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Slashers & Serial Killers In Review : The Devil’s Rejects (2005)

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Rob Zombie knows movies, and he takes his knowledge of and passion for film and applies it to his own projects.  Sometimes he is successful in his execution, sometimes he isn’t.  It all boils down to personal preference.  When it comes to The Devil’s Rejects, I believe he was successful.

This film came out in 2005 and is the follow-up to House of 1000 Corpses.  It follows the Firefly family as they attempt to escape the law.  The film is a mash up of different genres, including crime films and sexploitation, drawing heavily from slasher films with murder and gore to beat the band.  Continue Reading

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Slashers & Serial Killers in Review: American Psycho (2000)

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American Psycho is a satirical novel written by Bret Easton Ellis and published in 1991. It is an unreliable first person narrative, in the present tense, given by the main character, Patrick Bateman, who is a yuppieliving in 1980s New York City. It is an extremely controversial novel, given its depiction of increasingly brutal violence against women; this issue led many feminists to protest the novel.

movie version was made in 2000, the screenplay written by Guinevere Turner and Mary Harron (the latter also being the director), and starring Christian Bale in the lead role. The movie removed or mitigated the novel’s violence, and rearranged much of the material: apart from that, the film was reasonably faithfulContinue Reading


Fright Fest: Tombs of the Blind Dead (1972)

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[ SPOIL-O-RAMA, GUYS—DON’T CRY ABOUT IT—HAVE FUN WITH IT… ]

I’d been meaning to check these films out on my own for a while and had a set in my amazon wishlist waiting and ready when I saw this title in the list of choices of films to review. I called dibs and went immediately to amazon to grab this. So, just so I’m clear on what I’m working with, the set I now have is the Blue Underground set of all four Blind Dead films (and that Ghost Galleon that popped off its holder in transit better be watchable when I get to it…) and there is a decent amount of conflicting information (hence, the 1971/2 up top). This film is generally referred to as Tombs of the Blind Dead, but the disc in this set has two versions of the film—the first one I watched, La Noche Del Terror Ciego (The Night of the Blind Terror) is the original Spanish/Portuguese production title and cut; and The Blind Dead. Nowhere in the actual video material does it say the title I’ve always heard this film given, other than the box. Also, on the box it says it came out in 1971, but most other places say 1972.  Continue Reading


Kong: Skull Island (2017) REVIEW

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Okay, seriously…have you seen the new Kong? For starters though, i’ll admit it is kinda strange taking on a creature feature review outside of the Creature Features in Review series. However, as I had the gumption to finally watch the latest of Kong movies, Kong: Skull Island, I felt compelled to write down some of my thoughts regarding said movie. There are no spoilers here, per say. Kong holds not mystery that hasn’t already been shown in the many previews and trailers that came out prior to the movie’s release. So, I don’t feel bad talking about it.  Continue Reading


Creature Features in Review: Arachnophobia (1990)

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Arachnophobia is the most utterly terrifying film I have ever seen. I’ve seen, read, and written vomit-inducingly horrific things, but there’s only one thing that scares the absolute shit out of me— spiders. I was nine when this film premiered and, up until now, that’s the last time I watched it. Like the main character of the film, Dr. Ross Jennings, I am an arachnophobe (a person with an abnormal fear of spiders). Also like Dr. Jennings, my phobia was solidified by a traumatic early childhood experience (and many thereafter).

Flashback to the late 1980s: my brother Tommy and I were peering over the basement railings of our grandparent’s newly built house. We spied a black, circular, baseball-sized mass at the landing of the second flight of basement steps. Curious and eager to explore, we rushed down to the first landing to get a closer look. It appeared to be a giant rubber Halloween prop spider. Figuring our grandpa was playing a prank on us and eager to use the prop for our own nefarious devices, we rushed forward to grab it.  Continue Reading


Creature Features In Review : Pan’s Labyrinth (2006)

Pan's 1Guillermo del Toro is a fascinating film-maker. Though he has ‘only’ directed ten films (not including two early shorts), the tenth of which, The Shape of Water is due out in 2017, his is a name held in regard amongst genre fans. Again, though many of his films have horror themes and imagery, only a clutch could be said to be out and out horror, yet again, he seems to be firmly embedded within the pantheon of horror film-makers (this may also be due to his continuing championing of the horror genre through production, nurturing of other film-makers, and his appreciation for the work of Lovecraft). Finally, he seems to move with relative ease between big studio-backed blockbusters (the Hellboy films, Pacific Rim), and more artistic, almost art-house films (Cronos, The Devil’s Backbone). Arguably, it is with his few non-English language films that he has had his greatest artistic success; though he doesn’t seem to suffer from studio meddling in his larger films, they do tend to play safe, being large crowd pleasers to one extent or another, though always with his distinctive blend of direction and production values. With his more independent features, he seems to allow himself to follow creative freedom.

In Pan’s Labyrinth, del Toro could be said to have hit a career high. Its rather grim storyline follows young Ofelia who, with her heavily pregnant mother Carmen, heads into the woods of 1944 Spain to be with Carmen’s new husband, the rather severe Captain Vidal. Vidal is stationed at an old mill in the forest in order to hunt out a last group of republican rebels (the film being set a few years after the end of the Spanish Civil War). What follows are two strands of narrative; one concerning Ofelia as her increasingly vivid imagination conjures a world of fairies, forest spirits, and monsters which provide an escape of sorts from an unhappy life she feels lost in; and the other showing the ongoing efforts of Vidal as he copes with his task while also dealing with Carmen, whose pregnancy is anything but easy. The way in which del Toro weaves these two strands together is nothing short of magnificent, giving neither ascendancy over the other, and making connections and parallels between both at various points. It also works astonishingly well; fantasy and reality sit together naturally, smoothly, without jarring or feeling awkward, forced.

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Being a second watch of this film – having seen it a number of years ago not long after it first came out – I was astonished at just how bleak this picture is. Though I recall many of the darker moments – the stark violence of Vidal beating a suspected rebel to near death with a bottle, the creeping horror of an inhuman, child-eating creature with eyes in its palms – I had forgotten that a broad strand of almost nihilism runs through the film. It’s not even hidden; the character of Carmen makes mention of how tough adult life is when trying to turn Ofelia away from her obsession with what most of the other adults see as very childish pursuits. Yet Ofelia is a child, simply one who happens to live in a time when rather than shield her from the worst of humanity, the elders – for the most part – wish to educate her, prepare her for life’s harsh realities. It’s a very interesting aspect, more so because it doesn’t feel oppressive or overly grim. Yes there is horror, yes, there is very little humour or lightness, yet the fantastical elements of the film manage to stave off what could have been a difficult and brutal watch. Instead, there is just enough of the illusion of levity to keep the dark tone from appearing too much. It’s an amazing trick, and one must conclude it’s entirely deliberate. From the eerie and magical score, to the creature designs – reminiscent of the Jim Henson workshop in their Dark Crystal days – we are hoodwinked into thinking this is a pure fantasy. But like the original fairy tales, it promises no real happy endings.

The acting is subtle and immersive, and though even Vidal – for example – is little more than an unredeemable villain, the actor still manages to suggest levels of complexity hiding below the surface. He is a deeply loyal man to his cause, to his officers, to his new family; Pan's 5all except Ofelia, whom he is dismissive of, distant even. This – and her increasing sense of her mother being taken from her – propels her to take refuge in her fantasy stories, in her imaginings. Or are they? There are hints and suggestions – as ephemeral as the myths we meet – that this aspect of the movie might not be as fictional as suggested by the adults. Ultimately, though, it’s one of those films which allow the viewer to interpret and draw their own conclusions. Perhaps it doesn’t even matter. It is a deeply nuanced work, as different from del Toro’s other films as it is distinctively his.

And as for those creature effects and designs; they are nothing short of wonderful. The detail here is amazing, showcasing a deep love of creativity and a passion rarely seen in film. Though a few moments of CGI look obviously fake, they are few and fleeting.

It is the practical effects which shine, the costumes, the set design, the sculpture. Beautifully rendered and shot, bringing the world to life.

The film deals with themes of change, of upheaval and progress. It posits an existence which is brief, uncertain, and generally filled with pain. Yet even in this, there is always Pan's 3hope and light, however small and fragile. There is also loss, pain, and confusion, and a sense of melancholy running through the narrative. It’s an absolutely wonderful and compelling work which feels exactly perfect; everything is present, nothing need be added or removed, and it plays out with perfect pacing and rhythm

To my mind, this is del Toro’s best – at least until I see The Shape of Water – and that, considering the excellent body of work he has so far amassed, is high praise. This is a film for anyone who considers themselves a serious fan of dark fantasy, who appreciates complexity and nuance and allegory in their movie-going experiences. It is a fantastic achievement, and a great example of the art.

Feeney

Paul M. Feeney is a writer of horror and dark fiction, with leanings towards the pulpier side of things (described by him as ‘Twilight Zone-esque’). His short fiction has appeared in anthologies by the likes of Sirens Call Publications, April Moon Books, and Fossil Lake, amongst others, and has had two novellas published to date – The Last Bus through Crowded Quarantine Publications, and Kids through Dark Minds Press. He currently lives in the north east of England, where he writes a steady output of shorts stories and novellas, while trying to start his first novel. He has a number of short stories due out through 2017/18 in various publications, and intends to pen a number of works with a recurring character in the sub-genre of Occult Detective fiction. He also writes reviews for horror website, This is Horror, under the pseudonym of Paul Michaels.


Creature Features in Review: Them! (1954)

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The most foreboding title among the horror and science fiction lexicon, besides perhaps IT or They (which is just a cheap knockoff of the more impressive film we’re about to discuss), is the 1954 masterpiece known as Them! Among the many different creature features, be it swamp critters or critters from space or super mutant hybrids, bugs freak me out the most. As defined by the omnipotent Wikipedia, “Entomophobia (also known as insectophobia) is a specific phobia characterized by an excessive or unrealistic fear of one or more classes of insect, and classified as a phobia by the DSM-5. More specific cases included apiphobia (fear of bees) and myrmecophobia (fear of ants).” Now, that being said…I think my “fear” can be measured by mass. The smaller the insect, the less I get “freaked out.” Hence, small little pests like flies and mosquitoes are simply put…pests, easily swatted or shooed away. But on the other spectrum, the bigger they get, the more I’m apted to run away screaming. If someone were to make a monster movie with the intention of provoking the mass amount of fear from yours truly, Them! would be the quintessential experience.

But it cannot be done in a silly way. If you want a serious reaction, the movie will need to have a serious undertone. Them! is a perfect example of this. As a fan of most dubbed “classics,” basically timeless pieces of cinematic history, be it 1930s or 40s or 50s or 60s or even those in the Silent Era, I took double pleasure in the fact that this now 63 year old movie can still capture that tension, that wonderful feeling of dread so fantastically. Them!, not too sound too fan-girlish, is utterly amazing. By modern standards, Them! easily tops what producers consider to be blockbusters in not just storytelling and characterization, but also special effects. It makes me curious what original audiences thought when they first sat in their parked fin-tailed red and chrome Chrysler’s at the local drive-in, WITHOUT having been desensitized by years of modern computer generated graphics.

Alas, those day’s are gone forever.

All we can do now is cherish the time we had.

Sad.

Well…

For those who have not had the pleasure, here is a quick synopsis of Them!

“The earliest atomic tests in New Mexico cause common ants to mutate into giant man-eating monsters that threaten civilization.”

Boom. You don’t really need anything more than that, do you? Needless to say, IMDb isn’t wrong. In a nut shell, those are the stakes. A mutated strain of ants are multiplying in the New Mexico desert and could very well threaten civilization. And not just any mutated ant species, but a mutation of the Cataglyphis genus, better known as Desert Ants. These sand dwellers are among the most aggressive of ant. The perfect bugs to supersize for a horror/science fiction movie, right?

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One of the fun aspects of Them! is how the movie starts off and is treated more or less throughout the entirety as a “detective” story. The movie opens with a patrol car doing their normal patrol and pickup a little girl, no more than six years old, strolling through the desert alone dressed in a nightgown and cradling a broken doll. They try talking to her but she is catatonic, speechless, staring blankly out at the brown sand. That feeling of dread we talked about begins to weave slowly into the movie and as the policemen investigate a nearby trailer, finding it mostly destroyed, pulled apart from the outside (they deduce) the tension builds even further.

The next scene certainly adds to not only the mystery but also the horror when police sergeant Ben Peterson’s (played by the very awesome James Whitmore) partner “disappears” off screen investigating a strange sound. He get’s off a couple of shots and then screams, that kind of scream that sends chills down your spine. The sound the officer investigates permeates throughout the entire movie. A familiar nature melody for anyone living in suburbia or out in the country. The sound of cicada or crickets singing in trees or in tall grass. Come summer, that sound is still quite pleasant to me, despite this film’s attempt to ruin it. Though, there is a lingering feeling of “what’s really making that sound? Are they, Them! watching me?”

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And I love how, despite the excellent movie art on the  poster, knowing there will be giant ants in this movie, the story stalls the BIG reveal, forgive the pun, until the absolute right moment. And that moment, much how the newly brought on character, FBI agent, Robert Graham (played by man’s man James Arness), to its frustrating conclusion through the “comic relief” of sorts Professor Harold Medford (played by Santa himself Edmund Gwenn) and his “if a boy can do it a girl can do it too” daughter Dr. Patrica Medford (Joan Weldon). The Dr. Medord’s are not really that comedic, the old man is sort of how we might think brilliant old men are, a tad absent minded to every day tasks, but a genius in their preferred fields of study. And the female Dr. Medford, despite her strong grace of femininity, wasn’t overpowering or preachy. She was meek but smart and willing to go places most men wouldn’t dare go. In a decade before feminism really took off in America, it’s hard to place the purpose of her character. Regardless, I was and am very pleased with her performance, second to her father perhaps, how she was not the ditsy romance how most other movies place actresses. Harold may have been love struck, but everyone else called her Pat, a genderless name, and I prefer it that way.

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The reveal was perfect, as I said. A sandstorm kicks up and everyone’s goggled and stumbling around for clues. Somehow Pat get’s separated from the group. That chilling buzzing, ringing, clicking cicada sound starts again, getting louder and louder, and everyone is looking around wondering what that noice is and where it’s coming from. Above Pat on a dune, emerges a large black head with giant orb eyes long furry antenna and large sharp looking mandibles. She screams, alerting the others who begin opening fire, destroying the ant’s antenna (to the suggestion of Dr. Medford). The ant is killed and while the others are staring at this impossible horror, Dr. Medford makes a statement, the inspiration and message of the entire movie, I think. He says, “We may be witnesses to a Biblical prophecy come true – ‘And there shall be destruction and darkness come upon creation, and the beasts shall reign over the earth.'” He says something very similar towards the end of the movie, stating, “When Man entered the atomic age, he opened a door into a new world. What we’ll eventually find in that new world, nobody can predict.”

The Atomic Age…

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Full of sparking large logos and flashy gadgets and a new generation of fast food and drive-in theaters and modern jazz and rock-in-roll, but this was also an era of uncertainty. Hiroshima and Nagasaki awakened something in humanity. Something more than just awe and dread. Something darker and more pious than religion. The Atomic Age was this new fear of the bomb. Uncertainty over world powers, the growth of the Cold War, and a horizon in modern science to which many did not understand. Not knowing is the greatest fear of all, at least according to H.P. Lovecraft. The Atomic Age also gave birth to this very feature we find ourselves enjoying (hopefully), the birth of unnatural monsters such as Godzilla and Them! Better known as Creature Features.

Them! acts as a cautionary tale. Be warned, what will await us on the other side of the door. Will science bring upon us destruction and darkness? Will man’s ignorance? Them! isn’t about the dangers of real giant bugs, its about consequences. That in everything we do or strive to bring about, for every action there is an equal and opposite reaction, as Newton had once said. Its a message every new generation hears, right? Cautionary warnings from the old folks rocking on the porch, talking about how things used to be.

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The rest of Them! takes on that similar detective story we were introduced to in the beginning. They hunt down the hive and destroy the giant ants with poison, only to discover a few  queens had escaped prior. Now the once localized investigation turns into a global event. Hush hush, of course, to avoid widespread panic, the team with the added benefit of the military and select government officials quickly work to destroy Them! But the movie doesn’t end like some monster movies with the creatures being destroyed…there is a feeling of uncertainty, astute given the era, and we are left wondering if perhaps there are more giant mutated ants out in the desert thanks to atomic weaponry. And as Dr. Wedford said, “nobody can predict.”

My rating: 5 out of 5

With a face only a mother could love, Thomas S. Flowers hides away to create character-driven stories of dark fiction. Residing in the swamps of Houston, Texas, with his wife and daughter, his debut novel, Reinheit, was soon published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein, Apocalypse Meow, Lanmò, The Hobbsburg Horror, and FEAST. His military/paranormal thriller series, The Subdue Series, including Dwelling, Emerging, Conceiving, and Converging, 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 Bachelors in History. He blogs at machinemean[dot]org, where he reviews movies and books on a wide range of strange yet oddly related topics. You can hide from Thomas by joining his author newsletter at http://goo.gl/2CozdE.

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Creature Features in Review: Jurassic Park (1993)

I think we all have our list of movies that affected us in some way as a child. Both positive and I’m sure there are plenty of negative feelings towards movies out there too, either because they were horrible or horriful, depends on the person watching. Honestly, my bar is so low its hard to watch a movie, even a really cheesy one, and walk away hating it. There are plenty of other people more critical, and I’ll leave it to them to right the ship on movie reviews. There’s also a degree of separation we need to consider. The movies we 80s kids watched in either the late 80s or 90s that were totally awesome back in the day but watching them now almost feels embarrassing. 1997’s SPAWN is probably one of the best examples of that degree of separation. Back in the 90s, us fans of the demonic hero comic were more than ecstatic to watch the live-action version, but I challenge you to watch SPAWN (fan or no) now and not feel at least a smidge bit embarrassed that you at one point in your life thought this flick was the bee’s knees. However, there are some movies that surpass and shatter the nostalgic lens and are just great movies. Jurassic Park is one of those movies, for me at least. I have fond memories of seeing this movie as a 90s young teen. This was, in fact, the LAST movie I had gone to the theaters with my entire family (mom, dad, & sister) to see. So there’s that, a very nostalgic feeling, but Jurassic Park is also just a great movie all around, a classic Spielberg at the end of an era in which Spielberg actually made classics instead of rehashing old ones and ruining them. But, I’ll leave the review for this movie in more capable hands as our guest writer takes a swing at Jurassic Park.

Jurassic Park

By: Kurt Thingvold

Dinosaurs have long captured the imagination of the world. Titans of the prehistoric era.  In 1912, Sir Arthur Conan Doyle wrote: “The Lost World” as the story a group of explorers led by Prof. Challenger who encounter a prehistoric world. Seventy-Eight years later Michael Crichton wrote of a similar premise where a group of scientists are invited to a prehistoric park where Dinosaurs are brought back to life by genetic engineering in the hopes of garnering a profit.  The book was a huge success!  And it dealt with issues of animal rights, genetics, and the repercussions of not paying attention to detail, and having constraints when it came to new advances in science. While the book was seen as a huge success, studios were bidding for the rights to make a movie. Universal ended up winning the bid and picked Steven Spielberg to direct, and Michael Crichton to draft the screenplay, which would later be co-written with David Koep. The film was in pre-production for 24 months before filming in August of 1992 and filming ended in November of 1992. A grueling 98 days of filming,  from Hawaii to soundstages in Hollywood.  With special effects taking over a year to develop.  The movie launched in June of 1993. Critics praised the movie for its action sequences, music, and most importantly the special effects.  The plot of the movie followed, somewhat, closely to the book.  A few characters were mixed around, and some of the more important characters from the novel had their screen time reduced to a mere minute and a half.  Parts of the story did remain untouched, with the exception of an awesome raft chase scene with the T-rex.

The story for the movie goes something like this:

A worker is killed on Isla Nublar, an island that holds a secret resort attraction. Three scientists and a lawyer are sent to investigate the attraction, Dr. Alan Grant (played by Sam Neil), Dr. Ellie Sattler (Laura Dern), Dr. Ian Malcom (Jeff Goldblum), and Donald Genaro (The money hungry and corrupt lawyer played by Martin Ferraro). Shortly after arriving, they find that the park is inhabited by creatures from another era: dinosaurs.  A greedy computer programmer sabotages the park, and the dinosaurs start to run loose, now everyone must survive until rescue arrives.

What made the movie different from the book? What made this movie a cultural success? It wasn’t an exact carbon copy of the novel, but it could stand on its own. (Spielberg isn’t known for being true to the source material. Peter Benchley was kicked off the set of Jaws after he found out that the shark was going to explode, instead of dying from its wounds, and dragging Quint down to his watery grave). A few things, actually, could be counted toward the movie’s success: dinosaurs and children.  Dinosaurs have always had popularity with the youth.  The movie also addressed a certain form of science that was growing in popularity at the time: Genetics. The novel went into great detail about genetics and genetic manipulation.  The movie did address a few key points.  The lunch scene, where Hammond addressed the scientists after viewing the velociraptors being fed. And the incubator scene where Malcolm berates Dr. Wu with questions about natural breeding. Wu states: “The dinosaurs could not be bred in the wild due to them all being female.”

(The following quotes are spoken during the lunch scene and address the lack of discipline involving the cloning process to bring the ancient species back.)

“I’ll tell you the problem with the scientific power that you’re using here, it didn’t require any discipline to attain it. You read what others had done and you took the next step. You didn’t earn the knowledge for yourselves, so you don’t take any responsibility for it. You stood on the shoulders of geniuses to accomplish something as fast as you could, and before you even knew what you had, you patented it, and packaged it, and slapped it on a plastic lunchbox, and now you’re selling it.”

(Another addition to Malcolm’s lines during the scene.)

“Don’t you see the danger, John, inherent in what you’re doing here? Genetic power is the most awesome force the planet’s ever seen, but you wield it like a kid that’s found his dad’s gun.”

They resonate a serious tone about scientific power at the time, where, we tried to create what we could as fast as we could, without thinking of the danger of what we were doing; and it could be taken to another level without consulting with the public. It also portrays that uncontrolled science and technology could be a terrible thing. It also goes to show that just because you have obtained the knowledge and knew how to do it—doesn’t mean you should.  The main theme of this scene and the incubator scene are about control—which—the park lacked and that it is why it had its problems. Yet, the theme is downplayed in the movie compared to the book—Malcolm would and does rant about conservation, discipline, and taking what could happen into consideration.  While, novel Malcolm, is almost the complete opposite of movie Malcolm.

Spielberg, also, combined and changed characters from the novel.  In the film: Grant can’t stand to be around kids and the movie follows his coming to understand and love children (classic Spielberg, coming into fatherhood after reluctance). Genaro is another example of a character swap—in the novel, he is portrayed and somewhat timid and very cautious, and not so much caring about the money.  While, the film version, he is cowardly, greedy and not much into anything else. He was also mixed with another character from the novel: Ed Regis, a PR rep who takes the group on the tour of the park and causes the T-rex to escape its enclosure.  While in the film—Genaro runs from the vehicle setting off the infamous T-rex attack scene. And promptly, devoured on a toilet.  Genaro in the novel isn’t killed at all—In fact he comes around to be a hero—fighting off a velociraptor and calling a ship back and saving Costa Rica from a dinosaur invasion.  Robert Muldoon (Bob Peck) is another character who survives the book and dies in the film.  In the book, Muldoon is a badass—he has his demons of being an alcoholic but makes up for it in his heroics. Also, Alan Grant and Ellie Sattler are an item. In the novel, she is a student and his assistant.  They also give a little backstory about her fiancé and how she plans to marry him after she graduates. Again, a lot of subtle differences between the book and the film.

So, what makes the book good, what makes it a good movie? The answer is simple: It’s different.  While the novel is mentally stimulating and fascinating to think about.  The movie creates an atmosphere—it shows you the wonder and awe of seeing what you’ve always wanted to lay your eyes upon, a dinosaur, and the movie treats the creatures as actual animals.  When the scientists first come to the park they are in awe. They become fascinated with their childhood dreams.  You see the creatures breathing, eating, and suffering from disease.

If anything, Jurassic Park is known for two things: The music and special effects. The special effects of the nineties were limited—computers had not been used too much for creatures, with the exception of the glass creature in Young Sherlock Holmes, and the main villain of Terminator 2: Judgement Day.  Spielberg hadn’t a clue which method he would take for full body shots of the dinosaurs—he was leaning towards the use of Stop Motion animation, and once he saw the tests for the stop—motion, he was not impressed.  However, he was blown away from the CGI tests and decided he would go with computer images for most of the full-bodied animals.  For the close-up shots, the film would use animatronic heads and partial bodies. What really made this work is how the CGI and the animatronics were blended together to create the illusion of a real life creature.  It brought the illusion of amazement and belief that an ancient creature could be brought back from the dead.

Music is another aspect that brought life into Jurassic Park.  John Williams, the composer created a masterpiece with his score; a score that can transport you to an ancient world.  What makes the soundtrack work is that the music, in itself, promotes power and wonder.  One of the few soundtracks to a movie that isn’t a piece of music but an addition to the scene, the music acts as a special effect; giving the scene the power to captivate. When you listen closely to the soundtrack. Scenes from the movie will come rushing back into your head, a rare feat. Williams didn’t compose music for the movie, he created the breath of the movie.  Of course, what ties the whole movie together is the direction of, Steven Spielberg. There are rumors floating around that he didn’t want to make the movie and that if he didn’t make it Schindlers’ List would have never seen the light of day.

Regardless, he created a family film and one that everyone could enjoy.  He worked with some of the top experts to make sure that the movie could stand the test of time and it did. Spielberg chose actors who weren’t top billed, he wanted to create characters that people would remember.  He didn’t just shoot at a movie studio.  He wanted a location that looked prehistoric and a place people could visit. Jurassic Park may not be one his best films, but it is one that is enjoyable. Spielberg took the chance to show us that a movie can bring a family together and a little journey to the past could be a wondrous thing. Even after twenty-four years, with the release of Jurassic World, people still flock to the theater with their children to share in a magical memory and to be blown away by special effects and the simple pleasure of seeing a dinosaur on the big screen.  Jurassic Park will be a movie that our kids will share with their kids and so-on.  It captures a piece of us, a time when we were all so innocent and could be captivated by a little make believe and a little science.

Jurassic Park will always be a part of my heart and will always be what got me to start writing at a young age.  The film, the novel, it all represents a dream of someone wanting something bigger, someone wanting something they could feel and touch.  Life will always find a way, and so will Jurassic Park.

Kurt Thingvold is no stranger to Machine Mean, having reviewed for us on several occasions, including his previous review on Godzilla (1954). Kurt was born and raised in IL. He finds passion in writing, that helps calm his demons. He grew up in a tough household that encouraged reading and studying. He spends his time writing in multiple of genres. His published short story, Roulette, can be found on Amazon. When not writing he can be found playing games, reading, or attempting to slay the beast known as “Customer Service”, which, he fails at almost every day. As mentioned, Kurt is a frequent flyer here on Machine Mean, you can also check out his previous review on Ridley Scott’s legacy movie Alien here.

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Double Feature Review: Get Out/ The Belko Experiment

I don’t think I’ve seen so many new horrors as I have this year. AND IT’S ONLY MARCH!!! I’m not going to list off all of them, as at this time in the morning hours with only one cup of coffee to keep my brain functioning, cannot recall. Though some honorable mentions are due. XX, a 4 film horror anthology directed by Jovanka Vuckovic, Annie Clark, Roxanne Benjamin, and Karyn Kusama, was a stellar performance, despite some notes falling flat. Another one that was actually listed as a 2016 movie, but I saw in January, so it counts on my list for this year, and that flick was Split…which split critics while still bringing in rather respectable ratings from audiences, not just because it released (late Dec?) in January (the month movies go to die), but also because it was a return of sorts for M. Night Shyamalan. This last movie brings up a point that I’d like to address. Maybe I haven’t really been paying close enough attention, but when did Blumhouse start producing good horror movies? And back to back, mind you. As per our double feature review here of Get Out and The Belko Experiment (more on those to follow), add in Split, and that’s two out of three money making horror movies for the apparently expanding horror flick producer. No complaints here. Blumhouse’s wheelhouse has added a sort of balance for me and my comic book movie obsession. So…lets get into this and take a look at two horror flicks, both of which I had the pleasure of screening on back to back weekends.

Let’s kick things off with The Belko Experiment.

Produced by, you guessed it, Blumhouse, directed by Greg McLean. From IMDb, “In a twisted social experiment, 80 Americans are locked in their high-rise corporate office in Bogotá, Colombia and ordered by an unknown voice coming from the company’s intercom system to participate in a deadly game of kill or be killed.” I think it’s important to note that the screenplay was written by Guardian of the Galaxy director James Gunn who was originally asked to direct this movie but decided to step back for personal reasons. This was the most recent horror flick I’d gone to theaters to see, mostly out of having some free time come up and why not, right. I had a good feeling the theater would be empty and it pretty much was. Not for lack of trying for the producers. I’d seen a share number of advertisements both on the radio and on TV. And judging by said previews, the plot wasn’t hard to decipher. This wasn’t one of those kinds of movies. Here, there was no twist ending, and if the ending was supposed to be one, well…sorry buddy, I believe Joss Whedon already pulled it off in Cabin in the Woods. Not to get spoilerly here, as this is still showing in theaters. But you’ll get it when you see it, a very Cabin in the Woods kinda vibe. And that’s also not to say that Th Belko Experiment was bad. I actually enjoyed it. I didn’t have to think too much. It was a dark humorous action thriller with plenty of gore to please most horror fans. There were a few aahhs and ohhs from the audience when someone’s face got split in two with an ax, or when someone who’d been doing all the right things in a horror movie suddenly without much warning gets killed.   

That can kinda sum up The Belko Experiment. A boiling pot of other movies and mixtures such as Office Space meets Battle Royal meeting Cabin in the Woods. People who came looking for a mystery to solve probably left feeling disappointed, as it seems many other movie critics and audiences had, given the poor showing on Rotten Tomatoes or how it was pretty much cast into the back of the theater on opening day. Hell, the theater I normally go had stopped showing it, forcing me to drive an extra five miles to the next theater. Bastards! For me, I knew before the movie started what it was going to be. I knew there’d be one or no survivors. I came for the nihilistic violence and nihilistic violence is what I got. The Belko Experiment wasn’t perfect, not by a long shot. The story seemed to falter against the easy to predict concept of the film. Too much attention was given to certain officer works battling internally over the dilemma of their humanity. I think if producers and director had turned the volume up on the violence, making it a sort of hyper-violent nihilistic movie, it would have been a shade better.

My rating: 3.5 of 5

Now…how about we Get Out.

It’s been two weeks since I saw Get Out. And while the movie had been out for at least a week if not more before I journeyed to the theater, if there were any doubts as to its popularity, let me say…my theater was not empty. Not at all. I’m rather certain it was plum full. The same happened to me when I saw Split. Packed theater. And for a horror movie no less, whether you liked the movie or not, should make you a little optimistic about the future of the genre, if you’re a genre fan, that is. Get Out was directed and written by comedian Jordan Peele (from Key & Peele and Wanderlust fame). And this was Peeles first go at directing, or directing a horror flick at the least. I can say without question that I wish upon a star that he returns to the director’s chair for another romp. For those who do not know, Get Out is about “a young African-American man who visits his Caucasian girlfriend’s mysterious family estate.” And that’s pretty much all you need to know. The plot is rather simple, actually. But the twist…oh my, it is almost too good.

Don’t worry. No spoilers here. I’d wouldn’t do that to you. But let me say for those who were told or believe that Get Out is an anti-white movie, you are DEAD WRONG. They (or you) couldn’t be furthest from the truth. In fact, I’d say this movie pokes more fun at white liberals than staunch racists. Racism is there, you can’t avoid it, just as you cannot avoid it in everyday life. But the real gem of this movie is the natural way it highlights the awkwardness between African Americans and Caucasian Americans. The scenes dealing with this phenomena are quite brilliant. And there are layers are weirdness that can only be described as such. And there are scenes that make little sense and/or do not add to the quality of the movie, nor do they take anything away. They’re kinda just….well…there. I’m assuming Peele’s way of appealing to traditional horror flick fans.

Also, don’t be fooled by those espresso hipsters, those fascist wannabes who think they know everything. Get Out is a horror movie in every definition. Just as there are multiple ways of horrifying audiences, when Get Out pulled out its heart-stopping end, I was truly terrified. When I allow myself to be put in his shoes and those who came before him, well…it kinda reminded me of some terrifyingly strange classic sci-fi flicks from the late 50s and 60s, with perhaps a touch of H.P. Lovecraft. Not to show my hand or anything, I’m trying not to spoil as the movie is still showing in theaters. You really do need to see this for yourself. Trust me. I had the assumption of what was going on and when I found out I was wrong, I was very surprisingly pleased. And it’s one of those surprise endings that make you think back over the course of the movie, and when you do, you’ll nod your head and say, “Oh, that’s why…” etc. etc. Get Out is by far my favorite horror movie of the year, thus far.

My rating: 5 of 5

Thomas S. Flowers is the published author of character-driven stories of dark fiction. He resides in Houston, Texas, with his wife and daughter. His debut novel, Reinheit, is published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein, Apocalypse Meow, Lanmò, and his newest release, The Hobbsburg Horror. His military/paranormal thriller series, The Subdue Series, including Dwelling, Emerging, Conceiving, and Converging (coming soon), 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 Bachelors in History. He blogs at machinemean[dot]org, where he reviews movies and books on a wide range of strange yet oddly related topics. You can keep up with Thomas and all his strange events by joining his author newsletter, at http://goo.gl/2CozdE.

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First Blood: Book in Review

“First came the man: a young wanderer in a fatigue coat and long hair. Then came the legend, as John Rambo sprang from the pages of FIRST BLOOD to take his place in the American cultural landscape. This remarkable novel pits a young Vietnam veteran against a small-town cop who doesn’t know whom he’s dealing with — or how far Rambo will take him into a life-and-death struggle through the woods, hills, and caves of rural Kentucky.

Millions saw the Rambo movies, but those who haven’t read the book that started it all are in for a surprise — a critically acclaimed story of character, action, and compassion.”

FIRST BLOOD: published in 1972 by David Morrell

I’m ashamed to say that I had no idea First Blood was a book before it was made into a movie. Not a single clue. But, I’m glad to finally have this error corrected and was even more glad to have gotten the chance to read this amazing book. Now, there were some definite drastic changes from film to print or print to film more like. And that’s okay. I never expect the movie to be just like the film. There have to be differences, so long as the essence remains intact. For example, I had read Stephen King’s IT before attempting to watch the made-for-TV movie starring Tim Curry. I made it maybe 30 mins into the film before turning it off. TV movie IT was too far removed from the source material to be enjoyable. Whereas, as another example, Hellraiser was based on The Hellbound Heart by Clive Barker, and it not only expands the story, it diverges from it regarding Cenobite leadership and other details. However, the difference between why IT as a movie failed and Hellraiser succeeded is that Hellraiser kept the essence of the original source material.

And for the most part, the essence of First Blood, be it Sylvester Stallone or just the imaginative projection from hearing how David Morrell describes John Rambo, is beautifully captured, more so I would say in the book because we are given the characters internal thoughts. The director and Stallone for his part did a great job conveying through action and struggle Rambo’s internal conflicts, but in the book, it becomes, even more, clearer. Did you know that when Rambo arrived in that pinewoods mountain town (called Hope in the movie), he had been kicked out, or “pushed,” as he calls it, at least a dozen times before? That is where the “pushed” thing comes from during the movie that doesn’t make much sense, but in the book it does.

No spoilers here, but the end is veeerrryyy different, and I’m not sure which one I like the most. I feel for Rambo in both scenarios, and I love that end scene monolog he has with his old unit commander in the movie. But in the book…dang…it’s just… I’ve said enough.

As far as veteran issues go, both film and book appealed to me and wrung the gauntlet of emotions. More so in the movie than the book, despite the benefit of reading Rambo’s internal thoughts. The movie seems to focus more on Rambo as a veteran, whereas in the book he’s more often referred to as “The Kid.” The book did, however, add a level of polarity to the conflict between the sheriff, a Korean War veteran, and Rambo, a Vietnam veteran, and how each of them refuses to surrender to the other, way more than what the movie offered. In the movie, the sheriff is more of a chump and doesn’t know what he’s walking into, and just seems to be a dick for no reason. In the book, he is more clearly defined. Especially with what happens during the first hunting party. DAMN is all I can say about that!

Overall, if you’re a fan of the movie, you may want to check out the book. I have few doubts you’ll be disappointed.

My rating: 4/5

David Morrell is the author of FIRST BLOOD, the award-winning novel in which Rambo was created. He holds a Ph. D. in American literature from Penn State and was a professor in the English department at the University of Iowa. His numerous New York Times bestsellers include the classic spy trilogy that begins with THE BROTHERHOOD OF THE ROSE, the basis for the only television mini-series to premier after a Super Bowl. The other books in the trilogy are THE FRATERNITY OF THE STONE and THE LEAGUE OF NIGHT AND FOG. An Edgar, Anthony, and Macavity nominee, Morrell is the recipient of three Bram Stoker awards and the prestigious Thriller Master award from the International Thriller Writers organization. His writing book, THE SUCCESSFUL NOVELIST, discusses what he has learned in his four decades as an author. His latest novel is the highly praised Victorian mystery/thriller, MURDER AS A FINE ART.

Thomas’s latest collection of horror and dark fiction!!!

THE HOBBSBURG HORROR, 9 tales sure to keep you up at night…

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