Midnight Mass, a limited series on Netflix. A deep look at religion and the depths we will go to shift it to fit our own narrative, with obvious supernatural elements that are hard to miss.

 

Midnight Mass, a review.

    I was unsure what to expect from this series. I had expected that it would be good, but I remained uncertain about what kind of horror story it would be. I had thoroughly enjoyed The Haunting of Hill House, and Dr Sleep and hoped it would be just as good. Thankfully, that proved to be the case. I will say, that there was a touch of disappointment regarding the monster within the story, but it was handled in such a different manner that it proved a minor issue. Mike Flanagan has created a story that has specific themes that work well and a great deal of growing tension and worries throughout. As someone that has never been much of a churchgoer, and an agnostic, I found some of the scripture worship hard to listen to, but it fits in well in the overall narrative. This is a story that is centred around Catholicism. Flanagan has stated that he worked the story around the experiences from his own life. Faith in America very much has different connotations to what I have experienced over here in the UK. At its heart, this is a vampire story. It is worth noting that there are spoilers ahead. Read at your own discretion.

    The story begins with the event that leads to Riley Flynn's incarceration, a head-on collision that leaves a young woman dead. Flynn is barely hurt, sitting drunk on the roadside, watching the ambulance crew fail to save the young woman. It quickly follows his first night in prison and the image of the dead girl watching him as he attempts to sleep, the flash of blue and red light reflected on the glass shards embedded into her flesh. The story jumps to Crockett Island, back to Riley's family, and the day before his return to his childhood home. The local populace is barely over a hundred people, houses are standing empty, and the heyday of this island is long past. As a fishing village, there is little to do, and the local church is awaiting the return of the Monsignor. Here we get our first introduction to Bev Keane, a character that most will love to hate or just plain hate. As Bev looks for the Monsignor, the viewer watches a man come onto the island dragging a large old-fashioned chest with him. At this point, we have no clue that this is Father Paul, new to the island and here to replace the ageing Monsignor Pruitt. Bev leaves the dock after speaking to Sturge, assured that the Monsignor had not arrived. We flashback to Father Peter entering a house, dragging the chest in, and as he rests, something knocks from within the chest. Soon it is Riley's turn to return to the island, his mother waiting for him at the dock as he disembarks. It is evident from his manner and body language that Riley is hesitant to have returned to the island, that much has changed during his sentence in prison. They walk through the small village, faces familiar seen by both. With greater hesitation, Riley returns to his home and enters behind his mother. Before Riley's return, his brother, Warren, had joined two other boys as they smoked pot and spent time on the nearby island. Surrounded by innumerable cats, and for a moment Warren saw something in the dark, a figure with glowing yellow eyes. In an instance, it is gone, leaving them thinking it is but his imagination.

    The first Sunday, Riley is forced to join his family at Sunday service, a condition of his parole, as stated by his father. The relationship between father and son is strained. Riley's actions and years of distance have not made it any easier, though Ed does try. We are introduced to Sheriff Hassan during this episode, along with the wheelchair-bound Leeza and her parents. These will all play greater roles as the story unfolds. It is at the church service that we are introduced to Father Peter. He moves to give a sermon, introducing himself to his new flock and explaining that the Monsignor had taken ill and was recovering on the mainland. It is worth noting that this is his first time taking mass, and he had already filled the wine before the seminary boys would have. Throughout this encounter, he is welcoming and speaks as though he knows them. This is explained by Father Paul supposedly having spent time with Monsignor Pruitt during his sickness. He focuses on Riley, noting that he hadn't taken the sacrament. Riley explains that he isn't in a good place with his faith and that his time in prison has changed his opinion on such things. At the mass, Riley had spotted an old flame, Erin Greene. She had also just returned to the island. Erin is pregnant and living alone, having taken her mother's position as a teacher in the school on the island. Unlike Riley, Erin is still certain in her faith and proves one of the few people he can truly open up to. As we move into the end of the episode, a storm moves in. During this storm, Riley sees a figure in the rain on the beach. Believing it to be the Monsignor, he rushes out into the storm but the figure eludes him and vanishes. During this scene, the figure moves in an ungainly manner, and it is easy to see that its eyes glow with low yellow light.

    The next episode opens up with the beach covered with the corpses of cats, picked at by seagulls as the local sheriff attempts to discern what the cause could be. This is a strange occurrence, as it appears they have all been drained of blood and had their necks snapped. As things continue, there are more strange events, from the image of something flying over the island to the slow regeneration of the people of the village. There are darker events also, the death of Joe's dog in a grizzly fashion poisoned with a hotdog, laced with rat poison. It is easy to discern who the culprit is, at least to the viewer, but it is hard to prove for the Sheriff as he investigates the matter. I'd like to highlight how evil Bev's character is. I'm not talking evil genius kind of evil, or even serial killer evil. The woman is the worst kind of banal evil, petty, small, and utterly hateful with this mindset that she is utterly in the right. Her righteousness and the twisting of her religion to her own ends are brilliantly portrayed on screen by Samantha Sloyan. She sluts shame, Erin, pointing out how wonderful Erin's mother was in comparison, and throughout any interaction, she uses scripture to justify her and others' actions. The woman is wonderfully petty and vicious whilst hiding behind a mask of civility and self-righteousness. We learn more about Riley's argument against God and his issues with his faith as he begins his AA sessions with Father Paul. The two men start delving into matters, such as Riley's anger at himself and God. Riley's alcoholism is the primary matter here, and Riley is angry at the person he became when he drank. Riley remained angry at the things he had done when under the influence. He was stuck with the knowledge that he had been the one that had fed that part of himself instead of fighting against it. What the drunk persona did was his responsibility, ultimately. Though these conversations work well, with Father Paul often countering Riley well with his own arguments, I felt that the conversations between Erin and Riley worked better. They were simply more heartfelt. The connection between these two lost souls is strong. They fit well together, and without Erin's influence, Riley might remain lost and aimless. This is highlighted in the previous episode as she helps him find some sense of purpose again. Telling him that waiting out the storm is his purpose for that day. For me, the writing for these characters is strong throughout, making them feel real and giving the story higher stakes. 

    I won't do a complete breakdown of each episode. I will stick to an overview. Things take a strange turn as we reach the end of the second episode, and a miracle occurs. Leeza is beckoned to take the sacrament, with Father Paul moving away from her, and she is forced to rise from her wheelchair. As she does, the congregation looks on, stunned. We flash to the next episode and watch as Father Paul takes ill, rushes from the church, and back to his own home, throwing up blood. It appears the miracle has taken something from him, but the issue is not as simple as it appears. It is here that Bev spots something in his home, something left over from the Monsignor. The word of the miracle quickly spreads, with Leeza up and about after a quick look over by Sandra, the local doctor. Here we begin to see the beginnings of religious fervour, and that theme grows as the series continues. Bev clings to Father Paul closer now. She believes that he is on a mission from god. This worship will falter in time, but for now, Bev is his most loyal follower.  As this episode unfolds, we see Father Paul giving a confession, and we learn the story of Monsignor Pruitt. We learn of Pruitt's journey into the desert, of his stumbling onto the ruins, of his encounter with the 'Angel.'. It is obvious to the viewer that this is not an Angel, the winged horror feeding on the old man's blood as he lies helpless beneath it. It is here that we see the creature feed the Monsignor its blood. And we discover that Father Paul is Monsignor Pruitt. The blood of the creature has rejuvenated him, returning him to the point of his prime. In the present, Father Paul has taken ill, growing worse throughout the episode. As the episode reaches its end, we watch as he falls to the floor, vomiting blood, and having some kind of seizure. Father Paul dies in front of Bev and the Mayor, laying on the floor utterly still. Within a few moments, he comes awake, back to life, it appears. For any fan of vampire horror, it is obvious what has happened and what will come next. It does follow a familiar route, but the use of religion as justification for what happens is a unique twist. It has become obvious that those that have taken the sacrament are getting younger in appearance. This could appear to be a good thing, but this implies that they have been imbibing the blood of the creature. Brought back to life, Father Paul is suffering from terrible hunger and a sudden aversion to sunlight. Things spiral from this point, as the bloodlust leads to Father Paul feeding, the death of Joe at his hands, and his new belief that this is God's will and he must spread it to the rest of his flock. Riley, unfortunately, discovers that Father Paul is lying to him after he slips up a lie about Joe. This leads to Riley turning up in the hall just as the creature is refilling the wine bottle. The last thing we see is the creature feeding on Riley before the episode ends. 

    The story speeds up now, with a returned Riley eventually revealing the truth to Erin. An Erin, who is struggling with the disappearance of her child and the mysteries of death, and where we go afterwards. There is far more to that storyline than I have relaid here, and it is a touching scene between Riley and Erin, as they both explain what they believe happens at the time of death.  This is all relevant, as it plays into his tale, along with the trust Riley puts in Erin. Riley relays all that has happened to him, what he has become and what danger lies in waiting for all those on the island. He tells Erin all of this because he believes she is strong enough to save others, and he needs her to truly see the danger she is in. As Riley has been telling his story, the sun has begun to rise, and the sky grows brighter with every moment. This is why he had brought her to sea so that she would see what would happen to him in the sunlight. Riley, as he passes, sees the young woman he killed, restored and smiling at him beatifically, beckoning him to join her.  Erin, however, watches as Riley is immolated by the sunlight, turned to dust within seconds. Her horrified scream is utterly convincing. Katie Siegel did a fantastic job.

    As we ramp up to the last two episodes, Father Paul is convinced that all should join him, safe from death as God wishes. He is utterly wrapped up in the premise that the Angel is enacting God's plan. This is where things take a turn, and we begin to see a growing separation on the island. Erin gathers a small group to herself, determined to save more, even as Father Paul is preparing a surprise for the Midnight Mass. Bev remains close to his side, and she has gathered more power as the congregation has grown, insinuating herself well in everything that is to come. As things reach the inevitable climax, it is great to see how everything devolves. The whole scene becomes one of bloodlust and horror. The scenes of wilful suicide are a little uncomfortable, and the religious mania is somewhat unpleasant to watch. In many ways, this entire storyline is akin to how cults work and the utter belief that leads to terrible deeds. Erin fights to save those she can, Sandra's mother shoots Father Paul in the head and she is, in turn, quickly slain by his Angel. As they hide in the rectory, they discover Bev hiding, the woman preaches at Erin before Erin shoots Bev in the chest. Quickly they flee into the night as the madness plays out in the church. Bev soon rises and takes over the events, Father Paul still recovering from the gunshot to his head and throwing open the doors, counter to his plan. Bev is convinced that those who did not come to church should face judgment. As this continues, Leeza, Warren, Annie, Sandra, Hassan, and Erin take refuge in Sandra's house. They make a plan to burn the docks, sure that the plan is for those turned to reach the mainland, to spread this infection. Before they can make for the docks, they are attacked, the windows are smashed in, and a Molotov cocktail hits the floor around them. It is at this point that Annie, Riley's mother, makes them flee. Heading to confront Bev by herself. The rest flee, and after telling Bev what she thinks of her, Annie slits her throat. Driven by their hunger, Sturge and Bev feed on the fresh blood, and the others have the time they need to flee the house without pursuit. After returning to her senses, Bev becomes convinced that the town should burn and begins to set other buildings alight with Sturge's aid. The small group of rebels manages to set the docks alight, the children fleeing from the island in a small paddle boat, and soon the whole island is burning. Growing desperate, Bev calls the flock back to the church in hopes that they can all hide from the spreading fire and the threat of the rising sun. Of course, things are not so simple, Father Paul has realized his mistake, and the last of the rebels, Erin and Hassan, have begun to pour gasoline on their sanctuary. Erin is attacked by the Angel, fed upon as she slowly cuts up its wings, and Hassan is shot. It is his son who sets the blaze, taking the last sanctuary from the recently turned. Now there is nowhere to go, and the sun will rise within minutes. Erin continues to slice up Angel's wings, enough that it might not be able to flee the sun, as the last of her blood is drained. We don't know if the Angel is slain by the sun, but all those on the island are turned to dust by the rising sun.

    Midnight Mass is a brilliant series that works off of a familiar premise. The overview I have given does not do it justice, and I highly recommend that you give it a watch. This is a vampire story at its heart, but one done through the lens of religion. The characters are well-written and convincing. Riley's struggle with his return to the island and adjusting to life out of prison feels real. Erin's deep faith and joy in her pregnancy have a certain strength, a strength that runs true, even when she is robbed of her child. Father Paul's misguided belief in the Angel comes from his fear of death, his regrets, and his desire to gain a second chance with his daughter. Everything is twisted to suit that end, to such a degree that he utterly believes in something that is obviously foul and evil. Bev is one of the best-acted characters in the series, a hateful woman that drives her own destruction. There are many great moments that I have not mentioned. I have tried to not give everything away, in case you decide to give this a watch. This is an amazing series from Flanagan, and I can't wait to see what he does next.

    I give this an easy 4.5 out of 5 stars, with a recommendation to any fan of horror. If you enjoyed Flanagan's other work, then you should definitely give this a watch.

The Conjuring 1 & 2 a review and overlook. A look at the films purely based on the work inspired by the Warren's famous cases.

 

The Conjuring and The Conjuring 2

    The films based on Ed and Lorraine Warren are entertaining films that, I imagine, are more inspired by true stories than based on true stories. There has been much debate, over the years, about the Warrens themselves, but that is of little import here. I'm more interested in the films and the entertainment they provide to the watcher. I considered looking at the Annebelle films here also, but I decided they should be looked at separately from the main Conjuring timeline. Now I want to highlight the very obvious issue of the Warrens themselves. Many don't believe in their stories of the supernatural, their experiences, and whilst skeptical, I don't believe they are the con artists some have suggested over the years. That being said, the films are very different from what must have occurred in reality and, I'd imagine, much artistic interpretation has been brought into play by James Wan.

     The first film follows the events surrounding the Perron family. Having just moved into their new home, moving away from all they have known, they settle in with strange things beginning to happen in the house. It isn't long before such things escalate, and an element of fear and real concern grip the family. We are introduced to the Warrens at the very start of the film, as they speak to a trio in an apartment, the women talking about the doll they found and the spirit that now inhabits it. This doll is, of course, the aforementioned Annabelle. The story of the events plays out, and we don't get a good look at the Warrens themselves until it plays out. The casting is on point, Vera Farmiga and Patrick Wilson have such great chemistry on screen. For me, the casting is what makes the film work so well.  You invest in them in their relationship, as it feels so real. Ed comes across as a strong, loving, man, that believes in what he investigates and his wife's ability to see that which others cannot. Lorraine is an intense believer, she sees into a world that lives alongside our own, and that, sometimes, comes with a cost, one she has paid already in events before the film. They make a good couple, and you can feel Ed's reluctance to put Lorraine in any situation that may lead to her being in any kind of danger. The film continues with the Perron's being tormented by some unseen entity, something that kills their dog, threatens the children, and seemingly stalks Carolyn, as she spends much of her time alone in the house. Roger is a long-distance lorry driver and, largely, is away from the house as some of these events play out. Finally, desperation begins to take hold, and the Perrons begin to look for help. 

 

    Ed is reluctant to help at first, but Lorraine insists, taking into account Carolyn's concern as a mother, and they then join her at the house. The entire family awaits their arrival, the children all gathered together. They begin to relay the events and other little things that now plague them in the house. We, as the audience, are shown what Lorraine sees, the things that haunt the house, and those that dwell within. The film does a good job of building background tension. An aura of menace builds up around the house as they show the Warrens around. The house is more than just the background to these events now, it is an element of the haunting itself. The Warrens begin their investigation, looking into the history of the house and the lands around it. As expected, they discover dark things, a curse on the land, and many deaths on the property. The dark entity within the house works on Carolyn quickly, and it isn't long before we build on the terror, and the loving mother is turned against that which she loves the most, her children. We are at the crux of the movie now, the Warren's threatened by the spirit of Bathsheba, as she visits their daughter, with Annabelle in tow. As this occurs, Carolyn has returned to the house with two of her children, ready to kill them, under the influence of the alleged spirit, of the witch, Bathsheba. The film moves to an exorcism, something Ed never did, as they struggle to save Carolyn from Bathsheba's fell influence. This part of the film is the most unbelievable, but one of the best shot, and carries the most tension of the whole movie. It works because it is what we, as audiences, now expect to see in such films, and, as such, it is the peak of the haunting and the moment where Carolyn is either saved or lost. Of course, being such a film, Carolyn is saved, and the family is freed of the haunting. This traditional ending is not unexpected though, sometimes, something a little darker can work better. All in all, The Conjuring is a good horror film, it has the right amount of tension layered throughout, and it has believable characters that you can invest in. I'd give it a solid 4 out of 5 and recommend it to most horror fans.

    The Conjuring 2 is set years later. It opens up with a scene relating to the Amityville Haunting, a case the Warrens were reportedly involved in. We follow Lorraine as she walks through the house, walking as Rodney Defeo did as he shot his sleeping family. In this vision, Lorraine snaps free from Defeo's path. She finds herself watched by the spirit of a child, and she gives chase. Lorraine is led to the basement, and there she is shown something that terrifies her. Now we move to the Hodgson family, those that will suffer, under the haunting, of a fell spirit. We open up with Janet in school with her friend, and then we meet the rest of the young children of the family as they leave school for the day. This is a film that sets itself entirely around the alledged haunting in the house in Enfield, a well-known account that has spawned more than one movie from the case. How much the Warrens were involved is up for debate, but the film here is taken purely as entertainment, and we watch as they become more intertwined with the events surrounding the Hodgson family. In this film, we have a couple that has pulled back from actual investigations, Lorraine has become wary of becoming too involved, and they are dealing with how they are seen, and portrayed by the media. There is a deep fear that has grasped hold of  Lorraine, a fear that she has, strangely, not shared with Ed. The haunting begins slowly, as is often the case, but soon things begin to take a darker tone. It is intermated that the haunting is just an elaborate hoax, though we see, as the audience, that there is more to it than that. It is worth noting that this all starts after Janet plays with an ouija board, suggesting that she has opened a doorway to something to come into their home. Again, the film works best around the Warrens, Patrick Wilson, and Vera Farmiga has great chemistry on screen. If anything, it works better this time around, you can feel Lorraine's terror at the thought of anything happening to Ed. Ed knows something is wrong but does not push the issue, trusting in Lorraine to divulge all when the time is right. This film also feels darker, than the previous entry, something about the way the house interior is shot and that the house, itself, is far more compact than the large house in the first film, adds a claustrophobic feel that the first lacked. As a note, there a more people directly involved with the haunting, more who witnessed the events in person, saw what was happening to the family, than in the first movie. This is a reflection of how big the case became in Britain, how the media swarmed around them for a time.

    The use of the 'Nun' is done well. She comes across as such a menacing figure, the whole look is offputting, and the character oozes foul intent with each interaction. I enjoyed how she is used as a background player, an entity that threatens Ed, and yet, there is always more to it than what is first shown. I was not surprised that the 'Nun' became the face of the movie. The interaction between it and Lorraine plays out deeper into the film and is worth taking note of. 

    The Warrens are brought in after the media coverage grows, brought in by the church to do an initial observation. At this point Lorraine divulges all, informing Ed of the threat to his life. Ed doesn't share her fear, confident that she is meant to save his life from this demonic threat. Together they travel to England and begin their investigation. Things continue to play out around the family, Janet subject to terror, as this entity batters against her meager defenses and seeks to isolate her. The Warrens move through their investigation, and things play out, but always with enough room for doubt, for the possibility that Janet is faking everything. And that is where it goes, the entity manipulating the situation in such a manner that it looks as though she is faking the haunting. This is where Ed works out that their previous tapes of the encounters show evidence of what is really happening, two broken messages that make no sense until played together. This is where the film builds to its climax, the inevitable confrontation between the Warrens and this entity behind the haunting. Of course, tension is built as Ed and Lorraine are separated, and it looks as though her previous vision may come to pass. Again, it is the relationship of the couple that carries this part of the film, Ed, is determined to save Janet, and Lorraine is terrified of losing Ed to this demonic threat. At this point, we learn that Lorraine has the secret to facing and defeating this entity. She rushes into the house, determined to save Ed and Janet from the demonic Nun. Again we are met with a happy ending, not much in doubt given the source material, but it plays out with enough conviction that it doesn't feel trite or without threat. 

    I enjoyed both of these films, James Wan did a great job, and they are worth watching for any fan of horror or just movie fans in general. I'd give this one a slightly higher rating than the first, 4.5 out of 5. For me, this one just worked better. So if you, somehow, haven't seen these films I'd recommend giving them a look. Just remember they are more, inspired by than based on a true story.  

Jerusalem's Lot by Stephen King. The short story and a look at the upcoming series Chapelwaite based on it.

 

Jerusalem's Lot and the upcoming Chapelwaite series

    I thought about doing a complete look at 'Salem's Lot after catching the trailer for Chapelwaite. It seemed the wrong choice, considering there is also another adaptation in the works for the novel. Looking at the short story alone made more sense to me. I had to reread it, it had been some time since I had done so and unlike, the full novel, I had only read it once. It came as a bit of a surprise, the trailer, that is. I had heard of the adaptation being in the works, and seeing such a familiar name in the lead piqued my interest. I've enjoyed Adrien Brody in many films, the foremost among them being the Pianist, and having him as the lead fills me with hesitant optimism at the series release. The network behind the series is unknown to me, but there are a great many new streaming services of late, so that is not such a worry, and now I merely have to wait and see what direction they go in. 

    The trailer sets up the premise with Adrien Brody's character reeling from a loss and coming to Jerusalem's Lot with his children in tow. From the outset, an air of menace sits over the trailer, of darkness beyond the edge of sight. We see the house that is so prevalent in the short story and, like that story, the distrust the town's folk have regarding its owners. It appears heightened somewhat in the trailer, our protagonist's family is foreign to the region, and this could be something that would often cause distrust, in some regions, during the era the story is set in. The family dynamic, in general, is a new twist on the story, which is set on the shoulders of the cousin alone as they settled into the house during the short story. It isn't long before we catch glimpses of the vampires lurking in the shadows but how much is 'real' here is open to interpretation as this is the first trailer.  I am left to wonder just how closely they will follow the original story, what changes the studio has in store, and if it will manage to maintain an air of menace throughout. I'm hoping it won't deviate too strongly, but if it does, I hope it will strive to maintain the feel and the intent behind the original short story.

    The short story is set in a series of letters sent from the new owner to his friend, a man he refers to as Bones, and one or two others. The house is newly inherited, sitting empty for a time, and the owner is settling with only his friend, Calvin, at his side. Being a short story, it unfolds swiftly, the pacing not too fast, but the tension is kept in the monologue, the writer giving us more details on the eerie goings-on within as he spends more time within the confines of the house. A notable detail here is that our writer once spent time in a facility for mental illness, and it is suggested that maybe he has begun to suffer from delusion once more. It is also worth noting that even before the events, it is said by the locals that anyone living in the house must be crazy to do so. This further highlights that there is a fell reputation surrounding the house, and its owner, before our protagonist arrived. I do like the obvious energy of our letter writer at the start, their joy at discovering the entirety of their new property, and how that changes as things begin to spiral. I liked the use of the rats in the walls trope. As a fan of H.P Lovecraft, I've seen this done before, but King uses it well. The story is well written, and there is an element here that can lead you to believe that this is all real, but enough doubt lingers about the sanity of our writer. As a short story saying too much would give away the gist of the story and how it unfolds, that would be a disservice that has yet to read it through. 

    It is a short story contained within my current copy of 'Salem's Lot, a book I highly recommend to any King fan and is worth reading on its own. With this new adaptation on the horizon, I wonder how they will redo 'Salem's Lot, will the two tie in together, or will they be entirely separate entities. Regardless I am tentatively looking forward to it, my interest in the book, and the short story, rekindled in the wake of the trailer's arrival. I hope they manage to capture some of the magic of the short story and, in time, we discover more of what it has in store. I hope you give them both a look and let me know if you're looking forward to this adaptation too.

   

    

1408 The film review. A look at the film based on the story by Stephen King.

 

1408 A review. 

    1408 isn't your typical horror movie, and for me, that makes it something special. Starring John Cusack as the lead, the novelist Mike Enslin, it is a film that looks more at the psychological effects of horror. This is not a slasher horror or typical haunted house-like scenario. The film takes place, largely, within the confines of hotel room 1408, but there is enough outside said room to leave you with a few questions on what is real and what is entirely in Mike's head. The film opens up with Mike driving in the rain and stopping off at a small hotel for the night, the novelist investigating the reports of paranormal activity and reviewing how believable they are. This is so he can add them to the next book in his long-running series of paranormal investigations, something that he seems almost reluctant to do. Mike comes across as a weary character, intelligent but bored of the world around him, with no real belief in the very subject he investigates. Mysteriously, he is sent a postcard with room 1408 written on it, and he is intrigued enough that he begins to investigate the Dolphin Hotel and said room. Meeting with the inability to book the room, his curiosity is piqued further, and he begins to look for a way to stay the night in 1408. Eventually, with aid from the lawyer from his publishing house, he finds a loophole, and Mike has his in. 

    Upon entering the Dolphin, the manager is called to deal with the booking, and we are introduced to Samuel L. Jackson's character, a debonaire man with poise and a well cultured, practiced, approach to dealing with individuals such as Mike. He starts with an opening intended to convince Mike to take another room, an upgrade that he ensures Mike he will like, but our lead is resolute and continues to ask to take 1408. At this point, they move onto the manager's office, and the conversation continues. Mike is offered an expensive bottle of whisky as part of a bribe as the manager seems eager to keep Mike from the room, and it soon becomes evident that he truly believes that Mike would be in danger within 1408. L Jackson's performance throughout is solid, you can feel his concern and conviction as he speaks, Mike remaining steadfast, though thrown slightly, as he is informed of the additional, natural, deaths that have occurred in the room. Deaths that he had not been aware of in his own research into the room over the Dolphin's long history. This detail comes with a file, one that Mike is eager to look into, and he attempts to manipulate the other man into believing he will stay out of the room as long as he can have access to the file. However, Mike takes his drink and asserts that he still wants to stay in the room, frustrated the manager tells him to take the file anyway, that 'he won't want to stay in the room after he reads the damned thing'. Mike becomes combative after the manager mentions his work and his surprise at Mike's character in meeting him, highlighting his first novel, one that he rather enjoyed. Mike states he is unfazed by everything he has heard here and is determined to stay in the room, knowing that there is nothing out there to be afraid of, no ghosts or ghouls exist. 

    We cut now to the lobby, the manager brings out a metal key, and Mike comments on the use of a key being a nice touch to the mystique. He is informed that the electronic keys simply don't work in that room. Again Mike is dismissive, stating that he is unimpressed with their specter. The manager laughs at this and states that he has said no such thing about a ghost or specter. When asked what it is then, he merely states, 'It is, an evil f*@king room.". Mike is thrown a little by this. Together they go up to the fourteenth floor in a nearby elevator,  Mike commenting that it must be dirty in there. The manager relays that the room gets a light turnover once a month, that it is treated like a room filled with poison gas, maids work in pairs and the door remains open at all times, the stay no longer than ten minutes at a time. Again we are informed, that accidents happen and that a few years back a maid got locked in the bathroom and after a few minutes, she had been found to have removed her own eyes. Though surprised Mike seems reluctant to truly believe what he is told, he is far too much of a skeptic to fall simply for what he is told. The manager leaves him at the elevator, he does not go onto this floor except that time of the month, and Mike wanders off reading through the file. 

    After a slight detour, Mike finds himself in 1408, and it fails to reach his expectations. It simply looks like any other room in such a hotel. He begins to believe he has been tricked and quickly sets about getting himself ready for his overnight stay. It is interesting how the room begins to work on Mike. It starts subtly, with an increase in temperature, and the mints on the bed. I found it a nice little touch. Mike is bewildered at first, but he quickly sets about running through how it could have been done, moving through the room in the belief that someone else must be there. Things quickly begin to spiral for Mike, an incident leading to the injuring of his hand as the window slams down onto it and then the tap blasting through scalding water as he attempts to clean the wound. The room is attacking him to mess with his equilibrium, it is throwing him from one event to the other, working to unbalance him as other elements are brought to bear. Mike begins to believe that he has been drugged by the Manager, not ready to face the idea that what he is experiencing is real, far better to believe he is dealing with a drug trip. He is quickly trapped in the room, the handle coming away from the door, and he begins to experience moments from his own life. His daughter on the tv, his father in the bathroom, and we begin to discover elements to Mike that we had not been privy to before. The room continues to work on Mike, making him see a woman attempting to attack him, showing a version of himself in a room in the building opposite, and soon making him believe that there is no way out of the room. This is to force a belief of isolation, to take away any hope of escape. Again the room isn't attacking him directly, it is crumpling the bedrock of his belief in what is real, as it attempts to break both his spirit and his mind. The hardest hitting of these attacks is those that concern his daughter, Katy. It is shown, through various flashbacks, that she passed at a young age. A loss that Mike has not recovered from. As a viewer, we are often left to wonder, if the room is merely showing him painful images of his past, or if it is actually using Katy somehow. It is unclear, at times, just what the room is capable of.

    As the hour unwinds, Mike finds himself suddenly free of the room, emerging from the water at a point we have witnessed earlier in the film. Mike had gone surfing and had been knocked from his board and rendered unconscious, this time awakening in a hospital bed. Mike believes his time in the room had merely been a bad dream, a vision that he had escaped from, and finds himself renewed, his life taking on a redemptive arc as he begins to write about old wounds and the experience within 1408, his life is once more on track. Unfortunately, he can never shake the feeling that he will awaken once more to the nightmare, and soon, that proves to be the case. This is done very well, and it goes on long enough that you start to believe that it might have all been a dream, up until the moment the very walls come down around him. Again, the room is all there is, Mike sure that he had been out, and he finds himself facing what appears to be the image of his daughter. Here it is left ambiguous as to whether this is Katy, or the room merely showing him a facsimile of her, as he holds her in his arms, and she begs to stay. As Mike falls to rage, he finds himself on the bedroom floor with everything back to as it had been with the phone ringing. The room offers Mike the chance to checkout, commit suicide, or live the hour over again. The room shows him others doing so as he wanders about the room, even threatening his separated wife before Mike finally comes to his own conclusion to this encounter. Mike, finally, taking the route of a less selfish man, decides to take out the room, and spare any others from this hell he has endured. Making a homemade Molotov cocktail, he sets the room ablaze, himself trapped within, and calmly sits smoking his last cigarette as the room begins to burn around him. Finally, to ensure the room's demise, Mike tosses the ashtray through the window, the surge of oxygen causing the fire to erupt and spread to the rest of the room. Mike is last seen on the room floor, laughing hysterically, as we hear Katy speaking to him. 

    I always liked the premise that the room is simply evil, that it cannot affect a death but rather pushes the guests into taking their own lives, madness being the only other option. It is a unique twist that I have rarely seen done elsewhere. A lot of this film rests, squarely, on Cusack's shoulders, and he does a great job. He emotes the terror, confusion, and anger of Enslin brilliantly and conveys his loss and pain equally well but with more subtlety. This one is for people that enjoy more cerebral horror as it lacks any of the cheap gimmicks that work in other horror films to keep the film moving forward. It is very much a character study and looks at what evil is and how it can manipulate. I would recommend that anyone give it a look but if you're after blood and guts, give it a miss.

    I'd give it a 4 out of 5 personally, but I could easily see why it might not be everyone's cup of tea. Let me know what you thought of the film and any others that you might recommend. TTFN, and have a good one.

The Evil Dead films and series: An Overview

 

The Evil Dead films and the streaming series.

    I will forever be a fan of Bruce Campbell for his portrayal of Ash Williams, the everyman dragged into the horror and hilarity of The Evil Dead. The first film is by far the most outright horror of the series, with the following films drenched heavily in comedy with some stand-out performances by Campbell. Ash is not the typical hero in this series, either on the big screen or small. He is reluctantly dragged into this madness, doing his best to remain amongst the living. The first two films are set in the now typical cabin in the woods and utilise the Necronomicon Ex Mortis, roughly translated as the Book of the Dead. It is easy to see where Raimi got his influence for this fell book, and it works well as this tome of utter horrors that drag demons and worse into our world. I admit that I am much more familiar with Evil Dead 2, I have watched it far more than the original, so my review here will reflect that. Ash is dragged into this as a man simply looking for a romantic getaway with his girlfriend. Linda is killed after Ash unwisely plays the recorder in the cabin, Professor Knowby reciting passages from the book. She is turned into a Deadite, and Ash is forced to kill her to survive, decapitating her with a shovel. After burying her, he returns to the cabin in hopes of waiting out the night. Things do not go that simply for our reluctant hero as the evil spirit of the wood begins to press in on him. Soon Ash is possessed too but the spirit is pushed from him by the dawning sun. After hours unconscious Ash awakes and flees the cabin only to find the bridge out and dusk soon descending upon him. Fleeing back to the cabin, pursued by the malevolent spirit, Ash hides there in the hopes of waiting it out. Unfortunately, he is not that lucky, strange events begin to play out around him as the summoned evil begins to work on breaking him down. At this point, we learn that Knowby's daughter and partner are coming to the cabin to see the deceased Professor, bringing with them the lost pages from the book. Throughout this Ash is being attacked, and Linda returns from her grave, her disembodied head biting his hand after a nasty dream. Ash rushes to the workshed and soon manages to remove her, ready to deal with her before he is attacked by her body wielding a chainsaw.  It is at this moment that we see the Deadites can switch back to appearing normal, Linda's head begging Ash not to kill her before viciously mocking him and returning to its unnatural visage. Returning to the Cabin Ash continues to spiral before his hand begins to turn and we have one of the funnier scenes as his hand attacks Ash and renders him unconscious. The scene following is one of the bloodiest in the film as Ash cuts off said hand with the chainsaw. I do like the little nod with the use of the book  'A Farewell to Arms.' being atop the pile he places on the bin to keep the hand contained. Again we get another amusing scene as the hand escapes, and a little battle of wits plays out before things take another nasty turn for Ash. 

    Here things begin to change as the others arrive at the Knowby cabin, Ash mistakingly firing at them before he is subdued and through into the root cellar beneath the cabin. Things escalate further as Henrietta rises from the floor of the root cellar and attempts to eat Ash. The film moves quickly as the Deadites seek to kill them, and fear and paranoia take their toll on the group of survivors in the cabin. As you can imagine, things don't go well, and slowly their numbers are whittled down as their fight for survival continues. They have a way to fight back, to rid themselves of the evil, but it is not an easy task, and Ash finds himself returning to the cellar to face Henrietta and reclaim the pages. I still love the design of the Candarian Demon possessing Henrietta as the pair face off in a fierce fight before Ash gains the upper hand and we move to the end of the film. Annie and Ash are left to face the physical embodiment of the evil after the first part of the passage has been quoted, frantically they attempt to complete the other half as Ash is left to face it. Of course, things don't go well as Annie is stabbed in the back by Ash's evil hand. Annie finishes the incantation as Ash fights, and for a moment, we think everything is fine until the summoned portal doesn't close, and Ash is sucked in after the evil. The scene works well with the right amount of tension and dark humour, Ash crashing from this world into another, the closing scene hinting at what shall befall our hero next. 

    The next film follows directly from the ending and I believe that the series hints that the film didn't happen. At least in the newer canon. Army of Darkness is one of my favourite films with many quotable moments in the film that still makes me chuckle to this day. The medieval setting and Ash's apparent set-up as the man here to save the people from the Deadites are done well, Ash is eager to return to his time and willing to do whatever is necessary to achieve that goal. Again humour is at the forefront of this film, with less horror at the fore. Hunting for the Necronomicon at this time, Ash is tasked with returning it after using the incantation of a particular passage. Which, inevitably, does not get uttered correctly as Ash forgets the ending. The scene in the mill is one of my favourites as Ash is left to battle tiny evil versions of himself before swallowing one and the subsequent development of 'evil' Ash. Again humour is key here, not horror, and the ensuing fight and almost three stooges-like feels to the scene make it enjoyable for one of my generation. This is a very different film from the previous ones, with the castle and siege, the fighting, and the much bigger stakes, yet it all works. Though I will admit the film doesn't have the greatest of special effects, that is even more evident nearly thirty years later. This film rides on the charisma of Campbell, and to his credit, he manages it most of the time. There are some weaker elements here than the tighter viewing of the first two in the trilogy, but it is still a fun film to watch. It is worth noting that there are two endings to the film, but most will only know the one where Ash is returned to his time and works in the S-Mart, a return of the Deadites plaguing Ash once more.

    The series is set with a much older Ash, and thirty years have passed since the events of the original. It seems little has changed for him, and after a night of drugs and booze Ash reads from the Necronomicon, starting things all over again. This iteration works well, largely due to the introduction of Kelly and Pablo. These two poor souls are dragged into Ash's mess, and before long, they are all deep into the world of the Deadites. The introduction of Ruby, the ever-brilliant Lucy Lawless, tightens up the story as we gain an element of mystery and stakes that might have been missing otherwise.  In my opinion, the second series is the best, with a better story and some interesting turns by the writing team. It would not be fair of me to give too much away about the series in total, I might go into that at a later date. I recommend fans of the films give the series a go. It is fun, and there are plenty of callbacks to the original films. 

    I would be remiss of me not to mention the remake. I enjoyed it, for the most part, the performances were good, and the tension in the film is well maintained. It doesn't quite have the magic of the original, but it is a solid effort and worth a look for horror fans.

    So if you enjoy campy horror films give The Evil Dead a try. Ash is one of the funniest and most beleaguered characters in the genre. Though some of his character traits haven't aged well, in this age of people being easily offended it is worth noting that some of his humour might offend some. For me, the humour works well, and the better effects and production values of the series have made the experience all the better. 

    Let me know what you think in the comments and if there are any films you would recommend. Later folks.

Mass Effect Legendary Edition Overview

 

Mass Effect Legendary Edition overview and Review

    I played the hell out of these games when they were first released, on my good old Xbox 360 and then again on my PC once I purchased one. I loved them, I loved the world they opened up to me and I have to say even to this day Garrus is my favorite character. That Turian walks at my side throughout the trilogy, Shepard's best friend and easily one of the more interesting of the characters in the series. I grew up a massive fan of Star Trek. Don't get me wrong I enjoy Star Wars, well to varying degrees now, but Star Trek shaped how I looked at Sci-fi on the screen, both big and small. Mass Effect very much leans into this type of science fiction, you have your own ship and crew that essentially operate as part of your extended family. The science is more grounded without the 'space magic' that works in some other franchises. This is an adventure that spans our galaxy, delves into a number of unique alien races, and delves into an interstellar history that goes back millennia. You, of course, begin the game as Commander Shepard. Be it, man or woman, with a number of possible roles available to you along with a unique history that will shape some of the responses to your character. It is the first of the trilogy that we are presented with the biggest improvements to the overall gameplay and graphics, Bioware did a good job of updating the release. It is a far more fluid experience with the combat massively improved from the original game, it makes it far more engaging than the game I played way back in 2007. The game is not without bugs, though they were few and far between in my experience, they were nothing that proved game-breaking, the updates certainly removed some of them. The first game is far more RPG-heavy than the later installments, with a massive amount of customisation, something that is lost in the next game. Thankfully that changed in Mass Effect 3. 

    The game works best when you invest your time into your companions, you may only be able to take two on your missions but upon the Normandy, you have the opportunities to speak to them and develop your relationships, opening up new side-missions and dialogue. This is where the game really shines, it is meant to be invested into, and it opens up the worlds beyond the Normandy as you discover through these representatives what life is like in the cultures they come from. I enjoyed learning about Tali's pilgrimage and the events that shaped Wex's life, about the things that infuriated Garrus about C-sec and drove him to join Shepard's mission. This is expanded upon in the following games, done especially well in Mass Effect 2 as it is vital if you wish for your companions to survive the last mission against the Collectors. I always felt the need to hunt down every mission in each game, to ensure that each team member is loyal to Shepard and willing to die at their side if need be. My only real complaint is that in the third game the selection of teammates proved a little sparse and human-heavy, I really missed having a Krogan in the mix. 

    Now we come to the Reapers, the big bad of the series. They remain a truly daunting foe, unknowable machines that have been around for millions of years. They endeavor to ensure that each cycle is brought to an end, that the civilised races are harvested before they return to dark space to begin the cycle over once more. Indoctrination is a key component of the first game, Saren lost to Sovereign's influence without being aware of what is being done to him. This is developed more as we learn of the Collectors in Mass Effect 2 and then the key role it plays in Mass Effect 3 and the plans of the Illusive Man. The illusive man is played brilliantly by Martin Sheen and remains one of my favourite performances in the trilogy. I do enjoy that it is openly admitted that the races cannot conventionally beat the Reaper forces, that they do not possess the might and technology to push them back. It all comes down to the races that came before and the plans that they brought into being. It weighs heavily on Shepard, the responsibility of it all, and yet they push forth with their friends and crewmates at their side. Storywise Mass Effect remains the best in the trilogy but, for me, the lack of RPG elements made it less fun than it could have been.

    Bioware has done a good job on this 'Remaster', a good effort considering how gamers now view the studio in the wake of Anthem. It goes a ways to rebuilding some of the standings they once had and fostering hope that they can return to form in the years ahead. I would like to highlight that the Citadel DLC is the best part of this entire Edition, the adventure is endearing and brings together many of the favourites of the series. I love playing it, the humour works well for me and I loved having Wrex and others back in the fold. I would recommend any sci-fi fan give these games a go, more so if you enjoy third-person shooters and RPGs. This is edition is not to be missed in my opinion, it proves that Bioware is still capable of labours of love. 

Slasher Horror and the Halloween movies

 

Slasher Horror and the Resurgence of Michael Myers.

    Michael, sodding, Myers. I have often wondered just how many films this character will feature in before the premise fades into the background. Here he comes, yet again, in another film, this one supposedly following on from the semi-reboot with Jamie Lee Curtis. Don't get me wrong, the original movie remains one of my favourites of this particular genre of horror, but with Rob Zombies films not all that long ago I wonder just how much more they can do with an unchangeable character. Yet again he marches on, unflinching, in his desire for carnage and chaos, killing anyone in his path and remaining singularly unstoppable, though it is always insisted that he is but an aging man in a mask. That fact breaks some of the immersion for me, especially as he must be close to seventy in the latest film and contained within a facility for the criminally insane with no access to exercise facilities etc. How is this man so strong, so inured to pain? Within the lore of the series, he is just a serial killer, and yet he is presented as almost a force of nature.  Now, with Jason Vorheeves, it is presented that he is an immortal killer that comes back from the dead, used especially in the comedy fest that is Freddy Vs Jason. Don't get me wrong, that film has a certain charm to it, but I often wonder how it got made. With the many slasher films that have come out, both these characters have a long-running series of films, it is a wonder, to me, how they bring anything new to the table. 

    Michael Myers and Laurie Strode are brought back together in this new reboot trilogy and we see their dynamic from the original movie brought back to the fore. To my surprise, it actually worked, and I think it is largely because of Jamie Lee's performance as a woman still struggling with PTSD that the story carries any sort of weight. Rob Zombie's films took an interesting turn with a look at madness running in the family as they kept his pursuit of his baby sister as his prime drive and then her spiral into becoming a killer after his death. Here we have something more grounded and believable, Laurie having raised her daughter to survive Michael's return and the damage that has inflicted upon their relationship. I am not a fan of the triggering event, in regards to Michael's resurgence, and need to hunt down Laurie but, otherwise, the film works well as he tracks down the woman he once attempted to slay and finds himself against someone who has prepared for decades for this exact moment. I liked the idea of the one-time victim turning the tables on the killer and being ahead of Michael, ready to finally put this man down and move on from the pain she has carried her entire life. Of course, being a trilogy we know that he survives the attempt on his life, and with the release of the trailer for 'Halloween Kills' we know that this time the events are far more out in the open. It seems that Michael is on the hunt and cutting through any before him, as he focuses on hunting the trio of women down. I am hopeful that they keep the grounded approach and keep the focus on Laurie and her family. 

    To me, the market seems overly saturated with Slasher horror films but they can be done well if they make the characters interesting.  The killer is often one-note, a juggernaut of destruction and death that will not be stopped, so it relies on those they pursue to keep your interest and retain your investment in the story. I am not a fan of films that rely solely on the gruesomeness of their kills to make their film stand out, though interesting kills are a plus. If you are a fan of some cheese and comedy in your horror films, give Jason X a watch, it is a ridiculous film and it knows it. In my mind, the Nightmare on Elm Street films is exempt from this genre, largely due to their supernatural nature and the, very much admitted, demonic nature of Freddy Krueger. I am looking forward to the next film but, hoping that after this trilogy, the character will finally be retired for a time. At some point, Michael will lose his menace and become a parody of what he once was. Any recommendations for lesser-known Slashers are welcome, and I hope you give the latest films a look. 

Bad Magic Productions

 Timesuck and Scared to Death.

    Dan Cummins and, Queen of the suck, Lynze is the force behind Bad Magic Productions and the two great podcasts that I have come to enjoy over the past year. Yes, Covid proved good for something. I first caught Timesuck as a random recommendation on my Youtube feed and soon found myself watching as Dan relaid the events surrounding The Texas Killing fields. I have to say Dan has a unique approach to his podcast with his own unique brand of humour thrown in as he delves into the details of these particular subjects. It is thoroughly entertaining and informative, though I would imagine there are those that might find his humour a little controversial or blunt, I happen to love it. His take on Ed Kemper and several other individuals he covers often has me chuckling to myself and I will always enjoy his sponsored commercials as Woody relays his latest product on the show. The podcast covers a variety of subjects, from serial killers to the events surrounding the, now infamous, Skinwalker Ranch, and a great many cults. It remains one of my favourite informative podcasts and one that I enjoy catching whenever I can. I would recommend anyone that has an interest in a variety of subjects give this one a look and hopefully you will enjoy Dan's humour as much as I do. As a point of reference, I really enjoyed his Suck on the Wendigo and other American Indian Folklore monsters.

    Scared to death is hosted by Dan and his wife Lynze and is probably my favourite of the two shows. The pair sit together in their studio and regale one another with creepy tales that they have picked out. The pair work well, the humour and banter that flows back and forth between stories are relaxed and genuinely entertaining, with Dan often commenting on Lynze's love of crystals and belief in the supernatural. Each week they unload with a different series of tales about the supernatural and then discuss what they liked about the stories or if they believed their validity, etc. Again the discussion is often the highlight of the episodes and I watch it, as much for this banter, as I do for the scary tales that are sent in or Dan and Lynze have researched.  It is worth stating that at no point do the pair insist these stories are real but merely pick them out because of how interesting or scary they find them respectively. If you are a fan of scary stories and creepy what if's then I would suggest that you give the podcast a look/listen. You might watch/listen for the stories being told but most will stay for Dan and Lynze. 

Anyway, hope you're having a great weekend and decide to give them a look. Feel free to let me know if you gave them a try and until next time folks have a good one. 

    

    

A look at Stephen King's IT two iterations on screen, the Movies and the Original Mini-series starring Tim Curry. Two unique takes on the source material.

Stephen King's IT 1990 mini-series Vs the 2017/2019 films.

 

    I love IT. I read the book when I was thirteen in school and saw parts of the original mini-series before that. I had to wait until I was older to watch the whole thing, unfortunately. I was never entirely comfortable with clowns afterwards, and that is in large part thanks to the creepiness of Tim Curry's performance embedded in a youthful psyche. And that is what makes the comparison so difficult for these two particular versions of the same medium. How do you compare something you saw as, pretty much, a child versus that as an adult? Nostalgia makes it difficult as you often find yourself reminded of things from that time and mindset. Now, like I said, the min-series proved creepy. I'd even say there were some scares that were worse than that, but looking back and rewatching it isn't a series that relies on constant jump scares. Pennywise is even less intimidating until he isn't. Maybe it's being a product that is over thirty years old now but there is a quaint atmosphere to the 1990 version, brought on in part by being set in the early sixties. This era seems less harsh than the one that comes after with the worries and dangers in this time seeming almost benign in many ways. Though there are some subtle hints in the portrayals of certain relationships that could hint at something darker behind the scenes. Here we have the children, led by, the gone too soon, Jonathan Brandis with a very young-looking Seth Green and Emily Perkins in the mix. The series sets up the adults and children in a constant back-and-forth. Events play out often in flashbacks as the adult versions are dragged back to the town of Derry on the strength of a promise. Bill is played by The Walton's Richard Thomas, who I will ever see as John-boy, and loved in the Battle Beyond the Stars. Annette O'Toole plays the older Beverly with John Ritter playing the adult Ben. Like in the books, we see these people struggle with a lack of memory regarding their childhoods and the events in Derry, only Mike still remembers Pennywise and anything beyond the promise they made. Pennywise haunts them all as children, appearing to each of them in turn and yet failing to do more than instil a little fear. But even their fears are less dramatic than I remember on the rewatch, smaller somehow, and I wonder how much films have changed for the impact to have lessened such. The presence of Harry Bowers always on their trail, the school bully filled with hate and vitriol seems diminished from memory, with his two cronies always in tow. In many ways, Bowers is set up as a villain as much as Pennywise, though far less frightening in one aspect but a far more realistic concept, a bully being something many children are forced to endure growing up. 

    The first film of the duo is centred entirely on the children, and that works in my opinion. It always you to see the events, now set in the eighties, take place without any of the confusing back and forth that can break up the story. It begins with Georgie's death and the introduction to the new version of Pennywise. And I have to admit there is something deeply disturbing with Skarsgard's portrayal of this monster, the drooling, the wandering eye and the speech pattern are all little notes that separate it from Curry's iteration. The new look to the costume and face paint is somewhat off-putting too, though I think it makes him appear more dangerous from the outset.  Curry's you could mistake for just a clown, I don't get that vibe from Skarsgard's version. It is a creative choice and for the most part, it works. In this film, Pennywise seeks the children out in turn, and the use of their fears is done to far better effect, though the overuse of CGI is rather obvious at times, lessening some of the innate dread. He mocks them and shows little fear of them, but there are hints in the portrayal that speaks to his concern, why can he not seem to finish them off when the chance is presented to him? It takes time for the group to come together, as it does in the book and mini-series alike, and before long we are discovering, through Ben this time, the history of Derry and the dark events that plague its history. I liked that in this version the house of Neibolt street is used, that terrible place where the well lurks beneath and the source of where IT resides. Of note, the scene in Bill's garage plays out with a wonderful creepiness that builds to all-out terror as the children realize that IT has come for them. It is great acting on the part of the children as they panic as the projector continues to flick through image after image until Pennywise's skewed grinning face leers at them from the picture. It is worth noting that in this version Georgie's body has not been found and Bill still holds out hope that his little brother is alive somehow, waiting for him to save him. And Bill is determined to do just that, no matter what it might cost him. In Niebolt street we get another taste of Pennywise attempting to pick them off, separating them, and using their fears to enhance their taste to his inhuman senses. It is as the clown is about to devour Eddie that Bill refuses to believe what is before him, sure that it is all an illusion, and we see Pennywise becoming aware of that change. There is a look on his face and body language that speaks of anger and disbelief, well done by Skarsgard considering the makeup and costume adorning him. In the ensuing fight, Ben is cut, Eddie lays about with a broken arm from his fall, and for the first time, Pennywise is hurt, slinking off into the well as the children seek to get Eddie to safety. It is at that moment that the losers come apart, Eddie was taken away by his mother and then the rest as Bill and Richie square off. For the first time, they make themselves vulnerable to IT. In time Pennywise comes for Beverley but not before convincing Henry Bowers to slay his abusive father and then in turn hunt down the losers for it. It is worth noting that the Henry Bowers of this iteration is far more aggressive and vile than his previous counterpart, ready to shed blood and it is hinted that he could go much further than that. We flash to Beverley with Pennywise and, after a strange little dance, we get to see the deadlights for the first time, Beverley's eyes turning white as she begins to float free of his hands. It is after this event that Bill discovers that she has been taken and together the rest of the losers go into the house on Niebolt street after her. It is here that a crazed Henry is waiting and he goes after Mike, fully intending to kill him. Thankfully Mike survives and charges Henry, sending him tumbling down the well, seemingly to his death. The events unfold with Stan becoming separated and fed on by the crooked woman, Pennywise chased off by the rest of the losers before Bill goes racing off, seeing Georgie for a moment. Here Bill moves on past a floating Bev and hunts down his brother, Georgie coming forth with his arm missing and seemingly alive. Again this whole scene is very different from the mini-series, far more realistic and grim, with the bodies of the dead children floating high above them. In the earlier version, they are in the sewers, in the central crossroads beneath the town and it taunts them with images of pain and loss. Here it plays out with Bill knowing that this is not Georgie and killing him, placing the bolt against his head, and firing. From here on out it becomes a fight between Pennywise and the Losers. A physical brawl that moves back and forth with Pennywise throwing their fears at them as it desperately seeks to survive their assault. It doesn't, slinking back to the opening behind it as it begins to come apart, the children surrounding it before it flips back into the opening, speaking a final word, and vanishing from sight. Only now do the children begin to float down as Bill holds his brother's raincoat and grieves for his lost sibling. 

    The second film takes us to the events of the Adults and I have to admit that, whilst still a good film, it pales in comparison to the first. James McEvoy, Jessica Chastain, and Bill Hader are all great choices and play the parts brilliantly. I have to admit that, though only in the film briefly, Andy Bean as Stan is the perfect casting, he looks just like a grown-up version of  Wyatt Oleff. They are dragged back by Mike, just like the mini-series, but this version of Mike seems less grounded than the previous version, a man very much haunted by the events of his childhood. This series of events plays out much faster than that of the mini-series and, to me, it seems almost rushed. The losers come together at the Chinese restaurant in but a few scenes. Mike seems off, far too eager for the others' return, and Bill seems unsure as to why he has even returned. It is not long before they are together again and the events play out with Mike filling in the blanks and they find a moment of peace together amid the meal. It does not last long as Pennywise begins to work on them and the meal descends into utter chaos. The effects are well done, and the baby-headed cockroach thing is particularly disturbing, but overall the scene is a little overdone for my liking. Here follows one of the biggest changes as Mike takes Bill back to the library and mentions the Ritual of Chud. Something that is far more important in the book. Here Bill is dosed by Mike and we get some of the histories of Derry and the coming of IT. It is a big change, that shows something of how this entity can be defeated,  though that comes much later. Like the mini-series we get them reliving old terrors as Pennywise visits them as they return to places within Derry, there are several flashbacks that reveal events that we did not see in the first film. We get much more of the events that played out in the book, though altered to suit the film and in a different order. From the get-go we see Bill being pulled away from the rest of the group, a young boy hinted at being Pennywise's next victim and goading Bill with his inability to save Georgie and the coming doom of this boy. Predictably, driven by his guilt, Bill races to save the boy only to watch him being torn apart by a gleeful Pennywise. As these events unfold the rest of the losers struggle with Bowers' return, poor Eddie is stabbed in the face, and in turn, stabs his old bully. Eventually, Bowers will reach his demise as he attempts to kill Mike in the library, Richie doing the deed before the rest of the losers rush in. Quite a change from his demise in the mini-series and Mike's hospitalization. Here we get all the remaining losers going back to Neibolt street and the house there as Bill rushes to confront Pennywise, believing that he is the reason the rest are in danger from this curse. Here we get one of the creepiest displays as the film takes a note right out of the thing, Richie even using the line from the scene of the 1980s classic. Watching spider legs come out from young Stanley's severed head was so familiar and yet done with great effect, given the improvement in special effects. All of these smacks of stalling tactics by Pennywise as the Losers backtrack their way into the sewers and find the remains of the ship and the trapdoor that leads down into the ground below. As a note, this is very different from the 1990 mini-series and the warning by a Pennywise head as it hovers over them and mocks them, warning them to turn back or 'they'll lose their little minds.' Here they descend into where IT originally impacted, under Derry since the beginning, and they quickly set about using the ritual of Chud at Mike's behest. Typically it does not go to plan and we quickly discover that Mike lied to them and that the Native Americans that attempted the ritual all died. Now we get an entirely CGI Pennywise with multiple legs and spikes as he mocks and jeers the terrified losers. That choice loses some of the fear of him, he looks cartoonish and less intimidating to me. The fight plays out with the losers separating and facing old fears before overcoming them and coming back together. Some of these work better than others, Bill facing his guilt over Georgie's death at least progresses the character and allows him to face IT without fear. It is here that Eddie manages to hurt Pennywise as he saves Richie from the deadlights, his belief the deciding factor here. He rushes to Richie's side and the predictable happens, Eddie is stabbed through the chest and waved about before Pennywise tosses his body aside. Bloody, and broken, he tells of choking the leper, of making it small and this feeds into what plays out next. All of this is very different from the spider monster that the adults in the mini-series faced, with only Eddie and Beverley free to fight it, Eddie dying to protect his friends before Bev injures this form. Here it is about the power of their belief, of using Pennywise's power against him, making him small in their minds and reality. Shrinking him down until he is nothing more than a puddle of a head with a tiny body that lays there defenceless before them. His heart is pulled out and together they crush it, killing Pennywise finally. The choices here aren't for everyone but it does play out quite well. With IT's death, the chamber around them falls apart and they are forced to flee, having to leave the slain Eddie behind.  Here is another change as here the end of the film shows that they retain their memories of one another, in the mini-series, the memories faded once IT is slain. I prefer this choice as I felt the previous ending robbed them of everything they had experienced, of the growth of their characters, and the love they have for one another. And here we finally get an explanation for Stan's suicide, something that bugged me even in the book. 

    I will always prefer the original, I can't help it. Nostalgia has a lot to do with it but for me, I just prefer Curry as Pennywise and somehow the story feels tighter somehow. Don't get me wrong, the films are really good and I would recommend watching them. For me, though I will forever be drawn to watching the mini-series if I'm given the choice. Decide for yourselves and give them both a try and if you enjoy them, look for the book. It is quite a read but well worth it. 

Until next time folks.

A look at Warhammer 40k and its influence on my love of gaming and Science Fiction

 Warhammer 40,000

    I grew up with a voracious appetite for science fiction and read everything that I could get my hands on. Growing up I watched shows like Star Trek, Quantum Leap, and, of course, being British, Red Dwarf. I developed a love of horror through authors like Stephen King and Dean Koontz, Clive Barker, and James Herbert. In that time I discovered tabletops games such as Hero Quest and others through the friendships I had. Through them, I found my way to Warhammer and Space Hulk. In these war games, I found lore steeped in science fiction and its own version of cosmic horror. A world without mercy, without hope, without the aspirations of many science fiction worlds. A galaxy where there was only war, it was unlike anything I had ever seen or read at that point in my life. 

    Warhammer 40,000 remains one of the grimmest worlds out there, where to be one of those living in it is to expect a short a brutal life, either fighting in the ranks of one army or another or toiling behind the scenes of that great war machine. My foray into the lore began with the Ragnar Blackmane Omnibus, a trio of books that trace the Wolf Lords' life from his time on the ice islands of Fenris to his time on the homeworld of Terra. This story written by William King introduced me to the ranks of the Space Wolves, to the fiercest of mankind's defenders, and the curse that lurked within their bloodline. For me, it was the presence of the thousand sons, of the history of the two legions that brought home just how expansive the lore could be of this universe I found myself thoroughly enjoying. The next book to catch my interest was Xenos by Dan Abnett and my love of these books was solidified. 

    Inquisitor Gideon Eisenhorn proved to be a hardline individual that believed in the Emperor and the sanctity of the Imperium above all else, or that's how he began. Through this character and his adventures, we delved into a new region of the galaxy and worlds that I had never heard of before. A whole subsector that was full of danger and mystery. Abnett's best work, in my opinion, is always his character work. And here we find a host of individuals circling the Inquisitor, some that work with and for him, whilst others stand in his path or aid him in his investigations and pursuit of the heretic or alien. This was a dark galaxy, with man and women of vile interest, willing to serve dark powers in the hopes of being gifted dark power of their own, of being elevated to new heights in the eyes of these fell masters. I loved it all and in time I would come to read the trilogy of books and then discover the adventures of Inquisitor Ravenor and his band of misfits. Abnett for me remains at the foremost of the authors that work for Games Workshop. 

    Over the years the lore has expanded massively, with their series of the Horus Heresy and the books detailing the new age of the Dark Millennium with Guilliman's return and the events of the Indomitus Crusade. This is a galaxy beset on all sides with Dark Gods looking to devour all and there remain but the faint motes of hope in the dimming light. I would encourage any fan of science fiction and fantasy to give this world a look, to take a risk, and dive into either the books alone or the tabletop game itself. It is well worth taking a look just out of curiosity. But remember, do not look to hope, for in the grim Dark of the future there is only War!