Powerful, affecting story, about a young woman who has her quiet life turned upside down after her fiance is murdered, and she stumbles upon a plot by an evil billionaire to take by force a piece of forested land near her home.
The Forest of Lost Souls is one of Koontz's best and most thought-provoking books, despite a slow start, and Koontz’s penchant for preaching and cute characters.
Koontz uses a simple premise as a launching pad to delve into the worlds of mythology, righteous violence, totalitarian states, and most importantly, faith.
It features many of Koontz’s usual obsessions (the dark side of technology, the cost of necessary violence, the dilemma of the conscientious in a fallen world), but still feels fresh and full of life, with vivid writing, an accelerating pace, and interesting characters.
And although the ending is somewhat abrupt, his writing here is some of his most transcendent and ebullient; a somewhat remarkable achievement for a writer at this late stage in his career.
The Forest of Lost Souls is a must for Koontz fans, and a great introduction to the author’s work for newcomers.
Uncle Silas is one of author’s Joseph Sheridan Le Fanu’s best, and best loved novels. It’s a Gothic nightmare filled with memorable, broadly drawn characters, an immersive sense of atmosphere, and a command of language and pacing that is nothing short of masterly.
Although Le Fanu was best known for his ghost stories, Uncle Silas hasn’t a single element of the supernatural or the uncanny. Instead, Le Fanu weaves a tale of greed, corruption, illusion, and tremendous evil preying on the innocent. The book tells the tale of an adolescent girl named Maud, an heiress living with her reclusive father, in their formidable mansion. After her father's sudden death, she becomes the ward of her uncle Silas, a once infamous gambler, and who now claims to be a devout Christian, living a quiet, secluded life in his mansion, Bartram-Haugh. But soon after moving in with him, Maud begins to sense that something is amiss, with her uncle Silas behaving strangely, even sinisterly, while Bartram-Haugh, with its history of murder, seems to be haunted by an air of menace and evil.
The novel has been adapted to the big and small screens many a time, but one of the most effective, and provocative versions, is The Dark Angel, a mini-series which aired on the BBC in the winter of 1989.
This version is almost forgotten now, but upon release, it was quite a sensation, and later, when it came out on VHS, it turned into a cult classic. And for good reason.
The Dark Angel, takes Le Fanu’s slow-burn novel, and turns it into a hallucinatory, intense Gothic thriller, or as the promotional material calls the series, "the archetypal Gothic thriller."
Veteran TV director Peter Hammond, and writer Don MacPherson, attack the material with manic energy, leaving no opportunity to explore the darkest and seediest aspects of the original novel, sometimes stylishly, sometimes with what borders on bad taste. But throughout the three episodes that make up the series, there is never a dull moment, or an uncaptivating scene.
Maud is played with earnest innocence by Beatie Edney, and like all the other characters from the novel, is more or less an exaggerated version of the original character.
Peter O’Toole, as Uncle Silas, delivers one of his typically uneven performances from the 1980s, oscillating between brooding charisma, and annoying hamminess. But in his quieter moments, O’Toole is a scary, unforgettable Silas, a vicious, calculating scoundrel, masquerading as a tortured Byronic figure.
But the real star of this adaptation is Jane Lapotaire as Madame de la Rougierre, Silas’s emissary and dark accomplice. Lapotaire delivers a performance so sinister, so mesmerizing, that it has to be seen to be believed. A performance that is kinetic, exaggerated, and grotesque, yet never unbelievable or risible. It is a near magnificent acting feat, and showcases the breadth of talent of Lapotaire, one of the most underrated actors to come out of Britain. Lapotaire takes a character that was merely intriguing in the novel, and transforms her into a force of cruel nature, a sadistic villain who nonetheless manages to be entrancing and even sympathetic.
And although director Peter Hammond’s excesses, and the series’ overwrought tone threaten to overwhelm the viewer at any moment, by the end of the three hour tale, one is left with a sense of a dark journey worth taking, through a haunted, grotesque, and occasionally beautiful nightmare.
The Complete Mystery Podcast, Last Seen, is now available.
When a friend asks for help in finding her missing sister, William Last, a quiet man struggling with a troubled past, has to embark on a journey that will lead him into the darkest corners of reality, and beyond.
Last Seen is a fiction podcast for fans of dark mysteries with a touch of noir and the otherworldly.
Written by Ahmed Khalifa. Produced by The Dark Fantastic Network.
Buy A. Kale's books, published by The Dark Fantastic Network and VHS Books on Amazon.
Subscribe to The Dark Fantastic podcast on Acast, Google Podcasts, Spotify, Castbox, Amazon Music, Deezer, Podchaser, iHeart, or wherever you get your podcasts.
Whether you are into Poe or not, this novel is nothing short of astounding. After burning through it as quickly as I could (which I ultimately regretted doing, since I was so sad when it was over) because it was so compelling and entertaining, I had to sit back and admire how much Pearl has achieved with this book.
Not only has he attempted to solve the mystery of Edgar Allan Poe's death (a mystery which has proven insolvable for over a century) by using clues and evidence that he has gathered through painstaking research, but he has also written one of the best historical novels of all time.
This is a compelling, brilliantly written, meticulously plotted novel that people will continue to talk and argue about for years to come. And as a bonus, it's also one hell of an entertaining ride. Unmissable.
Ahmed Khalifa is a filmmaker and novelist. He is the writer/director of several short films and a feature, which was released on Netflix, and the author of a number of novels and short stories, including the YA horror novel, Beware The Stranger, available on Amazon. He is also the host of The Dark Fantastic Podcast. Find him on Twitter @AFKhalifa and on Facebook @DFantasticPodcast
Carol O’Connell has to be one of the most underrated crime fiction writers of all-time. Her books are atmospheric, eccentric, and feature tremendously original plots. Crime School is no exception.
The plot: Police Detective Kathleen "Kathy" Mallory, a cold, hyper-intelligent young woman, recognizes a recent victim of a brutal attack as Sparrow, a prostitute she knew from her past who protected her on the streets of New York when Kathleen was a homeless child on the run. Slowly, clues reveal that this attack might be the work of a copy-cat killer who is repeating crimes from more than twenty years ago. But Kathy is worried, and so is her older partner Riker, as it seems that Mallory's past has finally caught up with her.
The above synopsis does the book a disservice, as O’Connell’s books are never about plots, which are usually serpentine and overly-complex. Instead, her books are about the journey, the characters, the unique voice that is both modernist and classical; accessible yet strange. O’Connell has a tendency towards self-indulgence, often losing herself in bizarre asides and overly quirky situations, elements which are more pronounced in her less effective novels, like Stone Angel, and Shell Game, also featuring Mallory. But here, although these distractions are present, O’Connell’s writing, for the most part, is at its finest, weaving myriad strands and fascinating psychological details into a compelling, haunting story about memory, trust, the magic of storytelling, and the beauty of an unsolvable mystery. The novel also pulls off the neat trick of working both as a stand-alone story, and as an introduction to the adventures of Mallory, of which this is the sixth volume, while ending on a pitch perfect note that could have served just as well as the series’ finale.
Crime School is crime fiction at its best, entertaining, moody, original, and with a touch of the surreal. If you’re new to the Mallory novels, you’re in for a pleasant surprise. If you’re already a fan, you’re in for a treat.
Ahmed Khalifa is a filmmaker and novelist. He is the writer/director of several short films and a feature, which was released on Netflix, and the author of a number of novels and short stories, including the YA horror novel, Beware The Stranger, available on Amazon. He is also the host of The Dark Fantastic Podcast. Find him on Twitter @AFKhalifa and on Facebook @Dark.Fantastic.AK·Writer
While Curtains of Blood isn't brimming with historical detail like others of its ilk, it is well-realized and has enough historical flavor to make it believable. It also offers some clever theories about what could have been the inspiration behind Dracula, Stoker's masterpiece, and it ends on a chilling note that makes one look at that timeless horror classic in a new light.
A top notch historical thriller, Curtains of Blood is highly recommended for horror, thriller, and historical mystery fans.
Ahmed Khalifa is a filmmaker and novelist. He is the writer/director of the feature film Wingrave, released on Netflix, and the author of a number of novels and short stories, including the YA horror novel, Beware The Stranger, available on Amazon. Find him on Twitter @AFKhalifa and on Facebook @Dark.Fantastic.AK·Writer
The first starring vehicle for the charming Millie Bobby Brown of Stranger Things fame, Enola Holmes (2020) is a disappointing and troubling film.
One knows something is amiss when the lead character, Enola Holmes, sister of Sherlock, starts talking to the camera, explaining her background. Breaking the fourth wall almost never works, and it doesn't here. For a little while after that, things progress a little better, with a seemingly admirable plot about female empowerment and following one's own path. But as the film moves forward, two things become apparent: that the script leaves a lot to be desired - characters aren't memorable and the plot drags - and that the film uses the Sherlock Holmes mythos as an excuse to tell a subversive, politically-charged story about so-called "social reform".
For a film aimed at children - it is based on the popular children's book series of the same name - there are dangerous and troubling ideas floating around here. Aside from the blatantly socialist/woke agenda of the film, where almost every upper class character is portrayed as villainous, where the police is corrupt, where every man is weak or rigid - Henry Carvill's portrayal of Sherlock Holmes might be the most boring and toothless in cinematic history - there's Enola's mother, who turns out to be a feminist terrorist who calls public bombings "making a little noise" to get results, and is positively portrayed as a good influence on her daughter!
Add to that that the film is blandly directed by Harry Bradbeer, and at two hours plus, it feels bloated and is difficult to get through.
For fans of Sherlock Holmes, this is a travesty. For children, this is a dangerous film with a subversive political agenda. And as entertainment, it fails miserably.
Ahmed Khalifa is a filmmaker and novelist. He is the writer/director of the feature film Wingrave, released on Netflix, and the author of a number of novels and short stories, including the YA horror novel, Beware The Stranger, available on Amazon.
Reportedly, Zemba is one of Walter B. Gibson’s favorite Shadow stories, and it is easy to see why: It takes place in Paris, allowing Gibson an exotic locale in which to set his adventure; it features a slew of red herrings and double identities; there is plenty of intense gunfights; and the ending, in which all is revealed, is a master stroke of deception worthy of Gibson, a veteran illusionist himself.
It is an entertaining and ultimately very clever mystery, but it is also slightly marred by numerous slow patches, a central villain that is not very interesting, and a plot that is almost dizzyingly complex.
All in all, an entertaining if flawed Shadow story, worth reading for the ending alone.
Merciless, Richard Montanari’s third Byrne and Balzano thriller, begins slowly, almost too slowly, easing our way into an understated but deeply compelling and highly atmospheric mystery. This time around Montanari tones down the supernatural element (Byrne's psychic visions), and instead focuses on the effects of fantasy on our lives, and what happens when we lose our way inside our own imaginations. It is a deeply felt story, written in prose that is both readable and elegant.
Montanari’s skills as a master character-builder are also at full force here, with even the minor characters coming across as memorable and believable, while his dialogue always rings true.
Although Montanari has a tendency to occasionally veer into sentimentality, for the most part this is a masterfully constructed mystery/thriller that uses the police procedural formula to its fullest effect, adding a layer of atmosphere and a level of sure-footedness that are rarely found in this genre. Highly recommended for fans of Monatanri and newcomers alike.
William Friedkin is a master filmmaker. His mastery of technique and impressionist storytelling is evident in such masterpieces as The Exorcist (1973), Sorcerer (1977), and the much maligned Cruising (1980). But, in the past thirty years or so, his choices have been underwhelming at best, and mind-boggling at worst. Killer Joe (2011), Friedkin's second collaboration with playwright Tracy Letts after the unforgettable Bug (2006), is a film that is hard to like, but easy to watch.
The story, about a redneck Texas family that decides to enlist the services of a killer for hire, the titular Killer Joe - a corrupt Dallas detective who moonlights as a paid assassin - and then suffering the consequences of their choice, is compelling at first, thanks to Friedkin's sure hand, and a bevy of arresting performances by all involved, especially Emile Hirsch, Gine Gershon, and Juno Temple as the brain-damaged teen who is slowly revealed to be more than meets the eye. But as the film progresses, and Killer Joe, played with charming menace by Matthew McConaughey, starts to take over the story, scenes grow more and more incoherent and overwrought, till we reach a climax so hysterical and heavy-handed, that one is relieved when the credits roll and Clarence Carter's Strokin' starts to play.
It is obvious that Friedkin and company are having a blast with the pitch-black comedy of it all. But Friedkin is obviously not interested in reining in the story's excesses in favor of clear storytellling and believable characters. On the contrary. He seems to relish the story's over-the-top violence and characterizations, piling layer upon of layer of vulgarity and ugliness, scene after repetitive scene.
In the end, the point of the story, if there's any, is lost under the noise, blood, and gags, wasting a fine cast with it.
But that is not to say Killer Joe is a bad film. No, sir. It is a well-made, memorable movie, even entertaining, in its own twisted way. But it is also crass, loud, and ultimately underwhelming. Watch it at your own peril.
Serviceable The Shadow mystery, with intriguing Gothic overtones. But the convoluted plot and lack of a villain worthy of The Shadow's abilities, make it a forgettable entry.
The Society (2019) begins with a whimper. A bunch of seemingly uninteresting teens return to their idyllic small town from a school trip to find all the grown-ups gone. Further investigation reveals that the town is now surrounded by an endless forest that leads nowhere. Havoc ensues.
The concept reads like Lord of the Flies meets Riverdale, and after viewing the mediocre pilot and the forgettable second episode, you wouldn't be wrong to think so. But then the cast starts to shine, the characters grow dimensions, and the writing gels. And The Society turns into something special.
I won't spoil the twists and turns of the plot for you, but suffice it to say that this is a clever, original, occasionally brilliant drama, that takes the teen-drama format and uses it as a launching pad to address weighty issues, world politics, and examine the things that make any modern society thrive or fail. It also has some of the best written dialogue on TV (or OTT) since forever, and isn't above using some classic tropes like "who shot that girl?" and "who will eat the poisoned pie?", and then spinning them over their heads.
The cast, aside from a miscast Rachel Keller, is terrific, especially Kathryn Newton as Allie, whose character goes through a serpentine and demanding arc that Newton pulls off admirably.
But the show isn't perfect. Sometimes the characters behave in ways that belie their age, with creator Christopher Keyser and co. seemingly forgetting that the characters are supposed to be teens, after all, and not elderly statesmen. And things get a little po-faced every once in a while, threatening to spoil the delicate alchemy that makes the show so unique and smart. Also, the final episode, despite ending with a final kicker of a twist that hints at dark and strange things to come, doesn't pack the punch it should.
But, ultimately, The Society: Season 1 is an original, entertaining, and wonderfully thought-provoking show that warrants your attention.
The second in the series featuring detectives Byrne and Balzano, this is a tremendously compelling thriller, with a surprisingly humane center. The plot's fascination with movies and movie violence gives the plot an entertaining twist, and contrasts effectively with the gritty horrors the two detectives face. Even if things unravel a bit near the contrived climax, this is an enjoyable, haunting, and unputdownable read and a good place to start for newcomers to the series.
I accidentally found a used paperback copy of this hugely impressive novel in a bargain bin and decided to take a chance on it. I am glad I did. Sacrificial Ground by Thomas H. Cook is an original, haunting, compelling mystery/police procedural that is high on style and atmosphere.
Cook's writing is, for the most part, impressively stylish, giving the tired genre a startling dose of energy and originality, with a unique, darkly psychological spin. Despite a tendency to over-stylize the dialogue - most characters speak in a mannered, wistful way that is far from realistic - Cook manages to imbue his plot and characters with enough life, scars, and quirks to make them memorable, while the whole novel is drenched in hypnotically poetic atmospherics. Highly recommended for fans of mystery/thrillers who are looking for something a little different.
Let me get this out of the way first: I am a huge Robert W. Walker fan. Ever since I stumbled upon a paperback copy of the superbly entertaining thriller Cutting Edge (the first in the Edge series featuring the incomparable detective Lucas Stonecoat), I've read every Robert W. Walker book I could find. I am somewhat in awe of Walker - who has written a countless number of novels, novellas, and short story collections - mainly because of his seemingly tireless ability to produce book after book of quality genre fiction (thrillers, horror, mysteries, historical fiction...), some of which, in my humble opinion, are landmarks of the mid-list market, like the superb and superbly entertaining Vampire Dreams (a.k.a Curse of The Vampire), one of the best horror-action novels ever written, and the aforementioned Cutting Edge.
When you buy a Robert W. Walker book you know what you are getting: smooth prose, tight plots, memorable characters, and oodles of entertainment.
And that brings me to Walker's latest, a short novel called Chicaghosts#1: Gone Gorilla (available to buy as an e-book on June 21, 2016), a fun, funny, light thriller, that's highly readable and, well, oodles of fun! It revolves around a stolen stuffed gorilla, a musty museum full of secrets, a spellcaster out for revenge, and the team of retired detectives, who call themselves "The Old Farts Squad", that takes on the case. It's a super-breezy read, with Walker obviously having a whale of a time. The story isn't that original, but what makes it fresh is Walker's emphasis on comedy, with the snappy dialogue containing some real zingers. Add to that prose so smooth it practically reads itself, and a surprising and welcome appearance by vampire-hunter/archaeologist Abraham Stroud (the protagonist of Walker's fantastic series Bloodscreams), and you got one helluva of an enjoyable read.
A must for fans of Preston and Child's Relic, Golden Age pulp fiction, and anyone looking for a short, fun read.
Can't wait for the sequel, tentatively titled Chicaghosts#2: The Monster Pit!
