Friday Links: Charley One-Eye, the Windsor Hum, and When Worlds Collide

Some people call it a link roundup, I call it the Friday Links, mmmmm hm. Ah do like them french-fried taters, as well as all the stuff what’s happened in the world of the weird, the unusual, even the horrific all week, so let’s get on it.

The Windsor Hum has returned to Ontario, and nobody’s happy about it: “Mike Provost, a resident on Windsor’s Hillcrest Boulevard, has kept records of the hums heard throughout his neighborhood, he told the newspaper. He noted a particular blast on Saturday, Feb. 27, that “shook everything … like a pounding on the wall. Some people complain about dishes rattling, windows rattling,” Provost told the Star. “It can get real disturbing.””
LastBoneStands reviewed the ghost-thriller A Haunting in Cawdor at The Slaughtered Bird : “Putting together the pieces of the puzzle is the best thing about this film. Everyone loves a mystery and trying to figure out what is going on is the fun part. Unfortunately, sometimes, when all the pieces are finally put together and the mystery is solved, the end product is not something we are entirely happy with.”
A Mexican lobby card for the 1951 film When Worlds Collide fell out of Zombos’ Closet . Seeing the futuristic Hefty bags they wore as uniforms is more than worth the price of admission.
The pavement in Italy is breathing , freaking everybody out: “The paved floor moves up and down like a chest inhaling and exhaling. Filmed by passerby in Cadimare, the sight left many unnerved.”
John Kenneth Muir had some interesting things to say about Hellbound: Hellraiser II: “This is about me, as much as the film, a reader might conclude. I want my horror movies to do more than just scare me a little, like I’m on a roller coaster ride. I want the movie to concern or reflect something important; something that makes me think about the world, myself, and my relationships. So I miss Clive Barker’s facility for visual symbolism in Tony Randel’s Hellbound, but I still like the sequel for what it is (a rip-roaring, gory horror movie), even if, at times, the movie looks to be held together by little more than spit and polish.”
Nev Murray reviewed J.G. Faherty’s novella Death Do Us Part at his Confessions of a Reviewer!! : “It’s the good old someone dies in mysterious way-comes back from the dead for revenge-everyone better run very very fast-how do we actually kill this thing and live happily ever after – type scenario. The perfect recipe for the horror from the seventies and eighties.”
Cool Ass Cinema reviewed the 1973 western Charley One-Eye in a must-read piece: “CHARLEY-ONE-EYE is one of the damned weirdest westerns you’re ever likely to see. An obscure entry in the filth style of oater that rode into movie theaters back in the 1970s, the atmosphere is so realistically grimy(aided immeasurably by the near-constant sound of buzzing flies), you can almost smell the aroma of body odor emanating off the screen. The virtually non-existent plot paints everybody as ugly, cruel, or crippled.”
At his invaluable, incredible R’lyeh Tribune , Sean Eaton tacked the twin themes of necromancy and low self-esteem: “In The Colossus of Ylourgne, all of the necromancers in Averoigne, and the sorcerer Nathaire in particular, have suffered greatly “during a year of unusual inquisitory zeal”. Nathaire is described as “thrice-infamous”, but as villains go, he is also depicted as one worthy of at least some sympathy:  he is a dwarf, lamed by an earlier stoning, and is considered ugly and repulsive.  Furthermore, he is suffering through the last stages of a terrible chronic disease.”
Breakfast in the Ruins brought us a celebration of covers from the publisher named Pan: “With their preference for colourful oil paintings bluntly depicting events within the book, Pan’s old-fashioned approach to cover illustration was the polar opposite of the modernist, design-based aesthetic of their rivals at Penguin, seemingly reflecting the fact that they tended to publish a far higher quantity of war stories, British Empire yarns and other such ‘square’ subjects, with just the occasional revered author or hot-headed literary turk thrown in for good measure.”
Here, I pointed you to a review I wrote of Barbie Wilde’s short story collection Voices of the Damned, and told you about my forbidden archives , the reviews I wrote for Ginger Nuts of Horror that Jim Mcleod deleted because he found out I had different opinions from him about things that have nothing to do with horror.

Illustration by Earl Geier for Call of Cthulhu’s Blood Brothers 2 supplement.