I’ve been a movie lover for as long as I can remember. My father loved movies and he passed his deep affection for them on to me. I grew up on a steady diet of horror cinema, spaghetti westerns, American musicals, espionage adventures and Japanese monster movies, which gave me the ability to appreciate films that were often marginalized by other film fans and overlooked by many critics. As I got older my interest in cinema expanded into other areas such as Italian Neorealism as well as the British, French and Japanese New Wave.
My first film reviews were published in my junior high school newspaper when I was just 14-years-old and when I started attending college I concentrated on film studies. In 1997 I created the first English language website devoted to the French actor Alain Delon, which allowed me to become more immersed in international film culture. The following year Anchor Bay asked me to contribute research materials to their VHS & DVD release of Jack Cardiff’s GIRL ON A MOTORCYCLE (1968) starring Delon and Marianne Faithfull.
I began blogging about film in 2001 at LiveJournal where I also started a horror film community called “Mondo Macabro” (inspired by the DVD company & Pete Tombs’s book of the same name) and in 2006 I left LiveJournal and created Cinebeats.
For 9-years (2010-2019) I was a regular contributor to Turner Classic Movies at TCM.com. When they launched their film streaming service (FilmStruck) in 2016 I was brought on board to write weekly programming articles until its demise in 2018. I have contributed liner notes to the CD release of John Barry’s soundtrack for BOOM! (1968), provided an overview of Lee Marvin’s performance in POINT BLANK (1967) to the 2008 Woodstock Film Festival guide and my essay on LITTLE BIG MAN (1970) was singled out by the National Film Registry for publication on the Library of Congress website. My film writing has also appeared online and in various film and culture magazines including Cineaste, Cinedelica, Fandor, The Cultural Gutter, Paracinema, and Morbid Outlook.
In 2009 I was honored to be one of the first women nominated for a Rondo Award as a result of my writing and research devoted to classic horror films and in 2010 Film Comment called Cinebeats one of “The Top Film Criticism Sites.” In 2011 Total Film nominated Cinebeats for their “Best Film Fan Blog Award” and in 2012 I was asked to join the Alliance of Women Film Journalists. As a member of AWFJ I was proud to be part of the Edinburgh International Film Festival jury panel that awarded the Best Female-Directed Documentary to MANAKMANA (2013) in 2014.
I have many film-related interests but I’m particularly fond of horror films, British and Japanese cinema, as well as cult, genre and arthouse films made between 1960-1979 and my writing reflects this.
I created Cinebeats because I like writing about the movies I love and I enjoy sharing my passion for cinema with others. I also wanted to shine some much-needed light on neglected films and overlooked performances, which I have done consistently for the past 20 years.
– Kimberly Lindbergs
MORE ABOUT KIMBERLY:
Besides film journalism, I’m also a published poet and artist. To see more of my work please visit my personal website @ kimberlylindbergs.com
WHERE YOU CAN FIND MY WRITING:
• TCM.com (Turner Classic Movies) – Atlanta, US
• Cineaste, New York, US
• The Cultural Gutter
• Fandor’s Keyframe – San Francisco, US
• Screening the Past Victoria, Australia
• Paracinema – New York, US
• Cinedelica – Lancashire, UK
• Fashion Doll Quarterly – New York, US
• Morbid Outlook – New York, US
• Comic Culture – Kentucky, US
• Propaganda Magazine – Los Angeles, US
MY WORK HAS BEEN SINGLED OUT BY:
• The New York Times
• American Movie Classics Blog
• The Auteurs Notebook
• The Boston Globe
• Bright Lights Film Journal Blog
• Cinema Retro
• Daily Greencine
• Film Comment
• The Guardian
• Time Out New York
This site is a nonprofit review site and claims no ownership over the images used to promote the films discussed here. All original blog content is copyright © 2006-2021 by Kimberly Lindbergs and cannot be directly copied or distributed in full without her permission.