco International, viewers will marvel at McQueen’s casual cool and one of the best car chases in cinema.