Thomas R. Clark's Blog, page 8
January 27, 2023
INFINITY POOL: Psychedelics, Edward Lee, and Redefining What is Art in Cinema
INFINITY POOL
Written & Directed by Brandon Cronenberg
Starring:
Alexander Skarsgard as James Foster
Mia Goth as Gabi
Cleopatra Coleman as Em Foster
Guided by a seductive and mysterious woman, a couple on vacation enjoying an all-inclusive beach vacation in the fictional island of La Tolqa venture outside the resort grounds. They soon find themselves trapped in a nightmare after a fatal accident exposes the resort’s perverse subculture of hedonistic tourism, reckless violence and mind breaking, surreal horrors.
Gathering my thoughts after seeing a mind-tripping movie usually isn’t difficult for me. But Brandon Cronenberg’s latest entry into reality questioning cinema, INFINITY POOL, made me manic and unable to chain together cohesive thoughts on the film. However, after sleeping on it, and discussing this work of art with peers, I think I’ve figured out how to talk about it. And it doesn’t start with Cronenberg’s film.
YouTube rabbit holes are an easy trap to fall into, especially when your mind locks onto a topic and obsesses with it. Recently, my wife and I discovered Comedy Central’s videos featuring comedians and their experiences with hallucinogenic compounds. I don’t want to say drugs, because not all of them are, in fact drugs. Oh, sure, there’s plenty of coke and weed stories. But some are mushrooms, and some are about frog or toad venom. And the latter is where it gets really weird.
The animations accompanying the stories were reminiscent of 1960s and 1970s animations recreating LSD trips. Now, YouTube’s algorithm likes to suggest similarly minded content, and it opened a treasure trove of VICE videos for our continuing, um, trip. Recorded over the last decade or so, by hallucinogenic drug researcher and journalist, Hamilton Morris and his series, Hamilton’s Pharmacopia, the series proved to be an interesting expose into the world of mind altering drugs.
One series of shows focused on his travels to South America to discover a toad capable of secreting hallucinogenic venom. Avoiding authorities, evading clouds of biting bugs, and treating dysentery, Hamilton finally achieved his goal. What impressed my wife and I was this man’s determination to find the toad, and the adversity he overcame to achieve his goal.
“That must be a some fucking high for him to go through all that,” I told her, and she agreed.
But Morris’s descriptions of his dreams and visions while tripping on ayahuasca tea (which tastes like the worst thing you’ve ever tried to eat or drink) didn’t remind me of the classic melty, flowing, lava lamp imagery of Hollywood interpretations of acid trips. Instead, they reminded me of different imagery I’ve witnessed, created by an unexpected source.
Being part of the indy horror community, I’m privy to some talent mainstream Hollywood horror (I’m looking at you Jason Blum and James Wan!) overlooks or doesn’t even fucking notice. One of those people is extreme horror legend Ed Lee (NOT the chef!). Talking about him in regards to this movie might go past some of my readers, so let me introduce you to a man some call the most brilliant writer in any genre today.
Edward Lee is about as (in)famous in the writing world for his extreme horror as Brandon’s father David Cronenberg is for body horror films in Hollywood. Born in 1957, Ed- a US Army vet- came to prominence during the splatterpunk movement with his extreme horror stories making an impact during the 90s, in particular the classics HEADER and THE BIG HEAD. The former has been made into a low budget film you can currently stream and watch on Tubi.
Associates of Lee’s will tell you he’s the nicest fellow (true, I’ve experienced this first hand), he has a wonderful sense of humor (just ask the staff of the DoubleTree Hilton in Williamsburg, VA), and that his historical works written under a pen name are his best pieces (also true). Edward Lee is a true sage in the indy horror community, and one of its good guys.
A full time writer since 1997, Lee not only creates fiction, but is a filmmaker. And these films, often inspired by Lee’s own experiments with hallucinogenic substances, are where we find our common ground with INFINITY POOL. In particular, Lee’s avant garde film THE WALKING WOMAN, stands out for its chaotic representation of a DMT trip. It’s to these images, which include an X-ray throat fucking, that my mind went when watching INFINITY POOL. I’ll be shocked if I don’t see an internet trend, wherein viewers witness people walking out on screenings. It’s that fucked up… because Ed Lee’s movies are that fucked up. And while watching INFINITY POOL, I felt as though the film had caused me to have an acid trip flashback.
This is appropriate for my theatrical experience absorbing Cronenberg’s new film, I think, considering INFINITY POOL opens with a disclaimer about flashing lights and epilepsy. An early use of a drone camera for more than a cliched high aerial shot, instead it shows us the world we are entering is skewed and twisted by doing the same to our visual perception of the resort.
INFINITY POOL starts as a cautionary tale, a warning to vacationing Americans who frequent the resorts of Mexico, the Caribbean, and South America… and writer’s desperate for affirmation of their art… and evolves into a study on identity by asking many of the same questions breached in Blade Runner, including the theme of discovering your true self.
Cronenberg uses the tried and true trope of the failed writer to tell his tale and explore his questions of what makes us, well, US. Alexander Skarrsagard’s James Foster, on an inspirational retreat intended to kickstart his career, finds all is not as he would think. As is common with this trope, ultimately the true antagonist of the story is the writer’s vanity.
The country their inclusive resort resides in, La Tolqa, is as much a character as the actors. La Tolqa, a religious and spiritual country, answers most any crime with death sentences. Visitors are instructed to never leave the compound, but the affluent, entitled members do it regardless of the consequences. In fact, as we learn, they thrive off it. You see, La Tolqa, through arrangements made with other governments, has a unique manner in which it deals with the execution of justice for these crimes.
In contrast to the clean and crisp resort guests, the La Tolqa natives all have face tattoos reminiscent of the street gang teardrop tattoo near their left eyes, indicating you have killed someone in jail. This is a crime- it seems – all the residents of La Tolqa have done. The destitute country is their prison. La Tolqa could be anywhere in the world, it is an amalgam of the third world countries the rich call their playgrounds and vacation homes.
Is this “elevated” horror? No? It’s something else, in its own league. Cronenberg is a peer of Eggers and Astir, but he’s blazing his own path as he studies the human condition. If Egger’s THE NORTHMAN portrayed a mushroom acid trip in all of its stigmatism laden imagery, INFINITY POOL is a full on DMT trip.
Like THE MENU, which also features a strong, young female talent and darling of “Elevated Horror” (Anya Taylor-Joy), INFINITY POOL’s satire of the establishment digs at the excesses of the wealthy, albeit in a much more perverse manner. And it’s this depravity that grabs you as the film unfolds.
And the surreal scenes depicting the hallucinations and orgies? They are nightmare fuel unlike any you’ve witnessed… that is unless you’ve seen Ed Lee’s films, as I previously mentioned. The root the Infinity Pool Gang imbibes and leads to their mind-bending orgies of sex and violence, acting much like the popular South American DMT vector Hamilton Morris sought, ayahuasca.
My only issues with INFINITY POOL stem from what I see as a miscasting of Skarsgard in the lead. Originally intended for Robert Pattison, he turned it down and it eventually landed in Alex’s capable hands. But I think his brother would have been better suited for the role. Bill has shown time and time again his ability to express internalized feelings through his body language. And though Alexander does a fine job, he comes up a little short.
If Skarsgard’s lead is my only gripe, then it’s Mia Goth’s turn as seductress Gabi, that deserves my highest praise. Mia shines through all the surrealism to stand out as a beacon of insanity. Building off her already growing reputation, as indicated by her turn in X and PEARL, Mia has shown early praise for her talent was not given prematurely. It’s ironic that she plays an actress using her fantastic skills to manipulate and groom Skarsgard’s beaten down James.
INFINITY POOL will leave asking yourself questions… What the fuck did I just watch? and Was it a good movie? Will certainly be two of them. The third will be Who am I? And that last question? It’s the one that will linger. INFINITY POOL will haunt you, in much the same manner as the ghosts of the Overlook Hotel tend to do to those who watched Kubrick’s THE SHINING.
January 5, 2023
M3GAN’s Uncanny Valley Effect on Cinema Goers
M3GAN (2023, UNIVERSAL) A roboticist designs a lifelike doll programmed to bond with her newly orphaned niece, however, the robot becomes violently overprotective of its new friend in M3GAN from BLUMHOUSE, ATOMIC ROBOT, DIVIDE/CONQUER. Directed by Gerard Johnstone. Written by Akela Cooper from a story idea by James Wan. Music by Anthony Willis.
How has a viral dance meme and an alliance with a pop superstar gone on to create a new horror icon? The first of the TikTok generation? I’ll tell you how, and it’s all because of little girls.
You see, little girls have always been obsessed with horror movies, more so, I think, than little boys. I can recall my own youth, and yeah, my buddies and I really loved the scary movies and the girls we knew pretended they were too scared to watch them. But we always knew the truth. Long before there was “NETFLIX & Chill” there was the old days of Multiplexes and Drive-Ins. Back when we’d go to the mall, and we’d see all the girls who protested the horror films, standing in line to see the same scary movies. It was free hug night from scared puppy love dates, be you a little boy or little girl.
Jason Blumhouse and James Wan have recognized this, and have taken advantage of horror’s new wave of diversity to create something special. Films like HAPPY DEATH DAY and FREAKY were meant to appeal to the tweener girl audience- but they also had crossover appeal to other demographics. Both films made a ton of dough versus their budgets. I guess I’m not going out on a ledge here when I say Blumhouse has perfected this formula. And now? I believe they have very likely made their grand opus with M3GAN. A PG-13 horror film for teenage girls that will appeal to all horror fans in general. A movie that oozes this text being sent to another Gen Zer: “Did u sneak in to c M3GAN?”
M3GAN stars Allison Williams (Girls, GET OUT) as Gemma, a successful computer programmer, robotics designer. After a tragic auto accident, her niece, Cady, played by Violet McGraw (DR. SLEEP, THE HAUNTING OF HILL HOUSE, READY PLAYER ONE) moves in with her. McGraw is a joy to watch on screen. She’s already a horror vet at such a young age. Gemma is responsible for a Teddy Ruxpin/Furbies type toy called the FUNKI. But it’s her dream to make M3GAN (MODEL 3 GENERATIVE ANDROID), and she takes advantage of the death of her sister to push forward her creation. As you might assume, it doesn’t end well for all the parties involved.
The central themes of M3GAN surround loss and death of a loved one, and dealing with grief. The film is also a cautionary tale about the dangers of too much technology during the emotional development of children. It’s more of THE TV WILL MAKE YOU BLIND IF YOU SIT TOO CLOSE TO IT trope, however it’s become an all too real problem- much more real than the lie your parents told you. That evolved into people “using their TV’s as babysitters.” We’ve since moved on to the computer age where we question when we should buy children their own cell phones. Heck, the movie starts with an argument over how much screen time is appropriate for a child, becoming the catalyst for the film’s events.
M3GAN asks the right questions, as any good sci-fi should do. Ian Malcolm’s quote from Jurassic Park resurfaces, the age-old question first proposed by the Mother of Modern Horror and Sci Fi, Mary Shelley, in FRANKENSTEIN. And M3GAN brings it back to life: “Your scientists were so preoccupied with whether they could, they didn’t stop to think if they should.” This isn’t new ground for Blumhouse. They visited this trope with their cyberpunk sleeper hit UPGRADE in 2018. In fact, this film is coated in Blumhouse tropes, down to elements of ANNABELLE (killer doll). In this case it’s focused on the negative effects technology has on empathy, especially in the developing brain of an 8 year old girl. And how do many young people escape reality? Through music. #TalkAboutThatSoon
The months of marketing using pop megastar Taylor Swift’s music in the trailer (She’s officially bigger than the fucking Beatles, folks) have seemingly paid off with a 95% on Rotten Tomatoes. My own theater, when I purchased tickets, was mostly empty. But by screen time the entire upper deck was filled. Word of mouth on this film is spreading fast, and it will surely surpass its measly $12million budget by the end of Friday’s screenings. Will it go on to topple James Cameron’s AVATAR powerhouse on the top of the Box Office? I won’t be surprised if it does, especially with the power of Taylor Swift’s legion of fans behind the film.
WILL I SAY SOMETHING STUPID IN AN INTERVIEW IF M3GAN TOPPLES AVATAR AT THE BOX OFFICE?There’s a small irony there, I think, in that M3GAN has elements of Cameron written all over it, from THE TERMINATOR to ALITA: BATTLE ANGEL. The strong, mostly female cast, is another element I think Cameron would be proud of, as he spearheaded such characters with Sarah Conner and his interpretation of Ripley in ALIENS.
It’s no surprise, then, that the soundtrack is a key element in making this film work. Not only do we have the Taylor Swift Effect, we have Dolls from Bella Porch. The song, also used in the trailers and in the film, is just damn creepy lyrically, and all too appropriate for the plot. Anthony Willis’s score also borrows heavily from pop music, ultimately creating an aural Uncanny Valley. A piano riff to Martika’s 90’s classic Toy Soldiers, for example, resonates through one particularly harrowing scene, where revelations are made and we are thrown into the film’s intense third act. But here’s the thing. It’s not Toy Soldiers. It only sounds like it, and it bothers you because of it. And that, my friends, is the definition of Uncanny Valley.
M3GAN is a well written, by the numbers sci-fi horror affair, starting from the cold open (reminiscent of THE DESCENT) up to its climax. And this is where I think screenwriter Akela Cooper (MALIGNANT) is at her best, she sows the foreshadowing seeds, all of which pay off in the third act. Cooper’s sly humor is evident, as shown within the script’s intentional black comedy spread throughout the film. She spreads the deck of potential victims, and not everyone introduced gets put through the meat grinder, which helps lend to the suspense. Students of fiction and screen writing should start studying Cooper’s work. She knows her job and executes it like a surgeon. She showed how much she can think outside of the box in MALIGNANT. Here? She plays INSIDE the box to tell a story that needs to be understood by its targeted audience: young women. At times the story plays on how a preteen girl would react if she were as strong and powerful as the titular robot. I imagine many a young girl has fantasized tugging on the ear of a bullying older teenager to make them stop misbehaving.
This is where much of the film’s satire comes into play. The movie doesn’t breach new ground within the sandbox Cooper has created. What it does, instead, is poke a bit of fun at the killer robot genre. Often the dialogue seems silly. And it is meant to be, right down to the sitcom of a visit from Child Services. I’m certain many middle school teachers over the next few weeks will have this movie quoted to them by students. It’s chock full of one liners, many of which we’ve already heard in trailers (“Hi, I’m Megan!”). I’m also positive there will be many a M3GAN trick-r-treating come Halloween.
But much of the horror creepiness on the screen is a result of the uncanny valley effect M3GAN creates. Yes, you want to laugh when you see her chasing Ronnie Chieng’s David (basically playing a wink to producer James Wan) down a hallway, but you can’t laugh because it’s downright terrifying. Our antagonist is mostly practical effects, and the robot’s cold, emotionless silicone face reminds me of Papa from Ghost in his mask. Amie Donald plays M3GAN’s body, but her voice is provided by Jenna Davis. She serves us M3GAN’s dialogue with the cold delivery of a TikTok voice over. And it’s that voice that reminds me of a feminine HAL2000 from 2001: A SPACE ODYSSEY. Gives me shivers thinking about it.
One part WESTWORLD and one part CHILD’S PLAY, with M3GAN, Blumhouse has proven themselves as the premiere horror studio, creating yet another horror icon for the 21st Century. And this one isn’t a clown, or a nun, or a fucking shiny vampire. It’s a good, old fashioned doll. It’s always the fucking dolls, isn’t it? Just sitting in the corner, staring… or is she waiting for you to activate her by saying “Hey, Alexa”
“I’m afraid I can’t do that, Tom…”
December 29, 2022
FROM BLACK DEATHS TO PRAYERS FROM THE DEAD
In just under 3 weeks, on January 16th, 2023, my new release from Saint Rooster Books rises from the snows of the Northeast. A PRAYER FROM THE DEAD is different from my other releases. The book is not a horror novella. Well, wait, I can’t say that, as it has horror elements. Fundamentally, it’s an action-packed, alternate history mash-up of genres; from cyberpunk to grimdark fantasy. And oh, yes, dear readers, it comes chock full of blood, guts, and creative manners in which people meet their demise. Everything you expect from me.
And more.
But it’s the setting of this book, I think, that is most intriguing. A PRAYER FROM THE DEAD is set in an alternate version of our world, where the Abrahamic religions never dominated the Western hemisphere. As a result, there is no suppression of knowledge by the Church, leading to technological innovations long before our current timeline. There are Christians, Jews, Muslims, but they aren’t the dominate religions throughout most of the world. It further postulates The Troubles in Ireland as being set in the North America. Welcome to the Manhattan ghetto, home to religious heretics in the Puritan States of New England.
The elevator pitch is “Escape From New York meets Bergman’s The Seventh Seal with a side order of The Handmaids Tale and a frosty serving of The Crow to wash it all down with.” Revenge stories are best served cold, no? Like the original Star Wars trilogy, I’ve avoided dumping the social politics of a world like this on your lap. This is first, and foremost, an adventure story using the conflict between two religious factions to drive the narrative. If you are looking for social commentary and parallels to our own world, you won’t find them here.
The book focuses on three main characters: fraternal twins Abigail and Gabriel Brennan, and the mysterious Templar. A PRAYER FROM THE DEAD was originally titled BLACK DEATHS, the name bequeathed upon the twins by the authorities they fight against. I wanted to examine the relationship between twins, and their connections, especially after one of them <SPOILER ALERT!> and becomes something more than they were before.
MY ORIGINAL COVER CONCEPT DESIGN (ARTWORK FROM SHUTTERSTOCK)My goal was to tell this story through a collection of novelettes. I finished the first two, when I ran into a wall. The individual novelettes played out more like scenes in a bigger story, so I abandoned the concept, with this narrative. When I revisited the idea, and started over with a new story, I learned from the mistakes of BLACK DEATHS. The end result of that experiment was THE GOD PROVIDES, which features the Splatterpunk Award nominated novella, FIREFLIES AND APPLE PIES.
Some will ask, “Why do a mash up of genres like this, after establishing yourself in the splatterpunk and extreme horror community?” First off, the book features splatterpunk and extreme horror elements. Secondly, my first mentor in fiction writing was L. Sprague de Camp, and he was notable for mashing up genres in his prose. He also was the first writer to coin the term EXTRA-TERRESTRIAL when referring to aliens and alien bodies.
And… he’s most (in?)famous for assisting Lin Carter in bringing the works of Conan the Cimmerian back to the public eye on more than one occasion. By the time I reached out to Sprague in the mid to late 1980s, he was, if anything, salty about a teenager coming to him asking about Conan. But he gave me valuable advice during this period, and I’ll never forget his guidance. I bring this up because A PRAYER FROM THE DEAD is, if it’s anything, a Sword & Sorcery story in the vein of Robert E. Howard, Fritz Leiber, and Michael Moorcock, at heart. I utilized a combination of Stephen King and Howard’s manner of world building. King uses commonplace simplicity for names, and Howard’s used familiarity. Both easily assist in the suspension of disbelief.
SECOND COVER DESIGN CONCEPT And the art for this book? Wow! There will be interior art from Tim and Stephanie Murr, but the cover is one I designed myself. It’s not AI art, either. I’ve learned to be a skilled graphic designer and photo-manipulator, and I owe a ton of thanks to Lisa Vasquez, one of my writing mentors, for guiding me in learning this, well, art form. So thanks to Shutterstock, Dreamstime, Gimp and my imagination for bringing the art to life.
Don’t forget you can get the audio version of SummerHome through Audible. It’s narrated by Cheryl May (The Death List) and you can get it here. Any reviewers who reach out to me (either through my active social media accounts or email at loudsoundkaraoke@gmail.com) will receive a free audio copy of SummerHome upon request.
For my true horror fans, watch for a new novelette, DROPPING KARMA, to hit Godless in February. It will be released in print as part of my forthcoming IMMORAL DILEMMAS splatterpunk horror shorts collection in fall 2023. It’s a multiversal mindfuck of an extreme horror story, inspired by real events. I can’t wait to share it with everyone. Here’s a sneak peak at the cover, which I designed!
My next Splatter Folk piece comes out later this year from St. Rooster Books. The long awaited sequel to THE GOD PROVIDES, THE WITCH OF NOVEMBER. It’s basically my EVIL DEAD 2, set in the world of the McEntire and Brannigan clans…
PROMOTIONAL IMAGE – NOT FINAL COVER ARTAnd before I forget… it’s only a little over 3 months away from Scares That Care’s AUTHORCON II in Williamsburg, VA! I’ll be there, and I hope to see a bunch of you, too. It’s 3/31/23 thru 4/2/23!
Until then, you can get merch showing your love for my books here at my store. T-Shirts, buttons, stickers, phone cases, etc. and so on.
December 21, 2022
SummerHome on Audible
My 2022 release through St. Rooster Books, SummerHome, is now available on Audible, narrated by Cheryl May (She did The Death List!)!
Find it here! SUMMERHOME ON AUDIBLE
What are people saying about my first full length novel?
“Masterfully blending the aesthetics of ‘The Visit’, ‘The Taking of Deborah Logan’ with Paul Tremblay’s ‘Head Full of Ghosts’ and Adam Nevill’s ‘The Reddening’ and ‘Cunning Folk’ sprinkled brilliantly with some Mark Towse humor and geriatric horrors; This is an altogether unique beast on its own. One that I definitely see in my top 3 novels of the year.” – Pan Book Reviews
“Clark masterfully wove in character ties to his previous books by letting us see more of the periphery of their lives. If you have not yet read the other books, it is ok as this stands on its own. The background does not detract from the story and Clark skillfully makes it work. But if you have read the other books, you will be pleasantly surprised to see the nuggets and references thrown in. Clark continues to hone Splatterfolk and gets better and better!” – The Voracious Gnome Reviews
If audio isn’t your thing, you can get SummerHome directly through me or from Amazon here!
MY 10TH ANNUAL TOP PICKS FOR GENRE ENTERTAINMENT – 2022 EDITION
It doesn’t seem like nearly a decade since I started covering entertainment news for This Is Infamous. Yet here we are, and I’ve FINALLY compiled my 10th annual list of what I consider to be the top 10 in genre entertainment for 2022 on the big or small screen. It doesn’t matter how we consume our entertainment anymore.
There was a time when a televised motion picture or weekly produced series carried with it a negative stigma. That changed with the advent of serialized series, like HBO’s The Sopranos, and ABC’s Twin Peaks. These led to LOST, Heroes, and a reimagined Battlestar Galactica. Soon, every network (sic streaming service) had a flagship show, and Breaking Bad led the pack until The Walking Dead premiered. The Walking Dead helped contribute to the resurgence in the horror genre. And then came Game of Thrones, a 10 year, bittersweet love affair with its fandom.
The same can be said of Superhero entertainment. Once regulated to newstrips, comic books, low budget theatrical affairs and no budget TV. No better example can be given for how the industry has changed over the last decade. Iron Man busted the flood gates open. Now, superheroes dominate the multiplex blockbusters, while horror is the darling of independent cinema.
We may not know it, but we are living in the last era of animated films from big studios, especially Disney. With CGI being as advanced as it is, traditional animation is doomed. When Disney started making live action reinterpretations of their IPs, the days of traditional animators, and even PIXAR staff, started counting down.
Regarding Superhero films, many believe we are in overload, and the subgenre is doomed. I disagree. James Gunn taking over at DC was the best thing they could have done. Batman, for the most part, hasn’t been a problem for WB, and I think they should build off that universe. Even The Rock couldn’t save Black Adam from being a pale copy of the MCU. I also think people will be surprised at what happens in the MCU phase 5.
Horror, Superheroes, and the legacy sequel continue to dominate the box office, and this list. You may notice some television/streaming shows that were on previous top 10’s didn’t make it. For example, as funny as season 4 of What We Do in the Shadows is, it isn’t as good as previous seasons. Halloween Ends was polarizing, and as a result, failed to make this list. Game of Thrones in the guise of House of the Dragon was great, but not great enough because of the jarring time jumps. American Horror Story seems to have been usurped by its own progeny, And don’t talk to me about The Walking Dead… Enough chatter and commentary. Here’s the top 10:
10 Something in the Dirt – The renegade pandemic movie from Benson and Moorhead, also stars the writing/directing team. They’re the kings of cinematic cosmic horror, and have benefited from working on Marvel’s Moon Knight series. This movie, about a pair of sad sack conspiracy theorists, is a welcome addition to their theatrical library.
9 American Horror Stories, Season 2 – The anthology spin off the long running anthology series from Ryan Murphy. Manny Coto’s work shined through in the second season, and I for one can’t wait for his first theatrical film. As I said before, American Horror Stories is Ryan Murphy’s Prodigal Son, often surpassing the mother series, especially with its main continuity tie-ins. And this season was no different. The episode linked to Coven, Dollhouse, kicks off the season with a bang. But it’s the extreme horror of NECRO that really clinched the deal for this season making the top 10.
8 Prey – There is a path entertainment properties take. A movie will get sequels, each one with a lower budget than the previous entry, then it will either get a made-for-TV movie OR a TV series. Sometimes, a comic book adaptation will be made and catch some notoriety, but only for a brief moment. The Predator franchise has touched most all these bases, or at least it had the sequels and comic books covered, until the pandemic, and Disney decided to release the next film in the franchise on HULU (basically, it’s a made-for-TV movie). But, much like The Night Stalker fifty years before it (the ABC broadcast of the movie premiere of the adaptation of The Kolchak Tapes novel held the top spot as the most watched TV program until the series finale of M*A*S*H!), PREY made an impact. Critically acclaimed as a return to form for the franchise, the fans loved it, too.
7 Andor – Andor is the best of the Star Wars live action series because it delivered on what The Mandalorian promised us but reneged on – doesn’t have any freaking Jedi. Telling the story of a character we know is doomed to die, it somehow manages to maintain levels of tension not seen in other Star Wars spin-offs. The stakes are high and all too real. It’s also dark, and shows us that people in Star Wars do get naked and bump uglies, and yeah, shit is shit, even a long time ago, in a galaxy far, far away. This is the first Star Wars property I can safely say isn’t Epic Pooh – it actually shows the evils of war and what war does to people.
6 The Black Phone – C. Robert Cargill and Scott Derrickson are a force to reckon with. The former writer at Ain’t It Cool News met Scott Derrickson at an entertainment function, and that led to them being the creative team behind Marvel’s Doctor Strange. And this film, The Black Phone, is the reason Derrickson left Doctor Strange in the Multiverse of Madness. I’m so glad he did – and so are you. Because The Black Phone is my favorite horror movie of the year. It’s this generation’s family horror movie, much like Spielberg’s original Poltergeist.
5 The Northman – Vikings, like Cowboys, Pirates, and Dinosaurs, are a story bacon. Their addition makes everything better. Robert Egger’s clever reimaging of Shakespeare’s Hamlet goes back to the source material to create a beautiful film. Eggers drew his inspiration not only from The Bard, but from other historical figures of the era, as seen in Anya Taylor Joy’s witch, Olga (whom smarter people than me realized was an allegory for Olga the Great, the iconic figure responsible for the Ukraine national identity). But it’s the fierce determination of Alexander Skarasgarrd’s Amleth that drives the narrative. Part horror film, part fantasy, part revenge story, all Viking.
4 Peacemaker – I’m a splatterpunk author and splatterpunk appeals to me. For those unsure of what splatterpunk is, try watching James Gunns’ The Peacemaker show on HBO MAX. Like the half-orcs of AD&D fame, this show is rash, brash, and generally obnoxious. Season one focused on the DC version of the MCU’s Skrull Invasion angle, with the Butterflies. It’s an over the top splat fest, with juvenile humor, more sexual innuendo than Beavis & Butthead, and a heart like none other. What makes something splatterpunk and not just extreme, is the message delivered by the story being told. Peacemaker’s complex, titular hero and his relationship with his abusive, white-supremacist father are at the heart of this show. Peacemaker’s PTSD over the abuse he received drives him to be a better hero, and it’s how he grows throughout the series that appeals to everyone, not just fans of splatter gore.
3 BLACK PANTHER: Wakanda Forever – The MCU’s eulogy to the memory of Chadwick Boseman introduced the best villain/anti-hero of Marvel’s Phase 4, Namor. A tear fest for fans of the Boseman and his character T’Challa, director Ryan Coogler gut punches you right away, and we spend the film going through DABDA (the 5-Stages of Death – Denial, Anger, Bargaining, Depression and finally Acceptance), through the eyes of Queen Ramonda and Shuri.
2 The Batman – Riddle me this… Is The Batman a Batman movie? Yes. Is it a Police Procedural Drama? Yes. Is it a horror movie? Oh, yes. Is it a commentary on the current socio-political state in the USA? Yes, indeed. And it’s because of all of these points that Matt Reeves’ The Batman is not only one of the best movies of 2022, it’s also the best Stand Alone Batman movie ever made (and I’m looking at you, Dark Knight!). Robert Pattison is in prime form as Bruce Wayne, but it’s the grittiness, the realism, of this film that appeals to me.I am looking forward to the HBOMAX companion series.
1 Avatar: The Way of Water – Unlike the film, I’ll keep this short. NEVER, EVER bet against James Cameron. Yes, it is Moby Dick. Yes, it is 3 hours long. Yes, it is Papyrus font. With that all being said… It is also the best non-MCU science fiction film of 2022. Do not prejudge, enjoy this film and its wonders and see it on the big screen in 3D.
November 29, 2022
The End of an Era?
This week Scott Groverston, Walter Ball, Dan Roberts, Skip Novak and myself are gathering as we have every week for the last seven years. At this time, we’re recording the 425th chapter of The Necrocasticon Podcast. It’s also our last chapter as weekly show. What? The Necrocasticon is done? No, it’s not done. Not at all. Fear not, Necrocasticfans, the Necrocasticon isn’t going away, it’s evolving.
Since its debut in May of 2015, the podcast has grown from its original mission statement, wherein we would discuss heavy metal and horror properties with a common connection. Born out of a podcast idea I proposed to Billy Donnely at This Is Infamous. He turned it down and the then Project iRadio took us on. Walter and I recruited Scott and Azriel Mordecai respectively to flush out our panel of experts. Since then, we’ve expanded, to include a side project with Skip Novak debunking conspiracy theories (You’ve Got To Be Kidding), and grown into covering pop culture that appeals to the panel. We’ve spoken to members of the horror community, the heavy metal community, and beyond. Incredible bands like Night Demon, Savage Master, and A Sound of Thunder. And stars in the communities like Andrew Sensinig, Biff Byford, Kyle Shutt, Andy Dowling, Albert Bouchard, Brain fucking Keene, Craig Spector, Jeffery Reddick, and the always fun and controversial Solon Tsangaras. We’ve eulogized far too many of our idols in metal and horror, from Lemmy to Wes Craven (and we always called Armand Rosamilia in for our Death Shows!).
Over the last eight years we’ve seen a great deal of personal growth with members of the panel. I’ve grown as an author and journalist, and the half dozen books I’ve seen published are a testimony to that. Scott has expanded into streaming on You Tube and twitch. Walter has returned to college to get his teaching degree. Dan is now a retired pro wrestler, a Spartan runner, and personal trainer. Skip also returned to college, and is one of the best line editors in the indy horror community, not to mention his prose is excellent.
Technology and how people receive their choices of entertainment has also evolved. Facebook is the old people’s app. Tik Tok is king. And as a result of all this positive progression, the Necrocasticon, too is changing. After chapter #425, our yearly “Best of” show, we’re taking the rest of the year off as we rebuild the Necrocasticon. In 2023, it will come back as a monthly offering, returning to our original roots- discovering the connection between a metal and horror property. We’re doing away with the round table discussions and interviews to focus on knowledge and trivia points related to the relevant topics. There will be no more interviews with the community, I regret, but that doesn’t eliminate guest panelist appearances.
The new format will be on video and audio, with a documentary style look and feel. We’ll be utilizing You Tube, Twitch, and Tik Tok more than before, focusing on them as our outlets. But this won’t be our only content. We’ll be having live production meetings on Twitch, for example, and we will still air in audio-only formats through your traditional means of listening to podcasts.
Thank you Az, Jason, and Liz- as well as Walt’s daughter Cecelia and our Curtain Jerker’s brethren, Steve Mesa- for all your contributions. We want to thank all of our listeners from over the years for staying with us and hope you stick around as we transition into our new format. Special thanks to Armand Rosamilia for keeping the dream alive for as long as he did with Project Entertainment Network, and sponsoring us for as long as he did. When asked about his feelings on this, he replied “Did somebody die? Beaches.” Well maybe I’m making that up… but then again?
So enjoy the next couple weeks of the show, sit back with us while we take a break, and come back next year with a fresh approach!
October 27, 2022
TBT: Bella’s Boys
A little reminder of my second book, BELLA’S BOYS!
House of Stitched: The Magazine
Happy Throwback Thursday!
In 2020, Stitched Smile Publications released the novella Bella’s Boys: A Tale of Cosmic Horror by Thomas R Clark.
It’s March 1993, and a storm is coming …
On the eve of a massive Nor’easter menacing the Eastern Seaboard, Singer Corey Collins meets Sandy Bellavia at a karaoke bar in upstate New York. Corey thinks he’s met the girl of his desires, and follows “Bella” to her home for shelter from the storm. Soon Corey finds himself fulfilling a bucket-list sex and rock-n-roll fantasy.
Until Corey hears a legion of taunting voices in his head, whispering madness … and nightmares invade Corey’s dreams. Now trapped in the heart of a raging blizzard as snow accumulates by the foot, Corey learns his lover isn’t who, or what, he believed. She’s something terrifying, ancient …
…and hungry.
Author Christine Morgan called it “a sleek and well-written story.”
Voracious Gnome…
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September 12, 2022
“Fireflies and Apple Pies” by Thomas R. Clark (2022 Splatterpunk Awards)
A brilliant commentary on my 2022 Splatterpunk Award nominated story, FIREFLIES AND APPLE PIES, from THE GOD PROVIDES!
In the introduction to his novella The God Provides, Thomas R. Clark explains how the first portion of the narrative – “Fireflies and Apple Pies” – started out as a short story before being expanded to fill a slim book. Yet it is the first stretch, rather than the novella as a whole, that found its way onto the Splatterpunk Awards ballot; and so, this review shall set aside the latter portion of the book and concentrate on the opening.
The story takes us to the Tully Foothills, where October has started – bringing with it the annual Apple Festival. But this year, the festival becomes the site of the town’s first murder in a century:
At first, it appeared as though preschoolers went to town practicing covering her mouth with lipstick.
“She looked like she stuck her face in a can of strawberry jam.” One of the workers…
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July 8, 2022
Summerhome by Thomas R. Clark
Another FANTASTIC review of #SummerHome!
Summerhome is a harrowing tale that brings to light the sentiment what we don’t know, will hurt us! Meghan’s Mom is an elderly woman with a lot of secrets. She has recently been diagnosed with Dementia and is going down-hill quickly with a knowledge that she refuses to relinquish. Meghan and her brother decide to put her in Summerhome where she can continue to be as independent as possible but still get help when she needs it. Little do they know, there is darkness in every corner.
Summerhome residents see and feel things that they are not entirely sure is real. Some residents have no idea that something is going on and live their life as they see fit. A paranormal team gets word that the residents are seeing things and weird stuff is happening so they go to investigate. They, along with Meghan and her brother discover what the…
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July 1, 2022
SummerHome
House of Stitched talks about SUMMERHOME!
House of Stitched: The Magazine
Happy Friday! What’s everyone reading?
House of Stitched’s own Thomas R Clark has a new book out: SummerHome.
After Maureen Coleman is diagnosed with early onset Alzheimer’s, her children bring her to live at SummerHome. As her condition deteriorates, siblings Sean Spencer and Meghan Coleman are unsure if they have made the correct decision. They grow concerned when their mother claims to see the ghost of her dead husband, and a series of tragic, unexplained events impact the community.
Now, with the residents of SummerHome believing their complex is haunted, the world-famous Para-Hunters come in to investigate. The ghost hunters soon learn this isn’t a typical haunting. Because slinking through the shadows is an evil, unleashed from underneath the Mound nearly 300 years ago, and it doesn’t want to go back.
Bibliophilia Templum calls SummerHome “A poignant and graphic tale, a combination of folklore and splatterpunk that grabs you…
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