1 min read


“Pulp” is one of the great films about fakers. Michael Caine in his prime playing a loudmouth ghost writer who dictates his books to a personal aid. All the while, he doesn’t fight the fact that he can’t put his real name on the covers. Caine pals around Italy wearing suits that I would’ve killed to own a decade ago. Now, it just plays up into that fun Mike Hedges’ style that only worked in the 70s and 80s. Sorry to the Croupier fans out there.

But, then there’s Mickey Rooney. Rooney’s oddball role as the celebrity exile hiring Caine to write his life story is amazing. He screws around with everyone, but keeps a cadre of weirdos to back up his whims. When a hitman starts gunning for both Caine and Rooney, things kick it up a notch. Between the oddball comedy, the wanton violence and Caine’s cool demeanor, I’m thrilled that no one has tried to stage an obvious remake. Hell, I feel like I’m tempting fate by bringing it up.

Hopefully, this film will be a prime discovery for those kicking off 2018 right.


  • Interviews
  • Trailer
  • Galleries


  • 1.85:1 1080p transfer
  • LPCM 2.0 MONO

RELEASE DATE: 12/12/17

  • 94%
    Video - 94%
  • 93%
    Audio - 93%
  • 90%
    Supplemental Material - 90%
  • 93%
    Film Score - 93%

The Plot Thus Far

A year after they’d created one of the defining British gangster pictures with Get Carter, three Michaels – writer-director Mike Hodges, producer Michael Klinger and star Michael Caine – reunited for another crime picture, albeit with a more oddball flavour… Caine plays Mickey King, a successful pulp novelist responsible for such titles as My Gun Is Long and The Organ Grinder, who is invited to ghost-write the autobiography of a mystery celebrity. His client turns out to be a former actor, played by Mickey Rooney, well-known for his gangster roles and real-life gangster connections – but death is around the corner, and King finds his commission to be a lot more complicated than he first imagined. A favourite of J.B. Ballard, Pulp has long existed in the shadow of its predecessor. Tonally, it could not be more different – Get Carter never had the time for sight gags and one-liners – but it’s a real gem in its own right and fully deserving of a wider audience. This brand-new restoration from Arrow Films aims to right that wrong.


Troy Anderson is the Owner/Editor-in-Chief of AndersonVision. He uses a crack team of unknown heroes to bring you the latest and greatest in Entertainment News.

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