INSIDE ISSUE #176
TWILIGHT OF THE GODS Series creators Bryan Fuller and Michael Green bring Neil Gaiman’s American Gods to network television. Plus: Vincenzo Natali on directing Crispin Glover, Dark Horse’s American Gods comic and a look back at Gaiman’s novel. By Andrea Subissati, Pedro Cabezuelo and Jess Peacock
THE GREAT AND SECRET SHOWMAN The life and legacy of cultural boogeyman Anton Szandor LaVey on the 20th anniversary of his death. Plus: the occult in fashion and a few words with 3teeth frontman Lex. By Sean Plummer, Benoit Black and Andrea Subissati
THE WONDER FEARS The Watcher in the Woods director John Hough takes us back to the Disney movie that traumatized a generation of tots. Plus: a look at Disney’s dark side. By Amy Seidman and Paul Corup
CHAINSAW AND DAVE’S CLASS REUNION Summer School’s lovable gorehounds celebrate 30 years of the characters who made being a horror fan cool. Plus: a dossier of horror devotees. By Jeff Szpirglas and Tal Zimerman
NOTE FROM UNDERGROUND Andrea says hello.
POST-MORTEM Letters from fans, readers and weirdos
DREADLINES News highlights, horror happenings
THE CORONER’S REPORT Weird stats, morbid facts and more
NEEDFUL THINGS Strange trinkets from our bazaar of the bizarre
CINEMACABRE The latest films, the newest DVDs and reissues feat. The Void
THE LATE-NITE ARCHIVE I Bury the Living
BOWEN’S BASEMENT The Horror of Party Beach
BLOOD IN FOUR COLOURS Comics feat. Not Drunk Enough
THE NINTH CIRCLE Book reviews feat. John Cornell’s Chalk
THE FRIGHT GALLERY The spooky works of Eric Millen
THE GORE-MET Human Pork Chop and Dr. Lamb
AUDIO DROME Music reviews feat. new album from Ghoultown
PLAY DEAD Game reviews feat. Resident Evil 7: Biohazard
CLASSIC CUT The Cat and the Canary
Source and Buying Info:
About the Film:
When a landlady (Marie Ault) and her husband (Arthur Chesney) take in a new lodger (Ivor Novello), they’re overjoyed: He’s quiet, humble and pays a month’s rent in advance. But his mysterious and suspicious behavior soon has them wondering if he’s the killer terrorizing local blond girls. Their daughter, Daisy (June), a cocky model, is far less concerned, her attraction obvious. Her police-detective boyfriend (Malcolm Keen), in a pique of jealousy, seeks to uncover the lodger’s true identity. The film, released on June 10, 1928 in New York City, is based on the novel, The Lodger by Marie Belloc Lowndes.
When in May, 1886, I found myself at last in Paris, I naturally determined to throw myself on the charity of an old chum of mine, Eugene Marie d’Ardeche, who had forsaken Boston a year or more ago on receiving word of the death of an aunt who had left him such property as she possessed. I fancy this windfall surprised him not a little, for the relations between the aunt and nephew had never been cordial, judging from Eugene’s remarks touching the lady, who was, it seems, a more or less wicked and witch-like old person, with a penchant for black magic, at least such was the common report.
Why she should leave all her property to d’Ardeche, no one could tell, unless it was that she felt his rather hobbledehoy tendencies towards Buddhism and occultism might some day lead him to her own unhallowed height of questionable illumination. To be sure d’Ardeche reviled her as a bad old woman, being himself in that state of enthusiastic exaltation which sometimes accompanies a boyish fancy for occultism; but in spite of his distant and repellent attitude, Mlle. Blaye de Tartas made him her sole heir, to the violent wrath of a questionable old party known to infamy as the Sar Torrevieja, the “King of the Sorcerers.” This malevolent old portent, whose gray and crafty face was often seen in the Rue M. le Prince during the life of Mlle. de Tartas had, it seems, fully expected to enjoy her small wealth after her death; and when it appeared that she had left him only the contents of the gloomy old house in the Quartier Latin, giving the house itself and all else of which she died possessed to her nephew in America, the Sar proceeded to remove everything from the place, and then to curse it elaborately and comprehensively, together with all those who should ever dwell therein.
Whereupon he disappeared.
This final episode was the last word I received from Eugene, but I knewthe number of the house, 252 Rue M. le Prince. So, after a day or two given to a first cursory survey of Paris, I started across the Seine to find Eugene and compel him to do the honors of the city.
Every one who knows the Latin Quarter knows the Rue M. le Prince, running up the hill towards the Garden of the Luxembourg. It is full of queer houses and odd corners–or was in ’86–and certainly No. 252 was, when I found it, quite as queer as any. It was nothing but a doorway, a black arch of old stone between and under two new houses painted yellow. The effect of this bit of seventeenth-century masonry, with its dirty old doors, and rusty broken lantern sticking gaunt and grim out over the narrow sidewalk, was, in its frame of fresh plaster, sinister in the extreme.
I wondered if I had made a mistake in the number; it was quite evident that no one lived behind those cobwebs. I went into the doorway of one of the new hôtels and interviewed the concierge.
No, M. d’Ardeche did not live there, though to be sure he owned the mansion; he himself resided in Meudon, in the country house of the late Mlle. de Tartas. Would Monsieur like the number and the street?
Monsieur would like them extremely, so I took the card that the concierge wrote for me, and forthwith started for the river, in order that I might take a steamboat for Meudon. By one of those coincidences which happen so often, being quite inexplicable, I had not gone twenty paces down the street before I ran directly into the arms of Eugene d’Ardeche. In three minutes we were sitting in the queer little garden of the Chien Bleu, drinking vermouth and absinthe, and talking it all over.
“You do not live in your aunt’s house?” I said at last, interrogatively.
“No, but if this sort of thing keeps on I shall have to. I like Meudon much better, and the house is perfect, all furnished, and nothing in it newer than the last century. You must come out with me to-night and see it. I have got a jolly room fixed up for my Buddha. But there is something wrong with this house opposite. I can’t keep a tenant in it,–not four days. I have had three, all within six months, but the stories have gone around and a man would as soon think of hiring the Cour des Comptes to live in as No. 252. It is notorious. The fact is, it is haunted the worst way.”
4 stars! Recommended for Quiet Horror fans…
‘They Look Like People is a 2015 independent psychological thriller film that was shot, edited, written, produced and directed by Perry Blackshear and marks his feature film directorial debut. The movie had its world premiere on January 25, 2015 at the Slamdance Film Festival where it won a special jury award. It stars MacLeod Andrews as a man who believes that humanity is being secretly taken over by evil creatures.
Close friends Wyatt and Christian reunite in New York City, where Christian invites Wyatt to stay at his apartment. Wyatt has withdrawn into himself, having recently broken up with his fiancee, while Christian, who lost his girlfriend, attempts to counter his insecurities with bodybuilding and aggressive machismo. As the two old friends bond, Christian invites Wyatt along on the date he has with his supervisor, Mara, calling ahead and asking Mara to invite her friend.
Wyatt and Christian arrive to find that Mara’s friend Sandy has fallen and injured herself. Wyatt examines Sandy and recommends she go to the hospital. Wyatt, Christian and Mara spend the evening in the waiting room until Sandy’s release, and Mara gratefully thanks Christian for staying. As Christian walks Mara to the subway, he fails to take the initiative to kiss her goodnight. Wyatt reassures Christian that Mara is probably still interested in him despite the ending. After Christian falls asleep, Wyatt receives an anonymous phone call, where a muddled voice tells him he only has time to save himself, and he must leave the city and prepare for the demonic invasion.
Mara and Christian continue seeing each other. Wyatt receives subsequent phone calls, this time in Mara’s voice, alerting him to ominous signs of the apocalypse and the nature of the demons, specifically how they infect humans. Wyatt confers with a psychiatrist his fears of psychosis, but cuts the session short when he becomes convinced the psychiatrist himself is possessed by demons. Wyatt stockpiles weapons in Christian’s cellar and alternately contemplates both suicide and murder of passerby he believes to be possessed.
With his newfound assertiveness, Christian believes himself to be in line for a raise, only for Mara to reveal that he has been fired. A note on his computer, signed by his coworkers, accuses him of being an asshole. Christian returns home to find Wyatt waiting for him. Before he can say anything, Mara visits. At first angry, Christian apologizes and invites her in. The three chat amicably, and Christian leaves to get food. Wyatt invites Mara to explore the house and takes her downstairs to show his weapon stash. Wyatt asks her for further information on the demonic invasion, alluding to her voice on the phone. When Mara realizes Wyatt’s seriousness, she flees the house. Christian returns, disappointed that she left, and Wyatt becomes highly agitated and rants about the coming demonic invasion. Christian calms Wyatt down and sets him up with a psychiatrist, the same one Christian went to when he previously attempted suicide.
Wyatt accosts Mara, trying to apologize, and she lashes out in self-defense, injuring Wyatt. Out of remorse, Mara helps him clean up, but Wyatt becomes horrified as she transforms into a demon. Wyatt runs away and finds Christian preparing to join the Army to conquer his insecurities. Wyatt instead convinces him to leave the city and prepare for the coming apocalypse. Christian agrees, so long as Wyatt attends his psychiatric appointment. As Wyatt sees omens of the apocalypse, he instead insists they barricade the basement. To show his trust in Wyatt, Christian allows himself to be bound and gagged in case he is possessed. On the hour of the apocalypse, Wyatt becomes convinced Christian is possessed, and prepares to kill him as he watches Christian transform. At the last moment, Wyatt realizes he is hallucinating, and recognizing Christian as truly human, frees him. The two embrace, and Christian remarks that he has finally conquered his insecurities by facing death.’
Wow. What a great film. Very scary. Odd in places, but I recommend it!
In 1979, after the tragic death of their son Bobby in a car accident, Anne (Barbara Crampton) and Paul Sacchetti (Andrew Sensenig) have decided to move to a new home in rural New England in the hopes that it will bring them some closure. Paul especially hopes that it will be therapeutic for Anne, as the death has hit her particularly hard and caused her to spiral into a deep depression. However, as soon as they arrive Anne starts claiming that Bobby is present in the house and a neighbor named Cat (Connie Neer) covertly warns them to leave the house. The house itself is also the focus of some controversy in the area, as it was built in the 1800s by the Dagmar family as a funeral home. The Dagmars were reportedly run out of the village after the townspeople discovered that they were swindling their customers by selling the corpses and burying empty caskets.
Undeterred, Anne invites her friends May and Jacob Lewis (Lisa Marie and Larry Fessenden), as they are both spiritualists and could help contact Bobby, as well as explain the strange supernatural occurrences happening in the house. Upon their arrival the two couples go out to eat, during which time the Lewises’ son Harry (Michael Patrick) arrives with his girlfriend Daniella (Kelsea Dakota) – Soon after arriving Harry is killed by an apparition on the basement stairs while Daniella watches. She flees the house in horror and drives away, only to be killed a short distance away. The Lewises and the Sacchettis head home, after which Cat’s husband Dave (Monte Markham) arrives at the restaurant, murders a waitress, and then angrily discusses the Dagmar house with the restaurant’s bartender, revealing that the house needs to feed every 30 years or the evil beneath it will search out fresh souls, potentially destroying the town.
Jacob eventually manages to convince a reluctant Paul to hold a seance with him while their wives are out. This ends with Jacob becoming possessed by the spirit of Lassander Dagmar (Guy Gane III), who reveals that they were never run out of town, rather the villagers used him and his family as a sacrifice to the evil under their home. Lassander, overcome with rage, then causes Jacob to kill himself. His wife May tries to flee, only to be killed by Dave, who has come to the house with the other townspeople, determined to give the darkness under the home what it wants. The Sacchettis then hear the voice of their son Bobby urging them to leave the house, and flee upstairs as Dave and the townspeople begin breaking into and entering the house. The spirits of the Dagmar family then proceed to violently murder every one of the townspeople in the house until only Dave, Paul, and Anne remain. Still intending to sacrifice them, Dave tries to kill Anne and Paul, but before he can do so, he is killed by Lassander’s spirit. As Paul and Anne stare at the carnage around them, the spirits of the family depart from the house, finally satisfied with their revenge. Still believing her son is in the home, Anne dazedly walks into the house’s cellar, followed moments later by her husband. As he peers down the stairs, Paul smiles slightly, then says “Hey Bobby”.