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Night People – review

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Director: Gerard Lough

Release date: 2015

Contains spoilers

This is a portmanteau film, made on a low budget and set in Ireland. The surround concerns itself about two criminals, the older Mike (Michael Parle) and younger Luke (Jack Dean-Shepherd), breaking into a house – it transpires to commit some arson as an insurance fraud.

Mike’s mate has hacked the nearby cctv systems and has wiped their approach but they must wait an hour before the next hack to leave the scene and thus they wait and Mike encourages some story-telling. If this sounds convoluted, it not only is but the film (at the end) comments on its own convolution.

The two stories (first told by Mike and second told by Luke) due have some impact in the wraparound. It is the second story that interests us.

Claire Blennerhassett as Faustina
Faustina (Claire Blennerhassett) is a fixer, it would seem. Less a pimp, she brings clients of various fetishes together for a price – matching the “dates”. When we meet her she is meeting John (John D. Ruddy) for the first time. She keeps client details on paper – it can be destroyed so much more easily than electronic data – and he is so ashamed of his fetish that he has written it down rather than speaking it aloud (we never discover what it is).

Philip Doherty as Matt
The name Faustina apparently means lucky (and there is a Saint Faustina in Catholic doctrine) but to me it was immediately reminiscent of Faust, however her actions seem to be much more in the mould of Mephistopheles, at least at first. In a club she sees a couple of people she recognises and one of them, Matt (Philip Doherty), later approaches her with a deal. She dislikes Matt, believing he preys on the vulnerable, and indeed he wants use of her apartment (as all his rooms are in use) for a VIP client to use with a young man. When he tells her he can help her find *him* she agrees to his Faustian deal and takes on the title role.

dancers
She goes to watch a dance show – which consists of little more than three woman gyrating before a projection. She follows one, named Lilian (Sarah Louise Carney), to a bar and approaches her. She quickly reveals that she knows Lilian is in *his* employ and makes it clear that she wants to become a supplier for him. Lilian guesses Matt has revealed her fealty and suggests that Faustina has to perform three tasks as a test. Faustina reads what she has to do and, at first, refuses. However, she does decide to perform the test and this seems to be drawing blood from three victims. To do this she uses a contraption that seemed insect like in design with the “legs” the needles that extracts the blood.

the device
To be honest it all seems a bit convoluted but you might wonder where the vampire actually comes into this (or is the client just a blood fetishist)? Eventually Lilian reveals that she is (or at least believes herself to be) a vampire. She wonders whether Faustina believes she might becoming one herself (she isn’t but the narrative of the section is not strong enough to properly explore this). All in all, it is the narrative that lets this down.

reminiscent
You see Claire Blennerhassett gives probably the strongest performance of the whole film and yet the section fails to capitalise on this and give her enough to test that strength against. It was the actress that kept me focused on this section as the trial itself seemed just a bit meh plot-wise. You can tell this is filmed on a budget and some of the performances, through the entire piece, are weak. There is a shot, I noticed from my screenshots, that seems reminiscent of a famous Bela Lugosi shot – but that was probably coincidence. The idea behind the first story is more interesting than that of the second. 4 out of 10 is probably mostly down to Blennerhassett’s performance.

The imdb page is here.


World Vampire Congress 2016

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I am a regular visitor to the Bram Stoker International Film Festival, held annually in Whitby. Indeed, I have been attending since its inception. This year the organisers have decided to do something a little different and host the World Vampire Congress 2016 on the first afternoon (Thursday 27th October 2016).

It was with an amount of (pleasant) shock that I received the email asking if I would participate in said event – doing a 20-minute lecture on anything vampire related. I agreed and will be putting together a little talk entitled Stoker and the Bat. It was common wisdom that Stoker put the transformation into bats into the genre but this lecture will look at pre-Stoker ideas of bat transformations and vampires becoming bats. They were rare, but there are examples out there.

The full lecture running order is:

Andy Boylan: 'Discusses Stoker and the Bat'
Dr Stella Louis: 'Twenty-one century vampires'
Dr David Annwn: 'Mysteries of the First Film Vampires'
Mr Kieran Foster: 'Presentation: Two Unmade Hammer Film scripts'
Katrina Stead: 'Bram Stoker meets Jane Stoddard'
Mr Stephen N. Farr: 'The Writing of Dracula in Whitby'
Dott. Mag. Debora Moretti: 'Witches and blood in Early Modern Tuscany'
Mr. Gavin Baddley: 'Fangs for Nothing: Putting the Bite Back in the Undead'

This will be followed by a screening of Nosferatu with Dmytro Morykit's new score performed live.

Tickets for the Congress and for the Nosferatu screening are available separately from full event wristbands.

War of the Staffs – review

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Authors: Steve Stephenson & K.M. Tedrick

Release date: 2016

Contains spoilers

The Blurb: The goddess Adois brings a powerful vampire warlock named Taza through the void to turn Muiria into a planet of evil using her powerful staff. Needing an army, he turns a race of dark elves into vampires, but Prince Tarquin is born to fulfil a prophecy to stop Taza.

The prince cannot do it alone. The Wizard Celedant sends him to the Borderers, an elite group of dwarves to learn how to fight, while the wizard begins his search for the Staff of Adaman, the only thing capable of thwarting Taza and Adois’ Staff.

War of the Staffs is the search for two pieces of the ancient Staff of Adaman to counter Adois’ plans. The darkness is rising and using the black power of the Staff of Adois and his army of dark elves, giants, and orcs, Taza will begin a reign of terror the planet will not soon forget.

The review: I like the merging of fantasy and vampirism as a concept and it is done all too rarely. Whilst there are impressive series like the Hendee’s Noble Dead series (which starts with the volume Dhampir) they are few and far between.

So the idea of an epic fantasy series with a main vampire villain was a real draw. The book itself hits the main fantasy notes that it should and even manages to peel away from the standard hero quest by having the young hero placed into a Dwarven army squad rather than out adventuring (though, of course, he rapidly rises through the ranks despite being the only human). However all was not perfect – and that was beyond my own inability to take a hero called Tarquin seriously.

If we take the scenario described above, the Dwarves speak in some oldee worldy dialogue that was distracting and yet all seemed to speak “common” rather than dwarvish. Given that it was a dwarven squad, in a dwarven army, in a dwarven city, the authors could have made ample use of language barriers within the narrative and the situation (despite being fantasy) felt unnatural.

The prose itself was rather simplistic. There was nothing essentially wrong with the prose, it just wasn’t really anything special and could have used a good deal of spit and polish to make it more evocative and less basic. There was a great deal less grit than I would have liked as well.

The vampirism was interesting in that there was a mystical fire in the vampiric blood that infected one who was turned. The idea of trying to build a vampire world steps away from a self-limiting creature and begs questions around food supplies etc.

However, the story is not incompetent and the whole thing is above average. 6 out of 10, but it didn’t rock my world.

Honourable Mention: ABCs of Death 2 ½

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I like the ABCs series, but for those who are unfamiliar with the series I should explain that the first two films gave us 26 short films by different directors with each short being named for a consecutive letter of the alphabet and with a theme of death. Within these the first contained a vampire short (U is for Unearthed) and the second an aswang short (I is for Invincible).

This 2016 release is not ABCs 3 (which the title should make self-evident) but the top 26 shorts from a “Filmmaker Frenzy” competition and all the films are named for the letter M. It has its moments, most definitely (there are certainly two very worthwhile zombie shorts), and I did rather like the vampire short we are looking at here – entitled M is for Mailbox.

Trick or treat?
The Dante Vescio and Rodrigo Gasparini directed section starts with a trick or treater (Wallace Stuani) at the door of a house. Inside a man (Ênio Gonçalves) sits in his wheelchair as his wife (Iná de Carvalho) and adult daughter (Fernanda Gonçalves) answer. The trick or treater holds up a sack for his candy swag and the mother heads to the kitchen to get some sweets. The daughter asks the trick or treater is he is meant to be a vampire and he nods in the affirmative.

Wallace Stuani as the Vampire
Suddenly he has a blade and attacks the daughter, not just slitting her throat but decapitating her. He is then on the mother, revealing black eyes and fangs. The child truly is a vampire but what will the wheelchair bound father do? I won’t spoil that or the reason for the name of the short. The short is in Portuguese with English subtitles and hails from Brazil and the directors manage the difficult task of cramming a story into three minutes.

ABCs of death 2 ½ is available to rent and buy via Vimeo but M is for Mailbox is also on Vimeo for free.

The imdb page is here.

Honourable Mention: Faces of Schlock

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Faces of Schlock was an anthology collection of absolutely Z grade horror shorts, and not a single one was vampire related. So you may be wondering why the Honourable Mention?

Quite simply for the hostess who appeared between the segments, dressed as a vampire she was named Slutpira (Izzie Harlow). Yes it was that subtle!

The segments were fluff and nothing particularly vampiric happened bar her baring fangs. The unfortunate side to that was that the actress struggled to enunciate because of the fangs.

Izzie Harlow as Slutpirs
As for the full film, it really was Z grade, so the sort of thing to watch only if Z grade films are your thing.

The imdb page is here.







American Horror Story: Hotel – review

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Directors: Various

First Aired: 2015

Contains spoilers


I have to open this review with the admission that I have not been watching American Horror Story as a series. I watched the first couple of episodes of season 1 and just didn’t get into it, however, as this season (5) had vampires in it, it had to be watched. For those who know as little, or even less, than me, it is an anthology television series with each series self-contained (ish, I am led to believe that there is some crossover in this season with the first season and the third season).

So, vampires – and a haunted hotel, a serial killer, ghosts and demons it would seem. A cornucopia of horror tropes wedged into a series and it was probably this kitchen sink approach that made the season struggle.

Hotel Cortez
The Hotel Cortez is the hotel of the title, a building designed and built by industrialist, sadist and serial killer James Patrick March (Evan Peters) with a built in murder palace theme. March still rules the roost (or spectral roost, at least) as his ghost is trapped in the hotel like anyone else who died there. Corporeally, the top bod is the Countess (Lady Gaga) – born Elizabeth Johnson, later Mrs March and now a vampire who resides in the penthouse with her lover Donovan (Matt Bomer). Donovan’s mother, Iris (Kathy Bates), works at the hotel in order to be close to her son, who detests her.

from the mattress
The first episode sees two Swedish women book into the hotel, be terrorised by a creature in their mattress, then moved rooms whilst they wait for the police to come and interview them and then attacked by child vampires. By the second episode they are held in individual cages and forced fed good foods whilst their blood is syphoned for the children (who in turn are used to create the Countess’ special blood stock).

Liz with John
Also in the first episode we meet cop John Lowe (Wes Bentley, Underworld Awakening), who is working a serial killer case (the Ten Commandments Killer). He is called to the Cortez by the killer and then has a vision of his son Holden (Lennon Henry), who was abducted five years before. It becomes apparent that the killer might target his wife, Alex (Chloë Sevigny), and daughter, Scarlet (Shree Crooks), and so moves in to the hotel to create a distance for them.

on the hunt
Finally, in the first episode, we see the Countess and Donovan out on a hunt. With the strains of US band She Wants Revenge (and I’ll come back to soundtrack) they go to a graveyard showing of Nosferatu, eine Symphonie des Grauens. They attract a couple, take them back to the hotel and kill and feed on them during coitus. The entire thing has a feeling of the Hunger - not just through the Avant Garde style of the vampires and the method of pick up (albeit using a movie rather than a gig by Goth staples Bauhaus) but because She Wants Revenge remade the scene from the Hunger in one of their music videos. The later use of the Flower Duet by Delibes in the soundtrack underlined this reference.

Lady Gaga as the Countess
I haven’t mentioned in all the above the ghost Sally (Sarah Paulson), who is haunted by an addiction demon, or transgender barkeep Liz Taylor (Denis O'Hare, True Blood) both of whom play major parts in the season and both of whom are exceptionally well played – especially by Denis O’Hare as Liz. Let us talk vampires, however. They are vampires – I know there were articles when the season first aired asking if they were… the V word is explicitly used in the second episode. The Countess (who is not a countess) was born in 1904 and was a movie extra before being turned by Valentino (Finn Wittrock), who in turn had been turned by Murnau. In a twist on the plot of Shadow of the Vampire Murnau travelled Eastern Europe looking for the fact behind the myth before directing Nosferatu – the twist being he found vampires who were all beautiful creatures (rather than the monster of Shadow of the Vampire) and they turned him.

desiccated
The vampirism is a virus and gives the vampires a hunger. Without feeding they will not die, but they will desiccate and become mummy like. They have no fangs – the Countess uses a glove with metal talons to slit the victims' throats. They can be killed via normal methods (a bullet through the brain will do it as much as a stake through the heart) but they generally heal quickly so a non-mortal blow can be recovered from.

child vampires
They avoid sunlight as it saps vitality, however it does not kill them, but cameras cannot capture them properly. There is a possibility of pregnancy for a vampire, the gestation period is greatly shortened, the only such baby we see is malformed and remains as an infant. In a strong condemnation of the anti-vax movement a child gets, and is dying due to, measles. Alex saves him using vampire blood. This leads to the child turning his class and attacking the teachers but the virus has mutated so that the kids also have measles and only blood clears the spots. Failure to feed causes them to die.

Angela Bassett as Ramona
So, as the season started I had the impression of a twisted version of Twin Peaks (if that is possible) where horror tropes were more plainly played out but undercut with imagery and atmosphere that would find itself at home within Lynch’s seminal TV series. More viscerally dark, though less psychologically engaging perhaps. I was also struck by the superb soundtrack with She Wants Revenge and the Sisters of Mercy front and centre in a strongly chosen set of tracks. However, as it went along I became a little disengaged. The storyline became almost soap-opera like despite the strong ensemble cast. I have already specifically highlighted two of the actors but Kathy Bates, Angela Bassett (who plays a Blaxploitation actress, Ramona, who was turned and later spurned by the Countess) and Lady Gaga also need specific mentions - all of them bringing something special to the party.

Iris and Liz
I watched to the end but as the plot twisted through the serial killer aspect (it became too obvious, too soon as to who the actual serial killer was), the ghosts and the vampires (not to mention a witch as well) I became more and more certain that the series needed more of a focus and a strengthened narrative. Take Holden – the Lowe’s son, taken by the vampires before the season's time-frame and turned. The motivation his discovery would have had on the two parents would have warranted different, and much stronger, reactions than the story allowed for. The measles-kid vampire story seemed to vanish for a while and then get resolved in a blink of an eye. All in all, this wasn’t terrible but could have been so much better. 5.5 out of 10.

The imdb page is here.

Blood Reunion 2: Madeline – review

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Director: Jim DeVault

Release date: 2015

Contains spoilers

I reviewed Jim DeVault’s Blood Reunion a little while ago and whilst it wasn’t the greatest film ever made, I did enjoy watching it.

Thus this “sequel” was anticipated as I expected the filmmakers to build on the foundation of the previous film. I put sequel in inverted commas as it is from the same universe as Blood Reunion (and features a family reunion) and I think that the unnamed vampire who triggered the events of the first film is the vampire Morgan Locke (Jim DeVault) from this film. However, beyond that they are unrelated.

Cierra Angelik sd Madeline
So there is a quote from Byron’s the Giaour, then the film moves to a car where a couple are making out as a storm rolls in. The bloke goes down on his woman (Carly Capra) and a young girl, Madeline (Cierra Angelik), appears behind her. She opens the door, pulls the woman out and drags her off before getting him. Two things struck me – the sound was bad, overpowered by incidental sounds, and the lighting wasn’t up to much.

shaky camera
The film’s worst moment of camera work, however, was over the opening credits as the camera tracked a mini driving along. Whether it was an interior shot where the camera tried to hone in on the rear view mirror – and bounced all over the place – or whether it just bounced as it tracked the rear of the car, it was awful camera work. Having been used for the establishing journey – as it were – it set all the wrong tone with the viewer, essentially telling us that this film was truly amateurish.

Bridgette and Victoria
The mini is being driven by Bridgette (Sarah Bell) and, now that her mother is dead, she is going to meet a side of the family she was estranged from. This was plot unimportant except for introducing a character who was initially unaware/ignorant of the other characters. She meets her Aunt Victoria (Lorraine Eubank, Blood on the Highway) and I was struck at how unnatural the dialogue felt between the two and at how Lorraine Eubank failed to make any form of eye contact with Sarah Bell, within the scene, making the exchange look altogether artificial.

Jynx and Bridgette
Anyway in the household for the annual reunion are Victoria’s husband Frank (Kevin Scott Fuller), Victoria’s daughter Jynx (Jessica Willis) and her partner Todd (Joshua Briscoe), Aunt Ethel (Nicole Holt, who was also in Blood on the Highway and played a different character in Blood Reunion) and her letch husband Walter (John Pinder), family friend Gaston (Steven N. Russell) and the household’s servant Martin (Rafeal Enrique Santiago). The fact that the servant was the only black character sent the entirely wrong message, the house they filmed in was – I felt – considerably smaller than the house they pretended it was and a sub plot about a peeper who has drilled a hole into the only bathroom (who just happens to be Martin, sending another negative racial message) went nowhere and was absolutely pointless.

Martin as a vampire
Anyway, Bridgette puts her foot in it by asking about Jynx’ sister and is told she was killed recently by a wild animal. Actually, unbeknown to Ethel and Walter she was turned into a vampire by ancient vampire Morgan Locke and was about to be killed by occult researcher/vampire hunter Gaston but the family intervened. She is now locked in the shed and fed captured animals. Walter stumbles on her and she drinks his blood, kills him and then slips her chains and escapes. We then get a take on Ten Little Indians – with the victims turning into vampires.

staked
Vampire lore is that a stake will stop a vampire, but remove it and the vampire will up and around again. An older vampire can actually pull the stake out themselves, but even a young vampire must be beheaded and cremated to actually kill them. Vampires prey on their loved ones first and a bite causes turning, either straight away or after a short time period, when they die, if the feed is interrupted. Crosses can hold a vampire back – but it isn’t a constant and the vampire really would have had to have been a Christian in life. An older vampire can mojo a mortal, it would seem. Presumably vampires are very strong, as a little girl like Madeline can overpower a large adult male, and if you think too hard about how much blood she must have ingested (she drains several adults) and where it goes, well let’s just say that you’ll be left with questions…

Jim DeVault as Morgan Locke
All in all, this came across as more amateurish than the first film, rather than stepping up the game. The story was essentially Ten Little Indians, as I mentioned, but raises questions about the motivation of Morgan Locke that are at least intriguing (and presumably film number 3 will examine those). The staking effects looked quite good, as did the bite effects, given the budget. However, the dialogue was poor at times, the delivery not brilliant and whilst I appreciate they did their best to make do with the locations they had, better outside lighting and camera work – especially over the credits – were most definitely needed. Unfortunately, for me, this takes a step back from the first film. 3 out of 10.

The imdb page is here.

Honourable Mention: Castlevania: Hymn of Blood

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It might seem odd to some of you that I would give this an honourable mention rather than a review. However, despite some professional talent involved, this is a fan film that was originally released as a web serial and can now be watched as a complete film for free. So, notwithstanding the fact that it is actually better quality than some commercial releases, an honourable mention it is.

It was directed by Benji Gillespie and first released in 2012 and is based on the Konami game series. I have played a little of Castlevania (mostly Castlevania: Lords of Shadow, which I abandoned eventually as the ported keyboard controls for PC were, quite simply, horrendous) so know a little background but the film story was well laid out and knowledge of the games is not a necessity.

awakening
It begins in Dracula’s Castle and a woman, Isabella (Dimitra Jiova) is giving birth. A priest (Patrick Gorman, Crimson Throne) complains that there is not much time, much to the chagrin of the midwife (Jen Hogan), who realises that Isabella is bleeding too much. The child is born as the sun sets and we see a hand emerge from a stone sarcophagus.

Isabella dies
Isabella holds her child for a moment and names him Simon. There is a letter she has written for him to give when the time is right. In answer as to why they cannot do the ritual instead, the priest suggests to the midwife that the ritual contains and does not destroy the evil – only Simon can do that. The baby is smuggled from the castle and a still born from the village burned in its place. Isabella dies. Dracula (Eric Etebari, Kiss of the Vampire& Vegas Vampires) comes into the room and sees that his son and his wife are both dead. For their failure he feeds off the midwife and rips the priest’s heart out.

Reinhardt and Trevor
Jump forward a couple of decades (having not seen 12 members of the secret society the Brotherhood of Light perform the containing ritual) and we meet Simon Belmont (Rob Norton) who works on a farm with his brother and father and mother (he is adopted, of course). His father, Trevor (David M. Edelstien), was a member of the Brotherhood of Light but when his brother Reinhardt (John Henry Richardson) comes and suggests that the Brotherhood members who performed the ritual are being killed he is dismissive.

Marina Sirtis as Persena
That night General Thain (Michael Dorn, I am Weasel: I am Vampire) attacks the farm, killing Trevor and taking an amulet of blood he used in the ritual and also killing the brother. Leaving his men to finish the rest of the farm off, Simon is able to kill them and the next day his adopted mother gives him Isabella’s letter. He and Reinhardt go off to seek advice and to stop Dracula. On the way they meet a group of gypsies, led by matriarch Persena, played by Marina Sirtis (Vampire Riderz) who is clearly having a great time in her cameo.

Eric Etebari as Dracula
Visually, whilst there is clearly some green screen work, this is a notch above many straight to DVD and VoD commercial efforts. Some of the effects are a tad clunky (the werewolf effect is comparatively poor, for instance) but they are often much better than, say, SyFy Channel effects. The acting is generally above average – the benefit of getting professionals involved – and John Henry Richardson steals scenes whenever he is on screen.

Jim Tavaré as the Grey Man
The story needed some expansion, the development of Simon warranted more time. There is a Dracula backstory with him seeking immortality and finally being granted it by the Grey Man (Jim Tavaré) – with a hint of more nefarious doings by the Grey Man at the end of the film. The melee was perhaps a little tentative and could have benefitted from better fight choreography or perhaps just more proficient doubles, that said I have seen a lot worse.

The film is definitely worth your time – clearly a labour of love. It can be viewed in full on Vimeo and the imdb page is here.

Hiatus

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Well my friends, it is that time of year again when I put the blog on a short hiatus and head over the Pennines to Whitby and the annual Bram Stoker International Film Festival.

A reminder that the Festival is hosting the World Vampire Congress 2016 on the first afternoon (Thursday 27th October 2016) and that I will be providing a short presentation about bat motif’s that appeared pre-Dracula entitled Stoker and the Bat.

Although I’m not a great one for Twitter, in the past I’ve tried to tweet about all the films I see at the festival, so feel free to take a look over here.

Normal service will resume week commencing the 31st October – though I’m not sure on which day of that week yet. Comment moderation is on and I intend to check for comments whilst away but if I am a little slow moderating your comment during the time away please be patient.

Blood Dragons – review

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Author: Rosemary A Johns

First published: 2016

The Blurb: In a paranormal London, Light is the sexy rebel vampire of the Blood Lifer world. Since Victorian times he’s hidden in the shadows with Ruby - a savage Elizabethan Blood Lifer. She burns with destructive love for Light. But he’s keeping a secret from her, which breaks every rule in Blood Life. When Ruby discovers the truth, things take a terrifying turn.

1960s London. Kathy is a seductive singer. But she’s also human. Light knows his passion for Kathy is reckless but he’s enchanted. Yet such a romance is forbidden. When the two worlds collide, it could mean the end. For both species.

When Light uncovers his ruthless family’s horrifying experiments, he questions whether he should be slaying or saving the humans he’s always feared. What dark revelations will Light reveal at the heart of the experiments? Will he be able to stop them in time? The consequences of failure are unimaginable. Unless Light plays the part of hero, he risks losing everything. Including the two women he loves.

The review: is hosted over at Vamped.

Short Film: Odd Creatures Among Us

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This short, directed by Peter Hajmaji, was subject to a Kickstarter that I mentioned on this blog and backed myself. Getting to see the short was a perk of backing the film.

And so, the promised viewing has happened and it means I can tell you a little more about the film.

It is centred on a forest full of odd creatures. Mark (Istvan M Mihaly) has arranged to meet his older brother David (David Fecske) but still jumps as he approaches. Mark has notably pointed ears. Mark has something in a bag (we don’t get to see it until later in the short but it is a crystal ball) and David looks at the contents with horror. Cutting to a flashback it appears that Mark had snuck into the castle belonging to Count Arnold (Adam Gulyas) and stolen it.

bitten mannequin
The castle had some strange décor, including a display mannequin with cellophane wrapped around its head, fang marks and a trickle of blood. Mark left with the crystal ball and David is distraught. They are arguing when two cops arrest them – mainly for lighting a fire in the forest (David’s cigarette). However, night is closing in, it is a full moon and David, being elder, is want to change. Of course, they also have Count Arnold’s property and he’s sure to want it back…

Adam Gulyas as Count Arnold
The film is very much an introduction, a pointer to a larger project that could happen. The cinematography is lovely, the setting feeling both contemporary and yet carries a property of fairy tales and a slice of fantasy. I really would like to see where this could go.

At the time of writing I couldn’t find an IMDb page.

The Slayers – review

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Director: John Williams

Release date: 2015

Contains spoilers

This was a film first seen by myself at the 2016 Bram Stoker International Film Festival and for me it was probably the highlight film of the festival – mainly because it is genuinely funny. Following the festival, I was lucky enough to be given access to a stream of the film in order for me to do this review.

Now, to be honest, I will have to give a little bit of a health warning that some of the jokes in the film are probably reliant on being a Brit of a certain age (the Krankies jokes might go way over many none-UK heads I suspect). A couple of the jokes also get a little close to the knuckle but we are more laughing at the main characters’ social ineptitude rather than the obvious gag content much of the time. The lore has its own unique twist to it and also manages to (deliberately?) self-contradict. And yet it is still a fabulous film.

Anthony Miles as Brother Steve
We start off at a meeting of the BSCC (the Big Scary Comet Cult). A Christian apocalyptic cult who believe the world will end in two weeks when a comet collides with the planet – all based on scientific facts gleaned through the prophetic dreams of Brother Steve (Anthony Miles, Blood and Bone China)! The meeting is a suicide meeting, chalices are out filled with poison and, after words of ‘wisdom’ from Brother Steve, the cult commit mass suicide – all that is bar Nigel (Darren McAree) and Job (Matthew Sandland).

Job and Nigel
They discuss matters and decide that perhaps death isn’t the option after all, perhaps they should have a holiday and draw up a bucket list – oh and do good deeds. With Brother Steve looking like he has given a thumbs up as a blessing they somehow get a loan (good credit ratings, apparently) and buy a camper van, deciding to go to Blackpool, the Lake District and Scotland. Before they leave they abandon their dog with a scary looking neighbour (without offering him an explanation) and then set out. Incidentally there is a fantastic joke around the dog’s name that I won’t spoil.

In Blackpool
First stop Blackpool – for some fun and frivolity (no vampires there, of course) and then on to the Lakes where they see two odd looking blokes at a campsite. We later discover that they are “The Ointment” a pair of vampire hunters who “work alone”. We also see a vampire crossing the countryside being tracked by ace vampire hunter Reg (George Newton). Reg corners his quarry but the vampire escapes by turning in to a cloud of bats – note that this is during the daytime. Following an accident with a fishhook and a private part of the anatomy they are off to Scotland, where the majority of the vampire action takes place.

reflected
So they are driving along when they see a man (the vampire Reg just missed) thumbing for a lift. They consider offering said lift but soon decide he is ropey looking and might murder them. Job sticks his head out of the window and lamely tries to abuse him (there is an on running joke of Job phoning family members and greeting them with abuse, part of their bucket list). Not long after they break down. They see the man in the van’s mirror (note that), panic but he walks on, lifts the hood and fixes the van. They offer him a lift.

attack
As they drive he decides he is thirsty and they pull up at a petrol station. The vampire attacks the man staffing the shop but Job sees him biting the fellow. He is too stressed to say anything to Nigel and so they continue their journey, their passenger asking to be dropped off before they get to the next town. It is at this point that Job tells Nigel what he saw. They decide to follow the man (their bucket list contains solve a crime) and do so, into a cave.

staked
They find him sleeping upright deep in the cave. Suddenly Reg is there, he stakes the vampire (who starts to melt) and then greets the two before leaving. Later he finds them again and essentially recruits them as slayers, giving them a book to explain the lore and it is there we will go right now. The vampires can walk in daylight – it is only direct sunlight that will kill them (and the film plays fast and loose with that rule, to be honest). The most unique piece of lore is suggesting that vampires do not have an anus and that they release gas from a hole in their sides. They collect this in colostomy bags and it is highly flammable – exploding the bag causes the vampire to blow up.

no reflection
Staking and beheading work to kill the vampires and crosses seem effective, some times. In fact, religious paraphernalia certainly didn’t affect the priest who is a vampire. Now, I told you to note the reflection of the vampire who was hitching. We later get a scene of a vampire (Dan Lewis-Dayle) lighting a candle but casting no reflection. The rules, in this vehicle, are set up to be broken and I believe this is deliberate. Thus we have the idea that if you kill the head vampire (Chris Lines) those who are bitten but not fully turned will become human again – and then have the restoration of a fully turned dwarf vampire (one vampire admits to a fetish for small creatures (generally) and has turned several little people).

staked
So the lore is a bit shaky but, you know what, it doesn’t matter because this one was a joy to watch. A few of the jokes miss a little, but most hit the mark full on and I should mention that the film manages to pull of a Twilight gag that doesn’t sound hackneyed and passé. Darren McAree and Matthew Sandland absolutely make the film (noting that the Job character does owe a debt to Father Dougal from Father Ted) but the supporting cast are all worthwhile – especially George Newton as Reg. There are two primary female cast members, Sophie Elsby as Jess and Kate Thomson as Sarah, whose characters come into the film past the blow by blow description above and so deserve mentioning here. Absolutely great fun, 7.5 out of 10.

The imdb page is here.

Honourable mention: Blood Countess 2: The Mayhem Begins

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This 2008 release, directed by Lloyd A. Simandl, is a slice of Czechploitation but, despite it being the second film, it is actually a prequel to Blood Countess. Set in Spring and Summer 1576, the historical Báthory would have been 15 (she was born in the August). The role of the younger Báthory is played by Kristina Uhrinova (who played an unnamed girl in Blood Countess).

This is called “The Mayhem Begins” and it doesn’t, not really. There is a murder committed by the young Erzsébet (Anglicised for the film to Elizabeth) but it is not what I would call mayhem, per se. There is also no bloodletting committed by the young Countess and nothing indicating vampirism (either clinical or supernatural). Hence this gets an honourable mention rather than a review as being of genre interest only.

labour
Now the film starts off with Erzsébet giving birth. The scene is only a couple of minutes long but boy does it seem to drag. She is watched by her Aunt Klara (Nikita Valentin) who, when the baby is born, refuses to allow the mother to hold her child and has it taken directly to the nuns. She mentions that it is a baby born out of incestual sin – she was pregnant by her cousin. The film then cuts forward to the summer.

sneaking through the castle
As Erzsébet sleeps, Klara watches her girls frolic blindfolded and topless as they lightly whip each other. After a while Erzsébet awakens and hears the noises coming from her Aunt’s chambers, she lights a candle and sets off to investigate. Meanwhile one of the girls stumbles into Klara as she replenishes her wine, causing some to be spilt. She accuses the girl of cheating by being able to see through her blindfold (I’ll let you fathom the illogical nature of that train of thought). She has the other three girls whip her, which Erzsébet watches through the keyhole. She takes in the sight of the bored looking victim and then heads back to her chamber.

Nikita Valentin as Klara
Klara then has the girls take the victim to bed and teach her pleasure – as she masturbates watching them together. Erzsébet, in bed, dreams of giving birth and conflates this with being flogged by the four girls as she cries that she is a sinner. It’s a psychosexual scene that fails to summon any power at all. Indeed the film is sparse on story, strong on softcore lesbianism with a mild S&M theme and yet somehow fails to be erotic, at all. Erzsébet eventually wakes from the dream. Meanwhile, at the lesbian orgy, Klara stops being a voyeur and joins in.

lessons
Cut to a scene outside and the four girls frolic in a meadow with a blindfolded Erzsébet for Klara’s amusement. After this Aunt and Niece discuss Erzsébet’s education – she is being taught by a monk called brother Marko (Dalibor Boubin). Following the labour scene this is the first proper plot dialogue and we are thirty minutes in film. Anyhoo eventually Erzsébet will start looking for lesbian fulfilment and grasping at power, she will go out with her Aunt and be part of a murder of a husband and wife (though she can’t quite bring herself to do the deed and Klara has to) and the abduction of their teenage daughter. Klara sells such girls to the Turks, though she gives one to Erzsébet.

castle
There isn’t much in the way of story. Erzsébet kills her first victim (by strangulation) and wields power over the monk to make him do her bidding. The film fails to generate any erotic atmosphere despite the fact that maybe two thirds of its running time is made up of softcore lesbian sex. The filming is perhaps a tad more competent than other budget films but the acting is atrocious generally and the dialogue stinks (though to be fair to the cast they are not acting in their primary language).

The imdb page is here.

I, Bathory, Queen of Blood – review

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Author: Carole Gill

First Published: 2016

Contains spoilers

The blurb: Born in 16th century Hungary, Damita wasn't always known by her current name. A human monster with absolute power, she murdered and tortured for pleasure.

After her confrontation with Darvulia, she thought that blood could reverse any sign of aging. And in her death, she was raised by her vampire lover, Anton.

Spanning centuries and concluding in modern day, this is the story of Damita, previously known as Erzsébet Báthory - The Blood Countess.

The review: I have previously looked at Carole Gill’s Blackstone Vampire series and, for full disclosure am a friend with Carole on Facebook and was sent the e-version of this book for review.

One of my criticisms of Carole’s previous vampire series was that she writes an excellent victim but “I would like to see the author write a strong female lead, one who isn’t the victim and doesn’t need rescuing by a man”. Carole informed me that this book would do that and – with the lead character being Erzsébet Báthory I could well believe it. Unfortunately, it doesn’t, at least not in some regards, and I will explore that in review.

However we note that this is a Báthory novel and we follow her life and undeath through her own words. Her love, and vampiric sire, Anton is unconscious – a malaise brought on, it would appear, due to one of Báthory’s psychotic episodes – and we get a sense of being in a modern world where vampires are out of the casket and legalised. We do not stay there long, however. Erzsébet has been advised that, if he recovers, his memory might be damaged and is encouraged to write her memoires to remind him of their centuries long life together.

These take us through her life as a serial killer and then a vampire and we discover that she is prone to jealous psychotic rages where she kills – and this mental illness (as she sees it) followed her into undeath. It was Anton who came to her, walled in her castle, and turned her. The process made her become younger than she ended up appearing after three years walled in a room.

However it is, partly, with this I have a sense that this isn’t the strong female lead suggested. Erzsébet apparently doesn’t need rescuing (once she becomes a vampire, which was in itself a rescue) but she is a victim nonetheless. She is forever torn between her madness, at one with it for one minute but more often repulsed by her own behaviour. Thus, first and for most, she is a victim of herself – this is not a creature who relishes her madness (or evil) but who in many respects fears it and actually considers suicide often, when not making excuses for her own behaviour – or so it felt like to me. She is surrounded, as a human, by those who enable her darker desires – “eager accomplices” she calls them and she states that recalling their actions is upsetting and perhaps she is also a victim of them.

But then, as a vampire, she is captured and turned into a sex slave by Vlad Ţepeş (also a vampire). In some respects she saves herself (by threatening to stake herself) from that dilemma but not until she has served him submissively for quite some time and only with Anton as a catalyst (so in some respects he does rescue her).

Now, this in itself is not a criticism of the actual book – just a note that this isn’t the strong female character I know Carole Gill can (and will) write. And it segues into the thought around the book that it is very sexually driven (her vampires are sexual creatures) and so is, in itself, a strange mix of a paranormal romance in that the sex is quite deviant (orgies and S&M, as well as snuff, essentially) but is not written as explicitly as it might be. That said, it is probably pitched at the right level for the type of book it is. The living Báthory section strays away from being too explicit around the murders. Carole, however, does write a good character and whilst it is not the character I was hoping for she is a character worth reading. This is at the dark and twisted end of paranormal romance/erotica, enhanced by the author's keen sense of darkness and depravity. 7 out of 10.

Honourable Mention: Blood Countess (2015)

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Also known as Lady of Csejte, this 2015 film that was directed by Andrei Konst was released as Blood Countess on UK DVD. The cover taglines the film with “Satanist * Serial Killer * Vampire”, which boded well from our point of view. The tagline lies. Whilst there is the serial killer aspect (which is mostly hidden from view, bizarrely) there is not a hint of Satanism or vampirism given. Hence we move to giving this an honourable mention as Erzsébet Báthory – Anglicised in the credits to Elizabeth – is always of genre interest.

So, beyond a dvd box hinting of horrors not contained in film, the film does try to up the ante by making her a child killer rather than the standard lady killer of legend. Listing 650 children being killed in the opening intertitle, the film does contain a ledger of her kills – each illustrated and the tortures described in detail. This led to two thoughts. Firstly, the book is too thin to detail 650 murders in such depth. Secondly the film does not hold true to its convictions – it tries to up the ante by suggesting that the Countess (Svetlana Khodchenkova) is a child killer and then does not stray anywhere near that territory in reality.

the kids
However, because she preys on children the film then gives us two child protagonists, Aletta (Isabelle Allen) and Mischa (Lucas Bond). This could have been problematic except that Isabelle Allen offers a remarkably mature performance, and whilst Lucas Bond is perhaps a tad over enthusiastic his character called for that. They play a pair of gypsy children. He is an ace escapologist, whilst she has the gift of the gab. They are missing their older sister Katja (Ada Condeescu) who vanished the year before. They are observed by agents of the Countess, Dorata (Lia Sinchevici) and Ilona (Alexandra Poiana).

Báthory's agents
The agents steal the kids' hard-earned monies (that they hid in a fallen tree trunk) and then, when the pair start pickpocketing in order to recoup some monies, ensure they are caught and brought before a judge (Claudiu Trandafir, Dracula: the Dark Prince& Transylmania). They then offer to take Aletta in to the castle and, when she says she is responsible for her brother, extend the offer to him. There is an orphanage in the castle, it seems. The Countess takes a shine to Aletta and makes her part of her personal staff.

Hapsburg knight
Meanwhile there is a Hapsburg knight in the village looking for evidence of wrongdoing in the vicinity of the castle, in order to get the judge to agree to them searching the castle itself. The judge, however, is reticent and refuses even when they bring him a hand taken from a shallow grave. The search for Katja will bring the siblings into Báthory’s bad graces and that will snowball to trigger the castle search. But what of Elizabeth’s blood bathing?

Svetlana Khodchenkova as Elizabeth
We get a hint of it, with Aletta cleaning what looks like dried blood from the side of a steel bath. Báthory claims it is the residue from Parisian bath oils – good for the complexion. And that is it… No blood bathing scene, no claiming it magically makes her younger. We see one poor lad dragged off in the night and later see him alive but his hands bandaged. We then simply get a couple of descriptions of torture from the ledger the Countess keeps. We see a couple of adults murdered also.

trail of blood
It really is a cop out. Why up the ante to child killer and then chicken out of showing anything? Why make a film of Báthory, go down the “she’s evil” route and then not have a blood bathing scene? All in all there is very little point (in the opening scene we see her walking and, as the camera pulls back, she leaves a trail of blood – but it is arty not realistic and presumably ties into Aletta’s visions and the fact that she narrates the opening and closing of the film). All in all a wasted opportunity.

The imdb page is here.


From Dusk till Dawn – season 3 – review

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Directors: various

First aired: 2016

Contains spoilers

For noting; the previous season reviews can be found: Season 1 and Season 2.

By the end of Season 2 (heavy spoilers if you haven’t watched season 2) Carlos (Wilmer Valderrama) had been killed, chopped into pieces and those pieces buried in different locations. Santánico (Eiza González) killed Lord Malvado and broke away from Richie (Zane Holtz, Vampires Suck), who took over Malvado’s crime syndicate with Seth (D.J. Cotrona). Kate (Madison Davenport) is killed and then, through blood from the Well, comes back with red eyes and the Titty Twister is destroyed.

Amaru possessing Kate
So, as the third series start we have the Geckos trying to make a go of their inherited crime syndicate but it turns out that the Titty Twister contained demonic prisoners from Xibalba – a demonic dimension where the culebras had been slaves. The Nine Lords of the Culebra had killed Amaru (played by Madison Davenport when possessed of Kate’s body and later played by Natalie Martinez) the Xibalban queen. The Well had contained her blood (and thus she possesses Kate’s body) and the Nine Lords had consumed her body. Amaru’s quest is to get her body back (for which she needs the ashes of all the Lords) and open the gate to Xibalba to release Hell on Earth.

in Amaru's thrall
We get new lore in that the culebras will heal very slowly from damage caused by Xibalban weapons. Also, there is one particular Xibalban demon who captures culebras, drains their venom and then remove the venom glands. This makes them slaves to Amaru and also immune to staking for some reason. Certain culebras can function in daylight through force of will – but may burn if they lose concentration. There is a shadow self that is orientated to Xibalba and this can be accessed to make someone an agent of Amaru.

Tom Savini as Burt
The series sees the protagonists and antagonists from previous seasons band together to fight against the peril that is Amaru. As well as the general arc there is the opportunity to face the characters against particular demons each episode. Carlos is rebuilt and returns to the series and we get a new character in the form of Burt (Tom Savini, Absence of Light, the Dead MatterDark Craving, Lost Boys: The Tribe, Forest of the Damned, Martin& From Dusk till Dawn). Savini, of course, was Sex Machine in the original film, a role taken in the series by Jake Busey – the series deliberately pairs them together and the two work very well together – with a cracking throwaway joke about the groin gun towards the end of the season.

Eiza González as Santánico
However, despite a nice circular ending (though there is a thread in the final credits that could open a fourth season), this still wasn’t up to the first season. That said, like every season it was very watchable, Santánico is perhaps a tad side-lined but Madison Davenport is clearly having a great time playing the villain. All in all, score-wise, probably worth the same as season 2. 6.5 out of 10. The imdb page is here.

Short Film: Interview with a Greek Vampire

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This short film, coming in at under 10 minutes, was directed by Maria Modopoulos and dates to 2013. What is most interesting about it is the fact that Marina (Katerina Tarrant) is not just any old vampire but is, in fact, a vrykolakas.

Set in interview style the film’s purpose is to expound some of the vrykolakas myth. Marina tells the interviewer (played by Josse Masters-Leniveau and voiced by Josh Kvasnak) that she became vrykolakas in 1649, after she took her own life. She explains that her sister became one first – having answered the door on the first knock – as did Vasily, her husband.

Katerina Tarrant as Marina
Indeed she lists several ways to become vrykolakas – all lifted from Greek folklore and, as she puts it, more interesting than the usual blood transaction. She also explains that she doesn’t need blood but she does crave it (and it helps her complexion) and that vrykolakas are not confined to the night, but must return to the grave on Saturdays and are not as pretty in the daylight. But who could be interviewing her and why?

At the time of writing I couldn’t find an IMDb page.

Vamp or Not? Thirst (2015)

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I suppose it’s natural that the name Thirst, for a film, summons up the concept of vampire movies. Indeed, the name has already been used a few times. There was the unusual Australian film, Thirst {1979}, with an added “the” there was the less than stellar the Thirst {2007} and, of course the magnificent Korean film, Thirst {2009}.

This 2015 film directed by Greg Kiefer is a sci-fi film and action vehicle that is pretty much by the numbers and you pretty much know what will happen to each cast member's character telegraphed way in advance. But hey, sometimes a “take your brain out” flick is what you need to pass the time. However, is it Vamp?

the sphere
The film starts with a sphere passing through space and entering Earth atmosphere. It burns across the night sky and is seen by good ol’ boy type Lenny (Jay Pease). He investigates the crash site and sees the sphere open and something egg like suspended – he takes a picture of it but something is there. Dropping his camera, he runs to his truck but the alien from the sphere jumps on the hood, a tentacle like appendage smashing through the window, latching to his chest and sucking the fluids out of Lenny, draining him to a husk.

the kids
Actually I needn’t really go much further – we have draining fluids and that is our big evidence piece. The film progresses with a group of troubled teens handed over to a programme aimed to straighten them out by force marching them through the countryside. The owner is Claire (Jes Macallan) but her business partner Burt (Karl Makinen) is being sued for assault of one of the previous kids (which he denies, saying he was restraining him). As the business is failing their normal guide has been sacked and so Burt’s young nephew Roth (John Redlinger, the Originals) reluctantly takes on that role.

the creature
Roth is, of course, the hero of the piece, which sees them attacked and harassed by the alien. The alien is 6 limbed (with four legs and two arms) big teeth and, strangely, seems to be cybernetic. The metal causes it to freak out electrical equipment (giving the humans a warning of proximity). It does beg the question of intelligence (it would appear it is more animalistic than sentient) or who created it? The fluid sucker is a tentacle like appendage that is produced from its chest. The V word is used once, when they find Lenny’s corpse but haven’t encountered the alien. The line, “Yeah, and it could have been a vampire too, but that’s not reality.” was almost using denial to draw our attention to the word.

feeding
It seems to readily know what its prey might be on this planet and does, also, capture one of the humans (and Roth’s love interest) as food for the baby, which latches onto the chest and nurses on her blood. This, of course, leads to a daring rescue. So, we have sucking of fluids – which is reminiscent of It! The Terror from Beyond Space– though the baby does seem to be extracting blood only. The film’s name is suggestive of the genre and there is an earnestly enunciated line suggesting “she is feeding from us” as if we missed it. As much as “It” was an example of an alien vampire, I think we could class this too – especially as the primary motivation for the visit is to feed by sucking humanity dry.

The imdb page is here.

The Count of Monte Cristo: Gankutsuou – review

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Director: Mahiro Maeda

Release date: 2004

Contains spoilers

The connection between Alexandre Dumas, père’s the Count of Monte Cristo and vampires is fairly obvious to anyone who has read the text. Dumas draws similes between the Count and that first English language vampire Ruthven, even drawing the name of Byron into the story.

Because of this the mash-up novel the Vampire Count of Monte Cristo was almost inevitable. So, also, was the Japanese anime (to some degree) that is subtitled Gankutsuou.

Gankutsuou displayed in neon
Unlike Baugh’s mash-up the story is lifted into the distant future, indeed in the year 5053, and becomes a sci-fi – and strangely this was one of the problems I had with this anime. I need to say at the outset that the vampire aspect is not necessarily obvious. Edmond Dante (Jôji Nakata) returns to Paris as the Count of Monte Cristo but he is possessed by an alien entity, which lives a symbiotic/parasitic existence, named Gankutsuou. The alien “surfaces” as a neon overlay on his face (and is slowly taking over him) but Monte Cristo also seems to have fangs.

more traditionally vampiric
There are references to vampires occasionally and we see him bear fangs in a typically anime way at one point. However, he does not seem to do much that one might call vampiric. He can only be killed by piercing the heart (and then only before Gankutsuou consumes him entirely and turns the heart to crystal). Dantes has allowed the possession as a means to gain his escape from the Chateau D’if and get his revenge on those who wronged him, knowing that eventually he will be no more and Gankutsuou will take over him completely.

Albert and Franz
So I mentioned issues and one issue I had was within the setting. For somewhere in the distant future, with interstellar travel, no one seems able to communicate without being face to face. There are sequences and plot points that rely on communication where an email, instant message or phone call would have sufficed. In other words, technology is almost ignored for a period feel and plot point, yet shouldn’t be.

Haydee
I was also not very taken with the anime style. We have drawn characters against a(n often 3d generated) backdrop – which is fine. But then clothes and hair have been filled using a Photoshop technique that adds a (for want of a better description) wallpaper effect that moves independently. It can be said that this gives textiles an unreal (and thus futuristic) look – but I simply disliked the technique and found it distracting.

Power Suits
The story stays fairly true to Dumas (though reorders the narrative arc away from the novel’s chronological order) but adds in the sci-fi elements that one would expect. The massive combat powersuits that individuals wear for combat (and duelling) looked fantastic btw, sleek and 3D modelled. The anime, however, did not rock my world. 5 out of 10. The imdb page is here.

Vampire: A Wild Story in Scraps and Colors – review

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Author: Hanns Heinz Ewers

Translator: Joe E. Bandel

First Published: 1921 (German Language)

Contains spoilers

The Blurb: Vampire is the third book in the Frank Braun trilogy and originally written in the German language by Hanns Heinz Ewers and published in 1921. This new uncensored version is translated into English for the first time by Joe Bandel. The book details Frank Braun's adventures in New York prior to the United States involvement in WWI. It is a love story with a vampiric twist!

The review: Hanns Heinz Ewers wrote three books concerning the character Frank Braun, the first was The Sorcerer’s Apprentice in 1910, the second (and easily most famous) was Alurane in 1911 and this was the third. My thanks go to William who spotted it on Kindle.

I had read Alurane and, whilst some class it as having vampiric overtones, personally I didn’t notice them. It is a strange beast, driven by the mad theories of eugenics and involving the creation of a woman (by artificially inseminating a prostitute with the sperm of a hanged murderer) who is without morals or empathy. Indeed, she is pretty much a sociopath but the book itself is his most famous and has been rendered onto celluloid. However, the eugenics aspect brings me to a point I wish to address.

Like many modern readers, the fact that Ewers was involved in the early incarnation of the Nazi Party makes me uncomfortable with reading his output. That said, it is also a fact that he drew the ire of the Nazis both because he was pro-Jewish – in book Braun’s mistress, Lotte Levi, is Jewish, indeed in this volume he tries to draw the idea of Germany and the Tribes of Israel having a joint manifest destiny – and also because he displayed gay tendencies.

This volume is really rather strange. It is clearly semi-autobiographical as Braun comes to America, by way of South America, as the First World War begins. He is co-opted by fellow Germans as a pro-German speaker to try and raise money for the war effort and keep America out of the war. At one point he tries to encourage Pancho Villa to attack the US in order that the American eye is directed to its own border rather than to Europe. These, albeit romanticised and fictionalised, mirrored Ewers’ actions in real life (until the USA entered the war and he was put into an internment camp).

However the reader becomes more and more aware that Braun has developed vampirism, as an illness. Only Lotte Levi seems aware of this – Braun is himself unaware – and she feeds him blood, a transaction he blanks from memory so we do not see this occur as the book follows his point of view.

As the book progresses, we get connections drawn to a blood cult as old as civilisation, and within the pages we get specific mention of Kali as well as tying in child killing Goddesses of all pantheons. Ewers connects this with Erzsébet Báthory (though mentions no direct vampirism or blood bathing, just murder) and Gilles de Rais and his crimes. The myth of the pelican piercing its own breast to feed its young its blood (or to spill on them to resurrect them) is mentioned. Late on we get a connection with man-tigers and other forms of feline lycanthropy – suggesting that the man-tiger drinks blood.

Braun sleepwalks and, without blood, becomes listless and rather ill. He believes himself to be the victim of a disease, though the doctors can’t track it down. He gets some temporary relief through a variety of drugs, but nothing permanent. Cannibalism is listed, at one point, as being symptomatic of a disease.

The book itself meanders and is, perhaps, less focused than Alurane. However it has interesting vignettes and is an unusal beast worth reading. 6 out of 10.

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