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Angels of Music – Meet the Angels, and some Others …

Angels of Music – Meet the Angels, and some Others …

With publication of my new novel, Angels of Music, imminent, here’s a look at some previous interpretations of some of the large cast of characters …

On the web

  •  I have scripted a five-issue Anno Dracula comic miniseries, Seven Days in Mayhem: Anno Dracula 1895, which  takes place in London between the first two novels in the series.  The artist is Paul McCaffrey - this is an exclusive first look at his character design for Graf von Orlok. (more…)
  • I've posted a lot of old photos from the theatre and music stuff I did with Sheep Worrying Enterprises in and around Bridgwater in the '70s and early '80s.  Useful comments/explanations on the a Facebook album version. (more…)
  • ... from Fantom Films.  Here's an excerpt. (more…)
  • My notes on Halloween FrightFest selection Bed of the Dead (2016) (more…)
  • My notes on the FrightFest Halloween selection Rupture. (more…)
  • My Screen Daily review of the Ouija prequel is one.  Also my Empire review.
  • My notes on the psycho-drama Jack Goes Home, which is out in US cinemas and VOD on October 14th. (more…)
  • Here are my (mildly spoilery) notes on The Girl on the Train. (more…)
  • I've contributed an essay to The Art of the B-Movie Poster, edited by Adam Newell for Elephant Books.  It is a lovely thing, with words from Pete Tombs, Simon Sheridan, Stephen Jones  and others - and many, many gorgeous illustrations.  It can be ordered from Amazon. (more…)
  • Here's the cover of my new collection, due out from Titan early next year. (more…)
  • My notes on Ron Howard's Inferno (2016) (more…)
  • My Screen Daily review of the Finnish slasher movie Bodom (aka Lake Bodom) is online.
  • My Empire review of The Greasy Strangler is online.  Contains grease.  And strangling.
  • It's the publication day of my new novel, Angels of Music.  Here are clips which give a little context for the book ... (more…)
  • My notes on the British science fiction film Worm, which premiered at the Raindance Festival. (more…)
  • While we were in Evershot, Dorset - which features in Tess of the d'Urbervilles as Evershed - looking for sites associated with Alex Dunn's relatives, the Groves family, an old bloke who lived next door to a house that had once been inhabited in by Groveses told us about the time years ago when, while driving a tractor across a bridge, he saw a woman dressed in white who mysteriously disappeared. When he got home to tell the tale, his father said he must have seen the ghost of Ginny Groves, who haunted the spot. Eugene Byrne has since delved into the archives and found what's probably her obituary from 1880 - a little tragedy of Hardyish dimensions involving shoplifting from the Co-Op and suicide. We had lunch in the pub where the autopsy was held.  None of us has been haunted yet.
  • My Empire review of Under the Shadow is online.
  • My notes on Lionel Jeffries' film of the classic novel ... (more…)
  • My notes on the Ring-Grudge match Sadako vs Kayako (more…)
  • Here's an exclusive snippet from my new novel ...   (more…)
  • My Screen Daily review of Blair Witch is online.
  • My notes on Hell or High Water  (more…)
  • Here's the annual FrightFest post-mortem from me, Anton Bitel and Virginie Selavy.
  • My notes on the new film version of Ben‑Hur (2016)   The joke review you’ll hear a lot about this latest Hollywood version of Governor Lew Wallace’s novel Ben-Hur: A Story of the Christ is ‘hated Ben, hated Hur’ … which isn’t strictly fair, but isn’t completely off the mark either.  William Wyler’s 1959 version of the saga casts a long shadow – though there was a 2010 miniseries which was generally well-received, and Wyler was treading on film history himself by redoing one of the great hits of the silent era (the 1925 film).  Scripted by Keith R. Clarke (The Way Back) and John Ridley (12 Years a Slave) and directed by Timur Bekmambetov (Abraham Lincoln – Vampire Hunter), this streamlined epic works hard to get round the story problems which make earlier Ben-Hur adaptations so hit-and-miss, most notably that Pierce Brosnan Bond film issue of having the big action sequence everyone remembers (the chariot race) in the middle of the story and then getting bogged down in the last, redemptive half of the film.  Also, arriving in the same year as Hail Caesar: A Story of the Christ, it tries (not always successfully) to avoid all the parodiable aspects of these Roman religiose epics which led to the eclipse of the once-dominant spectacular genre by science fiction or fantasy epics.  So, we open with a teaser for the chariot race, establishing the enmity of former foster brothers Judah Ben-Hur (Jack Huston) and Messala (Toby Kebbell), then flash back to their early days – and return to the arena for the big, spectacular climactic race (now in 3D), with everything after (including a logical new wrinkle to the outcome) shuffled through so we can get home early.   By now, everyone knows the story of the homoerotic subtext supposedly snuck past Charlton Heston by co-star Stephen Boyd and writer Gore Vidal in 1959 – a bit of print-the-legendery, since Heston clearly plays as much as Boyd with a flirtateous, s-m aspect to the relationship.  It’s understandable that every film version winds up stressing the Judah-Messala love/hate since all the women in the story are severely underwritten and the casting of interesting actresses here - Nazanin Boniadi (Homeland) as Judah’s love interest Esther, Ayelet Zurer (Superman’s Mom in Man of Steel) and his mother Naomi and Sofia Black-D’Elia (Project Almanac) as his sister/Messala’s sweetie Tirzah – still doesn’t make up for it. Trimming much of the second half of the story further minimises these roles, and the real third wheel in the Judah-Messala menage is Jesus (Rodrigo Santoro), who pops in to deliver Bible quotes and egg Judah along his own road to redemption.  Previous versions have gone with the convention of not directly depicting the Christ in a tale about Him, but Santoro gives a post-Mel Gibson reading of the Nazarene Carpenter as plot device – he’s responsible for one big miracle, but there’s surprisingly little about the rest of his career as everyone in Judea is much more interested in the chariot race than what goes on at Golgotha.   Huston and Kebbell aren’t monolithic screen characters, but they are pleasant presences – and work best during the early scenes which present Roman crackdowns on Jewish zealots as analogous to the War on Terror (with hoods whipped over the head of innocent arrestees, confessions by torture and blame by association radicalising even liberal Judeans), a theme which then gets dropped before it might get too uncomfortable for American audiences who won’t like being compared to nasty Romans (or Israeli audiences who won’t like seeing Jews as analogous to contemporary Palestinians).  After that, it’s just the set-pieces – which are both interestingly conceived, but come off as a bit on the cramped, CGI-blurred side.  The sea battle is seen almost entirely from inside the galley where Judah is enslaved, with glimpses of above-decks, on-the-waves carnage (a Roman prisoner strapped over the ramming pole of the Greek ship that smashes the galley) and an apt confusion as to what is going on (Heston saved Jack Hawkins’ Quintus but Huston seems to murder James Cosmo’s by shaking him off an oar).  The chariot race is staged explicitly as a Death Race 2000 game in which the winner is expected to be sole survivor (which he isn’t, quite) but wavers between horrors (a few big players’ deaths get lost, suggesting a post-production rethink to lower the rating) and nicely thought-through new licks (Judah being upset at the deaths of horses).  If the CGI-assist carnage that’s been standard since Gladiator can’t match the stunts-and-staging-and-monumental-art-direction of the CinemaScope era, then perhaps it’s worth remembering that most of those movies had to be dedicated to the stuntmen who died making them – while all the crashes here, including upsetting equine pile-ups, involved nothing worse than a computer programmer getting backache.   The epics of the 1950s and ‘60s were known for supporting performances – check off how many Best Supporting Actor Oscars were handed out to Brits playing Romans – but the fact that our leads here seem lower-case means that the promising likes of Pilou Asbaek, as a Pontius Pilate who is mostly just plain rotten (with one great punchline that suggests more), get short shrift.  The last survivor of the grand ham tradition is Morgan Freeman, sporting Predator dreads, as the Arab chariot-race manager once played by Hugh Griffith – Freeman also narrates, though he’s done this so often that it seems like parody.  Is it great?  No.  But it’s less of a chore than the much more highly touted Ridley Scott Exodus Gods and Kings.  
  • My notes on FrightFest closing film Busan Haeeng (Train to Busan)  (more…)
  • My review of SiREN is online at Screen Daily.
  • My notes on Found Footage 3D  (more…)
  • My notes on Red Christmas  (more…)
  • My notes on The Evil In Us  (more…)
  • My notes on Marshrut Postroen (Paranormal Drive)  (more…)
  • My notes on Monolith (more…)
  • My notes on The Unraveling (more…)
  • Under the Shadow  (more…)
  • My notes on The Windmill Massacre  (more…)
  • My notes on The Killing of America (1981) (more…)
  • My notes on The Neighbor (aka The Neighbour) (more…)
  • My notes on Crow (more…)
  • My notes on Kate Shenton's Egomaniac (2016) (more…)
  • My notes on Let’s Be Evil  (more…)
  • My notes on Downhill (more…)
  • My notes on House of Salem (more…)
  • My notes on Knucklebones  (more…)
  • My notes on the remake of Blood Feast  (more…)
  • My notes on Karaoke Crazies (more…)
  • My notes on The Unkindness of Ravens (more…)
  • My notes on Beyond the Gates (more…)
  • My notes on Au delà des murs (Beyond the Walls) (more…)
  • My notes on The Creature Below  (more…)
  • My notes on La Rage du Démon (Fury of the Demon) (more…)
  • My review of The Master Cleanse is up on Screen Daily.

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