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There’s a very specific generation of us that caught Julian Sands’ career somewhere as it bridged wholesome take-your-grandma-to-the-cinema historical dramas à la James Ivory s Oscar-winning
A Room with a View, before taking a turn towards decidedly murkier genre territory which – while not the only area he would work in – have remained my personal favorites and those of many others. Sands would up the dark ante as he increasingly appeared in unwaveringly enigmatic films that he was already drawn to like Ken Russell s gloriously demented
Gothic, later appearing in movies including Steve Miner’s 1989 film
Warlock and its 1993 sequel, Jennifer Lynch s unfairly maligned