Autodidact: self-taught


The Well (1997)

by V. L. Craven

The Well

Hester Harper (Pamela Rabe), a spinster living with her father on a farm in rural Australia, takes on Katherine (Miranda Otto) as a helper, letting go of the long-term help in order to do so.

The new girl finds the work too hard and decides to leave. But Hester has already become taken with the girl so she proffers a deal–she’ll bring back on the previous maid for the heavy work in order to keep on the younger woman. Her proposal is refused.

Katherine soon returns, though, much to Hester’s surprise. Long accustomed to being shut up on the farm she’s drawn to the young woman’s uninhibited energy.

The younger woman sees her opportunity and begins asking for gifts, which the enamoured Hester happily bestows.

One such manipulation involves the sale of the farm, the place where Hester was born, in order to afford a month-long trip to Europe and New York.

They wind up living in a lonely cottage which is the location of the titular well. Hester spent time there as a child and says the well has always been dry.

This is either a blessing or a curse, depending upon how you look at it, when Katherine accidentally runs over someone on the way back from a dance and they need somewhere to put said corpse.

And then things get…weird.

Pictured: Gold-digging, possible lunatic

Pictured: Gold-digger, possible lunatic

The Well is about obsession and greed. And jealousy and…insanity? It’s difficult to say at a certain point. I’ve watched it three times now and I’m still uncertain about the ending, but I have a high tolerance for ambiguous endings.

Folie a deux relationships are a personal interest so I found it enjoyable. It puts me in mind of Sister, My Sister in that it’s about an intense relationship between two women that leads to tragedy.

I’d give this one a 4/5. It’s a slow boil, but I really enjoyed it.

Personal thoughts for those who’ve seen it and want to know what I think:  I really have no clue. We see that Katherine has some of the money, but it doesn’t appear that she has all of it–there was far too much and her suitcase didn’t seem large enough to hold all of it. Also, we saw her in her bedroom alone and she seemed to really believe the guy in the well loved her, even though the fall alone would have killed him. So… yeah, I don’t know. I’d like to read the script and see if it’s clearer and if they edited it to make it more ambiguous.


American Mary

by V. L. Craven

American Mary

Brilliant surgical student Mary Mason (Katharine Isabelle) has some not not-so-brilliant bills that must be paid. After looking into some less-than-savoury options, she’s invited to practice her fledgling medical skills for cash. This leads to some very dark places, which leads to more cash and a more extravagant lifestyle.

Eventually she becomes involved in the extreme body modification community where she’s something of a celebrity. Unfortunately, not everyone has been completely happy with her work. In her new life she’s made powerful friends, but equally powerful enemies.

Isabelle will be familiar to fans of the Ginger Snaps films and Margot Verger on Hannibal. She’s excellent at playing creepy people, is what I’m getting at and does another fantastic job here.

Less gory than I was expecting–it certainly wasn’t in the realm of the currently popular gore-porn films–it also went in unexpected directions. It’s the first film written and directed by the Soska Sisters , Jen and Sylvia, who have cameos, as well.

Their production company is called Twisted Twins Productions  and the script is of the theme I like to call ‘Men underestimating women.’ It’s one of my favourite genres.

Trigger warning for a pretty brutal rape scene, though the rapist gets his just desserts.



The Babadook

by V. L. Craven


Six-years-old Sam (Noah Wiseman) has become increasingly erratic. He can’t sleep. He frightens the other children at school. He’s obsessed with a monster and builds machines and traps to defeat it. His mother, Amelia, (Essie Davis) is doing everything she can, but she’s been alone since the day he was born–her husband died in a car accident whilst taking her to hospital to deliver their son.

Not long before his seventh birthday, Sam spies a book he’s never seen before and requests it as his bedtime story. It’s a pop-up book called Mister Babadook.

And they lived happily ever after

And they lived happily ever after

After reading the story the figure of the Babadook begins to appear to Sam whose behaviour becomes even more disturbing and dangerous. (Writer/director Jennifer Kent gets an incredible performance out of this child.)

Amelia, her own sanity reaching a breaking point, tears the book to pieces and throws it away. But, as all possessed items do, it returns of its own accord.

Hello, Clarice.

Hello, Clarice.

After setting it alight, she goes to the police station to ask for help, but they don’t have an X-Files department in Australia, I suppose, so things just go from bad to worse.

This is the worse.

This is the worse.

At first watch, The Babadook appears to be a re-hash of several horror films. A little The Omen here, a smidgen Poltergeist there with a dash of The Exorcist. Then there’s an almost Home Alone bit. Just because.

My friends were raving about it and, in general, my friends have pretty good taste in films so I was perplexed. Then I read  this (very spoilery) article and suddenly it made sense. It was really well-done. My friends weren’t having me on my metaphor sensors were just off.

As mentioned, the child actor was incredible, but Essie Davis as the widowed mother trying to deal with her own grief and the grief of her child was mind-blowing. The creepiness factor was through the roof. Kudos to everyone involved. This is a good one, folks. 5/5

If you’re already a fan, they’re making a copy of the book , which is being produced by Insight Editions. I have their pop up book for the world of Harry Potter and it’s impressive. And the information on the Babadook book is hilarious–even if you don’t plan on ordering it I recommend reading the page in the link above.



by V. L. Craven


It’s 2008 and the financial crisis has just kicked off. Brokers and others involved in the industry are committing suicide, similar to the previous market fall in the Depression. One such person is Jeffrey D’Asange (Nikolaj Coster-Waldau) who kills his business partners and his wife before taking his two very young daughters and fleeing.

Distraught and driving far too fast on an icy mountain road, he loses control of the car, which goes down a hill and crashes. He finds an abandoned cabin and the three-year-old, Victoria, tells him there’s someone in there, but he dismisses her (never dismiss the children). They go in.

Victoria is extremely near-sighted and her father takes her glasses away so she can’t see the gun in his hand. She also can’t see what picks him up and breaks his neck.

Five years later, the girls are discovered in the cabin–the search has been on-going thanks to Jeffery’s identical twin brother, Lucas. They are feral, but healthy. Someone, or some thing has been taking care of them.

Victoria and her younger sister Lilly (Megan Charpentier and Isabelle Nelisse) are assigned to a psychiatrist and eventually given to Lucas and his girlfriend, Annabel, (Jessica Chastain) whilst still being under the doctor’s supervision.

The elder sister, now eight, adapts to the civilized world well, but Lilly, who was one at the time of their disappearance, remains feral, sleeping under Victoria’s bed and behaving more like an animal than a human. When asked who took care of them they just say, ‘Mama.’

Mama did not remain in the cabin. And mama is jealous of Annabel’s relationship with ‘her’ children.

Mama wasn't a stickler for hygiene...

Mama wasn’t a stickler for hygiene…

Mama is a fairy story in the vein of original fairy stories in that horrible things happen to small children and there’s not necessarily going to be a happy ending. This isn’t surprising, given that one of the producers is Guillermo del Toro.

The acting is solid all round but the child actors are particularly impressive. Andres Muschietti did an outstanding job and this was his directorial debut so it will be interesting to see how he develops.

The visual effects are excellent and understated for the majority of the piece leading to some truly creepy moments. Muschietti doesn’t rely on jump scares, which automatically earns points in my book–he relies on story-telling and atmosphere to do most of the scaring.

There’s nothing particularly new about anything in the film but it’s still worth the watch. I definitely recommend it for people who like their horror on a slow burn and minus the gore. 4/5


The Cabin in the Woods by Tim Lebbon

by V. L. Craven

Cabin in the Woods

If you’ve seen the film The Cabin in the Woods (which you should because it’s awesome ) you know what happens, but because the book is based on the screenplay, you get all of the deleted scenes and cut lines (they actually played ‘Truth or Dare or Lecture’), as well as a lot of description of things you’d only notice if you freeze-framed every shot.

Some of the most interesting parts were seeing the casting decisions taken. For example, in the book/screenplay, the woman from the chem department is a six foot tall humour-free woman with a bun to rival  Lilith Sternin’s . In the film, the character has a ponytail and appears to be of average height. She also appears to have a personality.

Dana was also originally supposed to be a brunette. So glad they opted for a redhead.

They made the right decision.

They made the right decision.

There’s also a great deal of page space given over to the blossoming romance between Holden and Dana and those parts read like young adult fiction, but I suppose that was important or something. Whatever. I was just there for the monsters and Marty.

We get to see inside the other characters’ minds, as well, including Marty’s, who is a much more three-dimensional character than we see in the film. And between that and being able to ‘see’ more of the sets and learning more about the monsters, it was worth the read.

I definitely recommend it for fans of the film–5/5. As a book on it’s own, it’s maybe a 3/5–it’s sort of young adult but with a lot of pot and beer and sex. And gore. So, young adult for the people who still read YA when they’re 25.


The Cabin in the Woods

by V. L. Craven

The Cabin in the Woods


The title The Cabin in the Woods says to me, ‘Bunch of nubile youngsters go to a wooded area and somehow end up in a cabin–by choice or misfortune–and something picks them off one my one. Could be a malevolent force or it could be homicidal hillbillies.’ Or just unfortunate hillbillies a la Tucker and Dale vs Evil .

But Joss Whedon is a man who knows what he’s doing. Why did I doubt you, Whedon?

What really happens is:

Several nubile university students go to a wooded area to stay at a cabin owned by the cousin of one of their number (Curt, played by Chris Hemsworth) where they are picked off one-by-one by cannibalistic hillbillies who are also zombies. So, you know, there’s a twist.

But then we learn something about all horror films that should have been obvious. Something that explains why everyone makes the same mistakes–people split up, the girls who take off their tops die first, etc. It’s all being manipulated by a corporation in deference to higher powers. (This is not a spoiler, we learn this at the start.)

Watching the people behind the scenes (Bradley Whitford and Richard Jenkins) is both hilarious and eye-opening. It will certainly make viewing subsequent horror films less infuriating knowing there’s an entire team of people manipulating teens into making poor decisions for the greater good.

There’s a great, split-second moment where we see the monsters at the disposal of the corporation. Thanks to pausing and screen-capping capabilities, though:

Cabin in the woods Whiteboard

If you want to know about everything on the board, there’s an unofficial, but excellent, fan-made wiki for the film that catalogs all of the monsters . That site is home to all of the spoilers. It lists the monsters available to torment whatever kids are up for grabs this time around, as well as what summons them. It includes monsters mentioned in the book but only glimpsed in the film. (Kevin is my favourite. Oh, Kevin.)

This is the part of the review where I tell you if the acting and writing was any good. It’s Whedon, people. The casting was excellent, the writing was hilarious and smart and didn’t go where expected (except when it had to, but then only so it could tweak the tropes of the genre). I wanted to make out with this film.

This is definitely one to own , as there are so many details that beg for further explanation and the physical versions have loads of extras.

If you (or someone you love) is already a fan, there’s an Official Visual Companion , which has the screenplay, interviews with Whedon and the special effects crew, lots of conceptual art and photos of monsters and sets, etc. I haven’t looked at this one myself so check the reviews before you order.

There’s also the official novelization by Tim Lebbon, which I’ll be reviewing on Friday. I wanted to read it after seeing some of the notes on the previously mentioned wiki.

The film is a 5/5 for definite. I watched it two days in a row because I had to show it to a friend posthaste.


We Are What We Are

by V. L. Craven

We Are What We Are

A woman goes grocery shopping in a downpour and suddenly begins bleeding from the mouth. She collapses into a ditch where she drowns, leaving her two daughters to carry out the religious duties for their father and younger brother. Due to the mysterious nature of her death, an autopsy is ordered and it’s discovered she had Parkinson’s. A teenage girl goes missing then the local doctor finds a human bone fragment in the creek, which leads to finding more bones. Things are not going well in the small town, is what I’m saying.

The daughters of the woman, Iris and Rose, have a difficult time taking over for their mother. Though they know the ritual has been carried out the same way for generations they have some objections and they discuss escaping their suffocating lives or upholding the tradition. Meanwhile, it’s discovered that Parkinson’s shares symptoms with a rare disorder called Kuru, which is only contracted one way and it’s not a good way. And it looks like the woman had Kuru.

As a commentary on extreme religious observance, it’s pretty much bashing you over the head and then gnawing on your arm. As a creepy horror film with nicely built atmosphere, it’s definitely one to watch.

The colour palette is particularly fine–it’s just lovely to look at–and the translucence of the girls’ skin and hair combined with them nearly always wearing white added to the effect. The younger daughter, Rose (Julia Garner) was especially good, though Bill Sage hit all the right notes as the stern patriarch of an extreme religious sect. (Though I’m not sure one family of five constitutes a sect.)

There’s relatively little blood or violence for a horror film (excepting one scene that was shocking in its violence if only because the rest of the film was so restrained). In this day of torture porn it’s refreshing to see films that rely more on story-telling than viscera to get the audience’s attention.

There is a sequel and a prequel planned and if they don’t turn both of those into gore-fests and retain the same level of plot and character development as the original, they could be interesting. Keep an eye out for those. Or pull an eye out for them. (Sorry. I’m so sorry.)

Overall I’d give We Are What We Are 5/5 because I like cannibals and I’d watch this one again. It’s definitely a step above most horror films. If you want fast-pacing or nudity or gore galore then this one isn’t for you, though.


Tucker and Dale vs Evil

by V. L. Craven

Tucker and Dale vs Evil

Tucker and Dale are a couple of good ol’ boys who’ve bought a house out in the boonies of West Virginia as a ‘vacation home’  and they go out to start fixing it up. On their way there they stop to pick up some beer and other supplies and run into a group of nubile university students. Dale (Tyler Labine) takes a shine to a particular blonde, Allison (Katrina Bowden), and tries to talk to her. Self-awareness not being his strong-suit, he happens to be holding a scythe at the time and follows his buddy’s advice to laugh and smile a lot, as that puts women at ease. She does not swoon into his arms.

The two groups go their separate ways–Tucker and Dale to their cabin and the students to their camping area. That evening the men decide to do some fishing and the kids go swimming. They happen to be doing these activities at the same lake. When Allison slips and hits her head, rendering herself unconscious, our hapless heroes come to her rescue, pulling her into their boat and shouting to the others, ‘We have your friend!’ For some reason the students find this terrifying and run away to regroup.

The men take her back to their ramshackle cabin for the night, figuring her friends will come looking for her tomorrow. But that isn’t exactly how things go. Because, to their minds, they have to save their friend from a couple of insane hillbillies.

Tucker and Dale vs Evil is about miscommunication on a large scale. It plays with all the tropes of the killer hillbillies genre, as well as serial killer films like the Friday the 13th series. Labine’s ‘dumb as a stump’ Dale is endearing and genuine and Alan Tudyk’s Tucker, the brains of the operation, has some of the funniest lines and moments. He just wants to help his friend gain some self-confidence, but it will be at the cost of much physical pain and confusion.

Eminently rewatchable, it’s on par with Shaun of the Dead for laugh out loud hilarity both in terms of dialogue and physical humour. And don’t worry, nothing happens to the dog. 5/5


British Gothic Cinema

by V. L. Craven

British Gothic Cinema

Castles and howling wind (or is it wolves), lightning and thunder and perpetual murk. Capes and lace and bodices and everyone’s overwrought about everything all the time. There’s a candelabra on every other horizontal surface. You know the drill. It’s Gothic. And, if you’ve watched a certain type of film you’re probably picturing Hammer horror films.

British Gothic Cinema by Barry Forshaw is about the influence of British filmmakers on horror cinema from the very beginning of film. Hammer gets a (deservedly) large portion of the book, but other companies like Amicus get their time, as well. Forshaw clearly knows his material and history–explaining how the censorship codes (blood on cleavage used to give people the vapours)–were slowly chipped away.

There are interviews with the some of the key players of the time, and honest reviews of performances by the staple players like Peter Cushing, Vincent Price (shipped in from the States to bring in the crowds) and Christopher Lee. No stone is left unturned–it’s an exhaustive work. Forshaw’s love for the subject shows.

This is an excellent companion to the BBC4 documentary A History of Horror with Mark Gatiss . Indeed, Gatiss is mentioned a few times in the end of the book, as are Simon Pegg and Nick Frost. British Gothic Cinema, on the whole, is about horror cinema, and the British influence on it, though the earliest contributions were period Gothic pieces.

Very academic, I would recommend it only for people already interested in Gothic cinema or fans of film history, but for them it’s a must-read. There are some film spoilers for very well-known films, but if you’re a fan of the genre you’ve probably already seen them. (I didn’t find this to be a problem.) The biggest quibble I had were the typos, of which there were more than a few.

Overall, I did enjoy it, am glad I read it and wound up with a long list of films to watch.

[I was given a free copy of this to review, but was under no obligation to give a positive review.]


Inside No. 9

by V. L. Craven

Inside No 9

Inside No. 9 is the newest show from two of the four members of the League of Gentlemen , Reece Shearsmith and Steve Pemberton.

Each episode is stand-alone and, being a British show, there are only six episodes. The action of each episode occurs in a different place with the address of No. 9. All are residences save one, which is dressing room number 9.

As you’d expect from these two, there are a host of creepy characters–some are in bizarre situations, others in are seemingly ordinary situations that turn surreal. All of them are original and surprising. The second episode was particularly creative, as there’s no dialogue.

Inside No 9, Sardines

The first episode ‘Sardines’, concerning a party game in a mansion that seems just a bit…off, dragged a bit, but turned out to be a nice start to the series. It fell firmly into the average people in a slowly devolving into a sinister situation sort of episode. It was also one of the funniest of the lot. Some of the guest stars in the episode were Anna Chancellor, Julian Rhind-Tutt, Katherine Parkinson and Anne Reid, which kept things interesting.

Inside No 9 A Quiet Night In

The second episode ‘A Quiet Night In’, as mentioned above, has no dialogue. Background music supplies all of the commentary about what’s going on. It concerns two hapless criminals (Sheersmith and Pemberton) who are trying to steal a piece of modern art from a house whilst the owners are in and out of the room and also in the midst of a domestic crisis. Tension is built nicely and the viewer finds themselves rooting for the ‘bad guys’, as their evening is definitely not going to plan.

Inside No 9 Tom and Gerri

The third episode ‘Tom and Gerri’ (‘her last boyfriend was Ben’) was the strongest both plot-wise and in terms of characterisation. Sheersmith is a teacher who really wants to be a writer. One day when his actress girlfriend, Gerri (Gemma Arterton), is at an audition, he has an interaction with the homeless man (Pemberton) who lives across the street. Then everything goes a bit funny and not in a ha ha sort of way.

Inside No 9 Last Gasp

This is followed by the weakest episode ‘Last Gasp’ about a little girl with a terminal illness who has asked the Wish-Maker charity for a visit by her favourite singer (David Bedella) for her birthday. When he dies while blowing up a balloon for her there becomes a power struggle between the adults (Pemberton, Tamsin Grieg, Sophie Thompson, Adam Deacon) over what to do with his last breath. This one never comes together. The characters felt incomplete. But I’ll forgive anything with Grieg in it.

Inside No 9 The Understudy

‘The Understudy’ was the penultimate episode. The titular character (Sheersmith) is hesitant to push his luck with the overbearing lead of the company he’s in (Pemberton). His girlfriend (Lyndsey Marshal) is more ambitious for him–knowing he has more talent than he gives himself credit for. When Pemberton breaks his long sobriety our man assumes his girlfriend is to blame, but as with the play the company is performing–Macbeth–things do not go well and there is blood indeed. Julia Davis is hilarious as the lesbian stage manager.

Inside No 9 Harrowing

I think my favourite episode was the final one, ‘The Harrowing’, which was of the extraordinary characters in a surreal situation type. It was about a teenage girl asked to baby-sit for an evening whilst two Poe-like characters (this is even acknowledged, much to my delight) have one of their very rare evenings out. The female character is played my Helen McCrory, who played Narcissa Malfoy in the Harry Potter films and was perfectly cast in the Madeleine Usheresque role. The girl brings her friend along, which is fortunate because the house is absolutely terrifying, with art depicting all the torments of hell. The girl is informed that she’s really there to house-sit as their older brother doesn’t actually need anything most of the time. But she’s there ‘just in case’. It was somewhat less developed in some ways, and the only one that seemed like the main characters could go on to be in other sketches. Or perhaps that was my wishful thinking.

Whether they appear in the next series or not–bring on series two, please.


Vampires in the Cold

by V. L. Craven

Vampire films, as a genre, don’t particularly hold my interest. Immortality seems boring–humans would whine about the same problems every century–and having sex with a room-temperature body (vampires are corpses) is stomach-churning, so their sex appeal is similarly lost on me. I’m not against watching a film about vampires, but there has to be some other draw.

In this case, it’s cold climates–the beauty of a frozen landscape will get me to watch a lot of things. So this week’s film review is a comparison of two films about vampires in cold climates: Let the Right One In and 30 Days of Night.

Let the Right One In

Let the Right One in is based on the Swedish novel of the same name by John Ajvide Lindqvist and is about a boy who befriends his unusual new neighbour–a girl of twelve. The girl advises him to fight back against his bullies and even offers to help. Much of the story is about the budding friendship between the two young people and the boy learning to stand up for himself.

The backdrop to all of this are the horrific killings that have been happening–one man was found upside down, drained of blood; and another was attacked and murdered in front of a witness, who swore it looked like the attacker was a child.

This film is much more atmospheric and subdued than most vampire films, which was refreshing. There was also very little blood and onscreen violence, considering the trend of horror films in general. Several tropes common to vampires were handled cleverly–trusting the intelligence of the audience rather than relying on special effects. I would recommend this to fans of vamp flicks who were looking for something a bit out of the ordinary, as well as to people who simply liked a good story. I’ll definitely watch it again.

30 Days of Night Film poster

The premise is that the town farthest north in the U.S. experiences thirty days of darkness once a year and someone (or something) has cut them off from civilisation even further by stealing and destroying all the mobiles amongst other things. Once no one can get in or out or can contact the outside world, things start picking off the humans. Yummy, yummy humans. 

I’m going to admit that I wasn’t expecting much from this one. It looked like pretty standard fare so I just came for the pretty scenery. However, some genius in casting had Danny Huston as the lead vampire. And he had a sidekick who rather looked like Marilyn Manson, which amused me greatly.

30 Days Huston and the Goth

‘Why do people keep asking me to sing Beautiful People?’

This one was better than I was expecting, but I’d only recommend it to people who like vampire films. It had plenty of blood and action and one very cool shot of the town that (along with Huston) made it worth the watch.


A History of Horror with Mark Gatiss

by V. L. Craven

A History of Horror

In 2010, Mark Gatiss ( Crooked House , League of Gentlemen, that show about Sherlock Holmes with that Cumberfellow) did a three-part series for the BBC about the history of horror in the cinema.

The first episode (Frankenstein Goes to Hollywood) starts with the Phantom of the Opera and is a paean to Lon Chaney, Bela Lugosi, Boris Karloff and other pioneers in horror cinema. Gatiss travels to Hollywood to see Chaney’s make up kit and visit locations and people involved in early horror films like Dracula, which was the first horror film with sound. And Frankenstein, where he visits both the sound stage village and the lake where the monster met the little girl. One of the people he talks with is Barbara Steele, who appears in other episodes of the series.

The episode also covers quite a few early horror films that haven’t garnered as much attention, though deserved more than they received. There’s also a bit about the classic Freaks, which disturbed young Mark.

Bela Lugosi as Dracula

The Count looks a bit unsettled, as well.

The second episode (Home Counties Horror) begins with the Hammer films, which were filmed in Britain. We’re onto the colour era of films, which made blood—which they actually showed—that much more terrifying. The first colour horror film made in Britain was The Curse of Frankenstein and starred Peter Cushing and Christopher Lee. Then we get on to the Hammer version of Dracula, where Lee takes over the Lugosi role.

There’s also discussion about the prudishness of the British film board that asked for cuts to avoid sexually suggestive material. This episode also has a fantastic story from Gatiss’ childhood as a young horror-lover whose weekly compositions where about such delight subjects as decapitations. There’s also a touching ode to Peter Cushing.

This one covers the Corman films based on Poe stories, as well, which are sort of the U.S. versions of Hammer films. Gatiss talks with Corman and talks about Vincent Price as a centrepiece of those.

The second episode  goes from the Gothic era to the English country sort of horror like the Wicker Man and Witchfinder General.

imagine opening a cupboard door and seeing that. Gah.

imagine opening a cupboard and seeing that. Gah.

The third episode (The American Scream) concerns the revival of horror, which takes place back in the States, beginning with The Night of the Living Dead. Gatiss interviews George Romeo and Tobe Hooper. Hooper, of course, directed Texas Chainsaw Massacre.

Once those independent films began making money, big production companies began making films. Including Rosemary’s Baby and The Exorcist. And the first horror blockbuster, The Omen, which was a sort of U.S./U.K. combination film being written by an American, but starring many English actors and being filmed primarily in England.

Gatiss also visits lesser-known films like Romero’s Martin about a teen boy who may be a vampire or may just not be able to talk to women with any aplomb. Cronenberg and his love of body-horror is then discussed. Then back to Romero and Dawn of the Dead.

The final section is on slasher films, which was properly ushered in by Halloween. Gatiss sits down John Carpenter about his inspiration and philosophy of filmmaking. Then our intrepid host carries on about where horror is going.

The Omen 1976 final frame

Terrifying, terrifying places.

Gatiss is clearly an enormous horror fan—at the start he admits that the films he chooses to highlight are his personal favourites. There’s a great love for the works and humour throughout. And bits and bobs of trivia—prior to playing Frankenstein’s monster, Karloff had been in eighty films, yet he was still virtually unknown for example–keep the viewer interested.

This is an excellent introduction to horror for people curious about the origins of the once again popular genre. It’s also sure to please devoted fans, who will no doubt find a friend in the engaging Gatiss. Tomorrow I’ll be reviewing a book entitled British Gothic Cinema, which will appeal to a similar audience. So be sure to check back in for that.

[Update: the British Gothic Cinema review will be next Friday]


Some Guy Who Kills People

by V. L. Craven

Some Guy Who Kills People

Ken Boyd (Kevin Corrigan) has recently been released from a mental hospital and his best friend has helped him get a job at an ice cream parlour. One by one, Ken’s enemies–the one’s who tortured him when he was younger are suddenly being knocked off in gruesome ways.

The sheriff (Barry Bostwick) is dating Ken’s mother and, as goofy as he is, isn’t a complete doofus, and begins to suspect Ken of the murders.

During all of this, Ken’s eleven-year-old daughter (Ariel Gade) from a one-week fling shows up and moves in, hoping to get to know her father. And a new woman, Stephanie (Lucy Davis) shows an interest. Perhaps Ken’s life is getting back on track.

So it would be something of a shame if he was  Some Guy Who Kills People . On the other hand… bitches gots to pay.

This was definitely a fun one. Well-written, well-acted, an all-round good time. John Landis was the executive producer and it shows–it’s a blend of horror and hilarity perfect for fans of Shaun of the Dead and Tucker & Dale vs Evil.



by V. L. Craven


Christmas was a special kind of hell for me as a child. I was expected to socialise for extended periods of time with lots of loud people who wanted to hug me and be in my personal space. As a young, raging introvert , severely lacking in the ability to express my feelings, this was not something I relished. So in 1990, when I saw the teaser poster for Misery:

Misery Teaser

I laughed and thought, ‘ Every Christmas there will be misery.’ Then I bought the poster.

The film is based on a Stephen King novel of the same name . It’s about a writer. I wanted to be a writer so that captured my interest straightaway. It had a woman named Kathy Bates in it. I hadn’t heard of her before, but I thought someone with a last name like Bates was perfect to play a psychopath.

Misery Is This What You're Looking For

I mean, right?

So Annie Wilkes (Bates) is a delightfully balanced woman whose favourite writer, Paul Sheldon (James Caan), is in a car crash and she nurses him back to health and isn’t at all obsessive or terrifying.

I mean, is that the face of a pure sociopath? I ask you.

I mean, is that the face of a pure sociopath? I ask you.

Yeah, no.

Actually, she finds him after the car crash because she was stalking him in the first place. Then, while she’s taking care of him–he has multiple broken bones in his legs and a broken arm so he’s not going anywhere–the final book in the Misery Chastain series is released. When she reads it and discovers he’s killed off her favourite character she’s rather…displeased. Considering that her mood swings wider than an articulated lorry the man was lucky to survive her initial reading. After forcing him to burn the novel he’s just finished (because it has too many swear words in it) she has him to write another book in the Misery series that she loves and that he absolutely despises.

So, there’s mental and physical torture. Just like my Christmases.  This film spoke to me on such a level, I can’t tell you.

Then there’s, you know, the scene.

Kathy Bates and her friend the sledgehammer.

And now, Ms Bates will demonstrate the key features of the latest in our line of sledgehammers.

Certain scenes stay with you forever. That’s one of them.

For those of you who haven’t seen the film–Bates does an interpretive dance with the sledgehammer and a four by four. It’s remarkably moving and entirely unforgettable. Bring a tear to your eye, it will.

From what I’ve heard about James Caan, there were probably more than a few people in Hollywood who would’ve liked to have swung that hammer themselves. You know, in interpretive dance.

There’s also a deleted scene where Annie kills a policeman by running over him repeatedly with a lawnmower, but it was cut, as Rob Reiner thought it would make people laugh. Apparently Bates was disappointed by the removal of that scene, and holy moly would I love to see it.

Anyway, this one wasn’t so much of a review as a One of My Fav Christmas Films and Here’s Why. But you should see it.

I know today is the day after Christmas– Boxing Day in Commonwealth countries (which has nothing to do with pugilism)–but if you’re sick to the back teeth of your relatives for one holiday season, then pop this one on and laugh and laugh and laugh.

And think of me when you do.


Wake the Wicked: Thirteen Twisted Tales

by V. L. Craven


The holidays are approaching and you have to get something for that friend. You know… that one. The one who seems to like Hellraiser just a little too much, and has read every Stephen King novel at least twice. Your dread is two-fold. First, the prospect of leaving the house sends a chill down your spine and then, once out there, you’ll have to shop for one of the most difficult of friends–the well-read individual of the gothic bent. Sakes alive, but what are you to do?

Fear not, you needn’t leave the comfort of your home (or your office chair, depending where you’re reading this). For Christian Baloga’s Wake the Wicked: Thirteen Twisted Tales  is available online. It comes in several electronic formats (for Kindle, Nook, Apple devices, etc) as well as a very nice paperback.

But also! It’s quite good. Here’s why you should get it for that friend.

As advertised, there are thirteen stories. A couple quite short and a couple quite long. Most are inbetween. Some are supernatural in bent and others are more about the monsters within ourselves. The narrators are sometimes women, sometimes men. Sometimes gay, sometimes straight. Baloga does not tie himself down to one type of story or character. There are often twists, but those twists are unpredictable.

‘Poison Ivy’ is about how two people who belong together should never be parted. ‘Flesh Boots’, on the other hand, is what happens when you want nothing but to be left alone and you get your wish. ‘Psycho Pharm’ gives us an unusual view of the pharmaceutical industry. In ‘Tremble for Me’ social media is used as a tool of humiliation and what happens when that tool is used on the wrong person. ‘Birds of Prey’ and ‘Digging Deep’ are both about the intensity of a father’s love for a sick child and what that can do to the father’s sanity.

It’s difficult to choose one stand-out story. If pressed, ‘Ripped to Ribbons’ and ‘Savage Games’ would be my personal favourites, both of which reminded me of Ray Bradbury. ‘Ripped to Ribbons’ is about a woman who should have minded her own business and kept reading her book, but she stuck her nose where it didn’t belong, and … well… She should have kept reading her book.

‘Savage Games’ was the most accurate portrayal of the psychology of a nine or ten year old I’ve ever read. If the Bad Seed had skipped the tap lessons and become engrossed in video games this is who she would have been. Just beautifully rendered.

You *will* take me to the arcade. You *will* give me quarters.

You *will* take me to the arcade. You *will* give me quarters.

As a sort of bonus, Corvids make appearances–for good or ill–in a few stories, which made me smile. Crows and ravens will always make me smile.

The only negatives were that thirteen, while a nice number for scary stories, is rather few for a collection– particularly when they’re well-written. I wanted more. There were also a few typos, but I’d say less than ten and I find more than that on the New York Times website in a week, so it’s difficult to be bothered by those in self or indie publishing anymore.

Wake the Wicked is a slim volume, so it’d be a great add-on gift for someone and it’s on sale–the ebook is 3.99 and the paperback is 7.99. Also, aesthetically, it’s fantastic. When it arrived, I had to smell it straightaway. The paper reminded me instantly of the R.L. Stine books I read as a teenager. The paperback has several illustrations by Baloga that the ebook does not have.

Overall, the stories are well-written, inventive and entertaining. I definitely recommend this one and look forward to anything Baloga has coming out in future. I hope to have an interview with him in the next few weeks, so look out for that.



[I was given a copy of this book for review purposes but was under no obligation to give it a positive review.]


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