Wow. Not to sound cliche, but I can’t believe the holidays are already upon us. Halloween will always be my favorite holiday of the year, but truth be told, I favor the others just as much. Of the two, Halloween and Christmas, Thanksgiving has a different vibe. Halloween and Christmas have a “wow factor” to them. Lots of decor and movies and books and songs and overall loud celebration. Whereas Thanksgiving has a quiet disposition. More humble, taking stock of what we have to be thankful for, and not just the historical roots of the reason for the season. I know I personally have a lot to be thankful for.
And of course I haven’t even mentioned the best part of Thanksgiving–THE FOOD!!! There’s the turkey, of course (baked, smoked, or fried). Mash potatoes and gravy and yams and green bean casserole and corn bread stuffing. Hmm….its all so good. But my favorite dish is sweet potato casserole. Below is a recipe from Food Network that I’ve used before. Its certainly a crowd pleaser, and it doubles as a side dish + dessert. Continue Reading
Behold! Dracula, the movie that launched a twenty-three year progression of monster movies we call Universal Classics. Who could have predicted the success despite a rather tremendous stage career of not only the film but also the glowing eyed antagonist, Bela Lugosi? Dracula, the dashing, mysterious godfather of modern horror cinema, released at the Roxy Theater in New York City, on February 12, 1931. Even the cleverly crafted “fainting” rumors and “on-call” medical staff in the lobby orchestrated by nervous executives, hoping to induce some natural sense of morbid curiosity, was unnecessary. According to film historian Michael Fitzgerald, within the first 48 hours of Dracula’s release, the Roxy Theater had sold over 50,000 tickets. Horror had just become mainstream. Dracula’s acclaim paved the way for the other classics we’ve grown to love, our other Universal Studios Monsters, such as: Frankenstein, Bride of Frankenstein, The Mummy, The Invisible man, The Creature from the Black Lagoon, and The Wolfman, each owing their existence to the success of one film, even if said film wasn’t entirely all that great. There were some issues, on and off stage. But I think, by and large, the success, as it began at first, was due to the period in which the film released. Lets take a look back in time (key Twilight Zone theme).
The golden era of Universal Studio monster movies is one of most interesting bits of Americana cinematic history. Why? I’m glad you asked! As the roar of the 1920’s was coming to an end, the decade that had ushered in high booms and some of the best silent pictures would eventually end in the same dramatic fashion. The Stock Market Crash, also known as “Black Tuesday,” on October 29th, 1929, while still under much debate among certain historical circles, we can say that following the panic, America went into the greatest depression she, thus far, had ever known. By March 1930, 3.2 million people would be unemployed. And while Americans were growing uncertain regarding the future in the face of food riots, strikes, and lamentable upheaval, not to mention prohibition, even more uncertainty was developing on the horizon.
Beginning in 1928, against the backdrop of Germany’s almost two decade long depression following the end of the Great War, and the peoples utter discontent with what they considered a failure of Wiemar Democracy, the Nazi Party (The National Socialist Party) slowly began taking over the Reichstag (Reichstagsgebäude). Fascism was a darkening cloud over the Atlantic. By January 30, 1933, Adolf Hitler was appointed chancellor. By 1935, the anti-Semitic Nuremberg Laws were established, and in 1939, with Germany’s invasion of Poland, World War II officially began.
This, of course, is just a brief look at the world during the era Universal Horror shared. Only with the luxurious logic of hindsight can we contemplate why executives were nervous over Dracula’s success in the first place. Some things we can guess. This was a film, based on a stage play, based on a novel that was, at the time, rather dark and perhaps too sexualized for tastes during the 1930s. And across the pond, the world was in turmoil. And not just that, but Lon Chaney, the Man of a Thousand Faces, the producers first pick as Dracula, had recently and tragically passed away.
Who would they cast now?
In the end, it boiled down to Lugosi, and mostly only because he was literally the last option and would work for cheap, about $500 a week. Certainly, the film was a risk for Universal, but as history proved, Dracula became one of the greatest escapes for worrisome audiences listening in on radio broadcasts about invasions, famine, poverty, and war. And of course this was no simple drive to the movies! Not at all. For the silent and talkie black & white era “going to the movies” was no humbug experience with sticky floors and hoodlum teenagers. Especially for theaters such as Roxy, in New York City. The Roxy was a Grand Theater, a “Cathedral of the Motion Picture.” Going to the movies to see Dracula was not the same experience as going to the movies today, to say the least. Going to the movies during the 20’s and 30’s was like going to the Opera in today’s standards. Folks got dressed up for cheap tickets and excellent performances. Live orchestras opened the night before a large velvet curtain pulled away revealing the white projection screen underneath. Going to the movies, was indeed The Greatest Show on Earth.
But that was then. Now, we’re sitting at 87 years since Dracula’s original release. What does Dracula say for today’s audiences. Well, to be honest I’d say most people probably feel Dracula is rather dated. Tod Browning’s directorial control seems very lacking in many regards. Consider the piece of cutout cardboard left on a lamp for one of Lugosi’s closeups. In fact, we should probably give more directorial credit to Karl Freund, famed cinematographer of 1927’s German Expressionist masterpiece, Metropolis. And the lack of a musical score gives one the impression of empty space, like watching a High School stage production than a big budget Hollywood movie. Its choppy. There’s a sense of discontinuity.
Despite all that, Dracula, in my most humble opinion, is an incredible film that at times is still scary today. The fact that the movie is, in its own way, still disturbing stresses something important about the kind of story being told. A horror story playing on fears realized in the hearts of humanity told since the first campfire. Dracula tells us about (though, i’d argue for socially different reasons between 1931 and today) our fears of the so-called foreign invader, fears of madness, fears of hierarchical purity (Nazis called this, Volksgemeinschaft; the United States called it, Eugenics), fears of the unknown, fears of losing free will (especially the freedom of choice), and fears of death.
One of the greatest (of many) appeals with Dracula is its quality of acting. While Dracula was Bela Lugosi’s signature role, a role he played beautifully and held audiences with his mesmerizing Hungarian accent, my favorite was actually Dwight Frye’s portrayal as Renfield. Watching the movie, even now 87 years later, Renfield gives me the chills. His sensibility as Dracula’s minion, his raving lunacy, devouring spiders and flies alike, was delivered with pure genius and incredible character acting. Especially during the scene aboard the Vesta, when the London longshoremen discover Renfield hiding below deck, the look on his face looking up at them from the staircase is, to say the least, disturbing. And this pretty much goes for the rest of the supporting cast. Edward Van Sloan as Abraham Van Helsing was marvelous. And who could deny the captivating charm of Helen Chandler as Mina Harker, the subject of Dracula’s desire?
Yes, Dracula has some production issues that could sway you away into settling with a few YouTube clips to satisfy your curiosity. If I could somehow convince you otherwise, I hope this review helped. There’s certainly an historic importance with Dracula, but not just that. Dracula was, regardless of the all its mistakes, hauntingly human, and, as it was billed back in 1931, a strange [otherworldly] romance that started a chain of monsters that we for better or worse take for granted.
From the battlefields of Remarque’s All Quiet on the Western Front to the horrors of Stephen King’s Salem’s Lot to even the absurd cult classics of J. Michael Muro movies, Street Trash, Thomas S Flowers’s love for gross and equally deeply emotionally things has no bar or limit. Such appetites saturate his own writings, from the paranormal happenings of his PSTD ridden thriller series Subdue, to his gory zombie infested PLANET OF THE DEAD series, to even his recent dabbling of vampiric flirtation in THE LAST HELLFIGHTER. He hopes that his love for the genre seeps into the minds of his readers. And that you will enjoy his books just as much as he enjoyed writing them. You can follow Thomas and get yourself a FREE eBook copy of FEAST by joining his MONTHLY mailing list. Sign up by vising www.ThomasSFlowers.com
(available on eBook, paperback, and audiobook)
Here in Houston, Texas, the weather has finally let in a little sunshine and “cooler” temps. Yes, “cooler,” as in less humid, which in Houston creates our version of fall. Indeed, it does feel like fall outside, my favorite time of year. A relief from the sweltering summer AND the beginning of the season of the macabre. That’s right, I’m talking about Halloween folks! And for us fans of what goes bump in the night, Halloween is no mere one day a year holiday, Halloween is a month long celebration.
This year feels…what’s the word? More horrorcentric, perhaps? It seems horror has become more or less popularized in that there are more than the usual blockbuster movies hitting theaters, and Netflix has begun releasing more original titles, and not just small B-rated stuff, but the real McCoy, such as the new show The Haunting of Hill House, which I believe just released today. Over on Machine Mean, we’re almost mid-way through Fright Fest. This year’s theme, voted by popular demand, is vampire movies. From Blade to Dracula to Let the Right One In to Interview with the Vampire to Nosferatu and even Blacula, we’ve got just about every vampire movie ever filmed covered. 31 days of horror from a number of guest contributors. Trust me, you’re not going to want to miss this seasons Fright Fest lineup.
In Other News…War for the Planet of the Dead released this past week on Oct 9, 2018. The preorder, of course, was made available last month. You can now purchase on eBook and paperback over on Amazon. The audiobook is currently in production with Rick Gregory doing the narration. Speaking of audio books, the audiobook for The Last Hellfighter also just released this week. Thus far its making a big splash with historic horror fans.
It may just be October and we’ve still got two more months in the year, but i’d like to share with you some ideas for new books in 2019. I have 3-4 solid stories that I’d love to explore and by nature force my readers to explore with me. First up will be Island of the Flesh Eaters, this will release early 2019–either late winter or early spring. What’s it about? Think 1980s zombie movies and there you go. The cover is already done, designed by the very awesome Michael Bray. This title will release through Darker Worlds Publishing.
The next title will carry with it a more serious note, called Palace of Ghosts. It’s mostly mapped out in my head. Though I never try to force a story to go somewhere. If it wants to turn right, its turns right. If it wants to turn left, it’ll turn left. What’s it about? I don’t want to give too much away, but the premise is that a psychiatrist invites a group of veterans suffering with PTSD to spend a week in a haunted house (palace) as an experimental form of therapy. Luke Spooner is doing the cover for this title, which I’ve been given a preview–and yes, I’m very excited to see this book unfold. Luke is an fantastic artist, his stuff always amazes me. You can check out his work here. I’m aiming for a summer release with this one.
Also slated for 2019 is the third book in the Planet of the Dead series, titled Escape from the Planet of the Dead. As per norm, there will be new stories set within the universe of Planet of the Dead, and a few more continuations, including Doctor Ying from War of the Planet of the Dead, and Polk’s crew. My friend Travis Eck will be doing the cover work again on this title–i’m curious to see what he’ll come up with. And Shadow Work Publishing will be releasing it come October 2019. And if you’re curious, this title WILL NOT be the last. I have at least one more book mapped out for the series.
Lastly, for late 2019, I’m itching to explore this idea of a vampire western book called A Bullet for Nosferatu. Other than the concept and title, I do not have much else. My aim is to have more on this later on in 2019. 4 titles total, not a shabby plan for a blue collar writer such as myself. And how, pray tell, will I accomplish such as task? Like anything else, I can’t do it alone. The only part of writing that truly comes from just me is passion, a passion to tell stories. But passion alone is often not enough. I also depend on the support of my family who allow me some quiet time in the evenings to write. The support of my readers who not only support through buying my tales but also leaving me some feedback in a review. And lastly, I couldn’t do it without the support of my writing community and publishers. Take my advise, writers who live on a island do not survive for very long.
The Last Hellfighter
WAR for the PLANET of the DEAD
Thank you for reading and for the continued support. Remember to stop by the movie review site, Machine Mean. Lots of good stuff there from some really talented writers. Great movie suggestions too, if you’re in the market for something scary to watch for Halloween. For those interested in supporting me on Patreon, follow the link here. And as always, don’t forget to…
Yup. It’s about that time when I start fantasizing about which actor and/or actress would play what character in my latest book. I know these castings will never happen, but it is fun to pretend. Isn’t that what part of writing is, pretending you are somewhere or someone else? And truth be told I think the Planet of the Dead series would be difficult to turn into a movie (or easy depending on how you go about doing it) considering the format of the book is broken down into character stories instead of traditional chapters.
That said, here are the actors I imagined for my ideal pretend movie casting!
For Polk, I’d pick a strong but relatively young actress. I really liked Sophie Turner in the new X-Men movies as Jean Grey. I think the part would fit Miss Turner perfectly. In the story, Polk has the weight of the world on her shoulders–a kind of battle worn fatigue from her service related injury and guilt for the loss of close friends. Polk is a quiet loner with a badass bionic arm, perfectly suited to be a lone wolf, but as things progress she discovers perhaps being alone is not the smartest way to go about surviving the zombie apocalypse.
For Jelks, while based on a good friend of mine from my Army days, I imagined Jensen Ackles from Supernatural playing the role of the all-around-ruff-around-the-edges-good-guy. In the story, Jelks may be AWOL from the Army, but he has a heart of gold. He’s a survivor with a strong moral compass. When he runs into Polk, he can’t help but want to help her even though she doesn’t seem to need it. He wants to survive but he doesn’t want to lose his humanity in the process.
For Collins, while also based on a good friend of mine from my Army days, I imagined Anthony Mackie (Falcon from Avengers) in the role as a modern take on Ken Foree as Peter from Dawn of the Dead (1978). Compare the two actors and you’ll see what I’m talking about! In the story, Collins is a thick skinned solider who teams up with Jelks to try and survive the spreading zombie apocalypse. While he would do anything for a friend, he has his doubts about helping Polk.
For General Rusk, if you’re going to go big, why not shoot for the moon? If I were to imagine a stern, creep as hell Army General, Mel Gibson would be my man. The guy is not stranger to playing what i call quiet eccentric roles. Quiet as in you can see the madness in his eyes, but he’s not goofy, he’s utterly insane. In the story, Gen. Rusk was a washed out General reborn in the zombie apocalypse. He’s smart, tactical, efficient, and worse of all patient.
For Doctor Ahuja, I wanted an older actor with a silent charisma about him. After watching Jurassic World, Irrfan Khan would be my pick. In the story, Doctor Ahuja is oddly disconnected to what is happening in the world around him. The very fact that his sister dying and then turning into a zombie in front of him hardly phasing him is a bit off putting. His motivation seems to be focused almost exclusively on his research. What research is that? Designing advanced (wink wink) prosthesis for the United States military.
There are way more castings we could do, like I said, the book is filled with “short story” style chapters. There are a lot of one-off characters that help tell the global story of the spreading zombie apocalypse, from news anchors to scientists and junkies to hillbillies from the world over. While I cannot cast everyone, here are a few Bonus Castings!
Peter Stormare as… Vladimir Ryazanskiy. Yeah, so okay, Peter Stormare may be Swedish born, but I think he would be awesome for this role as our hardened, experience Russian cosmonaut—trapped on the International Space Station with British and American crew members who are no so fortunate in the zombie apocalypse while the world below collapses. Stormare has played his share of interesting characters. In the story, Vladimir will do what he must to survive and try to make it back home while there is still a home to make it back to.
Michelle Yeoh as… Doctor Ying. From James Bond to Hong Kong action films, Michelle Yeoh has certainly proven her versatility as a meek but strong character actor. In the story, Doctor Ying must persevere after being devastated at being forced to leave behind her husband to join a special research team at a top secret facility off the coast of China. She’ll join some of the People’s Republic’s greatest minds–protected by a strict military unit. Doctor Ying is my introduction to a Day of the Dead (1985) inspired story that will further develop in Escape from the Planet of the Dead (scheduled to release in 2019).
“This author’s writing style is interesting. I kind of dig this little stories…”
“The story has a lot of promise for development and growth. The author presents interesting and compelling characters and I look forward to seeing their paths, decisions and adventures in future chapters…”
“Planet of the Dead was one of those stories that I didn’t know I was going to enjoy. Sure, I love zombie books as much as the next guy – but I just didn’t know going into it. Well, I loved it and had a blast flying through this book. Flowers way of skipping from person to person explaining the story from their viewpoints really made this so easy to read. Even if you didn’t like a person or a point of view – you knew it was going to move on to another person soon after…”
“Planet of the Dead is incredibly fast paced. Once things start going, they don’t calm down until the end. Some people think there is nothing new in the zombie world, but Flowers proves them wrong. I read A LOT of zombie books and Planet of the dead is most definitely in my top 3-5 favorites…”
Where will you be when the world ends? When it comes to apocalyptic movies, the beginning has always been my favorite part. Sure, its fun to see the aftermath, what the world looks like when the dust settles, but what I find absolutely intriguing is what happens in those defining moments when normalcy gets flipped on its head. This is a huge reason why I’ve always enjoyed George A. Romero’s films. Night of the Living Dead and Dawn of the Dead are (among other things) about what happens in the moment when the world ends. Day of the Dead and Land of the Dead are films about how people are doing after-the-fact. Good movies, but they’re missing that special punch. As we discuss Diary of the Dead, let that defining question sink in, that is, What will you do when the world ends? Continue Reading
Happy Friday, folks! It is my extreme pleasure and utmost excitement to officially announce the next chapter in the Planet of the Dead series, WAR for the PLANET of the DEAD. And to unofficially announce the upcoming titles of later sequels in the series. In 2019, ESCAPE from the PLANET of the DEAD is planned to release. And in 2020, VOYAGE to the PLANET of the DEAD. Those are the planned books, thus far. Could there be more? Time will tell. For the foreseeable future, I have stories and characters planned out for the listed titles above. WAR for the PLANET of the DEAD is scheduled to release October 9th 2018 on Amazon Kindle, paperback and audiobook shortly thereafter. You read right, next month!
Huge thanks to my friend Travis Eck for designing all these awesome original covers. And my new editor, Chad A. Clark. And of course to the man Duncan Ralston for spearheading Shadow Work Publishing and taking on all these flesh eating tales.
But that is not just it… WAR for the PLANET of the DEAD is currently available for preorder on Amazon Kindle. And as per norm, I’ve marked down the preorder to $0.99. Why? Because I know I’m no big shot writer, I just like telling stories. Why not make my books super affordable? Right? As for this story, I had a LOT of fun writing this one. PLANET of the DEAD was my homage to George A. Romero’s Night of the Living Dead (1968). It had a somber tone throughout all the different character stories. WAR for the PLANET of the DEAD is less somber and more action oriented. This is my homage to THE greatest zombie movie ever made, Romero’s DAWN of the DEAD (1978). Several parts in this book were inspired by Dawn with the cutthroat in your face brutality. The PLANET of the DEAD is truly at WAR in this new chapter in the series.
Following the events of Planet of the Dead, survivors of the expanding outbreak take shelter in homes and bunkers and apartment complexes. Across the world, armed police and military struggle to maintain safety. Tensions mount as the worst imaginable comes to pass when nuclear weapons are used on civilian populations overrun with the living dead. Soon afterward, a coup mounts between warring factions of Generals, ruining the best-laid plans of two AWOL soldiers, a cybernetically enhanced veteran, and a scientist, forcing them to fight both humans and flesh-eating hordes of undead as they seek refuge from a planet plagued by war.
Thanks for reading!
Available on eBook, paperback, and audiobook
From the author of FEAST and REINHEIT comes a collection of 9 dark fiction stories inspired by the works of H.P. Lovecraft.
They Came to Gordium an elderly man is haunted by the crimes of his past.
Immolate a widower detective struggles to solve the connection between a series of eerily similar suicides.
Sunnydale Wolves a romantic stop at a popular overlook turns deadly.
The Hobbsburg Horror is a Lovecraftian tale of a weary reporter pulled into an otherworldly story of murder and a lodge with reports of strange colors at night.
Hobo a well-to-do housewife’s picture-perfect life is shattered by a home invasion.
Are you hungry, dear? down on his luck divorcee Jacob Miller, after consuming a free pizza is possessed by an internal parasite.
From the Sea is a tale of an amateur sailor and his wife who are besieged by creatures that come from the sea during a storm.
Neon Fortune Teller Madam Drabardi reads the future of paranoid businessman Ronald Murray who believes his wife is cheating on him, but infidelity is not all Drabardi sees.
Nostos Katherine Adonis journeyed light years to escape the nightmares of her past, but some ghosts can never be escaped.
“…extraordinarily enthralling novel which weaves from contemporaneous society into the future and back to the early 20th century American culture and the Great War” -The Haunted Reading Room.
“…an unique take on the Dracula legend with some great historical aspects to it” -Amazon Reviewer.
In the year 2044, reporters from the Public Relations Ministry gather at the home of Benjamin Harker, the last surviving member of the Harlem Hellfighters. At the age of 144, he is the oldest recorded man alive.
Hidden among them, Clyde Bruner is looking for a different kind of story. Across the United States, despite the Great Walls and patrol drones built to keep America secure, something has found its way in. And now towns are vanishing during the night. Entire populations, gone. Only to return after the sun sets, changed, unholy, and lethal. And whatever this evil is, its spreading west.
According to a bedtime story Bruner’s grandfather told him when he was a boy, Benjamin Harker has seen this before. He’s faced this scourge. Fought this evil. Survived them. Killed them. From the trenches of the Great War to the jungles of Vietnam to the sands of Iraq, Harker will search his past to save our future. But as each city light extinguishes across the country, is there no time left to stop what’s coming?
From the author of FEAST and Reinheit comes a new chapter in horror…
News reports speak of mass panic and violence spreading across the globe. Negligent leaders hide behind misinformation. But in an age of paranoia and suspicion, who can say what is true anymore? Struggling to survive against a sweeping epidemic that has engulfed the planet, survivors will have to make hard choices in a world that no longer makes sense.
Live. Die. Or become one of the undead.
One of the best things about the Zompoc sub-genre is how widely diverse it is. You can go old school with some classic black and white voodoo hexes, such as White Zombie, I Walked with a Zombie, or The Plague of the Zombies, to name a few. There are the comedies, such as Shaun of the Dead or Zombieland or Return of the Living Dead. And there are the more serious minded zombie movies such as the works of the late great George A. Romero and all those wonderfully directed Italian zombie flicks (a good number of which will be reviewed during this year’s Fright Fest). But then you’ve got those Zompocs that are a bit harder to classify. Take for instance today’s morsel, PLANET TERROR. Upon my first screening it was hard to understand where this movie was coming from and where it was taking me. I mean, was it satire? Not completely. Was it serious? Not entirely. Was it expressionist, like those gritty foreign-made horror flicks? Not absolutely. Well, for crying out loud, what precisely is PLANET TERROR?
Before we begin, here’s an IMDb snapshot of the film:
“After an experimental bio-weapon is released, turning thousands into zombie-like creatures, it’s up to a rag-tag group of survivors to stop the infected and those behind its release.”
While we all can love and respect IMDb for providing once again a very in-depth analysis, that’s not entirely the plot of the film. The first part is spot on, there’s an opening with a shady looking group of gas mask wearing military folk lead by none other than Bruce Willis (playing the part of Lt. Muldoon) meeting secretly with another group of shady looking folk of the middle-eastern variety known in the film as Abby (played by Naveen Andrews). There’s an exchange that’s being made and like any good horror story, said exchange does not go as planned and the toxic chemical is released.
Also like any good horror story, there’s a gang of characters, each with their own history and who somehow or another get tossed together and must figure out a way to survive. Shortly following the military-toxic gas release, we get to meet some of those characters. The main protagonist is Sherry Darling (played by the babelicious Rose McGowan), a stripper who wants more out of life. Her dream? To become to the world’s best comedian. Seriously, no joke. And then we have Doctors William (played by Josh Brolin) and Dakota Block (Marley Shelton) whose seemingly happy American lives are not so surprisingly more than they seem. Dakota has a secret. She wants to escape. But there are some…complications. First, hubby Brolin has a healthy dose of paranoia that his beautiful wife is up to no good. Secondly, the zombie apocalypse is about to turn their little Texas hospital into a circus show of exploding boils, bite marks, and severed limbs. And lastly, Dakota’s secret lover, ex-girlfriend Tammy, breaks down in front of The Bone Shack and is eventually eaten…you know, zombie apocalypse and all.
There are other characters who add their own variety of flavor. There’s Wray (played by Freddy Rodríguez) an ex-gang mechanic who is pretty much the predominate badass until Sherry Darling takes his place. There’s J.T. Hague, the proprietor of said Bone Shake and also holds the secret recipe to the best damn barbecue sauce. There’s also Sheriff Hague (played by Michael Biehn) and his team of deputies, including the incredibly Tom Savini playing the part of Deputy Tolo. And there are more, of course. This is a Rodríguez-Tarantino joint film after all.
As we’re being introduced to the characters, random zombie attacks begin spreading throughout this little sleepy Texas hamlet. Eventually spilling over into the life’s of our heroes. Said attack ends up forcing Wray to wreak his truck and Sherry getting her leg torn off. I should mention here, PLANET TERROR does not lack in gore, in fact its one of its redeeming qualities if you ask me. Following the wreak, Wray ends up getting locked up in the local jail cause of his past history. Sherry ends up in the hospital, one leg short. And the world around them seems to be imploding. Doctor Brolin discovers enough evidence of his wife’s planned marital abandonment to take action, injecting her with her own anesthesia tools to keep her…pacified while he deals with whatever is going on with his hospital.
Like any good zombie movie, things quickly escalate. Soon, the entire hospital is in utter chaos. The patients are turning into flesh eating manics. The dead are coming back to life, so to speak, and attacking the living. In the ensuing battle, Wray arrives, freshly escaped from jail, and fashions a wooden peg leg for Sherry and tells her to suck to it, more or less regarding her currently one-leg short predicament. As Wray seems to be not only an ex-gang member, but also a freaking ninja, he shortly secures their escape and a band of survivors make their way to…that’s right, to the Bone Shack. There are “missing reel” effects throughout the duration of the movie which add to the effect that we’re watching a classic grindhouse picture, and so certain scenes end up jumping ahead or “flash forwarding.” Personally, I’m a big fan of jump scenes, so long as they are done right. Chronologically trudging forward can hinder the pace of a movie, especially a horror movie. But toss in a few flash forwards and you can keep that momentum going.
Needless to say, the survivors end up getting captured by the military who are still up to their no-good tricks. Our heroes hash out a plan to escape. Not everyone does. But hey, its a horror movie. We should be so lucky anyone escaped. You’ll have to watch the movie to find out though, I’m not going to tell you. Sorry.
As far as reviewing this beast of a film, I’m finding it difficult to list anything I didn’t like. And for those you know my taste for zombie movies may or may not find that surprising. On one hand, I’m what you call a Romero-purist. I like my serious slow paced zombie movies that follow the guidelines George A. Romero had established in his Dead Trilogy (Night, Dawn, Day). I’m not a huge zombie-comedy fan. But…there are exemptions. If done correctly, with purpose so to speak, I can get behind zombie-comedies. Return of the Living Dead (1985) is one of my favorite zombie movies. Gloriously over the top gore and packing one of the hardest nihilistic punches ever seen on film. As for PLANET TERROR, its not entirely comedic. It certainly doesn’t take itself too seriously. Fundamentally, its just a fun film catering to those with certain appetites when it comes to horror.
PLANET TERROR is like someone had tossed in Dawn of the Dead, 70’s grindhouse, 80’s splatter, Japanese body-horror, and blended it on high with a dash of kung-fu. The fact that director Rodríguez gave Sherry a machine-gun prosthetic leg gives a sampling of what we’re getting here. Mayhem. End of the world gore and violence and death. But not necessarily nihilistic. There’s an end “future” scene that has a PLANET OF THE APES kinda vibe to it as humanity turns back the clock and goes nomadic in order to survive in this new undead world. My advice, you need to add this now classic zombie flick to your list of must watches for Octoberween.
My rating: 4.5 out of 5
As of midnight, August 10th, 2018, The Last Hellfighter has officially become available for purchase in both eBook and paperback formats. The audiobook is currently in production with the very awesome Rick Gregory narrating. This latest novel is an adventure through history, as one young man fights to save his future, an older man must face his past. Future and past are united in this tale that sweeps from a not-too-distant peek into what America could become in the year 2044 (certainly within our lifetimes) and then we’re taken on a journey to 1917 Harlem New York, on the eve when America enters The Great War.
The Last Hellfighter was no doubt one of the heaviest researched books I’ve done to date–and it was well worth the work. Not only do I find that period of history fascinating, I also like the idea of being able to take readers to a different time and place, to show them something they’ve never seen before. If I had to sum up the book, I’d say it was as if Dracula and Salem’s Lot had a baby and the baby happen to be Cable from the X-Men who went into the past to slay vampires. Okay…maybe not that dramatic! There are definite hints of Dracula and Salem’s Lot within the pages of The Last Hellfighter. There are splashes of 30 Days of Night too, but in the end, this is an original story. One that I certainly hope is entertaining and thrilling to read.
“THE LAST HELLFIGHTER is an extraordinarily enthralling novel with a blow-me-out-of-the-water reader’s hook, set in the Port of Jerusalem, Maine (a beginning that rendered me speechless), THE LAST HELLFIGHTER wings us forward to the ugly and dismaying political climate of 2044 in the United States. The central figure is Benjamin Harker, native of Harlem, black WWI soldier, later Oklahoma homesteader–and vampire-fighter. I love this character (and James Reese Europe, jazz musician and WWI Lieutenant). I love and admire them, for their character [and] integrity,” –The Haunted Reading Room
“The Last Hellfighter is a piece of art, hand-stitched across a fabric that is rich in history and complexity. It has a narrative scope that is impressive. The pacing of the story is spot on, with hardly a moment that I didn’t feel compelled to drive on. And Flowers has crafted a monster that is impressive and frightening. And underneath it all, he has told a human story” –Chad A. Clark, author of the Behind Our Walls trilogy.
In the year 2044, reporters from the Public Relations Ministry gather at the home of Benjamin Harker, the last surviving member of the Harlem Hellfighters. At the age of 144, he is the oldest recorded man alive. Hidden among them, Clyde Bruner is looking for a different kind of story. Across the United States, despite the Great Walls and patrol drones built to keep America secure, something has found its way in. And now towns are vanishing during the night. Entire populations, gone. Only to return after the sun sets, changed, unholy, and lethal. And whatever this evil is, its spreading west.
According to a bedtime story Bruner’s grandfather told him when he was a boy, Benjamin Harker has seen this before. He’s faced this scourge. Fought this evil. Survived them. Killed them. From the trenches of the Great War to the jungles of Vietnam to the sands of Iraq, Harker will search his past to save our future.
When I think slasher, my mind goes to the 1980s. Its the obvious pick of the litter, so to speak. The 1980s was certainly the Golden Era of the slasher film. But the 1990s had some damn good slasher movies too! What sets the ’90s apart from every other decade has to do with its brand or style of horror. The classic silent pictures of the early 1910s had its own with German expressionism and tales of old legends come true.
The 1930s and 40s had Universal Monsters, such as: Dracula, Frankenstein, The Mummy, The Wolf Man, The Mad Ghoul, The Leopard Man, Cat People, etc. etc styled in this new world reconstructing itself from the maiming machines of the Great War. And then we had the “invaders” of the ’50s with its outlandish sci-fi horror-esk Cold War flicks, like The Day The Earth Stood Still, Invasion of the Body Snatchers, Invaders from Mars, Them!, The Blob, Creature from the Black Lagoon, Plan 9 From Outer Space, etc. etc.
And then in the ’60s movies drew downward into psychological freights, with Psycho, Night of the Living Dead, Rosemary’s Baby, Black Sunday, Carnival of Souls, Whatever Happened to Baby Jane, X: The Man with the X-Ray Eyes, and so on and so on. And of course, who could forget the ’70s? The decade of Savage Cinema with terrifying flicks, such as The Exorcist, Dawn of the Dead, Alien, The Texas Chain Saw Massacre, Jaws, Carrie, The Omen, Shivers, The Brood, Deathdream, and so much more. And of course moving into the big hair and excess-excess-excess of the 1980s, with films like: The Evil Dead, Re-Animator, Nightmare of Elm Street, The Thing, The Fly, Return of the Living Dead, The Stuff, Hellraiser, Poltergeist, American Werewolf in London, Videodrome, Creepshow, and so many more, not to mention the birth of the Friday the 13th series and the modern slasher.
But in the 90s the monsters, in retrospect, seem to be more internalized, almost spiritual or more supernatural in nature than in decades past. Before moving on to our movie in review, lets examine for a moment the occultioris sensus of some of these spiritual-supernatural horror flicks, which would include: In The Mouth of Madness, Candyman, Jacob’s Ladder, Wes Craven’s New Nightmare, Nightbreed, The Sixth Sense, Ravenous, Sleepy Hollow, Silence of the Lambs, Baby Blood, Lawnmower Man, Cronos, The People Under the Stairs, Misery, Cube, Ringu, The Serpent and the Rainbow, Event Horizon, etc. etc. And I know I’ve probably missed some, but still… Take a look! For the most part, pooling from a majority of movies, we can tell that horror withdrew from the overindulgence of gore and mayhem and, much like in the ’60s with the addition of supernaturalism, drew inward becoming a more spiritual-supernatural psychological thriller.
This brings us to JASON GOES TO HELL…
Strange as it may sound, JASON GOES TO HELL is my favorite Friday the 13th movie. While made in the 1990s, the film still retains a lot of the classic signatures of the slasher film and yet still retaining its originality. Taking a peek at the Rot-o-Meter, it feels as if I’m fandom is a silent minority. In fact, there’s a good many who outright loath this movie. Why? Because its not the same as the other Friday the 13th movies. JASON GOES TO HELL is different, not in the same way Halloween III is different Jason is in the movie. Instead of his usual form, the story follows Jason in his more demonic state. Blown to shit by the FBI or Special Task Force or whoever they are, Jason is reduced to his core essence, a freaking looking demon worm.
Not that anyone is the wiser. The worm hides in Jason’s oversized black heart and transfers to coroner #1’s (played by Richard Gant) body in one of the most awesome gruesome scenes in the movie. Jason has no body, so he must reside in a host. It’s an interesting take on a classic slasher character…now turned parasite. JASON GOES TO HELL is still a slasher movie, but its almost more than that, its heavily supernatural, internalized, damn near spiritual and equally monstrous. To continue living, he must jump from body to body until he can find a blood relative in order to regain his former glorious form as a hockey masked machete wielding maniac.
These “rules” are accepted story plots from glimpses of prized horror movie relics such as the Necronomicon, a little easter egg head nod to The Evil Dead. There’s at least one fella who knows the score. Duke (played fantastically by Steven Williams) is an ole western styled bounty hunter who seems to know a lot about Jason and the Voorhees lot. According to Duke, Jason had a sister, who in turn had a daughter, and the daughter had a daughter. But uncle Jason has no love lost, I mean technically he’s not even human anymore, that part of him died a long time ago. All that remains in the worm and the worm needs a blood relative host in order to regain its preferred corporeal form.
Along the way Steven Freeman (played by John D. LeMay) and Jessica Kimble (played by Kari Keegan) do everything they can to stop Jason for good…basically by trying to stay away from him. But Jason, hockey mask or no, is an unstoppable killing machine. There are a lot of really good gore scenes, but my favorite has to be the Diner Massacre. The supposed name ought to give you a clue as to how wonderful that particular scene is…in a nutshell, four deaths, deep fyer drowning, jaw crushed in, arm torn off, impalement, enough gun shots and blood splatter to wet the staunchest of horror nerds dreams, oh…and one skull crushed. And that’s just one scene!
But why was JASON GOES TO HELL so hated? The movie sounds totally badass, right?
When our beloved classics cross over into a new era, they likewise transform into the cerebral appetites of said decade. Consider Wes Craven’s New Nightmare, which was not heralded as a good Nightmare on Elm Street… Why? Because its not a Nightmare on Elm Street movie. The ’80s are…as they say, game over man! Done! Gone. Hasta la vista baby! When long running series’ transition into a new decade, the judgement and critique of the film becomes…well, a tad bit unfair. When we hear Nightmare on Elm Street or Friday the 13th we expect what we had back in the 1980s, but its not the 1980s anymore. If we were to be reasonably rational, we must critique said movie for the era in which it was made… Of course, a really-really-really good critique will look at both, if the movie is from a running series. Does the movie honor the decade past while ushering in a new take in a new era? While JASON GOES TO HELL has received some rather harsh criticism, my opinion on the matter is, yes, JASON GOES TO HELL does honor the past while taking a step in a new direction.
JASON GOES TO HELL had some drawbacks, sure. Fans were hoping for what they’ve come to love, teen-slasher-gore. But that’s simply not what this movie was about. If we can push away from the table of Great Expectations, we’d see the amazingness this Final Friday brings to the table. Much like New Nightmare was for Freddy. I know plenty who hate that movie, simply because it wasn’t like the others. Yes, they weren’t the slashers we remembered from the ’80s. But hey, the ’80s are over! In JASON GOES TO HELL, the action was well paced. The acting was a hell of a lot better than in some of the past Friday the 13th’s. The cast was solid. There was humor, specifically in all the mentioned Easter Eggs in the Voorhees House. The Uncut edition was chock full of gore and practical effects. It was brutal when it needed to be and it was supernatural when it needed to be. And the soundtrack was also very memorable. Overall, I thought JASON GOES TO HELL was a fantastic addition to the franchise, taking the ’90s spiritual-supernaturalism back into the gore-fest mayhem of the ’80s, or vise-versa…? Oh, whatever, you know what I’m getting at!
My Rating: 4.5/5
The following is pulled from the late great jazz historian Floyd Levin’s book, “Classic Jazz A Personal View of the Music and the Musicians,” published with University of California Press, 2000. Mr. Levin is an award-winning jazz writer and has personally known many of the jazz greats who contributed to the music’s colorful history. Mr. Levin passed away January 29, 2007.
Europe was already a well-established musician by the time World War I made him famous. In 1910 he had organized the Clef Club, a musical society for black artists in New York City. Two years later his 150-piece Clef Club Orchestra became one of the first jazz bands to perform in staid Carnegie Hall. For the first time, the Carnegie suspended its rules regarding segregated seating, and the bastion of high art reverberated with the sounds of “Down Home Rag” and “That Teasin’ Rag.” The concert’s success added prestige and altered the musical life of New York City. The club, which functioned as both a booking agency and trade union for black performers, soon secured many prominent engagements and opened a world of new opportunities for its members. Bud Scott told me that, within twenty-four hours after the Carnegie event, he received an offer to record several Joplin rags with a white banjo band.
The following year Europe formed his Society Orchesrta, which began entertaining wealthy New Yorkers at posh venues such as Delmonico’s and the Hotel Astor. (Noble Sissle, who with his songwriting partner Eubie Blake would later achieve worldwide fame, was a member of the Society Orchestra.) The orchestra’s initial jazz recordings, the first by a black band, appeared on the Victor label in 1913, four years ahead of the Original Dixieland Jazz Band’s initial releases and eight years before Kid Ory’s historic Spike’s Seven Pods of Pepper Orchestra California recording session. These early Victor records helped sustain the ragtime era.
The innovative Europe liked to experiment with syncopation, creating reed voicings, and muted brass. His use of saxophones brought a new measure of respectability to that instrument, until then regarded as a novelty device. His compositions, arrangements and orchestral direction reflected the ragtime style popular at the time and fostered the dance frenzy nurtured by the Jazz Age. In 1913 he became musical director for the successful dance team of Vernon and Irene Castle. His “Castle Walk” helped them introduce the fox-trot and establish the style of ballroom dancing that has continued for generations.
When the United States entered World War I, Sissle and Europe enlisted in the army together and organized a regimental band. The group accompanied the acclaimed [the 15th New York Infantry which would later become the] 369th Infantry Regiment, the first American unit to arrive in France. The brave black unit, including the band, earned the nickname “Hellfighters” for its participation in several vital military campaigns.
By the end of the war, the 369th Infantry Jazz Band ranked among the greatest bands in the world. Its personnel, as identified by Brian Rust’s Jazz Records 1887 – 1942, included Noble Sissle on violin, Herb Flemming on trombone and Russell Smith on trumpet. Flemming, only nineteen at the time, went on to have a long distinguished career, performing with Earl Hines, Fats Waller, Benny Carter, Duke Ellington, Louis Armstrong and Tommy Dorsey. Russell Smith became one of the outstanding lead trumpet players in the big-band era two decades later.
After the war, Europe proudly led his Hellfighters band in the nation’s first parade of returning World War heroes. More than a million fans, watching the victorious march up New York’s Fifth Avenue in mid-February 1919, gathered along the parade route to salute the heroes of the famed 369th Infantry as they strutted from Madison Square to Harlem.
Europe and Sissle had written “On Patrol In No Man’s Land.” during their tenure overseas, and it quickly became a favorite among U.S.veterans. Pathé leaped at the opportunity to capitalize on its popularity as the doughboys returned to the United States. It was easily the most successful of the eleven recordings the 369th Infantry Jazz Band made for Pathé in March 1919. Based on the success of “On Patrol In No Man’s Land” James Europe’s band scheduled an extensive tour of the country. Advertisements proclaimed” “65 BATTLING MUSICIANS DIRECT FROM THE FIGHTING FRONTS IN FRANCE – THE BAND THAT SET ALL FRANCE JAZZ MAD!”
Ironically, after surviving the deadliest war in world history to that point, Europe failed to live through the Hellfighter’s national tour. A member of the drum section, irate at Europe for what he considered poor treatment, murdered him on May 10, 1919. The funeral march took place in New York, the first public memorial service held for a black person in the city’s history. The somber procession followed part of the same route the 369th had marched in its victory parade just three months earlier. Lieutenant Europe was buried with full military honors at Arlington Cemetery in Washington D.C.
At the time of his death, James Reese Europe was only thirty-nine years old and at the forefront of the emerging jazz movement. We can only speculate about what further contributions he might have made had he lived another few decades. He was on the threshold of a brilliant career and might have become one of the most important figures in the world of popular music. His death came less than two months after the Hellfighter’s historic recordings for Pathé. In its promotional catalog, the record company proclaimed that Europe was “the world’s greatest exponent of syncopation. You hear every moan of the trombones, and every roar of the saxophones, every shrill note of the clarinets. The swing, the rhythm and the fascination of the Jazzing makes you want to dance! You can’t sit still!”
Jim Europe–along with Sissle Nobel, make a lengthy appearance in THE LAST HELLFIGHTER as a hero/father figure of sorts for young Ben Harker who follows the jazz legend by joining the 15th New York Infantry. Many of Europe’s exploits are mentioned or written about in the book including the very famous ragtime hit, “On Patrol in No Mans Land.”