Chilling Chat Episode 162 Mary Turzillo

chillingchat

Mary Turzillo’s latest novel is Mars Girls, Apex 2017.  Her Nebula-winner, “Mars Is no Place for Children” and her Analog novel, An Old-Fashioned Martian Girl, are read on themary International Space Station. Her poem, Lovers & Killers, won the 2013 Elgin Award. She has been a finalist on the British Science Fiction, Stoker, Dwarf Stars, Nebula, and Rhysling ballots. Sweet Poison, with Marge Simon, was a Stoker finalist and won the 2015 Elgin Award. Satan’s Sweethearts, also with Simon, came out in 2016.  She lives in Ohio USA, with her scientist-writer husband, Geoffrey Landis. She represented the US in the World Veterans Cup in foil fencing in 2016.

Mary is a brilliant and witty woman. We spoke of history, writing, and the nature of evil.

 NTK: Welcome to Chilling Chat, Mary! Thank you for chatting with me today.

MT: I am so flattered to be asked!

NTK: You are, primarily, a Science Fiction author. How did you get involved in writing Satan’s Sweethearts?

MT: That’s really two questions. I’m a science fiction writer who has these little dark twinges in my fiction. I just can’t help it. A guy is stuck in a prison on Mars, trying to stop a biological catastrophe, and suddenly he’s being chased by an eight-foot-tall sex doll. Somehow that just popped into the story. I think I’m a natural horror writer who has a science-fiction worldview. As to how I got into writing Satan’s Sweethearts, Marge Simon and I know each other from still another world: she was a high muckety-muck in the small press world. And of course a genius poet besides the horror work. So, I knew her name and was delighted to actually meet her. We clicked right away and started writing poems back and forth to one another. At first it was humor stuff, like her poem about a gay dragon who prefers knights to maidens. Then we wrote some poems about evil cats. Eventually, Marge and I decided on doing more serious work and we did Sweet Poison together. That evolved into explorations of women murderers and torturers and other offenders. Marge has one poem that is so dark I shudder every time I even think about it, about a slave-holder, obviously a psychopath, who used her helpless slaves as targets for horrendous experiments and disembowelings. We felt the world needed to know that women are not all angels, that in addition to “Me, too” there were also men and women who were abused and murdered by powerful or insane women. (“Delphine LeLaurie’s Upstairs Room” is the poem I’m thinking of, by the way.)

NTK: So, you’re a horror writer at heart? What got you interested in horror?

MT: I suppose early reading: Poe, History of World War II, The Conquest of Mexico.

And, my mother had a very dark imagination.

NTK: Was she your first influence?

MT: Well, she did buy that complete collection of Poe stories and poems for me, so, yes, definitely an early influence.

NTK: How did you like collaborating with Marge on Satan’s Sweethearts?

MT: It was fun, and it was scary. Marge is a genius. I asked her once how many poems she had published, and she said she had completely lost track, that’s how many there were. Marge has a dark sense of humor, and we would get into it about some of the evil babes we were writing about. Sometimes both of us felt the poems were giving us nightmares. But it was all about truth, about the true nature of human beings, and we had to persevere. We developed a close friendship through this project. Very much in tune with each other’s fears and hopes and sense of humor.

NTK: Do you think humans are more frightening than any supernatural entity? Do you tend to write about the darkness in the human soul?

MT: Hmmmm. “More frightening than any supernatural entity.” What a question! I think most, if not all, of the supernatural entities in horror fiction, poetry, and cinema are extrapolations of stuff that human beings have inside their imaginations. Two things that astonish me: 1) how could a Jeffrey Dahmer walk among us? For that matter, how could a Delphine Lalaurie have lived a civilized life with nobody suspecting her evil actions? 2) How do we, ourselves, and I mean myself, come up with these horrific ideas—and yet be noble enough not to act on them? Women are seen as being lesser offenders, but I think it’s not because they are more civilized, but because they are more skilled at hiding their evil. Take the “baby farmers” that Marge and I wrote about (Amelia Dyer, for one). They took on infants pretending to do day-care for working mothers, and then summarily killed the babies, and sometimes with great pleasure, as with Dyer’s enjoyment watching children die as she slowly strangled them with tape. Yes, I know, we have the Golden State Killer, but actually his tally is LESS than Amelia Dyer’s. I think we tend to think about her murders as “oh, well, the mothers were just low-class working girls, maybe even prostitutes.” Hello? These baby farmers (and Amelia was only one) were SERIAL KILLERS with kill-scores of the magnitude of Ted Bundy or John Wayne Gacy. Babies are totally helpless. Bundy’s and Gacy’s victims fought back.

NTK: Do you think it’s easier for these women to get away with crimes because of their social status? Or because no one believes a woman would do such things?

Satan's SweetheartsMT: Oh, Marge and I talked and talked about that. Some women got away with it because of social status—Delphine is one example. Some got away with it because they had political or gang-related power. Bloody Mary and Queen Ranavalona were the supreme authority in their countries. I don’t know how Ranavalona is regarded by historians, but she was basically a serial killer supported by her country’s laws. Then take one “heroine” that many people think is wonderful because she was a female ruler in a time when women did not become Empresses: Wu Zetian. She killed her own baby in order to keep her position. Good lord. Another favorite example of mine is Ching Shih, the female pirate. The poem is called “The Sister.” Oh, and it’s really noble to be a pirate? She nailed men’s feet to the deck for fornication. She tied cannon balls to the legs of women who “strayed,” despite the fact that she had started life as a prostitute.

Shall I continue with examples of “how they got away with it”? For one, they preyed on children, as with Enriqueta Marti (“Mother Marti”) whose deaths often weren’t investigated.

We tried to find women who hadn’t been as much in the news, and we also tried to give a fresh perspective on their activities. We found that sometimes actions that would have been considered evil if done by a man were “heroic” if by a woman.

NTK: They preyed on the helpless. That’s really frightening. Who do you think the worst villainess is in Satan’s Sweethearts?

MT: The worst villainess? Oh man! Aileen Wuornos was a baddy, but I think she was of diminished intelligence. Of course Delphine was one of the most horrific. I guess I might settle on Ilse Koch, the “Red Witch of Buchenwald.” She was the one who wanted the skins of victims so she could make pretty lampshades out of them. Heaven help us. The Jewish religion frowns on tattoos, so maybe some Jewish people were spared that final indignity (although they probably still died).

NTK: Going back to your writing, where do you get your ideas? Do they come from dreams? Or is the door to your unconscious mind cracked open allowing the darkness to slip in?

MT: I don’t know so much about how Marge gets her ideas, but mine come from reading. I should mention that my sister, Jane Turzillo, is an author of historical non-fiction and several of her books focus on women offenders: Wicked Women of Ohio from the History Press.

NTK: When you write a character, how much control do you exert over said character? Do they have free will?

MT: Do [my] characters have free will? I know there are brain malfunctions that cause people to do awful things. Mary Ann Cotton, who poisoned twelve of her babies, might have pleaded post-partum depression. But no. I think we have free will. We think horrible things. We don’t have to act on them.

NTK: Is Poe your favorite author? Who is your favorite horror author?

MT: Stephen King and, a close rival, Joe Hill. They not only terrify, they also have an underlying message about the nobility of the human soul. I think that’s necessary to horror. Aristotle said “pity and terror.” Without the pity (and maybe hope), horror is just a road to depression, insanity, suicide. I like Peter Straub for the same reason.

NTK: Do you have any favorite horror television shows? Any favorite horror movies?

MT: Movie: an old favorite of mine is SCANNERS, with (spoiler alert) the exploding head scene. Some Dr. Who episodes are horrific enough. TV? Not sure. In the old days (three years ago, maybe?) the really scary stuff wasn’t so much an element. I haven’t kept up with TV enough to know what’s good now. I love Game of Thrones, but that’s not really horror. Oh, I guess it has some horror elements, the Wildings, the decapitations etc., but it’s really SF/fantasy, with the emphasis on fantasy. And lots of sex.

NTK: Mary, why do you think humans create monsters in literature? Why do you think Dracula, Frankenstein, and Dr. Jekyll and Mr. Hyde exist?

MT: Naching, no matter what age we live in, the Middle Ages, prehistory, the Holocaust, the present day, the world is scary. Your best friend can die at any time. You get in a car bonsai babies screen.jpgand you could be dead 50 minutes later. You see a pink ribbon and immediately worry about that last mammogram. Our parents died. Hell, my son died! Nothing can protect us from war, disease, accidents, serial killers, drive-by shootings, poisoned lettuce (seriously, who saw THAT coming?). So we need to make sense of the world. In horror fiction, bad things have causes. So we think, Oh, he died because a malignant alien lived in his microwave (By the way, a Nebula winner had this premise). “But I don’t have a microwave, so I’m safe.” Or we think, “We all die, but there is reincarnation, or heaven, or at least a meaning to our life, or even just a cessation of pain.” It’s the human condition. Aristotle said tragedy provided catharsis. (And Greek tragedy was pretty horrific, what with eye-gouging, father killing, hunting for the body of your fiancé in a dung heap.) We need to make sense of the fear and the horror and pain. If nothing else we know that others have suffered and either survived or left a legacy.

NTK: Mary, what does the future hold for you? What works do Horror Addicts have to look forward to?

MT: I’m working on something a little sunnier right now. This girl is a high school fencing competitor, but every time she does a flying attack called a fleche, she time travels to one of Jupiter’s moons—five billion years in the future. One of the leading characters is a giant cat who becomes her mentor. No horror in it. Or at least, not much. Knowing me, the horror will suddenly pop up.

NTK: Awesome! And, speaking of fencing? You compete, don’t you? Could you tell the Addicts about that?

MT: It was sort of a reaction to my son’s death. He was very interested in swords and sword fighting. I’ve always wanted to fence, so I took it up. I get my nasty urges out in it. It’s very aggressive. You stab people. Oh, they’re wearing protective gear, but still! You STAB people. Talk about the evil in people’s souls. By the way, I was at one time the 6th best foil fencer in my age category in the US. (Now, I’ve dropped down to number 11.) I also represented the US in fencing in my category in a World Cup in Germany two years ago. My husband fences, too. I get to stab him sometimes. And vice versa.

NTK: Your husband is a writer too. Does he enjoy your darker works?

MT: I hope so. He has to live with me, no matter what he really thinks. I so far haven’t written anything that actually scares him. I’m still trying.

NTK: As you know, season 13 of HorrorAddicts is CURSED! Do you have a favorite curse? If so, what is it?

MT: Let me think…hmmmm. Sometimes, I tell telephone solicitors that I’m a voudou adept and that parts of their bodies will fall off with every minute they stay on the phone with me. Who knows? Maybe it actually works. My favorite verbal curse is “Shitfire!” Got that from my sister.

NTK: (Laughs.) Those are great curses. Thank you so much for chatting with me, Mary. It’s been an honor and a pleasure.

MT: The honor and pleasure are all mine! Thank you SO MUCH!

Addicts, you can find Mary’s work on Amazon.

Satan’s Sweethearts took second place in the Full-Length Book Category of the Elgin Awards on September 21, 2018.

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FRIGHTENING FLIX by Kbatz – Kong: Skull Island

Despite Narrative Flaws, Kong: Skull Island is a Rip Roaring Good Time

by Kristin Battestella

 

Without a doubt the 2017 MonsterVerse cum 2014 Godzilla prequel Kong: Skull Island has its flaws. One shouldn’t expect perfection or deep thoughts with this fun jungle ride brimming with action and big monsters. But heck yeah let’s over-analyze the shit out of it, shall we?

Bill Randa (John Goodman) recruits ex-SAS tracker James Conrad (Tom Hiddleston) and anti-war photographer Mason Weaver (Brie Larson) to join the secret government group Monarch’s expedition to the elusive Skull Island alongside Lieutenant Colonel Preston Packard’s (Samuel L. Jackson) elite helicopter escort. Landsat officials and mission science teams use seismic charges to map and study the island – awakening ancient monsters friend and foe, government conspiracies, and personal vengeance as the team rescues crashed World War II veteran Hank Marlow (John C. Reilly) from the fantastic isle protected by King Kong.

 

Kong: Skull Island’s opening World War II crash transitions to newspapers, archive footage, and period photography on the mysterious Monarch organization as audio quotes from Truman and Kennedy lead to bleak 1973 DC protests and ironic quips about the screwed up time in Washington. Monarch needs funding to mount this satellite mapping expedition and its under the rug search amid ominous whispers of ship eating monsters and Bermuda Triangle fantastics surrounding this uncharted Pacific island. Fiery explosives reflect in the aviator glasses, animals flee the seismic bombs, and distorted music is drowned out by the destruction. People who think they are so big are made small by Kong’s giant hands and teeth – an excellent introduction with superb monster graphics and motion capture. Warped gunfire and thumping helicopter blades add foreboding to the mighty monster silhouettes as separated civilians, stranded scientists, and angry military argue who takes orders from whom. Nixon winks, geek references, and “Hold on to your butts!” keeps the old school cool coming early and often alongside minute to minute action montages with diegetic classic rock, first person shooter video game angles, and intriguing camera shots. Skull Island is an embarrassment of riches with too much to see in one viewing thanks to wild giant spider impalements and more well done personal horror vignettes with blood, gore, and brain splatter nods to Cannibal Holocaust and Evil Dead. Slow motion over the shoulder fears, creaking animal approaches, that giant log come to life – aren’t walking sticks bad enough?! The rush to repair a salvaged airplane turned riverboat adds more flying monsters and aerial fatalities to the adventure. Kong is an angry mother, but he didn’t do anything wrong in protecting his home from the dangerous creatures man has stirred, and the mission only has its bombing in the name of science to blame. Fortunately, culture shock jokes create lighthearted fun, since it’s more of a cold war with summers off, a man on the moon is eating Spam after sipping Tang, and The Cubs are never going to win the World Series. Likewise the excellent graveyard sequence combines all Skull Island’s divided and united people with scene stealing visuals, action, and monsters. Retro picture flashes and rewind clicks accent gritty zooms and intense monster filming with green gas heightening the sense of smelly vomit, skulls, bones, and gas masks. Deadly cigarettes, flames, lighters, and fumes add to the swords and machine guns poised atop the triceratops skull as man comes to regret the cruel and violent destruction he has caused.

Of course, Skull Island is also a very messy movie with an uneven dual focus. This should be either a Vietnam, horrors of war, military monster Apocalypse Now with a photographer and a scientist OR the scientific monstrosity adventure a la Jurassic Park with one ex-SAS tracker but not BOTH plots giving nobody their fair share. The us versus them scientists in blue and military in green sitting on opposite sides of the briefing is never capitalized upon but redundantly introduces everyone by name after the port of call arrivals already suffice. Likewise, conflicting, convoluted information dumps on hollow earth inklings, monsters exist proof, nature taking back the planet subtext, and more conspiracies are lost amid who’s doing the suspicious underground mapping or using dangerous seismic charges – and none of it is as important as the visual destruction despite precious little time to enjoy the awe-inspiring views. Increasingly intrusive hip highlights and filler montages distract viewers with busy, loud hyperbole, and fine jokes aren’t needed to alleviate tension because intercutting between separated characters walking to and fro for action fodder never leaves the audience with anyone long enough to appreciate their peril. Casual wonder, superficial dear family letters, and featherweight Icarus speeches can’t keep up with the up up up piecemeal quest, soldiers rightfully spazzing over the giant monkey are paid dust in favor of repeated clicks west or evac north fluff, and one trek in the wrong direction for a dead man proves pointless on top of unnecessary revenge. What should be somber shipwreck history and ancient monster worship become tossed aside double talk, and the science dialogue, monsters, and mission objectives change as people act stupid from scene to scene as needed. Littering the narrative with so many excuses that we just don’t care how each group of people and their monster attacks tie together is incredibly annoying because there is so much more potential to the friend or foe ominous and native people glossed over with photos and peace signs. Slo mo hold me back man tears turn laughable thanks to all over the place point of view voiceovers with no time for a breather properly addressing the nonsensical. Quotes about an enemy not existing until you make one get squashed between more meandering, on the nose rock montages while blow torches are convenient in one scene but forgotten the next. Our two women never talk to each other, and Skull Island can’t stick to telling its story well because it’s so desperate to appeal to as many bang for its buck viewers as possible – leaving the World War II radiation and ancient cave paintings hodgepodge to do nothing but set up the inevitable sequel.

 

All the people should have been listed in the blurb at the bottom of the Skull Island poster because no one character is fully developed – least of all top billed Tom Hiddleston as tracker James Conrad, who spends more time giving repetitive exposition on clicks, radius, or distance and unnecessary let’s go, no time to waste obviousness. It’s also noticeable that the character concept was changed when T. Hiddy was cast – perhaps in a Legendary twofer contract with Crimson Peak or during filming, for the grimy shirt jaded and gritty bearded wanderer is traded for a sunshine blonde matinee idol buff. It’s like a different guy shows up for the mission! When meeting Conrad in the bar, he’s ruthless with a cue stick. However, on the island, he’s the team negotiator, going from a rugged bad ass asking for five times the mercenary money to…Tom Hiddleston. Viewers see him as himself in Skull Island and The Night Manager rather than his Loki visage – maybe because it looks like he’s wearing his own clothes again onscreen – but someone should have been in charge of his eye candy fitness as his increasing muscles or shrinking wet shirt vary throughout the adventure. The mysteriously decommissioned tracker also suddenly cares, sneaking into restricted areas to check out the bombs and question the mission even though Conrad never gets to use this seemingly new found good guy muster. His great line, “I suppose no man comes home from war, not really,” and brief mentions of his lost father – Tom, please, no more characters with daddy issues! – go unredeemed save for dad’s handy lighter to rectify a lifetime of searching for something you can never find. Instead of calm, problem solving Conrad challenging Packard, our expert tracker gets lost and seeks higher ground before taking charge anyway after useless self sacrifices. Despite his name, there’s very little Heart of Darkness to Conrad, yet the character remains overly serious and that divine accent feels out of place – taking longer and prettier to say his exposition in a different, formal rhythm amid all the fast, casual slang. Although he has the best gas mask glory moment in Skull Island and some of the samurai choreography is reminiscent of the first advance in 300, our would be hero has no winking Indiana Jones moment nor does he take off his shirt. Why hold back when you can go all the way? But hey, those biceps aren’t enough to forgive the fact that Conrad wears a gun in a shoulder holster and never uses it!

With our rugged man and Brie Larson (Room) as anti-war photographer Mason Weaver, Skull Island feels very The People That Time Forgot. However, Weaver doesn’t cry out for her camera’s safety or click away as much as she perhaps should. She never runs out of film and such gear perils or mishaps could have been an ongoing gag, but Conrad seems to look out for her camera more than she does. There is rightfully no overt romantic plot further crowding Skull Island with unnecessary saccharin, yet their feeling each other out banter should have been utilized more – Weaver interrupts Conrad’s hero zoom by motioning for him to move over on the helicopter seat and he does. All these charming, award winning thespians have so little room to breath, leaving Weaver with lame one liners and nothing to do. The “Bitch, please!” retort for her to have several seats isn’t the right response, but her trite platitudes won’t get all these macho men pointing guns at each other to stand down either. Fortunately, her outfit isn’t uber skimpy, and Larson’s modern earthy look is perhaps the most seventies style in the cast. Weaver goes from skeptical equals Pulitzer to island believer saving injured animals too quickly with no depth to her island connections if any before ending by saying she will expose their information rather than keep this precious ecosystem secret. She could have been a hippie tree hugging activist woman alone in tune for peace with Kong, but Weaver’s touching moments with the ape are too few and far between. Whether there is some kind of native spirit and island good to counter the evil creatures below isn’t explored, and while all the scientists pick up guns, Weaver shoots with her camera only – a nice statement that just leads to her getting rescued by Conrad in every dangerous situation. A brief moment of her refusing a gun and more of her resourceful ingenuity as with Conrad’s handy lighter would have added better character strength and humor. Sadly, Skull Island has both Weaver taking pictures to expose Monarch and John Goodman’s (The Big Lebowski) underutilized Bill Randa recording film for his secret organization’s posterity. What is the point of having both such rival documentarians on the trip when they never even have the chance to object to each other onscreen?

 

But why you gotta be mean like that to Kong, Nick Fury? Despite the Vietnam withdrawals underway and orders to head home, Samuel L. Jackson’s Colonel Packard isn’t ready for the war to end. He wonders what this the fight was all for – accepting this final mission without considering the families and day jobs waiting for his Sky Devils stateside. Packard resents the camera and the media’s influence on the war as more dangerous than a gun, and objects to calling the battle lost. He’s upset at Kong for destroying his helicopter team, blaming the ape and demanding payback when he’s the one who ordered them to fly through the island’s nonsensical storm front. There’s room for more psyche, but other plot contrivances compromise Packard’s fanatical. His insistence on taking out Kong instead of the more deadly skull creature continues even when his reason for pursuing one over the other is proven more fatal, and Packard gets around the island just fine without the obligatory SAS tracker, gutting any tension the two are apparently supposed to have. After aimlessly walking for half of Skull Island, Packard needlessly divides the group when they actually come together, and any deeper hates the monster because he hates himself guilt about man’s supposed superiority is never fully explored. Certainly the Lieutenant Colonel did nothing wrong in ordering his men and defending his homeland from the horrors of war, but he takes the extinguishing the wrong monster too far and doesn’t learn from any of the mission’s bureaucratic stupidity, ultimately using napalm to flush out more creatures than he can handle. Likewise his soldiers – family man macguffin Toby Kebbell (Control), headband wearing Thomas Mann (Me and Earl and the Dying Girl), and letters to his mama Jason Mitchell (Straight Outta Compton) don’t listen to local information on avoiding island perils. At once they decide it’s all for one and one for all while telling others they will be left behind if they don’t like the plan, and none of them go against the Colonel even when he is wrong and the chain of command has broken. Although dead pan Shea Whigham (Boardwalk Empire) eating in the face of giant apes is good levity, the too crowded Skull Island keeps these military men stereotypically hip with shirtless photo sessions and no questions asked until after the fact rather than developing any killer edge e.g. Predator.

There are simply so, so, so many superfluous people in Skull Island that you can argue almost anyone doesn’t really need to be here. Landsat fraidy cat John Ortiz (Fast & Furious) deserves more than ticking the Hispanic check box with his own personal homage to Jurassic World. This looks like a diverse ensemble with representation from all walks of life, but it isn’t diversity if each monster fodder minority has five cliché lines while the white people save the day. Geologist Corey Hawkins (24: Legacy) and biologist Jing Tian (The Great Wall) look like they filmed their scenes separately from everyone else. Their brief conversations happen with no one else around and they don’t really interact with anybody on the island – simultaneously missing the opportunity for statements on the struggles of a well educated black man with a radical theory while nonetheless desperate to appeal to Asian markets with an intelligent but meek biologist who barely speaks. Hawkins’ Houston Brooks objects to the titular craziness with almost the exact same words as Mann’s Slivko, and eventually, the scientists are told to go back to the boat – which they easily find and operate without Conrad holding their hands. The post-credits scene likewise has them repeating Randa’s words on the monsters to come while again telling us not much of anything on Monarch’s intentions. Fortunately, John C. Reilly’s (Chicago) kooky World War II castaway Hank Marlow is the most dynamic character in Skull Island. He’s happy these new found people are real because he’s more than ready to get home to beer, hot dogs, and the Chicago Cubs, becoming the only fish out of water in this crazy habitat that receives any narrative payoff. I also dare say Marlow’s opening cross cultural duel turned bond with Japanese singer Miyavi as Gunpei Ikari and their subsequent hear tell eight attempts to leave the island during their forced twenty-eight year sabbatical may have been the more dramatically interesting tale – “Darmok and Jalad at Tanagra” and all that.

 

Fine gunfire, brief World War II designs, aerial action, and impressive photography also pepper Skull Island. A variety of cool ships accent the beautiful, tropical, misty, hot locations from Hawaii, Australia, and Vietnam amid lovely waters, deadly swamps, and killer jungles keeping everyone good and sweaty. There are dangerous rocks, mountains, vegetation, and animals, too – but that giant water buffalo thing has a cute nose! Unique patinas, golden sunsets, neon, bright blues, red lighting, and choice zooms set off every frame in Skull Island, and a fiery haze makes the night time battle with Kong befitting of the island’s devilish face shape. However, despite all the old school touches, Skull Island doesn’t feel as aged as it could be. A 1973 Life Magazine and a record player don’t a la the past when everybody looks so today. The money here is rightfully spent on the badass ape kids will dig, but younger audiences probably won’t notice the early computers, retro televisions, dark room photography, old reel frames, slide projectors, or rotary phones and period references. Fortunately, these creatures are so big that director Jordan Vogt-Roberts (The Kings of Summer) must pull the camera back – we can see the well choreographed rumble without hiding behind panoramic swoops and hectic editing. Kong breaking free from a shipwreck’s chains is a fine homage, and the deleted scenes with more platoon camaraderie and a bristling introduction between Conrad and Packard should have been kept. Of course, Skull Island is available in different video editions with seller and regional behind the scenes exclusives. An official comic book also continues the adventure, but I wish the background material or what happens next wasn’t relegated to extras or waiting on another picture in the franchise. Although, ironically, Skull Island might have made a great limited television series with fulfilled episodes dedicated to our mad military man, lost tracker, photographer, castaway, or scorned scientists.

Kong:Skull Island seems like it began with storyboards of cool things for Kong and company to do with everything else as filler to meet the feature length duration. There’s no time to stay on Skull Island and explore its myths or monsters, and this does indeed feel like one mere stepping stone toward the inevitable Godzilla vs. Kong anticipation in 2020 thanks to postscript MonsterVerse revelations. Though entertaining, the forties bookends are abrupt and in between viewers are spoiled for choice of eye candy. Skull Island is meant to be a monster money maker and it shows with this sweet but shallow action. It wants to be man versus man, man versus nature, and man versus himself, but superficially potlucks all the deep possibilities. Thankfully, Skull Island is not a film meant for critical eyes and that isn’t necessarily a bad thing. Despite its narrative flaws, there’s just so much fan service that Kong: Skull Island was bound to be an enjoyable success.

 

Author Interviews at the Mount Holly Book Fair Part 2

 

Witches, Time Travel, and Shapeshifters!

 

Kristin Battestella aka Kbatz was on the windy scene April 29, 2018 at the Mount Holly Book Fair to interview several Local Horror Authors…

 

Author JL Brown talks about her book The Burning Arbor, witches, tarot, and magic on and off the page. For more visit https://www.facebook.com/AuthorJLBrown/

 

 

Author Gary Frank talks about his book Forever will you Suffer, short fiction versus novels, time travel, the business of writing, and horror. For more visit http://authorgaryfrank.com/

 

 

Native American Storyteller Laura Kaign chats about her Earth Child series, science fiction, natural versus supernatural, dreams, YA, and storytelling. For more visit http://ladyhawkestorytelling.com

 

 

Special Thanks to the Mill Race Arts & Preservation for hosting The Mount Holly Book Fair.

 

Stayed tuned to HorrorAddicts.net for more Author Interviews and let us know what kind of video/media content you would like to see!

Jeff Carlson, Never to be Forgotten

One of our frequent authors and a man many of us had the pleasure to know in life, has passed on. Jeff Carlson, author of the Plague Year Series and Frozen Sky, died Monday, July 17th from an extremely aggressive lung cancer. He is survived by his wife and two sons, who he adored.

Jeff was an excellent writer and had an exuberant thirst for life. We here at HorrorAddicts.net would like to express our sincerest sympathies to his friends and family by celebrating what enjoyment Jeff brought to our lives through his writing.

About Horror, Jeff said,

We like to be scared because we have a huge capacity for fear. The most basic element of storytelling is conflict because we respond to it.

With four features on HorrorAddicts.net and tons of cameos and book reviews, Jeff is one of the most frequent guests on the podcast. He won our Best in Blood award for season one with his story “Monsters” and continued to be a driving force in the show.

Since meeting Jeff at BayCon in the early 2000’s, I followed his career, attending many of his book parties and enjoying his live readings. His books Plague Year, Plague War, and Plague Zone came at a time when readers were craving survival fiction, before The Walking Dead saturated the market.

The Plague Year series started with a bang and just kept going. Jeff was able to bring our world to the brink of destruction in such a real way, it almost seemed like you were listening to news reports rather than reading a fictional thriller.

In Plague War, the non-stop thriller action doesn’t stop. There were so many layers to this book. You had the survival instinct unwilling to die in the main characters, the war between countries grasping at straws to maintain control, and a zombie apocalypse that actually seemed plausible.

Plague Zone‘s zombies weren’t the George Romero, searching for brains type. They were more subtle, but not less scary. The first scene with the zombie people (people they knew!) being kept in the hut in case they could save them was almost unbearable. I could just hear the bumping and moaning as they struggled against restraints. Ruth’s claustrophobia was contagious and I found myself having to step outside to get some air.

This series was a crazy-fast rollercoaster ride through a nanotech infested world where only one thing guarantees your survival—your will to carry on no matter what. Through Jeff’s writing, he inspired us to overcome surmountable odds, keep true to the loyalty we’ve fostered with other humans, and to never, ever give up.

HorrorAddicts.net Reviewer, David Watson says,

I makes me sad to hear of the passing of Jeff Carlson and my heart goes out to his family in this terrible time. I didn’t know Jeff personally but I talked with him through emails and he was always friendly. The first time I heard of Jeff was when he read his story “Monsters” on the HorrorAddicts.net podcast. In 2015 I was the editor of Horror Addicts Guide to Life in which he wrote an essay called, ‘Why I Write Post-Apocalyptic Fiction.’

One idea Jeff wrote about in the author’s note for his book Frozen Sky 3: Blindsided, was how true happiness in life doesn’t come from slacking off, it comes from working hard and accomplishments. Jeff worked hard at his craft and it shows in the success he had as a writer. I love his work and reviewed four of his books, including his anthology Long Eyes which is a perfect introduction to his awesome storytelling abilities. My favorite work of Jeff’s sets horror in outer space with his Frozen Sky series where he masterfully combined action, horror, science fiction, philosophy and politics. It makes me sad to know that I won’t get to read another new book by Jeff Carlson but at least he left behind eight great books and several short stories that we can all reread and remember him by.

Fellow HorrorAddicts.net author, J. Malcolm Stewart says,

I first met Jeff Carlson in 2011 at Westercon 64 and immediately knew I had found a kindred soul. We were on a panel called Horror Tropes as Social Commentary, which, if you know me, was a subject near and dear to my bloody, beating heart. We had a blast that afternoon and quickly exchanged contact info with the usual good intentions to catch up in the near future.

I didn’t pay too much mind to the promise, figuring the gesture on Jeff’s part was a case of throw-away professional politeness. He was a well-known, well-respected, past winner of Writers of the Future, had been nominated for a Phillip K. Dick award, and his Plague Zone series of novels had spent weeks on the New York Times Best-Seller list. I was a complete unknown who was six months away from my first novel even being published.

But a strange twist, one worthy of Hitchcock himself, happened… Jeff did call and he did email, just as he had promised. And from that time on I was blessed to experience one of the great professional friendships of my adult life.

Jeff was many things in his far-to-brief 48 years. Among the crowd of his attributes was his sheer writing talent, his engaging personality, his keen and probing mind, his oft displayed sense of humor… But the greatest attribute I ever observed about Jeff Carlson was his constant and unwavering love and dedication to his family.

I say with no hyperbole that every conversation I ever had with him, no matter how long or short, ended with either “I gotta go. It’s date night.” or “Gotta get to the soccer game. I’ll catch you soon.” I can’t express this strongly enough. Every time without fail.

I know directly that Jeff bypassed many promotional opportunities at cons or book signings to make sure he had time with his wife and kids. As a result, he wasn’t the most visible author in the Northern California writing scene. But as writer and person, he was without a doubt one of the most respected.

I am personally privileged that our time together included over eight hours of recorded interviews conducted over these last six years. I knew instantly that those conversations were gold to any writer who aspired to learn in the ins and outs of this insane profession. Sadly, I didn’t know that they would come to an end so quickly.

As both a creative artist and in my professional life, I often have found myself grappling with the finality of death. It’s an inescapable part of the human condition, a principle of existence both devastating in its scope and humbling in its randomness. Like many who knew him, I’m still processing the fact that shadowy hand of fate has taken away Jeff. But what I can say with all certainty is that Grim Titan who stalks us all has taken into his company one our best and brightest.

To his wife, Diana and their two boys, my deepest and most sincere condolences.

It’s amazing to me that so many of us felt we had a special, meaningful relationship with Jeff, but he made sure we did. He was a genuine guy and when he said he’d connect with you, he really meant it. Despite his busy career, he always made time for his friends and family.

Horror Addicts Guide to Life

In our 2015 anthology, Horror Addicts Guide to Life, Jeff said,

I think we’re programmed for hardship. In my experience, human beings are happiest when they’re working themselves to the bone. Call me crazy, but from what I’ve seen, people are more likely to feel adrift and unsatisfied when they have too much leisure time. Purpose is the greatest gift. Obstacles are good.

Well, Jeff, we suppose you are right, but getting over your loss will not be so easy. You will always be in our hearts and minds.


Listen to Jeff’s work here:

Ep: #1 with his short story “Monsters”

Ep #20 with his story “Romance”

Ep #27 with is story “Caninus”

Ep# 51 with his story “Pattern Masters”

Read more about Jeff in our blogs here:

https://horroraddicts.wordpress.com/2010/11/23/13-questions-with-jeff-carlson/

https://horroraddicts.wordpress.com/2012/07/16/a-jeff-carlson-double-header/

https://horroraddicts.wordpress.com/2010/09/21/jeff-carlson-on-post-apocalyptic-fiction/

https://horroraddicts.wordpress.com/2012/12/19/the-frozen-sky/

https://horroraddicts.wordpress.com/2014/07/24/frozen-sky-2-betrayed-by-jeff-carlson/

https://theallnightlibrary.wordpress.com/2016/07/10/frozen-sky-blindsided-the-europa-series-book-3/

Visit his own site for more information on these works at: http://www.jverse.com/

Kbatz: Victor Frankenstein (2015)

 

Latest Victor Frankenstein Unfortunately Disappointing

by Kristin Battestella

 

I had hoped Gothic dramatizations and Victorian horror were making a comeback. Unfortunately, with the cancellation of Penny Dreadful, the less than welcoming reception of Crimson Peak, and the disappointing result of the 2015 Victor Frankenstein, the potential for dark romanticism and steampunk gone macabre trends seems over before it could really start.

The hunchbacked Igor (Daniel Radcliffe) is rescued from the cruel circus and healed by the visionary but radical Doctor Victor Frankenstein (James McAvoy). Dismissed from his medical college, Victor is reanimating small subjects and intends to create life with a new man-made cadaver. Unfortunately, Inspector Turpin (Andrew Scott) is following the gruesome trail back to Victor, and he objects to Frankenstein’s amoral and godless plans – which need Igor’s raw medical talents to be completed.

 

Victor Frankenstein is slow to start with more telling than showing when the waxing on man versus monster making could all be seen rather than told. These talkative delays underestimate the audience, compromising atmospheric immersion and period mood with “little did I know” narrative breaks. Where’s the Victorian carnival flair and underlying horror? Victor Frankenstein has a unique angle on this oft told tale, but the action is styled for the cool circus escape with unnecessary slow motion and leaping over a box being highlighted as more important than freakish servitude and characters in peril. Viewers can see Victor observing Igor reading medical texts – we can feel the characters if you let us instead of cutting corners with fast moving dialogue, hectic editing, and shaky camerawork. Victor Frankenstein isn’t really sure how it wants to present itself because the required flashy becomes more important the the man versus nature, man versus man, and man versus himself horror possibilities. Mischievous animal part thefts and science montages happen quick with little time to enjoy the mad science. Of course, Victor Frankenstein isn’t true horror, yet the soft romantic scenes and rags to riches drama feels at odds with the macabre. Debates on magic and superstition versus emerging science and technology make for better drama alongside failed science presentations and medical mistakes letting us know where each character stands. Although the hissing monkey prototype has some creepy moments and could be a sinister step to the monster making, these scenes come off as a laughable detour. Real science probables such as two hearts and four lungs and numerous design montages become too busy, hindering the grossly fantastic and the character drama. Is Victor Frankenstein about Victor’s mad descent or Igor’s misused intelligence? If this is about Victor’s coming to this ghastly point, the story should begin before his experiments and conclude with the onset of his creation. If Victor Frankenstein really is about Igor’s role in the monstrosity, then the science should be nearer completion. Instead, Victor Frankenstein meanders for over an hour before London on the lamb and double crossings throw more wrenches into the quick monster finish. Past reasons why come too late, and tacked on narrations do nothing to explain what Victor Frankenstein is about beyond an opening ending in hopes of a sequel.

With his slick ‘stache and Victorian finery, James McAvoy (X-Men: Apocalypse) looks the titular mad scientist with an ulterior reason for inspiring Igor. Arrogant Victor thinks he’s too intelligent, admitting he prefers his vanity to being called a criminal and will speak slowly when talking to lesser people. Victor gets too far ahead of himself in belittling believers, life, and theology. He’s too excited over his own experiments and uses a fast talking wit to confuse others into not questioning his brilliance. Unfortunately, this flippant, condescending double talk effect is exactly how the audience feels when watching Victor Frankenstein. It’s more interesting to see Victor educate and raise Igor almost like he would do the monster. He doesn’t care about charity just control – Victor needs Igor’s talent to finish his life and death projects while he takes the credit. He fixes Igor’s hump in a gross, back cracking pinning while sucking the fluids out through a tube in one erroneously forced and homophobic scene, and comedic dialogue perceiving them as friends jars against the feeling superior Victor using Igor for his own devious ends. We meet Victor Frankenstein after the doctor has already left any morality questions behind and made his leap to madness, leaving what could have been an intriguing science versus soul debate as stubbornly unlikable assery. Victor’s motivation is revealed too late and very little consequences follow his actions. McAvoy is left doing more shouting than anything creepy, and his Scottish accent bleeds through into a not necessarily British, just toned down affectation akin to the meh at hand.

Fortunately, Daniel Radcliffe’s (Harry Potter) Igor is developed as a real assistant rather than an idiot in Victor Frankenstein. Despite learning nothing but cruelty from people as a circus hunchback, Igor is also a self-educated amateur doctor who cleans up nice and tries to remain loyal thanks to Victor’s kindness toward him. Of course, this Victor Frankenstein can’t be told wholly from Igor’s perspective as promised when he is absent from several scenes and critical information is given without him. Igor’s narration also comes and goes – oddly returning for his moon eyes over a girl when the fantastic science is afoot. Igor is also able to run, swim, and scale a rock cliff just by putting on a back brace after having spent a lifetime as cripple…okay. Staying entirely in Igor’s point of view would have helped Victor Frankenstein tremendously as his voiceovers or journaling montages could explain the number of weeks or months passing while giving the audience his private observations on the increasing madness. Instead, Igor flip flops too much to be the viewer’s anchor and changes his tune on Victor’s plans – first he’s reluctant to proceed due to a financial deadline and wants to discuss the peril of creating man in his own image but then he feels obligated to Victor for giving him life thanks to metaphoric contrivances. Igor knows the jealous Victor has become an embarrassment, used him, and interfered with his romance. However, the two hearts and two brothers parallels between bad Victor and good Igor seem more important that Igor’s fresh perspective, and the idea of Victor being a positive benefactor raising up life through Igor ends up too muddle to save Victor Frankenstein. However, the hunchback does get the girl in a hammy but surprisingly not exploitive sex scene. How often can you say that?

The supporting players in Victor Frankenstein sadly also serve as little more than stereotypes, including Jessica Brown Finlay as the pretty acrobat turned beard Lorelei. Despite potential for a would be love triangle, Finlay only appears in a handful of scenes looking too modern, out of place, and too small in her swimming costumes – and it’s all so odd because she was so good on Downton Abbey. Lorelei is merely used as a brightly color standout when some symbolism is necessary before inexplicably disappearing for the finale. While Andrew Scott’s (Sherlock) Turpin is a shrewd inspector not falling for Victor’s spin, the intriguing idea of his pursuit of Frankenstein for religious beliefs rather than legal prosecution is dropped for a standard case of lawman with manpain. Scott also feels either out of his depth or too much for the material, for his scenes seem like they come from another movie. Turpin may also loose an eye or hand at some point – but he ends up still having them both later anyway. Whoopsie! Elder Frankenstein Charles Dance (Game of Thrones) does add an element of stern class in his sacrilegiously short screen time. One frigging scene! The Baron gives Victor a good talking to with a well-deserved chastising and slap, and Victor Frankenstein needed much more of these father and son aspects.

 

Victor Frankenstein has sweeping Victorian scene setters with colorful circus tents, exterior facades, and zooming in entries – and viewers can tell it is all unnecessary CGI. What’s happening under the circus tent and inside the laboratory are cool enough thanks to nighttime gaslight glows, crackling electricity, and large gears. Up close foggy streets, bleak hospital interiors, and horse drawn carriages accent more alongside period medical sketches, Victorian zoos, steam gizmos, disembodied eyes, and more creepy specimens in green tanks. Mirrors and reflections mimic the duality in Victor Frankenstein, and overlaying anatomy lines, diagrams, body labels, and human schematics do better than any trite slow motion. Unfortunately, the mad science blueprints are used onscreen early, then dropped for most of the picture until the final monster design montage – almost to cop out on not actually showing any of the monster work. Daylight scenes in Victor Frankenstein reveal the color, costumes, golden rooms, and would be splendors of the time like heat and running water, but the bare minimum period setting remains Victorian light rather than fantastic steampunk. Top hats, a crinoline, and a few big skirt twirls don’t hit home the costumes, and modern tattoos can be see when wearing those strapless gowns. Victor Frankenstein never even says the year, and despite its obviously expensive intentions, this feels low budget messy and unfinished. Stormy, gloomy Scottish atmosphere comes too late in the final act – where the raising of the monster is an orchestration in action set pieces followed by a spectacular destruction. All that fiery, confusing hurrying and Victor Frankenstein limps into over five minutes of credits with little to show for it.

This not a horror movie nor a character drama, but Victor Frankenstein isn’t really science fiction and has no fantastic to its creation either. The rush to be modern cool or more Hollywood than nineteenth century British sacrifices any Gothic feeling, and the condensed script or production changes on the fly lack period finesse. It’s tough to view Victor Frankenstein as what it is but rather what it could have been, and the cast, setting, and story deserved better. While serviceable for audiences who haven’t seen any other Frankenstein adaptation, Victor Frankenstein makes older audiences appreciate the panache of the Hammer Frankenstein films all the more. If you’re looking for the book you won’t find it – like a game of telephone, Victor Frankenstein starts with Mary, passes through Universal, and quotes Young Frankenstein before this disappointing result that never takes its original possibilities to the next level.

Kbatz: Prometheus

Frightening Flix

 

Despite Its Flaws, Prometheus is Entertaining 

By Kristin Battestella

 

I feel like there’s a chest burster inside me.”

That’s what I said in the ER this past July when they asked me to answer their polite 1 to 10 point-at-the-smiley-frown pain scale. I didn’t know what was causing the increasingly horrible and unbearable pain beneath my right ribs. I could barely move, breath, or speak. I flailed my arms in pain and accidentally hit the nurse when she tried inserting my IV. Of course, this reminded me of one early hospital scene in Aliens, and later, after I clawed my husband’s hand and drew his blood, I said, “I guess this is what I get for going to see Prometheus!”

Doctors Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall Greene) petition the Weyland Company to support their archaeological discovery: ancient civilizations each repeated the same astronomical pictograph and alien “Engineers.”  Shaw sees the pattern as an invitation to the stars and the origins of humanity, and the state of the art Prometheus disembarks to the distant LV-223. Only the android David (Michael Fassbender) is awake for the journey while the rest of the crew- including the doctors, Captain Janek (Idris Elba), and Company representative Meredith Vickers (Charlize Theron) remain in hyper sleep. Once they reach the moon, the human crew rises to search an ancient monument full of dead Engineer bodies, mysterious urns, and surprising familiar iconography.  As storms fronts approach on the surface and the crew separates, one by one their fates and faiths are tested, for these Engineers and their perilous DNA projects aren’t as dormant as they seem….

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Plotting A Prequel Conundrum

Whew! It turns out it was just my gall bladder going, but director Ridley Scott’s return to science fiction with this pseudo Alien prequel was certainly on my mind most of the summer. I’d been waiting over a year for the release – even remaining spoiler free into its approach. The possibility of Alien’s back-story feels like its been in my subconscious for decades. I used to drive my father batty with speculation about how the crash on LV-426 happened, to where – or whom – that homing beacon was transmitting, and how the evil android Ash and the then unnamed but obviously money loving and corrupt Company were involved. Yes, most of these questions from Alien are not answered in Prometheus and that is this film’s blessing and curse. Some may rightfully dismiss Prometheus simply because it answers nothing beyond itself. After all, what’s the point if technically nothing gets us any closer to Alien’s mysteries? The connections and feelings are there, but it seems like Prometheus’ key elements are being spread out for its inevitable sequel or a completely new trilogy. It becomes both rushed in its foreboding yet too disjointed as the plots diverge and reveal. This almost feels like Alien 3, strangely, where one film had to suffice both its brooding horror and action SF predecessors. The internal pace is fine to start, with good cringe inducing moments and a horror styled pattern of storms and entrapped personnel. Though the deleted scenes were apparently cut for length and action pace, it feels as if Prometheus should have continued in this speculative science fiction or horror vein, with complete character intelligence and a scary food for thought.

There is room to speculate on the alien dangers and high concept religion and faith debates. However, writer Damon Lindelof (Lost) also left serious plot holes, unexplained developments, and changed script scenarios in rewriting newcomer John Spaihts’ original treatment. Nothing short of having all the action taking place on LV-426 as originally envisioned would have appeased die-hard fans. Whether Prometheus was going to be a direct sequel or not, whatever storyline you finally intended to go with – all those decisions should have been settled upon rather than be left hanging in the film. Frankly, nothing – no creature connections, planetary aspirations, or character motivations – should have been held back in the hopes for a sequel. In the theater, I was screaming to myself that this film better dang be successful enough to earn a sequel, otherwise, this will really not just disappoint, but anger the audience. If you open Pandora’s Box, do so all the way.  Innumerable plot holes and character head scratchers and inconsistencies linger in Prometheus. Some of that is answered in the viral and behind the scenes material, but you can’t hinge the full vision of your film on the extras or sequels. Not only are the big spiritual topics not as deep as could be, but the intentional ambiguity is far too on the nose. I thought I was alone in wishing for more from Lindelof’s weak touch, but Prometheus takes the easy way out by dropping its high concepts for a typical big action ending. The first half of the film is brimming with foreboding and body horrors just like Alien, but unexplained secrets become plot contrivances and what should be hidden personal or family connections are too obvious. Perhaps a truly sophisticated slow science fiction morality tale can’t achieve success today, but it feels like Lindelof didn’t even give Prometheus a chance to try.  In the behind the scenes materials, he admits he found Alien boring, and no studio today will accept boring! If one can let go of Alien and accept that Prometheus is not a direct prequel and will not answer your long held questions, then it can be enjoyed thanks to great sets, thoughts, and performances. Can a hardcore SF viewer accept the plot holes and screenplay mistakes? We don’t really have much of a choice until the supposedly in the works follow up is on the big screen.

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Powerful Performances

Well, well, Michael Fassbender does it again! Perhaps his ambiguous android David wasn’t meant to steal the show, but his artificial intrigue and robot speculations are the best part of Prometheus. Though his questionable actions initially support the faith versus science explorations and romance between Shaw and Holloway, David’s seamless orchestration of the crew and events around him subtly exceeds his programming. Fassbender’s (X-Men: First Class, Shame) uniquely devoid wizard behind the curtain pushes and pulls in true Vader fashion, and this malevolent Data is almost like a synthetic child on the verge of sociopathy. David is hyperactive, told not to go somewhere or touch anything, but he continually disobeys any instruction – maybe it’s for his own purpose, maybe not. He’s androgynous and prepubescent, almost not physically developed or impotent and thus uses his superior intellect and the low opinions of others to gain control. Despite his not having emotions, Shaw becomes the twisted object of David’s affection, and he scientifically violates her in a slick and premeditated plot. It’s not desire as we would think, but rather experimental curiosity. It’s third party rape because he can, and thus in David’s mind, he should.  Thanks to Fassbender’s well-played deceptions here and in Prometheus’ viral campaign, there are times where the viewer might swear David damn well does have emotions, and this Pandora of possibilities is a tad frightening.  An android who wants to be like Lawrence of Arabia? There are no Laws of Robotics here, and it’s creepy to see David’s graduation from playing with alien bugs to using human fodder go unchecked – particularly when it is such a cold and logical step to him.  Without internal censors to curb David’s motivations and ambitions, his last shall be first realization that people are inferior is allowed to run amok and create Prometheus’ finest moments.

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Naturally then, when Holloway belittles David, it is not only his own undoing, but it sets all of Prometheus’ events in motion. Rather than being the hero, Logan Marshall Green’s (Dark Blue) scientist comes off as big jerk thanks to script and character issues. He drinks because he is unhappy that he has discovered the existence of human progenitors on another planet. Huh? This writing faux pas ironically works in Fassbender’s favor. One might actually be sympathetic to David instead thanks to the way he is insulted or dismissed. The android is kind to Shaw, but her trust is betrayed and it makes for some fine work by Rapace. Noomi (The Girl with the Dragon Tattoo) is up to snuff as our Ripley successor, oh yes.  Though younger than her co-stars, she may seem a bit too mature against Logan Marshall Green or too upscale European for American audiences. However, this edge is perfect for the deep, heavy, and spiritual Shaw. These beliefs drive her pursuit of science, but they should conflict – and her newfound alien discoveries spearhead Shaw’s reexamination of herself. It all seems kind of lofty or too high brow, but Rapace keeps Shaw likeable and believably kick ass. Yes, there are convoluted script moments and unrealistic post-injury scenes that do take the audience away from the character. She can run around alien planets and climb all over the place after that?! The lack of believability in the plot also takes a bit away from the awesomeness of her alien encounter, but no faults come from Rapace, and I look forward to more of her. 

I do, however, wish more religious connections were made out right between this trio. After all, we have a worshiped alien being birthed by a woman named Elizabeth after an impregnation orchestrated by a surrogate father. In keeping with the ABC android names of the previous films in the franchise, we have a D for David. But why the name David instead of any other D name? Was there meant to be some sort of Root of Jesse lineage and messianic message? It is Christmas aboard the ship after all, and the Shaw praying scene in the trailer was cut from the final film. One of the new creatures in Prometheus is also called a “deacon.” What exactly is all this religious iconography supposed to mean? Humanity is seeking out their alien creators and thus outgrowing their divine masters, and in some ways, David is doing the same thing to his human inventors. This ideological succession, oedipal shadings, and patricide hopes are touched upon in the script and chewed on nicely by the players when its given to them. The triumvirate keeps the entertainment and intelligence afloat for the audience, but unfortunately, the shaky foundations in the writing don’t answer these lofty questions. Had the cast been given complete character motivations and plot aspirations, nothing could have stopped Prometheus.

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Poorly Handled Ensemble

Oscar winner Charlize Theron (Monster) is ice queen good fun as Prometheus’ resident secret wielding company representative, but there could have been a lot more to her character than what we receive.  If you think about Vickers’ background and motivation too much, too many nonsensical red herrings emerge. Her big secret is quite obvious, but whether she is a human or robot isn’t hardly addressed, nor is her alternating bitchy, sympathy, intelligence and stupidity. As with David, serious Scott fans could have had their hearts set a flutter by Vickers and possible Blade Runner connections. Unfortunately, as is, the character ends up meh despite Theron’s best attempts to counter the iffy scripting. Likewise, it is always a delight to see Guy Pearce (L.A. Confidential) and that therein is another big hole in what could have been Prometheus glory. I’m going to be nice and say the aging make up isn’t that bad – we just know it is Guy Pearce and would rather see him be the power hungry and creator- complexed young Weyland as seen in the Ted Talks viral video. Why couldn’t he have a pre-mission briefing instead of that weird hologram recording? That right there would have gone a long way in explaining all the characters and their reasons for signing on to such a space flight! The waste of creative character developments and potential is actually almost as in your face as Weyland’s actual not so surprise twist!

Although the supporting cast is most definitely talented enough, they aren’t given much to do beyond making mistakes or being barely there. Idris Elba (Luther) certainly has the presence to be the rogue captain of this wonderful ensemble, but his heroics and humor are so broadly written all over the board in crayon that we can’t fully care about Janek despite Elba’s charisma.  He’s devil may care but spiritually sensitive and cares about his crew and ultimately, humanity. However, Janek doesn’t give two shits about crewmen in jeopardy and doesn’t bother to ask what the mission entails. This isn’t multi-dimensional character development; it’s more like the captain is just a script placeholder to use whenever something is needed. It’s a sacrilegious waste of Elba, and Rafe Spall (Anonymous), Sean Harris (Outlaw), and Kate Dickie (Game of Thrones, Red Road – Did no one in this production see Red Road?!) become plot points for alien high jinks instead of being truly developed characters. 

Similarly, we never really get to meet the potentially charming Emun Elliott (Black Death) and Benedict Wong (Dirty Pretty Things), and there are even more unnamed disappearing and reappearing soldiers aboard the titular vessel. If we’re not going to spend some time with these crewmembers in order to know their fears or faults intimately in a slow build of apprehension and peril, how can the viewer appreciate them? Deleted scenes and alternate takes improve the troop slightly, but the audience never gets the feeling this crew is in it together, as in Alien or Aliens. Sure, we need a conspirator or two, but these folks are so divided, it seems like they each had different versions of the script from which to work. If you’re not fans of the players, it is tempting to fast forward thru their stupidity and squandered opportunities. As Prometheus is, this talent becomes padding for the body count in the final act. 

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Positive Bells and Whistles

Fortunately, whatever you may think of Prometheus, it looks damn great, simply smashing. Instead of a dark and congested submarine – perhaps expected by our recent trends toward brooding, bleak, apocalyptic futures – the palette here is bright SF, with sweet looking, large-scale special effects and an imaginative ship design. It all looks sweeping, epic, and state of the art but somehow still natural and practical – a realistic progression and scientific advancement on our current technologies. There are some Alien allusions in the designs as well, and Prometheus does meld soundly as the mechanical precursor but 21st century offshoot to the franchise. Fortunately, the action scenes aren’t brimmed with unnecessary cool gadgetry for the sake of instant technological flash. The detailed and well-thought production here will outlast the in the moment product placements so often found in today’s films – remember all that MSN crap in The Island? Prometheus is not ‘sponsored by Sony’ in your face, and unlike the eighties 3D hurrah, there are no ridiculous foreground objects and actions thrusting at the screen desperation.  I dislike 3D and chose not to see Prometheus as such, however, you can still tell which swooping CGI effects shots are meant to be in the multidimensional glory. Thankfully, the exceptional Icelandic waterfalls and galactic scenery aren’t overruled or at worst ruined by the 3D as so many films are. 

Ironically, while writing this review, I received the Prometheus 4 Disc Collector’s Edition as a gift from my husband.  Of course, I’m not as interested in the 3D blu-ray disc as I am all the other critical bells, whistles, and special features.  I haven’t even gotten thru all the exhaustive behind the scenes interviews, production galleries, screen tests, commentaries, and more. Like the immensely detailed Prometheus: The Art of the Film companion book, alternate concepts, deleted scenes, storyboard ideas that didn’t make it into the film, and even those screen tests and viral videos all help to piece together a lot of the head scratching and character flaws in Prometheus.  The aforementioned video and several other blu ray and DVD editions are now available of course, each with varying degrees of special features. However, I thought it might still be amusing to share some of the quick notes from my original Prometheus Monday afternoon summer theater experience, for these trailer observations seem particularly prophetic now: “Frankenweenie looks dumb. Savages is too Oliver Stone generic, The Watch the usual comedy. Abraham Lincoln: Vampire Hunter looks too action badass can’t see the forest for the CGI, and Rock of Ages has great music but what a crappy ass cast! I would see none in the theater and would not be surprised if some or all do poorly.”   Hehe.

There is most certainly an audience for Prometheus, and viewers should see it at least twice for complete entertainment value – even more for finite assessment. Love it or hate it, general science fiction fans looking for a return to mature, sophisticated tales can find something here, and Alien fans tired of the Predator crossovers should definitely have a look. Granted, the separation from total Alien connections and the “is it or isn’t it” on the nose marketing approach was a deception to audiences expecting complete franchise resolutions. That audience burn alone is enough to not see Prometheus. Again, those expectations both helped put people in the seats to pad Prometheus’ box office and hurt its reputation by disappointing longtime fans.  Because of these botched Alien connections and the fly by night scripting, a necessary sequel is indeed forthcoming, although I wish the powers that be hadn’t mashed up Prometheus in anticipation of a follow up film or two and box office splendor. Behind the scenes flaws and Alien relations aside, Prometheus is nonetheless entertaining for fans of the cast and science fiction lovers.

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David’s Haunted Library: Lost World Of Patagonia

David's Haunted Library

 

25526371Many people believe that there are creatures out there that exist where science says it’s not possible. One of those people is Cryptozoologist and university professor, Alex Klasse. Alex has learned of a place where dinosaurs still exist and he has received a grant from the Ace corporation to lead an expedition to find them. Alex will be accompanied by students from his university and a band of mercenaries who are in search of rare jewels. The team is taking two nuclear powered all-terrain vehicles into the unknown where danger lurks around every corner.

Lost World Of Patagonia by Dane Hatchell is an action adventure story complete with man-eating dinosaurs that really did exist at one point. It seemed like the author did his homework on what archaeologists and paleontologists believe dinosaurs looked like, complete with some of them having feathers. It also gets into the idea that mammals may have evolved from lizards. One of my favorite scenes in this book was when the explorers send a drone with a camera attached to explore Patagonia and we get to see the dinosaurs in their natural habitat, If you are into dinosaurs and the science behind their existence this is a good book to pick up.

While Lost World Of Patagonia maybe more science fiction than horror it does have some moments that are pretty terrifying. The book opens with two people running through the wilderness being hunted by dinosaurs. Dane does a great job building suspense as you see these two try to survive in a desperate situation. I don’t want to give anything away, but I loved how the beginning was set up with one character, surviving several cliffhangers. I had figured this character would be the hero of the story but then it goes into a different direction. From the beginning this book had a real anything goes feeling to it.

The action scenes in this book were great and I liked hearing about the dinosaurs, but a lot of the characters came across as one-dimensional. There is a love triangle going on here that had the feel of something out of a bad Syfy channel movie. The way they wrap the love story up made me want to stop reading and the ending to the book was enough to make you yell “what the hell?” I think the story should have spent less time on the characters and more time on the dinosaurs because I didn’t care about these people. Where this book really shines is with the focus on a world that time has forgotten.

Lost World Of Patagonia is a book that starts with a gruesome bang, slows down and then has a crazy ending. I love the concept here, as I was reading I kept thinking it would make a great Science fiction/horror movie. It’s like Jurassic Park but with a lot more detail on the creatures that live in this world. Patagonia is a fascinating place to explore and I’m happy to see that there is a second book available.