Hunting Demons: A True Story of the Dark Side of the Supernatural by Sylvia Shults
was released by Whitechapel Productions Press in August 2015 in both
print and digital formats. This survey of demonology is surprisingly
human, combining both cultural and religious history with a compelling
personal experience. The combination is unique and takes a skilled
writer to execute. It is clunky at times, but helps provide context for
an incredible tale.
Hunting Demons is 158 pages and informally divided into two parts. The first part examines the history of demons and Satanism in Western and Middle Eastern culture, and the second is a personal tale of a woman from central Illinois who believed demons were tormenting her.
The personal experience is primarily grounded in Catholic theology, although it begins with a paranormal investigation. Because of this, it may have been more helpful for the author to focus on demonology from a Catholic perspective, rather than a more general overview.
In her historical and cultural survey, Sylvia Shults looks at demons and satanism from early human history to the present day. She transitions from the dark side in contemporary TV shows to the evolution of religion and evil spirits.
While interesting, this history is non-linear and has several noticeable gaps. For example, Shults jumps from the Salem Witch Trials to Vatican II in the 1960s. In her chapter on satanic panics, she goes from the heresies of the Middle Ages to the cult scare of the 1980s.
Continue reading “Hunting Demons a Harrowing Look at the Dark Side”
First published by Guild Press Emmis Publishing in 2002, Haunted Hoosier Trails: A Guide to Indiana’s Famous Folklore Spooky Sites by Wanda Lou Willis has quickly become a genre classic. Everything, from the paper it’s printed on, to its layout, maps, and illustrations, is of the highest quality. It is (to put it bluntly) a beautiful book, but it is the stories within that are most important.
Willis does a wonderful job retelling ghost stories and legends from all over the Hoosier State. Like the rest of the book, the quality of writing is superb—clean, and polished. The only things this book lacks are proper citations and an index. Otherwise, it should be the standard that authors in this genre seek to emulate.
The tales in Haunted Hoosier Trails are organized by region and county. Willis divides Indiana into three regions: North, Central, and South. A short history introduces each county, and each location or story is given one or two pages—just enough to explain the background and strange happenings without losing the reader’s interest. In fact, an incredible 78 tales are featured in this 180 page book, but none of them feel rushed or incomplete.
A map pinpointing their exact location
accompanies many of the tales. Unlike the poor quality maps featured in
other books in this genre, the maps included in Haunted Hoosier Trails
are clean and easy to read. They were created by the book’s
illustrator, Steven D. Armour. Armour’s ink sketches are a wonderful
addition to the book and come at the beginning of each section. They
illustrate a handful of that region’s most notable stories.
Continue reading “Haunted Hoosier Trails Sets a Standard for Folklore”
In the early 2000s, I stumbled on a book that radically changed the way I thought about ghost stories and the paranormal. That book was The Last Laugh (1999) by Raymond Moody, Jr. Today, it is only available in digital format on Amazon Kindle. After all these years, I still recommend it to my readers interested in having a more well-rounded perspective on this subject. You might be surprised at what you discover about yourself and what it means to be human.
Raymond Moody, Jr. is the doctor who first publicized the phenomenon of near-death experiences in his groundbreaking book, Life After Life (1975). Much to his chagrin, his work re-invigorated the New Age movement and he was thrust into the limelight as someone who had “proven” the existence of life after death.
This misconception, he reveals in The Last Laugh, came as a result of his publisher’s deletion of a crucial final chapter in Life After Life in which he argues that these personal experiences, though incredibly meaningful and sometimes life changing, actually do not prove the existence of life after death. They just “moved the goalpost.”
The Last Laugh was meant not only to be a post-script to Life After Life, but to also serve as that final missing piece. The premise of The Last Laugh is simple but deeply insightful. Throughout recent history, there have been three main players in the discussion of the paranormal: parapsychologists, professional skeptics, and Christian fundamentalists.
Not only have these three perspectives not advanced our knowledge very much on the issue, but Moody contends that neither actually wants to resolve the debate, because in resolving the controversy they would eliminate their reason for being in the spotlight and also lose a source of fun and entertainment in the process.
Continue reading “The Last Laugh by Raymond Moody on Kindle”
A quirky premise isn’t enough to carry an entire film.
A boyfriend unsuccessfully copes with his girlfriend’s passing and resurrection during a zombie outbreak in Life After Beth (2014). Written and directed by Jeff Baena, this comedy-horror manages to be neither terrifying nor funny. Life After Beth has its moments, but its poorly thought out horror elements interrupt and undermine what could have otherwise been an interesting exploration of love, loss, and regret, and the importance of letting go.
Young Zach Orfman (Dane DeHaan) is devastated
when his girlfriend, Beth Slocum (Aubrey Plaza),
dies from a snakebite. His parents, Noah (Paul Reiser) and
Judy (Cheryl Hines),
urge him to move on. Zach becomes suspicious to the point of paranoia when Beth’s
parents, Maury (John
C. Reilly) and Geenie (Molly Shannon), abruptly
stop speaking with him and cloister themselves in their home.
Things get complicated when Zach discovers Beth has returned
from the dead. Her parents consider it a miracle, but Zach just can’t accept the
new status quo. Beth’s strange behavior, as well as the appearance of other
long-dead people from his past, has him asking questions. His testosterone-fueled
brother, Kyle (Matthew
Gray Gubler), springs into action as the zombie apocalypse unfolds. Can
Zach discover a cure for the zombie outbreak and save his lost love?
Continue reading “Life After Beth”
A murderous doll with the ability to control smart devices runs amok in this fresh reboot.
Written by Tyler Burton Smith and directed by Lars Klevberg, Child’s Play (2019) is a remake of the 1988 horror film of the same name. In this version, Chucky is a sabotaged smart-toy who learns violence is cool by watching human behavior. As such, the supernatural elements of the original have been removed. What remains is a contemporary morality play about the dangers of smart technology and our addiction to electronic devices.
Karen Barclay (Aubrey Plaza) is a single mother living in a distressed urban neighborhood with her son, Andy (Gabriel Bateman). Andy’s loneliness leads Karen to give him a Buddi doll (voiced by Mark Hamill) for his birthday. Though visibly dysfunctional, the doll (which calls itself Chucky because it has to, I guess?) imprints on Andy and quickly becomes overprotective.
Andy soon meets two other kids in the apartment building, Falyn (Beatrice Kitsos) and Pugg (Ty Consiglio), and the trio play pranks on Karen’s jerkish boyfriend, Shane (David Lewis). Detective Mike Norris (Brian Tyree Henry) suspects something is amiss. Can Shane and friends rein in Chucky’s violent tendencies before it’s too late?
Child’s Play is the latest horror-franchise reboot, and it was only a matter of time. In the horror pantheon, I would put Child’s Play on a second or third tier behind obvious powerhouses like Halloween, Nightmare on Elm Street, or Friday the 13th. Its premise of a killer doll is just a little too campy, and the original films do play up the humorous element. Still, Child’s Play has a reliable fan base.
Continue reading “Child’s Play: Are You My Best Friend?”
This indie film based on a Civil War legend had potential but ultimately fell below the standards of a made-for-TV movie.
A Confederate surgeon invents a battlefield legend to protect a young woman from an intolerant society in Son of a Gun (2019), written and directed by Travis Mills. This indie production reels in its audience with an interesting premise but from the first scene to the last, falls short in nearly every category of filmmaking.
The year is 1863. Union and Confederate armies are locked in deadly combat near Vicksburg, Mississippi. Battlefield surgeon Legrand Capers (Miles Doleac) is pulled away from a wounded soldier to tend to a young woman (Jessica Harthcock) at a nearby farmhouse who was shot in the abdomen by a stray bullet. Months later, he returns to learn the woman is pregnant, yet she insists she’s a virgin. The stray bullet, passing through the soldier’s scrotum, must have somehow impregnated the woman! At least, that’s what an elderly Legrand Capers (Cotton Yancey) tells a group of old-timers at a tavern.
Things get complicated when the film unravels three separate versions of events, with different actors and actresses playing the various roles. Each version leads the audience further away from fantasy and toward the scandalous truth. Finally, as Capers is dying of tuberculosis many years after the war, he is confronted by the family’s former slave, Mamie (Nancy Lindsey), who knows what really happened.
Son of a Gun’s use of multiple perspectives and multiple casts to tell the story was unique and not as confusing as it sounds. The actor who played middle-aged Capers, William Shannon Williams, was subtly charming and fit the role well, as did actress Nancy Lindsey. For the most part, the performances were fine. It was the amateurish sound and editing that cheapened every scene.
Continue reading “Son of a Gun – Amateur Effort Sours an Otherwise Promising Film”
The birth of the modern political scandal is recounted in this stylistic and overlong drama.
Written by Matt Bai and Jay Carson, and directed by Jason Reitman, The Front Runner (2018) dramatizes the news media’s role in U.S. Senator Gary Hart’s 1988 Democratic presidential primary campaign implosion. Filmed like a docudrama, the 113 minute period piece alternates between Hart’s campaign and the journalists covering it, to the detriment of both perspectives.
As the film opens, Senator Gary Hart (Hugh Jackman) is riding high off an energetic but ultimately unsuccessful primary campaign for president. Flash forward four years, Hart prepares to make another run for it with his veteran campaign manager, Bill Dixon (J.K. Simmons), and a cornucopia of campaign staff, including body man Billy Shore (Mark O’Brien) and a fictional scheduler named Irene Kelly (Molly Ephraim). Hart tries to maintain a cozy relationship with the press, including with inexperienced Washington Post reporter AJ Parker (Mamoudou Athie).
Things get complicated when Hart attends a party on a yacht called the Monkey Business and reporters at the Miami Herald begin receiving strange phone calls about Hart cheating on his longtime wife, Lee (Vera Farmiga). Frustrated, Hart challenges AJ to “follow him around.” Miami Herald reporters Tom Fiedler (Steve Zissis) and Pete Murphy (Bill Burr) take this as an invitation and begin surveilling Hart’s apartment, where they see Donna Rice (Sara Paxton) leaving at night. Can Hart extinguish this media firestorm before it’s too late?
With a cast of literally dozens of minor characters competing for screen time, your effort to keep track of them all will be as ambitious as the filmmakers’ efforts to tell this story from every imaginable angle.
Continue reading “The Front Runner”