It’s been a few years since the first volume of John Carpenter’s Tales for a Halloweenight, but with the third volume out now, I thought there’s no better time to review the series from the start than now. I was given the first two volumes as a gift a few years back, and I’m itching to write about these crazy stories. In short: they’re wild.
This collection of horror stories make up an anthology, with each tale written and illustrated by different artists, compiled by the legendary John Carpenter. I consider this, in a way, to be the Tales from the Crypt of graphic novels: each story is introduced and reacted to by “The Groundscreeper,” a crazy, old—you guessed it—groundskeeper for a cemetery. The storytelling is diverse across every tale, and each just as unique as the last. I think in this first go-round, none of the stories themselves necessarily “wowed” me. It was mostly the artistic styles that roped me in. One of my favorites, “At Sea,” presents a pseudo-cartoonish style, especially in the characters’ facial expressions. Only, this style fades into a dark, shadowed painting of the story. As a group of friends on a boat begin experiencing some strange occurrences and visuals in the night, they soon realize they might not be alone. Layering the writing itself, the art pulls you down into the dark and never lets up. I found that especially effective. Another notable story is “Notice to Quit,” following a man haunted by a demon driven to bring him to his death. While at times it feels somewhat goofy, this piece’s heavy tone resonates, magnified by the muted colors and “painted” appearance to the drawings. The protagonist’s skewed sense of self reminded me a bit of horror films of the early aughts, similar to characters from movies like Darkness Falls and Final Destination. The pieces that make up Tales for a Halloweenight pay homage to their horror predecessors, while also providing a fresh take on the genre. There are more than a fair share of horror-themed graphic novels out there, but with Carpenter’s involvement, this series has an extra opportunity for the accessibility that the genre could only benefit from. I’m so excited to delve deeper into this series, and to see what more gory, twisted madness these dark storytellers have in store. Have you read any of the volumes of this series? What are some of your favorite stories? Let’s discuss! -Ryan Buy Haunt here. Preview my books here. Find me on social here.
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I happened upon the work of Ada Limón after browsing the shelves of the poetry section at a bookstore in Seattle, and I’m so thankful that I did. Turns out she’s kind of a big deal. And her poetry kicks so much ass. Her writing is rooted in reality and armored with a strong bark of metaphor. Yet there is vulnerability throughout, a clear and visible pain that radiates through almost every poem, hidden in the language she uses, yet displayed on her sleeve for all to see.
Probably the strongest theme in The Carrying is that of life and death. This 2018 release starts with a short poem about self-identity, almost like a stepping stone in the rollercoaster of life. Limón talks about Eve, taking in all the animals and giving them names. “I wonder if she ever wanted / them to speak back,” she writes, “looked into / their wide wonderful eyes and / whispered, Name me, name me.” The vulnerability and modesty that this poem brings to the table feels like a teaspoon at the mouth, to test out how hot the drink will be. There’s a lot to unpack in many of Limón’s pieces, insinuating layers of meaning and emotion. And there’s a lot to commend, for that: it’s clear that she is a talented poet, revealing so much through so few words, right off the bat. Later on, in poems like “The Real Reason,” reality and symbolism collide in harmonious and heartbreaking ways. The speaker discusses wanting a tattoo that means something special to her, and dictating that thought to her artist mother, not getting the response she had expected. “It wasn’t until later that / I knew it wasn’t so much the tattoo, but the marking, the idea / of scars. What you don’t know (and this is why this is not my story) / is that my mother is scarred from burns over a great deal of her body. / Most from an explosion that took her first child she was carrying…” If that doesn’t hit you right in the gut, I don’t know what will. There are several instances like this in The Carrying, instances that come out of left field, that you can’t expect to catch and hold on to like you might hope. There is grief in many of these poems. And there is sorrow. But Limón also wields strength, for example, “Wonder Woman” recounts a speaker’s need to stand and applaud a little girl in Wonder Woman garb. “… she bowed and posed like she knew I needed a myth— / a woman, by a river, indestructible.” She builds a foundation of female power that serves as the support for everything she needs to hold up in this collection of poems. It certainly leaves me wanting more, needing to delve deeper into her work and find her other published books. I am floored by Ada Limón, and I hope more readers are effected by her talent in the same or similar ways. Some other favorite poems of mine from The Carrying include: “Dead Stars,” “Prey,” “Notes on the Below,” “Killing Methods,” and “Full Gallop.” Are you a fan of Ada Limón’s? What other works of hers have you read? Is anyone going to check out her writing who haven’t already? I want to know. Let’s discuss! -Ryan Buy Haunt here. Preview my books here. Find me on social here. If you checked out my last blog entry, you’ll be well aware of my picks for the top 10 album releases of 2018. It was certainly hard for me to organize which albums would make the list and in what order, but from its March 9 release, I knew that Teenage Wrist’s debut, Chrome Neon Jesus, would stay at number 1 all year. And that decision remained; when it came time to finalize my list, that blue-tinted album cover found itself at the bottom of my blog post. This all might sound dramatic, but… All right, it is. Welcome to me. Anyway, I wanted to spend this blog taking a more in-depth look at Chrome Neon Jesus and why it resonates with me.
I first heard about Teenage Wrist from the releases of their first two releases as a band, the singles Slide Away and Afterglow. I loved their sound from the start: alternative rock, with blends of shoegaze and a bit of a grunge-y sound. Even the band’s name made me think of the pot-stirrers of ‘90’s grunge culture into early the aughts post-grunge era. Teenage Wrist’s sound is simple and accessible, in a good way—they create some seriously catchy tunes. But for me, it’s vocalist’s Kamtin Mohager’s breathy, soothing voice that makes them stand out. Following the release of their first EP Dazed in 2015, the band put out another single, “Stoned, Alone,” that would become the first single from their upcoming debut. But the 2-year gap between that single and the album made me think they might have been a short-lived name, swallowed up (yes I just gave you a Teenage Wrist pun, and yes you must deal with it) by the unforgiving music industry. But eventually, new singles “Dweeb” and “Swallow” were unveiled, along with the title and cover art for their first full-length album, under their new label, Epitaph Records. Thanks, Epitaph! Maybe it’s the aesthetic of the band that draws me in part of the way; they’re moody, they’re blending genres that I love and can be rather picky with, if I’m being honest (I’m looking at you, emo. Sure, I call myself emo all the time, but I’m not going to call myself “post-grunge.” I don’t think that’s a thing), and they are an easy band to listen to. There’s no shtick, which I’m okay with sometimes. They found their sound with Chrome Neon Jesus and let the music mold how listeners perceive them. It’s ultimately darker than the songs on their EP, it’s heavier than the previous tracklist, and it is inspired by the band’s musical predecessors without making them look like a bunch of posers, in my opinion. Let’s take a look at some of the individual songs: one of my favorites is “Rollerblades.” The rhythm of the guitar hooked me in right away, and lyrics like “I never look around to see how far I’ve come” are reminiscent of youth, drawing upon the fact that we sometimes achieve so much, or get through certain hardships without really noticing. We get so lost in ourselves, stuck in routine that we forget to appreciate what we have. That’s how I read the line from the first verse, as well: “saved from going through the storm.” Yes, it’s clear that themes of love radiate throughout. But I think that’s part of it; people go through a lot in the name of love, and some people are blind to toxicity. In this song, you’ve made it, and you’re better for it. Another song I love on this record is “Black Flamingo.” If nothing else, this song brings up so many interesting images and ideas that make us draw our own conclusions. Now, usually that can come across as pretentious, especially in creative outlets such as poetry. Most of the time I look for concrete stories and situations, but that’s hard to do in music. In this song, certain images stand out to me, like “My neon black flamingo.” It makes me wonder, what in all heck is that? But the picture that comes to mind is clear, and it’s strange, but to me, it represents timelessness. The song concludes, in a way, that love is timeless, as well. A flamingo is natural, and has lived in history for many years. But altering the pink color we’re accustomed to introduces change, and bringing in the neon hands us futurism. So when Kamtin croons, “I’ve been hiding out in the chrome black hole in time,” things start to make a bit more sense. Because when he looks into this person’s eyes, he feels timeless, and ethereal, in a sense. Layer that with the ethereal, flowing sounds of this song, and many of the songs on this album, and we have ourselves a winner. Some of my other favorite songs are “Dweeb,” “Spit,” and “Waitress,” to name a few. Chrome Neon Jesus is a great collection of songs, none of which I skip through, which made a huge impact on my decision to make it my favorite album of 2018. Let’s hope we see a lot more of Teenage Wrist in the future, and let’s hope this sound stays with them along the ride! Luckily for me, they’ll be at the 8123 Festival hosted by The Maine (look at me both humble-bragging and dating myself) in Phoenix, so my desire to see them live will soon come true. Have you listened to Teenage Wrist’s music? If so, what do you think about it? Let’s discuss! 2018 is coming to a close, and it's been quite the whirlwind. A lot of positives have made their way into my life this year, including the release of Haunt in February, which I'm still pinching myself over. It's surreal to put my work out there in a collection; I've had individual poems published in magazines before, but nothing to this extent. I am working on the next effort! I'll post updates when I have them. I'm still in the editing stages. Anyway, to end the year, I thought I'd share my thoughts about my favorite music releases of the year. Music is a big motivator for me in terms of writing. So I try to keep up with new releases the best I can and allow those creative juices to flow! Without further ado, here are my top 10 albums of 2018:
Honorable MentionsFlorence + the Machine - High As Hope |
1. Teenage Wrist - Chrome Neon JesusLike with Younger Then, I've been following the trajectory of Teenage Wrist since the release of their first few singles and EP. I loved their sound then, and they only added to that with the unleashing of Chrome Neon Jesus. Blending modern emo sounds and shoegaze with nostalgic tones of the grunge era, Teenage Wrist couldn't have put out a better record. Kamtin Mohager's breathy, smooth voice adds to the rough instrumentals, a perfect mix of sweet and savory I didn't know I needed. And yet here I am, knowing from this album's release that it would be my favorite of the year. Notable Tracks: Rollerblades, Dweeb, Swallow, and Black Flamingo. |
There you have it! Do you agree with any of my choices? Were there any records I should have listened to that I missed? Leave a comment, and let's discuss! And let's look forward to the new art and music to come with 2019. Have a safe & happy New Year!
- Ryan
Buy Haunt here. Preview my books here. Find me on social here.
- Ryan
Buy Haunt here. Preview my books here. Find me on social here.
After what felt like a long wait, I finally got my hands on the highly-anticipated new release from Andrea Gibson, Lord of the Butterflies. I’ve always been a huge fan of Gibson’s work, filled with raw honesty and pure heart. This new collection of poems is just that, and so much more. The poet infuses their work this time around with bold themes of gender, relationship with oneself, and growing up queer. It’s easy to tell that these poems are firmly rooted in reality, making them that much stronger. These poems pack a punch, in many different ways. From political stance to love poems, Gibson doesn’t shy away from their true thoughts and feelings, and that is what makes them a powerful writer. Reality fuels these pieces, but the road is smoothed by their fantastic way with words.
One of my favorite pieces is “Good Light,” which contains a stanza that reads “Come tender as the trees / forgiving the books / for asking to be made.” The characterization of the books in this occurrence follows Gibson’s themes of guilt and feeling, in a sense, like a burden. And while their quirky humor radiates throughout this collection, the heavy pieces still stand like skyscrapers, commanding to be seen. “Black and White Angel” is one of those poems, one of several that mention Gibson’s sister. It’s one of the handful of poems that makes this book feel like Gibson’s most personal to put out in the world. And that, I commend them for.
Some more of my favorite pieces from Lord of the Butterflies: “All the Good In You,” “Give Her,” “Letter to the Editor,” “Living Proof,” “First Love,” “Orlando,” and “Diagnosis.”
I couldn’t recommend this book of poems more; I can’t deny that I’m a bit biased, considering I’d recommend any of Andrea Gibson’s books, but Lord of the Butterflies is filled with passion, love, fear, anger, and a plethora of other emotions that Gibson seamlessly spins together into a welcoming web of comfort and warmth. After reading this, I feel even more like sharing a hug with them and never letting go.
-Ryan
Buy Haunt here. Preview my books here. Find me on social here.
One of my favorite pieces is “Good Light,” which contains a stanza that reads “Come tender as the trees / forgiving the books / for asking to be made.” The characterization of the books in this occurrence follows Gibson’s themes of guilt and feeling, in a sense, like a burden. And while their quirky humor radiates throughout this collection, the heavy pieces still stand like skyscrapers, commanding to be seen. “Black and White Angel” is one of those poems, one of several that mention Gibson’s sister. It’s one of the handful of poems that makes this book feel like Gibson’s most personal to put out in the world. And that, I commend them for.
Some more of my favorite pieces from Lord of the Butterflies: “All the Good In You,” “Give Her,” “Letter to the Editor,” “Living Proof,” “First Love,” “Orlando,” and “Diagnosis.”
I couldn’t recommend this book of poems more; I can’t deny that I’m a bit biased, considering I’d recommend any of Andrea Gibson’s books, but Lord of the Butterflies is filled with passion, love, fear, anger, and a plethora of other emotions that Gibson seamlessly spins together into a welcoming web of comfort and warmth. After reading this, I feel even more like sharing a hug with them and never letting go.
-Ryan
Buy Haunt here. Preview my books here. Find me on social here.
Over the past few weeks, I’ve been seeing a lot of horror-related stuff popping up in the news, and I felt like this would be the best place to organize my thoughts and share with you all. It’s safe to say it’s been an interesting time for horror, with the rise in recent successful horror films, such as It Follows, Get Out, Hereditary, and Halloween (2018). It’s also been a great time to be a fan of the genre as a whole, given the popularity of conventions and similar shows.
New Trailer for Pet Sematary Remake
This was a pleasant surprise, seeing the first trailer for the new rendition of Stephen King’s story about resurrection gone wrong. Pet Sematary isn’t a film I thought I’d be excited about, but the direction this remake seems to be taking is certainly interesting. Not that the original wasn’t dark, but with the latest iteration of Stephen King’s IT, I’m glad that this one is taking its own, more serious route. And the visuals look great—the animal masks worn by the children in what looks like a ceremony for a dead pet are creepy as hell. It’s safe to say I’m in!
First Still from Hellboy (2019)
Honestly, I am on the fence about a reboot to the Hellboy franchise. It feels like there should have been more to del Toro’s story of the red devil, lead by Ron Perlman. I enjoyed those films. But I do like the idea of Stranger Things’ David Harbour donning the horns, and he certainly looks the part. Upon out first look at the new Hellboy, I’ll say I was happy. It’s clear they’re going for a grittier take, which seems odd given del Toro’s already gritty repertoire. This first official still shows us the titular anti-hero in action, running down a hallway. To be blunt, his torso seems a bit large compared to his legs. But that could just be the camera angle! I think I’ll have more of an opinion on this upcoming project once we get a trailer.
Candyman Film Announcement
Okay, so Candyman scared the crap out of me as a kid. I know the film has spawned sequels, and I know they didn’t necessarily add up to the first (it’s rare that sequels ever do), but the Clive Barker adaptation definitely holds up. It was announced recently that Jordan Peele is co-writing the script to an upcoming sequel, possibly a “loose” sequel, at that. I’m intrigued to see where Monkeypaw Productions and MGM take this story. At the very least, let’s hope that Tony Todd is somehow attached! There’s no way his performance can be topped. But if he gives his blessing, I’ll still have faith in another installment.
Child's Play (2019) News
It was revealed recently that Child’s Play is another film receiving the reboot treatment (I see a theme in this blog post!), and mind you, this is a franchise that not only recently had a sequel released, but is also currently being produced into a television series. It’s unclear how one project will affect the other. I’m not the biggest fan of Child’s Play, as I don’t find Chucky scary—I don’t find most dolls scary, for that matter. Even as a kid, I wasn’t bothered by the first film, so I can’t say that news of a remake necessarily upsets me. What makes me happy, however, is the fact that it is set to come out on June 21, 2019… the same day as Toy Story 4. If that isn’t perfect marketing, I don’t know what is. And the studio put out some rather creepy fake advertisements online for the new “Buddi” doll, chock-full of new technology upgrades. Again, we’ll see what the eventual trailers give us. But right now, all I’ll totally agree with is the casting choice of Aubrey Plaza. I’m in it just for her!
What do you think about this latest batch of horror news? Are you over the remakes and reboots? Or are you just glad that the younger audiences get to experience the characters we know and love in a new light? Let’s discuss!
- Ryan
Buy Haunt here. Preview my books here. Find me on social here.
What do you think about this latest batch of horror news? Are you over the remakes and reboots? Or are you just glad that the younger audiences get to experience the characters we know and love in a new light? Let’s discuss!
- Ryan
Buy Haunt here. Preview my books here. Find me on social here.
After seeing so many fantastic posters for Luca Guadagnino’s highly anticipated remake of the classic giallo film, I finally watched Suspiria in all its hypnotic madness. Starring Tilda Swinton, Dakota Johnson, Mia Goth, Jessica Harper, and Chloe Grace Moretz, Suspiria follows a young American dancer who attends a German dance academy that holds dark, violent secrets. As a whole, the film is visually and thematically different than its predecessor, trading in Argento’s colorful and over-the-top styles for muted tones and increased intensity. Of course, this is a remake of a favorite among horror fans, but in many ways, Guadagnino’s vision dances to a different tune entirely. The idea of witches running the academy is introduced early into the film (save the original’s plot-solidifying musical score by Goblin, whose lyrics include the word “witch” from the start), implying that further twists will be revealed. And boy, they sure are. But this is a spoiler-free zone! You’ll have to see the film for yourselves for those.
What the film certainly gets right is its stellar cast. Swinton’s character is a somewhat softer version of the original, treating the girls at the academy as a family, and showing that she does care for them, if not a bit suspiciously so. As for Johnson, I have to say, her work as Susie Bannon is superb. In hindsight, the depth of her character glows throughout. Her dedication to dance runs deep, and her bond with the academy and its staff grows strong, whereas in the first film, Susie’s suspicions are alerted rather soon in the film. And Goth and Moretz’s characters are mesmerizing in their uniqueness. Their reactions to the goings-on at the school are magnified as the film progresses, resulting in some heart-pounding scenes.
What the film certainly gets right is its stellar cast. Swinton’s character is a somewhat softer version of the original, treating the girls at the academy as a family, and showing that she does care for them, if not a bit suspiciously so. As for Johnson, I have to say, her work as Susie Bannon is superb. In hindsight, the depth of her character glows throughout. Her dedication to dance runs deep, and her bond with the academy and its staff grows strong, whereas in the first film, Susie’s suspicions are alerted rather soon in the film. And Goth and Moretz’s characters are mesmerizing in their uniqueness. Their reactions to the goings-on at the school are magnified as the film progresses, resulting in some heart-pounding scenes.
Then we have the plot; while slow-moving most of the time, the film’s pacing allows for the more exciting scenes to stand out drastically against the eerie backdrop of a silent slow-burn, veiled in shadows and the undying sense of dread it carries throughout. |
Tone is used well in this iteration of Suspiria, which saves it from some rather forgettable and time-consuming subplots. We’re given a lot more of the psychologist’s character in this film, implying that he will provide more to the story than he did in the original. But it only seems to overstuff the film with characters who, to put it bluntly, we’re just not interested in. And the addition of political backdrop does provide some good layers of perspective and setting, but it’s long overdrawn and not entirely necessary. Cutting these down could have shaved a good 45 minutes off the film’s lengthy 2 hour and 35 minute runtime, a big portion of the film’s downfalls.
Some of my favorite things about this film are its uses of camera techniques and its score, helmed by Radiohead frontrunner Thom Yorke. They each lend a lot of tension and character to the film, much like that of the original Argento classic. Quick cuts during scenes of violence and intriguingly awkward camera tracking movements create the unease that serves as Suspiria’s foundation. And Yorke’s score, while sometimes oddly placed, is looming and creepy, which is just what makes the film thrive. In a way, the score leads the way in this beautiful, horrific dance. And the technical aspects of the film pay homage to 1970’s horror while also laying more bricks onto this road of modern psychological horror. I would place this into many of the same categories as The Witch and Hereditary, two recent horror films that pepper in unforgettable scenes into well-written stories. They each have simple concepts wrapped in layers of complexity that leave their audiences dumbfounded and in need of a cold shower.
Some of my favorite things about this film are its uses of camera techniques and its score, helmed by Radiohead frontrunner Thom Yorke. They each lend a lot of tension and character to the film, much like that of the original Argento classic. Quick cuts during scenes of violence and intriguingly awkward camera tracking movements create the unease that serves as Suspiria’s foundation. And Yorke’s score, while sometimes oddly placed, is looming and creepy, which is just what makes the film thrive. In a way, the score leads the way in this beautiful, horrific dance. And the technical aspects of the film pay homage to 1970’s horror while also laying more bricks onto this road of modern psychological horror. I would place this into many of the same categories as The Witch and Hereditary, two recent horror films that pepper in unforgettable scenes into well-written stories. They each have simple concepts wrapped in layers of complexity that leave their audiences dumbfounded and in need of a cold shower.
While Suspiria does receive this baton from similar recent films, it doesn’t exactly run with it with the right speed or pace. It suffers from some coughs and hiccups, but doesn’t keep me entirely fed up with it. I’m still itching to revisit it after some time, perhaps with a coffee or a soda. And although strange and baffling, I’m still interested in seeing that big climax again, in all its red-soaked insanity. So, if you’re willing to sit through 2 ½ hours of detail-oriented pseudo art-house horror, I’d say to give it a shot. It’s thought provoking, enticing, and a fun conversation starter. Otherwise, if you’re looking for a colorful slasher like the ‘70’s giallo film, you might want to stick with that one.
Let me know what you thought of Suspiria! Were you as roped in as I was? Leave a comment below.
Until next time!
- Ryan
Buy Haunt here. Preview my books here. Find me on social here.
Let me know what you thought of Suspiria! Were you as roped in as I was? Leave a comment below.
Until next time!
- Ryan
Buy Haunt here. Preview my books here. Find me on social here.
It's time for the final batch of October watches! Let's just get right into it.
The Chilling Adventures of Sabrina (Netflix)
Anyone who knows me knows I’m up for a dark re-imagining, and the Sabrina series is no exception. I’m a big fan of the original comedy series, but this new Sabrina is outright dark. It stands on its own, and I love that for it. Sure, it has some of the original show’s quirkiness, with almost tongue-in-cheek themes of hell and Satan. But it takes itself a lot more seriously, and Kiernan Shipka is marvelous as the titular witch. Her Sabrina is outspoken, powerful, and looks out for her loved ones. She’s a strong female, and I’m sure she’s making Melissa Joan Hart proud! I loved the first 10 episodes, and I can’t wait for more.
Willard (1971)
This one was a first-time watch for me. It’s been a while since I’ve seen the remake, and while the original isn’t necessarily a standard horror film, it still contains horror elements. I mean, who wouldn’t squirm at least a little upon the sight of a horde of rats? The film itself is a bit slow, and arguably dull, except for when Willard is with the rats, but the story is interesting enough to keep the plot moving along. I would recommend maybe a one-time viewing, but I will say: I did wish for a bit more payoff in terms of the rats being totally at Willard’s beck-and-call.
Return of the Living Dead, Part II
Another first-time watch for me, the sequel to the zany Return of the Living Dead is a bit less zany, but is still out there in its wackiness. It’s a crazy zombie movie, but these zombies weren’t nearly as fun and weird as they were in the first film. It definitely did seem to have a larger production budget than its predecessor, but in ways, that took away from its value. If you’re going to watch either of these, definitely watch the original first.
Apostle (Netflix)
Like Willard, I wouldn’t categorize Apostle as a full-on horror film, but again, it does contain horror elements. It’s gory, it’s mysterious, and it’s got a religious cult. Good enough for me! It went to places I didn’t expect, and the visuals were outstanding. From the start, we can tell that something is awry in this village on a secluded island. As the events of the film unfold, things really get wicked. I’d definitely recommend this one!
An American Werewolf in London
One of my favorite werewolf movies, American Werewolf stands out for its dark humor, its soundtrack, and most certainly its unforgettable transformation scene. I could have watched that one scene for hours. And as dark and gory as it is, it’s a funny movie; I always find myself cackling throughout. It’s so strange, but a really fun watch. It’s a Halloween-time must.
The Rocky Horror Picture Show
It isn’t easy having a good time. But it is easy having a ball with one of my favorite Halloween season treats; Tim Curry shines, and not only when he’s covered in blood. Everything about this film is so tongue-in-cheek, and practically self-aware, that it’s impossible to not enjoy yourself at least a little with this mad musical. Oh, Rocky!
Re-Animator
Based on the Lovecraft story, Re-Animator spins the Frankenstein story on its head. From the undead cat to a man’s body carrying its own severed head, everything about this film is pure insanity. It’s dark, it’s funny (I guess I had a theme going on, this week!), and it doesn’t hold back. Sure, it may suffer from some poor writing, and some questionable acting, but I still enjoy re-visiting Re-Animator, an underdog of horror classics.
Halloween (1978)
Halloween isn’t perfect, but I love it and it’s special to me as my go-to film to answer the question, “what’s your favorite movie?” I always get weird looks, considering it’s a low-budget slasher film, but I stand by my choice. The concept is basic, allowing creativity to flow and imaginations to run wild, the music is damn near perfection, and it’s got a brave teenage Laurie Strode facing off against the unmistakable Shape. How much better can it get? Plus, I won’t watch anything else on Halloween night. My October 31sts are dedicated to the first appearance of Michael Myers.
There we have it! 31 Halloween haunts for October! What are your favorites from my lists? Did you watch anything that I should have, this season? And, am I done with horror for the rest of the holidays, do you ask? Of course not. I hope everyone had a great Halloween! I’ll see you all back in the bi-weekly blog cycle. And be sure to follow my social media to get regular updates!
-Ryan
Buy Haunt here. Preview my books here. Find me on social here.
The Chilling Adventures of Sabrina (Netflix)
Anyone who knows me knows I’m up for a dark re-imagining, and the Sabrina series is no exception. I’m a big fan of the original comedy series, but this new Sabrina is outright dark. It stands on its own, and I love that for it. Sure, it has some of the original show’s quirkiness, with almost tongue-in-cheek themes of hell and Satan. But it takes itself a lot more seriously, and Kiernan Shipka is marvelous as the titular witch. Her Sabrina is outspoken, powerful, and looks out for her loved ones. She’s a strong female, and I’m sure she’s making Melissa Joan Hart proud! I loved the first 10 episodes, and I can’t wait for more.
Willard (1971)
This one was a first-time watch for me. It’s been a while since I’ve seen the remake, and while the original isn’t necessarily a standard horror film, it still contains horror elements. I mean, who wouldn’t squirm at least a little upon the sight of a horde of rats? The film itself is a bit slow, and arguably dull, except for when Willard is with the rats, but the story is interesting enough to keep the plot moving along. I would recommend maybe a one-time viewing, but I will say: I did wish for a bit more payoff in terms of the rats being totally at Willard’s beck-and-call.
Return of the Living Dead, Part II
Another first-time watch for me, the sequel to the zany Return of the Living Dead is a bit less zany, but is still out there in its wackiness. It’s a crazy zombie movie, but these zombies weren’t nearly as fun and weird as they were in the first film. It definitely did seem to have a larger production budget than its predecessor, but in ways, that took away from its value. If you’re going to watch either of these, definitely watch the original first.
Apostle (Netflix)
Like Willard, I wouldn’t categorize Apostle as a full-on horror film, but again, it does contain horror elements. It’s gory, it’s mysterious, and it’s got a religious cult. Good enough for me! It went to places I didn’t expect, and the visuals were outstanding. From the start, we can tell that something is awry in this village on a secluded island. As the events of the film unfold, things really get wicked. I’d definitely recommend this one!
An American Werewolf in London
One of my favorite werewolf movies, American Werewolf stands out for its dark humor, its soundtrack, and most certainly its unforgettable transformation scene. I could have watched that one scene for hours. And as dark and gory as it is, it’s a funny movie; I always find myself cackling throughout. It’s so strange, but a really fun watch. It’s a Halloween-time must.
The Rocky Horror Picture Show
It isn’t easy having a good time. But it is easy having a ball with one of my favorite Halloween season treats; Tim Curry shines, and not only when he’s covered in blood. Everything about this film is so tongue-in-cheek, and practically self-aware, that it’s impossible to not enjoy yourself at least a little with this mad musical. Oh, Rocky!
Re-Animator
Based on the Lovecraft story, Re-Animator spins the Frankenstein story on its head. From the undead cat to a man’s body carrying its own severed head, everything about this film is pure insanity. It’s dark, it’s funny (I guess I had a theme going on, this week!), and it doesn’t hold back. Sure, it may suffer from some poor writing, and some questionable acting, but I still enjoy re-visiting Re-Animator, an underdog of horror classics.
Halloween (1978)
Halloween isn’t perfect, but I love it and it’s special to me as my go-to film to answer the question, “what’s your favorite movie?” I always get weird looks, considering it’s a low-budget slasher film, but I stand by my choice. The concept is basic, allowing creativity to flow and imaginations to run wild, the music is damn near perfection, and it’s got a brave teenage Laurie Strode facing off against the unmistakable Shape. How much better can it get? Plus, I won’t watch anything else on Halloween night. My October 31sts are dedicated to the first appearance of Michael Myers.
There we have it! 31 Halloween haunts for October! What are your favorites from my lists? Did you watch anything that I should have, this season? And, am I done with horror for the rest of the holidays, do you ask? Of course not. I hope everyone had a great Halloween! I’ll see you all back in the bi-weekly blog cycle. And be sure to follow my social media to get regular updates!
-Ryan
Buy Haunt here. Preview my books here. Find me on social here.
Today’s the day! Halloween is upon us, and I wanted to have a special blog post. Ever since it was announced that David Gordon Green and Danny McBride had signed on to pen the latest entry in the Halloween franchise, I had my eye on this one, waiting rather impatiently for any inkling of news. I had my doubts, given not only the fact that McBride had mostly been involved in comedy projects before his part in Alien: Covenant, but also because of the previous installments. Basically, everything in between the original and Rob Zombie’s remake (which I did enjoy) was forgettable. And after Rob Zombie’s sequel to the 2007 remake revealed itself as a discombobulated mess (save some creative liberties that I didn’t totally hate), it felt as though this series had been slaughtered for the last time. But that was certainly not the case: Halloween (2018) was fantastic, and just what we needed to tie up the story of Carpenter’s original classic with a rather bloody bow.
I won’t be providing spoilers in this review (or any—at least, I’ll try not to!), but I will discuss as many pieces of this film as I can. The first is the new Myers mask. This mask is simple, but exactly what it needed to be: aged, dirtied, and menacing. No more stark-white rubber, no more cracked material that reveals any part of the face. The mask characterizes Michael Myers without allowing him to be a character, if that makes sense. This film pushes the fact that Myers is supposed to be evil personified, and while we do see bits and pieces of his face throughout, when the mask is off, we never see anything about Myers that tells us he’s anything but darkness. He stalks, kills, then moves onto the next victim. As he should—that was the core of the 1978 classic: we don’t know what drives Michael, we don’t know why he kills. That’s what makes him scary.
I won’t be providing spoilers in this review (or any—at least, I’ll try not to!), but I will discuss as many pieces of this film as I can. The first is the new Myers mask. This mask is simple, but exactly what it needed to be: aged, dirtied, and menacing. No more stark-white rubber, no more cracked material that reveals any part of the face. The mask characterizes Michael Myers without allowing him to be a character, if that makes sense. This film pushes the fact that Myers is supposed to be evil personified, and while we do see bits and pieces of his face throughout, when the mask is off, we never see anything about Myers that tells us he’s anything but darkness. He stalks, kills, then moves onto the next victim. As he should—that was the core of the 1978 classic: we don’t know what drives Michael, we don’t know why he kills. That’s what makes him scary.
Piggybacking off that point, the plot of this film is also simple; the tangled storylines of the various other sequels and re-boots are scrubbed clean, leaving us only with what remained after the events of the first film. Laurie is no longer Michael’s sister, and no cult controls the strings that move him. We’re again given a figure identified only by his presence as well as his mask. It’s Laurie Strode’s fear, her anger, and her obsession with Michael that ultimately bring her into his sights. Both the lead-up and the payoff are satisfying. There are, however, some goofy moments, and some significant plot-holes, such as the plotline with the journalists (er… podcasters) who are investigating Michael’s case. And some comedic moments do pull us away from rather intense scenes. But overall, I think the plot held its own. And the actors (at least some of them) pulled their weight.
Jamie Lee Curtis finally reprised her role as Laurie Strode the right way, by injecting more depth into the character than in previous restorations. She is, in ways, hindered by her fears, but rightly so; she experienced such terrors at a young age. And symptoms of PTSD take center stage. But her passion of defending her family at any cost, her confidence in her strength, and her preparation for the worst tell us that Laurie Strode isn’t messing around, this time. She's got a mission.
Jamie Lee Curtis finally reprised her role as Laurie Strode the right way, by injecting more depth into the character than in previous restorations. She is, in ways, hindered by her fears, but rightly so; she experienced such terrors at a young age. And symptoms of PTSD take center stage. But her passion of defending her family at any cost, her confidence in her strength, and her preparation for the worst tell us that Laurie Strode isn’t messing around, this time. She's got a mission.
And for me, another standout was Strode’s granddaughter, Allyson, played by Andi Matichak. She has immense love for her grandmother, even with her doubts about the possibility of Michael Myers’ return. She’s a kid who just wants the support of her family. And she, like her grandmother, is a no-BS kind of girl. Next, the score for Halloween 2018 is a nostalgic gem, while also rooting itself in originality. The classic themes are sometimes quicker in pace, layered with drums and booming background noises that tell us something could be right behind us at any given moment. Sure, it lacks the ingenuity of the first, but it invokes a lot of the same emotions, especially, for me, in the track “The Shape Hunts Allyson.” It’s one of the shorter songs on the soundtrack, but it gives us something fresh while also projecting the involved characters’ feelings through sound. It’s seriously unforgettable. |
Lastly, David Gordon Green’s directorial efforts don’t go unnoticed, here. Even though the awesome tracking shot that follows Myers through his Halloween haunt was included in a few trailers, I still found it impossible to look away throughout. It showcases James Jude Courtney’s (and, returning to the mask, Nick Castle, one of the original players in the 1978 film!) rendition of Michael, seeming to glide through the suburbs of Haddonfield like a ghost, until it comes to the kills. He’s brutal this time around, angry. And the camera reflects that; shots like this tell us that Michael, like Laurie, isn’t messing around. He’s waited long enough to feed his murderous desires, and he doesn’t hold back. While we do get some Blumhouse-esque silliness in some of these over-the-top kills, I’d say the brutality is still commendable, coming from a lover of slasher films.
Halloween 2018 is a slasher feat wrapped up in the nostalgia catered to long-time fans of the original. It stands on its own while keeping a close second to the first film. I loved it, and I look forward to seeing it again. If you’re expecting Oscar-worthy efforts, you’re looking at the wrong film (and the wrong series, to be blunt). But if you’re hoping for a horror film, for intensity, for brutality, and for a crazy awesome revenge thriller, I highly recommend giving it a watch.
Did you see the new Halloween? What did you think? Let me know what I missed, or what I might have missed the mark on. Let’s discuss!
- Ryan
Buy Haunt here. Preview my books here. Find me on social here.
Halloween 2018 is a slasher feat wrapped up in the nostalgia catered to long-time fans of the original. It stands on its own while keeping a close second to the first film. I loved it, and I look forward to seeing it again. If you’re expecting Oscar-worthy efforts, you’re looking at the wrong film (and the wrong series, to be blunt). But if you’re hoping for a horror film, for intensity, for brutality, and for a crazy awesome revenge thriller, I highly recommend giving it a watch.
Did you see the new Halloween? What did you think? Let me know what I missed, or what I might have missed the mark on. Let’s discuss!
- Ryan
Buy Haunt here. Preview my books here. Find me on social here.
It’s Friday! Time for another piece of my October movie marathon. I’m a bit ahead this week, since I’ve watched a lot over the weekends this month. So let’s get to it:
1. The Nightmare Before Christmas
Hey, you can’t go wrong with this one. I still argue that this is a Halloween movie, as opposed to more of a Christmas holiday film. But it’s ok—others are allowed to have their wrong opinions! And to say I relate so much to the vampire trio in this movie is an understatement. This is always a fun treat to return to, no matter what time of year.
2. The Blackcoat’s Daughter
A slow-burn to say the least, The Blackcoat’s Daughter is subtle, but effective. It took me a bit of thinking to fully understand it, and upon a second watch-through, it all fell into place. Kiernan Shipka’s performance is haunting, and although I’m often on-the-fence about Emma Roberts’ performances, I’d say her character added a layer of mystery that really kept me wondering throughout. It’s spooky, it’s quiet, it’s ominous, it’s oddly sad—I really recommend this one, if you love films that are simple yet require attention to detail.
3. Return of the Living Dead
I happened to watch this just days before learning of James Karen’s passing. He was so wonky in Return of the Living Dead; his casting was perfect for the film. It’s a crazy zombie movie that doesn’t take itself seriously in the slightest, and that only benefits it in the long run. I love it for its zaniness. James Karen will be missed!
4. Hellraiser
Sure, Hellraiser isn’t my favorite horror film, but I do love watching it from time to time. Pinhead is such an interesting player in the horror icon game; the film doesn’t shy away from gore in the slightest, and the demon designs are great. It’s unfair to judge a film like this for the acting, but it is one of those that certainly suffers from the acting throughout. It’s saved by its interesting concept, said demons, and the totally bonkers skeletal dragon at the end. Like—what? I question it, yet I applaud it.
5. The Haunting (1963)
Arguably one of the best classic horror films, The Haunting honors Shirley Jackson’s The Haunting of Hill House marvelously. It plays with tension and fear with precision, and, while it may not have aged perfectly, it still holds up as a hair-raising effort in a long line of haunted house movies. The Haunting does so much with so little, entering the protagonist’s mind almost as maliciously as the ghosts themselves. Plus, that mansion is seriously creepy, especially in the way it’s framed in the film.
6. The Strangers
One of my favorite modern horror films for its simplicity, this movie still gives me chills every time I watch it. Anyone who’s seen it knows which scene I’m referring to, when I say I always think of that scene. It certainly had me sleeping with the lights on when I first watched it in theaters years ago. The idea that the events in this home-invasion horror can (and do) happen, and to anyone, at that, makes it even that more frightening.
7. Evil Dead (2013)
Not all remakes hit the bull’s-eye the way this one does. While paying homage to Raimi’s 80’s classic, this rendition of Evil Dead cranks the gore up to 11. What director Fede Alvarez does with sound is out-of-this-world, and the film’s score is fantastic. It doesn’t hold back, and doing so would have been heresy to the original. Just when you think the craziness has hit its peak, Evil Dead grabs you by the severed hand and pulls you into a world where people for some reason have to read ancient texts aloud to themselves. But hey, would we have it any other way?
Tune in next week! I hope everyone's got fun plans for the rest of October!
-Ryan
Buy Haunt here. Preview my books here. Find me on social here.
1. The Nightmare Before Christmas
Hey, you can’t go wrong with this one. I still argue that this is a Halloween movie, as opposed to more of a Christmas holiday film. But it’s ok—others are allowed to have their wrong opinions! And to say I relate so much to the vampire trio in this movie is an understatement. This is always a fun treat to return to, no matter what time of year.
2. The Blackcoat’s Daughter
A slow-burn to say the least, The Blackcoat’s Daughter is subtle, but effective. It took me a bit of thinking to fully understand it, and upon a second watch-through, it all fell into place. Kiernan Shipka’s performance is haunting, and although I’m often on-the-fence about Emma Roberts’ performances, I’d say her character added a layer of mystery that really kept me wondering throughout. It’s spooky, it’s quiet, it’s ominous, it’s oddly sad—I really recommend this one, if you love films that are simple yet require attention to detail.
3. Return of the Living Dead
I happened to watch this just days before learning of James Karen’s passing. He was so wonky in Return of the Living Dead; his casting was perfect for the film. It’s a crazy zombie movie that doesn’t take itself seriously in the slightest, and that only benefits it in the long run. I love it for its zaniness. James Karen will be missed!
4. Hellraiser
Sure, Hellraiser isn’t my favorite horror film, but I do love watching it from time to time. Pinhead is such an interesting player in the horror icon game; the film doesn’t shy away from gore in the slightest, and the demon designs are great. It’s unfair to judge a film like this for the acting, but it is one of those that certainly suffers from the acting throughout. It’s saved by its interesting concept, said demons, and the totally bonkers skeletal dragon at the end. Like—what? I question it, yet I applaud it.
5. The Haunting (1963)
Arguably one of the best classic horror films, The Haunting honors Shirley Jackson’s The Haunting of Hill House marvelously. It plays with tension and fear with precision, and, while it may not have aged perfectly, it still holds up as a hair-raising effort in a long line of haunted house movies. The Haunting does so much with so little, entering the protagonist’s mind almost as maliciously as the ghosts themselves. Plus, that mansion is seriously creepy, especially in the way it’s framed in the film.
6. The Strangers
One of my favorite modern horror films for its simplicity, this movie still gives me chills every time I watch it. Anyone who’s seen it knows which scene I’m referring to, when I say I always think of that scene. It certainly had me sleeping with the lights on when I first watched it in theaters years ago. The idea that the events in this home-invasion horror can (and do) happen, and to anyone, at that, makes it even that more frightening.
7. Evil Dead (2013)
Not all remakes hit the bull’s-eye the way this one does. While paying homage to Raimi’s 80’s classic, this rendition of Evil Dead cranks the gore up to 11. What director Fede Alvarez does with sound is out-of-this-world, and the film’s score is fantastic. It doesn’t hold back, and doing so would have been heresy to the original. Just when you think the craziness has hit its peak, Evil Dead grabs you by the severed hand and pulls you into a world where people for some reason have to read ancient texts aloud to themselves. But hey, would we have it any other way?
Tune in next week! I hope everyone's got fun plans for the rest of October!
-Ryan
Buy Haunt here. Preview my books here. Find me on social here.
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