6 items from 2017
When one thinks of cosmic literature, one typically imagines H.P. Lovecraft and the Necronomicon. Lovecraft himself drew inspiration from his peers, however, and he was particularly close friends and creative kin with a man named Clark Ashton Smith, a pulp storyteller, sculptor, and insane poet. Smith’s writing is mythical in its intense depictions of colorful worlds, heinous gods, and unending darkness; and the myths are all Smith’s inventions. He creates his own universe through the originality of his visions in a way that Lovecraft does not.
As in Lovecraft, Smith invents a few deities for his worlds, such as Thasaidon, the Lord of Evil, and the Biblical grimoire The Book of Eibon. Yet Smith reaches a mythical strangeness that Lovecraft never aimed for. Lovecraft’s work created tears in our reality and minds, and while some of Smith’s stories take place in a recognizable world, many of »
- Ben Larned
Cannes — “Clementina,” “Necromicon” and “Our Evil” have made the cut for the Cannes Festival’s 2017 Blood Window showcase of the best and most promising in Latino – Latin American, Spanish, Italian – fantastic cinema. Departing from its prior format, the 4th Blood Window Cannes spread will offer 10-minute sneak previews of seven pix-in-post, plus the screening of three complete films endorsed by international fantastic film festivals.
Of completed movies, “Clementina,” the solo feature debut of Argentina’s Jimena Monteoliva,turns on a woman who’s in shock at the loss of her baby after being ferociously beaten by her husband. Clementina’s trauma causes her to see ghosts. Monteoliva served as a production manager on Pablo Trapero’s “Lion’s Den” and a producer on Nicanor Loreti’s cult Argentine superhero movie “Kryptonite” and co-directed with Tamae Garateguy “All Night Long,” a Mar del Plata’s Midnight Screamings standout in 2015. She also produced Garateguy’s “She Love. »
- Emilio Mayorga
For those of you who grew up loving it as much as I did, you’ll be pleased to know that The Real Ghostbusters animated series is now streaming on Netflix. The Real Ghostbusters began its run in 1986, two years after the release of the first film, and aired until 1991, with 140 episodes in total airing over the course of seven seasons. With five long years between films, this series was a godsend to rabid Ghostbusters fans and became an immediate hit.
Compared to other cartoons produced at that time, the look of The Real Ghostbusters had distinct anime touches and boasted a variety of awesomely creepy ghost designs and atmospheric painted backgrounds. The show also featured writing talent like J. Michael Straczynski, whose wildly imaginative and ambitious storylines made this series arguably better than Ghostbusters II, and, in some ways, indirectly affected elements of the sequel, as the appearance of »
- Jason Alvino
Celebrating 30 years worth of fanaticism and community in the cult of Ashley ‘Ash’ Williams.
Thanks to our Star Trekian utopia of VOD insta-satisfaction (“Number One, slap The Greasy Strangler on the view screen!”), it’s becoming difficult to remember the ruthless savagery of that bygone VHS hunt. I spent far too many days roaming my hometown and neighboring cities chasing down lesser-known Kurosawas, the Critters sequels, and the seemingly always elusive pre-Mad Max apocalyptic mindfuck, A Boy and His Dog. Too often I had to settle for less, and rewatch Police Academy 4 instead of the highbrow hilarity of Zapped! cuz some other Scott Baio devotee had the local Power Video on stakeout. If your tastes in cinema aligned with the Blockbuster new release guarantee then you were golden, but us degenerates with a predilection for Roger Corman, and movies made before our births were doomed to the endless quest. Which, of »
- Brad Gullickson
Melding together genres seldom works. It’s a delicate balancing act; tone is key, and when either (or both) are off the whole thing can come crashing down. By 1991, HBO was already offering up original programming and decided to create a whole new sub genre – horror noir. The result was Cast a Deadly Spell, a very entertaining and perfectly concocted mixture of 1940s detective story and supernatural terror. And when the balance is right, like it is here, the results are sublime.
Originally airing on HBO on Saturday, September 7th, CaDS was met with critical acclaim as a riotous mashup of Bogart and the Dark Arts, treating audiences to a unique blend of murder and magic.
Let’s open up our sacred book of incantations, TV Guide, and see what we’re in for:
Cast A Deadly Spell (HBO, Sept. 7th)
L.A., 1948. Private eye Harry Philip Lovecraft is hired »
- Scott Drebit
Few filmmakers have accomplished what Lucio Fulci has by turning gorefest pulp into a demented form of art. For the uninitiated, it may be impossible to get past the incomprehensible dubbing, inhuman acting, and nonexistent plots in some of Fulci’s films. Once used to these elements, though, one can see the way his films feel like nightmares, a series of impressionistic images that inspire dread. While I won’t claim that Fulci’s films are high art, I can perceive something important going on beneath the smears of gore. He has more on his mind than creative kills.
In two of Fulci’s films, The Beyond and City of the Living Dead, there are direct references to Clark Ashton Smith, the author who helped create the fantasy and science fiction genres. Smith was a friend of H.P. Lovecraft, and created a cosmic mythos of his own, with inventions like »
- Ben Larned
6 items from 2017
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