Gourmandizing Hulu’s Wondrous Horror Collection
More than any month of the year, October bids us to watch more then normal amounts of horror. We dip into our collective vaults of DVD and Blu Ray frights. And of course, in the Age of Instant Streaming, we’re given the added benefit, though life-draining practice, of watching movies online through sites such as Crackle, Shutter, Netflix, Amazon, and Hulu. While these streaming proprietors may in fact be digital vampires, ghost in the machine hypnotists singing sweet lullabies, tempting us to sit hour after hour, binging on our most favorite shows and movies, we cannot deny the often overwhelming selection they provide. Netflix has stumbled a bit in horror selections in recent years, though you can still find a good amount of classic picks. I’m not a member of Shutter, so I cannot make any kind of comment of their selections. Nor do I watch anything on Amazon. I’m a fan of the cheap, and when it comes to more bang for your buck, both Netflix and Hulu are worthwhile choices for those looking to get away from the endless money pit of cable and dish networks. Its interesting how easy it is to find a best of list on both Netflix and even YouTube, journeymen and women who’ve done the leg work to provide a collective list of top tens or so for us to dabble our curious appetites. However, I haven’t seen many Hulu lists, and I find that strange. Why? Have you been on the horror genre list on Hulu, have you seen? Well…allow me to say, Hulu boasts the largest/cheapest collection of horror movies that would satisfy any deranged loon. The only drawback is that there are TONS of horror movies to pick from. Thus brings us to the point. We need a list. We need a Hulu Horror List. Here, you’ll find not the BEST OF; rather, my own personal picks from Hulu’s dark and endless vault. Enjoy!
Lord of Illusions (1995): Based on a Clive Barker short story, Private eye Harry D’Amour (Scott Bakula) travels to Los Angeles and meets with a new client, Dorothea Swann (Famke Janssen). Swann reveals that she and her husband — famed magician Philip Swann (Kevin J. O’Connor) — have been targeted by a religious cult experimenting with reincarnation. After Philip dies on stage in the midst of a dangerous trick, D’Amour must struggle to protect Dorothea from the ruthless cult members and their newly reanimated religious leader, Nix (Daniel Von Bargen).
Hellraiser I & II (1987, 1988): These picks are conjoined because they’re perfect watching back to back. Part II picks up not long after the traumatic events from the first flick, continuing the misadventures of would-be twenty-something Kirsty Cotton verses Pinhead and his leather bound Cenobites. If you haven’t indulged in these of Barker’s darker imaginings, please do. It’ll make a great choice among any Halloween marathon listing. Forever classic and haunting.
Motel Hell (1980): No list is complete without some gore-heavy satire! Motel Hell is about a brother sister duo, Vincent Smith (Rory Calhoun) and his sister Ida (Nancy Parsons), who run a rural hotel, but they earn most of their cash operating a food stand that specializes in world-famous sausages. After years of success, however, the duo’s upstanding brother, Sheriff Bruce (Paul Linke), eventually discovers the grotesque details of his siblings’ booming business: Vincent and Ida are actually plumping up their hotel patrons, killing and dismembering them and then grinding them into frankfurters.
Cannibal Holocaust (1979): While you’re out watching The Green Inferno, be sure to check out this original masterpiece of fright. Cannibal Holocaust was one of the first steady-cam mockumentaries/found-footage flicks. An American professor flies down into the Green Inferno, to discover the fate of a group of documentary crew. And he found them alright, what was left anyhow. He also found what remained of their footage. Upon his return, the professor watches the grisly footage. Cannibal Holocaust is a fantastic film. Old but still gritty and gruesome, even by today’s standards.
ATTACK OF THE KILLER TOMATOES (1978): If you haven’t seen this one, you probably never will. Pure science-fiction satire, spoof, low-budget flick about over-sized killer tomatoes that go on a rampage killing people…yup.
Candyman (1992): There sure seem to be a lot of Clive Barker based flicks on this list…what does that say about me??? Whatever! Candyman is a classic mythology story about resurgence and racism. Skeptical graduate student Helen Lyle (Virginia Madsen) befriends Anne-Marie McCoy (Vanessa Williams) while researching superstitions in a housing project on Chicago’s Near North Side. From Anne-Marie, Helen learns about the Candyman (Tony Todd), a knife-wielding figure of urban legend that some of her neighbors believe to be responsible for a recent murder. After a mysterious man matching the Candyman’s description begins stalking her, Helen comes to fear that the legend may be all too real.
The Thaw (2009): Not the best among Hulu’s options, but certainly a decent flick. I think the reason why I watched it and included it on my list is that the movie reminded me a lot of the classic X-Files episode from season 1, code named “Ice,” when Mulder and Skully are sent to investigate when a team of geophysicists stationed at a remote Alaskan outpost are killed by a parasitic alien life form. In The Thaw, ecology students discover a prehistoric parasite that has been released from the melting polar ice cap threatens the safety of the world. Again, you may find the acting to be a bit sub-par, but the premise and story is, I thought, pretty creepy.
Cannibal Ferox (1981): Jesus…what’s wrong with me? My list seems to be full of Barker flicks and cannibal films…I think I may need professional help. Until then, if you’re collecting a list of gruesome grind house type movies to add to your Halloween month list, you may want to consider Cannibal Ferox. There isnt much to plot here, just gore, and lots and lots and lots of it. The basic premise is this, a cocaine dealer and an anthropology student fall victim to cannibalistic Colombian natives…boom…there you go, but don’t say I didn’t warn you!
Scanners (1981): Okay…finally, a Cronenberg film! Here you’ll find men and women born with incredible telepathic and telekinetic powers. There are many who exercise the benefits of their special gifts in a safe and judicious manner. However, there is a group of renegade scanners who plan to create a race that will rule the world. If anything, you need to watch this movie for a very infamous scene and nod towards practical effects. Its great! You’ll know it when you see it…
The Beyond (1981): If you haven’t seen this one, you need to. Its a mesmerizing gem that at first feels kinda lack-luster, right? But as the film progresses, so does the bizarre. Its a fantastic journey and somewhat artistic film by famed Italian director Lucio Fulci…and yup, he put zombies in there too!
Demons (1985): A group of people are trapped in a large movie theater in West Berlin that is infected by ravenous demons who proceed to kill and posses the humans one-by-one, thereby multiplying their numbers…..enough said!
Pieces (1982): In this violent and gut-wrenchingly gory flick, set in a Boston university, the story centers on a crazed meat cleaver killer who hacks up hapless women in the hopes of building his dream girl. A throwback to the 70s savage cinema era. If you can stomach this one, you might want to add it to your list, along side every other cannibal flick I’ve mentioned. You can book your therapist after.
Intruder (1989): Nearing the end of the Slasher Age comes a grisly picture, a claustrophobic thriller set entirely in a small supermarket, whose owner is preparing to go out of business. This doesn’t sit too well with one of the staff members, who busily butchers the night crew using the tools of the trade (hooks, axes, knives, power tools, and so on). A fantastic gore and practical effect based horror tune that even cameos Sam & Ted Raimi and the man, the legend, Bruce Campbell!!!
Well, there you have it folks. Not a top pick, but a solid pick from among Hulu’s endless treasure trove of horror. If you have the time, be sure to check out some others on their site. Lots to pick, lots of golden B-flicks as well, and even more classic ones, including: Evil Dead, Night of the Living Dead, Day of the Dead, Cronos, Carnival of Souls, The Innkeepers, The Brood, and so many more!!
From Combat Veteran to Horror Writer
Before we get into this, there is a quote from Michael Herr in his book, Dispatches, that I’d like to share. It’s a long quote, so bear with me. Herr says:
“I keep thinking about all the kids who got wiped out by seventeen years of war movies before coming to Vietnam to get wiped out for good. You don’t know what a media freak is until you’ve seen the way a few of those grunts would run around during a fight when they knew that there was a television crew nearby; they were actually making war movies in their heads, doing little guts-and-glory Leatherneck tap dances under fire, getting their pimples shot off for the networks. They were insane, but the war hadn’t done that to them. Most combat troops stopped thinking of the war as an adventure after their first few firefights, but there were always the ones who couldn’t let that go, these few who were up there doing numbers for the cameras… We’d all seen too many movies, stayed too long in Television City, years of media glut had made certain connections difficult” (Dispatches, 1977).
My reasoning for sharing this quote from Herr is because, in more ways than one, his voice sums up my own feelings regarding my experiences in the Iraq War, OIF (Operation Iraqi Freedom for those in the know), and writing/living with those memories today. Allow me to explain.
There seems to be a surge of “war stories” finding their way into the media nowadays. I’m in no way saying this is a bad thing; I wish there were more veteran writers. However, I have to be somewhat suspicious when I see books marketed as “another action-packed heroic tale of contemporary military service.” Such as from a Navy Seal’s perspective or some high ranked officer sharing their “retelling” of command with low fidelity storytelling. I’m not trying to be quip here, nor am I trying to call out any one individual. What I am trying to call out is similar to what Herr stated in the quote shared above. There seems to be this carnivorous appetite for war stories, but not war as it really is, rather war from a heroic narrative, or worse, war stories where soldiers are nothing more than pawns in a Mad Hatter’s political chess game. I feel these kinds of stories are for people who do not have a genuine interest in the reality of war from the perspective of, say, Joe-Shmoe from Littlerock, Arkansas. These kinds of stories are for people who want to be entertained, not enlighten to the cruel banality of combat.
For a long time, I didn’t write much about anything. A few poems, here and there, but nothing I was willing to share with anyone, under any circumstance. Well…except for maybe in death, if I was dead then I guess I couldn’t really do much about someone reading my work, could I?
I signed up for the U.S. Army in Sept 2001 and was honorably discharged in February 2008. Roughly seven years of service, including three tours in Iraq, 2003-2004, 2004-2005, and finally 2006-2007. The last tour was probably the hardest, not only was my deployment extended for the great 2007 Iraq War troop surge (Operation Arrowhead, I think), but I took more hits than in any of my previous two tours, and on top of that, I had someone other than my parents waiting for me at home. My wife and I had just met a few months before I deployed. She stayed with me the entire deployment. We wrote dozens of letters to each other, we chatted on the phone and on the internet, and that’s if circumstances made it possible. She supported me, with more than just care packages, but by giving me focus, reminding me that I was more than just a soldier. Being away from her was the hardest thing I’ve ever done. Let me say, I don’t mean to sound callous towards my parents, I love my parents very much, but with my wife it was different. For the first time, I couldn’t imagine myself dying and not being afraid. Not just for the circumstance (bodily suffering) but for the recompense of leaving her behind (emotional suffering). I didn’t want to die. I didn’t want to be robbed of this imagined life we could’ve had together. I didn’t want to lose that. And I didn’t want her to suffer for my loss.
In 2008, after being pushed by family to get into college, I finally agreed. I’m glad I did. College helped with more than just furthering my career. Slowly, through the course from 2008-2014, I began to open up. I didn’t really want to at first, again, back to the “glamorization of war,” I feared any attempt to recount my experience would be a cheapening of it, a cheapening of other veteran’s experiences by attempting to sell my own. I didn’t want to do that, but I felt drawn to write something.
My first attempt was during a creative writing class into my second semester at San Jacinto Community College. The assignment was to write a short narrative story. I wrote, “There will be Ghosts,” which was my ode to both my experiences and the Tom Cruise Vietnam movie, “Born on the Fourth of July.” From there I dove head first into fiction-writing. I began a little science-fiction piece which never came to fruition, and probably never will. I consider these first works to be a learning curve, not something I’d want to see published. A dabbling, if you will, in the creative cosmos, finding my voice and all that fun stuff. When I left community college to enter the university (University of Houston-Clear Lake), I had to put my fictional writing on the back burner and focus almost exclusively on my history studies. While this may seem like a setback, I do not see it that way. In fact, I believe these two years of hardnosed historical study gave me an element lacking in my previous fictional-writing attempts. Dedicating myself to my studies gave me a depth I wouldn’t have been able to include in my work otherwise. My studies focused on 20th century Germany, namely the Weimar Republic and Nazi eras. I also took Vietnam War history classes, Texas history, and the Civil Rights Movement, each class taught from the ground-up. This is a somewhat relative new way of teaching history. Traditionally, history is taught from the top, that is, from famous generals and presidents or other such impressive folk. From the bottom-up, history is taught from the Joe-Shmoe perspective, the everyday lives of everyday people. It was fantastic. A new way of looking at our world and the people that fill it by giving them relevance. In 2014 I graduated from the University of Houston-Clear Lake with a Bachelor of Arts in History…now what?
Suddenly I found this huge pocket of empty space. My mandatory studies were over with nothing to keep my mind focused on. I decided to get back to fictional writing no longer for term papers, but something that would keep my mind busy, keep me sane, and present a challenge. I wrote two short stories soon after graduating. “Hobo: a horror short story,” and “Are you hungry, dear?” Both are of the horror genre. And before you ask, “why horror,” let me be brief and just say that I’ve always been a fan of horror and dark fiction, ever since my big sister let me watch “Night of the Living Dead” one Friday night. And even before then, I read Goosebumps and then grew into Stephen King. It made sense for me to gravitate to the genre that I felt more comfortable in. And besides, horror gives us the most honest and straightforward media for social commentary…sometimes we need that ugly non-decorum. And Hobo was as direct a social commentary piece I’ve ever written. Through storytelling, I discussed this growing issue with perspectives and homelessness and then threw that into a gory tale of cannibalism. Perhaps over-the-top…but it was fun to write! “Are you hungry, dear?” I was thinking about this problem with identity, are we who we are because of what we have done in the past, or can we be better. This, of course, was told in thru a story basically about a witch who performs a dark ritual on a pizza!
While these shorts were fun, they also gave me some traction toward my first full-length book, Reinheit.
Reinheit was published originally under Booktrope’s horror imprint Forsaken, and now currently resides with Shadow Work Publishing, was, to be frank, the most serious thing I’ve ever written, other than my wedding vows. But let me be clear, this was not my “Iraq War” piece, though, as a writer you have to draw emotion from somewhere, and it would seem a lot of my emotion still streams from my experiences in Iraq. I think some of that bled into Reinheit. As for the story, I tapped into my history studies and focused on Nazi Germany. I didn’t want this to be just a historical fiction piece, I wanted to say something about some of the issues going on in 2014, in the media, and on social websites, such as Facebook. The total disregard for looking at people as simply that, people. Reinheit drew from real history, but the story was really about the here and now. A school teacher dealing with an abusive husband, an SS officer pushing himself to carry out his ghastly orders, a thug of a husband who views the world from a very narrow hall, an old man looking for redemption, and of course, a curious armchair with a very dark purpose.
While penning Reinheit, I was able to develop my, what authors call, “writers voice.” When you read a lot, which is a must if you want to write, you kind of take on the voice of the authors you are reading. You need to write to chisel away all those voices, and hopefully find your own in the process. I think this is intended to be an ongoing thing. The more you chisel, the more defined your voice becomes, until maybe reaching some point when your aged and withered and giving lectures to a new generation of writers. Obviously, I haven’t reached this milestone yet. I’m still having fun with it. So, yes, writing Reinheit helped define my own voice and gave me the necessary encouragement to take the next step, writing my “war story.”
Again, I couldn’t write something heroic, though I know a lot of whom I consider to be heroic. I didn’t want to pass the war off as some grand adventure. I wanted to rip the decorum off war, the shininess of it. I wanted to bring audiences into the preverbal trenches of “All Quiet on the Western Front.” I wanted to bring an air of hardnosed poetry as Philip Larkin had done for his own generation with his masterpiece, “MCMXIV.” And above all this, I wanted to be direct and honest, no matter how difficult or depressing that may be. Even for myself, rehashing brutal memories. With my pile of one-subject notebooks (yes, I write everything longhand before MS Word), a set out on this endeavor. What I had titled Subdue was inked in about nine months, from paper to MS Word, and has recently been picked up by my new publisher. I cannot go into too many details about the book just yet, but I can say that within those pages are real, raw, and utterly difficult subjects. While hopefully still entertaining, because of the relationships between the characters, it was not written to entertain, it was written to discuss the reality of war and living with the memory of war, I wanted to talk about PTSD, anger, war-guilt, and suicide because these are discussions that need to happen by getting away from the myth of superman and disconnect of high-adventure combat by focusing on the naked ugliness of it and how we can live with those memories through expression…and the sad gut punching fact that many cannot live with the memories of war…
While there will always be “those” books that do not give much substance to the echoes of war, I’ve been seeing more and more veteran writers coming forward from the trenches, unabashed by unrepentant honesty. BRAVO! There was a recent Vanity Fair article called, “The Words of War” that included a few of these up and coming writers of poetry, novels, and screenplays. I felt encouraged reading it. Seeing fellow veterans picking up the pen and expressing themselves. I’m proud to be part of this “Lost Generation,” for as Elliot Ackerman, one of the veteran writers mentioned above, puts it, “it might have been better to be part of the ‘Lost Generation’ than the lost part of a generation.”
Thomas S. Flowers is the published author of several character driven stories of dark fiction. He resides in Houston, Texas, with his wife and daughter. He is published with The Sinister Horror Company’s horror anthology The Black Room Manuscripts. His debut novel,Reinheit, is published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein and Lanmò His paranormal/miltary series, The Subdue Books, including both Dwelling and Emerging, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served for seven years, with three tours serving in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston Clear Lake with a BA in History. He blogs at machinemean[dot]org, where he does author interviews and reviews on a wide range of strange yet oddly related topics.
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Reinheit found new home with Forsaken!
Greetings boils and ghouls! Just wanted to make an official announcement with my dedicated blogketeers that Reinheit (my debut novel) has been picked up by Booktrope under their newest imprint, Forsaken! Reinheit will be revamped by a select and talented team with a tweaked book cover and buffered editing. By joining the Forsaken team, I am hoping to get Reinheit in as many hands as humanly possible, spreading the good gospel of hauntingly seductive armchairs! Stay tuned for more announcements as details become available. As of right now, Reinheit is still available as a first edition on Amazon in both eBook and paperback. I’m aiming for a re-release of Reinheit this summer, in which case, the first edition will no longer be available for purchase. This is exiting stuff!! I am psyched for what the future holds!!