Legendary Hellboy Creator Mike Mignola and Acclaimed Artist Ben Stenbeck Unveil an All-New Fictional Universe: Lands Unknown

Bowling With Corpses and Other Strange Tales From Lands Unknown

is an Anthology of Folklore-inspired Fantasy Stories, Written and Drawn by Mignola,

Colored by Dave Stewart and Lettered by Clem Robins

That  Introduces a Shared Universe of Stand-Alone Stories Created by Mignola and Stenbeck

Thirty years after Mike Mignola created Hellboy, the legendary cartoonist is introducing readers to a brand new shared universe, created with frequent collaborator Ben Stenbeck, the writer/artist of the acclaimed series Our Bones Dust. In December, Dark Horse Comics will publish Bowling With Corpses and Other Strange Tales From Lands Unknown, an anthology of folklore-inspired fantasy stories written and illustrated by Mignola, coloured by Dave Stewart, and lettered by Clem Robins. The book will be the first publication from Curious Objects, Mignola’s new imprint at Dark Horse and will set the stage for more weird, wicked, and whimsical stories in the “Lands Unknown” universe from Mignola and Stenbeck.

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In Bowling With Corpses and Other Strange Tales From Lands Unknown, the stories are fantastical, odd and charming — from a search for the beating heart of a long-dead sorcerer, to a pirate girl who makes a deal with the devil, to the titular boy who wins a grim prize in a game with undead interlopers. 

“It all started with an Italian Folktale about a boy who goes bowling with corpses,” said Mignola. “I fell in love with the story as soon as I discovered it but I wanted to play fast and loose when adapting it, so I created a whole new world. Not TOO different than our world a few centuries ago, but with a lot more gods and monsters. Once I created that world new characters and stories just started pouring out of it. There is a whole lot to play with here and I expect to be at it for a very long time.”

few years now Mike has been emailing me designs and pages and ideas and maps and lists of place names for this world, and his enthusiasm for this project is indomitable and infectious,” said Stenbeck, who will be writing and drawing other, unannounced future Lands Unknown comics. “So often my reaction to these emails is ‘that's great Mike! But I still have two books to draw before I can even move on to this work!’ and then I find myself taking three days off to write a new story. Luckily Mike likes my stories. My first project is set far off in a distant corner of this world. That way I can't bump into anything Mike is doing and make a mess. Spoiler...it will have monsters in it.”

In addition to the Hellboy Universe he created three decades ago, Mignola has co-created the Outerverse Universe with New York Times bestselling novelist Christopher Golden, co-created a series of eerie and off-kilter Victorian-style gothic mysteries with Warwick Johnson-Cadwell, starring Professor J.T. Meinhardt, Mr. Knox, and Ms. Mary Van Sloan, and recently co-created Radio Spaceman with Greg Hinkle and Leonide the Vampire with Rachele Aragno. In addition to his work on the Hellboy and Outerverse universes, Stenbeck’s writer-artist debut Our Bones Dust has generated widespread acclaim.

Bowling With Corpses and Other Strange Tales From Lands Unknown is a 112-page hardcover that will be released in bookstores on December 3, 2024 and in comic shops on December 4.  Follow Dark Horse Comics on social media for more news, announcements, and updates.

EC COMICS IS BACK WITH A VENGEANCE – AND ALL–NEW PUBLISHING LINE – AT ONI PRESS

Seventy years after the creation of the Comics Code Authority irrevocably changed the course of comics history, the most infamous, notorious and controversial comic publisher of all time is set to return from the grave in summer 2024… 

Oni Press – the multiple Eisner and Harvey Award-winning publisher of groundbreaking comics and graphic fiction for more than 25 years – is proud to announce a brand-new publishing partnership with William M. Gaines Agent, Inc. that will see the full-fledged return of EC Comics to comic shop and bookstore shelves worldwide with a slate of all-new series beginning in the summer of 2024. 

Beginning with EPITAPHS FROM THE ABYSS #1 in July and CRUEL UNIVERSE #1 in August – the first official EC Comics series produced in nearly seven decades – Oni’s ambitious EC Comics publishing program will be overseen by Oni Press President & Publisher Hunter Gorinson and Editor-in-Chief Sierra Hahn in partnership with Cathy Gaines Mifsud and Corey Mifsud, the daughter and grandson of legendary EC Publisher William M. Gaines and administrators of William M. Gaines Agent, Inc. 

“As my father said, ‘Only in the bounds of good taste!’ and I’m so excited to exhibit EC's good taste with Oni Press, who have distinguished themselves with both an award-winning library of comics and graphic novels and a passionate understanding of EC’s singular role in shaping comics history,” said Cathy Gaines Mifsud, President of William M. Gaines Agent, Inc. 

“EC Comics is no stranger to a good comeback story! We’re thrilled to make this return with Oni Press and usher the classic EC sensibilities into the modern world,” said Corey Mifsud, Executive Director of William M. Gaines Agent, Inc. “It’s always been our dream to one day bring the fearless creative spirit of EC to a new generation. Working hand-in-hand with Oni’s award-winning team and a sensational cast of creators, it’s a pleasure to – at long last – shepherd EC into the 21st century with all-new series and stories.”

Edited by Hahn, Oni’s curated line of EC titles – which will include at least two series on a monthly basis from July 2024 onward in the genres of horror, science fiction, fantasy, and more – will feature contributions from a rotating cast of high-profile comics talents that includes writers Jason Aaron (Thor, Southern Bastards), Brian Azzarello (Batman: Damned, 100 Bullets), Rodney Barnes (Killadelphia), Corinna Bechko (Invisible Republic), Cullen Bunn (The Sixth Gun), Christopher Cantwell (Briar), Cecil Castellucci (Shade the Changing Girl), Chris Condon (That Texas Blood), Joshua Hale Fialkov (The Bunker), J. Holtham (AMC’s The Handmaid’s Tale), Jeff Jensen (HBO’s Watchmen, Green River Killer), Matt Kindt (BRZRKR, Mind MGMT), Sean Lewis (King Spawn), Stephanie Phillips (Grim), Jay Stephens (Dwellings), Zac Thompson (Cemetery Kids Don’t Die), Ben H. Winters (CBS’ Tracker), and more; artists Kano (Gotham Central, Immortal Iron Fist), Peter Krause (Irredeemable), Leomacs (Rogues), Malachi Ward (Black Hammer: The End), Dustin Weaver (Avengers, Paklis), and more; designer Rian Hughes (The Multiversity); alongside covers from Lee Bermejo (A Vicious Circle, Batman: Damned), Greg Smallwood (The Human Target), J.H. Williams III (Sandman: Overture, Promethea), and more to be revealed in the weeks and months ahead. 

“Seventy years ago, EC Comics redefined what comics could be with shocking, confrontational and brilliantly crafted stories that challenged the existential issues at the center of American life – censorship, racism, sexism, nuclear proliferation, and more. Today, those battles continue in alarming and pernicious new ways,” said Oni Press Editor-in-Chief, Sierra Hahn. “What better time to resurrect the undying spirit of EC Comics – one of the most entertaining, subversive, and influential publishers of all time – with an all-star cast of storytellers to examine today’s society through the lens that William Gaines and his legendary collaborators have left us.”

Founded by M.C. "Max" Gaines – often cited as one of the original creators of the comic book format – as “Educational Comics” in 1944, EC spearheaded a watershed evolution in the craft, quality, and power of the comics medium under Max's son, William M. Gaines, following the elder Gaines’ sudden death in 1947. Rechristening his father’s creation as “Entertaining Comics,” publisher, editor, and writer William M. Gaines recruited one of the most legendary creative stables in the history of the comics medium – including future Eisner Hall of Fame inductees Johnny Craig, Reed Crandall, Jack Davis, Al Feldstein, Frank Frazetta, Harvey Kurtzman, Joe Orlando, John Severin, Marie Severin, Al Williamson, Wally Wood, and many more – to oversee the creation of a revolutionary slate of new series that would soon grow to include TALES FROM THE CRYPT, MAD MAGAZINE, WEIRD SCIENCE, TWO-FISTED TALES, and more. 

Widely celebrated for fearlessly confrontational stories that were as creatively innovative as they were culturally subversive – confronting racial and gender inequality, militarism, and environmental degradation in ways that would anticipate both the burgeoning counterculture and Civil Rights movements – EC’s urge to probe the darkness lurking beyond the edges of post-war America though tales of horror, science fiction, humor, and war earned the company millions of readers … and established a new high watermark for one of the first definitively American artforms: the comic book. 

However, EC’s reign at the forefront of the American comic book industry – a period during which it eclipsed Marvel, DC, and Archie with sales of 10 million comics per year – would come crashing down in 1954 as an anti-comics moral panic swept America, inspiring book burnings, police surveillance, and a Congressional investigation that would see William M. Gaines’ testimony broadcast live in households across the country. This pro-censorship movement soon culminated in the creation of the Comics Code Authority, a sanitizing regulatory group whose guidelines were specifically tailored to remove EC’s comics from newsstands. EC’s final comics – until now – were published in 1956, and the hugely popular MAD was re-formatted as a magazine to escape Code scrutiny. Even so, the untimely death of EC could not erase the company’s far-reaching impact, having already inspired a young generation of readers – including John Carpenter, Guillermo del Toro, Matt Groening, James Gunn, George Lucas, Stephen King, George R.R. Martin, The Ramones, George Romero, Steven Spielberg, and hundreds more – who have cited EC’s iconoclastic brand of storytelling as a deep and primordial influence. 

“There are few things more sacred to the canon of comic book history – and global pop culture – than EC Comics. The company’s audaciously inspired sensibilities have continuously echoed through nearly all facets of entertainment – like pieces of shrapnel embedded in American imagination,” said Oni Press President & Publisher Hunter Gorinson. “It’s both a huge honor and immense responsibility to be entrusted to work alongside the Gaines family in inhabiting EC’s indomitable spirit for a new generation. At a moment when we find ourselves confronting the same reactionary forces – injustice, inequality, and of course, censorship – that EC challenged head-on, we intend to write a new and powerful chapter that honors and expands one of the most important legacies the comic book medium has ever produced.”

Oni Press’ first two new EC titles – EPITAPHS FROM THE ABYSS and CRUEL UNIVERSE, a pair of horror and science anthologies in the classic EC mold – will debut in July and August 2024, respectively, before the publisher introduces more series in genres and formats that will expand the scope and scale of the EC publishing line in ways never before attempted. 

Comic Oddities: Pinhead vs. Marshal Law (1993)

We are so used to crossovers in comics, and more and more in movies, that the formula has become a cliché. Two heroes meet, they fight and then they team up against a common enemy. They are usually fun but don’t amount to a great deal as they can be dropped from the continuity of either character, having no lasting impact. During the early stages of the comic boom in the 90s it’s wasn’t surprising to see mash-ups of all kinds of mainstream characters, as well some of the indie ones as well. However, even amongst these there are a couple of oddities. Today I’m going to review and discuss Pinhead vs Marshal Law (1993, Epic Comics).

There is a strong chance that you haven’t heard of one or either of these characters, so let’s have a quick history lesson.

Pinhead was created by Clive Barker in 1986’s Novella ‘The Hellbound Heart’. The character reached the cinema screen the following year in Hellraiser. Pinhead is the leader of a group of demon creatures called Cenobites, that when summoned via the puzzle box, the lament configuration, inflict ultimate pain and pleasure on the summoner. It should be noted that Pinhead is not call Pinhead in either of these, he is referred to as the priest. It was actually the films production crew that gave him the name Pinhead. The name stuck and was used in the press material and simply became the go to name for fans and other creators.

Marshal Law, created by Pat Mills and Kevin O’Neill, developed as a satire of Superhero comics and an extreme judicial system of policing them, 19 years before the publication of The Boys (2006). The series is set in the future city of San Futuro and Marshal Law is a sanctioned Superhero enforcer. He has Super powers and the authority to take out any wayward Superheroes, with extreme force. He has remained a cult comic figure that has been published by several companies that no longer exist.

The first thing to highlight about the series is that in any inter-company crossover one character has to enter the others world, and as such will have to bend to the rules of that world. In this case, as the book was written and drawn by the creators of Marshal Law, Pinhead is entering Marshal’s world. So the Pinhead we get in the two issue series is not the same as the character that Clive Barker envisioned. More on that later.

The plot is straight forward and is presented in line with previous Marshal Law stories. While attending a Superhero therapy centre Marshal is presented with the Lament Configuration as a way of accessing enlightenment. Once open, Pinhead and the denizens of Leviathan’s (Pinhead’s god figure) hell attempt to break Marshal with torture. Falling back on his skills in extreme violence Marshal breaks free and confronts the human elements of Pinhead. The two reach a truce when they witness the ridiculousness of a superhero rescue.

The first thing I want to praise is Kevin O’Neill’s angular art. It’s a very particular style that once seen is hard to forget. It’s cartoonish and yet detailed. Character designs are stylised with hugely exaggerated musculature and wild costumes. He was satirising the Extreme 90s before they even happened.

The hyper-stylised superheroes are balanced against wonderfully graphic violence, as well as depictions of gore, disfigurement and scenes of hell to rival Dante. The Cenobites we are introduced to are grotesque, with twisted flesh and self-mutilation. In addition to this the book is loaded deliciously gruesome easter-eggs, such as superman being tortured by Louise Lane.

As I mentioned this comic takes place in Marshal’s world, so he appears as Mills intends. Pinhead however is filtered through Mills and O’Neill and so is a few steps away from the character envisioned by Clive Barker. This version swings from the sedate pontificating priest to something akin to Freddy Kruger. It’s not too far from one liners and killing jokes. A nice nod to Hellraiser 2: Hellbound though is dressing Pinhead as a surgeon, from the infamous deleted scene. Despite this tilting of the character, he maintains his essence as a seeker extreme sensation and is clearly identifiable as Pinhead throughout.

Mills writing is sharp and pointed. He pocks fun at a number of things from homeopathic therapies (drinking superhero urine), to cultish ideas of reaching enlightenment. This is all standard for Mills and while solid, is what I expect from him. More effecting is the finale of the book. Many other writers would have the climax be a bevy of violence and gore, resulting in Pinhead being beaten back to his dimension. Not Mills. Don’t worry, there is violence and gore, but Mills taps into one of his other books Charley’s War.

Mills ribs the cliches of the superhero team ups and dialogue. A favourite being Razorhead admitting in thought panels that he wants to kill and maim, while spouting heroic dialogue about saving his fellow superheroes to those around him. This set up runs in parallel to Pinhead being confronted by his human origin in the trenches of World War One. When the Heroes breach the depths of hell, they are confronted with the true horrors of war. Facing the filthy conditions, the endless death and the tortuous hellscape of no mans land they are broken. They are useless against the realities of poison gas, motor fire and men hardened by fear and survival.

As Pinhead observes, “Those idiots! What do they think they can achieve in a real war?”

Pinhead and Marshal then exchange a scene highlighting the fakeness of superheroes. Marshall stating that they are an insult to the true heroes, the men who fought and died in the trenches for something bigger than themselves. The two reach an agreement that Marshal doing his job, keeping them in line and punishing them is a worthy cause and should continue. In the meantime, Pinhead will keep a selection of the Superheroes in hell for his own ends.

Deconstructive Superhero narratives have taken aim at all aspects of Superhero storytelling, but few are so cutting in such a short number of pages. Between Mills and O’Neill the whole concept of super heroics is undermined and shown to be a sham next to the true horrors of the real world. Yes, they can be escapist entertainment but should never be held up as figures of admiration when there are people doing heroic acts daily, that go unrecognised. The fields of death in France littered with nameless bodies being one of the most extreme examples, but we should not forget the everyday heroes.

This should be a throw away two issue story mixed in with the many other crossovers, but it is so much more. The story is swift and punchy and belts along, loaded with sardonic humour and subversive sight gags. It can be enjoyed as a pulpy short comic crossover of two characters that should not work on the same page together. However, I would say that this is a hidden gem and should actually be considered in line with other deconstructive comics. While these two issues alone are not going to compete with Watchmen, as a part of the whole of Marshal Law they are a great example and worthy of further discussion.

Note:

Marshal Law: The deluxe edition is available on Comixology, unfortunately Pin Head vs Marshal Law is not collected.

Five most underrated Sequels:

Some films are so good and so iconic that any sequels that come after struggles to get out of the shadow of the original. This usually means that any sequels are tarred with a notion that they are inferior or just plain bad. In many cases, this is a fair assessment. However, there are examples of sequels that stand out as something special and should be revisited as excellent films in their own right. I should state, I’m not saying these films are superior to the originals, only that they are very good and should be reconsidered.

1.      Exorcist 3: Legion (1990) – Exorcist 2 is a shambles. It’s incoherent and badly made. It was never going to damage the reputation of the original 1974 classic, but it looked like the end of the road for any possible future sequels. That was until the author of the original Novel, William Peter Blatty, wrote his own sequel novel, Legion. The book was a success and Blatty was given the green light to translate it to the screen.

The story is linked to the original through characters alone, leaving the demonic element behind. Detective Kinderman, who investigated the killing of a character in The Exorcist, is investigating a series of murders that are exactly the same as those committed by an executed serial killer from 15 years ago, The Gemini Killer.

As he digs, he finds links to Patient X being held in a local hospital. X has the face of Father Dyer, who had sacrificed his life to save Regan, the possessed girl from 73, but claims to be The Gemini killer.

As Patient X keeps ranting, people are still dying. Is the killer able to possess people and use them to commit new murders, or is Kinderman going mad?

Legion is a dark supernatural thriller with outstanding performances from George C. Scott as Kinderman and Brad Dourif as The Gemini Killer. The dialogue is snappy, pitted with humour and tension. It keeps an almost perfect balance of the two for most of the film, before pushing the viewer into full horror for the finale.

This is one of the best under-seen films ever, and I recommend it to everyone who would listen.

2.      Psycho 2 (1983) – Hitchcock’s Psycho is pretty close to being a perfect movie. It was left alone for 23 years, but then a sequel came along and few knew what to make of it. In 1983, while people were aware of Psycho, I’m not sure many were clamouring for a follow up.

The risk with a Horror sequel, especially one linked to the birth of the slasher during the height of the slasher craze, would be to lean into the gore and have Norman fall back into his killer ways, stacking up the bodies. Luckily, Tom Holland didn’t go down this path. The film follows Norman after he is released and declared sane. He Returns home and tries to lead a quiet life with a job at a local diner while restoring the motel. However, he starts to receive notes and phone calls from his ‘Mother’. The Question is, is Norman crazy or is someone playing him?

The best part of this film is Anthony Perkins. His Norman Bates is a sympathetic victim who is desperately trying to get away from his past. Watching his fear and unravelling is truly tragic. The finale of the film provides a number of twists that keeps the viewer guessing. It is also directed and shot really well. Yes it does ape Hitchcock is several places, the shots could be considered homage or a maintaining of tone, but a couple are a little clumsy

Psycho 2 continues a story that you may not need to know, but is done so well that you will care about it and thrill in the horror. 

3.      Die Hard with a Vengeance (1995) – The first Die Hard changed the action genre. The 80’s were fuelled by muscle bound action stars, but Bruce Willis and Die Hard introduced the everyman action star back into the genre. He was a new kind of one-man army. So much so, that the pitch “Die Hard in a…” became a common phase.

By the third film in the series the it was the right choice to move away from the One-man army, to the buddy cop dynamic. It should also be noted that while Die Hard 1 and 2 were both based on novels, Die Hard 3 is actually a spec script. This is a script that was written (Called “Simon Says”) and then adjusted to fit the Die Hard series.

Die Hard 2 is a simple re-tread of the first film in tone and action, Vengeance however tries for something different. It introduces consequences for the events of the first film and provides a much bigger environment, as John McClane dashes around New York City. This puts the star back in his home turf and in his element.

It also puts him at odds with a partner in the shape of pitch perfect Samuel L Jackson as a citizen pulled into the action. It echoes elements of previous buddy movies but these two have such good chemistry that it feels fresh.

As well as the dynamic, the action is solid with different locations providing escalating incidents; from a gun fight in an elevator to a truck chase in a newly built tunnel, to a car chase through Central Park. This film is top notch, pulse pounding action delivered with a great cast and some spot on action visuals. While Die Hard is the best in the series, Vengeance is definitely the second best in the series.

4.      Blade Runner 2049 (2017) – The original Blade Runner was a cinematic flop. It gradually became a cult hit, with each different version being released. So it’s no surprise that something similar happened with the sequel. Which is tragic as I think 2049 is one of the best sci-fi movies of the last 10 years; this is because of director Denis Villeneuve.

The film is visually stunning it expands on a world that is only hinted at in the first film. Its scope and depth is beautiful. The story is a continuation of the original world, providing more information without taking away any of the mystery or debate over certain areas. It’s one of the few sequels that builds on it without exploiting what has gone before.

In addition to looking great, the cast are spot on. Ryan Gosling has a similar noir air to him that Harrison Ford had in 1982. As he moves through the story and gets more and more of a beating, despite us knowing he’s a replicant, we want to see him succeed and live.

2049 is an example of how a sequel can pick up a baton 30 years later.

5.      Rocky Balboa (2006) – The 1976 Rocky is an Oscar winning classic. It set up Stallone as a bankable star and able to take control of his career going forward. The first raft of sequels all offer something of note. I stand by the notion that the first three films form one of the best modern trilogies. Four is amazing pulp propaganda and 5 is an odd love letter to the characters origins. However, Stallone was not done with Rocky Balboa.

In recent years, everyone talks about the Original, or the spin off Creed films. However, the 2006 middle movie Rocky Balboa often is forgotten. ‘76 Rocky addresses the fear of missing your chance and becoming bitter, or taking an opportunity and going the distance. Rocky Balboa is about remaining relevant and how the past effects the present. It carries a sombre tone, noting everything that has passed since the last film. It asks the question of what happens when you’re over the hill? Could you still cut it with the new crop of stars? Rocky Balboa very much mirrors Stallone’s career at the time, wanting to remain a viable action star. It’s a relevant story of middle age and the changing face of Hollywood.

The cast are also solid and Stallone writes and directs the hell out of this. It has a hugely quotable script and the end match is incredibly well done. I remember when I saw this in the cinema for the first time. By the end of the film my heart was pounding and my fist was pumping. It echoes so much of the original and is a great end for the Rocky saga, before Creed starts. 

Review of Garvey-verse comics

I recently attended the NICE comic convention and had the pleasure of talking with a couple of the Mark Buckingham and I.N.J. Culbard about their comic work. Please check out the main Podcast feed for these interviews.

In addition to this, I checked out several of the independent comic creators. I will always have a look at the long boxes of comics from the big companies, but I find that some of the most interesting and progressive work is being done by self-publishing writers and artists.

In the next couple of blogs I’m going to talk about some of the books I picked up.

First up is a couple of books from a writer I ended up talking to for ages, Matt Garvey. Matt is a true blue comic fan and it was a joy jaw jacking about the creative process, what inspires him and many other geeky things. No doubt, Matt will be joining me on the Podcast at some point in the not too distant future. Here though I’m going to review three of his books.

All reviews will be as spoiler free as possible as the books contain some twists and reveals that I don’t want to ruin. To find out more about Matt and his work visit www.mattgarvey.co.uk and follow him at @MattGarvey1981 , So let’s jump in with the books:

The Devil in disguise:

I read the collected edition of this story, collecting the 4 issues that make up the first arc. The principle idea is of a satanic powered superhero, half man, half Satan wanting to prove to God he’s not as bad as everyone thinks he is.

The premise is strong and and has the potential to explore the concept of good and evil and how we perceive it in society. This first arc is an origin story and is laced with comedy and horror, unfortunately they never quite get the right balance. There are excellent moments through out the book. Some that between Nate, the protagonist and Satan, that made me really smile. Others are good horror with some gruesome moments and concepts.

I think the issue is the art. While not bad, it never feels like it suits the material. Robert Ahmed’s style is reminiscent of Michael Oeming. It’s dynamic and bold but coloured with the tones of orange it never feels like the story has weight. The concept also raises comparisons with Spawn (Todd McFarlane) and Haunt (Todd McFarlane and Robert Kirkman), but is different enough to stand alone. However, and more suited artist could have made this something more experimental and

I enjoyed this origin and a final twist pushes the book in a potentially different direction. There is enough here to create a solid character and wider world. I look forward to what comes next, just maybe with a different artist.

The Ether:  

I read the first two issues of this series and it is hinted in several points that this exists in the same world as ‘The Devil in disguise’. The premise is a London based; suited and masked vigilante sets out to investigate a series of brutal child kidnappings the police are either unable or reluctant to investigate.

Ether is a suited vigilante in the mode of Rorschach or Moon Knight’s persona Mr Knight. However, the character design is set apart by a great art from Dizevez and the mask. The mask is a map of London, laced with roads and rivers. It’s both feature less and detailed. The Ether is London, a protector of its inhabitants without being a person. It’s a great take that is made better when it is revealed who is under the mask.

I should also highlight that this isn’t an origin story. That’s not to say you don’t learn about the characters motivations. Hints are dropped about past events that have led this person to done the persona of the map-masked vigilante. This is more interesting and leaves the door open for more back-story and a wider world.

The first issue also establishes that Ether has been around for a while and has a relationship with the police. Not a straightforward relationship but one built on necessity and understanding of how far each is able to go to get to the villain.

You are dropped into this world and have to keep up. Its fast paced and frenetic, only stopping to take a breather for short bursts. The energy of the story is accentuated by … painted art. It’s both detailed and dream like infused with rich colour, giving the world texture and depth. There is a panel of a character sitting in a shower that uses detail and depth blur to such great effect that it feels like the image is breaking out the page. It’s a quiet moment given humanity.

Overall The Ether feels like a story that would do really well in 2000AD. It harkens back to the art and story styles I loved from the early 90s, while feeling current and fresh. With two issues in the bag I am definitely on the hook for the rest of the series.

Red Rocket Comet:

Superheroes never get old. Batman has been in his early 30s since 1939. Spider-Man has aged 10 years since 1963. We rarely get to see what life is like for a Superhero that is entering their autumn years. Enter Red Rocket Comet, a hero that has seen better years and is carrying the weight of regret of his shoulders.

A one shot from Garvey that takes a darker look at the consequences of heroics and grief. Red Rocket was a hero in the heady days of youth when bashing bad guys was fun and games, until it stops being a game.

The story cuts between a conversation in the present between former Hero and his Nemesis, in a dark dingy bed-sit, pencilled in black and white. To their adventures of his youth presented in almost Beano like cartoon antics. The events of the two soon collide in a reveal, explaining why he hung up his costume.

The whole book is draped in a sense of grief and bitterness. The art style for the early years is a nice exploration of how we view or youth with rose tinted glasses, remembering the good old days when life was simple and fun. However, as this is interspersed between the conversations in the present, the lightness comes with a sense of dread. A knowing progression that tells the informed reader that the zing and pow fun is heading for a fall.

The twist is fun but not the end. Some stories would use the twist as the stinger, but Red Rocket takes it one-step further and explores what that stinger actually means. How have these events impacted these two people in the intervening years, what are the effects of the trauma.

The art throughout is spot on, both Andy Clift (the flashback pages) and Grayham Puttock (the present) do a fantastic job of bringing the emotion out of the story. With some nice panel layouts and use of the black and white by Puttock. This is a superhero EC comic story and I want to know more about this bitter sweet world and other heroes that these characters have known.

5 Comics that would make GREAT TV shows

Mainstream premium TV shows are getting more genre based all the time. More than that they are become weirder, more adult and more ambitious. HBO has been leading the charge with Game of Thrones and West World, but we have had a bevy more. We now live in a world with Shows like Preacher, The Boys, American Gods and Good Omens, and that’s just from Amazon Prime. Throw in The Handmaids tale, Stranger Things, Legion as well shows coming soon like The Witcher, Sandman, Watchmen and His Dark Materials and you have a sea of content that will keep even the most discerning nerd happy. However, there is still so much great source material to be mined that would make great TV shows. 

Here is our top 5 Comics that would make great TV shows:

Transmetropolitan (Writer: Warren Ellis / Primary Artist: Darick Robinson / Running 1997 - 2002). Ellis doesn’t have the most optimistic opinion of the future. He explores where we are and where we’re going as well as almost all of our faults in this 60 issue satire. The story centres around Spider Jerusalem, a future gonzo journalist or Ellis by way of Bill Hicks and Hunter S. Thompson. He’s angry about pretty much everything and he wants to expose the hypocrisy of the world. The overarching story becomes the sage of Spider vs. the person he sees as the embodiment of what is wrong, politician and eventual president, The Smiler. 

The future cyber punk world is brought to life by the excellent art of Darick Robertson. It captures the essence of the zany, dirty, corrupt and relevant world. This is another piece of sci-fi that becomes more relevant as time goes by. The politics of the book are reflective of the time, but the corruption runs deep and I’m sure Spider would role his eyes in a post Trump world, shaking his head at the rhetoric and chest beating on both sides of the isle. 

The world needs a live action Spider Jerusalem. 

Planetary (Writer: Warren Ellis / Primary Artist: John Cassidy / Running 1998 - 2000). Where Transmetropolitan is a dark cynical Ellis, Planetary is his desire to explore the world of conspiracies and secret organisations. It’s centres round a mystery that runs through the ,majority the 27 issues, while many of the issues are actually one and done stories. The first arc introduces a world that is alive with analogues of the Fantastic Four, Godzilla and Doc Savage. It’s loaded with homages and Easter eggs, without ever being pandering or overly referential. 

The titular Planetary, is a secret group that collects information of the weird history of the world. They start as bystanders and observers but become more entwined in the events at the story progresses.

Again Ellis is partnered with the perfect artist for the material, John Cassaday. His detailed, shadow filled art wonderfully fills the world with character and life. His art is measured for each scene. The intimate feels character driven and focused, while his splash pages are awash with crazy details. It’s a feast to enjoy on every page. 

The potential to expand this and explore so many ideas, not just sci-fi but all genres and ideologies, world be amazing. This is an untapped well of potential that could rival the best cutting edge show. 

The Invisibles (Writer: Grant Morrison/ Primary Artists: Steve Yeowell, Chris Western, Philip Bond / Running 1994 - 2000). We’ve recently had Doom Patrol from DC which used many of the ideas from Morrison’s run in the 90s. It’s weird, surreal and challenging while still being an action adventure. We’ve also had Legion which has challenged the reality and mental state of a primary character. These shows challenge the viewer to accept a lot of absurd things. This could be kicked up a gear in a live action take of The Invisibles. A group of reality rejects that are fighting an inter-dimensional war, possibly. It’s twisty, violent and weird in the best possible way. Morrison used this comic as a meta commentary and source of chaos magic for his life (seriously, check out the story of how he caught an illness he had given the character King Mob in the book, only to be cured when he cured King Mob in the comic). 

The art in the book is provided by several artists across the volumes. Each brings something different to the series but all bring Morrison’s world to page, realising some bizarre stuff that has been mimicking to never bettered since. 

This is one of those comics that has been placed on the ‘unfilmable’ pile. However, I’m convinced that the right team could produce something that would challenge viewers with its content, and how we interact with TV shows and it’s story lines. 

Saga (Writer: Brian K Vaughn / Primary Artist: Fiona Staples / Running 2012 - on going) The others on this list are loaded with adventure, violence, intrigue and imagination but Saga brings those and heart. Primarily the story of a couple, warriors from opposing sides in an intergalactic war, and how they struggle to raise their child and settle to start their family. It grows from there to become an epic story spanning planets and years, and doesn’t scrimp of the sci-fi weirdness. 

The expansive story telling is rounded out by Fiona Staples art. Staples has a realistic style which captures emotion and expression perfectly. Many of the characters have human faces and her style captures the nuances of emotions and relationships. However, it also means that when alien and weird elements are introduced they stand out but never feel cartoonish. Vaughn May have thought up the world but Staples realised it. 

This would work excellently on TV as a character driven series. The comic forms a great foundation to work from, however Vaughn and Staples have created such a rich and textured world that more stories could be explored. This could be as complex as Game of Thrones and as much of a sci fi fantasy staple as Star Wars. 

American Vampire (Writer: Scott Snyder / Artist: Rafael Albuquerque / Running 2010 - on going) The stereotype of the classic vampire is Eastern European nobility, usually looking like Bela Lugosi. Scott Snyder decided to examine the idea of what world happen if vampires were more influenced by the country they are from, what would be the American Vampire? The series starts in the old west and progresses through the 20th Century following the lives of several key vampires, providing an alternate take on some key events. However this isn’t a stale history lesson, Snyder brings the horror and the gore in spades. This idea and story is realised on the page with the art of Rafael Albuquerque. His scratchy gothic art style balances the detail and abstract to provide an perfect vision of this horrific under world, just a step away from the norm. 

Being based around an alternate take on real history this story could explore so much. Yes, this would be a kick ass vampire horror tale, but it could also be used as an analogue to comment on modern issues; the immigrant experience, bigotry, mental illness etc. The potential for this show is awesome. 

REVIEW: Asylum (1972) Second Sight Special Edition

Film:

One day I will get round to doing a podcast episode on the British film Studio, Amicus. They were the small studio that competed with Hammer, but are often forgotten when talking about the history of Horror Cinema. While Hammer focused on the Gothic horror with established characters Dracula, Frankenstein and the wolf man, Amicus tried something different. They entered the market with a series of Anthology or Portmanteau movies. Asylum, released in 1972, is my favourite of Amicus anthology horrors.

The story centres around a young doctor (Robert Powell) attending an interview at a secluded Asylum. As part of the interview he is challenged by the interviewing Doctor (Patrick Magee) to identify the former lead doctor of the facility, Doctor Byron, from the patients, as he lost his mind and is now incarcerated. He visits three patients and they recount the reason they are there, each one a story in the anthology.

As is the case with all anthologies, the stories vary in quality. While I enjoy them all I’m appreciate that elements of them haven’t aged particularly well. While macabre the opening story “frozen fear” hinges on the viewer accepting a concept that can be perceived as creepy or ridiculous. It’s a fast paced opener but not the strongest. The following two stories are much stronger and play out today just as well as they would have done in 1972. “Weird Taylor” has the excellent Peter Cushing in and is wonderfully atmospheric with a suitably weird end. The third of the three is less supernatural, the story of a young woman and her disturbed ‘best friend’. While the ending is predictable today it still has a great punch.

The final part of the film that really makes this a winner for me is that inclusion of the wrap around segments becoming part of the horror. The cast throughout take the horror seriously and are fantastic. I’m invested in each of the stories and the solid performances help me get passed the slightly sillier story points and special effects that haven’t aged well.

In addition to this, the film looks great. The Blu ray upgrade is crisp without loosing the 70s graininess. The colour and details pop, giving the film new life. Asylum is never going to get a 4K scan so this is the best it’s going to look, and it’s excellent.

It’s a great film and a fantastic example of the best of Amicus and British Horror of the 70s.

Special features:

The special features provide an interesting glimpse of the making of the film, and the history of Amicus.

On the disc there’s a new informative commentary from the director, camera operator and film historian Marcus Hearn. As well as several other new featurettes focusing on the films production and wider place in Amicus history. The two that stand out are ‘inside the fear factory’ a collection of interviews from those involved in the history of Amicus. These are accompanied by a featurettes from the 70s on set. This gives an interesting insight into the film and how films were presented in the early 70s.

In addition to these the Blu Ray comes with a 36 page booklet, containing stills from the movies as well as a selection of promotional posters. However, the primary content is three essays.

“Nothing to loose but your mind” a chronicling the final years of Amicus studios (a essay about the earliest years of the studio comes with second sights other recent Amicus release, The House that dripped blood). “Robert Bloch and Asylum” how the writer came to write the film and his relationship with Amicus studios. “Amicus productions and the rise of portmanteau in horror Cinema”, the title pretty much says it all.

The insight and information from the disc and booklet content round this release out. It’s an excellent presentation of the film with details and discussion on the film and its place in Amicus history.

Packaging:

I’m a sucker for a special edition and this is a beautiful edition. The slipcase is well made and the new art is beautiful. It captures the tone and madness of the film and the likenesses are spot on. It’s made better by the fact that the edition comes with a two sided poster including the new art the original poster art. This is also replicated on the reversible cover.

Overall it’s an Awesome edition of one of my favourite 70s British Horror movies. Second Sight have nailed it once again.

My Top 5 Haunted House films

The haunted house has been a staple of cinema since the beginning. Cob webbed shadowy corridors and creaking doors used to varying effect to create that perfect spooky atmosphere. I love a good ghost story but so often I think it is done poorly. I really dislike the Insidious film series for their reliance on jump and noise scares rather than fear and tension … just my opinion. While I can find something to enjoy in the run of ghost film remakes like 13 Ghosts (2001), The House on Haunted Hill (1999) or The Haunting (1999), they don’t deliver the creepy horror I love in a good haunted house film.

Below is a list of my top 5 favourite Haunted House films:

1.       The changeling (1980) – After the death of his wife and daughter George C. Scott moves to a renovated mansion to focus on his music and work through his grief. His time in the house is soon interrupted by noises in the night and distant whispering voices. This opens up into a mystery that is preventing the unquiet spirit from moving on.  The Changeling uses its locations and sound brilliantly to unnerve the viewer. The film is laced with tragedy and lose, which makes the final reveal the more impactful and shocking.

As a side note, I should mention that the events of the film are loosely based on events that the screenwriter claimed happened to him when he lived in a town house in the mid-60s.

2.       Poltergeist (1982) – For years there have been tales of the production of Poltergeist and who was actually in charge on set, Producer Steven Spielberg or Director Tobe Hooper. Regardless of who actually ‘directed’ the film, the fact remains that this is one of my favourite horror films. It is the quintessential modern haunted house film, clearly influenced by the events of Amityville. 

The standard American family living in a good neighbourhood where the kids can play safely. It is template 80’s Americana. This is then be shattered by the ‘abduction’ of the youngest daughter, leading to the acceptance and handling of the supernatural presence. There are moments that stretch the suspension of disbelief (a tree attack!) but the overall film is a masterclass is quiet drama being punctuated with hard hitting scares. More so than The Amityville Horror (1979), this film helped move ghost stories from gothic mansions to modern suburban homes.

3.       The Others (2001) – As I mentioned in the opening, in the late 90’s, early 00’s Gothic horror was not in vogue. It was replaced by loud, more action orientated horror (13 Ghosts / The House on Haunted Hill / Ghosts of Mars). However, in 2001 Alejandro Amenabar wrote and directed the first Spanish entry on this list, the Spanish/American produced The Others. A magnificent gothic tale that plays like a novel.

The film lays interesting and believable constraints on its protagonists, as to why they cannot leave the haunted location. Trapping them in with the fear, unable to escape. This makes for great conflict as we watch Nicole Kidman’s lead start to unravel as she deals with events that she does not want to believe are real, while trying to protect her children. The tension and scares culminate is a successful twist and a satisfying ending that a lot of modern horror films lack.

4.       Paranormal Activity (2007) – Found footage films are the lowest budget films that can be made. This usually means they are a gateway into Hollywood for armature or up-coming film makers, but they are usually poor. Every now and then though a film comes up that understand how to use the format to great effect. For me, Paranormal Activity nailed it.

The film follows a couple that have moved into a new house and quickly start to experience strange goings on. The hand-held camera footage is given justification and I am pulled into the daily goings on of the couple and their friends. This is then used to great effect later to build tension and for the viewer. The Camera doesn’t always focus on the central point, so you are pushed to take in the whole screen to look for the scare. The tension builds in this films to an excellent open ended pay off, the way a found footage film should. 

5.       The orphanage (2007) – “Presented” by Guillermo Del Toro but the creation of Director J. A. Bayona. I will admit that this being a subtitled film meant that it took me a while to get around to watching it. I am so glad that I eventually did. A woman returns with her family to the orphanage in which she grew up to reopen it as a home for children. However, things take a tragic turn when her son goes missing. This one event starts to pull together strands for a mystery involving her past as well as that of ghosts trapped in the orphanage.

Oscar Faura’s cinematographer is beautiful throughout. He and Bayona use the central building and its cliff side local to create a sense of isolation and timelessness. This accentuates the fear and tension as the film grows to its tragic gut punch of a conclusion.

5 Haunting Horror films based on true stories (aside from Amityville Horror).

When I started researching this I was expecting to find a glut of films that would fit this category in the 70s and 80s. There were a couple but they were a bit tenuous (The Exorcist). It seemed more like a nugget of a real-life event was taken and then turned into something completely different. I suppose this way no one extra had to be paid. This changes in the early 2000’s and from 2005 onwards we have had a continual stream of Horror Movies based on ‘real events’. This has culminated in the Conjuring films, based on the accounts of the Warrens.

Below is a list of 5 films that are based on alleged real paranormal events:

1.       An American Haunting (2005)

Events: in 1817 the Bell family started to suffer an alleged haunting by a ghostly witch. It started when the head of the family, John Bell, came across a strange animal in his corn field. Shocked by the animal’s appearance he opened fire, the animal vanished. That night for the first time, the family were bombarded by a beating sound on the side of their home. From that point on the haunting got worse.

The noises continued. Sometimes outside the house, other times in the same room as members of the Bell family. Many people as well as the family reporting the sounds as well as seeing and feeling things within the house over several years.

Whatever the entity was that was haunting the family it made its final attack in 1820, when it allegedly poisoned and killed John Bell. Laughing loudly as he took his final breathes. It is said that the ghost returned in 1828 for a short time but was not heard of again after that.

This is regarded as one of the earliest and most wide spread hauntings in American History.

Film: The film has got an interesting cast with Donald Sutherland and Sissy Spacek and several up and coming actors at the time. It has an interesting modern wrap around mechanism as access into the period setting. It also maintains the actual, relative down beat, ending of the legend but condenses the haunting period of years to what feels like months. While the film maintains the haunted happenings the scares and tension never really amount to much, it was only a 12 (PG-13).

It was an interesting exercise in period drama horror, however I think this would have been better if it had either been more stylised (ala Sleepy Hollow) or tried for some harder edged scares and content (ala Annabelle Creation).

2.       The exorcism of Emily Rose (2005)

Events: The film is based on the tragic events that lead to the death of German woman Anneliese Michel. She dies in 1976 suffering from malnourishment and dehydration after months of being subjected to exorcist practices.

After suffering a seizure at the age of 16 Anneliese began to suffer increasing periods of depression. These low points and neuroses began to become focused on religious artefacts. A huge concern for a girl that came from such a religiously devoted family. Soon both she and her family became convinced that she was possessed by something evil. After several attempts the family convinced two priests that she needed intervention.

This started the exorcisms that eventually led to her death. Following her death her parents and the two priests were prosecuted for murder. They were found guilty of negligent homicide. This also forced the Catholic church to distance itself from the case and change its stance to state that she had been mentally ill and not in fact possessed by an evil force.

Film: They take a leap with this film as the story is told in retrospect, dealing with the court case that follows the death of Emily Rose. This is not a film about whether they can save the possessed girl, we know the answer is no. The film spends more time dealing with the question of whether she was possessed at all. It’s an interesting conceit and that isn’t fully explored. If they had had the confidence in the audience, it would have been a better film. However, they never want to completely condemn the priest.

In a better film, he would have been played as a more unreliable narrator. There would have been more uncertainty about whether she was possessed or if the priest hadn’t been obsessed due to his religious zeal.

That said, the film is good fun and the core cast are mostly good. This is a solid possession horror film with an interesting concept. The frustration is that this had the potential to be something more and elevate the genre and story into a classic.

3.       The Haunting in Connecticut (2009)

Events: of all the ‘True Events’ on this list, this is the one that has the most holes. This is the first but not the last appearance of the Warrens on this list and their paws are all over this.  The haunting was alleged to have focused around the House and son of the Snedecker family, who was suffering from a form of Cancer. Minor events were reported but nothing of great note. That is when the Warrens got involved and the story became ‘clearer’.

The entity harassing the family was supposed to have been linked to the previous use of the house as a mortuary. It was stated that there were several employees of the mortuary that practiced necromancy and necrophilia. It was the spirits of these people that were returning at the heart of the events.

This did lead to several grander events. This included the son attacking his cousin and being held in a mental health ward for a period. However, following Ed Warren’s death in … several people linked with the investigation and the documenting of the events admitted that Ed told them to embellish what they knew in any way they could think of to make it scary.

The House is still occupied and the current occupants have frequently stated that they have never experienced any paranormal activity.

Film: The movie has a couple of well-placed scares and some moments of tension, however the overall film is very pedestrian. The facts from the true events are close enough regarding the house and its history. However, elements of the family are changed for safety. The focus on the main son having cancer is reduced.

There is little to say about this film really. It’s competently made, the acting is sufficient and its creepy at times but it just feels very run of the mill and safe for this genre. It’s a shame really because again, like the Exorcism of Emily Rose, this has the potential to add an element of ambiguity and tension with a just a few changes. Could the son’s illness have been at the root of the events? Could it be suggested in the film that this was a hoax to raise money to cover medical costs.

It’s worth checking out if you are a fan of the genre but there are better films on this list.

4.       The Conjuring (2013)

Events: Ah the Warrens. The couple that have now become synonymous with modern haunted house movies, thanks mostly to this film. As is usually the case, the story the Warren’s tell is very different from the truth the family have sated. The Perron family lived in the house at the heart of the story of a decade and the hauntings were spread over this while period.

The haunting was centred around the spirit of an alleged witch called Bathsheba Sherman who died in 1885. There is little evidence that she was in fact a witch, however it was alleged that she killed several infants as sacrifices to the devil. The haunting took on several aspects for the different inhabitants. Some saw apparitions, others were physically attacked but all the heard the noises and voices.

The haunting was never fully resolved. The case may have been closed by the Warren’s however after the Perron’s sold the house in 1980 there were further reports of ghostly activity. This is an event that I think deserves a more attention and possibly a closer adaptation of the story.

Film: Forgetting the alterations of the history this was a return to form for haunted house films. I really enjoyed the tone and feel of the film. It’s has an excellent sense of creepiness and uneasiness running through it. There are some incredibly well placed and paced scares that are incredibly effective.

The strength of the film is in the first two thirds. The build-up of the family dynamic and the relationship that grows with the Warrens. This investment in characters underlines the tension and scares. However, this is partially undone by a clichéd and overly dramatic finale. This will most likely be regarded as a milestone in horror history however it just falls shy of becoming a horror classic. I won’t even go into the dreadful sequel and Annabelle spin-offs. This Franchise has such potential but is being squandered on cheap jump scares and poorly written and preposterous characters.

5.       Deliver us form Evil (2014)

Events: The book ‘Deliver us from evil’ written by Lisa Collier Cool, chronicles the supernatural cases of former New York Police officer Ralph Sarchie. It is set up to be like the real life X-files. It covers a number of cases of possession and ghostly attacks that are alleged to be related to crimes that were left unsolved. Of course, they have been solved by Sarchie but the truth would not be accepted by the public.

Sarchie has appeared on several podcasts, radio and TV shows to promote the book and Film, telling his tales of the supernatural that lives in the Bronx. Demon neighbours, ghostly vengeful brides and the exorcisms that were carried out to save the people involved. Its sounds like he was a busy guy, maybe the Bronx is over a hell mouth and they would have been better off with Buffy the Vampire Slayer.

Film: Eric Bana is a New York cop that starts to uncover a conspiracy of soldiers possessed by demons from the middle east. The plot is a little daft and the direction is not subtle in anyway however this odd combination of horror and cop drama is fun if not scary. Bana is committed to the role and is sufficiently brooding and earnest about it all. It does all fall a part in the finale, as they usually do. If these events are alleged to have happened I am sure that someone in the media would have noticed.

A fun film for Halloween or with a few beers but not a solid recommend.

Fact or fiction in entertainment

In October, I spent a lot of time thinking about how we, as viewers, process scares in horror films and how they have evolved over time. This flows nicely into what I will be covering in November. Earlier this year I read the book, The Amityville Horror by Jay Ansen. It was a fun and at times unnerving horror novel, however the thing that kept resonating with me was the fact that this was supposed to be an account of a true event in people’s lives. Knowing that added an element of horror however as I read on it disturbed me more and more.

It highlighted something that happens again and again in entertainment, more so in films that books. The facts of the story are adjusted, amalgamated or even omitted. Sometimes the essence of the story survives other times it gets lost in the script rewrites and editing. What does that mean for the people that lived through the events? Do we get an accurate view of events?

I have learned over time that regardless of facts, perception is truth for most people. If a film or book states “Based on True Events” then some (most?) will take that to mean that this is the truth. So when it gets questioned or fault is found in the film this then gets mixed in with questioning the validity of the true events.

There is a Hollywood version of history in which every story follows a three act structure and, for the most part, reaches a satisfying ending. I am sure that anyone reading this will be able to attest to the fact that real life is not that simple.

In November I am going to take a look at The Amityville Horror. First as a historical event, the complicated mix of fact and fiction that has become the legend. I will then be looking at how this has been represented in the media. As a follow up I will also be investigating how this event, the novel and the first film changed the direction of Haunted House films.

Evolution of the horror movie scare

As usual, before I start I have admit that I am not an expert in Horror films (despite the many, many films I have watched). This blog, as with all of them, is just my opinion and I am happy to be challenged and on anything I propose. In fact, I welcome your comments and feedback. So, let’s get stuck in.

From the earliest days of cinema Horror has been a popular genre. With films like The Golem (1915), The Cabinet of Dr Caligari (1919) and Nosferatu (1922) people loved being scared. Over the course of the next century the genre evolved and changed to reflect the fears of society. Also, upping the ante again and again on what the films could show to elicit fear and scares. Each generation has films that they claim are the best in genre and are the peak of fear. The question is, who is right if any of them?

I am a big fan of horror movies and enjoy the varied sub-genres for different reasons, expecting different things from them. However, there is a core conceit, I should feel a sense of fear when watching the film. It’s how that fear is evoked that might change. For example, the tension built up in the first half of ‘Halloween’ (1978) creates a sense of fear that elevates the events of the second half of the film. While the notion of Freddy Krueger in the first Nightmare in Elm Street (1984), a killer you cannot escape, is scarier than many of the actual ‘scares’ in the film. The film plays for blood rather than tension.

Since these films were released the genre has altered several times. The 80’s were filled with slasher films and low budget high gore video nasties. There were entries into the genre in the mid to late 70s that can be considered ‘classic’ films. However, the genre has always been fuelled by B-movie fare. It was these movies that became much of the output in the 80’s. unfortunately this meant that the genre was at a low point going into the 90’s. It was pulled from the doldrums by Wes Craven and Kevin Williamson with Scream (1996).

The film was a huge success and made Horror a viable commercial prospect again. As is always the case, Scream was followed by a litany of poor imitators. It also opened the channels for the ante to be upped once again. As we had had the video nasties of the 80s in the early 2000’s we were introduced to torture porn with SAW (2004) and Hostel (2005). The popular films source of scares had shifted again, now to victims literally being tortured or under threat of torture. The mechanics of the torture device might be clever but the scare had become simple and base.

I’m not a fan of these films. In fact, I find them tedious and a slog to watch. In my opinion, the acceptance of these as milestones in modern horror is the moment that the craft of creating tension and paying off with a scare was dropped. However, they were not the only films that changed the course of the genre during this period. The Blair Witch Project (1999) introduced the low budget high tension scares of the found footage format to the mainstream. It also introduced the notion of moving the focus of a threat or scare from the films characters to the viewers. This combination of excessive gore and direct viewer threat has been the main thrust of horror films for the last decade.

Things have started to change in recent years. Directors like Adam Winguard and Ti West have started to reintroduce the slow burn horror movie (House of the Devil 2009, You’re Next 2011). Are we at the start of another shift in horror? Could films like ‘Get Out’, ‘IT’, ‘Annabelle: Creation’ or even ‘Split’ drive the shift into the next iteration of popular Horror?

All these shifts and varying films are filled with different types of scares but do some work better than others? I understand that different people are effected by different scares but I also think that the art of a well-structured scare has been lost. The majority of horror films of recent years have all made the same mistake, in my opinion. There is a belief that the scare needs to be directed at the audience. This has been done over and over with loud musical stings and jump scares. Don’t get me wrong, these can be effective when used in the right place and sparingly. However, they have become the standard go to shorthand for a movie scare. By the third time something jumps out at me with a thump of noise, I check out. The other issue is that by directing these scares at the audience more than the characters they take the audience out of the experience rather than bringing them in. why should we care about a character surviving if we as the audience are continually put in their place?

It should be remembered that Horror films, like all forms of entertainment must contain a variety of elements to work. Some jump scares are fine, as long as they are accompanied by the building of tension and some well-placed reveals. The other elements that are more important are characters that matter and the audience cares about. It should be these characters, that we grow to love, that are under threat and to which the scares are directed. Fearing for these characters, I believe, is more effective than an audience directed scare. The final element is the context of the scare within the story. A scene can be well constructed, look great and have excellent effects but if the story is poor or makes no sense then everything else is for nothing.

All those different types of horror films that have been popular and fallen out of favour. All those masters of horror that have brought something new. They’re all valid and all deliver something worth watching as both movies and examples of Horror history. However, for all the differences the things that remain constant are at the heart of all good films. A good story, filled with characters we care about that is filmed well. Within that a good writer and director can introduce any types of well-constructed scares and the audience will be terrified.

What are the examples you think of that manage to blend all of these elements to make a great Horror Film?

Spiritualism and Entertainment

The idea of a life after death has fascinated and enthralled cultures all over the world throughout history. From the Egyptian Pharaohs being buried with all their worldly possessions to take with them, to the Fox sisters starting the spiritualist movement in 1848. It’s a core part of what makes us Human, the curiosity about what happens ‘next’.

For so many centuries knowledge and teachings on the spiritual were the remit of religious leaders building up or preying on an ignorant populace. This moved from churches to village and concert halls with the spooky Victorians and the Fox sisters. Access to knowledge and demonstrations of the afterlife started to spread. As is usually the case it was quickly realised that this could be a source of entertainment and more importantly, wealth. So of course, spiritual meetings and séances moved to theatres where tickets could be sold. The seats filled with people all seeking something; entertainment, a better understanding or just maybe a message from a passed loved one.

Nothing exists without an opposite also being created as a reaction. So, as the popularity of these spiritualist faith meetings grew organisations started to pop up using scientific processes to prove that these mediums and spiritualists were real or frauds. The most notable organisation in Britain was and still is The Society for Psychical Research (SPR), founded in 1882.

From their own website (www.spr.ac.uk):

“The first scientific organisation ever to examine claims of psychic and paranormal phenomena. We hold no corporate view about their existence or meaning; rather, our purpose is to gather information and foster understanding through research and education.”

This is not to say that they are cynical sceptics, far from it. Many are looking to validate an experience or belief with some scientific evidence. Others are believers desperate to experience something paranormal.

Over the decades though notable individuals have stood alone in their attempts to prove that most if not all of it is fraudulent activity. The most famous being Harry Houdini. Houdini sought solace in spiritualism following the death of his mother, only to prove each medium he visited to be a fraud using his knowledge of illusions. He became so set on his course that it ruined his friendship with Sir Author Conan Doyle.

Conan Doyle, a member of the society for psychical research, was a dedicated believer publicly speaking passionately on the subject. He went to the extent of supporting and vouching that the Cottingley Fairy photos were genuine. Seriously, go and google these photos and you will start to see why Conan Doyle’s reputation started to tarnish as he got older.

Obviously neither man concretely proved their case before their death, as the arguments still go on between believers and sceptics. However, interest in the subject started to wane during the second world war, only being the interest of dedicate followers and old women reading tea leaves.

It was not until several high-profile cases of supernatural activity (The Amityville Horror and the Enfield Haunting) erupted into the world media and pop culture in the 70’s that things changed again. This became kick started the ‘satanic panic’ and the paranormal came on to everyone’s radar once again. This resulted in paranormal celebrities springing up. In the UK we had Uri Gellar and in America there was Ed and Lorraine Warren.

Ghosts and ghost hunters had appeared on the silver screen since the earliest horror films. Movies were one thing but people were clamoring for evidence of the real thing. However, it would seem that no one was willing to take the final step and take the risk of putting the practices of the SPR or even the Warrens on mainstream television. Not until 1992 at least.

On October 31st 1992 the BBC broadcast Ghostwatch a TV drama designed to look like a live broadcast. It used known TV presenters, not actors and a ‘live’ on location broadcast from a family’s haunted house. The show caused controversy and has become a cult sensation in Britain when it was banned for 10 years. However, it has one more legacy that can’t be ignored.

It was the jumping off point from everything that had gone before. All that desire to see a ghost, proof of an afterlife or just a quick scare … but based on ‘scientific’ evidence was funnelled through the fictional drama of Ghostwatch to become every ghost hunting show that has come since. In the UK I would refer in particular to ‘Most Haunted’, which started in 2002.

Since the early 2000’s dozens of Ghost Hunting shows have started on channels all over the world. They’re cheap to make and fun to watch. I doubt these mediums, spiritualists or ghost hunters will go away any time soon. They will just find a new medium through which to present their case and make some money. However, the question remains, whether in a church, theatre or on TV have they proven the existence of ghosts?

Do you believe?

I will be going into a lot more detail on Ghostwatch in the next episode of 20th Century Geek, when I talk with the writer and creator Stephen Volk. After that I will be looking at the other side of the coin and talk to several close friends about their own supernatural experiences.

If you have any stories please send them in (20thcenturygeek@gmail of use the contact us page) or find me on Twitter (@20thcenturygeek).

Zombies!

If someone asked you to describe a Zombie I’m pretty sure you would detail a decaying corpse shambling along in tattered clothes, driven only by its need to eat human flesh. A creation of a virus, chemical mishap or just maybe there being no room left in Hell. That is the accepted modern take on a Zombie. How that came to be though is not completely clear.

The reanimated dead appear in literature dating back thousands of years in different interactions. The most common origin for the modern iteration comes from the Island of Haiti. In these traditions the Zombie is a person brought back from the dead using magic to act as a slave to whoever resurrected them. This very often gets lumped in with the generic understanding of Voodoo, although Zombies have no actual basis in the Voodoo belief system.

In fact the Haitian Zombie beliefs are a mixture of different belief systems brought over by enslaved Africans and incorporating belief systems that existed in the “New World”. These ideas and beliefs became a part of popular culture in the 1920s, when America occupied Haiti between 1915 and 1934. During this time stories emerged from soldiers on the island of Zombies and how they were created and used by the inhabitants. These garnered so much attention that a book was written on the subject in 1929, The Magic Island, by William Seabrook. Following this further research was done on and around the folklore and actual case studies form the island. The result was more books and articles being published, further raising awareness of the supernatural creature.

So that’s how the walking dead entered the American conscious, but they were still to evolve, or decay if you prefer. The first time a Zombie appeared in a film was “White Zombie” in 1932, which sticks with the Haitian traditions. In fact the distributors used the case studies that had been published in the films marketing, mixing real life fear with the Horror of the film.

In the following decades Zombies would appear in several films, but a closer representation of what we know as the modern Zombie would appear in the Horror comics of the 40s and 50s. These depicted decaying bodies returning from the grave, usually to exact revenge on someone. The design was there but these were not referred to as Zombies out right. Also, they usually had a level of conscious or intelligence that would soon be stripped away.

It is not until “Night of the Living Dead” in 1968 however that we get the first sight of a shambling flesh eater. Were these Zombies though? Romero didn’t think so to begin with. In the film and its marketing, they are never referred to as Zombies. They are called Ghouls, which is a different creature of myth altogether.

It was only after the film was released that the media started to use the term when reviewing or describing the film. This was then picked up by the film maker and his audience. By the time “Dawn of the Dead” in 1978 was released the term was accepted for what we know today.

This of course has evolved since then and the name Zombie is now synonymous with the undead flesh eating walking corpse. There have been several sub-interactions that have sprung up in the decades since Dawn of the Dead. In the 80s “Return of the living dead” (1985) brought us brain eating Zombies. More recently we have had the introduction of the running Zombie in films such as “28 days Later” (2002) and the “Dawn of the Dead” (2004) remake. The original Zombie form does occasionally pop up again though. Most notably in the 1988 Wes Craven film “The Serpent and the Rainbow”.

Whether in the fore or back ground of a story Zombies can be used to have an impact on an audience. They have become so popular for simple low budget gore horror films as an easy way to get some splatter on screen (too many to name!). They are also used as a satire of who we are as a society at our base level (Dawn of Dead – 1978). Or most recently and possibly the most popular vision is the Walking Dead in both its comic and TV format. Delving into what we would do after the Zombie Apocalypse and survive the inevitable collapse of society?

It would seem quite appropriate that as a creature of horror and storytelling, since they shambled into pop culture almost a hundred years ago, they just won’t die. So what are the Zombie films you need to check out? I have put a list of the top 10, in my opinion, below:

1.    White Zombie (1932)

2.    Night of the Living Dead (1968)

3.    Dawn of the dead (1978)

4.    Return of the Living Dead (1985)

5.    The Serpent and the Rainbow (1988)

6.    28 days later (2002)

7.    Shaun of the dead (2004)

8.    Dawn of the Dead (2004)

9.    Quarantine (2008)

10. Zombieland (2009)

Werewolves and Werewolf Movies

Stories of people changing into animals, especially wolves, have been a part of cultural mythos since ancient Greece. Those are the ones that have been written down; it is very likely that these stories go back even further. Some suggest that a story appearing in such similarity in such vastly different parts of the world can be taken as evidence that these creatures are real. However, I think it says more about the human condition than the existence of supernatural beings.

Wolves and bears were the apex predators in remote early civilisations. So it was no wonder that they were seen with such reverence and that people wanted to emulate or turn into that. In fact the word Berserker comes from the name given to crazed Norse warriors who wore Bear skins into battle. They were called Bear Shirts, taking the strength and viciousness of the animals into battle.

This idea of taking on the aspects of an animal have survived and been co-opted into other myths, such as the vampires. In addition to this the structure of the story started to take form and the monster went from being a figure to revere to one of fear. It stopped being something that people wanted to take on to become a curse that was laid on them, something that they could not control and would now manifest with the cycle of the moon.

In fact this linking with the lunar cycle became so embedded as an idea that is was accepted as reality at one point. You will have head the cliché of the crazies come out on a full moon, in fact the word Lunatic actually comes from this very idea.

So what changed in us for the story to change? Well, we grew up, become civilised and repressed our animal urges. The stories of the beast being unleashed had shifted from being one of warrior bravery to representing the release of violent sexual desire. This is the story structure that becomes standard with the birth of film. The person that became cursed is usually lusting after someone but cannot have them because the beast would be let loose. Finally they have to be put down or be sacrificed to prevent the beast from attacking again (The Wolf-man 1941)

It is only in the latter half of the 20th century that the animal side starts to be represented as something that could be embraced. The sexual awakening of the 60s and 70s made it ok to be more promiscuous, and so the beast becomes a sexual release to be revered once again (The howling). This is reclaimed in later films when not only the animal but the cyclical nature of the change is taken on by female werewolves in Ginger Snaps (2000).

Werewolves may not be as sexy as Vampires or as satirical as Zombies but they definitely have more to say about us as a society. What we want and how we are now more that civilised animals repressing primal animalistic urges that get released in different ways such violent or extreme sports, hunting, sexual perversions or even something as simple as loud music and sweaty dancing. After all, underneath art we all just a little bit of an animal.

To celebrate the first vs. battle (American Werewolf in London vs. The Howling) I have compiled my list of 10 werewolf movies you should check out.

1.       The Wolfman (1941)

2.       Curse of the wolfman (1961)

3.       American Werewolf in London (1981)

4.       The Howling (1981)

5.       Silver Bullet (1985)

6.       Monster Squad (1987)

7.       Wolf (1994)

8.       Ginger snaps (2000)

9.       Dog Soldiers (2002)

10.   The Wolfman (2010)

Horror Novels that still scare me

As I am writing this the sun is shining, it is a wonderful summers day, we have to treasure them in the UK, we don’t get many. Looking out the window as a wisp of cloud floats past on the midday breeze it doesn’t feel like a day of Horror … for most. I, like so many horror fans, love it all year round. The greatest horror novels don’t care whether it’s night or day, foggy or bright sun, Halloween or Summer Solstice they will take you somewhere horrific and make your skin crawl. That is what a good book can do and that is why I love them.

As I have gotten older and a little more world weary the affect these books have has changed. I no longer cower under my bed sheets, hoping that a thin piece of material will protect me from some unseen terror waiting in the shadows. However, that doesn’t mean that I don’t put down a book and still have it sneak around in my brain, creating a feeling of unease. Over the years there have been several books that have affected me to the extent where they might have affected my sleep. In the light of day, it is ridiculous but there have been moments when my foot has fallen from the covers and a little voice in my head tells me to pull it in asap.

I had a think about which books have stayed with me the most over the years. After a while I landed on two books that have I enjoy and scare me in different ways now to when I was young. The first is Stephen King’s “The Shining” and the second is James Herbert’s “Haunted”.

When I first read The Shining, I was in my late teens and I read it as a haunted house story, which it is. The book is packed with a creeping and ever growing sense of dread expertly written by King. There are scenes in that book that give me physical shivers. I think Joey had the right idea to keep it in the freezer at night. Now that I am older, have a growing career and a family the book reads in a very different way. Where once I focused on the spooky inhabitants of the overlook I now see more fear and terror in the mental breakdown of Jack Torrance. A man desperate to prove that despite his faults and mistake he is a good man. His guilt and repressed frustration being manipulated by isolation as well as supernatural forces are the real backbone of this book.

This book is one of King’s best and is one of his most personal, his own struggles with drink and drugs are well known. His fears and struggles are clearly reflected in those of Jack. While I don’t have similar substance issues I can relate the frustrations and worries of wanting to do the best for a family. This great book speaks of the dark shadows that move in the night as well as those that cloud a man’s heart. This is one of the highest recommends I can make.

The second book I want to mention is James Herbert’s “Haunted”. I love this book so much that I have several copies of the book, including a signed limited edition. This is a slim novel but has so much to love. A gothic tale of a sceptic being invited to a house in a remote area that is supposed to be haunted. The story is simple and very well paced.

This was one of the first Herbert books I read when I was younger and much like with The Shining I focused on the spooky element of the story. I still really enjoy this part but again as I have gotten older I have noted that there is more to this book. The sceptic, Ash, so solid in his beliefs, being twisted not only to be made to believe but to be broken for what he believes. More and more we line in a world so twisted and manipulated by large forces that it is hard to hold on to any single belief or idea. The book explores the idea of faith and belief in an idea and yourself. The story of Ash continues in two sequels. The best of these is The Ghosts of Sleath, a story which continues the ideas of faith while maintaining the great spooky scares.

Both books are amazing ghost stories that will creep into your brain and unsettle and scare you. As the books are so well written that can be enough to enjoy. However, each of them have so much more to offer and so many more ways to keep you awake at night.

What Horror Novels do you love and you love being scared by?

The Horror writers that made me love Horror

Well it's July so what better way to celebrate the long sunny days than with a review of the Horror writers that got me hooked on to the genre as a kid. 

I am a big horror fan and I made a start on Horror novels when I was in my early teens. As soon as I started I started to try different writers. Below is a list of the writers that had the most influence on my tastes.

1.    Stephen King: Is it any surprise that ‘The King’ ended up on this list? I don’t think you can talk to anyone about horror writing without talking about Stephen King. A King novel was one of the first ‘grown up’ books I tried to read. I was trying to run before I could walk by taking on Pet Semetery and IT before I was out of ‘Point Horror’ (how good were they!). I failed to get through either and so took on Carrie. I loved it and wanted more King but after my failure to conquer the first two books I was a little intimidated. It was then that I found out there were several collections of short stories available, perfect. I got a copy of Night Shift and ploughed though it as quickly as I could. It was like being prepared for the bigger King books. Since then I have read a load of his books but it’s always good to know that there is more to read.

2.    James Herbert: My Mum introduced me to James Herbert when she read ‘Ghosts of Sleath’ when it was first released in paperback. She handed me the slightly worn paperback and suggested that it might be something I would enjoy. She wasn’t wrong and I read it in a week. It would be a year or two before I would get another Herbert book. This was the mid 90’s and the internet was not what it is now. I had to wait until I found another book in a shop or car boot sale. The second Herbert book I read was ’48. A totally different read but just as thrilling. Years later I have a complete collection of Herbert paperbacks and I am about 2/3 of the way through them. James Herbert was a great writer and a wonderful example of British Horror sensibilities. His books cover all aspects of horror and no matter your favour I am sure there is a book that you would like.

3.    Dean Koontz: Koontz is another one that I was introduced to by my Mum. This time however, I pinched a couple of the books from the shelves to take on a school trip. I took Midnight and Phantoms (Affleck was the Boom in Phantoms!) and of the two I loved Midnight. The stories were a bit pulpier, fast paced and filled with some great gory horror. I can’t say that Koontz is one of my favourite authors; however I enjoy most of his books. A few other that really stood out for me are Tick Tock and Demon Seed. The Odd series are also really good and worth reading.

4.    Clive Barker: Barker is a funny one; I was first introduced to his work via the Hellraiser film when I knew very little about how things worked. I just assumed he only made films. I was happy to find out how wrong I was in the late 90’s when I was given the paperback omnibus editions of the books of blood for Christmas. Wow was I in for a shock! This collection of wonderfully twisted and gory tales sucked me in. Barker’s imagination is vast, dark and compelling. His books vary from full on Horror to more fantasy but I enjoy them all, for the most part. While I enjoy his books you have to commit to them, they will challenge you and there are time when I am not sure if they are genius or in need of a more strict editor.

5.    Point Horror: I was too old to appreciate the Goosebumps books when I found out about them. Luckily a series of books existed for the early teen market, Point Horror. These books are written by a number of different authors, so it’s a bit of cheat but this series is still a milestone for me. They are predominantly based around urban legends horror tales and basic horror tropes but for the 12-year-old me they were perfect. These are a great entry point for younger readers, they are a horror enough that they aren’t for young kids but not overly complex or too violent or gruesome.

My top 10 Guilty Pleasure Movies

My top 10 ‘Guilty Pleasure’ movies

As I defined in the last Blog, a guilty pleasure movie is:

“A movie that I enjoy despite knowing that said movie is objectively not very good or is not held in high regard by most people.”

Having confirmed that, check out the below list of my top 10 Guilty Pleasure Movies and why I love them.

1.        Masters of the universe (1987) (IMDB – 5.3 / RT - 17%): This is a camp sci-fi classic produced by Cannon films and is a part of 80’s movie history. Why? That’s something I will cover someday. Anyway, I was a big fan of the toys and cartoon when I was a kid so to see some of the characters pulled up on to the big screen, I was pulled into this. Although, even as a kid I knew there was issues with parts of this film but I was down for the ride. I enjoy it in a different way now I am older but there is still part of me that gets a kick out of He-man and Skelator fighting. The film is well made but being released at the wrong time and laden with a few too many clichés it was never going to be a success. That does not mean that this shouldn’t be enjoyed as a B-movie sci-fi romp.

2.        The Shadow (1994) (IMDB – 6.0 / RT - 35%): Batman 1989 was a watershed moment for the superhero movie. Studios wanted to start making them, but keep them cheap. So instead of turning to the comic companies they turned to copyright free characters. So why not the character that partially inspired Batman? The Shadow is a much darker noir pulp character willing to kill and aggressively punish criminals. The film doesn’t reach those levels of darkness; it stays in the family film territory but it’s still great. The visual’s and effects on this film are so 90s, which is part of why this film stands out for me. Alec Baldwin is perfectly cast and the pulpy writing gets me really invested in this adventure romp. The character deserves a reboot on screen but more, this film needs to be found by more people.

3.        Rocky IV (1985) (IMDB – 6.8 / RT - 39%): In 1985 Rocky Balboa single headedly brought the Cold War to an end, or so Rocky 4 would make you think. The first 3 Rocky films are a trilogy of amazing sports dramas about achieving and holding onto success and what it can cost you. Rocky 4 is a propaganda film that includes a robot butler and the possibly the craziest and best work-out montage ever! EVER! The pacing, music and climax are so awesome that if you are not jumping up and down pumping your fists in the air, I would check your pulse.

4.        Child’s play 2 (1990) (IMDB – 5.7 / RT - 40%): The first Child’s Play film is good, but it’s not until 2 that the series gets into its full slasher / killer doll groove. The second film feels more confident by being more camp, and therefore more fun. This film has some excellent kills and has so much more fun with the concept. Also the final act in the toy factory is amazing. This is a film I watched at the right time, it may have even been the first Child’s Play film I saw. It is a definite milestone on my path to enjoying horror films.

5.        Ghostbusters 2 (1989) (IMDB – 6.5 / RT – 51%): This film gets a lot of hate because of how good the first film is. Now I love the first Ghostbusters; it would be in my personal top 5. However, this is the first Ghostbusters I got to see at the cinema. 1989 is a watershed year for me, it’s my first big summer of movies and this stands out to me. I should also say; I think this film is a lot better than people remember. The acting and comedy are solid and it has several scenes that I think are genuinely unnerving. Maybe not the strongest sequel ever made but I love every part of this film, from Ghostbusters being down on their luck to the finale and the odd painting at the end.

6.        Lord of Illusions (1995) (IMDB – 6.0 / RT - 61%): The Hellraiser franchise is what defines Clive Barker on screen. However, there are several other adaptations of his work that are really good (Midnight meat train and Nightbreed mostly notably). The one that ticks most the boxes for me is this adaptation of a short story from the Books of Blood and directed by Barker himself, Lord of Illusions. A horror, detective story about magic, cults and dames in distress. This is a brilliant horror noir that gets massively overlooked, Also Scott Backula is great in it.

7.        The Rocketeer (1991) (IMDB – 6.4 / RT – 62%): Like “The Shadow” this film came in the wake of the success of Batman. The Rocketeer however was not in public domain, as he was created in 1982 by Dave Stevens. However, not particularly well known the right weren’t very expensive. This is a proper old school adventure in the mould of 30’s serials, think Indiana Jones including fighting Nazis. Produced by Disney it is a family adventure with great characters and fun action. An early film for director Joe Johnston who would use his touch of fun and adventure in future films Honey I shrunk the kids, Jumanji, Jurassic Park 3 and Captain America the first Avenger (bringing back the 40’s serial nature).

8.        The Running Man (1987) (IMDB – 6.6 / RT - 63%): This film is the pinnacle of Arnold’s one liner actioners. Based on a much darker and grittier story by Stephen King the film is so 80’s from the costumes to the predicted technology. It’s not subtle in its message but it still has one as well as the great over the top action. I would say that this film would not only appear on this list but would be pretty high on my best of Arnie list as well.

9.        The Goonies (1985) (IMDB – 7.8 / RT - 70%): This is guilty less because the film is bad but more for the fact that at 35, I still want to be a Goonie. Goonies was one of the first films I can remember watching as a child. It fed my desire and love for adventure and the number of childhood adventures I attempted to go on. This holds up so well and I think should held up as a kid’s movie classic. Go back and check it out with your kids and see if they love it.

10.     Killer Klowns from outer space (1988) (IMDB – 6.1/ RT - 71%): This homage to 50’s sci-fi horror B-movies is nuts and relishes in its daft concept. The idea of vicious Alien clowns that travel through space in a ship that looks like a circus tent is brilliant. The acting is a bit wooden but everyone involved is giving their all and some of the scenes are cheesy joy. The practical special effects and makeup are wonderful and look great on the Blu-ray version. The best thing is that all of this is topped off by the tongue in cheek tone throughout. A perfect film to watch with a few beers and friends.

Halloween Countdown: 1 - Halloween (1978)

John Carpenter is a director ruined by the studio system; the more backing he was given the worse he became a victim of his own early success. In 1978 however he was untested with only one film behind him (1976 – Assault on Precinct 13) and with a budget of only $300,000 he produces the magnificent “Halloween” and we get the birth of the first iconic slasher killer Michael Myers (Jason would not be fully formed until 1982 and Freddy until 1984) and a template that would be expanded and mimicked for years to come.

Due to its limited budget and the fact that it was made before the overly gory horror films of the late 70’s and 80’s really took hold Halloween is surprisingly sparse on gory kills. In fact only 4 people are actually killed in the film. Halloween is a great example of necessity being the mother of invention. Throughout the film where they can’t afford to show masses of blood methods of hiding it have been used, whether that’s clever lighting or the first person perspective. Instead the film focuses on building tension and creeping fear, as the viewer you know something is coming but you don’t know when.

This technique is used from the outset, having the first 5 or so minutes of the film in first person perspective. Someone is stalking a young girl and her boyfriend as they go upstairs, within minutes the person enters the house and puts on a clown mask and picking up a knife. The person moves upstairs and enters the bedroom where the young girl clearly recognises the person. Seconds later all we see is the knife moving and the girl screaming. It is revealed in the next scene that the perspective was that of a small boy, Michael Myers and that he has just killed his sister. There is no explanation for why or who this family is. This is the key thing for Michael Myers, he is dangerous and driven to kill but (in the first film at least) we don’t get a reason why and I think that not knowing makes him scarier and more unpredictable. 

His mystery is heightened by his iconic design, a result of the limited budget. Originally he was going to wear a clown mask to mirror the look used as a child. However this was dropped close to production and the legend has it that a member of the design crew had to look for a new mask and bought a Captain Kirk mask, made the eye holes larger and painted it white. Add in a plain dark blue boiler suit and a simple and incredibly affective design is born. This design is so perfect because we still get a face to see but it is expressionless and using good lighting we never get to see his eyes. This could well be a hollow shell, it is only in the last act that we see below the mask and see a scared young man who panics and pulls the mask back on to regain his control. This does raise the question of what is he? Does he need to hide behind the mask to be the killer; is he scared of seeing his own face when he knows what he has done? There is so much we don’t know about what is going on in his head, leaving it so open makes it more interesting.

Michael fits very neatly into the first of the three iconic slasher killer types; silent slow moving killing machine (Michael Myers, Jason Voorhees), Witty and flamboyant (Freddy Kruger, Chucky) and charming seducer (Candyman). Without a given motive and because Michael gives nothing away during the film it is for the viewer to fill in the motivation if they want to. You can be as simple or as deep as you want to be, he could just be a crazy person who is killing based on opportunity and Laurie just happens to survive, or he takes a liking to Laurie and wants to separate her from her friends.

I like to think of things a little more deeply, I have always seen Michael in this first film as a personification of conscience, like a crazy Jiminy Cricket. Each of the kids that are killed has committed some sort of sin (under age sex, drinking, smoking weed or leaving the kids unattended) which singles them out for killing, even his sister at the start of the film.

This is a morality tale for older kids, the film even calls it out when Michael is referred to as the Boogey man by the young kids, which Doctor Loomis agrees with at the end. Children are told, if you’re naughty the Boogey man will come and get you (not a practice I advise) and here we have that played out for real. Laurie is the best of them, she is the goodie two shoes of the group but even she smokes weed at one point. So despite being the best of them she still sins, this is why she is the last to be attacked. I think this also plays into the building of tension for the first two thirds of the of film. Michael is watching and picking his kills. After the opening scene we only ever see the film from a limited number of viewpoints, I have always thought that we have only followed the stories that result in kills but that Michael has actually been watching other kids as well.

This notion is driven home at the end of the film. Doctor Loomis has shot him and he has walked away from it into the night, proving that he isn’t simply human he is something more. Then we are shown a series of shots inside and outside normal homes all normal, overlaid with the sound of breathing. In modern cinema this would be an indicator of the inevitable sequel, however when they made this film there was no intention of having a sequel this was supposed to be left open ended. To me this scene is the final indicator, be good because Michael is still out there and he is watching, he is in your normal looking home or neighborhood. Be good or the Boogey man will come and get you.

The film tries to drive this home by making everything as normal as possible All the kids are normal and doing normal things. They are discussing things that we all talked about when we were that age, school, dating and what we are doing at the weekend. There are parts of the film where the conversation is almost inane to the extent of being distracting. However it all works to make the point that this could happen anywhere.

John Carpenter’s desire for the film to maintain a level of normalcy is betrayed by two key things, firstly, the fact that the film actually points out its own main plot hole. The ones that come to mind are the fact that Michael has been locked up for 15 years since he was six, yet he is able to drive a car from the Hospital to Hanndonfield. It is mentioned by a doctor and an answer is never given. It’s something that has bothered me since the first time I watch the film.

The second is Donald Pleasence and his scene chewing performance. Everyone else in the film is trying to play every scene down and be normal. Pleasence screams, overacts and goes crazy eyes every chance he gets trying to convince everyone that Michael Myers is the devil incarnate. His performance is distracting and struggles to fit in with other parts of the film, he would probably fit in better in a later Nightmare on Elm Street or Friday the 13th film rather than this more restrained suspense horror film.

The final thing to mention is the music. John Carpenter is renowned for having done his own music for many of his early films and produced some amazing yet simple scores. Halloween is a prime example of this; the title music has become a seasonal anthem and is another further highlight of how restraint and a minimalist approach can really pay off.

In summary this is a low budget horror film that uses its limitations to its advantage and tells a story about a normal neighborhood going through one night of hell. It builds tension using a brilliantly simple score, well directed photography, clever editing, restrained acting (for the most part) and some simple designs to create something iconic. As with A nightmare on Elm Street this franchise becomes something different down the line, however in this case it’s not for the better. This is a great film that gets to the route of horror, there is something hiding in the dark that will get you if you aren’t careful. 

Halloween Countdown: 2 - The Changeling (1980)

I had not heard of 1980’s The Changeling until a couple of months ago. After that I heard about it several times in quick succession. Each time was praising the film as a forgotten gem. I am always a little suspicious of a film that seems to have fallen of the radar so much. It’s usually for a reason. Having now watched it and really enjoyed it, I understand why this does not get the attention it deserves. The late 70’s and early 80’s saw a wave of classic horror films that changed the direction of the genre to this day. The Changeling would have done better if it had been released 5 or 10 years earlier. This film is a much gentler ghostly thriller than was being produced by 1980. That does not mean that this is a bad film though, far from it.

The film centres on George C. Scott’s character John Russell, a musician and music teacher who, following the death of his Wife and Daughter, moves into a rented historical house. While dealing with his grief he starts to hear strange noises in the house. His investigations into the house lead him to a boarded up attic room that contains a small dusty child’s wheelchair. The hauntings escalate and he finds out more about the child that died in the house.

While I enjoyed this film and happily recommend it there are several issues that need to be addressed and are the reason it got lost in the mix with other films around this time.

The tension builds well for the first two thirds of the film and there are some really spooky moments. The massive house is used like a real haunted house. Doors slam, pipes bang and it’s all played like an old school ghost story, which is one of the reasons I like this so much. There are no huge moments with people being pulled up stairs by an unseen force or a ghostly wind blasting through the house and no mention of Demons. It feels a lot more real. There is a reason for that; the script is based on alleged events experienced by the writer a decade before.  

Unfortunately the mystery is revealed a bit too early and the last third drags as it reaches the finale.  This tension is mostly lost by the time the credits roll despite some great set pieces and performances. However, an uneven script is not helped by pedestrian direction and cinematography. Looking at their other credits both the director and cinematographer have done mostly TV work and it is shows. The locations for the film, the House in particular, are beautiful and a more talented cinematographer could have used them more effectively. Also, throughout the dialogue scenes are shot with the same intensity as ghost scenes, both of which have a TV movie feel.

When you stand this next to similar films around this time, such as Poltergeist (1982), The shining (1980) or The Amityville Horror (1979) it doesn’t stand up. Each of those had something special which makes them stand apart. With stronger more auteur direction this could have been elevated to the classic status along with the other films listed.

As I say there are several great effective spooky moments, also the essence of the story is strong and disturbing. Despite the pacing issues the feeling of grief and how that affects people, possibly opening them up to experiencing supernatural things is played really well. This is bolstered by brilliant sound design. The character of John Russell being a musician is utilised well with a creepy score that both supports and exists within the film.

Speaking of John Russell I would like to mention how good George C. Scott is. Scott plays John Russell as a quiet man looking for peace and to work through his grief. He portrays different sides of the grief so well and with dignity, from crying with despair to reminiscing over a photo album. There are several moments in the film where his is stopped in his tracks by a memory or his emotion and I felt it with him. In other scenes we get to see more of the man that he was. When the hauntings begin he ends up bringing in a medium to conduct a séance. During the mediums rantings and scribbled spirit writing the look of disdain for his face is priceless and completely valid.

His feelings and grief are what propel him through the film and drive him to follow the investigation to its end. I get the feeling that knowing he has done the right thing for this lost soul will make him feel reassured about what has happened to his wife and daughter. A good man whose life has been broken and he is looking for sense and peace in his life.

Overall, this is a good film with solid performances in a pretty strong story. Unfortunately despite these it feels like a film from 1972 released in 1980. Weak direction and a failure to utilise the locations really hinder this film. Had this been directed by Spielberg or Kubrick I am convinced that this would have been a classic. It is well worth a watch especially if you enjoy the smaller more down played ghost stories over the over blown nonsense that is released today.