One Christmas long ago, I got Jeff Wayne’s Musical Version of the War of the Worlds. I was excited, of course, because I loved anything War of the Worlds. The cover was incredible, featuring a a Martian tripod melting the deck of an ironclad. As I flipped through the included book of artwork, my hopes steadily grew. It was full of paintings of tripods blasting old-timey looking British people. Now that was what I’d been wanting from a War of the Worlds adaptation!
The country was, in the autumn of 1938, primed for a panic. And 23-year-old radio actor Orson Welles was primed to give them one. At 8pm on October 30, 1938, he and the Mercury Theater on the Air began a broadcast that would, if you believe the stories about believing the story, send the whole of the country into a panic, convinced the planet was under attack by Martians.
From 2013 through 2017, I wrote an annual Halloween article for Alcohol Professor about haunted bars or adjacent drinking and carousing. I don’t have anything new this year — between finalizing Cocktails and Capers and day-to-day work, I just couldn’t think of a fresh angle — but in lieu of a freshly dug grave, I thought I’d resurrect the previous five year’s of articles to provide a haunted tour of some of the world’s most famous haunted bars, spooky spirits, and spine-chilling literary libations.
The Maze depends heavily on atmosphere. For the bulk of the movie, very little actually happens. Small tidbits are thrown the viewer’s way to keep them interested — a fleeting glimpse of a glistening creature, a weird webbed footprint, the frequent foreboding stares of the butlers.
Before the zombie glut of the 2000s, one could count the number of Night of the Living Dead-type zombie films from Hong Kong on, well, one finger. Bio-Zombie is one of the few Romero-style zombie flicks to come from Hong Kong. The result is curious, to say the least. For the most part, it’s uneven but enjoyable.
Ghost Stories of Wanderer at Honjo is a period piece ghost film, one of countless Japanese ghost movies in which a scheming, evil samurai runs afoul of a ghost. What makes Ghost Stories of Wanderer at Honjo different than, say Ghost of Yotsuya, is that the yokai make token appearances.
Under normal circumstances, The Cat and the Canary could have been a simple affair — a living room, a bedroom, shots of the spooky exterior of a mansion. Sprinkle some cobwebs and people looking side-eyed at one another, and there you go. In the hands of German Expressionist Paul Leni however, things were going to be different.
I often forget that, for a little while, I worked at Atlantic Records. It was such a bizarre position that every day I was there, I wasn’t sure I still worked there. Even today, some fifteen years later, I’m not sure I ever actually quit, like maybe I could just show up tomorrow and everyone would shrug and go on with their business.
In the 1980s, Shaw Brothers was running out of gas. They responded by letting directors go totally insane. Amid the maelstrom are the delirious martial arts fantasies Bastard Swordsman and Return of the Bastard Swordsman
At the end of Beyond the Black Rainbow, directed by Panos Cosmatos, a period of quiet contemplation is required to begin unpacking everything one has seen during the preceding 110 minutes.
Had Dark Purpose been an hour long episode of a TV show, it would have delivered. But forced to come up with, roughly, three half-hour acts, it can’t sustain the momentum and Shirley Jones, while perfectly acceptable, just isn’t dynamic enough to make us forget nothing much is going on.