The Videoscope reach into the world of genre films knows no limit in longitude, latitude or equatorial boundaries and borders.

Any issue covers New Releases, Best of the Fests (Video FrightFest at London’s Leicester Square & The Prince Charles Cinema; Asia’s Bucheon International Fantastic Film Festival in South Korea; The Jeonju International Film Festival, Jeonju, South Korea; Popcorn Frights Horror Festival in Ft. Lauderdale, Florida; FilmQuest at Velour in Provo, Utah; The Fantastic Fest in Austin, Texas; The Overlook Film Festival for Horror & Genre; The Fantasia International Film Festival in Montreal, Canada; The Portland Horror Film Festival in Portland, Oregon; The Imagine Film Festival in Amsterdam, the Netherlands; The Arrow Video Frightfest at the Glasgow Theater, U.K.; The Boston Underground Film Festival at the Brattle Theatre & The Harvard Film Archive; The International Fantastic Film Festival in Brussels), Reeling Back editor Naglin’s retrospective giving a fresh look to gems from the past (this month ‘Mondo Mineo’ a study of the films of Sal Mineo); occasional columns: The Sci-Fi File, Doomsday Theater, They Came From the Basement (movies that, well, you guessed it), The Phantom’s reviews of newly released sets: The Joy of Sets covering such clutches this issue (# 113 hot off the pulp presses) an exhaustive Abbot & Costello collection, The Fly Collection, The Omen Collection, Mystery Science Theater 3000, an Anne Bancroft collection, and in tele-video the Charlie’s Angels 20 disc complete extravaganza, Acorn Media’s London set Line of Duty Series 5, London Kills Series 2, New Zealand’s Brokenwood Mysteries Series Season 5 and then there are interviews: like with stuntman extraordinaire Gary Kent as told to Terry and Tiffany Dufoe, recent issues talked with Candy Clark, monster makeup man Dennis Liddiard, the late John Polito, Hammer star Caroline Munro, Predator co-star Bill Duke and Martine Beswick, yes her too.

I have offended by omission the legion of reporters, experts and cineastes who make this magazine happen. To all of you, I’m sorry. I’ll do better in the future. Videoscope is even fun for its ads. Where do you hear about new releases from WARNERARCHIVE.com, Vinegar Syndrome, MVD.com, The Film Detective.com, KLS Studio Classics.com, Somethingweird.com, Code Red and Kino Lorber, Indican Pictures, Blue Underground, KL Studio Classics, Mill Creek Entertainment and many more. And oh yes, books from bearmanormedia.com.

Where else does someone like The Phantom (there is no one else like the Phantom) do a regular column titled ‘I Wake Up Streaming’ for movies emerging from the sea of YouTube? Or the Phantom’s other column, ‘The Noir Gang’? Where else do you find 80+ reviews of Blu-ray and DVD classics and not so classic in one issue? Where else do you find what’s trending or ending in Iranian cinema, Egyptian cinema or Nigerian cinema? Where else do you find editors who consistently pay attention to women filmmakers?

Check out Videoscope and let the Phantom and Phantomess show you what genre film really means. It will also give you a cross-referencing depth and greater appreciation of Review Graveyard and Sci-Fi-Online.

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John Huff