The splendidly off-kilter Oliver Reed takes a fun Hammer outing. And let’s not forget that “Liliane Brousse introduces a highly attractive hair style in Paranoiac.” Not sure if they meant higly attractive to the killer or to the audience, though.
Although the Spanish version of Dracula would be the first celluloid vampire to terrify Mexico’s moviehouse audiences in 1931, it wasn’t until El Vampiro in 1957 that a home-grown vampire would flutter across the fogbound hacienda.
A haunted mansion, a team of supernatural investigators, and an odd request join together in Ghosted: Haunted Heist to bring ghostly terrors waiting in the Trask Mansion out of the woodwork . You’re familiar with the Trask Family, aren’t you? Of course you are. Like any perfectly functioning familial unit filled with serial-killing miscreants, the Trasks have managed to kill, make disappear, and commit enough urban legend trauma on close to a hundred people who never left the mansion after they arrived. Not while alive, anyway.
The draugr of Norse mythology takes center stage here with a nod to the Golem’s protector modus operandi and Frankenstein’s Monster’s patchwork quilting of stitched body parts. Only here, Cullen Bunn and Joelle Jones’s draugr is a giant pawn caught between two warring witches and their demon-play to best each other.
Once again, the Nazis are up to no good in Half Past Danger. This time around they’ve got dinosaurs and a deadly secret, with Stephen Mooney and a very good period-toned coloration from Jordie Bellair tying it all together into a neat package wrapped around with colorful main players.
The bedroom scene around page fifty jolts a chill, more so than the blizzard raging beyond the smashed window, even if those whispering voices and cold, malevolent, faces riding the storm’s wintry gusts of air and frost keep getting closer. Lesser chills follow this scene, taking place in the novel’s twelve-years-earlier prelude, but Christopher Golden invests brooding eldritch evil across two blizzards to effectively wallop us and the townspeople of Coventry, Massachusetts, with a vengeance. Especially when those people include not only the ones who survived the first storm, but the ones who didn’t and are now returning when another approaches. Just ahead of those evil others.
Profile of a Killer (2012) is a movie that, ultimately, fails to explain why characters behave the way they do, but director and writer Caspian Tredwell-Owen manages to keep us asking anyway.
He focuses on three people: David (Joey Pollari), the teenage killer; Saul (Gabriele Angieri), the almost-retired FBI Profiler who David wants very much to meet; and Rachel (Emily Fradenburgh), the special agent who reluctantly works with Saul until David kidnaps him. Then she works hard at finding Saul and David as more victims, old and new, come to the surface. Or she works as hard, at least, as Fradenburgh can project her acting acumen up to.
Of the three, Rachel is the weakest participant when she needs to be the driving force for all the actions taking place to find killer and profiler. Fradenburgh has one facial expression, one mood, and one modus operandi. Her…