‘PAPERBACKS FROM HELL’ BY GRADY HENDRIX

I knew if I ventured into Grady Hendrix’s PAPERBACKS FROM HELL (2017, Quirk Books) two things would eventually happen: I would end up loving it to pieces, and then, once the list made up, I would try to get a hold of as many of the schlocky novels discussed in this nonfiction event of the season. I swear, if you’re over 40 and yearn to reconnect with much loved titles from yesteryear or are simply a vintage horror paperback collector you need to get this book ASAP. You’ll definitely thank me later. 

The premise is rather ingenious. The author has gathered tons of scarcely known paperback covers for your eyes to linger on before, during and after the horror boom of the early ‘80s. Each chapter is dedicated to a specific era with images of the novels in question and plot summaries, author profiles and publishers info. Grady Hendrix is indeed an encyclopedia of knowledge as he examines with a fine tooth comb every little known gems in existence including the ones that were popular at the time but now seem to have been completely forgotten, like Ken Eulo’s THE BROWNSTONES trilogy or the erotic paperbacks of Russ Martin. Every page is a delightful homage to sub-themes (demonic possession, ghostly intrusion, homicidal crabs or vegetation…) that ultimately become a feast to the eyes and mind. 

Moreover, PAPERBACKS FROM HELL is complete with an Afterword by none other than Mr. Knowledge himself, Will Errickson. Those of you who have been following his amazing blog Too Much Horror Fiction will recognized many titles that he’s come to love or shun over the years. Like his dedicated entries he gives you a clear line as to what is really worth your time, because, truth be told, some of those featured titles are far from being compelling. One thing’s for sure, however, all have their devoted fans—not to mention fetching covers, mostly created by unsung artists who are graciously spotlighted by Hendrix. So impressed am I with the overall result of PAPERBACKS FROM HELL that I will move on from owning a digital ARC (thanks to the publishers and NetGalley) to purchasing a physical copy just so I can truly savor the merits of this wonderful coffee table of a book.

  

Until next post—Martin 

‘JUST ADD WATER’ BY HUNTER SHEA

 

Like many of you, I came across author Hunter Shea while surfing the many titles on Amazon. I had just gotten myself an e-reader and I couldn’t wait to use it. One of Shea’s novels was a freebie, so I did what any healthy horror geek would: I clicked on the Buy now with 1-Click button and took it from there. Suffice to say that I had a ball reading this thing. It reminded me of Laymon and you know how I feel about him: any friend of Laymon is a friend of mine.   

When I realized that the latest Shea was available on NetGalley in exchange for an honest review, well, I just couldn’t pass it up.  So here I am about to discuss JUST ADD WATER and the only thing that comes to mind is this: add more pages to it. Indeed, I would have preferred another 100 pages or so, just enough to make it all seem less rushed. Of course, this reads like a vintage paperback horror novel from the ‘80s. You know the kind, those that focus on action sequences and little else. Still, a tad more emphasis on characterization would have been just great. Don’t get me wrong now, I did enjoy this novelette (the fun starts pretty early and never lets up). No, the problem I had is that, at times, I could barely decipher one character from the next—especially when it involved the main ones whom I kept mixing up despite a clear line in the narrative.  

The plot involves two pre-teen boys and their Frankenstein-made little sea monsters that keep growing and growing to the point of scaring the bejesus out of an entire town. It’s up to their creators to put a stop to them and their ravenous streak before it becomes too late—or is it too late already? 

JUST ADD WATER is fun, silly, gory, but most importantly a must if you’re into B-grade-like efforts. It is the perfect antidote for all those ambitious horror books considered mandatory by the well-read crowd. OPTICAL DELUSION is the next installment and comes out in August. Can’t wait.

  

Until next post—Martin

 

 

 

 

 

‘FESTIVAL’ BY AARON J. FRENCH

 

When I agreed to review this title for Unnerving I obviously had no idea what I was getting myself into. Here I was thinking that this read was going to be a Jack Ketchum-like tale with lots of violence and gore in between straight-shooting narrative when in reality it was far from that. Well, not exactly. The novelette does have its gruesome moments, especially towards the end, but this well-written piece about a young couple who unknowingly enters the realm of a primitive rite when they decide to stay at a hot springs resort is more R-rated than NC17.  

Mind you, some sexually-charged sequences can easily attract some interest, especially those involving female on female action, but the overall feeling I got from reading FESTIVAL is that gratuitous scenes like this one doesn’t make more involving a novel. Before some of you guys get miffed, let me reiterate that this effort was FAR from being what I expected. So if anyone has to go down it must be little moi for maintaining a less than impressed state of mind. Because, to be frank with you, FESTIVAL is still highly readable with its well-drawn main characters and interestingly-enough plot. Author Aaron J. French tries his best to deliver the goods and even succeeds at times. His build-up takes a little while but once out there the blood sure does flow, and that despite some misogynistic approach (all the women in this story are evil) that may end up rubbing some people the wrong way.  

I wish I could have enjoyed more FESTIVAL. But you know the old saying: what I dislike about a book may turn out to be just what the doctor ordered for somebody else. So who knows, maybe you’ll dig the heck out of this title.

 

You can order FESTIVAL at the Unnerving Magazine website.

 

Until next post—Martin 

 

 

‘ARARAT’ BY CHRISTOPHER GOLDEN

 

I went into ARARAT (Headline) knowing full well that the tale was going to rock. I just had a hunch. That the author is an established one definitely helped but the topic is what really drew me in. How could not it be when eventually it’s all about a bunch of doomed individuals stuck in a haunted cave inside Mount Ararat while a blizzard rages? Mind you, I always had a thing for evil spirits roaming dark places but when the entity is an unearthed malevolent force that can infiltrate anyone of these survivors I’m more than sold. I’m salivating.   

At about 300 pages, ARARAT takes its time before getting to the violence and gore. But once reached (in the last third or so) the reader is left with jaw-dropping moments and an adrenaline stance to still keep turning the pages. The novel, however, is blessed with more than just action sequences. There are real people in this, not just cardboard copies of what they’re supposed to be. All thanks to Golden’s savoir-faire which makes them come alive with their flawed attributes and introspective ways (a conflict of spiritual beliefs, for example). Yes, some are better developed than others but as a whole most leave you feeling like you know them quite a bit. So when evil surfaces, and believe me it does in a big way, these characters are more than just a body count. I literarily was rooting for any of them to make it in the end. And the plot is very well-handled. I never felt like the story dragged on. In fact, I could even have welcomed a few more chapters just so I could take a longer breather in between killings. 

Suffice to say, I highly recommend ARARAT, especially to anyone who loves adventure mixed with horror. Though, to me, it feels more like the other way around. No other adventure novel has ever left me looking over my shoulder like ARARAT did. I still get goosebumps just thinking about it. I’m sure others will feel the same way once they start reading.

 

Thanks to the publisher and NetGalley for the chance to read this novel in exchange for an honest review.

 

Until next post—Martin

US edition

 

‘80s TREAT: PROM NIGHT, HOSPITAL MASSACRE, SCHIZOID, THE GODSEND… + AUTHORS DOUGLAS CLEGG & BRYAN SMITH

As if delivering CURTAINS (1983) on Blu-ray and DVD isn’t big enough news, now it seems that Synapse Films has also gotten the rights to 1980 PROM NIGHT. Yes, kiddies, the Jaime Lee Curtis classic about disco dancing and the madman who invades a prom will get the same DVD/Blu-ray treatment. No words as to when it’ll see the light of day or what sort of extra features the discs will hold, but you can count on Scare Factor to let you know the minute we hear of anything.

August 20th 2013 is the sreet date for the release of the double bill 1982 HOSPITAL MASSACRE (aka X-RAY) and SCHIZOID (1981). Both films have never been digitally re-mastered and will be part of a Blu-ray/DVD combo by Scream Factory. HOSPITAL MASSACRE, starring former Playboy bunny Barbi Benton is a well-made slasher whose major flaw is being poorly lit. I’m sure Scream Factory has carefully remedied the situation. As for SCHIZOID, starring the legendary Klaus Kinski and JAWS 2 Donna Wilkes, Scare Factor has yet to see it and is looking forward to it since it has been on its must-see list for years and years.

On the same day, Scream Factory is also releasing ALL NIGHT HORROR MARATHON, four long lost horror treasures on DVD, starting with THE GODSEND, the 1980 killer toddler from the UK. Scare Factor has enjoyed the Bernard Taylor novel from which it is adapted and is eager to see the film. 1987 THE OUTING centers around teens and an escaped genie from a lamp. Saw this one back in the day and remember nothing of it. It’ll be interesting to see it again. The third flick is 1987 THE VAGRANT starring Bill Paxton of MORTUARY (1983) fame. Supposed to be a horror/comedy about (what else) a vagrant invasion in Baxton’s newly acquired home. Not too inspiring but we’ll see… And lastly, 1971 SCHIZOID, focusing on a woman killer and her dream sequences. No idea as to where on earth that one comes from, but we will definitely check it out.

Douglas Clegg’s vampire tale THE CHILDREN’S HOUR is now available in e-book form at the low price of 99 cents for a limited time. I, like many horror buffs, had the pleasure of reading this novel in the mid-nineties when the Dell Abyss paperback line was trying to stay afloat. The horror genre was on its last legs and strong authors like Clegg, here, kept it alive despite the plague, and with good reasons. CHILDREN’S HOUR is a fun and scary, not to mention narratively impressive, read. If you have yet to venture into the author’s work, this title is certainly a fine place to start.

One of my fave novels is Bryan Smith’s DEPRAVED. Reading it is like watching a super great grade-B movie you just can’t live without; sort of like FRIDAY THE 13th but with 10 times the shock value. Well, it looks like Mr. Smith is at it again with 68 KILL, his latest from Bitter Ale Press. The plot, about stolen cash and the people you thought you knew but don’t, is supposedly one heck of a ride. SCARE FACTOR is on it of course —just as it is on the lookout for Smith’s forthcoming offering GO KILL CRAZY, out February 4th 2014 from Samhain Publishing.

UPDATE: Scream Factory’s ALL NIGHT HORROR MARATHON featuring 1980 THE GODSEND and three other horror titles from yesteryear is postponed to early October 2013. Seems that one of the four films, 1971 SCHIZOID, (not to be confused with the Klaus Kinski slasher) is pulled from the lineup (a copyright thing?). It is officially replaced by WHAT’S THE MATTER WITH HELEN, the 1971 Grand Guignol-style horror fare featuring veteran leading ladies Shelley Winters and Debbie Reynolds.

Until next post--Martin

TAKE A BOW, 1983 “CURTAINS”

Listen up slasher fans. CURTAINS, the much underrated cult classic of six wannabe actresses being stalked by a masked killer during a wintry stay at an isolated mansion will finally have a proper digital release. Indeed, Synapse Films has obtained the rights to this gem and is on the planning stage of putting it all together—as part of a Blu-ray/DVD combo, we are told. I, like many of you, purchased the rough-looking VHS transfer to DVD from Echo Bridge a few years back. Though a big disappointment overall, it did satisfy one’s needs of owning this title. But now that Synapse has taken over… well, it just makes me want to stomp on my disc and say so long, sucker.

From Synapse:

Today is the kind of day I both loath and love about this business. We have, in our hands, the only existing vault materials for a horror film that many love and have wanted for years to be done right on home video. I'm assigned to the task. The excitement is overwhelming just to SEE the film and find out what is in the cans. The "loath" part is usually the bad news where we find out it was improperly stored, torn, shredded, faded or whatever... But, we'll find out. Synapse will MAKE THIS WORK! 2K scan work commence!

So so cool. Let’s hope a ton of extra features follow as well.

I first got a hold of CURTAINS in the late ‘80s when VHSs ruled the world. I remembered thinking, while popping the tape into my player, how ecstatic it would be to dig this film. I had been the victim of so much horror turkeys in my days that I was afraid of discovering yet another one. Not so, as it turns out. CURTAINS is fun, scary and most importantly, low-budget. And you all know how I feel about that last part. There’s nothing like a well-made inexpensive slick-looking horror film to satisfy my every needs.

If you have yet to see this flick, three things you must remember before viewing it: One, it’s an ‘80s horror film, meaning you probably know the plot by heart. But that scarcely matters. Once you see the ice-skating scene or the doll in the rain sequence you’ll be in a forgiving mood. Second, being an ‘80s flick means no CGIs (thank God!). Everything’s done the old fashion way (though CURTAINS’ FX are limited, choosing atmosphere over gore), using corn syrup for blood or makeup applications for on-screen demises. So rejoice. And third, forget all about the reputed problems surrounding the film (actresses being fired, scripts being re-written, scenes being re-shot…). What’s important is the end result. And believe me, CURTAINS delivers.

OK, now that everything’s said and done on my part, there’s only one thing left to do: cross our fingers in the hopes that everything goes on as planned with this release. Because we all know how easily one can be fooled by a distributor’s announcement. Isn’t so, Code Red?

Until next post—Martin

SCOTT NICHOLSON AND HIS “AFTER: THE ECHO”

Yes, dear friends, I finally got myself an e-reader. It has been a long time coming, but I finally succumbed to it about two weeks ago. Why now? Simple: I just couldn’t go on without reading the work of some of my fave authors, like this spotlighted fellow who’s been at it for quite some time now. Ever since I entered his world via his first mainstream published work, THE RED CHURCH (from Pinnacle), I’ve been following his career. Six mass market paperbacks later, a big twist occurs: the guy changes gears by self-publishing. A bold move, but one that ultimately pays off. However, for the old school readers like myself this does not sit well. Gone are the affordable soft-covers with his name on them. Now it’s the e-book way or no way. Not really, but the only other avenue is the trade paperback editions, and those cost more. Hence my newly purchased e-reader which finally enables me to enjoy his many books at a cheaper price.

　

AFTER: THE ECHO is his latest self-published baby (available wherever e-books are sold). It is the continuing story of survivors amid a massive solar disruption that turns most people into killing machines. They are called Zapheads, and with good reasons: they act as though any common sense had been totally wiped out of their minds. Although in this second installment, Nicholson implies that all is not what it seems. Are they really the enemy? Or are they just a new and improved bunch out to surpass what is left of the human civilization? Only the author knows, but since part three will only be available next fall (but rejoice, a prequel will be up and about this spring) one can’t help but speculate.

　

In the meantime, I hope this teaser makes you want to get involved, for it is a worthy read. Once again, the author succeeds in enticing you with his well-defined characters and plot, making AFTER: THE ECHO a finely-tuned yarn despite its short stance (about 160 pages on my e-reader). And if you’re a Nicholson fan you already know that there’ll be a recurrent religion theme of good against evil, though the author clearly holds back in this one. But it’s interesting to note that the involvement factor is just as strong whether you agree with his views or not. Just as long as the tale leaves you feeling satiated, and judging by this Scott Nicholson’s latest, it probably will. So go on, indulge, and see what the fuss is all about.

　
Until next post—Martin

 

TAMARA THORNE’S “HAUNTED”

God knows how many novels about ghosts have been written in the past century alone. Enough to last an eternity I bet. Fool of me to even try to enumerate some of them. You all have a favorite. Mine this time around is HAUNTED by Tamara Thorne, out now from Kensington (pic below). The plot, no need to elaborate too much really. We’ve all seen it before. But contrary to many sub-par offerings, this one works. Why? Simple enough: Thorne gives a new twist to an old genre.

　

A cross between Shirley Jackson’s THE HAUNTING OF HILL HOUSE and FIFTY SHADES OF GREY by E. L. James, HAUNTED titillates with its offbeat horror, humor and sexual approach. Forget about things that bump solely into the night. In this novel the specter goes at it whenever it pleases her; whether directly for the jugular or for the crotch; but mostly the crotch. Because she’s a horny little thing, you see, and can’t get enough of our male protagonist, a best-selling horror writer who wants to test the doings of this supposedly haunted Victorian Mansion. Along with his wise-cracking teen daughter and his opportunistic lady realtor, not to mention his cool ex-wife whom he still has the hots for, they will experience what we call paranormal activities. And not any kind of activities, mind you, but those that leave heavy traces on the body and psyche.

　

Let it be said that I scarcely got the heebie-jeebies while reading this fine novel (I don’t scare easily), but I did get caught up in the whole thing. Thorne’s plot of let’s get rid of the mean old ghost who keeps lost souls in vintage dolls, works on every level (horror, humor and sex, remember?). You don’t have to hold onto one theme for a novel to shine, as long as your sense of savoir faire is as keen as Tamara Thorne’s in HAUNTED. She brings it all to a slang bang conclusion that may even make you go awww once the dust settles. Not me, however. I’m a guy. I don’t have any feelings.

　

I have kissed a lot of frogs disguised as horror novels in my lifetime but Tamara’s HAUNTED is not one of them. It delivers what it sets out to do, give its readers a great old time, and to me that’s more than enough. So who cares if it’s not on the same level as THE SHINING or GHOST STORY? Just as long as the author does her thing in bringing back the dead. So here’s to you Tamara Thorne. Looking forward to review many other titles with your name on it.

　
Until next post—Martin

RICK HAUTALA’S “INDIAN SUMMER”

I was way into Rick Hautala’s latest effort INDIAN SUMMER, now out from Cemetery Dance Publications, before realizing that it was a prequel of sort to his popular LITTLE BROTHERS. Now, of all the Hautala’s books, LITTLE BROTHERS is the one that has always managed to escape me. Why? Not a single clue to tell you the truth, since I make sure to read everything this author puts out. Ask me anything about his work and I’ll probably surprise you. That’s how much I know about this fellow from Maine. So imagine my luck when I got my hands on his novella INDIAN SUMMER. It was my first horror piece of the year and, frankly, this couldn’t get any cooler. And did Hautala deliver again? You freaking bet he did.

　

The story revolves around this Billy the kid who at twelve in the fall of 1961 just wants to have fun—until he discovers the reality of life in the form of little creatures with sharp claws. Yes, INDIAN SUMMER is one of those coming of age tale that pack a punch, and believe me, you’ll need all the hold you can get once these famished buggers are unleashed. Like in any Hautala story, the action sequences are built up by a good character development, which in this case is mostly about Billy. A likable lad, he’s as normal a pre-teen can ever be (likes superheroes; hates his older brother). But it’s his chance meeting with a troubled lady that’ll seal the deal on his fate. Indeed, it’s because of her that Billy will go through his real-life nightmare, one that will leave no stones unturned. Loaded with effective scenes and heartfelt moments, not to mention stunning illustrations (including the dust jacket) by renowned artist Glenn Chadbourne, Hautala works his magic again to create one heck of a fine read. He goes deeper than meets the eye and the effort is greatly rewarded. Don’t be surprised if you come of this with a feeling of dread and lost, for that’s how engaging INDIAN SUMMER turns out to be.

　

What a thrill it is to have yet to venture into LITTLE BROTHERS after all. It’ll give me another good reason to quench my thirst for more of these scary little beasts I find mostly attractive. I’m sure the author will again delve into their wicked ways one of these days. At least, we hope he does.

In the meantime, pick up INDIAN SUMMER and discover how much fun it is to be in their company—writer, artist and creatures alike.

　
Until next post—Martin
　

THE ORIGINAL “CARNIVAL OF SOULS”

 

 

 

 

I was introduced to CARNIVAL OF SOULS (1962) some twenty years ago by a buddy of mine. I had never heard of the film before, and since it has always been my friend’s favorite film he was more than happy to lend me his VHS copy. All I can say after sitting through this tale of afterlife and the ghouls that chase us is that I totally get why he loved it so. Fast forward to 2012 where I get the chance to see it all over again. And is it as worthy? Two words to that: Like Duh.

Candace Hilligoss is an organ player who, after cheating death, starts seeing dead people. They’re everywhere she goes: in the reflection of her car window, at her rooming house; at the carnival… Moreover, as if in a trance, she suddenly becomes invisible to her entourage, but only for a short period of time. Enough to become even more scared and confused. All of this is told from her point of view, with some organ music and shadowy corners to spare, and it works aplenty. Yes, the script and the performance may not always be up to par but the overall effect is quite stifling, if not chilling.

 

Director Herk Harvey works well with a meager budget and even manages to gloss everything up. Indeed, every frame looks fine and dandy. Impressive even comes to mind. Of course, the film has a few flaws, like being monotonous once in awhile. But those are few and far between. And, to tell you the truth, all is saved by the big revelation near the end. A big cliffhanger that makes you go over the film again either in your head or at the click of a DVD button.

 

 

Yes, CARNIVAL OF SOULS deserves proudly his classic status. It is cult horror at its best. Probably, because most viewers will find it fun and exciting. Now, I’ve heard little about the colorized version. Is it worth it? I probably guess so, since it’s presented in all its glory. But to tell you the truth, I much rather remember this film as it is. Clearly one of the best low-budget quickie to ever grace our screens.

 

　
Until next post—Martin

MORTUARY (1983)

I admit, the main reason I chose to see this flick was because of Mary McDonough. The ex-WALTONS star plays Christie, a rather troubled teen who’s convinced her deceased dad have been murdered. Her mom, Linda Day George of PIECES fame ("Bastaaard!"), is not that easily persuaded. That is until she meets the grim reaper himself in the form of Bill Paxton. He plays the mortuary son and he’s a little cuckoo if not heavily enamoured with McDonough. When he kidnaps the latter and plans to embalm her so they can be together forever (huh?), it’s up to McDonough’s boyfriend (David Wallace from the delectable HUMONGOUS) to save the day. But does he really?

The last time I saw MORTUARY was about 25 years ago. It played on late night TV one summer. I taped it, enjoyed it to a certain degree, and forgot about it—until it got resurrected in 2012 on DVD via Scorpion Releasing. Of course I had to get myself a copy. The film, in a brand new 16X9 HD master from the original InterNegative, comes with an extra featurette focusing on score composer John Cacavas. It isn’t much but I’m willing to take anything regarding long lost treasures such as this one.

 

As much as I dig MORTUARY, the film is far from being perfect, starting with the misleading but effective movie trailer which focuses on Michael Berryman (one of the baddies in the original THE HILLS HAVE EYES) digging a grave. Trouble is, his involvement with the project stops right there. Yes, boys and girls, his presence is nowhere to be found in the feature. What we get instead is a lot of McDonough stalking and nothing of roaring creatures living underneath the cemetery ground. Would MORTUARY have been better had it been a creature feature flick? Perhaps. But you still have to give the film credits for delivering the goods in a Z-grade way. My favorite over the top moment has got to be when just-been-stalked-in-her-home Christie goes from hysterical to happy in a blink of an eye. She even toasts with her mom to their new-found relationship. I guess cheating death doesn’t hold a candle to the love a mother and daughter share.

Moreover, the whole hidden identity of the white paint faced killer is totally ludicrous. Mr. Paxton doesn’t fool us one bit. Even though the director tries hard to hide the star’s identity with mostly long shot scenes of him in action, it doesn’t take Einstein to figure Paxton out. And when we do, all we have left is to laugh at and with the film. Because, truth be told, it is a joy to follow those onscreen kids around during the early ‘80s when roller skating and pulling pranks ruled. Of course, female nudity is required—but not too much! Just as long as it involves a body double, as star McDonough can surely attest using. And all in all, if "taken with a grain of salt" is what best describes this low-budget flick, then more power to it I say. For it has only one purpose: to hold our interest till the very end, and that’s what MORTUARY achieves doing without a doubt.

　
Until next post—Martin

“HORROR HIGH”, AKA “TWISTED BRAIN”

Cheeky horror films of the ‘70s are most fun to watch when they don’t take themselves too seriously. Take HORROR HIGH (1974) for example. Child star now grown up Pat Cardi plays Vernon, a high-school misfit who, forced to swallow some chemical concoction by a pissed janitor (something to do about his lost cat found dead in the lab department), becomes THE INCREDIBLE HULK but without the rippling muscles and the green pigmentation. Indeed, little Vernon is so fed up being the scapegoat that he finally takes the bull by the horns revenge-style. From the doomed janitor to the prissy English teacher, not to mention the dumb jock who’s been bullying him all year long, they all end up regretting having laid a finger on him. And to make matters worse, no one can stop him. Not even the police officer who’s assigned to the case, nor the jock’s girl who’s been eyeing Vernon… He is indestructible and will forever be—or so he thinks.

HORROR HIGH plays like a bad after-school special. Everything in it is borderline lame, from the bland direction to the amateurish performances; but contrary to many films in the genre this one manages to be quite endearing despite its faults. Thanks mostly to its true to form grade-Z agenda that keeps getting wilder as the movie progresses. Filmmaker Larry N. Stouffer seems to have vanished after that film (except for a brief return in 2006 as one of the screenwriters for some comedy called WAITIN' TO LIVE) and it’s truly a shame since he does have the making of another Edward D. Wood but with a better refinement, if that’s possible. I know, this sounds awfully disrespectful, but believe me it is said with the deepest love. I breathe, sleep and eat in grade-Z poop.

J.D. Felgelson, the screenwriter, is best known for having penned the excellent  DARK NIGHT OF THE SCARECROW (1981)  But he also wrote some other clunkers, like the  TV movie CRY FOR THE STRANGERS (1982) based on the John Saul novel of the same name, and more recently the shark-infested river of RED WATER starring Lou Diamond Phillips. Surely, this guy is my new best friend. I mean, how can you not love him. He certainly knows a thing or two about cheesy flicks, and anyone who has managed to prosper in these troubling waters for as long as he did deserves my sole devotion. That is, until the next over the top flick from another scriptwriter comes along. In the meanwhile, watch HORROR HIGH and see for yourself how much fun it really is to be bad.

This DVD review is based solely on the public domain version going around. But since I’ve enjoyed the film so much, I’m seriously thinking of purchasing the  Code Red Special Edition format, the one uncut with tons of extras and the brand new 16X9 (1.85:1) transfer mastered in high definition from original negatives. I’m sure that, just like the flick itself, it’s definitely worth owning.

　
Until next post—Martin

"BEYOND THE SHROUD" AND RICK HAUTALA

BEYOND THE SHROUD by the legendary Rick Hautala—you  know, the other Maine prolific author whose scary tales during the ‘80s horror boom and beyond have gathered a faithful following—is definitely worth the time spent. His protagonist is a dead man. Literally. There is no surprise revelation here, since the novel makes you understand the whole situation right from the start. Caught between two worlds, what the author calls the Shadowlands, he meets all kind of strange creatures, one of which is his already deceased daughter (of a skiing accident) who may or may not be who she says she is. At the same time on planet earth mourns his ex-wife (and mother of the deceased child in question) who’s involved herself with a lunatic Brad Pitt type who digs knives. Anyway, to make a long story short, big screen GHOST this ain’t (trust me), but it sure makes you want to think it is at first glance.

Just like the film, Hautala plays with the ethereal and the real world shtick quite convincingly, mixing both in great doze to create a super-charged tale beyond the grave for the quiet horror in you. Because let’s not mince words, BEYOND THE SHROUD is scarcely a no holds barred type of a novel that will make you cringe on the edge of your seat. It will make you cringe all right but in a more subtle way, as mood supersedes any action sequences. Scenes of gloomy atmosphere fill the pages, as well as an impressive rich narrative. But what I remember most about this book is the way Hautala narrates his tale sparingly, taking his time to develop characterization and sceneries up to a point where the reader feels as uncomfortable with dread emanating from the words than from the story itself. And to me that is horror.

Mind you, the plot does tend to verge on predictability, but the overall intake is of pure beauty. I have read a few Hautala titles in my time, and none have disappointed me. Which is a treat, really, when considering the many horror authors one can choose from. My favorite of his still has got to be WINTER WAKE and I urge any publishers to re-release it as an e-book. It is as perfect as… well… an evil-looking winter wonderland. BEYOND THE SHROUD may not reach that same perfection plateau, but it sure deserves the same fate. In an era of blood-drenched narrative, subtlety is more than welcome in horror novels. Well, at least it is in this camp.

UPDATE:  Well, it looks like the news just passed me by, for it seems that WINTER WAKE and a few other titles like LITTLE BROTHERS and NIGHTSTONE are already—or soon will be—published in digital form.  Go check them out. 

Until next post—Martin

IT'S ALL OWEN WEST'S FAULT

In the fall of 1980 I hooked up with a guy who would change the course of my life for the better. His name was Owen West. Now, if you think this post is about to take a turn into smutville, think again. Because Owen West is an author who, thanks to his knack for effective writing, awakened my sense of reading in English. Yeah, you’ve read right. If it hadn’t been for him, I may have never stepped as freely into the horror genre, as it was becoming very hip back then with the upswing of both films and print. Indeed, ever since the success of THE OMEN and HALLOWEEN, people were into horror like you wouldn’t believe. So, naturally, in came scads of horror paperback originals that included novelization of upcoming films, like 1981 THE FUNHOUSE onto which this Owen West fellow had based his first novel.

As you can imagine, I was already considered a horror buff back then, having seen as many films as I could, TOURIST TRAP, SILENT SCREAM, the John Carpenter classic, a lot of Hammer flicks… All were part of my yearly big or small screen routine. It took the arrival of super great FRIDAY THE 13TH PART 2 a year or so later to really cement my love for the genre, but, yeah, even by that time I was in the zone. So to me, reading horror was the next logical step. Easier said than done, believe me. Let me explain. Being a French Canadian teen with a limited knowledge of the English words made things a little difficult. Moreover, as we didn’t have many horror books in French (or so I thought) and the ones I fancied were all in English, I felt even more stuck as a reader. That is, until I decided to give it a go anyway and pick up an English novel with a cool cover at the five and dime store. The one I chose had lurid eyes that said open if you dare, so I did.

It did take me a long while to get through this fine and spooky tale of carnival people and the visitors who fell prey to them but I eventually made it through, with an English/French dictionary in tow. Sure, I didn’t understand most of it but I still managed to get an inkling of what the plot and dialogue were about, and to me that was more than enough. Besides, just knowing that I could continue delving into English modern horror fiction was the best sentiment ever. I felt protected. Understood. Being an unpopular kid at the time, this knowledge made me feel less alone, made life a little better.

It took a year before another Owen West novel hit the stand. By that time I was already a real pro with the English tongue. Oh, many other books have followed THE FUNHOUSE, but never have I been more proud of myself than that faithful day. I’m sure I won’t surprise anyone when I reveal that Owen West is really Dean Koontz. Being prolific, he used many pseudonyms during that period of time. And though I have dipped into Koontz’s world often enough, it is Owen West to whom I must dedicate this blog entry, for without him and his scary words I may never have had the guts to step outside of the French box, and in return would never have started this blog some 30 years later. So thanks a million, Owen. I definitely owe you one.

Until next post—Martin

Alan Ryan and "THE KILL"

  


I don’t know squat about horror author Alan Ryan except for the fact that he recently passed away from pancreatic cancer. Still, this saddens me. Probably because like most of you, I’m very sensitive to people suffering. I mean, yes, I dig horror on screen and in books, but when it comes to real life, I’m a true softie. The other reason this gets to me is probably because I also feel a connection with the author, owning four of his published novels. Whatever the case may be, his untimely death shook me a little and made me want to pick up one of his titles to read right away. I chose his 1982 THE KILL from Tor Books. It’s all about the woods, country life, an this evil presence that roams the area.　





I was already aware of THE KILL, having seen it as a new release way back when. I remember having been attracted by the cover art which reminded me of John Saul’s. Not just by coincidence, I’m sure. My guess is that the publishers were hoping to lure the same wide audience to purchase this book. Wrong move, if you ask me. THE KILL is nothing like the work of John Saul, except that both authors have the same clear line attitude when building up a story; Mr. Ryan even more so with his direct approach and unwordy stance.

　

THE KILL is about a young unmarried couple from New York who decide that the simple life is the way to go. So they pack up their bags and move to a fictitious rural town not far away called Deacons Kill where they hope to settle in permanently and make new friends. Which they do but at a price. You see, something strange is going on at Deacons Kill. People seem to disappear without a trace or just drop dead for no reason at all, and the sheriff, aware of the whole situation, barely lifts a finger to do something about it. That is, until the newly arrived couple gets mixed up in the mess.

　



There is a lot more going on in this novel, like how the couple ended up in Deacon Kills in the first place, and who the heck is responsible for the two brutal killings taking place before the high-energized climax. We get to meet a lot of folks in THE KILL, some even from another time. All are relatively well-drawn despite limited characterization. The two main protagonists are the most defined of the bunch. But nearly all have a realistic flair to them which moves the story at a swell pace. The only true downside to THE KILL would be the lack of any real gritty action sequences. It takes a while before some blood does start heading our way. You could blame this on the author’s atmospheric handling which works aplenty but sort of runs out of steam before the big finale. Still, THE KILL is worth your time, especially if you like your horror quiet. All you need is a little patience and a new way of looking at things. Follow these simple rules and I promise you, you’ll have another new author to root for—despite his unfortunate passing.

THE KILL is now available at Necon E-Books; 330 KB pages; 2.99 US

Until next post—Martin