¡QUÉ HORROR! 2020

Candidate #6

COLOR OUT OF SPACE

(September 2019)

“... and then there was this ‘Boom!’ like, like, like a sonic boom, and a big flash, like a pink light…
“Or actually, I don’t even know what color it was, it wasn’t like any color I’d ever seen before, and then everything just blew up, or fell from the sky…”

The Gardners are working through a trying family situation when things get really effed up after a meteorite crash lands on their isolated alpaca farm in Richard Stanley’s outstanding Color Out of Space.

Being a huge fan of Stanley’s lo-fi SF classic Hardware, I was understandably both anxious and hopeful when news broke of his intent to adapt H.P. Lovecraft’s “The Colour Out of Space,” so I’m frankly relieved that the film came out spectacularly, and that I loved it as much as I do.

Stanley and co-writer Scarlett Amaris refract familial dynamics through the kaleidoscope of Lovecraft’s cosmic horror, shining that unearthly-colored light into the cracks and crevices of the fault lines that run through any family (no matter how apparently well-adjusted), to uncover the wriggling mutations that breed in the darkness of neglect, misunderstanding, and generational trauma.

Produced by SpectreVision (Go, Frodo!), this is a hallucinatory, unsettling, and mind-blowing first taste of what Stanley hopes will, heh, evolve into a trilogy of Lovecraft adaptations.

So, yes, hopefully more where this came from!

“Drink? I’m having one.”

Parting Shot 1:

Not only do we have a cast that includes Joely Richardson, Tommy Chong, Nicolas Cage, and a menagerie of animal actors with awesome names like Rowan, Lucifer, Xibanga, Bruno, and Ulisses, we also get a significant appearance of the so-called “Simon Necronomicon,” which my brothers and I actually had a copy of (the Avon paperback, if memory serves me correctly) way back when…

Parting Shot 2:

There’s also more Lovecraft to be had this year, with HBO’s adaptation of Matt Ruff’s Lovecraft Country, scheduled for an August release.

Co-produced by J.J. Abrams and Jordan Peele, Lovecraft Country more directly engages with the writer’s more problematic views on race.

Parting Shot 3:

Stanley’s adaptation makes a fine double feature with Alex Garland’s Annihilation…

Just saying…

(Color Out of Space OS courtesy of impawards.com.)

¡QUÉ HORROR! 2019

Candidate #25

MARIANNE Season 1

(September 2019)

“[Marianne is] a witch.

“Deprived of a body, she wanders. She enters your soul, warps your body. She takes you over. She possesses you.

“The only thing Marianne cannot do is lie about her name. She can avoid the question, change the subject. But she cannot lie about her name.

“She is the wife of a demon.”

Opening with a Nathaniel Hawthorne quote* from The Scarlet Letter about “the Black Man,” the 8-episode Marianne sees writer Emma Larsimon (Victoire Du Bois) suddenly end her apparently successful 10 year run of Lizzie Larck books--with titles like Lizzie Larck in Chains and Marianne Bites, Emma herself describes the books as “teen girl literature”--in what an interviewer characterizes as “a rash move”.

That may very well be the case, because supernatural events straight out of her work start to happen around her, as the titular witch, Marianne, comes calling…

“It’s not fair… It’s your nightmare, not mine!”

Now, while I do feel that Marianne is ultimately recommendable, I think I need to point out some aspects of the show where viewers’ mileages may vary…

“Do you want a key? You want to see inside? There’s nothing. Only my cats and my teeth.”

Despite being a relatively brief (for Netflix, at least) 8 episodes, somehow the show still has time to allow some scenes to stretch into uncomfortable tedium whilst presumably aiming for tension.

There are also strange tonal shifts into brief (and sometimes painfully awkward) comedic moments, presumably to offset the largely gloomy, sinister proceedings, but which only serve to rudely remind the viewer that this is a show that’s trying to scare you out of your wits, but also reluctant to lose the broader, not necessarily hardcore horror audience.

There are also numerous nods to past horror classics. Numerous.

In the opening episode alone, there are scenes pointedly reminiscent of The Omen and The Exorcist, not to mention some Exorcist-style subliminal quick cuts (an editing style that recurs throughout the subsequent episodes).

Other horror films are likewise nodded to over the season’s course, the particularly blatant lifts distracting more than anything else.

My point here being, if you’re already doing something original (in that it isn’t an adaptation or a sequel or a prequel or a remake or a reboot or a re-whatever), then you may as well rely on fresh, original scares and not painfully obvious lifts that detract from the proceedings.

In the end, while there are macabre goings-on, sinister atmospherics, and stylistic flourishes aplenty, it’ll be up to each individual viewer whether those are enough to offset some of the show’s more problematic issues.**

“God will not forgive me, I know it. I’ve taken the worst possible path. I’ve walked by the sea. I saw the city. I am cursed.”

And, full disclosure, one particular reason why this show’s stuck with me is because I’ve written a comic that’s meant to be released within the year. (Pages are being inked--and subsequently lettered by yours truly--even as I write this.)

As with Silver Like Dust (available at mervstore.com), it's another Dakila crossover/team-up. Further details will, of course, be found here at the Iguana the closer we get to release date.

Right now, what’s pertinent to this post is that the comic just so happens to feature the same demon who’s first mentioned prominently somewhere before Marianne’s midpoint. The same demon and his 85 legions…

So, yeah, the instant he gets mentioned in the show, I’m like, “Hey!”

I gotta say, guy’s pretty popular, or at least, having some kind of Moment.

He’s also appeared recently in Vertigo’s*** The Dreaming, and even has a Marvel incarnation…

Oh, and the Sharon Van Etten needle drop during the extended flashback section was much appreciated as well…

“They will all be mine. We will lick and eat them all, my husband and I. You get crow, toad and cat.

“And you, little whore, I never leave empty-handed.”

* Each episode opens with a quote. Among the other writers represented: Arthur Machen, Henry James, J.M. Barrie, Edgar Allan Poe, and H.P. Lovecraft.

** Including the kind of main character Emma is, the type of personality that leaves wreckage and ruin in her wake.

Is there a reason for this beyond “Oh, well, that’s just the sort of person she is”?

Yes.

But that doesn’t really make her any more likeable in some instances…

*** Sniff. R.I.P.

Parting Shot:

All 8 episodes of Marianne are directed by Samuel Bodin, and co-written by Bodin and Quoc Dang Tran.

Among the short films Bodin has previously worked on is the odd and highly stylized fan film Batman: Ashes to Ashes, co-directed with Julien Mokrani (mind the NSFW section)…

(Marianne OS courtesy of impawards.com.)

10 Slots for the Best Horror I've Seen in the Past Year
[7 of 10]

THEY REMAIN

(January 2018)

"History is so full of shadow.”

Opening with a quote from H.P. Lovecraft’s “Hypnos” (“Wise men have interpreted dreams, and the gods have laughed.”), Philip Gelatt’s They Remain deploys two elements from the horror arsenal--isolation and inexplicability--to excellent and unnerving effect.

Following a two-person, three month research mission to find a “… previously uncharacterized element--genetic, environmental or otherwise--one that might change the way we view our relationship to the natural world,” the film (based on the novella “—30—” by Laird Barron) is a slow burn descent that relies more on mood and atmosphere than narrative cause and effect, a refreshing change from Hollywood horror’s tendency to over-explicate, as if horror were made up of mere plot points in dire need of tedious exposition.

Gelatt made it onto the Candidates list for ¡Qué horror! 2012, for his feature directorial debut, The Bleeding House.

And now he's cracked into the main rundown.
Well-deserved applause all around...

“The world is large and unknowable.

“No one ever really knows anything.”

(They Remain OS courtesy of impawards.com.)

¡QUÉ HORROR! 2018

Candidate #6

THEY REMAIN

(January 2018)

"History is so full of shadow.”

Opening with a quote from H.P. Lovecraft’s “Hypnos” (“Wise men have interpreted dreams, and the gods have laughed.”), Philip Gelatt’s They Remain deploys two elements from the horror arsenal--isolation and inexplicability--to excellent and unnerving effect.

Following a two-person, three month research mission to find a “… previously uncharacterized element--genetic, environmental or otherwise--one that might change the way we view our relationship to the natural world,” the film (based on the novella “—30—” by Laird Barron) is a slow burn descent that relies more on mood and atmosphere than narrative cause and effect, a refreshing change from Hollywood horror’s tendency to over-explicate, as if horror were made up of mere plot points in dire need of tedious exposition.

Gelatt made it onto the Candidates list for ¡Qué horror! 2012 as well, for his feature directorial debut, The Bleeding House.

Here’s hoping he cracks into the main rundown this year…

“The world is large and unknowable.

“No one ever really knows anything.”

(They Remain OS courtesy of impawards.com.)

A Rundown of the 13 Best Horror Movies I've Seen in the Past Year

[12 of 13]

GET OUT

(January 2017)

"Fairer skin has been in favor for the past, what, couple of hundreds of years? But now the pendulum has swung back.
"Black is in fashion.”

Anyone who’s passingly familiar with my writing or has been to the Iguana more than once would, in all likelihood, have noticed my preference for genre pieces that have something to say.

That’s the kind of genre material I’m deeply interested in, the ones that use the tropes and the conventions and the form as a platform to delve into important, vital matters. The kind of material that says something to its audience about the world they live in.

And if you’ve seen the trailer for Jordan Peele’s feature directorial debut, Get Out (which Peele also wrote the screenplay for), it should be fairly obvious that the film is about race, and its ugly, bigoted offspring, racism.

“Chris, you gotta get the f*ck up outta there, man! You in some Eyes Wide Shut situation. Leave, motherfu--”

The Fades’ and Black Mirror’s Daniel Kaluuya plays Chris Washington, who is being introduced to--and spending the weekend with--his girlfriend’s parents (played by the always marvelous Catherine Keener and a vaguely unrecognizable Bradley Whitford).

And when that happens in a Blumhouse film, you just know things are gonna get ug-leeee…

To say anything more is not really my style here at the Iguana; it would also be a frank disservice to the extraordinary piece Peele and company have brought to the screen.

Suffice it to say that if you, like me, have a taste for horror with a brain, then Get Out.

Now!

“I mean, I told you not to go in that house…”

Parting Shot:

For those who know Jordan Peele as half of the comedy sketch duo Key & Peele, note that at the age of 13, he knew he wanted to be a horror film director.

Apparently, the whole comedy thing was a huge detour, but he’s managed to find his way back to the dream.

A few more things to look forward to from Peele:

The 4 other “social thrillers” (his term) that he plans to work on, of which he has this to say: “The best and scariest monsters in the world are human beings and what we are capable of especially when we get together. I’ve been working on these premises about these different social demons, these innately human monsters that are woven into the fabric of how we think and how we interact, and each one of my movies is going to be about a different one of these social demons.”

He’s also teamed up with J.J. Abrams’ Bad Robot to adapt Matt Ruff’s Lovecraft Country for HBO (it’s been given a straight-to-series order).

Amazon.com has this to say about Lovecraft Country: [Ruff] makes visceral the terrors of life in Jim Crow America and its lingering effects in this brilliant and wondrous work of the imagination that melds historical fiction, pulp noir, and Lovecraftian horror and fantasy.

Yes, please. Some more of that…

(Get Out OS courtesy of bloody-disgusting.com.)

A Rundown of the 13 Best Horror Movies I've Seen in the Past Year
[8 of 13]

THE VOID

(September 2016)

"You'd be surprised at the things you find when you go looking.”

Co-written and co-directed by Jeremy Gillespie and Steven Kostanski (art and make-up veterans on the sorely missed Hannibal, among other things), The Void is the kind of horror film that does not f*ck around.

As per this excerpt from the synopsis on the film’s Indiegogo page (more on that later), In the middle of a routine patrol, officer Daniel Carter happens upon a blood-soaked figure limping down a deserted stretch of road. He rushes the young man to a nearby rural hospital staffed by a skeleton crew, only to discover that…

Dot dot dot indeed.

 

“… [T]he body has to adjust, of course. Adapt. We weren’t… built for this kind of thing.”

Suffice it to say that experiencing The Void is like having rotting, putrid gobbets of Carpenter, Fulci, and Cronenberg (along with some stringy bits of Lovecraft) flung right in your face… in the best possible way.

There’s plenty of dread and gruesome practical effects (to which the Indiegogo funds went), and if you’re in the mood for some disturbing cosmic horror, you’d be well advised to step right up and into The Void.

“I defy God. There are things much older. Older than time. And they blessed me.”

(The Void OS’ courtesy of impawards.com.)

¡QUÉ HORROR! 2017

Candidate #11

THE VOID

(September 2016)

"You'd be surprised at the things you find when you go looking.”

Co-written and co-directed by Jeremy Gillespie and Steven Kostanski (art and make-up veterans on the sorely missed Hannibal, among other things), The Void is the kind of horror film that does not f*ck around.

As per this excerpt from the synopsis on the film’s Indiegogo page (more on that later), In the middle of a routine patrol, officer Daniel Carter happens upon a blood-soaked figure limping down a deserted stretch of road. He rushes the young man to a nearby rural hospital staffed by a skeleton crew, only to discover that…

Dot dot dot indeed.

 

“… [T]he body has to adjust, of course. Adapt. We weren’t… built for this kind of thing.”

Suffice it to say that experiencing The Void is like having rotting, putrid gobbets of Carpenter, Fulci, and Cronenberg (along with some stringy bits of Lovecraft) flung right in your face… in the best possible way.

There’s plenty of dread and gruesome practical effects (to which the Indiegogo funds went), and if you’re in the mood for some disturbing cosmic horror, you’d be well advised to step right up and into The Void.

“I defy God. There are things much older. Older than time. And they blessed me.”

(The Void OS’ courtesy of impawards.com.)

A Rundown of the 13 (plus) Best Horror Movies I’ve Seen in the Past Year
[2 of 13]
The Apocalypse Cinema Slot

CTHULHU

(June 2007)

I’ve known about this one for awhile though only now have managed to catch up with it, and I must say, this one’s an interesting and excellent Lovecraft adaptation by director Dan Gildark, a piece that tries things and goes places that are foreign to other Lovecraft adaptations.

Take “The Shadow Over Innsmouth” as a foundation, then splice in some gay themes and strains of apocalypse cinema, and throw in Gus Van Sant stalwart Scott Patrick Green and the Tori Spelling, and you’ll have a vague notion of what’s in store for you in Cthulhu.

For my money, one of the best Lovecraft adaptations I’ve seen…

THE DIVIDE

(March 2011)

This is one of those films I got to see over the past year, but didn’t have the time to write about previously.

Apologies, Monsieur Xavier Gens.

This one takes the boiler room scenario of titles like The Mist, as a bunch of tenants in an apartment building are crammed into the basement with the crotchety super, Mickey (Michael Biehn, baby!), in the hopes of riding out the nuclear devastation that’s wreaked havoc aboveground.

Sadly, human nature creeps to the surface and things don’t go so well for the poor unfortunates, who include Lauren German, Rosanna Arquette, and Milo Ventimiglia.

(Cthulhu OS courtesy of impawards.com and The Divide OS courtesy of reelizer.com.)

¡Qué horror! 2012

Candidate # 26

CTHULHU

(June 2007)

I’ve known about this one for awhile though only now have managed to catch up with it, and I must say, this one’s an interesting and excellent Lovecraft adaptation by director Dan Gildark, a piece that tries things and goes places that are foreign to other Lovecraft adaptations.

Take “The Shadow Over Innsmouth” as a foundation, then splice in some gay themes and strains of apocalypse cinema, and throw in Gus Van Sant stalwart Scott Patrick Green and the Tori Spelling, and you’ll have a vague notion of what’s in store for you in Cthulhu.

For my money, one of the best Lovecraft adaptations I’ve seen…

(Cthulhu OS courtesy of impawards.com.)

AFTERTHOUGHTS (26)
a.k.a. “PIMP MY BOOK” (2)

Thanx to everyone who’s checked out Pelicula.
And thanx to those who’ve left comments here at the Iguana.

To Martin: I’m glad you loved what you saw in the first four chapters, and I’m really glad that ritual got you the way it did.
What can I say? Lovecraft and the Al Azif (a.k.a. the Necronomicon): a winning combo.
I’m stoked that you’re enjoying the tone and the mash-up of elements and genres. As I mentioned in Afterthoughts (23), Pelicula involved a lot of firsts for me, and I’m pleased as punch with it.

To I.K.Ida: Thanx for liking the Penumbra novellas. Hope you’re enjoying Pelicula too.

To those who haven’t checked it out, go to the website designed by the very excellent Carl Vergara. Updates are weekly. Then leave any comments you may have back here.

Thanx again, one and all.

(Image from Pelicula website, website designed by Carl Vergara, Habagat icon designed by the equally excellent Ian Sta. Maria.)