FRIGHTENING FLIX BY KBATZ: Penny Dreadful Season 3

Penny Dreadful Season Three a Disappointing Finale

by Kristin Battestella

I loved me some Penny Dreadful. Previously, I watched the First Two seasons twice or more before writing my reviews a few months after I had simmered in the immersion of all things sophisticated Victorian macabre. I re-watched the entire series again when finishing this obviously late review, but Season Three’s still blindsiding finale and haphazard resolution of the series undermines the glorious potential that was yet to be found in Penny Dreadful.

Year Three hits the ground running with some delightful circumstances in “The Day Tennyson Died.” Our quirky little family of evil fighters – Vanessa Ives (Eva Green), Sir Malcolm Murray (Timothy Dalton), Ethan Chandler (Josh Hartnett), Victor Frankenstein (Harry Treadaway), and His Monster (Rory Kinnear) – is scattered about the globe from London to the Old West and Africa to the frozen north. Their townhouse base is shabby with covered furniture and piled mail before the titular solemn and lovely poetic references reconnect old friends with tenderness and sympathy. After all they’ve been through, those in London are allowed to stew and cry – unlike the unforgiving railroad and lawless land of the New Mexico Territory. Though blindingly bright compared to the British bleak, there’s an underlying ominous to the witches and werewolves among the lawmen. Letters from Africa with burials made right also find Chiricahua Indians in the most unlikely Zanzibar alley while faraway frozen trawlers debate cannibalism and melodies remind monsters of when they were men. Famous names face racism at Bedlam as pale minions with anemia excuses lurk. Penny Dreadful has a lot to do but does it with superb conversations, new allies, and bloody vignettes. “Predators Far and Near” adds vintage photography, jurisdiction technicalities, a modified barber’s chair for experimenting on patients, and fear of the gramophone cylinders recording one’s sin. Therapy confessions recount prior indiscretions, but the prescription for godless loneliness is doing something innocent and happy no matter how small. Women debate on light and dark souls while men bond over their love of daughters and a son not birthed to them but bound with their suffering. Talbot family history, ritual chanting, and colorful vision quests counter the sophisticated Victorian science lectures and whimsical memories of adventures the likes of 20,000 Leagues under the Sea. Unfortunately, our dreadfuls are more familiar with lunatics and monsters rather than childhood heroes, with Jekyll and Hyde-esque transformations on crazed victims, deceptively charming courtships, a wise Apache woman reminiscent of the fortune teller in The Wolf Man, and a desert full moon to aide one’s bone cracking escape.

Unholy alliances between witches and the Wolf of God continue in “Good and Evil Braided Be.” Is it the beast or angel, good or evil that’s the real persona? Does the mind create phantoms and demons to explain the darkness and pain? Do you bury the animal inside or unleash it? Between the werewolf curse, divided locales, tug and pull father figures, and hints of Hyde, Penny Dreadful creates superb dual themes alongside several racial moments and of the time derogatory Native American comments. Sophisticated light and dark visuals and good and evil motifs are interwoven against crudeness, triumphing over those who define what’s black and white or right and wrong solely based upon skin tone rather than soul. The audience isn’t hit on the head with the social commentary, but one scene beautifully addresses the sadly still lingering attitudes upfront. New, risky hypnosis techniques further retrace past darkness and despair in Episode Four “A Blade of Grass.” Memories and present offices blur in a dreamy act with current doctors and familiar faces in unexpected places uncovering new revelations of a forgotten padded white room. In camera foregrounds and backgrounds accent the confined or expanded four walls as needed with overhead views, zooms, face to face close ups, and wide angle warped. Finite descriptions of precious few details, amplified sounds, and demon shadows match the kindness of an orderly or the evils that await. Precious blankets are taken away amid growling, crying, straight jackets, and water torture. Can God find you in a place like this or are you alone? Our patient fears the evil within and wants to die over the betrayals and sins committed, yet the tender bonding with her jailer turned poetic advocate provides an unlikely compassion. Whether you can face yourself in the mirror or not, these fugue state manifestations overcome evil with the truth at Christmas in one excellent parable. The least amount of effects, minimal characters, and few locales leave nothing but the emotion and anguish upon their faces. It’s divine, just everything television should be and perhaps the best episode of the entire series.

And then, somehow, Penny Dreadful went to shit.

Series writer and creator John Logan hands Penny Dreadful over to new writers mid season – a maneuver suggesting a viable transition rather than leaving unknowns to resolve your planned finale with rushed characters and compressed stories. Andrew Hinderaker (Pure Genius) pens “This World Is Our Hell” with The West as a barren purgatory full of symbolic multi-layered pursuits on who the righteous should save or whom the evil would kill. Water is scarce among the grave sins and shame worn as redemption; forgiveness versus temptation comes in revealing fireside chats recounting past ambushes and the difficulty of serving multiple masters – fathers, duty, Lucifer. Unfortunately, these lofty topics are undone by nonsensical mysticism. Witches can summon snakes to conveniently wipe out pursuers but cannot heal injured mounts or conjure water and dying people somehow have enough energy for awkward evil sex after days of thirst. The Victorian mad science and desert shootouts jar in an anchor-less back and forth when the confrontations between our converging father figures are more interesting. Lengthy exposition on past horrors feels odd in a series that often shows rather than tells. Why not have an entire Talbot past hour the way “Closer than Sisters” showed us how Penny Dreadful really began? Otherwise the audience is left confused over who’s really at fault for the faithful turning evil. It was Ethan’s dad’s fault for making it the army’s fault who made the Apaches to blame??? Penny Dreadful always had pacing issues and uneven characters, but this Old West excursion could have ditched the dead weight characters and been back to London in half the time. I don’t think it is necessarily Hinderaker and newcomer Krysty Wilson-Cairns’ fault, but “No Beast So Fierce” throws even more at the screen with too many threads regarding who’s evil or who’s the law amid busy shootouts, vampire minions, Bedlam serums, how to kill a man tutorials, Egyptian wonders unrealized, and new steampunk introductions. What’s supposed to be important – monsters being kind to sick children or sassy sword wielding new characters? If the key to defeating evil is holding fast to loved ones, why has our family been apart all season? Perhaps one writer should have been responsible for one set of characters the entire year, as Dracula’s apparently content to wait out the cowboy adventure while other isolated and aimless immortal plans go round and round and pull Penny Dreadful apart at the seams.

Penny Dreadful has an innate melancholy – cemeteries, grave digging, mourning shrouds – but the dark romance is used for unnecessary preachy in “Ebb Tide.” Separated characters finally meet, but one knock on the door and a brief scene reconciling the past and present is not enough. Friends that could fill this empty manor and fight the bloodshed are pushed away while our team in the West doesn’t heed ancestral warnings. Despite insisting London is home, characters remain obstinate just for the sake of creating drama, leading to contrived betrayals and more speeches begging for the fast forward button. Touching conversations on who will bury whom are interwoven with weaker plots, straying from the core and repeating exposition we already know. Visions unite players who have been apart but such mystic conversations and wisdom on rescuing one another from darkness should have happened much sooner – two episodes ago, nobody cared. Krysty Wilson-Cairns writes the quick at forty-three minutes “Perpetual Night,” and it’s the shortest episode of Penny Dreadful when the series desperately needed more time. The boys rush back to Londontown amid foggy cityscapes, morbid voiceovers, tasty frogs multiplying, and rats amok. Dead wolves and toothy minions everywhere require swift blade work and fireplace pokers to stave off vampire infections – but no one thought to call Dr. Frankenstein away from Bedlam’s dungeon when people are said to be dying by the thousands? Penny Dreadful bites off more than it can chew, takes too long to achieve what matters, and spits out the excess when there’s no time left. Ironically, the “The Blessed Dark” finale also delays, saving choice moments with its stars rather than going full tilt with the dream hazy, bodies on hooks, and bats as sad lullabies over the special credits recap the sad state of our separate characters. It’s very exciting to see the reunions and werewolves fighting vampires in true monster mash up fashion as it should be – Dr. Jekyll passes by as Dr. Seward hypnotizes Renfield! As a season finale, this hour provides closing moments on some toiling plots. However, as a series finale, it barely resolves anything. Brief mentions on her destiny, his destiny, and previous prophecies don’t make sense anymore, and Victor literally bumps into the gang at Bedlam. The team is together again by accident! Major moments with his monsters earn one scene each, and none of those super strong immortals join the End of the DaysTM battle. Instead, bad ass walking down the street filler and a few ridiculously outnumbered pistols struggle with conveniently confusing action choreography. Bitter ties to the First Season become unrealized tangents, and new characters are inexplicably more steadfast than our original crew. Four episodes ago, life was worth fighting for but now isolated characters give up because the script says they should in a one hundred and eighty degree turn that’s painful to see end this way.

Vanessa Ives begins alone, a recluse living in squalor before rising thanks to words and wits with her therapist. Eva Green’s heroine cleans up and humbly restores the manor. Despite losing her faith, Vanessa is inspired by Joan of Arc’s confidence and says she will remain resolute. Oddly, she doesn’t seem as psychic or intuitive anymore and fails to recognize evil tendencies she previously pegged so astutely. It’s sad to see Vanessa open herself, revisiting innocent things that make her happy or having a man’s company once again end in terror. She’s willingly hypnotized to face her repressed psychiatry treatment, addressing her past doubts, regrets, and battles with Lucifer. “A Blade of Grass” shows her at rock bottom before a ray of hope and renewed prayers – if you believe in evil, then you must believe God is there to defeat it. Unfortunately, Penny Dreadful squanders the Lucifer issues, fast tracks Dracula, and circumvents Vanessa’s body and soul versus the fallen brothers with a past event cheating viewers out of a current victory. Vanessa can sense and see Kaetenay when the plot says so, but her lack of psychosexual possession and failed insights inexplicably have her give up despite knowing overdue help is on the way. Green saves this sloppy writing and deserved more hardware for Penny Dreadful. I don’t blame her if she recognized the tone had changed and was ready to depart. The series could have continued in searching for an evil Vanessa as an absent lead a la Blake’s 7 rather than two scenes with bad girl red eye shadow trying to make up for rushing to resolve Vanessa’s story. Josh Hartnett’s Ethan “Lawrence Talbot” Chandler is also not only reluctant to see his real father, but he’s angry at being adopted as Kaetenay’s Apache son. Ethan knows there is blood on his teeth and his soul deserving of punishment and wears his guilt on his sleeve. Unfortunately, his history comes from three different sources – so for all this New Mexico excursion, we don’t get a clear picture. The Wolf of God also spends about fifteen minutes being evil, standing up for Hecate over Malcolm because he won’t repent and belongs in hell. Ethan speaks evil prayers at the dinner table, but isn’t this the guy who’s Latin single-handedly exorcised Vanessa? His reciting of the Lord’s Prayer in the finale feels hollow thanks to his satanic reversal just a few episodes earlier. Was Ethan’s western escapade and Vanessa’s evil each meant to be it’s own season storyline? They both have a scene or two of darkness, and one moment in the finale doesn’t make up for Ethan’s back and forth. Meanwhile, Sarah Greene as Hecate travels in white, an unassuming Gibson girl who loves horses and animals but loathes people. She wants to be evil beside Ethan, but her powers are both handy or nonsense as needed. Hecate kills unnecessary to teach him a lesson and lingers too long in this uneven capacity – crowding an already busy Penny Dreadful while not being a character in her own right. The English Sean Glider (Hornblower) may be an unusual choice as a U.S. Marshall, but his crusty ways balance the British tidiness of Douglas Hodge as Inspector Rusk as they pursue Our Mr. Talbot. Rusk may ask for tea in the bar car and insist Scotland Yard Inspectors do not carry firearms, but he doesn’t underestimate the ruthless West. He begins to believe the Occult upon his case and does take up more violence as the blood on their path increases – before a thankless end, of course.

The beard is back for Timothy Dalton as Sir Malcolm, and even if he doesn’t know all the details, he’s ready to respect Wes Studi’s (Geronimo: An American Legend) Chiricahua Kaetenay if it will help save Ethan. Like an oasis in white in the mostly unlikely place, it’s wonderful when Malcolm and Ethan finally meet up for some shootout action. However, Malcolm really doesn’t have a whole lot to do this season beyond listening to Kaetenay. Most of his dialogue is responsive filler, and even before the surprise series finale, I suspected Dalton would not be returning for Season Four. You don’t keep a talented name without giving him quality writing, and Malcolm ends up repeating the same plot. Chasing after lost lamb Ethan, fighting a vampire to rescue Vanessa – he’s again saving his family even as his travels keep him from his home and any relationship with Victor. Malcolm could have returned to London post-Africa, maybe to meet Catriona sooner or dislike Dr. Sweet, as it’s a disservice to reduce him to little more than Kaetenay’s sidekick. That said, yes please to more of Studi’s set in his ways Apache. He still scalps because old habits die hard, but he doesn’t drink and believes one can’t die until his purpose is served. Granted, Penny Dreadful is trading the mystical negro trope for the mystical Apache stereotype, but the moonlight visions and enigmatic destiny talk tie the blood, suffering, and wolves together. Kaetenay pushes on after Ethan no matter what – he and his people have endured much but he’s prepared to face this darkness over London. There should have been more time for his revelations, and Penny Dreadful only makes use of Kaetenay when needed. It takes seven episodes for Ethan to heed his warnings about what is to come, and he should have mystically connected with Vanessa from the start. As Ethan’s father, Brian Cox (Coriolanus) also has some great one on one’s with Malcolm. They are wonderfully alike, right down to the conquest map on Jared Talbot’s wall, the mountains named after him, and an empty home as the cost. However, a boat load of family history that Ethan already knows is repeatedly told rather than seen, leaving Talbot Senior unevenly written with sorrowful or crazed exposition amid one gunshot and stand off after another. Had we seen the first terrible shootout that has him so angry, then this second battle in his ranch chapel would have had much more meaning. Kaetenay provided connecting visions when necessary, so why not have some kind of mystic Talbot dream that showed the betrayals and horrors causing all this pain?

Fortunately, Rory Kinnear’s Creature aka Caliban aka John Clare has some superb redemption on Penny Dreadful. He won’t harm a dying cabin boy, recalls more about who he was, and realizes who he may yet be after touching moments in the Fourth and Fifth episodes showing his life before his death and resurrection. He is again at the window or in the eaves, on the outside peering in on those that think he is dead. The Creature risks rejection and reaches out despite the pain, blossoming from being an angry violent child to almost the man he used to be. His resurrection allows Caliban to find his family – only to loose it again thanks to innocence versus the unnatural. This season, Clare is almost totally separate from everyone else, alone on this sympathetic journey beyond too brief moments with Vanessa, erroneously on the fringe without even seeing Dr. Frankenstein. He may piece together his past, but not enough was done with the connection between Vanessa and the Creature. She recognizes him, but not him her, and Penny Dreadful cops out by resolving their past in a flashback. Again, just because we the audience saw it does not mean the characters themselves received any current resolution. Why didn’t Caliban ever knock on Malcolm’s door? He would have been welcome in this misfit family dang nabbit! Reeve Carney’s Dorian Gray and Billie Piper’s Brona cum Lily Frankenstein, however, should have stayed home. By his very nature, Dorian is a supporting character that never changes. They aren’t missed when absent but Penny Dreadful uses him and Lily to shoehorn in some kind of modern feminism vengeance that goes nowhere fast with repetitive, ad nauseam speeches. Whether it is justified man hate or not, the appearance of Jessica Barden (The End of the F***ing World) as Justine perhaps a la the de Sade wastes time with back alley torture, nudity, and bloody threesomes. The warped justice is all over the place with even less to do Dorian getting stabbed for funsies before he gets bored from having seen such depravity already. Episodes grind to a halt with their round and round male behavior psychoanalysis, briefly tossing in suffragettes and violence that makes them just as bad as the abusers from who they claim to rescue women. Penny Dreadful has done better psychosexual themes, and compared to Caliban’s soul searching, Lily realizes her humanity too late in one great soliloquy that should happened the moment she was reborn, and Ethan never finds out Brona has been resurrected!!!!

Harry Treadaway’s junkie Victor Frankenstein becomes a mopey little piss ant bent on proving his superior science can conquer death, and he arrogantly thinks he can perfect on Jekyll’s methods. Maybe there’s a parallel between his wanting to create angels instead of monsters and Lily’s superior woman army, but their uneven storylines barely intersect beyond a few redundant stalker scenes and never factor into other plots. Victor goes about getting Lily back in the worst way possible, becoming like his originally angry Creature in a fitting poetic justice. He’s deluded in thinking Lily owes him anything, and it should be a great destructive character arc. However, rather than having him freaking call on Vanessa while they are both in London twiddling their thumbs, Penny Dreadful treats Frankenstein as an afterthought before one last lesson on how to be a human rather than the monster. One poetic voiceover from Victor such as, “Sir Malcolm, I hesitate to confess it now, but I must inform you I have a singular talent for defeating death as we know it…” could have ended Penny Dreadful in a uniquely twisted vein. Sadder still is that Shazad Latif (Mi-5) as Dr. Jekyll somehow turns into a handing Victor the scalpel lackey. He has history with Dr. F. – roommates and dare I say something more – and faces much “half breed” Victorian racism. Jekyll despises his white father but wants his acclaim and title to help prove his serum on anger and duality. Simply put, there is no way he was intended as a throwaway character and we deserved to know him more. Although scheduling conflicts necessitated the departure of Simon Russell Beale as Mr. Lyle, his being written off as going on assignment to Egypt just begs to be told! Did everyone forget all the prophecies on Amunet and Lucifer or the hieroglyphics carved onto the vampire bodies? Of all the friends still about London who never bother to visit, it’s Lyle who draws Vanessa out and into therapy because thanks to his closeted sexuality, he understands what it is like to be unique and alone. Of course, he might have mentioned Perdita Weeks’ (The Tudors) thanatologist Catriona Hartdegen when they were studying all that Fallen Angel and Mother of Evil stuff. She’s a woman of occult science fencing and wearing pants who doesn’t blink at the thought of Dracula being in London. Her one on one scenes with Vanessa are well done with possible replacement or lover vibes, “It’s ‘Cat’ for you, as in cat o’ nine tails.’” Wink! She calls Malcolm “Sir M” and I would have liked to see more of them together, but Catriona’s style provides a steampunk cum The Time Machine and albeit meaningless potential. Her cool fighting skills are ultimately convenient and inexplicable – if we weren’t going to learn more then all these superfluous characters should have never been introduced.

We are however given some divine new characters with Patti LuPone returning to Penny Dreadful as Dr. Florence Seward – an alienist said to have distant Clayton ancestry due to her resemblance to LuPone’s previous cut-wife role. Though rigid and progressive, Seward is there to heal the ill, who aren’t bad or unworthy, just ill. She calls out every politeness or mannerism, pegging Vanessa’s loss, isolation, and depression in delicious two-hander scenes with award worthy dialogue and delivery. A moving session recounting Vanessa’s tale, however, makes the doctor strike up a cigarette. She refuses to believe the paranormal causes or that vampires are after her patient, but she does understand pain and has some murderous history of her own. Samuel Barnett’s (Dirk Gently’s Holistic Detective Agency) seemingly innocent Renfield is Dr. Seward’s secretary, but his red light district cruising leads to bloody encounters and insect snacks. Where Penny Dreadful initially had to dance around the Stoker limitations, these superb character interpretations deserved more than this season’s rushed attention. Christian Camargo (Dexter) as zoologist and charming widower Alexander Sweet is a man smitten using rapid fire science references to woo Vanessa, but his reveal as Dracula is too darn early. This romance seemed so happy and Sweet is almost empathetic, but evil lurks in the House of Mirrors of all places! He doesn’t want Vanessa’s submission, just to be seduced by she, the Mother of Evil and serve her. Sadly, unraveling toppers instead go unresolved. After admitting he was directly responsible for Mina’s demise and all of Season One, Penny Dreadful lets Dracula exit stage right and we aren’t supposed to notice? What is worth noticing are the trains, dime western action, and steampunky flair alongside our usual penny blood, gore, buzzing flies, broken necks, and bat silhouettes. The cobwebbed and boarded manor opens the windows and clears the dust as the camera focuses on the period touches – vintage motion picture cameras, spectacles, brandy decanters, nibs, and ledgers contrast the hay, canteens, wagons, saw dust, and Native American motifs. The fashions are a little more modern, but the museums, taxidermy, skeletons, and specimens in jars invoke Victorian sciences amid the carriages, cobblestone, and tolling bells. Although some CGI backgrounds are apparent with a foreground actor and fakery behind, the desert vistas, mountains, and ranch compounds create bright lighting schemes to contrast the British grays, developing a unique style like nothing else on television.

Unfortunately, with NBC’s Dracula long gone, Crimson Peak’s less than stellar box office, and Penny lost too soon, the promise of more Victorian horror and a new dark romanticism appears short-lived. Whether the cast or Logan wanted to depart or Showtime disliked the production expenses, something behind the scenes was the final nail in Penny Dreadful‘s coffin. The two hour finale burned off the last episodes yet advertising promoting the event as a season finale later backtracked with the series’ fate. More merchandising opportunities never seemed capitalized upon, and there was little award campaigning. Having had Season One available on other streaming platforms might have helped the show find more audiences, however Penny Dreadful wasn’t available on Netflix until after its cancellation in a tidy Three Season binge package. The series’ props have been auctioned off, so it appears no one shopped Penny Dreadful to any other networks. Call me a conspiracy theorist, but in late 2015 while this Third Year was filming was also when Tom Cruise swept in to take over The Mummy and start Universal’s highly anticipated but ultimately D.O.A. Dark Universe monster revival. Did somebody squash the competition? Maybe it isn’t as simple as that, but I will always be skeptical of Logan and Showtime’s he said/she said claiming that this was always how Penny Dreadful was supposed to end. With new locales and more colorful literary characters among our beloved team, why couldn’t Penny Dreadful sustain itself? Previously, one could overlook any small inconsistencies because the sophisticated scares and morose design far outweighed any negatives. This season, however, becomes a chore to continue and is best left at Episode Four. After finishing Dexter and losing interest in Homeland and Ray Donovan, we’ve canceled our Showtime subscription since Penny is no more. There were other ways to do Penny Dreadful justice than this, well, what seems like internal sabotage, but gothic viewers shouldn’t let this rushed Season Three dampen what has otherwise been a stellar and macabre program.

Advertisements

Classic Horror Summer Reading – A Video Recommendation

 

Hello, Horror Addicts! Kristin Battestella aka Kbatz here again on video, braving the sunshine poolside to chat about why you should be revisiting some Classic Horror Reads this Summer!

 

Press play for some thoughts on Dracula, Anne Rice, Shakespeare, Stephen King, The Bronte Sisters, and more!

Don’t forget you can be part of the conversation – By Horror Addicts, for Horror Addicts! – on our Facebook Group. Tell us what kind of videos, media, and Horror coverage you’d like to see and what scary stories you’re reading!

FRIGHTENING FLIX BY KBATZ: Friday the 13th The Series Season Three

Friday the 13th: The Series Loses Steam in Season 3

by Kristin Battestella

The 1989-90 final twenty episode leg of Friday the 13th: The Series sputters as Micki Foster (Louise Robey) and Jack Marshak (Chris Wiggins) continue to retrieve cursed objects sold from the Curious Goods shop. Ryan Dallion (John D. LeMay), however, can no longer confront the evils they face, and Johnny Ventura (Steve Monarque) doesn’t fully comprehend the magical wrong doings of their terrible quarry.

Crosses, Madonna statues, religious paintings, and church festivals create Old World feeling in “The Prophecies Parts 1 and 2” as Jack is off to France claiming he’s researching spiritual phenomena – which isn’t that far from the truth. Creepy long nails, sharp teeth, evil eyes, and demonic voices accent 3:33 a.m. bells, prayers, and eponymous readings as priests cross themselves against possession, hell hounds, and evil tomes. If Lucifer can do his work in a holy place, what hope is there for the rest of us? Family reunions are bittersweet between miraculous visions, foretold fallen angels, and whispers of demons wanting a soul. Frightful falls, a pilgrimage blasphemed, scripture versus scripture – is the faith of a child enough to trap this evil in the protected Curious Goods vault? Though the good gone bad themes feel rushed in the second part, fiery thunderstorms and disturbing violence set off the big terrors for this opening twist. Upsetting injuries, gang violence, and shocking car accidents continue in “Crippled Inside.” It’s difficult to cope with the wheelchair bound result – until an antique pushchair provides some healing astral projection and gory doppelganger payback. What’s a little acid or a short walk off a tall building among rapists? This dilemma on an cursed quarry’s justified usage happens almost without the regular trio, establishing a pattern this season where our collectors are excused away or stumble onto the curio after an otherwise anthology style tale. Gross boils and a bloody hearing aid worming its way deeper anchor “Stick It In Your Ear” alongside magic tricks, blindfolds, guessing game schemes, and the ability to hear people’s thoughts. Camera revelations, scary editing, and vivid sounds make the audience fear this evil little amplifier! Had Friday the 13th continued, it would have been neat to see one elusive object reappear each season, and the standout “Bad Penny” revisits the ominous coin from Season Two’s “Tails I Live, Heads You Die.” The piece is found in the rubble with a skeleton or two alongside cops in the back alley, informant prostitutes, laundered briefcases, and shootouts. Jack and Micki are understandably upset to battle this piece again, and tender moments come between mistakes, conflicts, trauma, and car chases as a cop raises the wrong ghoulish person from the dead with dark magic he doesn’t understand.

Whoopsie, a car radio is sold from Curious Goods without checking if it is on the evil manifest while vintage automobiles, confederate flags, and redneck racism set the tone for “Hate On Your Dial.” Our villains were already nasty before the sale, using derogatory terms and shooting at children for funsies, and such murderous blood on the dashboard is a time travel catalyst for a black and white Mississippi trip. Again the social statements are mostly developed without the series stars, and the fictitious fears wrapped in real world horror is somewhat uneven thanks to the back and forth editing between the color present and the black and white past. The appalling racism issues, however, are both dated yet still relevantly disturbing. The eighties may have been thirty-five years from this past depiction, but we aren’t much better in the near thirty years since. More silver screen clips and vintage film reels provide a fallen Old Hollywood glitz in “Femme Fatale” as an aging actress’s screenwriter husband tosses young starlets into his cursed print. How many pretty face fatalities will it take for his wife’s young onscreen self to permanently exit the frame? The eighties does forties mood goes all out with film within a film classic movie retrospectives on lost youth and escapist ingenues willing to do anything to be in pictures. Samurai swords and family honor bring the 1945 Tokyo start of “Year of the Monkey” full circle with sensei instruction, a poisonous tea set, and our trio on the trail of some creepy little see no evil, hear no evil, speak no evil monkey statues. As is often the case, the Japanese motifs are slightly cliché exotic with calligraphy, rice paper screens, and guest Tia Carrere (Wayne’s World). Fortunately, the generational lessons and revenge mysticism prove themselves with each statue testing the telepathy, teleportation, and ritual suicide for a promised immortality. Satin lined coffins, somber organs, and Polaroids for the company scrapbook open “Epitaph For a Lonely Soul” between fluids, tubes, classical music, and some sherry while working on the gory wounds and ghoulish purple tissues. Vintage embalming equipment can reanimate bodies, and the candles, grave digging, and undressed corpses suggest a twisted desecration. Memories, decomposition, and the trauma of life renewed hold the undead pretty captive – and Micki may be next for our lonely mortician.

Perilous kids and dogs are quite graphic with very little for “Repetition” and the missing posters, confessionals, and hidden bodies add to the immediate guilt and personal dilemmas caused by a life trapping cameo necklace. Ghostly echoes and desperate kills repeat this swapping cycle as drinking and homeless shelters crisscross over dead mothers and fatal trades. Ironically, Micki isn’t even pursuing the locket and Curious Goods merely bookends the hour. Despite a reversed episode listing order, The Complete TV Series DVD Set has “Spirit of Television” next complete with swanky parties, thunderstorms, seances, and a madame calling on the deceased through a suspect vintage television. Unfortunately, the seemingly happy chats with the departed are followed by upset ghosts, and the subsequent blown up boob tubes and electrocutions in the bathtub renew our madame’s youth. The fantastic conduit, static white noise, and spooky nostalgia accent the psychic fraud as the team must both debunk and retrieve the cursed set – doing what Friday the 13th should with this supernatural late season redeemer. Likewise, the poolside bullies and strong arming of “Jack-in-the-Box” lead to floating bodies and one of Micki’s friends among the deceased. The surviving daughter acts out and rightfully slams the adults responsible. However, the titular toy turns her innocence and grief into vengeance. Drowning in alcoholism parallels set off the ghostly visits and fatal vignettes, but our curio trio can’t endorse this creative revenge no matter how justified. Ancient Gaelic languages, candles, charms, and oak trees open the 1984 prologue for “The Tree of Life,” but when a husband objects to this so-called mumbo jumbo as part of the prenatal regime, these druids cum nurses keep the baby. A present pregnant couple shopping for dolls at Curious Goods is also scheduled at this rigid clinic, and our collectors involve themselves in this sisterhood of spells and solstice sacrifices. Too bad Last Season’s white versus dark coven rivalries weren’t tied in among the disagreeing team and women versus women cult extremes. A shady professor also tells his female students to get in touch with their dark side in the series finale “The Charnel Pit,” and the blindfolded nightcaps lead to a two-sided, time traveling painting said to be done by the Marquis de Sade in blood. Torture, shackles, and a little loving pain leave Micki trapped in the eighteenth century disguised as a duchess and writing of her alluring predicament with Mr. MdS. The boys, meanwhile, must figure out which of the painting’s victims are from the past by looking for a lack of dental work. Fancy dressings add to the courtly facade, dungeon gallery, and willfully sinister charm, for after all, one learns a person’s true colors with a whip. Fortunately, there’s just enough room for one more cursed antique in the vault.

Friday the 13th’s previous two seasons certainly had some duds, and there aren’t as many super bad clunkers in this shortened year. Most of these episodes are okay or decent, but no one really puts everything totally together to zing like the memorable years prior. Dated surveillance equipment and Aliens wannabe trackers in “Demon Hunter” are hammy early with hokey moonlight silhouettes and more Predator commando knockoffs. Power outages at Curious Goods, a museum returning a sacrificial dagger, and further dark secrets hidden beneath the vault that could have been explored more are shoehorned in like an A/B plot behind the laughable family vengeance meets monster puppet, and R.G. Armstrong’s annual Uncle Lewis appearance is sorely missed this year. The series also randomly plays with inconsistent time travel and flashback aspects with one episode’s flashbacks in black and white but another time travel hour in color. Rather than previous innovative technical attempts, the style doesn’t seem to matter. We also never spend enough time at Curious Goods, and “Midnight Riders” has our team star gazing while teens necking in a nearby car are accosted by a try hard phantom gang and local Sleepy Hollow biker legends. A ghoulish headless biker reattachment can’t save this one – oh, and Jack’s mysterious sea captain dad not seen in ten years is somehow in this backwoods on top of those annoying teens who, it turns out, are siblings! o_O A late night swimming pool in “The Long Road Home” is also an excuse for a juicy underwater lip lock between Micki and Johnny amid storm warnings, terrible flirting, and a tacked on yin yang charm with body transferring properties. Highway diners, cliché taxidermy, and country killers can be found elsewhere in horror, and Friday the 13th strays from its virtue once the protagonists use the evil object and its hammy body swaps when it suits them. The trio is actually more present and capable than usual in deducing the preposterous selfishness in “My Wife as a Dog” when a miraculous leash helps a whiny fireman make his ailing dog and soon to be ex-wife one and the same. Curious Goods being cited for not being up to fire code is the better story, and this is an unlikable, perverse little episode with major mixed messages on making your woman a bitch and moving your dog into the bedroom. Again, O_o

Our Micki may get groceries or stay at home and research, however she also continues on a case without Jack or Ryan and it is dumb to have her repeatedly call Johnny for unnecessary help when we’ve seen her face plenty of evil on her own. It’s also surprising she would let a man follow and attack her just to get an object – as if, not that it is her only plan, but rather just the best the writers could do. Micki is either the lovely victim or referred to as minding the store and doesn’t always have very much to do either way. “Bad Penny” has Jack give the past exposition rather than show Micki speaking about the experience herself, although she’s right to be afraid of dying in this fight against evil. The trio is also closer to the terror and within the investigation sooner for “Mightier Than the Sword” thanks to execution protests, pardons, and a pen that lets the author write what the guilty party will do while he gets the subsequent crime writer exclusives and literary glory. Jokes about word processors versus the good old pen and paper write themselves amid nom de plumes and slashers who don’t remember their fatal deeds. Unfortunately, Micki struggles to resist the scripted urge and uses a discreet straight razor to scratch her new murderous itch. She’s briefly smitten by a vampire again, trapped in a gangster movie, and sucked into a hellish painting for some 1790 saucy, too. There are consequences and nightmares as a result, but it’s understandable to see Micki snap – wouldn’t we all? Despite a brief Roxette mohawk meets I Love Lucy updo, one of those fake ponytail braids a la Madonna, and some lovely baroque feathers and period frocks; most of the time Micki’s style is maturely toned down with more nineties turtlenecks and business blazers. By the end of the season, she is once again independently strong, breaking in places and confronting people rather than letting these evils continue.

Once again, Jack’s continental battles have one wondering what Friday the 13th would have been like with him alone on the evil relic hunt. We don’t even get to see it when he’s said to be off recovering the Shard of Medusa from Year Two! The devil punishes him for all his good works, but Jack officially becomes part owner of Curious Goods on paper nonetheless. He’s the reluctant treasurer of the Antiques Association, too, but doesn’t like having its swanky party at the store when the other snobby dealers belittle his occult focus. Jack takes the lead in most cases, researching all aspects and utilizing his magic act connections or Druid knowledge. He also looks more nineties suave in more suit styles rather than his somewhat quirky trench coat and hat. Jack’s there for Micki as a fatherly shoulder, telling her to not let evil defeat her and even getting harsh with her when he has to be. He brings Micki food when she’s on a stakeout, too – even if that’s more about delivering some exposition. Jack waxes on good, evil, the gray between, and how their job never seems to get any easier in “Night Prey” thanks back alley bites, impromptu stakings, and one killer crucifix. Granted, some strobe effects are hokey, however those vampires floating outside the church’s stained class windows are eerily effective. If the show insisted on branching out from the object of the week format, it could have been cool to see Jack team up with such vampire hunters more often. This lone wolf monster vendetta with misused medieval relics feels like a rare Jack-centric episode, but the team is two steps behind as usual and Jack dictates information just as much as he gets in on the conflicted action. He admits that in their line of work, doing the right thing can be a little too weird sometimes, and Jack gets caught in the middle with twisted romance, then shocking innuendo, and murdered priests. It’s 1990 but these vamps are pretty indiscriminate on who they bite.

Unfortunately, Ryan is clearly over all the death in his life, and close to home battles versus Lucifer interfere with a new chance to bond with the mother who abandoned him. Seriously, how do you explain this line of work to mom? Demonic corruption, violence that can’t be undone, guilt, and final heroics send the character off in an eerie and unique, if far fetched exit. It’s at once cathartic to see innocence win in a series where evil can’t always be defeated, however, continuing Friday the 13th with two thirds of the regulars and a tacked on pal shifts the show’s dynamic considerably. Johnny Ventura suddenly becomes Micki’s sounding board but he feels more like an intrusion rather than helpful. The hood from a few episodes last season is now supposedly the hero as if a stranger dropped in with no explanation when the series had other opportunities to involve better mystical support. Whether Johnny stays at the store or has his own car is inconsistent depending on if he is called for a lame reason or if his wheels are part of the plot. He remains a non-believer in the paranormal even as Jack tells him to make himself useful and warns Johnny to take these dangerous curios seriously. Johnny can’t retrieve an object alone nor mind the store without selling the wrong item, and takes an ax to an indestructible evil object when not trying to use the evil for himself. For being the young muscle, he gets knocked out a lot, too. Johnny does write fiction by getting ideas from the tabloids – which Jack calls rubbish even though earlier in the series he said the rags were the best place for tips. They discourage him from writing about the store, but an underground publication angle might have been neat instead of pushing this new character at the expense of the others when Jack and Micki get on as a duo just fine. Thankfully, Johnny is put to use climbing outside to adjust the television antenna. Heck, Jill Hennessy (Law and Order) pops up three times as a sultry vampire, snotty secretary, and a lifeguard. She could have kept around as an undercover regular disguised per antique.

Orange lighting, distorted bells, white out eyes, and wolves leaping through windows keep up the horror intensity alongside foggy cemeteries, stone crypts, religious iconography, fires, and red devils with the horns to match the ghoulish skeletons, gory flesh, and melting oozes. Underground tombs, torches, demon altars, rune manuscripts written in blood, and pentagrams beneath the vault help make Curious Goods by lantern light even creepier, and there’s a stained couch with a body in the pullout cushion! Mirrors assure those vampires have no reflection, there’s holy water on the shelves at Curious Goods, and the store’s business cards give its address as 666 Druid Avenue. Hearts pounding and distorted camera angles set off veiny prosthetic gore even if the period flashbacks and foreign locales are slightly under budget old looking. Fortunately, the retro designs make the most of the horror effects, building that patina mood with frock coats and frilly collars for some provincial time travel or green lighting, cigarettes, and noir styling for the vampire nightclub. The swanky cars, station wagons, mothers in sweaters and pearls, and thirty year old high schoolers with bad perms keep the nostalgia in the forefront, compensating for reused sets and locations or that same Tudor house used for everything. The early computer snooping is also somewhat fake. You couldn’t just type in a name on blank screen and get clues back in the day! What do they think this is, Google? This was the era of phone booths when folks still had black and white televisions, and Friday the 13th gets then edgy by using ‘bitch’ a lot – although such grit feels hollow when wearing those big eighties blazers and tiny bolero ties. Men in tight jeans, long scarves, duster trench coats, and mullets isn’t so timeless nor are the seriously purple eighties mod bathrooms with black fixtures and bloody bathtubs. Of course, rather than due to any letdown in syndication popularity, Friday the 13th: The Series was canceled at a time when sponsors and advertising were swayed by complaints on television violence and how far shows could push the envelope in prime time. In retrospect, it’s an ironic end knowing everything seen here is almost friendly fair compared to the excessive shocks across all the television viewing platforms today.

Season Three strays from the Friday the 13th formula as cast changes and a larger focus on plots of the week loose the ability to fully capitalize on the spooky ideas presented. Fortunately, enough late hour gems keep these terrible little tchotchkes entertaining for old school horror audiences and series completists.

Author Interviews at The Mount Holly Book Fair Part 1

Vampires, Magic, and Steampunk!

 

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 Brian McKinley chats about his Ancient Blood series, vampires past and present, psychological horror, thrillers, Hitchcock, and zombies. For more visit http://www.brianmckinleyauthor.com/

 

 

Author Char Webster talks about her Gifted Series and The Runes Universe, paranormal, magic powers, and marketing. For more visit http://www.charwebsterauthor.com/

 

 

Author Christine Norris talks about her Athena series, Middle Grade Fantasy, mythology, Young Adult versus New Adult, Magic, and Steampunk. For more visit https://www.facebook.com/AuthorChristineNorris

 

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!

Black History Month: L.A. Bank’s Bad Ass Black Vampire Slayer

Why television needs Damali Richards, L.A. Bank’s Bad Ass Black Vampire Slayer

by Sumiko Saulson

If someone were to ask me what horror by a black female author was most likely to wind up as a television series, I would say without a doubt, L.A. Bank’s Vampire Huntress Legend series. This extremely well-written paranormal suspense series combines elements of gritty urban fantasy and paranormal romance with outright, edge-of-your-seat, bloody, gory horror. If you like shows like Supernatural, Grimm, Buffy the Vampire Slayer, Angel, The Vampire Diaries, The Originals, and Sleepy Hollow, you would probably love the Vampire Huntress Legend series, and if they made a television show out of it, you’d probably be instantly addicted.

The series revolves around Damali Richards, a young black woman whose main goal in life is to succeed as a musical artist. That’s until she discovers that she’s a Neteru, a vampire slayer, whose destiny is to defend humanity from creatures most still believe to be mythological fiction. In the first book of the series, Minion (2003), Damali is a rising star on a hip hop label with the enigmatic name Warriors of Light. Strange attacks against artists on the label and its rival, Blood Music, lead her into a mysterious web of intrigue. She learns that a group of rogue vampires are behind the attacks.

Leslie Esdaile Banks, the author behind the series, wrote it under the pen name L.A. Banks to distinguish it from her voluminous collection of primarily romance novels. The gritty tone of the Vampire Huntress series distinguishes it from those romances. However, some people may consider the series paranormal romance. Carlos Rivera, a Latino drug lord turned vampire, soon emerges as Damali’s love interest. He spends the first few novels pursuing her. While some might consider the romance central, most consider it secondary, like Buffy’s romance with Angel on the Buffy the Vampire Hunter television series. Like Buffy, Damali is clearly the star. This is her universe, and the rest of the character’s interactions center around her.

L.A. Banks died on August 2, 2011 of adrenal cancer at the relatively young age of 51. During her slightly more than half a decade on the planet, she created an impressive body of work, which includes close to fifty novels and novels, including the thirteen books in the Vampire Huntress Legend series.

The books are Minion (2003), The Awakening (2004), The Hunted (2004), The Bitten (2005), The Forbidden (2005), The Damned (trade paperback), The Forsaken (trade paperback) (2006), The Wicked (2007), The Cursed (trade paperback) (2007), The Darkness (2008), The Shadows (2008), The Thirteenth (2009), and a spin-off, The Shadow Walker: A Neteru Academy Novel (2010) . Thirteen books are quiet enough to keep any television producer busy for many seasons. She wrote all thirteen of the novels between 2003 and 2010. Fans like me were shocked to learn of her cancer diagnosis and devastated by her death shortly after. We were all expecting to see many more of these books by the marvelously talented Leslie Esdaile Banks. Although she isn’t here to see it, I think it is imperative that the world adapt her novel series for television immediately.

Some may think that the world isn’t ready for a vampire slayer series that features a twenty-something black female rapper as its star, and a thug as her Latino lover. I beg to differ. The success of supernatural television serials like The Originals and Sleepy Hollow, which feature prominent black characters, shows that the world is read for the Damali Richards Chronicles, or Neteru, or whatever they are going to call this television show when someone clever finally pitches it and gets it greenlighted.

How fascinated are people with Black Panther? How many people watch American Horror Story just so they can check out whatever characters Angela Basset and Gabourey Sidibe, are playing this season? How fast did Sleepy Hollow tank when they made it all about boring Ichabod Crane and his wife, denying that Abbie and Jenny Mills were the heart of the show? How many people would stop watching The Walking Dead if there were no Michonne? Why are there so many The Vampire Diaries Bonnie Bennett spin-off novels? It’s because strong black heroines sell.

Television desperately needs Damali. Can you see it? Empire meets The Originals.  It would be legendary.

If you are reading this article and you work in Hollywood in any way, shape or form, run out and immediately pick up the Vampire Huntress Legend series. You owe it to yourself, the black community, and America to make this a thing.

********

 About the Author: Sumiko Saulson is Sumiko Saulson is a horror, sci-fi and dark fantasy writer, winner of the StokerCon Scholarship from Hell and 2nd Place Carry the Light Sci-Fi Short Story Award. Born to African-American and Russian-Jewish parents, she is a native Californian and has spent most of her adult life in the Bay Area. She ranked 6th place in the Next Great Horror Writer Contest.

New Release: Dusk’s Warriors by Emerian Rich

HorrorAddicts.net Press is happy to announce the new vampire publication, Dusk’s Warriors by Emerian Rich

Heaven has opened up and welcomed the vampires of Night’s Knights into a new reality. As they struggle to find their place in their new world, trouble brews on Earth.

Demon servant, Ridge, is causing havoc by gathering up all the souls on Earth that have been touched by immortality. When he injures one of the Night’s Knights crew, he launches a war between the vampires of Heaven, the Big Bad in Hell, and a mortal street gang of vigilante misfits.

Will Julien, Markham, and Reidar be able to defeat the evil that’s returned, or will they once again need Jespa’s help?

Praise for Dusk’s Warriors:

“All hail, the queen of Night’s Knights has returned! Emerian Rich’s unique take on vampires delights my black little heart.” ~Dan Shaurette, Lilith’s Love

“A world of horror with realistic characters in a fast paced thriller you won’t be able to put down.” ~David Watson, The All Night Library

Praise for Night’s Knights:

“Fresh, original, and thoroughly entertaining.” ~Mark Eller, Traitor

“Emerian brought the Vampire Novel back from the dead.” ~C. E. Dorsett, Shine Like Thunder

Available now at Amazon.com in print and eBook


Emerian Rich is an artist, horror host, and author of the vampire series, Night’s Knights. She is the hostess of the internationally acclaimed podcast, HorrorAddicts.net. Under the name Emmy Z. Madrigal, she writes the musical romance series, Sweet Dreams and she’s the Editorial Director for the Bay Area magazine, SEARCH. She lives in the San Francisco Bay Area with her husband and son.

FRIGHTENING FLIX BY KBATZ: SUMMER VAMPIRES!

 

Summer Vampires, Oh My!

By Kristin Battestella

 

It’s SPF 1000 for these pale undead tales!

 

A Girl Walks Home Alone at Night – The black and white patina of this 2014 Persian language spooky invokes a specific fifties or spaghetti western mood. Retro cars, big old TVs, and greaser styles are transposed to a modern, mid-century rundown and post-industrial bleak with kids begging on the street, unusual hookers, an old man injecting “medicine” between his toes, and icky drug dealers. Arash is already paying for his father’s mistakes and taking guff from the rich – but a deadly vamp with a demonic voice and a belying angelic appearance rolls into town, cleaning up Dodge and making things better for the downtrodden. Fine scoring with carnival music touches and rhythmic, edgy throwbacks contrast the stillness and topsy turvy gender roles, for the fallen pimp, collapsing father figure, and absent mothers have created a vacuum for our eponymous mystery and the dark power hidden under her chador. We know the fangs and deservedly gruesome will happen amid the slow build drama or drug and sex frenzy but not when, leaving brief squishing effects, mild blood splatter, and attacking crescendos to speak for the minimal dialogue. A well-behaved stray cat parallels the titular feline predatory, yet sardonic skateboarding adds humor. Arash dresses up as Dracula, gets some bad ecstasy, and meets the real thing but retains his innocence and kindness among the cruelty – the simplicity of homemade ear piercings is much more charming compared to today’s wham bam sex or moon eyes romance. It’s an unconventional mix of straight drama and simmering horror, however at times writer and director Ana Lily Amirpour seems unsure which storyline is priority. The quirky vignettes and dialogue are nice while other scenes are pointless and the silence or music does more. This should have been a short feature or a limited series – viewers want to know The Girl better but this picture can’t rely on earlier unseen shorts or companion comic books. With 100 minutes to fill here, the structure should have been tighter, perhaps with labeled character chapters and our vamp in both senses of the word connecting them. A sagging middle dampens the impact of critical scenes, and this feels more indie cool than truly foreign film – it’s almost faux foreign with no real cultural references. Audiences accustomed to frights a minute will also be disappointed in the handful of horror moments amid the isolated interplay and justifiable girl power. Fortunately, this unusual world gets better as the protagonists go forth. Her bad frees his bad, is that a good or bad thing? There really should be a vampire drama category, and despite its flaws, this unique tale using horror to address social contradictions is worth a look. And there’s a Bee Gees poster, people. ¡The Bee Gees!


Kiss of the Damned – This 2013 vampire tale feels much older thanks to a seventies style opening, video stores, Old World names, European accents, retro clothes, and bonus Montgomery Clift movies on the television. Ominous music, moody candlelight, and a bleak seaside house foreshadow the blood spilling to come, and the property comes complete with an un-tempting, blood disorder maid taking phone messages for her mistress – a lonely translator who’s never available during the day and indisposed until evening thanks to a “medical condition” where she can’t be exposed to sunlight. Wink. Intercut, handicam vamp violence and edgy, intrusive music or over-emphasizing flashes, however, are unnecessary, and melancholy pain with choice pop moments or ironic classical cues do better. Blue lighting, headlights, and golden interiors accent nighttime filming, creating a stylish mature alongside the frank conversations addressing how to chain a girl to the bed. Sexy turned killer teeth, wild eyes, askew angles, and violent thrashing elevate the alluring but dangerous as the heavy petting escalates in spite of the consequences. Reluctant Djuna knows this romance could be doomed, but Paolo wants to get sucked dry at both ends. (¿¡?!) Such erotic yet creepy may be too weird for some, but this realistic vampire relationship is refreshing and fast moving – the vampire turning happens early and the entire picture isn’t a dying for love question. More time is taken for the lifestyle details on living forever, heightened senses, and the charming couple that preys together stays together. Problematic sisters and centuries old sibling rivalry parallel the role reversals and too good to be true good vampire behaviors. Biting on the club scene versus love and living posh, sisters forgetting their mother’s face, cocktail parties and a close-knit vampire community discussing why inferior humans reign and synthetic blood isn’t FDA approved – there’s just enough gore and blood to recognize the messy brimming beneath the gilded surface. The tense debate on whether they are monsters or not and why they shouldn’t self-loath gets better as it goes on with bloody slip ups, saucy conflicts, sunlight perils, and deliberate virgin blood trickery. Although some scoring and editing are rough around the edges and debut writer and director Xan Cassavetes packs a lot of flash early on in the film to lure audiences, the likable cast and fine drama don’t need anything else. This would have made a fine long form series, and I’m glad the vampire genre is growing up again with films like this.

 

Twixt – Washed up horror writer Val Kilmer (The Doors) stars in this 2011 Francis Ford Coppola directed askewer set in a sleepy town featuring zany Sheriff Bruce Dern (The ‘burbs) and a belfry with seven clocks each telling a different time. One hear tells of twelve ghostly kids playing at midnight and a thirteenth child damned, and bodies in the morgue are free for the viewing since the serial killer’s calling card is a giant wooden stake. Bat houses are totally different from bird houses, and the abandoned hotel once sheltered Edgar Allan Poe. Val’s ponytail, Fedora, and drinking hit home the hoofing it, down on his luck author – his bookstore signing is in the bookshelf half of the hardware store! He’s asking for advances so his estranged wife won’t sell priceless literary collectibles, and Joanne Whalley’s (Willow) angry video chats tops off the backwoods humor. Old fashioned lanterns, fax machines, radios, split screen calls, tolling bells, clockwork groans, and wonky camera angles accent the weird nighttime blues, silver patinas, eerie woods, and decayed buildings. Distorted movements, slow motion fireplaces, skyline perspectives, exaggerate neon signs, specific red accents, and individual lighting schemes become increasingly distorted, and Elle Fanning’s (Maleficent) a mysterious porcelain doll-like girl. At times, the Sin City-esque style seems odd for odd’s sake, but the onscreen editor wants a vampire book with a story not just bullshit visuals, and a portable table and chair, ritual writing space, and blank computer screens wink at the select all delete that perhaps only writers can understand. Yes, it’s obvious we may be in an onscreen fiction thanks to the maybe maybe not dream quality, moonlit breakfasts, and imaginary conversations with Ben Chaplin’s (The Truth about Cats & Dogs) Poe blending the titular sense of time together. Is this the creative subconscious, a story in progress, or a purgatory limbo for our author? The interpretive subtext layers the warped atmosphere, but the busy tale within a tale, life imitating art twists end abruptly with typical creepy minister prayers, snakes, mea culpa, and literary catharsis. This isn’t perfect and probably too full of itself – nobody is going to red pencil Coppola – but this didn’t deserve to be a festival blink with a delayed video release. In fact, Coppola’s intentions as a live interactive film with different versions depending on audience reaction remain intriguing, making the picture either all dream, all reality, or all inside story rather than a patchwork narrative with pieces of each. Today, this choose your own adventure concept would be a water cooler Netflix event! Of course, the industry doesn’t embrace out there film making, and one also needs Coppola’s Godfather clout and financial freedom to do this kind of hobbyist release. Many will hate such uneven indulgence, but the oddities here are worth a look.