Author of sci-fi/fantasy, horror and adventure/thriller fiction

  • Home
  • The Blog
  • Email List/Contact
  • Interviews
  • Apocalyptic
  • Horror
  • Military Thriller
  • Sci-fi/Fantasy
  • All books

FOUND FOOTAGE 3D (2016)

June 28, 2022 by Craig DiLouie Leave a Comment

In FOUND FOOTAGE 3D (2016), a small crew of indie filmmakers venture to a derelict farmhouse to shoot a found footage horror movie, only to find themselves in a very real horror story. I really liked this one for its perfect balance of self awareness and playing it straight.

The film follows producer and actor Derek, editor Mark (Derek’s brother, who is also shooting a behind the scenes documentary about the making of the film, and which provides the real found footage movie), Derek’s wife Amy as lead actress, sound technician Carl, director Andrew, and production assistant Lily, a horror fan. Derek has what he thinks is a brilliant idea to bring new life to a tired genre, which is to shoot it in 3D. He’s also a bit of a narcissist, and he’s in the midst of breaking up with Amy, resulting in endless tension and disruption.

The film very cleverly has the characters recognize and debate the conventions of the genre, from establishing in the first act why everything is being recorded and explaining why they are still recording in the third act after the monster appears. From this self awareness of the conventions and overwrought tropes, the film draws quite a bit of comedy and plentiful setups that pay off. Otherwise, we’re given a pretty straightforward found footage film about a haunting, which itself pays off with a genuinely thrilling explosion at the climax.

Overall, I really liked it and recommend it. This is one of those movies I went into not expecting much and ended up delightfully surprised.

Filed Under: APOCALYPTIC/HORROR, MEDIA YOU MIGHT LIKE, Movies, Movies & TV, The Blog

THE SADNESS (2022)

June 24, 2022 by Craig DiLouie Leave a Comment

Fresh from Taiwan, THE SADNESS (2022) is a nasty, viscerally disturbing horror film that is somehow fitting for the COVID pandemic era.

Jim and Kat are young lovers who separate in the morning, Kat to take the train to work and Jim to grab coffee and start his own day. In the background, we become aware of a new virus dubbed Alvin, which scientists are saying is dangerously mutating, though the COVID weary public, sick of lock downs and infected in a way themselves with viral disinformation, is having none of it. As usual, the annoying scientists are right; Alvin is mutating, and those infected become compelled to inflict pain.

If you’re thinking this sounds like the graphic novel CROSSED by Garth Ennis, which isn’t so much read as inviting stomach-turning visual assault, you’re right; CROSSED is an inspiration for the film, just as it was for THE RETREAT, my zombie series written with Stephen Knight and Joe McKinney (it was also inspired by THE ANABASIS by Xenophon). And man, does it deliver: blood and gore and hacking and stabbing indulged to the max, spiced with moments of graphic torture and sexual assault held back just short of indulgent.

It’s ugly stuff, brutal and nasty, and man, it sets up one hell of an apocalypse. The grinning sadists who form the “zombies” in this story are pretty darn freaky and frightening. The combination of blood, tension, and cruelty is viscerally upsetting. The filmmakers handled all of it right in my view, punching you in the face without celebrating the punch, if you will. They adeptly set up long scenes of steadily escalating tension as characters react with terror and paralysis until the zombies arrive to play. The fairly cynical story runs right up to the point of nihilism, as our protagonists try to help people only to get burned, average people lash out in ignorance and fear and cowardice, and even the expert we meet is villainous.

It all ends on a note of hope, though it’s vague and also not very emotionally satisfying. The problem is in the lack of character arcs. In TRAIN TO BUSAN, for example, a detached dad learns the value and responsibility of fatherhood during a zombie apocalypse. In THE SADNESS, nothing is really learned or gained, making the story entirely about the world ending in slaughter and perhaps a thematic message that when it comes to public health maybe we should listen to public health experts. As a result, I wasn’t as invested as I would have liked in the protagonists, whose story simply ends, and it would have been interesting to see more of the best of human nature in contrast with the infected’s worst.

Despite this, I like this one quite a bit as something new in zombie land, a serious gut punch.

Filed Under: Apocalyptic, APOCALYPTIC/HORROR, MEDIA YOU MIGHT LIKE, Movies, Movies & TV, The Blog, Zombies

MAD GOD (2022)

June 22, 2022 by Craig DiLouie Leave a Comment

The magnum opus of veteran animator Phil Tippet, MAD GOD (2022) is a surreal stop-motion animation horror trip that’s beautiful and puzzling, rolling out like an artist’s scream, a filmmaker’s dream project that amazes you that it somehow got produced.

Currently watchable on Shudder, the film begins with the Assassin descending onto a ruined, mutant, horrible world on what may be a suicide mission under orders from the Last Human. He passes through bizarre landscapes populated by tortured souls, monstrosities, terrible machines, and endless war, and runs afoul of the Surgeon, producing a chain of events leading to the Alchemist creating a new universe that only falls into the same state of decay. A form of decay that never quite dies, one that becomes a malignant ecology of its own.

If that doesn’t make sense, that’s okay. Most of the fun of this creative wonder is simply in beholding. The rest is up to interpretation, if you’re up for it: themes about humanity being prone to its own self destruction, religious allegory about every renewal leading to corruption. Visually, the film is nothing short of astounding in what it achieved technically and aesthetically. MAD GOD rolls out like something Hieronymus Bosch, the painter of the famous landscape of Hell, might have produced if he had the means to produce stop motion animation and a budget.

Otherwise, there’s the emotional impact, which infiltrates more than punches. MAD GOD is nihilistic, sad, horrible. Everything dies, everything is self-absorbed, everything fights everything else to get what it wants, everything beautiful eventually falls into ruin.

Definitely check it out if you’re into–I’m not sure. Something beautifully bleak, horribly interesting, engagingly savage.

Filed Under: Apocalyptic, APOCALYPTIC/HORROR, MEDIA YOU MIGHT LIKE, Movies, Movies & TV, The Blog

THE CHILDREN OF RED PEAK Available for $2.99!

June 15, 2022 by Craig DiLouie Leave a Comment

The Kindle edition of my cult horror novel THE CHILDREN OF RED PEAK is being promoted by Hachette and Amazon with a Kindle Monthly Deal. Until June 30, you can pick up the novel for just $2.99.

They escaped the cult, but are they free?

David Young, Deacon Price, and Beth Harris live with a dark secret. They grew up in an isolated religious community in the shadow of the mountain Red Peak, and they are among the few who survived its horrific last days.

Years later, the trauma of what they experienced never feels far behind. When a fellow survivor commits suicide, they reunite to confront their past and share their memories of that final night.

But discovering the terrifying truth might put them on a path back to Red Peak, and escaping a second time may be impossible…

Click here to get it now.

Filed Under: Apocalyptic, APOCALYPTIC/HORROR, Books, CRAIG'S WORK, MEDIA YOU MIGHT LIKE, The Blog, The Children of Red Peak

SHEPHERD (2021)

June 7, 2022 by Craig DiLouie Leave a Comment

In SHEPHERD (2021), a man mourning the loss of his wife accepts a job as a shepherd posted on a remote British island, only to find it a personal hell. There’s a whole lot to admire in this stylish horror film, though I found the basic story wanting. Let me explain…

Eric Black is bereft after the death of his wife. Barely able to function, he decides to escape for a while by taking a job as a shepherd on a remote British isle. A creepy boat pilot brings him there. The house where he’ll be living is a mess, but he makes it home and tends to the sheep. Then odd things start to happen … frightening visions, a mystery, and something that appears to be hunting him.

There’s a lot to like here. The acting is solid, with pros like Greta Scachi and Kate Dickie rounding out the minimalist cast. The setting of the windswept, barren, and dreary island is fantastic and lovingly displayed. The slow trickle of reveals about Black’s past punctuate and assist rather than drag down the central conflict. The horror elements deliver creep and punch in equal measure. Thematically, the film is about loss and the personal hells it inflicts on the mourning, particularly when there’s a sense of guilt attached.

Unfortunately, for me, it all comes undone in the last act. I mean, from a technical perspective, the story comes together perfectly, wrapping everything up and revealing what is really going on. It just doesn’t work, at least for me. Just as horror and comedy are kissing cousins, horror and justice are often directly related, and that is absolutely the case in SHEPHERD–it’s an explicit part of the theme. My problem is the guy didn’t really deserve this hell, it’s that simple. And the writer seemed to go out of the way to make me believe this. The result is a view of grief and guilt that’s way more nuanced than the movie presented itself as, not to mention bleak, as it implies redemption doesn’t mean you’re free.

Minor spoiler/trigger warning about an animal dying: I should also add a warning for those squeamish about animals being hurt, particularly pets. Black has a dog, and from the first scene, you think, oh, that poor dog, he’s probably a goner. If you think that, you’d be correct. You don’t see the death occur, but you see the aftermath, and it’s kind of a gruesome scene.

Overall, I liked SHEPHERD for its acting, excellent artistic direction, brooding setting, ominous atmosphere, strong horror elements, and overall story, though I left feeling fairly unsatisfied by the story itself, notably in its conclusion. I’d still recommend it for horror fans, as again there’s a lot of good here–frankly, as a whole it’s a cut above average–and you may get more out of the ending than I did.

Filed Under: APOCALYPTIC/HORROR, MEDIA YOU MIGHT LIKE, Movies, Movies & TV, The Blog

LOVE, DEATH, AND ROBOTS, Season 3

June 6, 2022 by Craig DiLouie Leave a Comment

The first season of LOVE, DEATH, AND ROBOTS (Netflix) wowed me with its anthology of stunning, action-packed, and titillating animated stories. Season 2 upped the production quality though at the expense of story, and I feared the show had become nothing more than a series of self-promo resume reels for its creators. Season 3 put all those fears to rest, delivering a really terrific series of animated shorts that fire on all cylinders. I loved it.

In “Three Robots: Exit Strategies” (written by John Scalzi), three robot tourists from the first season revisit Earth to learn about its apocalypse; this time, we learn it was climate change that killed everyone, and we see how different strata of society reacted to the end, with the have-nots fighting each other and the haves secluding themselves until they died out. Poignant, funny in a harsh “haha, we’re a really stupid species” kind of way.

In “Bad Traveling” (David Fincher’s animation debut), a massive shark-hunting sailing ship runs afoul of an intelligent sea monster, forcing the crew to make a decision about whether to save themselves or a nearby island full of people. Brutally satisfying.

In “Night of the Mini Dead,” we see a condensed zombie apocalypse from a bird’s eye view, looking down at tiny people and cities. Funny and quirky.

I intended to only describe the ones I really, really liked, but I’m now realizing that’s almost all of them. I was really impressed with the consistency of quality across the entire anthology this season. I’ll skip the others with a recommendation to just watch if it you have the chance, but I should talk about the finale, “Jibaro.” In this fantasy story, a squadron of warriors and priests pauses to rest by a lake in the wilderness, only to draw the attention of a local siren. The catch: Her charms don’t work on Jibaro, who is deaf. Thus beings a game of attraction and repulsion between the two, a tale of violence and greed. It’s simple with frenzied, exquisite action and visuals, and it’s quite beautiful and stirring to watch. Even if you discover this season of LOVE, DEATH, AND ROBOTS isn’t for you, I hope you’ll at least give this episode a crack.

Overall, I found this season brilliant, different, and giving me plenty of reasons to hope for a fourth season.

Filed Under: APOCALYPTIC/HORROR, Film Shorts/TV, MEDIA YOU MIGHT LIKE, Movies & TV, The Blog, Zombies

  • « Previous Page
  • 1
  • 2
  • 3
  • 4
  • …
  • 278
  • Next Page »

Categories

  • APOCALYPTIC/HORROR
    • Apocalyptic
    • Art
    • Film Shorts/TV
    • Movies
    • Music Videos
    • Reviews of Other Books
    • Weird/Funny
    • Zombies
  • COMICS
    • Comic Books
  • CRAIG'S WORK
    • Armor Series
    • Aviator Series
    • Crash Dive Series
    • Episode Thirteen
    • One of Us
    • Our War
    • Strike
    • Suffer the Children
    • The Alchemists
    • The Children of Red Peak
    • The End of the Road
    • The Final Cut
    • The Front
    • The Infection
    • The Killing Floor
    • The Retreat Series
    • The Thin White Line
    • Tooth and Nail
  • GAMES
    • Video & Board Games
  • HISTORY
    • Other History
    • Submarines & WW2
  • MEDIA YOU MIGHT LIKE
    • Books
    • Film Shorts
    • Interesting Art
    • Movies & TV
    • Music
  • POLITICAL
    • Politics
  • SCIENCE
    • Cool Science
  • The Blog
  • WRITING LIFE
    • Craig at Work
    • Interviews with Craig
    • Reader Mail
    • Writing/Publishing

Copyright © 2022 · Author Pro Theme on Genesis Framework · WordPress · Log in