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Posts tagged “science fiction

Kong: Skull Island (2017) REVIEW

Image result for kong: skull island

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

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A new era at Machine Mean

D3You may have noticed that a new name has been added to the banner of the Machine Mean site. I thought this would be as good a time as any to introduce myself. My name is Chad Clark, indie author of horror and science fiction. I have accepted the gracious invitation from the talented Mr. Flowers to join on as a partner on the Machine Mean blog.

I have been writing for most of my life, a passion which was forged in the incredible popular culture of the 1980’s. Whether it was the magic of Spielberg and Lucas or the grit of Stephen King and George Romero, I was quickly hooked on the art of storytelling. I was an avid reader from an early age and was fortunate enough to have parents who were willing to give me room to explore the areas that interested me.

After high school and as I got into college, I took some time away from writing as my Yesterday, When We Diedpassions went elsewhere. As was likely inevitable though, I found my way back to books, both to read and to write. After re-dedicating myself to the craft, I would have the honor to publish my first book in 2014, a collection of shorter stories titled, Borrowed Time : And Other Tales.

In 2013, I also launched my first blog, The Baked Scribe. The blog would start with featuring new short stories every week and as it grew, would also add essays on the craft of writing as well as book reviews. The Baked Scribe would last for several years and total two hundred stories before closing its doors earlier this year. In addition to my initial book, I have published a novel, Behind Our Walls, two novellas, Down The Beaten Path and Yesterday, When We Died and two collections of flash fiction, A Shade For Every Season and Two Bells At Dawn (due to be released on July 26). My short stories have been featured in various anthologies as well as on Amazon. In 2016, I also took on a position as a reviewer for the book blog, Confessions Of A Reviewer.

So that brings us to Machine Mean.

What will I be doing for the site? In addition to coverassisting Thomas with some behind the scenes stuff, I will be posting book reviews every other Wednesday. On the off weeks, I will post a piece of original short fiction. These will be either new stories or will be classic issues brought back from the Baked Scribe. I will also be sharing posts from my other online project, Tracing The Trails, an examination of the works of Stephen King as I read every one of his books in order and review each one along the way.

I am looking forward to this opportunity to work with Thomas on the site and to bring youChad more of the great content you have come to expect. Please don’t hesitate to reach out to me with any questions or comments. If you are interested in seeing more of my work, you can click here to check out my official website and here for my Amazon author page. You can also follow me on Facebook. Look for the page for Chad A. Clark.

Thanks for your attention and for having me. It’s a pleasure to be here!


Creature Features in Review: Predator (1987)

We offer here some of the most obscure of monster flicks, creatures of horror of which many perhaps have never heard made mention before. AND sometimes here on this delightful series we have the privilege of examining movies that are considered to be pillars, benchmarks in the history of not just horror but also cinema. PREDATOR is without a doubt one of those landmark movies just about everyone can recognize. Perhaps not PREDATOR 2, but that’s a story for another day. This movie says everything that has to do with 1980s. Over the top action and violence, cheesy one-liners, very simple A to B plot lines, muscles, and…Arnold Schwarzenegger. Not to mention just about every other 80s famous action star, including Carl Weathers and Jesse Ventura. While maybe not the greatest film we’ve reviewed here, maybe not the some sci-fi-ish, but I certainly the most iconic. I know people who don’t care much for horror or sci-fi, but they LOVE this movie. PREDATOR defined something about our generation of 1980s kids. Sure, it booted a wonderful R-rating, but there were PREDATOR toys marketed to us, how were we not supposed to watch this movie?

PREDATOR: They Were Skinned Alive – a lecture.

By: Rich Hawkins

Welcome to this lecture. I’m Professor Alan Schaefer. First off, I’d like to have a minute’s silence for Jim Hopper.

*parp*

*snigger*

Okay, that’s done. Right. Well, what can I say about the THIRD greatest film of all time? That’s right, the third. You heard. Stop laughing at the back and listen to what I have to say, you disrespectful fucks! What’s that, you have to go pee-pee? You’re nothing an expendable asset, but okay, just hurry up. I’ll wait. I have time to bleed.

Right, you’re back. At last. You’ve got some splashback on your trousers, but fair enough, I’ll start. Jeez, some people have been pushing too many pencils.

*clears throat, adjusts underwear*

I first watched PREDATOR as a wide-eyed ten year old, after my older brother bought a VHS copy and played it one night for the family to watch. I was terrified – the skinned bodies hanging in the chopper; the death of Hawkins; Billy’s shrill death-scream as he was killed off-screen; all of it. It was just so visceral. Before PREDATOR, I’d never encountered the notion of men being SKINNED ALIVE by an alien killing machine that kept the flayed skulls of its prey as trophies.

It was horrific.

But it was also fucking awesome – from the first scene of the Predator ship arriving at Earth, to Arnie/Dutch finally defeating the alien and getting to the chopper. The last minute or so of the film, with Arnie standing in the smoking ruins of the detonation site; a traumatized man numbed by his hollow victory and the loss of his men, while the rescue helicopter approaches and the theme of bittersweet trumpets and trombones fades into sad clarinet – before kicking back into Alan Silvestri’s main theme – gets me in the feels even now. Absolutely epic. This is not just any generic macho bullshit.

And over the years, I’ve only come to appreciate the film even more. Despite being released in 1987, it’s aged remarkably well, and the special effects hold up. The cast of badass characters and Goddamn sexual tyrannosauruses devour the script of one-liners and with aplomb. Billy, Blaine, Mac, Hawkins, Dillon, and Poncho – all heroic, but ultimately doomed, characters. Mercs and veterans of war unprepared to face a technologically-advanced and ruthless hunter of men. But they go down fighting, all of them, despite being outmatched. Even Dillon, the CIA man with a hidden agenda portrayed by the great Carl Weathers, manages to gain some redemption before getting an arm blown off and being impaled by the Predator.

They’re the best of the best, but over the course of the film – after they’ve destroyed the rebel base – they’re picked off one-by-one by the Predator, who is most definitely not fucking around. But then there’s the main man, Arnie, right in his prime and smoking cigars like a boss. He’s a match for the alien, but only just, and not without some luck. He gets the majority of the one-liners and the action – obviously, as he was arguably the biggest action star in the world at that time – and he makes the most of it. He’s never been better in an action film, in my opinion.

The tension of the film, once poor Jim Hopper and the other Green Berets are found in their crashed chopper, never lets up, but it’s punctuated by the comic one-liners and moments of camaraderie and bleak humour between the members of the squad. It’s a superbly paced film. Hell, it’s a slice of fried gold in a soup of Eighties’ macho-action and gore, and it planted a seed of love for sci-fi horror and monsters within me. It’s only beaten by John Carpenter’s THE THING and ALIENS in my personal list of films. It’s a classic, a holy relic of a film from a time when offence wasn’t so easily taken and action stars were absurdly macho.

So, that’s it.

Thank you, Arnie. Thank you, John McTiernan. And thank you to the squad who were ‘a rescue team, not assassins’. You were the best.

I hope this lecture has been informative. Any questions?

*uncomfortable silence*

Okay, then. No problem. You may go…but don’t forget to GET TO THE CHOPPA!!!!!

*even more of an uncomfortable silence*

Fair enough. Get out of here. You millennials wouldn’t have lasted five minutes with Old Painless in the Val Verde jungle in the Eighties.

Rich Hawkins hails from deep in the West Country, where a childhood of science fiction and horror films set him on the path to writing his own stories. He credits his love of horror and all things weird to his first viewing of John Carpenter’s THE THING. His debut novel THE LAST PLAGUE was nominated for a British Fantasy Award for Best Horror Novel in 2015. The sequel, THE LAST OUTPOST, was released in the autumn of 2015. The final novel in the trilogy, THE LAST SOLDIER, was released in March 2016.

You can pickup Rich’s unsettling new thriller novella for $2.99!

Black Star, Black Sun by [Hawkins, Rich]

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


Twilight Zone: You Drive (1964)

You know, I’m fairly certain I’ve been a member of Netflix since the beginning, or at the very least since 2008, BEFORE the big streaming push and the demise of the video store. It happened slowly, I think. The takeover of streaming from home. There wasn’t much available to start. At the time, I still had the 2 DVD rental membership. Maybe it was around 2010 when we, the wife and I, did away with the DVDs. Why? Well…we didn’t need them. In fact, streaming became so much more convenient and affordable that we ultimately dropped cable television. My wife enjoys newer shows, but the ones she likes she streams from apps or catches up on Hulu. And for viewers like me, well…I’m more of a movie kinda guy to be honest, but the shows I do watch the most are typically…how do say…off the air. I watch old shows that have long since been canceled. There are a few newer ones that sometimes makes me wish we still had cable, shows like AHS and maybe a few others. However, if I’m patient enough, those very shows will eventually find their way onto Netflix’s monster cache of streaming availability.

But while newer shows have the glamour, I still indulge in older programming. We’re talking X-Files, MASH, Kolchak: The Night Stalker, Star Trek, and yes even The Gilmore Girls (don’t judge!). But my number one favorite oldie to watch is without a doubt Rod Serling epic sci fi thriller The Twilight Zone. If you’ve never seen an episode…jeez…think black and white science fiction, but not just about space and rocket-ships, but also weird tales, time travel, magic even, or death itself. They’re also all moral stories, more or less, warnings and questions of our humanity, not to mention the consequences we could face given certain destinations. The other night I screened for the first time one of these consequence driven episodes, from season 5 episode 14, titled “You Drive.” And let me say, this was one of the more creepier episodes of the show with the most simplistic plot-lines.

It goes like this:

“After involved with a hit-and-run killing a child, Mr. Oliver Pope is haunted by his car.”

Now I can see where King and Straub and everyone else got their ideas from. Perhaps not as deranged as Christine, but no doubt the genius of those darker works of haunted cars that would eventually come out in the 70s and 80s. In “You Drive” businessman Oliver Pope is on his way home. He’s driven this route for years. He knows every turn. Every bump in the road. As it happens on this particular day, its raining, and maybe Oliver has had a long day at work, stressed over a new client or something. He’s distracted and as fate would have it accidentally runs over a young boy delivering newspapers on his bicycle. Now at this point, what Pope has done is nothing more than an accident, tragic certainly, but an accident all the same. He didn’t intentionally run down the boy. However, as Mr. Pope jumps out to check on him (the boy doesn’t look good) and notices no one around, he makes a choice.

Stay and face the consequences of his actions…

Or run.

Consequences is what Mr. Oliver Pope is afraid of. Afraid of what people will think of him after they discover what he’d done. Not just running over and killing the boy (which we later discover died from his wounds), but running away, his cowardliness. This is perhaps the whimsical side of watching shows like The Twilight Zone, they show you an era in which people still gave a damn about character. And character is what Mr. Pope desperately clings to protect. He doesn’t want people to think less of him. Sure, we can get that, right? But what Oliver fails to understand is that it is our actions that define our characters, not what people perceive us to be.

Well, as par for The Twilight Zone, because of Mr. Pope’s horrible choice to runaway the natural order of things begins to bend. There’s something not right…with his car, the very one he killed the boy with. Pope wants to forget, to put the matter away, what’s done is done, etc etc. But the car will not let him forget. His car haunts him and everyone around him. It honks in the middle of the night. It stalls out when his wife attempts to drive it to the store. It appears back at home seemingly to have driven itself. Blaring its horn over and over. And when Mr. Pope refuses to drive it, the car follows him on his way to work. The car makes a show to run him down. It wont stop. It cant, not until…

Oliver Pope must decide.

Face the consequences of his actions.

Or be continuously haunted by his car.

“You Drive” is certainly a chilling allegorical story to be sure. Haunted by our mistakes, our poor choices in life, especially those that have or could have dramatic effects on the lives of others. And how the consequences of those mistakes cannot be forgotten, never completely. And there’s even a lesson about character here, if we care about such a thing anymore. Our character isn’t (or at least shouldn’t be) defined by how people think of us, it is defined by our actions and our deeds, and it is by those deeds we will be judged.

My rating: 5/5

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.

My debut collection of horror shorts is now just $0.99!!!

 


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.

Get THE HOBBSBURG HORROR for just $0.99!!!


Creature Features in Review: The Island of Dr. Moreau (1996)

Image result for The Island of Dr. Moreau (1996)

Awe, the 90s. Nothing quite hints that you are venturing into the realm of 1990s cinema like introspection, mad science (or fear of science), and Val Kilmer. 90s movies are also grouped into that category of not so cult classics with few actually becoming cult classics, sometimes rightfully so, others…not. Actually, truth be told, there are quite a few 90s flicks most consider to be bombs I, for some off reason, rather enjoy. The Ghost and the Darkness is a great example of a wonderful film that has fallen into obscurity. Lions, Douglas, and The Val Kilmer!!! What more do you need? Some 90s horror flicks are more serious than others, such as The Relic. And others are more comedic, like Tremors. And there are some 90s films too great, too fantastically wrapped in speculation that it ascends all others. I am of course referring to the 1996 debacle that is The Island of Dr. Moreau.

Before we continue, shall we recall this delectable movie?

After being rescued and brought to an island, a man discovers that its inhabitants are experimental animals being turned into strange-looking humans, all of it the work of a visionary doctor.

Have I mentioned how much I love those IMDb synopsis?

Well, they are not entirely wrong. It just feels…horribly vague compared to the drama that surrounds and infuses The Island of Dr. Moreau. What drama you ask? We’ll get to that in a moment. First, lets break this sucker down, shall we? So yes, there is a rescue out at sea when one Edward Douglas (played by the always charming Brit David Thewlis) is on a life-raft set a drift. And our survivor is not alone, there are others with him, and as the movie narrates for us, the survivors are fighting each other over the quickly diminishing supplies. Thus, this very short and easily missed scene establishes for us perhaps what the question is that we’ll be wrestling over, human nature and violence in the ugly face of survival, or so one would think…

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Anyhow. Our survivor is soon rescued and brought to a private island where he can radio for another boat brave enough to venture to this very isolated and secretive island. And just who was his dashing rescuer? Who is the hero who pulled him out of the sea? Val mother f-king Kilmer, playing the role of one Dr. Montgomery, who is questionably a doctor; more a veterinarian. We need to perhaps discuss a little more on Mr. Kilmer. I know there are not too many fans left around seeing how he’s been reduced to playing in horribly produced b-movies nowadays, but this was a shy over twenty years ago (feeling old?). He was in his prime. Some may question if he’d ever had a prime, but I say boo boo to those naysayers. Kilmer was a fantastic actor, from high flying jerk in Top Gun to sociopathic killer turned armed robber in Heat. He’s done drama and comedy and everything in between. Not to mention his stint of the cape crusader in Batman: Forever. Perhaps not the most beloved Batman film, but certainly not the worst. His role as Montgomery felt strangely in tune to the insanity hanging over not only the island but the production as well. Playing both mystic hippy and savior to psychotic and oddly stoic. For me, his Montgomery is one of the better parts of the movie.

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The movie begins to kinda take off at a sprint around the time when our survivor is locked in his room by Montgomery. And one would think there ought to be some feeling of mystery or dread here, give me some lightening and rain, but sadly no. At best, Douglas acts as some spoiled brat, ungrateful for his rescue, and “breaks out” as a teenager escaping being grounded to his room. In fact, let us surmise something important here and now. When I first screened this movie back in the 90s, I was all about seeing Douglas, the survivor and moral judge of the film, as the hero. I was young and understood the world very little. In my mind, he was the good guy because he was simply the protagonist. The soon to be discovered “beasts” were the villains only because they were…well…beasts. Horrible, I know, but hey…I was naive. Watching the movie today, I found myself shouting victor for…everyone else. Even the quack scientist/wanna be god, with a small g, Dr. Moreau (played by an aging and supposedly uncaring let’s collect our paycheck Marlon Brando).

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Not to get ahead of myself. The film does get a little catwampus from here. Douglas goes for a stroll after escaping his room and happens upon some strange sounds. He investigates cause…I guess that’s what you do when you hear strange noises. He soon discovers the source of those macabre screams. It seems one of the locals on the island is giving birth. But this is no normal birth and those physicians, aside from Montgomery, are no normal people. To Douglas they seem like upright horrors with fur and large teeth. Even the soon delivered baby has some rather haunting eyes and a screech that is no utterance of any human baby. To be perfectly honest, this scene is just about perfect and does ring of terror. They baby…whatever it was, mere-goat, looked grotesque and chilling, as if screaming, “Why have you made me?”

Why indeed.

Douglas, terrified, runs off into the woods. He runs into Aissa (played by bug eyed beauty Fairuza Balk) who promises him, what sounds like, a way off the island as long as he promises to take her with him. But that’s not what she does and even if she could, the only ship there is invested with rat-people, very small very CGI rat-people. Anyways, this is where things get kinda of confusing. Aissa leads Douglas to Sayer of the Law, some kind of blind man-goat preacher (played by the always badass Ron Perlman), but why? You’d think maybe the Sayer was some sort of resistance leader against their “creator.” But he isn’t. Sayer preaches the Master’s gospel of non-malevolence. Why did Aissa bring him there if she wanted to escape? Did she even want to escape? I’m so confused…

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And that’s about the summation of The Island of Dr. Moreau. Confusion laid on top of more confusion. Especially when Douglas is “captured” and has a long talk with Dr. Moreau about what the good doctor has done and without much build up that Douglas was even religious starts in on this whole blasphemy stick. Crimes against God, with a big G, and so on. I understand the argument, this was the 90s after all and cloning was in the news a lot, something about a cute little goat being cloned and the religious right was on the warpath. But if you’re going to make that argument, you have to lay in some ground work first. Let the audience know Douglas is zealous.

Or not.

Which they didn’t.

And folks like me got really confused over Douglas’s moral standing.

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The confusion perhaps could have something to do with the direction of the movie verses producer expectations. In fact, there’s an entire documentary called Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau. Yup. A over an hour long documentary was made on the strange and confusing tale of turning H.G. Wells literary masterpiece of the same title into a movie. Scandal be damned, it’s actually really good. And informative. Needless to say, changing directors and actors mid-stream can create…confusion. I’m actually surprised an actor as iconic as Brando stuck around, unless of course he needed the paycheck.

However…

If given the chance and ignoring some of the confusion its not that bad of a movie. My perspective has certainly changed since my original screening back in 1996. As well it should. Given the twenty some years, my perspective had damn better change some. On Dr. Moreau’s strange island of human-beasts, I first saw them as villains, as monsters, because they looked like monsters. Now I know better. Now I know its not what’s on the outside that make’s us beasts, its what’s on the inside. In our struggle to survive on life boats or how we present ourselves to the world it is our actions that define us. Good or bad. If a movie can teach us that, well…then that’s a pretty damn good movie in my opinion. And besides, its got the Kilmer in it, how could you NOT like it?

My rating: 3.5 out of 5. 

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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: Alien (1979)

By now we must have realized, this subgenre, this oddly obscure realm we call “creature features,” that blends science fiction and horror together, is fantastically intelligent as it is perspicacious, understanding the needs of the times, the questions that demand to be (not necessarily answered) dragged out into the light. Questions of ecology, science, naturalism, humanism, and even biology, questions of our own innate taxonomy. Who are we? Where did we come from? Where are we going? Which ultimately brings us to the chef d’œuvre question of all humanistic endeavor, what else is out there? Today’s movie up for review on Creature Features in Review is one of those rare gems that combined thrilling storytelling and special effects and atmosphere to have the most impact in raising those eerily human questions. While the sequel, Aliens, may have been the bigger blockbuster, some of the thrills had been lost, the question had already been answered. In Aliens, we knew what was out there. In Alien, storyteller Dan O’Bannon, and director Ridley Scott, not only forced us to question our place in the cosmos but also in the cosmos of our own flesh.

Alien: You’ll Get Whatever’s Coming to You…

by William D. Prystauk

In 1979, after much print-based-hype, especially if one was a fan of science fiction and read “Starlog” on a regular basis, Ridley Scott’s ALIEN hit screens that summer. It wasn’t hard for sci-fi and horror geeks to get worked up because many publications ran some of H. R. Giger’s conceptual art, which rocked many readers. Other conceptual drawings, from the look of the Nostromo, to space suits, and even land vehicles, kept those readers intrigued about what was to come.

The late, great Dan O’Bannon penned the script from a story he developed with Ron Shusett. Written with a budget in mind, he never expected the screenplay to get A-list support from 20th Century Fox – but they were hungry. After the unexpected blockbuster success of 1977’s STAR WARS, they wanted something else in a galaxy far, far away. And as the story goes, when O’Bannon said ALIEN was “JAWS in space,” that sealed the deal (O’Callaghan).

Originally entitled STAR BEAST (thank the stars they changed it), the story features the crew of the Nostromo (Italian for “shipmate”), a barge in space hauling megatons of ore across the cosmos, who are in hibernation as they await orders from “Mother,” their onboard computer, to wake them up once they get closer to Earth. Mother picks up a supposed distress signal, and the crew’s awakened prematurely to check it out. Landing on a cold dwarf planet, three members of the seven-person team head out to find the vessel to see if they can save any souls. Instead, they return with an infected crew member, and in short order, their souls need saving.

Although Dan O’Bannon said, “I didn’t steal Alien from anybody. I stole it from everybody!” the film stands as an original (Macek). Many have made comparisons to PLANET OF THE VAMPIRES and even THE THING FROM ANOTHER WORLD, but ALIEN brought audiences many new elements they had never seen before in a science fiction horror.

Here’s why ALIEN (including material from the 1979 theatrical release and 2003’s director’s cut) is one of the greatest films of all time…

A Stellar Cast, an Out of this World Director

It’s hard to find films in any genre where every cast member is a standout. Other than David Mamet’s remarkable GLENGARRY GLEN ROSS, ALIEN ranks at the top: Veronica Cartwright, Ian Holm, John Hurt, Yaphet Kotto, Tom Skerritt, Harry Dean Stanton, and Sigourney Weaver. (Helen Horton gave us the firm and foreboding, yet oddly seductive voice of Mother, and Bolaji Badejo, in his only film role, became Giger’s alien entity). Cartwright, Holm, Skerritt, and Stanton had been building their reputations on the small and silver screen since the fifties, Hurt and Kotto since the sixties, and after a couple of lesser roles, ALIEN proved to be Weaver’s breakout role as Lieutenant Ripley.

This acting foundation alone said much about the script’s value as well as 20th Century Fox’s commitment to the production. Some may say they were taking a chance with Scott, who only had his feature directorial debut two years before with THE DUELLISTS, but the film had received critical acclaim in short order – and all this after Scott had taken an eight-year hiatus from directing television episodes.

Galactic Feminism

If STAR WARS were one of the first science fantasy films to feature a woman who didn’t scream, hide behind a manly-man, or faint thanks to Carrie Fisher’s strong-willed and determined Princess Leia, ALIEN’s Lieutenant Ripley took the liberation to a whole new level.

Third officer Ripley and Cartwright’s Lambert are the only female team members, and they are simply a part of the crew. Lambert’s the co-pilot/navigator, and Ripley’s a communication’s officer, and the third in charge after Captain Dallas (Skerritt) and Kane (Hurt). The women are on equal terrain and respected, other than an innuendo from Parker (Kotto) because he may have been in space without a partner for too damn long.

Although Lambert may come undone in the film, this is because of her character and the traumas she’s experienced, not because she’s a woman. After all, even Parker’s waylaid by the death of his friend Brett (Stanton), and his strong exterior waivers on a couple of occasions regardless of his anger and determination.

Ripley, on the other hand, has several facets to her character: She’s logical and pragmatic, and respects command, even with her role in the officer food chain. When that rank is challenged by Ash, the science officer, she visits him in his lab for a private meeting to lay down the law. Though that turns out to be a wash, Ripley stands her ground and left nothing to the imagination. Later, when the issue of quarantine comes up again, Ripley’s passive-aggressive comment is her version of an “I told you so.” To make certain Parker and Brett are working on ship repairs, she once again walks into that crew member’s domain to make certain she’s heard and understood. When Lambert slaps Ripley for wanting to keep her, Dallas, and Kane in quarantine for 24-hours, Ripley goes to war, and Parker and Brett must break up the pair.

Even with all the hell from an attacked crew member to the whereabouts of the face-hugger, when Ripley’s freaked out, she pulls herself together in short order. When she finally takes command, instead of trying to define her role with a new idea to destroy the alien, her logic and pragmatism shine through. Since Dallas’ plan is a viable one, Ripley goes with it. However, as a leader, she’s comfortable enough to ask if there are any other suggestions. If anyone thinks this represents a lack of confidence on her part, Ripley’s quick and loud in drowning out an overly frustrated Parker, and she has no problem telling Ash that he hasn’t been doing a damn thing to help. (If she hadn’t asked Ash earlier for suggestions about capturing or killing the alien, he may not have done anything at all.)

Ultimately, Ripley has to be her own savior and to do so, she must overcome her fear of an unyielding enemy while under the strictest of deadlines, and even with that pressure and need for self-preservation she has enough humanity to try and save the Nostromo mascot, Jonesy the cat.

Atmosphere

Nothing works like isolation in a horror film. ALIEN features a small crew packed into the heart of a smaller ship, which is equivalent to a tug boat. And if that tugboat starts to capsize, there’s a small escape ship – a life raft – that can only fit three.

Even worse, the Nostromo is akin to being lost at sea. Due to the early wake up from Mother, they’re 70 million miles from the Milky Way and would have to go back to the old “freezerinos” for another ten-month sleep. There are no other ships in their part of the void. They are as alone as a group of people can get. And to add an exclamation point to the Nostromo crew’s predicament, ALIEN’s tagline says it all: “In space no one can hear you scream.”

Right from the beginning, from Jerry Goldsmith’s score to Derek Vanlint’s cinematography, as well as Ian Whittaker’s set decoration, it’s clear the Nostromo is an all work and no play environment. Seating’s cramped at the front of the ship. And everything’s cold and dark. There may be light and white in the dining and sleeping quarters, but the remainder of the ship is either cavernous, though still encroaching, and the passageways are reminiscent of catacombs. Due to the small crew and the workload, the Nostromo is far from ship-shape. The equivalent of equipment based debris seems to appear at every turn, the lighting’s questionable in spots, and the nether regions of the vessel are cold and dank.

The only time we truly have any sense of peace and hope is at the very beginning and at the very end. Before ALIEN’s story gets underway, the hibernation area is all white with a center cylinder with each crew member extending from that “stem” to form the petals of a flower that blooms once they awaken. They each wear white undergarments, and they arise as if newborns from the bassinet of a hospital’s maternity ward. And they are born anew on a journey they never saw coming.

At the end, Ripley hibernates with Jonesy. A white glow emanates from her protective pod, another womb to nurture her, and we have the sense that she will awake as a new, stronger, and virtually fearless person. To add an exclamation to Ripley’s rebirth: Upon the annihilation of the Nostromo at her own hand, she bears witness to her own “Big Bang” and recreates herself. She becomes her own mother and gives birth to her new self as both creator, destroyer, and preserver, much like the Hindu goddess, Kali Ma. Once transformed, she not only overrides her fear in strong fashion but quickly forms a solid plan to vanquish her foe.

Space Relations

The status quo continues in ALIEN. Providing a dim look of the future, the white and blue collar mix of the crew remains stuck in the doldrums of working for “the company.” Regardless of the manual Ripley tries to cling onto, Captain Dallas is quick to point out that one does what the company tells one to do. This also means the object of fairness doesn’t hold up either. Both Parker and Brett signed on, but with their contracts, especially when it comes to “the bonus situation,” the pair won’t receive full shares.

Better still to make certain the Nostromo crew checks out that distress beacon, the fine print in their contract has a “full forfeiture of shares” clause if they decide to skip the alarm and head back home. (Mother, acting like Big Brother, would undoubtedly show through report tracking that the crew never left the vessel to check for survivors.)

We understand that as the crew is screwed by their employer, most of us have similar stories where the company that gives us a check every two weeks undermined us in some way, shape, or form. And when it comes to a cafeteria, and according to Parker, the only good thing on the ship is the coffee.

Parker wants to get home and party, but as team leader, Dallas has had it. At different times, he tells both Lambert and Parker to “knock it off” because as middle management, he’s just done. As he sits in the escape ship and tries to relax to classical music, we can imagine him trying to determine how the hell he’s going to write a report about this mess. But he has nothing to fear because a mole is amongst the crew who will help fulfill a different set of obligations for the company.

By not giving “the company” a name, it can be any entity we may work for on our little blue ball. Plus, with Kubrick’s 2001: A SPACE ODYSSEY, we see the trouble of putting sponsors’ names on video phones and space ships, because Pan Am and The Bell System are long gone – though Hilton could build a space station in the next century.

Due to these items, and the wearing of many hats – those mining vehicles aren’t going to move themselves – the crews’ dissatisfaction may mirror our own.

Intercosmic Dialogue

Before ALIEN, most science fiction films were built on the backs of conservative, military-like communication full of boring conversation or scientific mumbo-jumbo or stiff reporting full of salutes. Right from the beginning, we can relate to the crew as “regular people” due to the dialogue and their exchanges. They curse, they rub each other the wrong way like children – “That’s not our system,” says Ripley, and Lambert almost sings her response as if a kid who doesn’t want to be bested, “I know that” – and Parker wants to get back home, with bonus in hand, and “party.”

However, the film goes one step further to make the dialogue and exchanges ring true. When the dead facehugger falls to the lab floor, Ash asks if it came from the overhead. Traumatized by the experience in his own way, Dallas peers down at their deceased guest and says in an annoyed fashion, “It was up there somewhere.”

When four crew members remain, a stressed out and now in command Ripley lays down the plan, which is a continuation of the old one. Parker’s also stressed and angered, and says, “Let’s hear it” as Ripley tries to speak, causing her to raise her voice and yell at Parker. Anxiety and frustration take their toll:

Ripley (to Parker): …We’ll move in pairs. We’ll go step by step and cut off every bulkhead and every vent until we have it cornered, and then we’ll blow it the fuck out into space. Is that acceptable to you?

Parker: If it means killing it then it’s acceptable to me.

Ripley: Obviously it means killing it.

Having characters joke, speak over each other, and go from being ticked off to being accepting, serves as one of the best reflections of genuine dialogue and speaking patterns. This realness allows the audience to better connect with the characters due to this relatable and grounded communication. The crew may reside in the future, may live on a space vessel, but the audience knows exactly where they’re coming from.

The Universal Other

Like John Carpenter’s THE THING, ALIEN not only introduces “the Other,” the alien that must be assimilated or destroyed, but the Nostromo crew is “the Other” as well. Humans are not natural to space and the dwarf planet they land on is as alien to them as it is to the alien. Neither belong. But what Ash calls, “the perfect organism,” the creature’s as fearless as a honey badger and there’s no negotiation or assimilation. It’s kill or be killed. At no point does Parker try to sit down with the monster in a weak attempt to get the alien to help with the bonus situation.

No other monster from another planet in all the early science fiction fair has a life cycle like this one: From a leathery egg comes a spider-like facehugger that unleashes another egg through the mouth and down the throat of a host. Serving its purpose, and after the internal egg is protected and ready to hatch, the facehugger dies. Soon after, the young creature bursts from its host, killing the animal it leaves behind in the process and takes off on its own. In short order, the little monster that bleeds acid becomes a bipedal giant ready to kill, consume, and get the cycle up and running again. This means the Nostromo crew is left to fight an extraterrestrial endoparasitoid, which is an alien parasite that lives inside another creature and kills it. Wow.

Macrocosmos of Mysteries

ALIEN certainly has its mysteries. This doesn’t mean O’Bannon’s writing had flaws or that Scott overlooked things, but what follows are points to consider.

“Better break out the weapons”

Before heading outside to check on the distress beacon, Dallas uses that line before the away party suits up. Inside the Space Jockey’s vessel, Kane holds up a gun-like weapon right before the facehugger greets him with a kiss. The company supplied weapons are never mentioned again, and only primitive ones make from scratch are used. Why? Maybe the weapons were garbage, or more logically since the alien bleeds acid, which could burn through the hull, forcing it into the airlock with a flame thrower to send it into outer space is probably the best solution.

First Contact

If the company sent up a robot to protect the alien and bring it back to Earth, how did it know about the creature in the first place? Maybe another expedition came along, and unlike Kane, those miners in space suits decided not to break that layer of mist and get up close to those eggs. Then again, maybe they did. Maybe they lost a crew member (or two or three), but won in the end and made it home to give a full report. That report became the catalyst to send out another crew in that general area to unwittingly bring the creature home.

Ancient Computers

Often forgiven by fans and critics since the movie was made in pre-personal computer 1979, Mother, her special “Eyes Only” room, and the computer graphics raise questions. In 2001: A SPACE ODYSSEY, regardless of space flight, HAL 2000, and major technological advances, the astronauts still had to use clipboards as they sail towards Jupiter. When it comes to predicting what the hell we might have or create in a future world can prove daunting (follow the haircuts and clothing styles, as well as social interactions to help date films even more). Maybe the best reason one can use is that the Nostromo is an absolute worker bee of a ship, which means it doesn’t have state of the art anything. However, maybe as an homage to Kubrick, Scott created Mother and her room in HAL-esque style. Too bad the crew couldn’t speak to Mother, and she never even sang them a song.

The Signal

Why would Dallas and company venture out into the unknown when Mother hadn’t deciphered the beacon? If they had waited another hour or two, they would have had a better clue about what was awaiting them. The answer may be Dallas’ grumpiness, which on some level mimicked Parker’s, as well as that old favorite feeling that can bring fortune or failure: curiosity. And maybe due to their ho-hum mining drudgery, no one puts the breaks on the “rescue mission.”

“Why don’t you just freeze him?!”

Curiosity also reigns supreme when Kane and facehugger come on board. Parker says the “freeze him” line on several occasions, but Dallas and Ash take no heed or pay him no mind. The nature of discovery has taken them over.

Locked Up

How did Jonesy end up in that closed locker? Since this is the first time we see the Nostromo mascot, and Brett, Parker, and Ripley certainly didn’t expect to find him there, one of the others must have put him in there, which would have been cruel. Or, he could have been accidentally locked in when someone was working or getting some supplies by the locker.

How old are you now?

Interstellar space travel will either leave aging astronauts to die aboard ship with the next generation to take over the journey, or some sort of hibernation will exist. After returning from the dwarf planet, a ten-month journey remains for the crew. We don’t know how long they’ve been out there or how long their mining assignment has taken, but that had better be some pretty expensive or rare ore to send a crew so far out into the cosmos. Does this mean their families are in hibernation as well? If not, their spouses, partners, and children, if they have any, of course, are going to age every time they head out to gather some ore. Check out “The Long Morrow” from “The Twilight Zone” to see what will happen if you don’t get it right.

Space Rape

This thematic dynamic may not be the reason ALIEN is at the top of the science fiction horror list, but it’s quite notable. In an interview, O’Bannon made this frightening comment:

“One thing that people are all disturbed about is sex… I said ‘That’s how I’m going to attack the audience; I’m going to attack them sexually. And I’m not going to go after the women in the audience, I’m going to attack the men. I am going to put in every image I can think of to make the men in the audience cross their legs. Homosexual oral rape, birth. The thing lays its eggs down your throat, the whole number’” (Dietle).

And O’Bannon does just that. Not only does the facehugger do the above, but the adult alien sports a phallic like head and behind its silvery, dripping teeth exists a phallic juggernaut of a secondary mouth that juts out in erect fashion to tear apart flesh and bone as it penetrates the heads of both Brett and Parker. Its phallic-esque tale rips into Lambert.

When searching for the facehugger, Ash and Dallas do so with long-lighted prods. As Ripley looks about, Ash tells her not to do so without “one of these,” and holds up his prod. Ripley doesn’t grasp one.

But the crew fights phallus with phallus from the cattle prods to give the creature “incentive,” to the pointed motion detector, to the flame throwers, and to the gun and its respective grappling hook. (Both Ripley and Lambert wield the phallic detectors – Ripley does this with ease, but Lambert has issues.)

Feminine imagery exists as well. Dallas, Kane, and Lambert enter the Space Jockey’s ship through a hole. And the Jockey has a hole in its chest, as Kane will soon have. Dallas enters the duct system with his flamethrower, and the round hatches shut him off as he enters the hollow shafts within the ship. Finally, when Ripley squares off against the creature, she uses that phallic grappling hook to propel her foe through the open hatch of her escape craft, and when the creature tries to enter through one of the open engine exhausts, Ripley turns on the afterburners and blows him away once and for all.

Celestial Conclusion

The story, acting, direction, music, dialogue, set and setting, make ALIEN a film to be reckoned with. Due to the realism of the characters, their emotions and reactions, Scott’s film transcends genre labels. In this sense, O’Bannon, Shusett, and company created a remarkable tale to capture the imagination – and fear – of any audience.

Sources
Dietle, David. “Alien: A Film Franchise Based Entirely on Rape.” Cracked. Cracked, 02 Jan 2011. Web. 06 May 2017.
Macek, J. C., III. “Deconstructing the Star Beast: How the ‘Alien’ Saga Went
Wrong.” PopMatters. PopMatters.com, 04 May 2015. Web. 06 May 2017.
O’Callaghan, Paul. “Ridley Scott: Five Essential Films.” BFI. British Film Institute, 28 Nov 2014. Web. 06 May 2017.

William D. Prystauk (aka Billy Crash) cohosts THE LAST KNOCK horror podcast on iTunes and at http://crashpalaceproductions.com. He’s in pre-production of a dramatic science fiction feature film he’ll shoot in Seattle with his company, Crash Palace Productions. When he’s not listening to punk rock and leaving no sushi behind, he indulges in the food group better known as chocolate. Follow him on Twitter as @crashpalace, and look for him under his real name at LinkedIn, IMDb, Amazon, Behance, and at http://williamdprystauk.com.

You DO NOT want to miss a single episode of his award-winning podcast, The Last Knock!

 


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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Dark Designs: Tales of Mad Science

 

Science without limits. Madness without end.

All proceeds from the purchase of this ebook will be donated to Doctors Without Borders / Medicins Sans Frontieres.

This is a warning. What you are about to read violates the boundaries of imagination, in a world where science breeds and breathes without restraint. A world very much like our own.

Within these shadowy corridors you will discover characters seeking retribution, understanding, power, a second chance at life—human stories of undiscovered species, government secrets, the horrors of parenthood, adolescence and bullying, envisioned through a warped lens of megalomania, suffering, and blind hubris. Curious inventors dabble with portals to alternate worlds, overzealous scientists and precocious children toy with living beings, offer medical marvels, and pick away at the thin veil of reality.

You can run. You can look away. But don’t say we didn’t warn you.

Witness our Dark Designs.

David Cronenberg, infamous director and storyteller of body-horror movies such as The Fly (1986), Shivers (1975), and Videodrome (1983), once said, “Everybody’s a mad scientist, and life is their lab. We’re all trying to experiment to find a way to live, to solve problems, to fend off madness and chaos.” This statement of Cronenberg’s is a rather optimistic one. And not altogether inaccurate, we are after all trying to find ways to live in harmony and in doing so we must solve problems that arise to get there. But that’s not really the genesis of the purpose of mad scientist stories. The notion of “mad science” is self-explanatory, that there is something strange or “mad” in the unknown realities that surround us. Even today, quantum theorists are often seen as “mad” scientists, practitioners of metaphysics more than actual provable science. And in some ways, there’s some truth in that metaphysics and quantum mechanics often overlap, which brings us to one of the most exhilarating and equally terrifying aspects about science, that is, it’s never ending, always searching, constantly discovering something new, something previously unknown, beyond us.  In part, our understanding of science; or more to point, our misunderstanding of science has become the inspiration over centuries for what has been deemed the quintessential “mad scientist.” Not for reasons given by Cronenberg above, that we are all in the same pursuit, but out of fear, fear bred from the unknown, and fear of what all these discovers, these advances, will bring us. And even more alarming, how far are we willing to go to achieve the impossible?

My first impression while surveying the history of “mad science” was that Victor Frankenstein, created by the imagination of a twenty-one-year-old Mary Shelley, was the first of the mad scientists to be conjured into the literary world. I was wrong. It was actually Dr. Faustus, written in 1604 by Christopher Marlowe, that should be credited as the first “mad scientist.” Dr. Faustus was perhaps more alchemical in nature than traditional science, but still the story serves as asking the proverbial question all mad scientist stories ask, “How far are we willing to go…?”  Some of the more popular “mad scientists” who defied boundaries and terrified audiences with their audacity against “nature” include, Dr. Moreau, an H.G. Wells story penned in 1896, and Danforth & Dyer in “At the Mountains of Madness” by H. P. Lovecraft, published in 1931. These stories are typically told from the perspective of a layman looking into nightmarish worlds, boiled in a cauldron of obsession and forbidden knowledge. H.P. Lovecraft would go on to create a few more characters in this realm of unrestrained science with Dr. Herbert West, one of my personal favorites, and Charles Dexter Ward.

Growing up, the one “mad scientist” story that ignited my imagination and kept me glued to the edge of my seat was Steven Spielberg’s science-fiction epic Jurassic Park (1993). Even in my pubescent years, the memory still rings clear today, the duel realities of science, that in the wonder of watching a baby dino hatch or Dr. Grant’s first realization of what was going on as the Jeep drove through the part to the Visitor’s Center, first realizing that those massive tree trucks were moving and were not in fact trees, being held prisoner in a sort of child-like spell, and then suddenly seeing it all go wrong, demonstrated the dangers of unrestrained science, that even now the question of trust must be asked. Ian Malcolm, played by a black leather clad Jeff Goldblum, has one of the more illuminating statements in the film, a statement that has rung in the minds of audiences for over four-hundred years, when he says, “Your scientists were so preoccupied with whether they could, they didn’t stop to think if they should.”

Today, “mad scientist” stories have for the most part found themselves kicked to the kid’s corner, in such books as Meet the Creeps or Franny K. Stein. Sadly, there isn’t much being offered in way of adult entertainment. This was the prime motivation for raising the question to my Shadow Work Publishing cohorts of collaborating on a mad scientist anthology. While science continues to evolve and new discoveries are being made every day, the question posed in 1604 still remains relevant today, “How far are we willing to go” in the pursuit of said discover what consequences, if any, will we face? We landed on the title, Dark Designs, more or less on the alluring sinister quality, but not just that, also, as our quote says, “Science without limits. Madness without end,” there is a certain amount of ambiguity regarding science, that without limits perhaps we could possibly go “too far,” and in reaching such limits, madness is sure to follow. Here, as you turn the page, you’ll find yourself in a world without limits, where science breeds and breathes without restraint. You’ll walk these corridors with characters seeking retribution, understanding, revenge, and perhaps for some a second chance on life. These are human stories through the spyglass of mad science, of undiscovered insects, government secrets, horrors of parenthood, adolescence, and bullying, about curious inventors dabbling in portals to alternate worlds, of ambitious biologists and overzealous children tinkering with things they probably shouldn’t, and stories that stretch our understanding of the boundaries of life.

From Shadow Work Publishing, and the sixteen authors of which contributed to this charity anthology for Doctors Without Borders, thank you and bid you welcome our Dark Designs: Tales of Mad Science.

You can get YOUR copy of Dark Designs: Tales of Mad Science for $0.99!!!


Creature Features in Review: The Fly (1986)

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Welcome, my friends to the start of a brand new series here on Machine Mean. I’m more than ecstatic to present to you the first of many Creature Features that will be reviewed during this duration. And what better way to kick things off than with one of my favorite horror sub-subgenres, mad science. Looking over the landscape of Creature Feature movies, there seem to be plenty that fit the bill of mad science, including, I would argue, those radiated atomic age giant sized monsters. How could we not include those? Did  Dr. Oppenheimer and the rest of the Manhattan Project not considered (if not to each other to be) mad scientists? Following a successful test of his bomb, Oppenheimer dedicated his life to restricting the use of such a device. His intellect pursued the impossible and when said impossible was achieved, he drew back in quiet revulsion. Mad science…and even creatures of the macabre have a tendency to show us the things we most fear. Considering the mad scientists of the atomic era, they created and let loose upon the world a weapon so powerful that it changed the global culture and set us into a new age. Most had their own motivations, no doubt about it, but I would be confident to assume a majority of those motivations were intellectually based. Pushing the boundaries, so to speak. Creature Feature movies come from a similar vein. Unresolved fears gleaming into a new dawn. Numerous what if scenarios. Of invaders. Of the future. Of what lurks in the basement or in the woods or under the bed or out in the swamps. And some relate to our unresolved fears within our own bodies…and our minds. David Cronenberg’s The Fly (1986) is a masterpiece of body horror, also known as venereal horror. Let’s take a closer look.

Here’s a synopsis of the film from the always wonderful IMDb:

“A brilliant but eccentric scientist begins to transform into a giant man/fly hybrid after one of his experiments goes horribly wrong.”

This IMDb synopsis isn’t wrong. It just feels horribly simplified, right? There’s so much more to say about The Fly. One could point out the romantic triangle between the “mad” scientist Seth Brundle (Jeff Goldblum) and his newly minted lover/journalist Veronica (Geena Davis) and her ex-lover/editor Stathis Borans (John Getz). One could also point out a possible allegory of puberty, as Seth undergoes “changes” in his body, pimples, and other oozing features while becoming obsessed with his physique and sexual intercourse. Or we could go with the basic plot of an eccentric scientist and his doomed experiment. But neither of those feels quite right, do they? No. Something deeper is going on.

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Before we consider The Fly, we ought to consider the director. David Cronenberg, also known as the King of Venereal Horror, back in the 80s and late 70s, set in motion a series on what film nerds refer to now as organic-horror, biological horror, or simply body horror. Anything to do with the horror of the human anatomy. For Cronenberg, we can look to Dead RingersVideodromeScannersShiversThe Brood, eXistenZ, and Rabid that could arguably be counted toward his run on body horror themed films. Each one taking on a different aspect or story regarding our humanistic fears about our own bodies juxtaposed to our vulnerability to disease or technology or parasites. In The Fly, this fear seems to be centered around the fear of mind versus body. Fear of what our minds create, that is technology, doesn’t feel dominate, though it definitely plays a part in Cronenberg’s philosophy.

We cannot ignore it.

Seth Brundle admits during the first hour of the movie that he has extreme motion sickness and he feels that this is a crippling condition. He cannot travel very far without getting sick. So, motivated by this horror he feels handicaps him by isolating him, scientist Brundle sets out to create a teleportation device, so that he may beam from one point to another without ever getting sick. His endeavor works. He has invented and created a teleportation pod, or tele-pod. But there’s a catch. The machine cannot properly read or understand flesh. This failure is clearly and disgustingly seen in the teleportation of Baboon #1 as the poor monkey is turned inside out. The machine doesn’t understand flesh, just as the character Seth does not understand flesh. He works exclusively alone, isolated from even his peers until he can no longer tolerate being alone. As he says to Veronica, the reason why he sought her out in the first place was because he had been alone for too long, he desires, craves, lusts for human contact. In a way, this illustrates the drama taking place between mind and body. His mind wants to continue its intellectual pursuits, but the body demands human interaction and thus intervenes and creates obstacles in the path of his goals.

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While the mind is presented as being purely objective, the body is thought of as being subjective. During the duration of the movie, these ideas of mind and body are turned inside out, just as the Baboon was, and exposed for the ugliness this philosophy can bring upon us. Ideas become twisted. Seth creates a machine to solve his motion sickness problem. Okay, but he’s alone and finds solace in journalist Veronica. His bodily craving is resolved, for now, until more fleshly desires present themselves when Veronica puts the moves on our bumbling scientist. Suddenly he understands the dilemma between mind and body due to his ignorance of body and correlates his discovery with the tele-pod machine. He then successfully transports Baboon #2. They celebrate. Unfortunately, Veronica has to, as she says, “scrape off the heel” of her shoe the problematic ex-lover/editor Borans. Unschooled in the ways of human interaction, let alone women, Seth believes his new girlfriend is cheating on him or whatever and gets drunk and decides to go through the pod himself. Abandoning mind for bodily created jealousy. Unknown to him, a fly joins him in the pod and away they go. The machine wasn’t programmed to account for two separate genetic codes and so decides on its own, or more likely a fallback program, to splice them together. Seth emerges from the other pod in a cloud of white smoke seemingly unharmed or changed, instead, he is glistening and muscular, perfection one might say of both mind and body…but as horror fans, we know all too well there are no such guarantees.

Something went wrong.

It is interesting how Cronenberg differed here from the original 1958 film. When scientist Andre Delambre (played by Al Hedison) emerges from his pod he is instantly changed. His head is that of a fly’s head and his once human hand is a mandible-like claw. Differing, in this 1986 adaptation, Seth Brundle emerges seemingly unchanged but then goes through a slow and grueling deformation of his flesh and eventually his mind too. At first, he denies what’s happening, as any good horror character will do. When Veronica realizes something is amiss and tries to make him realize he is different, Seth screams at her, “You’re afraid to dive into the plasma pool, aren’t you? You’re afraid to be destroyed and recreated, aren’t you? I’ll bet you think that you woke me up about the flesh, don’t you? But you only know society’s straight line about the flesh. You can’t penetrate beyond society’s sick, gray, fear of the flesh. Drink deep, or taste not the plasma spring! Y’see what I’m saying? And I’m not just talking about sex and penetration. I’m talking about penetration beyond the veil of the flesh! A deep penetrating dive into the plasma pool!”

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The pacing of this film is magnificent. Shortly after the above scene, Seth witnesses the first of many parts of his body that begin to fall off. Slowly, with each stage of decomposition, which quickly is realized as a perverted form of evolution, his bodily-humanity is degraded, ruined, being transformed into something else. At first, Seth accepts this new discovery, jokingly referring to his medicine cabinet as a Brundle Museum of Natural History. But the more insect he becomes, the more he realizes his once beloved intellect will also slip away into the obscurity of a brutal body-dominate fly. This realization is made in one of the movies best lines when Seth asks Veronica is she “ever heard of insect politics? Neither have I. Insects… don’t have politics. They’re very… brutal. No compassion, no compromise. We can’t trust the insect. I’d like to become the first… insect politician. Y’see, I’d like to, but… I’m afraid, uh… I’m saying… I’m saying I – I’m an insect who dreamt he was a man and loved it. But now the dream is over… and the insect is awake. I’m saying… I’ll hurt you if you stay.”

Seth quickly goes to work to try and resolve this transformation before he loses his mind to the bug. The machine analysis in an algorithm that he would have to splice two or more pure humans to reverse the insectoid growth. Devastated over Veronica’s departure, Seth discovers she is pregnant and chases her down when she seeks an abortion. Ina  dream, Cronenberg himself plays the gynecologist, which is stoically brilliant. Seth, of course, crashes into the changing room and takes her away, imploring that she does not kill what remains of his humanity. She cannot and so he goes about his last-ditch attempt to reverse the progression of the insect with one of the best transformation effects ever conceived on screen as Brundle becomes a fully matured Brundlefly. The attempted abortion and the splicing algorithm give clues to this “other” possibility of resolving the conflict between mind and body. The mind can take action to destroy physical progression. Consider how people are outside of the movies. Why do people pursue cosmetic surgery? Why do we have organ transplants?

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The Fly calls to our extremes. The war between our minds and body’s. Seth ignored his body, pursuing only the mind, to end up pursuing his physical desires over the discovery his intellect had made, only to realize all too late the need for an equal relationship between both mind and body. The Fly is definitely one of my favorite 1980s horror flicks and one of my favorite Cronenberg films. Great composition. Amazing practical effects. Top notch character acting. And gratifying gross-out scenes. But not just that, The Fly also has a deeper meaning that I find equally satisfying to all the blood and guts and giant humanoid insects, what would I be without my mind? What would I be without my body?

My Rating: 5/5

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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 Apocalypse Meow. His military/paranormal thriller series, The Subdue Series, both Dwelling and Emerging and Conceiving (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 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. You can keep up with Thomas and all his strange books by joining his author newsletter, at http://goo.gl/2CozdE.