Directed By: Fred Decker (Night of the Creeps, Robocop 3)
Starring: Duncan Regehr (V, 1988’s The Last Samuri, Zorro Television Show), Tom Noonan (The House of the Devil, Late Phases, The Alphabet Killer), Jon Gries (Skinwalker Rancher, Napoleon Dynamite, Fright Night Part 2), Tom Woodruff Jr. (Pumpkinhead, Tremors, Mortal Kombat), Michael Reid Mackay (Highway to Hell, Sleepwalkers, X-Men 2), and Stephen Macht (Graveyard Shift, Trancers film series, The Legend of Galgameth)
Written By: Shane Black (Lethal Weapon, The Last Boy Scout, Last Action Hero) and Fred Dekker (House, Night of the Creep, Robocop 3)
Release Year: 1987 Continue Reading
WELCOME friends to a new year of “In Review.” As you no doubt have guessed, this year we’re running the gauntlet with Slashers & Serial Killers. To say we’ve got our work cut out for us would be an understatement. Thus far the review count looks to be well over 150 different movie reviews all spread throughout 2018 with our usual break in observance of the holiest of horror holidays, Freight Fest. Why such a high review count? There’s the love of course…the utter romanticism of this particular horror sub-genre–knowing the killer in us all by living vicariously through onscreen murderers and villains. Beginning as early as Psycho in 1960 and continuing on all the way into 2018, slasher and serial killer movies are alive then as they are today with hundreds of different movies to choice from. To kick things off, my movie of choice may seem a bit odd…allow me to explain. Continue Reading
The eighties were weird time in cinematic history. Teenage werewolves who’ve found the need to fit in and become all-star athletes, a transgender serial killer who has a disdain for camping and boating, lastly, a man wearing a fedora who finds enjoyment by tormenting teens through their dreams, a weird time for films. And if you could take one of those films and use it to describe the cinema from that particular era—The Toxic Avenger, would be your best bet.
A lot of questions can be raised, in regards, to what makes The Toxic Avenger a great movie. Is it the story? No. Is it the special effects that will make Predator shake in shame? Not necessarily. Continue Reading
I was a freshman in college when The Relic came out, and I remember sitting in the theater with my friends watching the film. I have a special place in my heart for creature features. I just love how creative and awesome some of the creatures turn out to be. I’m a huge fan of creatures created by Stan Winston, so I just had to see this film.
The Relic is still one of my all-time favorite creature features. Apparently my memory was a bit hazy and I didn’t remember that the audience saw as much of the creature as they did. I remember it being shown in bits in pieces in the dark, but it gets shown in all its glory—albeit in the dark, but that just adds to its awesomeness. It deserves its time on the screen. Continue Reading
Again I find myself mesmerized by the complexity of the creature features subgenre. And as a first, thus far in our little series, we find ourselves in the midst of a horror-comedy within the creature feature mythology. The gory ridiculous atmosphere of Slither (2006) is no doubt the responsibility of its creator, directed no less than by Guardian of the Galaxy symphonist James Gunn. Now, as most already probably know but I’ll mention it here again, Gunn has an interesting repertoire of cinematic exploits. He was the director who took on the remake to Dawn of the Dead (1978), keeping certain elements whilst still maintaining itself as a stand alone movie ALL THE WHILE pleasing not just audiences, but fans of George A. Romero’s beloved classic. But Gunn is not without question…he did have a hand in those live-action Scooby-Doo movies and the not so cult-classic Tales from the Crapper. This weekend, apparently The Belko Experiment, in which Gunn wrote the screenplay, will finally be released to theaters, having started playing trailers off and on as far back as November of 2016, has already come under fire from critics. So where does that leave Slither? Well…I think I’ll leave that explanation on the shoulders of our esteemed guest contributor, Jonny Numb.
By: Jonny Numb
Universal’s decision to let James Gunn direct Slither was an act of faith that spoke to the studio’s appreciation of how his Dawn of the Dead screenplay – coupled with Zack Snyder’s direction – led that film to box-office success.
The result – a 1950s-styled creature feature that combined practical FX with CGI – was a pastiche with a disparate cast (including cult favorites Nathan Fillion and Michael Rooker, and rising star Elizabeth Banks) that had a mercilessly short theatrical run.
I get it because I wasn’t a fan of Slither when I first saw it on DVD. I can’t remember why it didn’t click for me – maybe because it leaned on “backwoods redneck” character types too much (and that specific type of humor); maybe because my taste in sci-fi is maddeningly specific; and maybe – just maybe – it was because I had yet to be exposed to the wonders of Captain Mal on Firefly.
In any event, I revisited the film last year (for the first time in a decade) and was surprised that my feelings toward it had improved. While problematic in places (mostly in the wobbly, tone-setting early going), Slither grows into a bizarre and sneakily subversive take on the sci-fi it’s paying loving homage to:
The Blob (either version). The Thing (Carpenter version). Invasion of the Body Snatchers (mostly the ‘50s version).
There are also subtle-to-obvious references to the works of David Cronenberg and Roman Polanski, as well as Gunn’s former tenure as a screenwriter for Troma (including a Lloyd Kaufman cameo); and keep an eye on the Main Street storefronts during the opening credits for more sly Easter Eggs.
Grant Grant (Rooker) is a macho sleazeball in cheesy glasses who’s married to trophy wife (and elementary-school teacher) Starla (Banks). Spurned by his wife’s refusal to fulfill her duty as willing sex object one night, Grant meets up with local bar girl Brenda (Brenda James). In a bit of cosmic irony, they find themselves in the woods, and Grant has feelings of remorse before he can consummate any carnal desires. More ironic still, this leads Grant to the discovery of a translucent egg-sac with a symbolically vaginal opening, one from which something shoots out, infecting him with an extraterrestrial parasite. After the transformed, meat-craving Grant impregnates Brenda, she becomes the “mother” to the alien invasion.
Once the parasites explode (literally), Slither really kicks into gear. Gleefully grotesque practical effects – and some CGI that hasn’t aged as well – ensue.
To make a hard right turn: does anyone really talk about Kylie (Tania Saulnier), and how she’s probably the smartest, most resourceful character in the movie?
Only on my most recent viewing did it occur to me that we see her not once (in the high-school classroom), but twice (in the crowd at the town’s “Deer Cheer” event) before being properly introduced around the family dinner table (where she makes reference to the “Japanese” design of her painted fingernails (tentacles much?). Her character is at the center of a great setpiece midway through, during which she’s taking a bath with her earbuds in, and winds up fending off a parasite with a curling iron. Even more so than the scene’s well-taken stylistic nods to A Nightmare on Elm Street and Shivers, notice how Gunn allows Kylie to react as rationally as the situation will allow, without turning it into an excuse for T&A or a gory money shot. When the tub parasite nearly shoots down her throat, Kylie briefly taps into the aliens’ shared consciousness – and the glimpses of havoc on an unnamed planet far, far away certainly foreshadows Gunn’s eventual segue into the world of high-budget comic-book blockbusters.
Rather ingeniously, the DVD cover for Slither – that of Kylie in the tub, being descended upon by thousands of squirming parasites – represents the film more accurately than most video-art concepts (which tend toward hyperbole). It’s unsubtle without really giving anything away, and Gunn subverts expectations for the scene itself by guiding it to a surprising conclusion. The sequence of events that follows the tub encounter is brilliantly rendered, and reminded me of Barbara’s full-moon escape from the farmhouse in Night of the Living Dead (yes, the 1990 remake).
There are other things, as well:
The comic relief of Mayor Jack MacReady (played by Brian De Palma regular Gregg Henry), who – in look and demeanor – bears an eerie resemblance to a certain boorish ex-reality-TV star. He’s paranoid, perpetually angry, casually misogynistic, and at one point asks if the town’s being “invaded by the Russkies.” Gunn’s smart handling ensures that we’re always laughing at this clown, and Henry is definitely in on the joke.
Meanwhile, Starla transitions from Grant’s doormat to a model of marriage to, eventually, a woman who wakes up to the fact that her husband’s internal ugliness has manifested on the outside in a way that’s rather poetic. Their final confrontation is a fine demonstration of Beauty no longer tolerating the Beast’s shit.
So maybe, finally, the film resembles Bride of the Monster (but in title only. Thank God).
One nagging question, though: even with the padlock on the basement door, how did the stench of all those dead pets not make its way through the vents in the Grant household?
Jonny Numb’s Rating: 3.5 out of 5 stars
Jon Weidler, aka Jonny Numb, is no stranger here on Machine Mean. He has contributed for us Abbott and Costello Meet The Mummy (1955) AND Clean, Shaven for our Fright Fest month back in October. Mr. Weidler works for the Commonwealth of Pennsylvania by day but is a podcast superhero by night. He co-hosts THE LAST KNOCK horror podcast under the moniker “Jonny Numb,” and is a regular contributor to the Crash Palace Productions and Loud Green Bird websites. His archived movie reviews can be found at numbviews.livejournal.com, and his social media handle is @JonnyNumb (Twitter & Letterboxd). You can read his review of A&C Meet Mummyhere.
Tune into The Last Knock for the best of HORROR movie reviews!
Greetings folks! Ladies and gentlemen. Boys and girls. As we begin this new year it is my great pleasure to announce the start of a brand new “In Review” series. Creature Features…beloved by many, loathed by some, irrefutable masterpieces that tell a tale of where the world is during each era of release. From the nuclear wastelands of Hiroshima in Godzilla and the radiated test sights in Them! to the hideous shadows in swamps and space fiends coming to terrorize quiet small town America in Critters and Swamp Thing to the worlds of mad science and mythology to humanoids and mutations, Creature Feature films have been at every turn in pop culture. Spanning decades, here at Machine Mean, thanks to our mob of talented and twisted guest writers, will bring to you beginning this Thursday and running until December, on every Thursday a Creature Feature in Review. Set your clocks and mark your calendars.
The fun begins this Thursday on Jan 5, 2017.
Follow the series on Twitter at #MonsterThursday
Narrator: For centuries, the prayers of Mexico’s peasants have been their only shield against the devastating furies that have wrecked their homes and destroyed their lives. And so today, again they kneel, terrified and helpless, as a new volcano is created by the mysterious and rebellious forces of nature. The Earth has split a thousand times. Whole acres of rich farmlands have cracked and dropped from sight. And millions of tons of molten lava are roaring down the slopes, in a quake recorded on the seismograph of the University of Mexico as the most violent of modern times. To the benighted citizenry of this remote countryside, the most alarming aspect of the phenomenon is the fact that its unabated hourly growth is without precedence, having reached a towering height of nine thousand feet within a few days. And with each added foot, it spreads its evil onslaught into a wider circumference. But what is now most feared is that rescue work will be severely hampered by the hazardous inaccessibility of the terrain.
As we enter into The Black Scorpion, we’re greeted with the above narration, giving no clues to the future horror in which we will soon behold. The premise is basic and strangely different from a majority of sci-fi movies during this very Cold era. A volcano erupts in a little hamlet near Mexico City and the local villagers and animals, mostly cattle, are vanishing. The corpses that have been found are infected with a strange wound and a puzzling poison, biological, natural, and otherworldly found within their bloodstream.
As the story progresses, American geologist Hank Scott, played by well-known sci-fi actor Richard Denning (who looks a hell-of-a-lot like Kenneth Tobey from The Thing from Another World), and his local partner Dr. Artur Ramos (Carlos Rivas), travel to the sight of the temperamental volcano to conduct research and investigate why the sleeping giant has decided to wake. Their investigations lead them into an odd series of findings that eventually reveal the true source of the disappearances of locals and cattle. On their initial venture, they stumble upon a small pueblo that has been completely decimated. They find only one survivor, an infant. The only other person the duo happen upon is the missing constable, eyes frozen in terror and an eerie puncture wound on the back of his neck.
Team Hank then travel to San Lorenzo, which seems nearly overrun with panicked villagers who believe the disappearances and the destruction of their homes are the cause of a demon bull. Hank and Artur seem un-phased by the frenzy or by Major Cosio’s pleading for them to remain in San Lorenzo, not for the safety of the scientists, but so that if something were to happen to them, the Mexican army would not be forced to waste their time in a rescue mission instead of working where they are needed more, with the scared and frightened villagers. Hank simply laughs and continues on with his expedition, which to me seemed odd. They haven’t specified if he was there to investigate the vanishing people and cattle, only that they were there to survey and study the volcano.
Well, this wouldn’t be a quasi-American 1950s sci-fi movie without at least one damsel in distress. For this role, we’re given the lovely Sunset Boulevard showgirl, Playboy Playmate (1958) Mara Corday who plays cattle ranch owner Teresa Alvarez. No stranger to cult sci-fi movies, Mara has been in a few well-known classics, including Tarantula, The Giant Claw, and a number of spaghetti westerns, such as A Day of Fury and The Man from Bitter Ridge, to name a few. Teresa is thrown from her white horse and as one might expect, Hank comes to her rescue. The two seem to fall in love at first sight (barf) and are invited back to her ranch for…well, more than tea I imagine. Before venturing off, Dr. Artur discovers a strange volcanic rock and takes it back with them to the ranch.
At this point, if you’re still watching the film, you might be wondering, where are the giant bugs? And I would agree with you because this is what I was gripping about when I screened the movie late last night. Everything thus far has been “setup, setup, setup,” with little to no release. We’re given a little tease at the beginning, an eerie ringing off screen, but nothing satiable. Don’t worry. The movie is about to pick up the pace.
At the ranch, while Hank and Teresa nauseously flirt, Dr. Artur, after splitting open the rock, discovers what he originally thought to be a fossilized scorpion, is actually alive and scurrying about on the pool table. Here we can almost feel the mood of the film change, slightly. How can a scorpion survive being capsulated in a rock inside a volcano? It doesn’t make sense. It breaks the laws of nature as we know it. Soon after, Teresa makes contact with her phone repairmen who are suddenly attacked by the true villains of all these bizarre disappearances of people and cattle. Giant black scorpions strike and kill the repair men. Special effects guru Willis O’Brien, who created the stop-motion effects for the original King Kong, gave his talents to the creature of these creatures. And let me say, here and now, without his work, this movie would have absolutely flopped.
Well, for many reasons actually. The script was the oddest mod podge of traditional ‘50s sci-fi (think Atomic-age, mad science), western, horror, and a mix (rip off) of Them! and The Creature from the Black Lagoon. Most of the acting was great, but there were cringe worthy moments when you’re going, “Did they really just say that?” Case in point, when Hank and Artur are with a local laboratory scientist, Dr. Velazco, the very “mad” looking fellow asks his assistant for alcohol, distilled water, salt solution, and tequila before conducting his experiment on the poison he found in the blood system of one of the found victims of the scorpions. Hank asks, “Well, the alcohol, the distilled water, the salt solution – I can understand that, but what’s the tequila for?” And, right on cue, the good doctor says, “Well, in your country I believe they call it a coffee break” (enter drum roll here).
The mood of the movie is hard to place. Something strange is going on in the story. People are being horrifyingly eaten alive by giant freaking scorpions. Whole towns are vanishing. Cattle are being devoured. And when you see the scorpions on screen, it is insanely terrifying. O’Brien really did a phenomenal job. Stop-motion has certain qualia about it that get under my skin, especially when used with horror. But the cast seems nonchalant about it all. Hank and Artur venture into the subterranean realm of these beasts, discovering a variety of forgotten species, a very Jules Verne Journey to the Center of the Earth type place, made up mostly of only insects, making it even creepier. But still, these scientists don’t seem all that scared. They’re cool. Too cool.
The ending was even more scandalous. After discovering that the all the creatures were not destroyed with the cave-in, they watch as the “granddaddy” scorpion straight up murders the smaller scorpions, making him king scorpion, as if he wasn’t already. The witty humans lure the uber-giant scorpion into an arena, away from civilians. While the Mexican army batters the beast with tanks and gunfire, Hank manages to finish it off by using an electric cable attached to a spear, of which he somehow was able to thrust into the scorpion’s throat, it’s only vulnerable spot. Finally, electrocuted, the monster is slain.
As the scorpion lays there, smoldering, Hank begins to walk away. Artur and Velasco beckon him to stop so that they can conduct research on the creature. And, I shit you not, in more or fewer words, Hank takes the voluptuous Teresa across her hips and smiles, “I’ve got my own research to do,” or something like that, and the two rush away for what we assume to be…well…you know, while the remaining cast and crew grin in that stupid way people did back in the day when something funny was said.
Okay, my tone is probably giving away more of my feeling of the film then needs warranting. And yes, mentioning again the fantastic work of special effects master Willis O’Brien, and how the scorpions on screen really were disturbing, especially that scene with the phone repairmen, truly horrifying. The rest of the movie though seemed short on talent. I’m not saying it was the fault of the actors, most were really good, despite laughing to myself as it seems a habit of Hollywood to cast Anglo-American in roles that ought to belong to someone else. Also, the use of the ringing effect with the scorpions was (lets no dance around it) a total rip off of Them! Not to mention the whole idea of a prehistoric species surviving and returning to the present day is very reminiscent of The Gillman movies.
The upside to all these failings eventually leads the movie to be featured on Mystery Science Theater 3000 back in the early 1990s. So…there’s that. Overall, The Black Scorpion is mildly entertaining. Not the best of what the ‘50s had to offer in sci-fi; not the worst either.
My Rating: 3/5
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-thriller series, The Subdue Books, including Dwelling, Emerging, and Conceiving, 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 reviews on a wide range of strange yet oddly related topics. You can check out his work on the altar of Amazon here.
Before you go, Thomas has a new book out he’d like to mention. Conceiving (Subdue Book 3) will release on 11/29. Preorders are available now on Amazon for those looking for eBooks. Paperbacks coming soon. If you haven’t read Subdue Books 1 & 2 (Dwelling and Emerging), no problem. While sure, this news may bring a tear to the author’s eye, he has ensured us that new readers can follow the story easily without having read Dwelling or Emerging. You can preorder YOUR copy of Conceiving here.
And thus we have arrived. Sadly, I must say, The Mummy’s Curse will be the last of the Mummy movies to be reviewed here on this series. It is very sad. The mummy character has been one of my favorites during Universal Monsters in Review, starting of course with Boris Karloff as the original Mum in The Mummy (1932). The Mummy’s Curse (1944) is certainly not the last we’ll see of the cursed Egyptian priest. Lest we not forget, there was a resurgence of classic monsters back in the 1960s and 70s with those darling UK Hammer productions staring, typically, Christopher Lee and Peter Cushing. Marvelous films those were. On today’s agenda, of course, we look back to the last time Lon Chaney will be forced through hours of prosthetic makeup and wardrobe. As with The Mummy’s Ghost, also released in 1944, the performances were kicked up a notch, as was the storytelling. The Mummy’s Curse was set upon a simple and easy to follow trajectory. No lazy appearances this time around, the mummy is actually unearthed from the swamp in which he fled at the end of The Mummy’s Ghost. Along of course with damsel the stereotypical damsel in distress Amina Mansouri, played by the beautiful Ramsay Ames in the last film, now replaced by Virginia Christine, in which he took with him into a watery grave. If you remember, at the end of The Mummy’s Ghost, Amina was kidnapped by the mummy and used to resurrect the soul of Princess Ananka, or she was a reincarnation of her, its hard to say exactly. Here we find the same tragedy, Amina is not quite herself, nor is she quite Ananka either. And for this, I applaud The Mummy’s Curse, for the curse is not really so much about the mummy Kharis, but rather, about Amina Mansouri and Princess Ananka, an innocent bystander who is thrust into this nightmarish world, and with Ananka, a princess who died naturally. There are some other elements with The Mummy’s Curse that I have not seen, or have seen rarely, in other Universal films during this era. What I’m referring to is Napoleon Simpson playing the role of Goobie (ugh), a very stereotypical “massa” and “sho’ ’nuff” style African American. His character was not comedic, nor was he useful in carrying the plot. Only in so much as screaming and running around crying for help. But again, we have to remember the era in which this film was made. Segregation was still the law, aka Jim Crow. And women could not vote. Homosexuality was also considered a crime. It doesnt make it right, but we also cannot expect to take a 1940s American film and judge it by modern standards. When looking at a historic film, one must remain (as much as possible) objective. Okay…I’ve seemed to ramble on quite a bit here. Let us venture forth and see what our esteemed guest has to say regarding The Mummy’s Curse.
The Mummy’s Curse (1944)
By Pembroke Sinclair
I’ve been struggling with where to start this review. It’s not that the movie was terrible, but it wasn’t exactly stellar, either. This film was pretty short, coming in at 1 hour long. Not a whole heck of a lot happened in that time, except that the mummy rose from the dead, killed a few people, then was defeated. There wasn’t much time for characters to be fleshed out, so I didn’t really feel for any of them.
Racial stereotypes ran rampant throughout the film, although my first impression was that I was impressed that several different cultures were portrayed. The film takes place in the swamps of Louisiana. Of course, the white man has come in and is planning to drain it for irrigation purposes, and when the workers refuse to work because of rumors about the mummy, he takes on an I-know-best attitude to get them to finish. As you can imagine, this leads to death and murder.
From a surficial viewing of this film, it wasn’t anything special. There weren’t any jump scares, and the storyline actually confused me just a bit. Kharis (the mummy) was punished in his previous life (thousands of years ago in Egypt) because he was trying to raise his love (Princess Anaka) from the dead. I couldn’t really follow the story of his punishment, but some slaves were killed and he was buried alive and forced to be the guardian of the princess’s tomb.
There was something about special leaves that could bring the dead back to life, and that was what Kharis stole from the gods to bring Anaka back. After he was caught, they buried him with those leaves—and I’m not really sure why. I mean, if they have that power, why make it readily available to someone who might have inclinations to raise the dead? But when does horror always make sense?
Anyway, this story takes place 25 years after Kharis sunk in some quicksand (I’m assuming this happens in a previous movie, but I didn’t see it, so I don’t know). Kharis is raised from the dead from some priests so that he can find his princess, who also happens to be buried somewhere in the swamp. (She’s unearthed later by a bulldozer.)
So, in addition to the workers who are trying to drain the swamps, there are also archaeologists who are looking for the sarcophagi so that they can go to a museum. But one of these scientists (Ragheb) is looking for them so he can send them back to Egypt so that the dead can rest in peace. He’s the one who raises Kharis so that he can find Anaka. It sounds noble, for sure, but t becomes violent because Ragheb tells Kharis that he can kill whoever gets in his way while looking for Anaka. And, as you can imagine, people do, so they get strangled.
I became confused about a couple things. 1) Why did Princess Anaka retain her beauty after bathing in the river? Why didn’t she looked like hammered hell like Kharis? 2) If she was Kharis’s true love, why was she so afraid of him? There were indications that she was looking for him also—she would fall into a trance and repeat his name over and over—but when he showed up, she would freak out and run. 3) The love story between Dr. Ilzor Zandaab and Betty felt tacked on. I get that it needed to be there as a juxtaposition between Kharis and Anaka, but it needed to be developed.
This also might play into the point about the film, however. The title is The Mummy’s Curse, and he was punished because he was trying to reunite with his true love. In this film, he can’t resurrect himself, and humans have to intervene by giving him his potion of leaves. In a sense, he becomes a pawn to be used by whoever resurrects him. And perhaps Anaka not recognizing him and running away in fear is also part of his curse. He’s forever trying to possess something he can’t have.
Sure, he kills and is a walking corpse, but is he really that bad? Would he kill if he wasn’t instructed to? Is he truly the monster in the film or is it the others around him?
There were a few things that surprised me: the women in the film had some stereotypical roles (fainting and needing to be rescued), but they also had some powerful roles. For example, Betty on multiple occasions talks back to her uncle and lets him know how she feels about things. Anaka is shown using a microscope and expresses her knowledge about ancient Egyptian culture—mainly because she had lived through it, but she doesn’t remember that at the time.
While this film isn’t something I’d watch again for pure entertainment, I believe that there are some deeper meanings hidden within the text. Like all horror films, there is social commentary buried beneath the surface, and I’d watch it again to find these commentaries and figure out what they are saying.
Pembroke Sinclair is a literary jack of all trades, playing her hand at multiple genres. She has written an eclectic mix of fiction ranging from horror to sci-fi and even some westerns. Born in Rock Springs, Wyoming–the home of 56 nationalities–it is no wonder Pembroke ended up so creatively diverse. Her fascination with the notions of good and evil, demons and angels, and how the lines blur have inspired her writing. Pembroke lives in Laramie, Wyoming, with her husband, two spirited boys, a black lab named Ryder, and a rescue kitty named Alia, who happens to be the sweetest, most adorable kitty in the world! She cannot say no to dessert, orange soda, or cinnamon. She loves rats and tatts and rock and roll and wants to be an alien queen when she grows up. You can learn more about Pembroke Sinclair by visiting her at pembrokesinclair.blogspot.com. You can follow the very talented Pembroke on Facebook Amazon Twitter Or at her blog.