Indy Genre: Dead Snow 2: Red vs. Dead
Nazi zombies. If those two words don’t make you perk up your ears like a great dane that just heard the treat bag rattle, then this movie is not going to be for you. But if you feel as if your life could be immeasurably improved by the application of the aforementioned Nazi zombies plus copious amounts of gore and a not inconsiderable amount of vomit? Welcome home, my friends. (Warning, this review will contain spoilers for the original Dead Snow.)
The Disquieting Guest — Bracing for the Universal Monsterverse
In 2012, we witnessed an unusual (to put it mildly) phenomenon: The Avengers was simultaneously the start of a new franchise, and a sequel to four other franchises: Iron Man, Thor, Captain America and The Incredible Hulk. There was, however, a precedent. Almost 60 years earlier, in 1943, Frankenstein Meets the Wolf Man was a sequel to both The Ghost of Frankenstein (and thus the fourth Frankenstein film) and The Wolf Man. The two series merged into one, and Dracula would be added to the mix in the films that followed. The continuity was very loose, but it was there all the same. Now, Universal has announced that it is rebooting (yet again) its monster titles with the purpose of aping the Marvel Cinematic Universe. All the icons from the 30s and 40s will be present: the Frankenstein Monster, Dracula, the Mummy, the Wolfman, and the Invisible Man. Also present is the late arrival from the 50s, Universal’s last classic monster: the Creature from the Black Lagoon. Though the official start to the Monsterverse is the Mummy reboot in 2016, it appears that Dracula Untold has been rejigged slightly to act as a prologue (assuming it isn’t a miserable failure).
The Disquieting Guest — Calvaire and the Tyrannies of Desire
There is no denying that extreme horror, at its worst, fulfils pretty much every outside observer’s worst surmises about quote-unquote torture porn. But at its best, it has a merciless rigour that pushes viewers into places they may not wish to go but are important for them to confront. Fabrice Du Welz’s Calvaire (2004) is a case in point. Calvaire is a Belgian film and not, strictly speaking, part of the New French Extreme trend in horror films (Inside, High Tension, Martyrs, etc.). But if we reconsider the term slightly as the New French-Language Extreme, then it fits in very nicely with its dark cousins (and Martyrs, a France-Canada co-production, becomes a better fit as well). While not as gory as some, its unblinking willingness to explore the heart of darkness marks it, for me, as part of that loosely defined movement.*
The Disquieting Guest — Bava’s Centenary
July 31 marked the 100th anniversary of the birth of director Mario Bava. If this means something to you, feel free to skip the rest of this blog. If the name is unfamiliar to you, let me bend your ear for just a few minutes. Here are just a few of the reasons why horror (and, to a lesser degree, SF) owes him so much. 1. Black Sunday (1960). Bava’s directorial debut kicks off the age of Italian horror cinema. The film’s extraordinary beauty would be reason enough to celebrate it, but it also brought horror stardom to Barbara Steele. Steele is one of the few women to become a horror icon for playing both victim and villain — sometimes both in the same film, as is the case here.
Book Review: Through the Woods by Emily Carroll
The back cover of Through the Woods claims that it contains five mysterious, spine-tingling stories. Sure, I thought, but really it’s not going to be that scary, right? I expected to feel the small frisson that comes with reading ghost stories and the visual delight of paging through some cool looking art. Pleasant, simple, fun. A nice summer read. So I put it in my bag and took it to Vermont. Vermont, in case you were wondering, is full of woods. Let me properly set the scene here: we’d gone for a weekend to get away from all the hustle and bustle of work and city life. We had not packed our laptops, we did not bring our phone chargers, and each of us brought exactly one book to read (Moss’ was the excellent Code Name Verity by Elizabeth Wein, which I had already read). During the day, we stopped to meet friends for lunch in New Hampshire, and then hiked for four and a half hours in the green mountains, getting back to our car right as the sun was beginning to set. We checked into our hotel, The Vermont Inn, which was lovely and remote, and the sort of independent old inn that has lots of creaky charm in the stairs and floorboards. We ate a lovely dinner in the inn’s restaurant, followed by a delicious dessert cocktail — which tasted like a maple milkshake — in the inn’s bar. We soaked in the inn’s hot tub under the stars. And then we went upstairs, and read our books. Before bed.
210. Sarah Lotz (a.k.a. Planecrusher 1000) — The Three (An Interview)
http://media.blubrry.com/skiffyandfanty/dts.podtrac.com/redirect.mp3/archive.org/download/SandFEpisode210AnInterviewWSarahLotz/SandF%20–%20Episode%20210%20–%20An%20Interview%20w%20Sarah%20Lotz.mp3Podcast: Play in new window | DownloadSubscribe: Apple Podcasts | Spotify | Android | iHeartRadio | Podchaser | Podcast Index | Email | TuneIn | Deezer | RSSCreepy children, fallen planes, and a world gone mad, oh my! Author Sarah Lotz joins us for our World SF Tour bonanza to talk about her new book, The Three. We talk about her fascination with plane crashes, horror and religion, writing multiple cultures, and much more! We hope you enjoy the episode! Note: If you have iTunes and like this show, please give us a review on our iTunes page, or feel free to email us with your thoughts about the show! Here’s the episode (show notes are below): Episode 210 — Download (MP3) Show Notes: Sarah’s Website Sarah’s Books Sarah’s Twitter You can also support this podcast by signing up for a one month free trial at Audible. Doing so helps us, gives you a change to try out Audible’s service, and brings joy to everyone. Our new intro music is “Time Flux” by Revolution Void (CC BY 3.0). That’s all, folks! Thanks for listening. See you next week.
