Make the Introductions, Josh

There are a number of benefits afforded to extended and long-term narratives. The benefit is felt more strongly in the written word than in movies as far as series tend to go, frequently because of a singular author. Of course moving from the page to the screen can pass on those benefits. I have discovered a really nice benefit while writing the posts for the On Dark Rhoads™ blog that I did not anticipate, as much as it makes sense. I can introduce concepts, characters, and any idea I might like to add into the narrative at any point, without getting straight to the point of why it is there. I can hint at its importance, or I can say nothing and just let it stand. Silence on the point can add its own mystique as well. Then I can come back to it when the time is right and the savvy readers will know they've seen it before and have the kind of aha moment that just wouldn't occur or be possible any other way.

This kind of foreshadowing is really appealing from this side of the process. It may not be quite so exciting for the reader, especially previous to the reveal. I just recently introduced a pretty important element to Josh's story in just such an offhand way. I'd like to think that it is mysterious too. People will read it and tell themselves that this simple, almost innocuously boring update has meaning that is not readily important, otherwise why is it there. The question then becomes can I, or any author in a similar situation, have superfluous posts? The answer must be yes. For starters, the idea of a red herring is reliant on giving information that is not actually important, at least to the true advancement of the story's main conflict, and to the characters beyond the time that it has proven false. By the way, the revelation was that Josh does vote for the hidden-evil political party.

Mood: dramatic.
Music: Street Justice by Twisted Sister and Top Jimmy by Van Halen.

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13 Nights of Hallowe'en 2010: #2 Ring Around the Rosie

Tonight's movie is Ring Around the Rosie (2006). This movie stars Gina Philips, whom you might remember from such horrors as Dead & Breakfast, and Jeepers Creepers. She is joined for most of thefilm by Tom Sizemore. Tom isn't generally known as a horror actor but he gets the occasional parts that diverge from his mostly police dramas and action roles. You may have seen him in Stephen King's Dreamcatcher, and The Relic. Here he plays the creepy handyman to the house Gina's character has inherited, a haunted house, in more ways than one. You might also recognise Jenny Mollen from the final season of Angel. Along with the haunting, and the mystery surrounding it, as if that isn't enough, there is isolation and stranger paranoia. If you think that's a lot crammed in, there's more, but I don't like to spoiler. In any event it's all good.


There is one scene I really wish I could tell you about, but you'll probably know it when you see it. I like the overall haunting elements in this movie. I love the paint job in the house--I want walls that gorgeous red colour. The lighting and shadows are really exciting too. If this were a review I'd certainly rave about Sizemore's character. I've always been a fan of his acting and here it's hard to tell where the writing ends and his acting takes over, but for me his role certainly made the film much more than it would have been on just the strength of the haunting alone. There are shades of Boogeyman (2005) in the movie too. So, you just noticed I didn't mention the director yet. Well that's because this is the only movie listed for his director credits. Pity that, considering I like this little low budget horror--the budget didn't need to be high for the few effects. It runs fine on just acting, story and atmosphere.

Mood: steady.

Music: Spookshow Baby by Rob Zombie. MP3s

The Witch Hunter General Rides In

Witches are only one part of the equation for many stories. Out there lays the one thing that even the forces of evil fear, the Witch Hunter General and his men. These men are both stalwart champions of good and scourges of evil. Turmoil and death follow in their wake to a degree only paralleled by the most fiendish witch. Their arsenal is vast, their knowledge of their prey complete, their interrogation skills consummate. None dare to stand against the General and his cadre. There is no hiding. There is no pleading--except to plead guilty. There is nowhere that their influence and power does not reach. Wicked, beware. Who are these enigmatic paragons? How frequent are they encountered? How many are there? Most importantly, how do they impact the horror expressed and demanded by witches, singularly or even by the coven? All will be revealed for goodness' sake.

The question of how many will depend on your setting. More witches mean more witch hunters in only some cases. More hunters could mean lesser skills or more dangerous witch powers. It is important that the hunters do not overpower the setting and dissipate the horror. They can be so powerful and unstoppable that witches have no chance against them when push really comes to shove, but this might be mitigated by the wait for the Witch Hunter General and his men to come to the rescue or the level of collateral damage created by the conflict between the two sides. Do not forget the flip side that where the hunters go the innocent fall prey to them as well over hysteria, jealousy, and other general finger pointing. They are feared by all who do not feel they measure up to that level of righteousness. Pride comes before the fall as well, be warned.

Secrecy is one of the weapons in the witch hunter's arsenal. Fear of the unknown extends to the wicked just as much as the virtuous. Stories from the witches' perspective doing away with hunters are possible if not mainstream. Extended stories of the witch hunter's training and seminaries will tend toward a more fantasy than horror feel, especially with the hunters working from such a strong base position. Even with a story from a hunter's perspective--regardless of whether high or low in rank--less is more to maintain the mystique. The line between folklore surrounding the hunters and their true power can be revealed, but benefits from being unleashed little by little--much as the most spectacular part of any story must be the climax. Come back next time for a look at the signs of witchery, witch's habits, and the tools of the witch hunter's trade.

Mood: seasoned.

Music: Fear Is The Key by Iron Maiden and Catch Me If You Can by Alice Cooper.

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13 Nights of Hallowe'en: Night #3 Mimic: Sentinel

Sequels are something in cinema that are often
maligned, especially by critics. The need to compare a sequel to its original is natural but best avoided. A film should stand on its own, or fall on its own to be fair. Tonight’s movie is a sequel. It is the third in the Mimic franchise. For some reason the number is left out of this sequel’s title and it is simply called “Mimic: Sentinel”. While all it takes for a movie to be a sequel is to carry on with some part from the previous movie--a character, a creature, a storyline--sometimes sequel take their own direction, blaze a new trail. This movie falls into that category. At the same time it is not extremely divergent. It is still in the horror vein, and it still has the Mimic bugs, the Judas Breed.

“Mimic: Sentinel” can be described--it is by even the director--as “Rear Window” with Mimic bugs. As funny as this sounds on the surface this is a seriously good movie. J.T. Petty is the writer and director of this film. Comparisons between this movie and “Rear Window” can only be a good thing. It has great suspense, some really nice mystery, and satisfies from start to finish. Some people are going to wish for more material with the Mimic bugs in it, but this one has about as much scene time for the special effects as the original film. It is next to impossible to say if this sequel is better than the first movie in the trilogy, they are very different movies even staying in the same genre and sharing the link that they do. The best that can be said is see this movie and judge for yourself.

Mood: tired.
Music: Spookshow Baby by Rob Zombie off of Hellbilly Deluxe.

13 Nights of Hallowe'en: Night #2 The Ugly

Tonight’s movie is one that has been elusive to find.
It comes out on DVD and then it sells out, then some time later it gets re-released. It is a good sign, if somewhat frustrating. How many releases does a film need before people start to figure out that it sells so there had better be good volume for the release? “The Ugly” was the first feature-length film by New Zealander Scott Reynolds as both writer and director. This is a great first feature. The star, Paolo Rotondo, is also a first timer with only one previous acting credit according to IMDB. If Reynolds as director did an excellent job as director then Rotondo’s performance is nothing but spectacular. The acting all around is good. Beyond these things it is also evident watching the movie that a lot of thinking went into making it.

“The Ugly” is chock full of intricacies. Pay close attention to names, anything written anywhere in the foreground and even most of the background. Where “fear dot com” uses colour to set the mood, The Ugly uses it to send messages in addition. The movie itself is easy to follow on the surface. Seeing where it is going is maybe a tad more difficult. Deciphering the real truth of Rotondo’s character Simon and his situation is extremely difficult. Unlike movies in the past where plot-lines and back stories were confusing just for the sake of it--or drug fuelled--the twists and convolutions in “The Ugly” are well thought out and really open to interpretation, rather than just undecipherable. Can you sort out what is real, what is the insanity, and not fall into Simon’s trap?

Mood: crafty.
Music: Fear Of The Dark by Iron Maiden off of Fear of the Dark.