Source: Book News!
Greetings horror fiends! My next release, Human Waste, will be arriving on the 5th October. More details to follow, but for now I wanted to give you a sneak peek at the awesome cover art produced by the inimitable Greg Chapman.
Human Waste: A Short Splatterpunk Story, is available for pre-order now at the special discounted price of 99p. After its release it will return to normal price.
Title: Shock Waves
Year of Release: 1977
Director: Ken Wiederhorn
Length: 90 mins
Starring: Peter Cushing, Brooke Adams, John Carradine
Welcome to the second installment of my #RetView series, following last month’s Lost Boys feature, where I re-watch and review ‘forgotten’ horror classics. I love old horror movies, and it’s always fun to revisit them. Or in this case, belatedly discover them. I recently saw Outpost, and Outpost: Black Sun (aka Outpost II) on the Horror Channel, and decided I kinda like Nazi zombies. I don’t know why. Maybe it’s the whole idea of twin evil. Total nastiness.
On watching the Outpost double-header, I realized that the whole Nazi zombie thing is an actual sub genre. Admittedly, this mini-revelation making me feel only marginally less of a freak. In recent years we’ve had the Dead Snow films, Blood Creek and several other notables that I can’t remember off the top of my head. This all reminded me of a film I saw when I was a kid which frightened the absolute shit out of me called Zombie Lake. The original plan had been to track it down and watch it again to see if it was still scary, or if the intervening three decades or so had lessened its impact.
Whilst searching for it online, I kept seeing references to this other film, which is credited with kick-starting the whole Nazi zombie craze long before Zombie Lake. When I saw that it starred Peter Cushing, I was sold. Come to think of it, unkillable Germans have been a ‘thing’ of mine for quite a while.
Carrying the impressively corny tag-line, ‘The deep end of horror,’ Shock Waves was directed by Ken Wiederhorn (best known for Return of the Living Dead Part II and Eyes of a Stranger) and unleashed on an unsuspecting public in the summer of ’77. For context, it came out just when serial killer Son of Sam (David Berkowitz) was at his peak, if that’s the right way to say it.
The film opens with Rose (played by Brooke Adams, who is perhaps best known in horror circles as being Christopher Walken’s love interest in the Dead Zone) being rescued from a little boat in the sea. Slowly, she remembers how she got there. She’d been traversing some islands on ‘one of those small dive boats’ when the engine seized, stranding her with a bunch of other people including the captain (John Carradine) and his mate, Keith, who is afflicted with tragic hippy hair and a 70’s porno ‘tache. As the boat flounders in the water that night, it is stuck by a ‘ghost ship’ which isn’t really a ghost ship, not the supernatural kind anyway. It’s something much worse.
In the morning the captain inexplicably turns up drowned, which understandably sends the rest of them into a mild panic, and after finding the boat is taking on water decide to decamp to a nearby island which, conveniently, comes equipped with an abandoned hotel. Now you’re talking. When abandoned hotels are involved, you just know it’s gonna be zombie time soon. Except this one isn’t really abandoned, Peter Cushing lives there. Now the alarm bells would really be ringing, because murder, monsters and mayhem followed that guy around like herpes.
In Shock Waves Cushing plays the role of an eccentric recluse, who later reveals himself as a former SS commander who, during the war, was in charge of a fearsome bunch of misfit soldiers he moulded into an unkillable aquatic fighting unit. When they proved too difficult to control, he sank their ship. Or, he thought he did. Yep, it was THAT ship!
It all goes a bit south when zombies start coming out of the sea. Do you hear me? They come out of the sea! Eventually. I’m not sure why all needed diving goggles, but they otherwise seemed in extraordinarily good nick considering they’re supposed to have been literally dead in the water for thirty-odd years.
I was a bit disappointed to find that these aren’t the flesh eating kind of zombie. They’re more the throttling kind with a penchant for drowning people. In the sea, ponds, swimming pools, even, on one memorable occasion, a fish tank. Basically, if it has water, the fockers (sic) will find some way to drown you in it. This obviously limits their creativity somewhat. But still, I suppose any Nazi zombie is better than no Nazi zombie.
Things go down a predictable enough path from then on. The zombies slink about looking menacing, not saying much, and taking out the tourists one-by-one. They reserve an especially nasty demise for their old commander, who they presumably haven’t forgiven for trying to annihilate them. The film plays for atmosphere than shocks, which are few and far between, but one thing that really creeped me out is the musical score. For the most part, especially when the zombies are in attack mode, it’s a long, unbroken high-pitched whine, which is both annoying and unsettling. In the end, we come full circle to find Rose, rather the worse for wear, being rescued from the boat. The sole survivor. About those diving goggles, it’s revealed toward the end that if you remove them, the zombie dies. It’s never explained how or why this works, but fuck it, small details.
Shock Waves didn’t do much at the box office, and only really started receiving attention when it was released on VHS during the video nasty heyday of the 1980’s. Though it has attained cult status amongst horror movie aficionados, especially since being released on DVD in 2003, it has generally failed to impress in wider circles. Patrick Bromley of DVD Verdict summed things up nicely when he wrote, “More concerned with atmosphere than with shocks, it avoids a number of what would become the cliches of the genre; the flip side of that coin is that it delivers little of what we want from a zombie film.”
Alternative titles used in various overseas territories included Almost Human and Death Corps, both of which are probably better than Shock Waves.
Come back next month for more #RetViews!
You can find my short story, Band of Souls, in the fantastic-looking new anthology on Scarlet Galleon Publications, Fearful Fathoms: Collected Tales of Aquatic Horror (vol. 1 – Seas & Oceans).
Editor Mark Parker has done an amazing job pulling together a host of writers (Full table of contents below) who all contributed stories with the same watery theme. Actually, that’s not strictly true. The project proved so expansive that it morphed into two volumes, one based on seas and oceans and the other rivers and lakes. My own offering, about an old man sitting on his fishing boat contemplating life when things suddenly and irrevocably go sideways, was first published in the Edgar Allan Poe homage Return of the Raven back in 2009. It’s actually a lot older than that, and is probably one of the first stories I ever completed. It originally had the working title, ‘Faces in the Mist,’ and I remember spending months and months on it, making sure every word said exactly what I wanted it to say. For the longest time, I considered it one of my most accomplished efforts. But reading it now, it’s quite obviously heavily influenced by John Carpenter’s seminal film The Fog (1980) which I don’t know is a good thing or a bad thing. Anyway, Band of Souls then became an unfortunate casualty of my long sabbatical from fiction (2000 to 2008), and spent that entire time gathering virtual dust on a hard drive somewhere.
HOW DEEP DOES YOUR FEAR GO? Scarlet Galleon Publications and editor Mark Parker are here to help you find out!
Volume I of this new double-anthology features a long-unpublished story (“Seascape”) from Jack Ketchum, a landmark collaboration (“Widow’s Point”) from father-and-son writing duo, Richard Chizmar and Billy Chizmar, and many other eerie tales, accompanied by full-color illustrations by Luke Spooner.
In order of appearance, stories include:
“Widow’s Point” by Richard Chizmar & Billy Chizmar
“The Gray Man” by Mark Parker
“Fear Sun” by Laird Barron
“Carnacki: The Lusitania” by William Meikle
“Floodland” by Cameron Pierce
“Sirens” by Dallas Mullican
“Draugar” by Bryan Clark
“Old Bogey” by Lori R. Lopez
“The Lighthouse” by Annie Neugebauer
“Port of Call” by W.D. Gagliani
“Beneath the Surface” by Stuart Keane
“Once Tolled the Lutine Bell” by Jack Rollins
“She Beckons” by D.G.
“Cape Hadel” by Brad P. Christy
“Seastruck” by John Everson
“Alone on the Waves” by Eric S. Brown
“Band of Souls” by CM Saunders
“A Thousand Thick and Terrible Things” by David Mickolas
“Maelstrom” by Doug Rinaldi
“Hallowed Point” by Andrew Bell
“Wanderer” by Shane Lindemoen
“Canned Crab” by Nick Nafpliotis
“On Ullins Bank” by John Linwood Grant
“The Way We Are Lifted” by Aric Sundquist
“Surviving the River Styx” by Paul Michael Anderson
“The Water Elemental” by A.P. Sessler
“The Paper Shield” by James Lowder
“Seascape” by Jack Ketchum
“Corbett’s Cage” by Shawn P. Madison
“Jonah Inside the Whale: A Meditation” by Jason Sechrest
Fearful Fathoms: Collected Tales of Aquatic Horror Volume 1 is available now on paperback and ebook.
This week marks the 20th anniversary of the release of the Stereophonics debut album, Word Gets Around. I’ll skip the ‘I can’t believe it was so long ago!’ rhetoric and get right to why it was significant. 1997 was the peak of Cool Cymru, a spin-off from the Britpop-fuelled Cool Britannia movement, which deemed it a positive thing to be from Wales. This was new to me. Until then, for most people living in the valleys, our existence had been anything but cool. Frustrating, alienating and angst-ridden maybe, but never cool. Wales is a nice place to visit, but has been on an economic down-turn since Thatcher closed the coal mines in the 80s. Sadly, no money often equals no prospects, no hope, and no reason to believe that will change any time soon. Cue high crime rates, teenage pregnancies, and widespread alcohol and drug abuse.
While Cool Britannia was typified by a new influx of guitar bands with suitably provocative one-word names (Blur, Oasis, Pulp, Suede, Elastica, Sleeper, Cast, Keane, Embrace, to name but, er, nine) Cool Cymru was always about more than music. Sure, it was spearheaded by the Stereophonics, The Manic Street Preachers, Catatonia and the Super Furry Animals, but it encapsulated so much more. Howard Marks was showing us that bad boys really can come good, in the sporting arena we had Joe Calzaghe (boxing), Ryan Giggs (football) and Scott Gibbs (rugby). The Cardiff Devils ice hockey team were dominant, Ioan Gruffudd was on the Titanic, Twin Town was all the rage, and a national referendum voted ‘yes’ to devolution. The emphasis was very much on growth, progress and change, the historic Cardiff Arms Park being demolished to make way for a plush new venue (the Millennium Stadium) symptomatic of this general shift in attitude. It was an exciting time, filled with optimism and grand expectations, and through it all was an overriding sense that anything was possible.
All this was manifested in the music, and Word Gets Around is a prime example. Not much time for naval-gazing on the Welsh music scene. We were too busy getting wasted and jumping around, high on the fact that if a bunch of beery blokes from a tiny village near Aberdare in the Cynon Valley called Cwmaman could make it, any of us could. The album kicks off with a quartet of fast-paced, fist-pumping, balls-out floor fillers laden with killer riffs and pop hooks. A Thousand Trees, Looks Like Chaplin, More Life in a Tramp’s Vest and Local Boy in the Photograph which, incidentally, were the band’s first four singles, breeze by in a combined total of about eleven minutes, before things are taken down a few notches for track (and single) five, Traffic. These songs are still regulars in the band’s live gigs today.
“Is anyone going anywhere?
Everyone’s got to be somewhere.”
The second half of the album, or side 2 if you are a vinyl worshipper, is where you’ll find all the deep cuts. Two of my all-time favourite ‘Phonics tracks, Same Size Feet and Too Many Sandwiches, reside there. Most of the songs on Word Gets Around are about small-town life, holding a magnifying glass against it and articulating the desire to escape that we all felt, or are based on actual events in and around Cwmaman. Weddings, funerals, suicides, sexual abuse, violent encounters and mundane acts like selling fruit in dying market stalls. Like most valley towns, Cwmaman is a place you don’t visit unless you have to, or you are very, very lost. The isolation can be both a blessing and a curse, and songs like Goldfish Bowl and Last of the Big Time Drinkers’ sum up this state of existence perfectly. Lyrically, the former is pretty self-explanatory, while the latter is about working a dead end job with your only release being a few pints in the local at the end of the week.
“I don’t live to work,
I work to live,
I live at the weekend.”
The album closes on the poignant ballad Billy Davey’s Daughter, about a young girl who drowns herself, which is another standard that has stood the test of time. It’s probably one of the strongest tracks on the record, and it wouldn’t have been a complete surprise to see it released as a single. But then again, five singles was enough. This isn’t Michael Jackson we’re talking about. While we’re on the topic, a few words must be said about the sheer quality of b-sides to be found on the singles that were released, most of which have been included on various re-issues. Carrot Cake & Wine is strong enough to grace virtually any album of the decade and Poppy Day isn’t far behind, while covers of The Last Resort (originally by The Eagles) and Who’ll Stop the Rain (Creedence Clearwater revival) not only pay homage to the ‘Phonics roots, but make decent additions to any collection.
The year before, the ‘Phonics had been the first band to sign to Richard Branson’s new V2 label which meant they had some money and industry clout behind them, ensuring the album reached number six on the UK charts and eventually went triple platinum. Later albums may have sold more (2001’s Just Enough Education to Perform remains their biggest seller to date), but Word Gets Around is the one that got under people’s skin, and is still a firm fan favourite. It featured the original, stripped-down line up of Kelly Jones, Richard Jones and Stuart Cable, who were so polished through years of playing together in workingmen’s clubs that they were as tight as the proverbial nun’s arse. And just as dirty. This is the sound of a band on the cusp, energetic, wide-eyed and hungry, before their next album Performance & Cocktails launched them into the stratosphere, and listening to Word Gets Around now two decades later still evokes the same feelings of defiant celebration.
Title: The Lost Boys
Year of Release: 1987
Director: Joel Schumacher
Length: 98 mins
Starring: Jason Patric, Corey Haim, Corey Feldman, Kiefer Sutherland, Jami Gertz
It’s a conversation which comes up every so often. There you are, semi-drunk with a group of colleagues, or on one of those awkward Tinder dates, when in an effort to lift the tension and find some common ground, somebody asks, “So, what’s your favourite film?”
Obviously, there’s no right or wrong answer. It’s entirely subjective. But it’s still a bit of a loaded question. Say the wrong thing, and it could cloud someone’s opinion of you forever. What would your peers and prospective lovers think if you gave the accolade to Human Centipede 2? Or even worse, the Adam Sandler disaster Jack and Jill?
For me, there are a few contenders (neither Human Centipede 2 or Jack and Jill is among them, you’ll be glad to know). But for as long as I can remember, my answer has always been the same.
The Lost Boys.
It’s not always a popular choice. Horror buffs and 80’s film aficionados usually nod with appreciation, while others, especially the younger crowd, invariably frown and say ‘You what?’
Given that The Lost Boys came out exactly thirty years ago (July 29th 1987 to be precise) I suppose that’s an acceptable reaction. Upon release it was a modest hit but was no Top Gun or Dirty Dancing, and has since passed into the ranks of ‘cult classic.’ That said, it has certainly aged better than most 80’s movies. Have you seen Weird Science recently? Didn’t think so.
Anyway, directed by Joel Schumacher and made on a budget of just $8.5 million, the Lost Boys was a triumph of style over substance, in many ways encapsulating the 80’s as a whole. It was big, brash, gaudy, and ever-so-slightly camp. A bit like a 98-minute 80’s pop video. Yet by the same token it was funny, slick, and immeasurably cool. In the case of Kiefer Sutherland, it might also be one of the very few times a lead character rocks a mullet and gets away with it.
The producers originally wanted to call the town where Lost Boys is set Santa Cruz, because during the 1970s Santa Cruz gained a reputation as being “the Murder Capital of the World” after three infamous serial killers (Kemper, Mullin, and Carpenter, aka the Trailside Killer) hunted victims there. However, the Santa Cruz council ‘strongly objected’ to the town being portrayed in such a negative manner and allegedly withheld filming permits, forcing the producers to change the name to Santa Carla.
For the uninitiated, The Lost Boys is the story of two brothers, Sam (Corey Haim) and Michael (Jason Patric) who move with their recently-divorced mother (Dianne West) to stay with her eccentric father in Santa Carla, California. Cue lashings of teen angst and despair about feeling isolated and not fitting in and stuff. At a local comic book store, Sam bumps into the Frog Brothers (Corey Feldman and Jamison Newlander) who warn him that the town has become overrun with vampires and give him comics to educate him about the threat, while big brother Michael falls in love with Star (Jami Gertz) who happens to be in a relationship with a local gang leader called David (the aforementioned mullet-sporting Sutherland). Yup, you guessed it, David’s gang is actually made up of the very same vampires that have been terrorizing the town and making people disappear, and they want the star-struck (sorry) Michael to join their ranks. The story builds to an epic showdown between good and evil featuring a few fantastically creative kill scenes and some better one-liners.
At the time, Lost Boys represented something of a gamble by Warner Bros. Horror comedies aimed specifically at teenagers was an unexplored genre. To make things even harder, at the time, the main cast was comprised mainly of untested wannabes and even director Joel Schumacher was a largely unknown quantity with only The Incredible Shrinking Woman (1981) and St Elmo’s Fire (1985) on his resume.
Even with the benefit of having 30-years to think about it, it’s hard to pinpoint what makes Lost Boys work so well. The plot itself is a little thin with not many surprises, but the script is sharp and witty. A piece of marketing genius, the slogan (‘Sleep all day, party all night, never grow old, never die. It’s fun to be a vampire’) captured both the imagination and the mood of a generation, while the sleek MTV-style visuals are positively spellbinding, Kiefer Sutherland made the coolest villain ever, and Jami Gertz playing the little girl lost role sent pulses racing. As sultry and vulnerable as she appeared, you just knew she was as dangerous and ruthless as a coiled cobra. The haunting soundtrack, an essential component of any 80’s movie, was also a contributing factor. Even the dog Nanook deserves special praise for several show-stealing scenes.
However, despite all this, Lost Boys was much more than the sum of its parts, making an undeniable impression on the psyche Generation X and paving the way for everything from Buffy the Vampire Slayer to the Twilight saga. The movie did spawn two low-key sequels of it’s own, Lost Boys: the Tribe (2008) and Lost Boys: the Thirst (2010) but neither set the world on fire, and a rumoured proper sequel, the Lost Girls, also directed by Joel Schumacher and which sounded fucking amazing, failed to materialize. The enduring legacy of Lost Boys ties in neatly with the source of the title, J.M. Barrie’s Peter Pan who, just like vampires, never grew up. To my knowledge he didn’t end up dissolving in a bath of holy water and garlic or being impaled on a fence post either, so there’s that.
Actress Julia Roberts started dating Jason Patric just days after cancelling her wedding to Lost Boys co-star Kiefer Sutherland in 1991. Ouch.
This is the first installment of the RetView series.
Regular visitors will know I post (or have posted) about whatever takes my fancy. In the past I’ve written about topics as diverse as Bruce Springsteen gigs and animals that shit coffee, but most of my posts are in some way related to teaching, sport, China, horror fiction, music or films. Sometimes, two or more of those categories bleed into each other, which makes me happy. What all these topics have in common is the fact that they’re all important to me. They make my world go around.
I realized some time ago that as our lives trundle on and we get ever older, our perceptions change, as well as our tastes. As our reserves of life experience swell, we come to see things in a different light. This logic applies to a lot of things. You could probably argue that it applies to everything. But it is especially noticeable with regards to music and films, these being the spheres where fads and fashions are most prevalent. For example, how many people were into Johnny Hates Jazz or the Christians in the late 80’s? And how many of those people still play Shattered Dreams or Harvest for the World? Probably not that many. Let’s not forget, the arts also serve as open forums for social commentary, which makes them especially relevant.
This is just one reason why I thought it might be interesting to revisit some classic cinematic moments, and take another look at them in a ‘modern’ context. Or at least, with the benefit of knowing some stuff I probably didn’t know before. Older movies have also generated more academic research, comments and opinions, which I can draw upon as I endeavour to provide some valuable insight, rather than a simple ‘It was rad!’ review.
I’m going to call this my RetView series. Short for Retro Review. See what I did there?
I’m starting with films. Horror films, to be precise, and have earmarked such classics as An American Werewolf in London, the Evil Dead, Eyes Without a Face, Nightmare on Elm Street, The Thing and one of the Alien films (haven’t decided which one yet) for the RetView treatment. I will also re-visit some more modern examples, like the Blair Witch Project, Train to Busan and [REC]. In time I might branch out into other genres, or even music. Hell, I might even dig out some cassettes and fire up my old Sony Walkman. I might leave Johnny Hates Jazz and the Christians out of it, though.
I am well aware that this site needs some structure, so I am going to be aiming for a new a new instalment every month. On the 13th, to be precise, in keeping with the horror theme. Each RetView will contain essential information such as the year the film was released, who directed and starred in it, and a synopsis. Where possible I’ll also scratch beneath the surface to provide a bit of context, make observations where appropriate, and uncover a bit of light-hearted trivia to make the whole thing more slick. The fun starts next week with Lost Boys, one of the greatest 80’s films ever made.
I hope you read my RetViews and take something from them. Like I said, for one reason or another, these are all films that deserve some recognition. Comments, likes, shares and blow jobs are always very much appreciated, and don’t forget to sign up so you never miss an installment.