Book Review: DRACULA: ASYLUM by Paul Witcover **** out of *****

Designed as a sequel to Universal's infamous 1931 film adaptation of Bram Stoker's Dracula, starring the immortal Bela Lugosi, Dracula: Asylum is a rare book, in that it is a sequel that took me by surprise. As a huge fan of the 1931 film directed by Tod Browning, I sought out the book primarily due to it being an official sequel to that film, expecting a fun, quick read, with a thick-accented Dracula roaming the streets of London, drinking blood and spouting one-liners. What I got was something else entirely.

Author Paul Witcover uses the 1931 film and Stoker's novel as a starting point and then proceeds to transcend both, with a novel so well-written, so ambitious in its complexity and ideas, that it becomes a masterpiece of dark fantasy that manages to achieve the impossible: Add a new twist to the Dracula mythos.

The book takes place in London during WWI, following Dr. Lisa Watson, a psychiatrist who is transferred to the Seward Sanitarium for shell-shocked British soldiers, hoping to help her fiancée get back his memory, which he's lost due to the traumatic experiences he suffered in battle. Now he thinks himself Sherlock Holmes and doesn't remember anything about his true identity. Meanwhile, in the catacombs of the asylum, Renfield, who is still alive, but has become a mentally damaged mute, discovers that the corpse of Count Dracula, his master, is still there, with a stake through its heart, waiting to be revived. So he pulls out the stake, reviving the dark Count, and all hell breaks loose, as Dracula, whose slumber for the past twenty years has strengthened his psychic powers, plans to destroy the world.

Although the above synopsis doesn't do the story justice, the less told about the twists, turns and revelations of the plot, the better. Suffice it to say that if you think you know where the story is going, think again, as Witcover has a multitude of ideas and surprises under his sleeve, and, with his rich, stylized Gothic prose, lays them out one by one, continuously delving into darker psychological territory. Witcover's Dracula is the most cunning, malevolent version of the Count since Bram Stoker's; an evil, shrewd master of darkness and manipulation who is much more dangerous than previously thought. This Dracula's evil is almost biblical in scope. While the main characters, Lisa and Denis, are three-dimensional and flawed, and Witcover allows us to go under their skin to see the light and darkness within them.

Despite the novel's overly dark tone and Witcover's lifting of a couple of ideas from the films They Might Be Giants and Dracula 2000, the writing is so rich, the attention to detail so admirable, the story so original and well-plotted, that this novel deserves to be called a near-masterpiece of dark fantasy that transcends genres. And, if there's any justice in the world, it should become a classic.

Text © Ahmed Khalifa. 2011 - 2022.

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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. Find him on Twitter @AFKhalifa and on Facebook @Dark.Fantastic.AK·Writer

Book Review: CURTAINS OF BLOOD by Robert J. Randisi **** out of *****

A beguiling, immensely readable thriller, Robert J. Randisi's Curtains of Blood, is a must for fans of Dracula and Bram Stoker.

Using the now clichéd high concept of Bram Stoker crossing paths with Jack The Ripper in 1888 London, Randisi produces what is arguably the best of all the books that tread the same ground (including The Dracula Dossier by James Reese, and Stoker's Wilde by Hopstaken and Prusi). What sets Randisi's story apart is his style. He has a mastery of atmosphere, and his minimalist, unfussy writing style and short chapters pull the reader in, slowly but surely, into a compelling and disturbing story. Randisi is one of those writers with the rare talent for achieving much with few words, making his books practically read themselves.

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.

Text © Ahmed Khalifa. 2020.

Video Version:

 

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

Book Review: STOKER'S WILDE by Steven Hopstaken and Melissa Prusi *** and a 1\2 out of *****

One of the most fun horror/dark fantasy novels in years, Stoker's Wilde is one wild ride, and a pleasure for fans of Gothic Horror and Victorian fiction.

The story takes Bram Stoker, freshly appointed as manager of the Lyceum Theatre in London, joins him with the foppish, contrarian, and pre-infamy Oscar Wilde, and pits them against an evil, supernatural enemy that is out for world domination. There are monsters, gore, plenty of action, and more than a modicum of humor, with appearances by a number of historical figures from the era, and nods to numerous horror classics, including the works of Stoker, Wilde, and even the Joss Whedon TV show Angel (1999-2004)!

The only caveat is that the novel's epistolary style, which channels the style of Stoker's Dracula, a purely Victorian, blood and thunder type of novel, doesn't always gel with the authors' agnostic/progressive tone.

But with a title like Stoker's Wilde, one knows the authors don't take themselves too seriously, and, ultimately, this is a novel written by horror fans for horror fans, who are bound to have a great time, thanks to straightforward prose, loads of imagination, and genuine affinity for the characters. Recommended.

Text © Ahmed Khalifa. 2020.

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

Review: Fright Night: The Complete "Now" Comic Books (1988-1990)

The NOW Comics adaptation and continuation of the fan favorite Fright Night (1985) movie (written and directed by Tom Holland), which ran from 1988 till 1990, starts off with a bang, with a two-issue adaptation of the original movie, written by Joe Gentile, that manages to capture the spirit and humor of the film and offer enough fresh touches to make it enjoyable for even the most hardcore fans.

The comics then move on to what would become a staple of the series: a number of stand-alone stories of varying mileage, starting with issue#3, The Dead Remember, a fun and atmospheric tale, pitting Charley Brewster and Peter Vincent against a horde of blood/brain-sucking bats from another dimension.

After two underwhelming issues that bear little resemblance to the tone of the original movie, the series gets back on track with issue#6, The Legion of Endless Night, introducing the formidable vampire legion of the title, and which will become the main villain throughout the series. This issue and its sequel, issue#7, are a joy to read, taking our heroes through a fast-paced adventure packed with plenty of vampire action.

Next, the series re-introduces fan favorite Evil Ed in issues#8 and #9, The Revenge of Evil Ed, who is revealed to be alive (undead?!) and well, and out for revenge against Charley and Peter. These two issues are fun, if not very inventive, and by now the problems with the series start to show, chief among them the overly humorous tone and occasionally silly plotting, as the intended audience seems to be within the PG-13 range, with the writing lacking the wit, warmth, and menace of the original movies. The writers involved, including Tony Caputo,  Katherine Llewellyn, and James Van Hise, don't seem to be too interested in capturing the essence of the characters and the delicately balanced tone of the original movie. Instead, we are introduced to a number of forgettable side characters, including a truly forgettable new love interest for Charley.

The cracks really start to show with the next four issues, a series of lame and truly jarring stories that try to stretch the range of the series in all the wrong ways (monsters out of Greek mythology in issue#12 and a child serial killer in issue#13???). The series then recovers a little bit with the amusing two-parter The Resurrection of Dracula (issues# 14 and 15).

Then comes the final stretch of books, with the final seven issues focusing on the resurrection of Jerry Dandridge, starting with issue#16, Potion Motion. But, sadly, the plot is mishandled by the writers, with the resurrected Dandridge barely resembling the much beloved villain as portrayed by Chris Sarandon in the original movie, and the series ends with a clumsy and forgettable finale in issue#22, Reign of Terror.

The NOW Comics adaptation of Fright Night has its fans, but it also has its detractors, and reading the entire run of the series, it's easy to see why. The characters from the original movie aren't handled with care for the most part; the humor is occasionally off-key; and the quality of the stories varies dramatically from issue to issue. But the art is always good, and some of the charm of the original movie and its characters rubs off on the series, providing a number of issues that are worth the fans' time. But Fright Night, one of the greatest horror movies to come out of the 1980s, deserved better than this.

Text © Ahmed Khalifa. 2020.

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.

Review: FRIGHT NIGHT PART 2 (1988) *** and a 1\2 out of *****

Fright Night (1985) is one of my favorite movies of all time. It has everything I love about the 80's: electronic music; flashy lighting; optical special effects; and latex monsters. With a good script and tight direction by writer/director Tom Holland, Fright Night has stood the test of time and proved to be a minor masterpiece wrapped in the guise of a lover letter to the Gothic horror movies of the 1950s and 1960s.

Following such a commercial and artistic success was never going to be easy, but with Fright Night Part 2 (1988) co-writer/director Tommy Lee Wallace and co. sure gave it their best shot.

William Ragsdale is back as Charlie Brewster, and so is the ever charming Roddy McDowall as Peter Vincent, the "fearless" vampire killer, and their performances are as good and lively as they were in the original Fright Night.

The problems with Fright Night 2 mainly lie with its script and budget. Reportedly produced on an even smaller budget than its predecessor, the sequel suffers from a script that is functional enough, even occasionally inventive, but one which lacks the punch and effective characterization of the original, especially when it comes to the villains. Regine - who is revealed to be the sister of the late Jerry Dandridge, the vampire master from the original (wonderfully played by Chris Sarandon) - and her pack of vampires and familiars, just aren't as memorable and charismatic as Jerry Dandridge was. Add to that the feeling that the film is somehow smaller in scope than the original, with slightly less action - probably because of the reduced budget - and you have a sequel at a disadvantage.

But that's not the whole story, as Fright Night 2, despite its faults, is a tremendously entertaining and stylish horror film, with gorgeous cinematography by Mark Irwin, and tight, kinetic direction by Tommy Lee Wallace. The pacing is a bit problematic, and the humor-horror mix doesn't work as well as it did in the original. But Ragsdale, and especially McDowall, are in top form, giving the movie an energy and liveliness that lift it above its shortcomings.

The special effects are uneven, with fantastic matte paintings but less than stellar optical effects, while the make-up effects are mostly inventive and impressive. But, to me, the film's main power lies in its hypnotic atmosphere, bolstered by a terrific, ageless score by Brad Fiedel. Simply put, this is one of those movies that you just don't want to end. It's that entertaining. And the climax, though a little rushed, is more than satisfying.

All in all, Fright Night 2 is a horror sequel that works on many levels, even if it stumbles on a few, and is one of the most memorable horror sequels to come out of the 1980s.

Text © Ahmed Khalifa. 2016.

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

Review: TO DIE FOR (1989) and SON OF DARKNESS: TO DIE FOR II (1991)

Poorly scripted and blandly performed, To Die For (1989) is a passable horror/romantic thriller from the late 80's, notable for its failed attempt to update the Dracula myth to modern times, pitting Vlad Tepes, masquerading in Los Angeles as a wealthy bachelor, against his evil brother Tom(!), who wants to kill Vlad's latest lover, Karyn. Sloppy direction and terrible dialogue make this a slow-going watch, but some of the make-up effects are impressive.

For some reason To Die For garnered a sequel, which is surprising, since it barely registered at the box-office upon release and is hardly considered a cult classic. The sequel, Son of Darkness (1991), fares a little better, with genre veteran Michae Praed (Nightflyers, Robin of Sherwood) replacing Brendan Hughes as Vlad Tepes. Son of Darkness benefits from adequate direction by David F. Price and stylish cinematography by Gerry Lively (Waxwork, Warlock: The Armageddon), and the first half of the movie is fast-paced and atmospheric. The movie stumbles in the second half, as the emphasis shifts from horror to romance, and the plot becomes incoherent. Still this is a better movie than its predecessor, and a diverting 90 minutes for a rainy night.

Text © Ahmed Khalifa. 2016.

Review: TWIXT (2011)

Original Poster

When Francis Ford Coppola announced that he was making another horror movie, his first since 1992's Bram Stoker's Dracula, many rejoiced, including myself. When released, Twixt (2011) proved to be a polarizing effort. On the one hand, in terms of technique, it's mostly unpolished, with the Hi-Def cinematography looking occasionally drab, while the editing and pacing are on the uneven side.

On the other hand, this is Coppola the master filmmaker enjoying the freedom of making a low-budget movie, and one that is both fiercely atmospheric and surprisingly personal (the plot touches upon the tragic death of Coppola's son in a boating accident). As for the plot (a washed out horror novelist investigating a mystery involving vampiric murders in a sleepy little town), it's basically fodder for creating some striking Gothic visuals and playful performances by all involved, especially Val Kilmer and Bruce Dern. And then there's the ending: a haunting, confusing, scary final touch that caps a horror film that is flawed, ambitious, and a welcome return to a genre that Coppola obviously loves.

N.B. The plot, especially the ending, bears some minor similarities to author Richard Laymon's masterpiece, The Stake (1990).

Text © Ahmed Khalifa. 2016.