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Hi. I’m a freelance journalist specialising in the science fiction and horror genres, mostly in print (mid-1970s onwards) but occasionally on tv, at events or in Blu-ray / DVD extras. Screen credits include producer on a couple of horror shorts and a documentary which got released as a Blu-ray extra in early 2019.

This website welcomes feedback; comments can be left by clicking on the individual entries.

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If you’d like to discuss either myself or Vamporama Films working for you, please e-mail me now via steve.green@ghostwords.co.uk.

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“But Why Will You Say That I Am Mad?”

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This is all rather worrying: a list of the reasons patients were confined to a lunatic asylum in London during the period 1864-89. I never realised reading a novel could be so hazardous, although there are a few authors I can think of whose success is quite mindboggling.

Edit: I’ve just noticed the spelling of “rumor” in that list, which seems a little odd for a London hospital, although this could have been taken from a US book on the subject.

Timey Wimey, Bollocksy Wollocksy

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If these posters are official, it looks as though current Doctor Who showrunner Chris Chibnall plans to bring John Simm back into the series as The Master, in direct contradiction of his original announcement that no legacy villains would reappear (the BBC allegedly has to use the Daleks every season, or pass the copyright to Terry Nation’s family, hence the New Year’s Day “special”). It’s further rumoured the storyline will involve Brexit, which sounds both desperate and yet more evidence of Chibnall’s creative vacuity. Seriously, why is this useless pillock being allowed anywhere near the world’s longest-running science fiction show?

Update: I am indebted to Doctor Freedom for warning me these signs may be some kind of prank or Brexit-related spoof. Trouble is, after Season 11, how can we discern the real Who from the fake rubbish?

The Funny Pages

Considering I began reading superhero comics in the mid-1960s and writing about them in the mid-1970s, it’s slightly odd that it’s taken until now for me to write a letter to one. Still, here it is, fresh from the pages of The Immortal Hulk #14, with a reply from writer Al Ewing.

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Infinite Diversity, Infinite Combinations

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I first encountered Star Trek on the afternoon of Saturday, 12 July 1969, just four days before Apollo 11 set off on its quarter-million-mile journey to the Moon. The BBC, unlike NBC in the United States, chose to run the series in the intended order, which meant its UK premiere was ‘Where No Man Has Gone Before’. We’re only a couple of months away from the fiftieth anniversary of both that broadcast and Neil Armstrong’s tentative first step upon the lunar surface, and I will confide it was the former which had a greater effect upon my life.

Incidentally, another early fan via those BBC screenings was Janet Quarton, later to run the Star Trek Action Group (which I joined soon as I heard about it circa 1977) and later still to be honoured by Gene Roddenberry himself through the naming of the Next Generation character “Q”.

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DVD review: Prospect (2018)

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Prospect (2018)
Signature, certificate 15 (out 22 April)
Originally written for Infinity magazine

Fellow fans of the lamentably short-lived science fiction series Firefly (2002-3) and its spin-off movie Serenity (2005) will find much to enjoy in this extraterrestrial western, expanded by writer-directors Christopher Caldwell and Zeek Earl from their 2014 short of the same title.

Teenage spacefarer Cee (Sophie Thatcher, tv’s The Exorcist) accompanies her prospector father Damon (Jay Duplass, The Oath) to an alien moon in search of highly sought-after crystals, but they’ve no sooner struck lucky than Damon dies in a shoot-out with rival miners and the pragmatic Cee finds herself teamed with one of her father’s assailants, Ezra (Pedro Pascal, Bloodsucking Bastards and Game of Thrones).

The duo’s unsteady alliance takes up much of the film, and both lead actors are excellent in their roles. Although the last of their confrontations with the satelite’s other inhabitants does get a little confused (as tends to happen with nocturnal firefights), Cee proves herself to be a young lady with true grit and saves both their skins, a satisfactory conclusion to a cosmic tale which proves refreshingly down to earth.

Secret Agent Man

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This past month, I’ve watched all 39 episodes of the original 1960-62 run of Danger Man, which is both a great showcase for its charismatic star Patrick McGoohan (who’d turned down the role of James Bond in favour of the far more believable John Drake) and a crash course in the strictures of tight television thrillers. It’s amazing how much can be squeezed into 25 minutes if you follow Fritz Lang’s approach (cf The Big Heat) and only include scenes which are crucial to narrative, characterisation or both.

Blu-ray review: Replicas (2019)

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Replicas (2019)
Lionsgate, certificate 12 (out 29 April)
Originally written for Dark Side magazine

Actors have occasionally been accused of ‘phoning a performance in; with this largely lamebrained excuse for a science fiction thriller, Keanu Reeves (Bram Stoker’s Dracula, the Matrix trilogy) goes one step further and texts most of his. “We are going straight to Hell,” says fellow scientist Ed as the pair start playing Frankenstein with the newly-deceased remains of Reeves’ wife and children; the rest of us are already there.

At a secret lab on a remote Latin American isle (presumably chosen for that Jurassic Park vibe), Will Foster (Reeves) is using a holographic display cribbed from Tony Stark to implant memories into android brains. After a traffic tragedy wipes out his family, he and Ed (Thomas Middleditch, The Final Girls) clone new bodies to create a fresh off-the-peg domestic unit. So far, so crazy, because a shortfall in the number of amniotic pods Ed could rustle up has already forced Will (or Bill: the film can’t decide, which is typical of Chad St John’s confused screenplay) to jetison his younger daughter.

Reeves demonstrates how deeply this is affecting him by delivering every line like he hasn’t slept for a fortnight (if he’s suffering from insomnia, perhaps he should try watching this film). Meanwhile, his resurrected wife Mona (Alice Eve, Star Trek: Into Darkness and Men in Black 3) is proving memories can’t be buried like last week’s trash, forcing Will into a conversation which is one of the few unexpected moments in this $30M b-movie. Enter the lab’s administrator (John Ortiz, Kong: Skull Island), who forces Reeves to channel his inner John Wick and take the action up a gear to protect his faux family.

Unfortunately, the film’s closing 30 minutes are still hobbled by the lethargy and gormless technobabble of the opening 75, leaving us with a fractured and deeply unfocussed narrative. Its moral perspective is further skewed by the finale, in which the allegedly deleted daughter rematerialises and an android version of Reeves begins offering the resurrection tech to any elderly millionaire with a yen – and sufficient spare yen, or dollars, or rubles – to reboot.

Reeves is reportedly back with Alex Winter right now, shooting a third Bill & Ted. Let’s hope his time-travelling includes telling Replicas director Jeffrey Nachmanoff to order a few critical rewrites and maybe get himself a more convincing lead actor (seriously, Jeffrey, your faith in Reeve’s “dramatic chops” is deeply misplaced).

Extras: commentary by Nachmanoff and executive producer James Dodson; “making of” documentary, including interviews with Reeves and his production partner Stephen Hamel, who came up with the initial story; deleted scenes.

Blu-ray review: Crucible of the Vampire (2019)

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Crucible of the Vampire (2019)
Screenbound, certificate 15
Originally written for Dark Side magazine

The sad truth is, the British horror industry has sunk to such depths that almost any halfway competent entry is greeted with disproportionate excitement, and whilst Crucible of the Vampire is by no means as instantly forgetable as some recent releases, its overall impact is that of a damp squib rather than the fireworks we all hope to see again.

When archaeologist Isabelle (Katie Goldfinch) is dispatched to a remote country house to evaluate a potential addition to her museum’s collection, she soon runs foul of the item’s current owner, Karl (Larry Rew, Underworld: Rise of the Lycans). At least his wife Evelyn (Babette Barat, who seems to have stepped out of a Ken Russell romp) and daughter Scarlet (Florence Cady) seem friendlier, the latter far more than usual in polite company. Meanwhile, resident gardener Robert (Neil Morrissey, I Bought a Vampire Motorcycle) offers moral support amidst a few dark hints about the estate’s health and safety record.

Pretty soon, Isabelle (a virgin, we helpfully learn via an oddly intimate conversation with a barmaid) is having curious dreams and encountering the stately manse’s spectral squatter. Luckily for her, Scarlet is happy to offer solace in her own bed, as well as a rather restrained sapphic seduction and a somewhat over-enthusiastic hickey.

It doesn’t take a graduate of Karlsbad University to see where this is going: the local Satanists want to use Isabelle’s virgin blood (lesbian sex doesn’t count, apparently) to restore the vampire in Karl’s upstairs bathroom to full strength and, well, the rest of their scheme is left unstated because Isabelle is soon channelling her inner Lara Croft and inserting some overdue dynamism into the film’s closing act.

This is director Iain Ross-McNamee’s second feature (his first was 2015’s ghost story The Singing Bird Will Come), co-written with Darren Lake and John Wolskel (whose Vampire Motorcycle credit no doubt explains Morrissey’s fleeting and frankly superfluous participation), and displays logistical assurance which sadly is not matched by any noticable skill in creating either tension or atmosphere. Like the photography, much of the drama is disappointingly flat, encouraging one’s mind to wander off piste and query why Scarlet, a vamp in both senses of the term, wanders happily around her home’s more sunlit wings, yet her presumed ‘siress’ flares like a Roman candle as soon as she exits the front door.

The great problem when reviewing a film such as Crucible of the Vampire is that the intentions of cast and crew are never in doubt: they clearly wanted to make a memorable British chiller in the vampiric vein of Dracula AD 1972 (with a PG-friendly dash of Lust for a Vampire). Unfortunately, the script simply doesn’t deliver the goods, and everything from that point onwards is rendered anaemic as a result.

Blu-ray review: Kin (2018)

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Kin (2018)
Lionsgate, certificate 15
Originally written for Infinity magazine

Despite the presence of headliners Dennis Quaid (Innerspace, The Day After Tomorrow) and James Franco (Spider-Man, Oz the Great and Powerful), Kin feels oddly more suited to small screens than the large, with an open-ended finale which leaves you anticipating (albeit not rooting for) a spin-off tv series.

When the recently-widowed Quaid’s estranged elder son (Jack Reynor, soon to be seen in Scandi folk horror Midsommar) gets out of jail, he might be forgiven for thinking strained family dynamics are the biggest problem on his plate. Unfortunately, Reynor is in debt to a local gangster (Franco), adopted teenage son Myles Truitt (last seen in Black Lightning and here making his feature debut) has salvaged an extraterrestial weapon from the site of an unexplained alien shoot-out (seriously, it’s time for a moritorium on that cliché) and Quaid has the misfortune to walk in on Franco’s gang as they’re robbing the construction company he works for. The two brothers escape, joining forces with a kind-hearted stripper (Zoë Kravitz, X-Men: First Class and Mad Max: Fury Road), but Franco is soon hot on their trail, as is a team of aliens eager to retrieve their bad-ass bazooka.

Although competently executed, the resultant road movie is crushingly familiar, and that’s not because I saw Bag Man, the 2014 short by Kin co-directors Jonathan and Josh Baker from which it was expanded. The old Not the Nine O’Clock News song ‘Nice Video, Shame About the Song’ springs to mind; in this case, decent enough performances and special effects, pity about the plot and script.