Necon 38 – The Con That Has Become An Extended Family

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The following re-cap of Necon 38 will be appearing in the September issue of the HWA Newsletter:

Necon 38

July 19-22, 2018

Baypoint Inn & Conference Center

Necon has been described as a con unlike any other, and as a place that is both so tight-knit and welcoming of new folks that it’s like family. Both of these descriptions are true.

The best part about Necon is that everyone is friendly and accessible. So, in addition to informative writer panels all weekend long that are chock full of knowledgable information about the genre and writing in general, you’ll find yourself socializing with authors and like-minded individuals the entire weekend. The bottom line is regardless of where you are in your writing career or if you’re simply a reader you will be welcomed, and you will not be alone.

The worst part about Necon is time doesn’t stop while you’re there. The weekend flies by fast.

Necon was begun by Bob and Mary Booth back in 1980, and following Bob’s passing in 2013, is now run by their adult children, Sara Booth, our current fearless chairperson, and Dan Booth.  They do a fabulous job, year in and year out.

I’ve been going to Necon since 2001, and I haven’t missed one since I started. That’s eighteen Necons for me. I’m almost embarrassed to admit that. I feel as if I should be so much further along in my writing career, and that having gone to so many, I should be much more in the thick of things, but that’s not my style. I tend to hang back at cons and take everything in.  But that doesn’t mean I don’t enjoy and appreciate everything there is about Necon as much as the extroverts do.

It’s been a run ride, and it continued this year with Necon 38.

Necon 38 had it all.  Heck, in the true tradition of being a family, we even had a wedding this year!  How cool is that?

Anyway, Necon traditionally opens up on Thursday afternoons, and this year was no exception, as the con started on Thursday, July 19.

Now, a lot happens at Necon, much more than I’ve recorded here. For example, I did not attend evey panel, and there were events that I missed. So, the following is admittedly a recap from my perspective only. It’s not meant to be all-encompasing, and I apologize to anyone in attendance whose name I didn’t mention because either our paths didn’t cross this year or our conversation was all too brief.

Thursday, July 19, 2018.

This year’s guests of honor included writers Helen Marshall, David Wellington, and Dana Cameron, artist Jason Eckhardt, Toastmaster Errick A. Nunnally, and Legends Brian Keene and Carole Whitney.

Registration opened at 2:00, and judging by all the Facebook posts I read, lots of folks arrived right around then,

I did not. Each year driving down from New Hampshire to Bristol, RI, I get stuck in dreadful traffic in and around Boston, which extends my normal two-hour drive to an elongated four-hour drive, usually stuck in traffic in hot sun. This year I decided to skip all that and travel after rush hour, so this year, I arrived much later, around 9:00 pm.

The first official Necon event this year was the Welcome to Necon, Newbies!: Kaffeeklatsch hosted by Errick A. Nunnally & Laura J. Hickman. This programming is another example of how Necon strives to make everyone feel welcome. First timers who attend this meeting receive a nice introduction to the con.

10:00 was the famous Saugy Roast, where those yummy saugies, that flavorful hot dog found only in Rhode Island, are grilled to they’re deliciously charred and blackened. From there, you can stay out in the quad socializing as long as you like.

Friday July 20, 2018

8:00 it was time for breakfast, and I enjoyed a good meal of eggs, home fries, and fruit as I caught up with my roommate for the past several years and master of the dealer’s room, Scott Goudsward.

At 9:00, lots of campers headed out for the first Necon Olympic Event, Mini-Golf. I did not attend as I was on the movie Kaffeeklatsch this morning.

While I try to go to as many panels as possible, I can’t go to all of them, and so I skipped the 9:00 panel to do some writing (it’s a writer’s convention, after all!) and I worked on my movie review of SKYSCRAPER (2018) starring Dwayne Johnson. My reviews are posted on—time for my shameless plug!—my blog, THIS IS MY CREATION: THE BLOG OF MICHAEL ARRUDA, at marruda33.wordpress.com, where you’ll find all my movie reviews and columns on horror movies, all for free, I might add.

At 10:00, I attended the Read Any Good Books Lately?: The Year’s Best Books Kaffeeklatsch, a look back at some of the best books of the year. This Kaffeeklatsch featured Barry Lee Dejasu, Jaime Levine, Erin Underwood, and Hank Wagner. There were lots of book recommendations, most of them offbeat, since this is Necon. Included were nods to A Tale of Two Kitties by Sofie Kell, and to the works of author Neal Shusterman.

At 11:00 it was time for the And the Oscar Goes to: The Year’s Best Films Kaffeeklatsch, featuring Michael Arruda (yours truly!), Scott Goudsward, Matt Schwartz, Craig Shaw Gardner, and L.L. Soares, with lots of input from fellow movie lover Bill Carl.  I started things off by saying that for me it’s been a tremendous year for Marvel, and I cited BLACK PANTHER as my favorite film of the year so far. Other nods went to the horror movies HEREDITARY and A QUIET PLACE. 

Other titles mentioned included the Netflix original THE BABYSITTER, ANNIHILATION, ISLE OF DOGS, THE RITUAL, TIGERS ARE NOT AFRAID, HOTEL ARTEMIS, THE CYNIC THE RAT AND THE FIST, THE DEATH OF STALIN, and the Netflix original GERALD’S GAME, to name just a few.

At noon it was time for lunch, and a chance to catch up with more friends.

This year I joined the “Skeleton Crew,” that awesome group of volunteers led by P.D. (Trish) Cacek. I manned the seat by the dealer’s room entrance for a while, making sure folks didn’t bring beverages into the room, an effort to keep coffee and the like from being spilled on the merchandise. It was fun chatting with everyone who came in and out.

At 2:00 I attended the panel, The Spark: What Inspires a Great Short Story? moderated by Nick Kaufmann. Also on the panel were Meghan Arcuri-Moran, Christa Carmen, Toni L.P. Kelner, Ed Kurtz, and Helen Marshall. There were lots of interesting and insightful tidbits to come out of this panel. Highlights included the notion that not all short stories need to have a beginning, middle, and end, that some need only capture a moment in a character’s life. Another concise definition of a short story: it’s the most important thing to happen in the main character’s life.

At 3:00 I attended the panel, Invasion of the Pod People: Creating Your Own Podcast, moderated by Armand Rosamilla and featuring Amber Fallon, Chris Golden, Brian Keene, James Moore, and Mary SanGiovanni. Discussed were the ins and outs of doing a podcast, and for most folks on the panel, it’s a labor of love. Few people do podcasts to make money. However, it certainly can help book sales as people who listen to the podcasts often will check out your books.

At 4:00 I was back on duty by the Dealer’s Room, and at 5:00 we all assembled outside for the newest Necon tradition, the group photo. This started last year when we had to evacuate the building due to a fire alarm and decided to take advantage of the opportunity. This year we didn’t need a fire alarm for the picture. That being said, the fire alarm had different ideas.  More on that later.

At 7:00 it was time for the Official Necon 38 Toast by Toastmaster Errick A. Nunnally, followed by the comical Necon Update with Mike Myers, followed by the Necon Hall of Fame Induction Ceremony. This year’s inductee was celebrated horror author and podcast host Brian Keene.

At 8:00 it was time for the Meet the Authors Party, that event where if you’re a reader, you get the opportunity to meet and greet your favorite authors and purchase signed copies of their books. It’s also the opportunity for the authors to set up shop and make their books available.

I was fortunate enough to share a table with some of my fellow New England Horror Authors, including my Cinema Knife Fight buddy L.L. Soares, Pete Dudar, Scott Goudsward, Trisha Wooldridge, and others. For me, if I can sell one book, I’ll count that as a successful evening. So, in that regard, I had a very successful evening in that I sold four of my books, including three copies of my short story collection For The Love of Horror.

I also purchased the highly touted first novel by Tony Tremblay, entitled THE MOORE HOUSE.  I can’t wait to read it. A book I really wanted to buy and will at some point is the brand new short story collection, her first, by Dougjai Gam Bepko, Glass Slipper Dreams, Shattered. I heard plenty of wonderful things about her debut collection this weekend. I also still haven’t bought Matt Bechtel’s highly praised debut collection from last year, Monochromes: And Other Stories.  The downside of living on a budget.

And there’s many, many more. That’s always the most difficult part of Necon. There are so many books to buy, way more than I can afford.

And after that, it was time for socializing on the quad, that time when you get to chat with friends, old and new, long into the wee hours of the morning.  This year I caught up with, among others, L.L. Soares, Pete Dudar, Paul McNally, Kelly Winn, John Harvey, Kevin Lewis, David Price, and Patrick Freivald, to name just a few.

 

Saturday, July 21, 2018

I attended the 10:00 panel, BOO!: Modern Ghost Stories, moderated by P.D. Cacek and featuring Tom Deady, John Foster, Michael Rowe, Sheri Sebastian-Gabriel, Tony Tremblay, and Dan Waters, which discussed, among other things, the differences between ghosts of yesteryear and ghosts of today. It was also suggested that ghosts are the easiest tropes to believe in, since most people believe in ghosts, as opposed to vampires, werewolves, and zombies, and so the ghost story author has that advantage in that its subject is one that people want to believe in.

Next up for me was the all important 11:00 panel, Closing Time: Remembering the Life and Work of Jack Ketchum, moderated by Doug Winter, and featuring Linda Addison, Jill Bauman, Ginjer Buchanan, Sephera Giron, Gordon Linzner, and Bracken MacLeod. This was both a somber and celebratory event as the panel looked back on the life of author Jack Ketchum, who passed away earlier this year, known here at Necon by his real name Dallas Mayr. The overwhelming sentiment, which for those of us who attend Necon regularly already know, was how kind and generous Dallas was, and that for those who read him first and met him later, that was a something of a shock, since he wrote brutally dark fiction.

There were also plenty of fun stories and anecdotes, and as Sephera Giron prepared to tell one, a fire alarm— our second in two years— went off. Sephera quipped, “Dallas, it’s not that story!”

After lunch, I found myself working at the door to the dealer’s room once again.  While there, Frank Raymond Michaels and I had our annual Necon discussion of Universal Horror vs. Hammer Horror. I also found some time to relax out in the quad on a beautiful sunny afternoon and chat with friends.

I attended the 3:30 panel, When Your Book Has A Soundtrack: The Influence of Music on Your Writing, moderated by Matt Bechtel, and featuring Doungjai Gam Bepko, Rachel Autumn Deering, Gary Frank, Bracken MacLeod, Rio Youers, and Doug Winter. The panel discussed listening to music when writing, and the majority of the authors in the room acknowledged that they do indeed listen to music when they write. Some authors ignore the song lyrics and view the vocals as just another instrument making music. Other authors are inspired by lyrics, writing stories or even entire novels based on them.

At 4:30, I attended the panel It’s Kind of a Long Story: The Art of the Novel, moderated by Kristin Dearborn, and featuring William Carl, James Chambers, Nate Kenyon, David Wellington, Mercedes M. Yardley, Rio Youers, and Dyer Wilk.  This panel covered exactly what its title said, the nuts and bolts of writing a novel. A bunch of topics were discussed, including the use of outlines and the differences between writing a novel and a short story.

After dinner, I joined my fellow Skeleton Crew members including P.D. Cacek (our fearless leader!), Morven Westfield, Scott Goudsward, Scott Wooldridge, and James Chambers, among others, as we helped set up for the Artists Reception, that time where the attention turns to the artists and their fine works on display in the dealer’s room, as well as to delicious desserts and hot coffee.

At 7:30 it was time for That Damned Game Show featuring Craig Shaw Gardner & Doug Winter.  The “controversial” game show had been missing from Necon for several years now, but I for one was happy to see its return. It’s controversial because it tends to go on a tad too long.  I happen to love the game show. I think the running gag of the confusing overlong rules is hilarious, and it’s fun to see the “contestants” struggle with both the answers and the rules. That being said, it is too long, and going forward, if it’s cut in half, it would make for a very satisfying event.

Another reason I enjoy the game show is that when the contestants miss the answers, the questions go to the audience, and if you answer right you win one of Necon’s “valuable prizes.” I won two prizes this year, as I answered two obscure questions on the films of Bela Lugosi and Boris Karloff.  And I love these valuable little joke prizes because I use them in my middle school classroom throughout the year. I have a wind-up walking brain, for instance, that my middle schoolers adore.

After the game show, it was time for The Infamous Necon Roast. This year’s “victim,” was Matt Bechtel. Hilarious as always, but no details here, because “what happens at Necon, stays at Necon.”

Afterwards it was more socializing on the quad, and more saugies!  Once again I joined my fellow Skeleton Crew members and helped set up the food tables.

And since Necon is a family, tonight we had something extraordinarily special: a wedding! Yes, James Moore married Tessa (Cullie) Seppala in a ceremony presided over by Bracken MacLeod. It was a beautiful ceremony, witnessed by the 200 Necon campers who were all assembled on the quad.

Sunday July 22, 2018

While there were two panels this morning, I missed them after a late night in which I was up to about 2:30 am.

I attended the 11:00 Necon Town Meeting, where all the Necon Olympic medals were handed out for events such as mini golfdarts, foosball, High-Low Jack, and ping pong, as well as various other awards, such as the FEZ’S, those famous Necon caps given out to folks at the con who were deemed “FEZ-worthy.”

The Town Meeting is also the time to look back and say what folks liked and disliked. As usual, there were plenty of likes and pretty much no dislikes.

The hardest part of Necon is saying goodbye to everyone. I tried to say farewell to as many people as I could find, but ultimately, with people leaving various times, it’s impossible to catch everyone.

The good news is that next year is another Necon, another opportunity to spend time with like-minded folks who are more than just good friends. They really are members of an extended family.

Until next year—.

—END—

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.crossroadpress.com. Print version:  $18.00. Includes postage! Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com.  Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For_the_love_of_Horror- original cover

Print cover

For the Love of Horror cover (3)

Ebook cover

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com. Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

 

 

 

 

 

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BAD SAMARITAN (2018) – Routine Thriller Not That Thrilling

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David Tennant in BAD SAMARITAN (2018).

BAD SAMARITAN (2018) is one of those movies where the idea behind its plot is better than the actual movie.

Supposedly influenced by the films of Alfred Hitchcock, the movie barely resembles the work of the master director.

In BAD SAMARITAN, two buddies, Sean Falco (Robert Sheehan) and Derek Sandoval (Carlito Olivero) struggling to make it in the world— Sean’s a photographer who wants to create art— have taken to robbing people’s homes. They park cars for an upscale Italian restaurant, and when they spot someone they feel has stuff worth stealing at their home, one of them drives the car back to the customer’s house and robs it while the other keeps an eye on the victim dining inside the restaurant.

When a rather rude and obviously very rich man Cale Erendreich (David Tennant) shows up at the restaurant, Sean and Derek agree he’s the perfect candidate for them to rob. Sean breaks into the man’s home and all is going well until he discovers a woman, Katie (Kerry Condon) chained in his bedroom like an animal. Sean tries to rescue her, but when Cale abruptly leaves the restaurant, Sean has to race back to get the man’s car back in time, but he promises to return to rescue the woman.

Knowing that he had broken into the man’s house, and fearing arrest, Sean makes an anonymous call to the police, but when they arrive at Cale’s house, Cale is there with another woman, and everything seems so normal the police do not even go inside. Sean vows to do whatever it takes to rescue the woman, but that’s easier said than done, because it doesn’t take Cale long to figure out what Sean is up to, and he in turn decides to stop Sean by making his life a living hell.

As I said, the idea behind the plot is a good one. I liked the notion of a thief breaking into the home of a serial killer and discovering the chained body of his next victim. But that’s about all I liked, really, because unfortunately, there’s nothing in this film to lift it above the level of a straightforward and very predictable by-the-numbers thriller.

Obviously, the biggest draw here is that David Tennant plays the villain, Cale. Now, Tennant is a very talented actor, but this isn’t the kind of movie you buy a ticket to hoping to see a tremendous performance by your favorite actor. Besides, you’ve already seen Tennant play this type of role if you watched Season 1 of the Netflix Marvel TV show JESSICA JONES (2015-18), where Tennant played the villain Kilgrave. His performance here is nearly identical, and about the only difference is Cale doesn’t have Kilgrave’s mind-controlling abilities.

The script by Brandon Boyce doesn’t help matters. Cale is a straightforward villain with very little depth. We know hardly anything about him, and while Tennant tries to make the character a three-dimensional one, the truth is he just doesn’t have enough material to work with. At the end of the day, in terms of villainous characters, Cale is rather boring.

One part of the screenplay I did like was the angle that both Sean and Derek not only feared getting arrested, but they also were afraid of getting deported, since neither one of them were born in the U.S. This was a timely plot point. Unfortunately, it’s mentioned all too briefly and not really developed.

I also liked the performances by Robert Sheehan as Sean and Carlito Olivero as his buddy Derek. Both actors are very good, and Sheehan makes Sean sympathetic in spite of the poor decisions he makes in his life, like robbing people’s homes. Derek tries to convince Sean just to forget about the woman, but Sean refuses, making it almost his mission to find her and rescue her. Sheehan is in most of the movie and is easily watchable.

Olivero is in the film much less than Sheehan, but he also makes an impression, and his character Derek, although he initially tries to dissuade Sean from finding the woman, does not shy away from helping his friend in the quest to locate the victim.

But the rest of the characters are all way underdeveloped and don’t leave much of a mark, including Jacqueline Byers as Sean’s girlfriend Riley. They’re in the first scene of the movie together, and they generate such wonderful chemistry I thought much of the movie would involve them, but Riley simply fades into the background, as do all the other characters, like Sean’s mother and step-father, the police, and the FBI agents.

The movie spends a lot of time on the relationship between Cale and his victim, Katie, played by Kerry Condon, but these scenes shed very little insight into either character.  We learn little about Katie, other than she’s a victim, and the strangest thing about this movie is how little sympathy it builds for Katie.

BAD SAMARITAN also does a poor job wrapping things up for its characters. It introduces a lot of characters but doesn’t show what happens to most of them.

Director Dean Devlin’s thriller is devoid of any originality and plays like most other thrillers you’ve already seen. There are a couple of very good performances here, but none of them are strong enough to carry the movie or make it better than what it is.

There are also plenty of missed opportunities. Sean is a photographer, for instance, but his photography skills hardly play a factor in the plot. I also expected more from the relationship between Kale and Katie. Strangely, she never seems all that scared. She should have been terrified.

And for a thriller, it’s not very thrilling. I don’t think I jumped once, nor was I on the edge of my seat. The suspense was minimal.

I would imagine this one’s not doing all that well at the box office. There were just three of us in the theater.

BAD SAMARITAN is not a bad movie. It’s just not a very good one.

—END—

 

 

THE SHAPE OF WATER (2017) – Exceptional Love Story Mired by Meandering Plot, Characters

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I had heard and read very good things about THE SHAPE OF WATER (2017), the new movie by writer/director Guillermo del Toro, and since the inspiration behind del Toro making this movie was CREATURE FROM THE BLACK LAGOON (1954), one of my all-time favorite horror movies, I was eager to see this one, and admittedly, I had high expectations for it.

Sadly, those expectations were not met.

THE SHAPE OF WATER tells a poignant love story.  Mute Elisa Esposito (Sally Hawkins) makes the best of her uneventful life in 1962 Baltimore.  She enjoys a sweet friendship with her artist neighbor Giles (Richard Jenkins), a man struggling with his own aging process and who can’t hold a job, due as we learn later to a drinking problem, but he is tender and caring towards Elisa.  When she leaves her apartment, she’s off to work as a janitor at a secret government laboratory, where her friend and fellow cleaner Zelda Fuller (Octavia Spencer) looks out for her.

When Colonel Richard Strickland (Michael Shannon) brings in an Amphibian Man (Doug Jones) he captured in the waters of South America and houses it in the part of the lab Elisa cleans, she finds herself instantly drawn to the creature and soon begins secretly meeting with it, as she quickly discovers that it is highly intelligent and can communicate with her.  Since both she and the creature are mute, they immediately bond with each other, so much so, that in the classic Beauty and the Beast tradition, they fall in love.

This creative love story is the main story told in THE SHAPE OF WATER, and it’s the one that works.  Everything about the relationship between Elisa and the creature worked for me, and it’s the best part of THE SHAPE OF WATER.  But it’s everything else about this movie, from its supporting characters to its subplots that I found seriously lacking, and as such, dragged this movie down several notches.

One of the reasons the love story works so well is the tender performance by Sally Hawkins as Elisa.  Even before she meets the creature, Elisa is a likable character, from the way she interacts with her friend Giles to the way she does her job.  And when she connects with the creature, it’s a natural connection since in spite of her bright disposition, she still feels alone, without someone to love.  More so, when suddenly the feelings between Elisa and the creature become deeper, I completely bought into the relationship, mostly because Sally Hawkins’ performance convinced me her feelings were genuine.

It’s an impressive performance by Hawkins, especially since she plays a character who cannot speak.  She is probably the most expressive of any character in the movie. She’s certainly the most memorable character, and her performance is the best part of the movie.

The other reason the love story works is the writing by screenwriters Guillermo del Toro and Vanessa Taylor. The idea of taking an amphibious/human hybrid creature and showing off its intelligent and emotional side rather than turning it into just another movie monster, is a good one and one that I applaud.  I enjoyed the Amphibian Man here, and I was completely into the love story between this creature and Elisa.  Both the concept and the writing was refreshing and thought-provoking. My only wish is that they would have taken it even further and allowed us to learn even more about this mysterious creature from the sea.

And the Amphibian Man looks cool as well.  However, as played by Doug Jones, I was certainly reminded of a very similar character Jones played in another Guillermo del Toro movie, Abe Sapien in HELLBOY II: THE GOLDEN ARMY (2008).  The Amphibian Man here is clearly reminiscent of Abe Sapien, and so as much as I liked his look, it’s not entirely original.

Jones makes his living playing creatures and aliens, as he also played The Bye Bye Man in the dreadful horror movie THE BYE BYE MAN (2017), as well as the ghoul in OUIJA: ORIGIN OF EVIL (2016), among others.  He currently stars as Saru in the latest Star Trek TV show, STAR TREK: DISCOVERY (2017-18), again hidden under extensive make-up.  Jones is fine as the Amphibian Man, but it’s nothing I haven’t seen him do before.

But the rest of THE SHAPE OF WATER simply didn’t work for me.  Neither the rest of the characters or storylines drew me in.

Michael Shannon’s villain Colonel Richard Strickland is far too one-dimensional to be convincing.  He’s your standard military bad guy.  Even scences showing him at home with his wife and kids do nothing to lighten his Neegan-like portrayal of a vicious, close-minded bully.

Now, Richard Jenkins’ Giles was a character that I did like, but the story spends far too much time on his back story, when he’s simply not as integral to the main plot as Elisa. During the first half of the movie, a lot of time is spent on his visits to a diner, because he’s attracted to the young man working there, and we follow him as he tries to get his job back.  The point seems to be to show that like Elisa he’s a fellow outcast, but the story tends to meander off the main path and would have been better served to remain focused on Elisa and the creature. When the focus is on them, the movie is much more compelling.

Which brings me to the story. As much as liked the screenplay when it relayed the story of Elisa and the Amphibious Man, I found myself scratching my head about its other choices. The presence of Octavia Spencer in the role of Elisa’s friend Zelda immediately brought to mind Spencer’s work in THE HELP (2011) and HIDDEN FIGURES (2016), two superior films which dealt with racism.

THE SHAPE OF WATER also plays the race card, but only superficially.  We see Octavia Spencer’s character dealing with it, and we also see a couple of other scenes showing prevalent racist attitudes in 1962.  The point again seems to be that the cruelty which villain Richard Strickland shows the Amphibian Man wasn’t specific to rare aquatic creatures but to fellow humanity.  But in this movie these scenes seem so out of place, I think mostly because one thing we do not see is Elisa’s reaction to them.  It’s not part of her story, here.

Likewise, since it’s the height of the Cold War, Soviet spies are actively trying to steal U.S. secrets and are very interested in stealing the Amphibian Man from the Americans, and so we are introduced to as it turns out a sympathetic Soviet scientist Dr. Robert Hoffstetler (Michael Stuhlbarg) who, like Elisa, finds himself wanting to help the creature rather than turn it over to his Soviet contacts.  But these scenes don’t really work either. Like the other subplots, they seem out of place and take away from the movie’s main focus, the love story.

I know this will sound like sacrilege to a lot of movie fans, but I’m not the biggest fan of Guillermo del Toro’s work.  I loved both his HELLBOY movies, but for me, that’s about it. Even his well-regarded PAN’S LABRYNTH (2006) didn’t do a whole lot for me. So, in a way, I’m not really surprised I didn’t love THE SHAPE OF WATER.  I’m just not a fan of the way del Toro tells a story.

That being said, the love story between Elisa and the Amphibian Man is touching and extremely well-done.  It’s everything else in this movie that doesn’t really work for me.

To make the love story here the centerpiece of the movie, the supporting characters and story should be built around this main story in order to support it, but that’s not what happens here. Instead, the other characters and storylines seem out of place and do nothing but distract from the main and much better love story in the film.

As a result, THE SHAPE OF WATER is a mixed bag.

Its love story is exceptional. If only the rest of the movie had been the same.

—END—

 

 

Best Horror Movies of 2017

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Here’s a look at my Top 5 Horror movies of 2017.

But first, four honorable mentions, movies that didn’t make my Top 5 list but that I enjoyed all the same:  SPLIT, ANNABELLE: CREATION, ALIEN:  COVENANT, and PERSONAL SHOPPER.

And now, my top 5:

5 IT

IT (2017), the latest film adaptation of a Stephen King novel, does what King stories do best: it creates believable characters, puts them in harm’s way, and then makes you squirm as they fight for their lives. IT is a very good movie that actually works better as a drama about a group of friends dealing with the threats in their lives than as a straight horror movie because it’s not really that scary.  Its scariest scene might be its first scene, where young Georgie first encounters Pennywise in the sewer.  This is a frightening sequence, a great way to start the film, and while Pennywise does have some decent moments later, none are quite as potent as this first one.

Bill Skarsgard’s performance as Pennywise here in the 2017 version was good enough to make me forget about Tim Curry while I watched this movie.  Taken as a whole, I thought this new version was better than the 1990 TV rendition. The driving force behind this 2017 movie is Bill and his friends, both the way they are written and the way they are acted.

The child actors are all excellent, and they’re the part of the story that for me, works best in this film adaptation of IT.

 

4 THE BELKO EXPERIMENT

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How low can humanity go? For instance, would you willingly commit murder to save the lives of those around you? That’s one of the questions asked in THE BELKO EXPERIMENT (2017), a new horror movie by director Greg McLean and screenwriter James Gunn, the man who wrote the insanely entertaining Marvel superhero movie GUARDIANS OF THE GALAXY (2014).

THE BELKO EXPERIMENT is a quick efficient thriller that grabs you within the first few minutes and never lets you go, a hard-hitting actioner that remains intense from beginning to end. Director Greg McLean makes this one lean and mean.  It clocks in at a mere 88 minutes. There’s no fat here.

THE BELKO EXPERIMENT isn’t going to win any awards for being a deep and thought-provoking drama, but it is a heck of a thriller, an intense horror movie that makes its point.  It’s also quite violent, although it is not a gore-for-gore’s sake movie. In terms of intensity, it reminded me a lot of AMC’s THE WALKING DEAD, only without the zombies. And while there’s nothing in this film as painfully disturbing as the infamous Neegan scene in THE WALKING DEAD, the film does capture the horror people feel at being helpless in a situation in which they have no control.

 

3 IT COMES AT NIGHT

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IT COMES AT NIGHT (2017) is everything that the rebooted THE MUMMY (2017) is not. It’s simple in its execution, it’s believable, it’s frightening, and its depiction of horror on the big screen is as pure as it gets.  The only thing the two films have in common is they opened on the same weekend.

IT COMES AT NIGHT takes place during a time when some unknown disease has crippled the world, thrusting people into heavy-duty survival mode.  We follow two families sharing one house as they try to survive in this apocalyptic world, never knowing how much to trust each other. IT COMES AT NIGHT is an example of movie making at its finest.  Writer/director Trey Edward Shults has taken a simple straightforward story and made it compelling and frightening, without gimmicks or special effects. A walk into the surrounding woods at night is a sweat-inducing experience.  The camera stays in close with the characters, who we get to know and care for. Solid cast, led by Joel Edgerton. Riley Keough is also memorable. And Kelvin Harrison Jr. stands out as Travis, the innocent young man who has to see and live through these horrors.

If you like your horror pure and simple, without convoluted stories or  overblown special effects or gratuitous blood and gore, if you simply like to be scared, and to watch a story about characters you care about thrown into a situation which puts them in extreme danger, then IT COMES AT NIGHT is the movie for you.

 

2 A CURE FOR WELLNESS

A CURE FOR WELLNESS is an interesting hybrid— at times, it’s highbrow artistry, imbuing the screen with unsettling and bizarre images, while at others it’s a straightforward mystery melodrama, eventually morphing into an atmospheric horror tale reminiscent of the old style Hammer Films.

A young business executive named Lockhart (Dane DeHaan) is sent by his company to the Swiss Alps to retrieve the company’s CEO from a wellness center.  The spa is a beautiful castle in the Alps, the seemingly perfect location for people to get away from it all.  When Lockhart arrives, he finds it inhabited by elderly people who are there seeking a “cure” for their problems, people who have spent their lives working and as a result their bodies are broken and sick.  The spa, with its purifying water, offers a cure to these maladies and promises to restore its occupants to full health.

Lockhart isn’t interested in any of this and just wants his boss back.  The head of the center Dr. Volmer (Jason Isaacs)  tells Lockhart that Mr. Pembroke is in the middle of a treatment, but if Lockhart returns later that evening he will be able to see him.  But Lockhart is involved in a car accident and finds himself recuperating as a patient at the spa, and that’s when all the trouble starts.

A CURE FOR WELLNESS is full of powerful images that are both bizarre and unsettling. The film throws a lot at you and gives you much more to chew on than your average thriller. It’s also a compelling mystery. And as the film becomes more of a straightforward melodrama towards the end, it takes on the look inside this elegant castle of the period piece Hammer Films of yesteryear.  A CURE FOR WELLNESS is a thought-provoking and very chilling movie experience.

 

1 GET OUT

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The best part of GET OUT is that it is so unlike most other horror movies today. It uses as its canvas a true-to-life story about the awkwardness and difficulties of a mixed race relationship which serves as a springboard to a genuine tale of horror.  In the world of horror movies, it’s a breath of fresh air.

In GET OUT, an African-American young man Chris Washington (Daniel Kaluuya) travels with his white girlfriend Rose Armitage (Allison Williams) to meet her parents for the first time.  Even though Rose promises that her parents are not racist, Chris still has reservations about the weekend.  He knows how difficult these things can be. In this case, he has no idea.

Written and directed by first time director Jordan Peele, known more for his work as a comedic actor, GET OUT strikes a nice balance between drama, horror, and even some comedy.  The script is excellent.  The dialogue is spot on, especially for Chris, as he processes what is going on, at first taking everything in stride, then becoming somewhat suspicious, and eventually getting into full steam red flag mode.

And the film doesn’t skimp on the horror.  When we finally learn what is going on, it’s a decent reveal and is a natural progression on everything that has come before it.  It doesn’t come out of left field. GET OUT is a refreshing horror movie, one that moves away from the standard horror movie tropes we so often see, and I for one was happy for it.

It’s my pick for the Best Horror Movie of 2017.

Thanks for reading!

—Michael

 

 

 

 

 

 

 

 

 

IN THE SPOOKLIGHT: THE EXORCIST (1973)

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I’ve always considered THE EXORCIST (1973) the scariest movie I have ever seen.

It’s not a jump-scare suspense thriller, nor is it a special effects gore-for-gore’s sake bonanza, although sure, it does contain very graphic scenes that are certainly not for the squeamish. THE EXORCIST is the scariest film I have ever seen because of the story it tells.

Its story of a young girl possessed by— not just a demon but the Devil himself— is so disturbing, that even if you’re not religious you are sure to be moved by it all.

It also doesn’t hurt that everything that happens in the movie seems so convincingly real.

THE EXORCIST not only gets the storytelling right, but it also gets the Catholic Church right.  So many films featuring demons and exorcisms mess up the religious aspects of their tales, often featuring priests who aren’t realistic at all and exorcisms that resemble something out of a Steven Spielberg film with special effects galore.

Not so with THE EXORCIST.  The movie has always seemed authentic and real.

When THE EXORCIST first came out in 1973, I was only 9 and too young to see it.  I first saw it on HBO when I was in high school, probably around 1980, and it was late at night, and it really got under my skin.  I still remember to this day going to bed, closing my eyes, and being unable to erase the image of Linda Blair’s possessed face from my mind. Her eyes kept staring at me.  Long into the dark night and wee hours of the morning.

THE EXORCIST pretty much tells three stories which all converge in the film’s third act. The main story features prominent actress Chris MacNeil (Ellen Burstyn) who’s having trouble with her 12 year-old daughter Regan (Linda Blair).  Regan has been acting strangely, and when things get worse and really bizarre, as in her bed shaking and her body becoming grotesquely mutilated, the doctors are at a loss and eventually advise Chris to seek religious guidance and perhaps request an exorcism.

The second story concerns Father Karras (Jason Miller), a young priest who is guilt ridden about the death of his elderly mother, since he was never there for her.  Chris turns to Father Karras for help, and he tries to steer her away from an exorcism, saying instead that she should rely on the medical profession, but when Chris breaks down saying she has taken Regan to countless doctors, and they failed to help her and actually suggested an exorcism, she feels there is no one to help her daughter, and so Karras agrees to see Regan.  After he does, he changes his tune.

The third story revolves around Father Merrin (Max von Sydow) who we see in the first few minutes of the movie in the middle east seeking out religious artifacts.  Merrin is an exorcist who has had experience fighting demons, and eventually the elderly priest is called in to perform an exorcism on Regan, setting up the film’s exciting climax.

THE EXORCIST is one of those rare horror movies where nearly everything works.  It’s no surprise then that THE EXORCIST was the first horror movie to be nominated for an Academy Award for Best Picture.  It didn’t win, nor did Ellen Burstyn, Jason Miller, or Linda Blair, or director William Friedkin, who were all nominated that year.  But it did win two Oscars, for best adapted screenplay by William Peter Blatty,  based on his novel, and for Best Sound.

The acting is phenomenal throughout.  Ellen Burstyn delivers a powerful performance as Regan’s mother Chris.  She goes through such an emotional roller coaster ride trying to save her daughter, it’s both moving and terribly painful to watch.  It’s certainly an Oscar-worthy performance.

Jason Miller is just as good as Father Karras.  He’s the epitome of a struggling Catholic, a priest who questions his faith and his own actions as a human being.  He needs every bit of strength and faith he has when he eventually has to confront the demon inside Regan.

Likewise, Max von Sydow is just as convincing as the elderly Father Merrin.  It’s an impressive performance, mostly because von Sydow was only 44 at the time, and he is completely believable as a much older man, a testament both to his performance and the superb make-up job by Dick Smith.

Of course, there’s Linda Blair as the possessed Regan, certainly an exceedingly challenging role for a child actress.  But she was helped immensely by Mercedes McCambridge who provided the memorable voice of the demon inside Regan.

Director William Friedkin made a horror film for the ages.  The best thing about THE EXORCIST is that it doesn’t play like a traditional horror film.  It plays instead like a serious drama, only its subject matter of a 12-year-old girl possessed by a demon is horrific.  It’s incredibly disturbing.

The “horror” scenes in THE EXORCIST are legendary:  Regan’s head turning completely around, the green “pea soup” vomit,  the infamous masturbation scene, and the words “help me” on Regan’s stomach.

The film is chock full of unnerving images, from the subliminal flashes of the white-faced demon to Regan’s monstrous stare.

The sound effects are just as ominous.  It’s one of the more innovative uses of sound in a horror movie ever.

And I’ve always loved the scene where Father Merrin first arrives at the house, in the fog and creepy lighting.  It’s never been referenced as an influence, but Friedkin’s shot of Merrin’s arrival has always reminded me of Terence Fisher’s shot of Peter Cushing entering the windmill at the end of Hammer Films’ classic THE BRIDES OF DRACULA (1960) thirteen years earlier.

And who can forget the line, “The power of Christ compels you!” spoken by both Father Merrin and Father Karras during the climactic exorcism scene.

If you’ve never seen THE EXORCIST, it’s a must-see movie for all horror writers. It will continue to haunt you long after you’ve watched it.

It’s the stuff that bad dreams are made of.

—END—

 

 

 

Halloween Special 2: Karloff, Lugosi, Chaney,Jr., Lee, and Cushing Talk Monsters

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Bela Lugosi and Boris Karloff

Welcome back to another Halloween Special.

Once again I’m conducting a mock interview with horror greats Boris Karloff, Bela Lugosi, Lon Chaney Jr., Christopher Lee, and Peter Cushing. And while this interview is completely imaginary, their answers to my questions are real, taken from quotes they really said.

So, without further hesitation, let’s get started.

MICHAEL:  Welcome everyone to a very special treat.

Joining me today on this Monster Panel are Boris Karloff, Bela Lugosi, Lon Chaney Jr., Christopher Lee, and Peter Cushing. Thank you all for joining me today.

Today I want to talk about monsters, specifically, your thoughts on just who is the greatest movie monster of all time.  And before you answer, I’m going to guess that you all will be partial to the monsters you played in the movies.  And as a famous comedian once said, “Not that there’s anything wrong with that.”

Bela, let’s start with you.  Your thoughts on the greatest movie monster of all time.

BELA LUGOSI: Every actor’s greatest ambition is to create his own, definite and original role, a character with which he will always be identified. In my case, that role was Dracula.

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Lugosi as Dracula in DRACULA (1931).

MICHAEL:  So, you’re going with Dracula?

(Lugosi nods)

CHRISTOPHER LEE:  I agree.

Dracula is different; he is such an exciting person.

And it doesn’t bother me to be remembered as Dracula.
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Christopher Lee as Dracula in DRACULA – PRINCE OF DARKNESS (1966).

MICHAEL:  It doesn’t?
CHRISTOPHER LEE: Why should it? What does bother me is when people say, “Ah yes, there goes Dracula,” or “There goes the horror king.” It simply isn’t true. I’m quite annoyed when people don’t acknowledge that I’ve done anything else.
PETER CUSHING:  People look at me as if I were some sort of monster, but I can’t think why.
 (Everyone laughs)
 PETER CUSHING: In my macabre pictures, I have either been a monster-maker or a monster-destroyer, but never a monster. Actually, I’m a gentle fellow. Never harmed a fly. I love animals, and when I’m in the country I’m a keen bird-watcher.
 MICHAEL:  Boris, what about you?
 BORIS KARLOFF: The Frankenstein Monster.
Yes, the monster was the best friend I ever had.
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Karloff as the Monster in FRANKENSTEIN (1931).

 PETER CUSHING:  I know what you mean.
It gives me the most wonderful feeling. These dear people love me so much and want to see me. The astonishing thing is that when I made the Frankenstein and Dracula movies almost 30 years ago the young audiences who see me now weren’t even born yet. A new generation has grown up with my films. And the original audiences are still able to see me in new pictures. So, as long as these films are made I will have a life in this business — for which I’m eternally grateful.
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Peter Cushing as Baron Victor Frankenstein in THE CURSE OF FRANKENSTEIN (1957).

CHRISTOPHER LEE:  Yes, and for me, quite frankly, I’m grateful to Dracula.
If people today remember me in the role and still enjoy it, I’m flattered. If, through some strange twist of fate, I was able to take a character some 25 years ago and create an impact where by I suddenly became known throughout the world, how can I complain?
 BELA LUGOSI: And never has a role so influenced and dominated an actor’s role as has the role of Dracula.
 MICHAEL:  We haven’t heard from you yet, Lon.  What’s your opinion on these classic movie monsters?
 LON CHANEY JR.: All the best of the monsters played for sympathy. That goes for my father, myself and all the others. They all won the audience’s sympathy.
  The Wolf Man didn’t want to do all those bad things. He was forced into them.
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Lon Chaney Jr. as The Wolfman, in THE WOLFMAN (1941).

 MICHAEL:  So, monsters are pretty special.
BORIS KARLOFF: My dear old monster. I owe everything to him. He’s my best friend.
 LON CHANEY JR.: The trouble with most of the monster pictures today is that they go after horror for horror’s sake. There’s no motivation for how monsters behave.
  CHRISTOPHER LEE:  That’s one of the reasons I will play no more monsters.
 Now villains are different.
Most people find my villains memorable because I try to make them as unconventional as possible. They are not overt monsters.
It’s easy to play a “heavy” straight down the middle, 100%, but it’s boring. I don’t think I’ve ever played a villain who didn’t have some unusual, humanizing trait. When I look back at my men with the black hats, they’ve always had something else going for them, whether it be a sardonic sense of humor or a feeling of desolation. I always try to throw as many curves the audience’s way as possible. That’s probably why people enjoy my villainy.
 LON CHANEY JR.:  There’s just too much of that science-fiction baloney.
 BELA LUGOSI:  Science fiction, perhaps.  Baloney, perhaps not.
Dracula has, at times, infused me with prosperity and, at other times, he has drained me of everything.
It’s a living, but it’s also a curse. It’s Dracula’s curse.
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Lon Chaney Jr. and Bela Lugosi in THE WOLFMAN (1941).

 PETER CUSHING:  Yes.  In the early days I played a lot of comedy in the theater and on television. But once an actor becomes well-known in any kind of part, he tends to get stereotyped.

After I played Frankenstein, I was only thought of in that light. Of course, some actors are better at drama and some are better at comedy. But they can certainly have a stab at both. An actor should be able to do it all.

(Laughter)

BORIS KARLOFF: Before we go, since we’re talking about movie monsters, I just want to acknowledge Jack Pierce— the best make-up man in the world.

I owe him a lot.

MICHAEL:  Thank you all for joining me tonight.  I appreciate your taking the time to answer my questions.  And that’s all the time we have.

Thanks for reading, everybody!

—Michael

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

PICTURE OF THE DAY: BORIS KARLOFF In THE BODY SNATCHER (1945)

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Boris Karloff as John Gray, the body snatcher, in, no surprise,  THE BODY SNATCHER (1945)

The film is THE BODY SNATCHER (1945), the character is John Gray, and the actor, of course, is Boris Karloff.

THE BODY SNATCHER is one of my favorite Boris Karloff movies.

Karloff plays John Gray, the man who robs graves for Dr. Wolfe “Toddy” MacFarlane (Henry Daniell).  This story is loosely based on the true story of Dr. Knox and grave robbers Burke and Hare.

Karloff’s John Gray is basically Burke and Hare put together.  It’s one of Karloff’s scariest roles, and it’s certainly one of his best roles in a non-Universal horror movie.  He’s got some great lines in this one.

The screenplay by Philip MacDonald is based on a short story by Robert Louis Stevenson. It’s an atmospheric thriller, well-directed by Robert Wise.

This one also features Bela Lugosi in a small role.

But it’s Karloff who dominates this movie, who’s as frightening here as John Gray as he ever was. The photo above captures perfectly Karloff’s interpretation of Gray’s persona. Fearlessly robbing graves, he’s only too happy to collect his money, and happier still to torment his employer, the proper Dr. MacFarlane, reminding the good doctor that he’s every bit as guilty as those robbing the graves.

If you haven’t seen Karloff in THE BODY SNATCHER, you’re missing quite a treat.

Just look at that smile.  Makes you want to visit a cemetery late at night, doesn’t it?

So, if you get the sudden urge in the middle of the night to take a nature walk through a graveyard or to venture across the countryside in search of dead bodies, you can thank Boris Karloff in THE BODY SNATCHER, featured in today’s Picture of the Day.

Thanks for reading!

—-Michael