Behind the Couch

1965 Dir. Daniel Haller Loosely based on HP Lovecraft’s short story The Colour Out of Space , Die Monster Die revolves around hunky All-American scientist Stephen Reinhart, who travels to England to visit the family home of his fiancé, Susan Witley. He discovers the locals shun the Witley place and eventually happens upon the source of the family’s spooky reputation around town; Mr Witely (Boris Karloff) has hidden a luridly glowing meteor in his basement, and is using its radioactivity in hideous experiments on plant and animal life. Horrific consequences ensue, particularly when it becomes apparent the house’s occupants have been affected by the meteor too… When Lovecraft was writing The Colour Out of Space (1927) his intention was to fashion a story which dealt with something entirely outside of human experience or comprehension. The titular colour is eventually revealed to be a living entity and the horror Lovecraft weaves not only seeps out of the colour’s effect on the ...

Portrait of Lovecraft by Juhoham ‘ That is not dead which can eternal lie. And with strange aeons even death may die .’ Howard Philips Lovecraft is a name that has become synonymous with macabre tales of cosmic horror, rife with the notion that just outside our realms of perception, is a cold, dark and nullifying world populated by unknowable and delirious beings that exist only to wreak chaos, destruction and madness. His work is guaranteed to disturb, provoke and chill the marrow of all who read it… Keeping up with the literary theme kicked off by National Poetry Day, throughout the remainder of October I’ll be taking a look at a few film adaptations of Lovecraft’s work in the lead up to All Hallow's Eve. Despite his prolific output and formidable legacy, Lovecraft film adaptations are not exactly rife and his work has been notoriously difficult to translate to the screen. His plots are draped around lengthy descriptions of atmosphere, alien landscapes and the emot...

Nestled amidst the wildly uneven yet marvellously unrestrained film work of Tobe Hooper is Lifeforce , his 1985 adaptation of Colin Wilson’s cult 1976 novel, The Space Vampires . An audacious amalgamation of sci-fi and horror, Lifeforce revolves around the discovery of slumbering humanoid aliens in the tail of Haley’s Comet and the terror they unleash when brought back to earth for study. A critical and commercial flop upon release, Lifeforce has undergone something of a reappraisal in recent times. Co-written by Dan O’Bannon, it’s a solid B-movie that mesmerises with its sheer audacity, abundance of effects, intriguing ideas, bizarro chutzpah and, well, space vampires! Head over to Exquisite Terror to read my full review of this cult classic. While you’re there, why not pick up an issue of Exquisite Terror , an independently produced periodical with an academic, analytical approach to cinematic horror. Issues 1 - 3 are available now, and issue 4 is available to pre-orde...

Evening by evening Among the brookside rushes, Laura bow’d her head to hear, Lizzie veil’d her blushes: Crouching close together In the cooling weather, With clasping arms and cautioning lips, With tingling cheeks and finger tips. “Lie close,” Laura said, Pricking up her golden head: “We must not look at goblin men, We must not buy their fruits: Who knows upon what soil they fed Their hungry thirsty roots?” “Come buy,” call the goblins Hobbling down the glen. “Oh,” cried Lizzie, “Laura, Laura, You should not peep at goblin men.” Lizzie cover’d up her eyes, Cover’d close lest they should look; Laura rear’d her glossy head, And whisper’d like the restless brook: “Look, Lizzie, look, Lizzie, Down the glen tramp little men. One hauls a basket, One bears a plate, One lugs a golden dish Of many pounds weight. How fair the vine must grow Whose grapes are so luscious; How warm the wind must blow Through those fruit bushes.” “No,” said Lizzie, “No, no, no; Their offers should not charm us, Thei...

Yesterday, upon the stair, I met a man who wasn't there He wasn't there again today I wish, I wish he'd go away... When I came home last night at three The man was waiting there for me But when I looked around the hall I couldn't see him there at all! Go away, go away, don't you come back any more! Go away, go away, and please don't slam the door... (slam!) Last night I saw upon the stair A little man who wasn't there He wasn't there again today Oh, how I wish he'd go away... Hughes Mearns (1899)

You heap the logs and try to fill The little room with words and cheer, But silent feet are on the hill, Across the window veiled eyes peer. The hosts of lovers, young in death, Go seeking down the world to-night, Remembering faces, warmth and breath— And they shall seek till it is light. Then let the white-flaked logs burn low, Lest those who drift before the storm See gladness on our hearth and know There is no flame can make them warm. Hortense King Flexner (1917)

Rural Non-Fiction History by McMorr I dwell in a lonely house I know That vanished many a summer ago, And left no trace but the cellar walls, And a cellar in which the daylight falls And the purple-stemmed wild raspberries grow. O'er ruined fences the grape-vines shield The woods come back to the mowing field; The orchard tree has grown one copse Of new wood and old where the woodpecker chops; The footpath down to the well is healed. I dwell with a strangely aching heart In that vanished abode there far apart On that disused and forgotten road That has no dust-bath now for the toad. Night comes; the black bats tumble and dart; The whippoorwill is coming to shout And hush and cluck and flutter about: I hear him begin far enough away Full many a time to say his say Before he arrives to say it out. It is under the small, dim, summer star. I know not who these mute folk are Who share the unlit place with me— Those stones out under the lo...

Today is National Poetry Day and throughout the UK there’ll be all kinds of poetical shenanigans afoot; readings, performances, launches and such. Inspired by the famed exclamation of Coleridge's mariner - ‘Water, water everywhere’ - the theme of this year’s NPD is, you guessed it, ‘water.’  I thought I'd get into the spirit of the day and post some of my favourite poems here. However, as this is a horror blog, and as we’ve just entered the month of October, I thought it infinitely more fitting to post poems of a somewhat macabre nature: lost souls, haunted houses, devious goblins, that sort of thing. So let us go then, you and I, and turn no more your head, because you know that a frightful fiend doth close behind us tread…  Ghost House by Robert Frost (1913)  All Soul's Night by Hortense King Flexner (1917)  Antigonish by Hughes Mearns (1899)  Goblin Market (excerpt) by Christina Rossetti (1862) 

Last month I went to see a very special screening of Dario Argento’s nightmarish, witch-infested classic, Suspiria , in Belfast’s Waterfront Hall. The screening, courtesy of those cool cats at the Belfast Film Festival, was accompanied by a live score performed by none other than original Goblin member and long time Argento collaborator, Claudio Simonetti, and his band, the Simonetti Horror project. Argento’s classic tells the terrifying tale of an American ballet student who enrols at an exclusive dance academy in Germany, only to discover - after several vicious murders and assorted weirdness - much to her horror, that behind the scenes lurks a witches' coven. Often hailed as Argento’s masterpiece, Suspiria is an overwhelming onslaught of vision, sound and colour. The director mercilessly bombards the audience with scenes of graphic violence, fantastical lighting, overwrought production design and an immensely atmospheric soundtrack courtesy of Italo prog-rockers Goblin. ...

With its blushless exploration of adult themes such as sado-masochism, pain and pleasure, and its searing imagery of grisly body-modification and skinless resurrections, Hellraiser marked writer/director Clive Barker as an extraordinarily singular voice in horror. Based upon his novella The Hellbound Heart , it tells of individuals who seek the most extreme forms of self-gratifying pleasure before losing their lives (and souls) to a group of sinister, self-mutilating figures from another dimension. To say bloodshed ensues is a vast understatement. While the film boasts a deliciously gothic score courtesy of Christopher Young, Barker had originally commissioned British industrial outfit Coil to score the film. The ‘bowel-churning’ soundscape they delivered wasn’t considered commercial enough by the studio, though the band later released it in various collections of their work. Head over to Paracinema to read about the unused Hellraiser score and listen to a couple of tracks. ...

In 1967 Michael Reeves directed The Sorcerers , a curious blend of horror and sci-fi in which Boris Karloff stars as an ailing scientist who creates a device that enables him to control the mind of a young man and share the sensations of his experiences. It isn’t long before the scientist’s wife, drunk on power and obsessed with experiencing new things, begins to indulge her increasingly perverse desires, including murder. The original story and screenplay was conceived and written by John Burke; however when Reeves and Tom Baker re-wrote sections of it at Karloff's behest, Burke’s credit as screenwriter was relegated to ‘Based on an idea by.’ This ‘error’ was eventually corrected in Benjamin Halligan's 2003 biography of Reeves. It is also the raison d’être for a new book by Johnny Mains, an award winning editor, biographer, horror film historian and renowned authority on the vintage horror anthology series, The Pan Book of Horror Stories . The Sorcerers by John Burke det...

With its twisted tale of obsession, and the dark and violent places it can lead to, Missionary follows a typical woman-stalked-by-crazed-harasser narrative. While it refuses to stray too far from a well-trodden path, it doesn’t feel too conventional due to its slow-burn approach, careful characterisation and decent performances.  At times it echoes those early 90s cuckoo-in-the-nest psycho thrillers like Fatal Attraction, Unlawful Entry, Fear and myriad made-for-TV thrillers, in which an unhinged outsider worms his/her way into an all-American family, only to eventually show their true psychotic colours when their obsession reaches fever pitch. Head over to Exquisite Terror to read my full review . While you're there, check out our coverage of the other titles screening at this year's Fright Fest.

Anthology movies can be tricky to pull off properly; by their very nature they can be uneven in tone, the narrative constantly upended when we pull back to the framing story, the differing tones and pacing of the individual segments. When done well though, we get such classics as Mario Bava’s Black Sabbath , the chilling Ealing classic Dead of Night and George Romero’s lurid pulp-fest Creepshow. V/H/S/2 improves on the formula established by the original film; by slim-lining the segments, and by actually featuring fewer segments, the impact is undeniable. Head over to Exquisite Terror to read my full review . While you're there, why not check out our coverage of the other titles screening at this year's Fright Fest . 

Over the past few years Scandinavian horror has been making quite the mark on genre cinema, with filmmakers finding ways to surprise audiences and subvert expectations with titles like Let the Right One In, Not Like Others and Cold Prey . Some even mine spooky Nordic folklore for frights — think Marianne and Trollhunter — lending their films a unique tone quite unlike anything else around. The latest Scandiwegian chiller, Wither , has been touted as the Swedish Evil Dead , and with good reason. Gratuitous splatter FX aside though, it fails to offer much in the way of ingenuity, its set-up all too familiar to horror audiences. Head over to Exquisite Terror to read my full review . While you're there, why not check out our coverage of other titles screening at this year's Fright Fest.  

Last night Belfast’s Waterfront Hall played host to a very special screening of Dario Argento’s nightmarish, witch-infested classic, Suspiria . The screening, courtesy of the lovely folks at the Belfast Film Festival, was accompanied by a live score performed by none other than original Goblin member and long time Argento collaborator, Claudio Simonetti, and his band, the Simonetti Horror project. My ears are still ringing… Suspiria , for the uninitiated, is the terrifying tale of American ballet student Suzy Banyon, who enrols at an exclusive dance academy in Germany. Her arrival coincides with a raging storm and the savage murder of another student. Increasingly odd occurrences and other grisly deaths suggest that there is something evil lurking within the school, and Suzy eventually discovers that it is actually a front for a witches' coven. Often hailed as Argento’s masterpiece, Suspiria is a visceral onslaught of vision, sound and colour. The viewer is bombarded by graph...

1973 Dir. Nicolas Roeg Based on the short story of the same name by Daphne du Maurier, Don’t Look Now is from a collection of stories revolving around the intrusion of the supernatural/paranormal upon the lives of everyday, normal people. Released on a double bill with The Wicker Man – whose protagonist’s death is, in hindsight, also very much pre-conceived and signposted throughout the film's narrative - Don’t Look Now ripples forth as a devastating and often terrifying study of grief. When their young daughter drowns in a pond in the family garden, John and Laura (Donald Sutherland and Julie Christie), attempt to come to terms with their loss and reconcile their relationship by travelling to Venice. John throws himself into his work and denies the possibility that their daughter could be trying to communicate with them from the afterlife. After befriending a spooky psychic and her sister, Laura opens herself up to the possibility that their daughter is trying to reach o...

Writer and physician Michael Blumlein once said "There's a detachment that happens as a physician when you're dealing with frightening, horrifying, or sad events, that you maintain an objectivity that's required, and I do that also when I write." This is certainly true of his 1990 short story Keeping House , which tells of the psychological unravelling of a woman whose husband and child have fled, leaving her to fester in their new home and obsess over its cleanliness. She believes an evil presence dwells in the empty adjoining house; it seems to seep through the walls, leaving traces of damp, mould and other nastiness which she must tackle daily. She perpetually cleans but can never seem to rid her own abode of the manifestations of the dank presence from next door. It malingers about the place like a putrid fog only she seems aware of. Is this a real haunting? A spectral manifestation of her unhappiness? Guilt? Or an unreliable narrator sinking deeper into her o...