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A Time for Killing is a 1967 Western film that is more of a grim look at war and revenge than it is a rollicking shootout in the American frontier. Also known as The Long Ride Home, A Time For Killing is a Civil War Western set in a Union prisoner-of-war camp near the Mexican border where Major Tom Wolcott (Glenn Ford) is in charge of an inept group of Union guards and scheming Confederate prisoners. The prisoners are led by Captain Dorrit Bentley (George Hamilton), a Southern gentleman who is not as gallant as he would like to believe.

Along with being Harrison Ford's first credited movie role as Lt. Shaffer, A Time for Killing is best known for switching directors early in production. The film was first set to be directed by B-movie legend, Roger Corman, who left after reported fights with Columbia Studios, who grew frustrated with...

The actor on the fate of Lovejoy’s leather jacket, appearing nude on the cover of Cosmo and how to make a perfect cup of tea

Which of the so-called serious actors – Richard Burton, John Hurt, Oliver Reed etc – that you worked with were the funniest? Kellysahero1970

Oli. We did Sitting Target together. I knew him before that and we had a good time together. The trouble was he became inclined to be a bit of a bully when he drank, but he was charming most of the time. Richard was terrific. I think he was very underrated when we did Villain and I played his bisexual driver fixer, Wolfie. There’s the infamous scene where we’re about to get it on and he looked at me and said: “I’m very glad you’re playing this part.” I said: “Really, Richard?” He said: “Yes, because you remind me of Elizabeth.

Editor Emma E. Hickox comes from a showbiz legacy family. Her father was director Douglas Hickox (“Sitting Target”), and her mother, Ann V. Coates, won an Oscar for editing “Lawrence of Arabia.” Even though young Emma learned much about the industry as a child “through osmosis,” she says that it was important for her to make it on her own.

“I wanted to direct theater,” says the London native, who had worked in L.A. as an unpaid assistant. “When someone said they were looking for an apprentice editor, I wasn’t keen at all. Then they told me how much they were going to pay, and I said, ‘See you on Monday!’”

Once in the editing room, Hickox fell for the job. Hard. “I love filing and being organized,” she says. “I’m very precise, so I adored being an assistant editor.” Working under Frank Morriss, Hickox learned that...

Oliver Reed Week! continues at Trailers from Hell with screenwriter Josh Olson introducing "Sitting Target," starring Reed as a crazed convict who breaks prison to kill his unfaithful wife. Director Douglas Hickox (Theatre of Blood) worked his way up from assistant director to have a brief run of commercial hits in the mid-70s. This is probably his most nihilistic project, a bleak, violent thriller in the vein of Get Carter and Villain. All we could unearth on this one was a 60 second tv spot.

Highlights Of Issue #24:

Major celebration of The Poseidon Adventure's 40th anniversary with articles by David Savage, Tom Lisanti, James Radford and Chris Poggiali. Includes many rare photos, international movie posters and interviews with Carol Lynley and Mort Kunstler, the legendary artist who created the movie poster. Kunstler also provides his original sketches for the ad campaign, reproduced in this issue for the first time.  40th anniversary tribute to Deliverance. John Exshaw visits director John Boorman at his home in Ireland for exclusive interview about working with author James Dickey on the landmark film. Gary Giblin takes an in-depth look at another classic film celebrating its 40th anniversary: Alfred Hitchcock's Frenzy, complete with rare stills from sequences that the Master cut from the final version of the movie. Matthew R. Bradley looks at one of the screen's legendary baddies, James Bond nemesis Blofeld in both literature and cinema.

Issue #24 of Cinema Retro is being hailed by many readers as the very best in the eight years we've been publishing. What makes it so special? Consider the wide range of great films covered in this one, diverse issue:

Major celebration of The Poseidon Adventure's 40th anniversary with articles by David Savage, Tom Listanti, James Radford and Chris Poggiali. Includes many rare photos, international movie posters and interviews with Carol Lynley and Mort Kunstler, the legendary artist who created the movie poster. Kunstler also provides his original sketches for the ad campaign, reproduced in this issue for the first time.  40th anniversary tribute to Deliverance. John Exshaw visits director John Boorman at his home in Ireland for exclusive interview about working with author James Dickey on the landmark film. Gary Giblin takes an in-depth look at another classic film celebrating its 40th anniversary: Alfred Hitchcock's Frenzy, complete with...

To some delicate souls it might seem a trifle peculiar and even off-putting that the man who directed the 1980 Maniac, an exploitation picture that many considered beyond the pale in its creepy misogyny and all-around anti-social intensity, should now be invited to curate, as they say, a series at the Lower East Side temple of art cinema, Anthology Film Archives. But anyone with even a passing familiarity with the eclectic, subversive aesthetic of the Archive and its founder Jonas Mekas—the visionary who championed Jack Smith's Flaming Creatures back when it was considered by many to be not only not art, but thoroughly pernicious and irredeemable trash by any "decent" standard—would not be in the least surprised. Director and DVD entrepreneur William Lustig, founder of the groundbreaking DVD label Blue Underground, has made it his mission in life in recent years to enlighten movie lovers of all stripe...