Twins of Evil works because Mary Collinson and Madeleine Collinson bring more to it than simple Hammer glamour — there’s a strange innocence and melancholy underneath all the gothic excess. The contrast between the sisters gives the film its tension, especially once the vampire storyline starts blurring morality and temptation together. A lot of fans remember the movie for the atmosphere, candlelit castles, and sheer 1970s Hammer style, but the Collinson twins are really what make it memorable decades later.
The Cincinnati Kid is one of the coolest gambling movies ever made — not because of the cards, but because it understands ego, pressure, and reputation. Steve McQueen plays the Kid with that quiet confidence he had in his best roles, and the final poker showdown with Edward G. Robinson still holds up as one of the tensest endings in a 1960s film. It’s less about winning money than about finding out whether talent alone is enough when you finally sit across from a legend.
Sullivan would go on to play baseball at Baylor (1952-1954) and serve as head coach to the Bears baseball program from 1974-1994, compiling a record of 649-428-3.
Newsstand Library was a line of inexpensive books or magazines distributed through newsstands, drugstores, train stations, and other mass-market outlets rather than traditional bookstores. Popular throughout the mid-20th century, these “libraries” often specialized in pulp fiction, mysteries, westerns, romance, or adventure stories designed for quick, affordable reading. Their colorful covers and wide distribution helped bring reading material to everyday consumers and played a major role in the growth of paperback culture in the United States.
MADBALL is a novel of one traveling show, and of the lives of its carny, who live to close to the edge of frenzy.
The 1973 blaxploitation film The Black Six is often remembered less for its plot than for how it projected Black identity through biker culture — presenting Black men as autonomous, mobile, and resistant to small-town white hostility. At the same time, the movie leaned heavily on exaggerated “cool” archetypes common to the era, creating a mix of empowerment and stereotype that reflected both the ambitions and limitations of 1970s Black cinema. Its racial politics feel uneven today, but the film remains an interesting snapshot of how Hollywood and independent filmmakers were experimenting with Black representation during the blaxploitation boom.