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Silverhide

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Silverhide-DVD

‘The ultimate predator!’

Silverhide – formerly Pounce – is a 2015 British horror film written and directed by Keith R. Robinson. It stars Lucy Clarvis, Kelly Wines, John Hoye, Jordan Murphy, Phil Stone, Sean Hayes, and Matt Brewer.

Plot teaser:

A group of conspiracy theorists are secretly watching a top secret military base in the desolate Welsh mountains. They are looking for experimental and highly classified test aircraft to report about in a magazine, when they suddenly discover a top secret and highly lethal creature (discovered in the 1920’s) which the military and Government are testing. The creature’s fur can turn invisible in moon light.

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The conspiracy theorists are hunted by both the creature – which the army has nick named “The Silverhide” – and the military who will stop at nothing to keep their classified specimen a secret…

 

Silverhide-2

Silverhide is released on DVD in the UK on April 6, 2015 via 101 Films.

WH



Borley Rectory –‘The most haunted house in England”

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The rectory in 1892

 

Borley Rectory was a Victorian mansion that gained fame as allegedly “the most haunted house in England”. Built in 1862 to house the rector of the parish of Borley, Essex, and his family, it was badly damaged by fire in 1939 and demolished in 1944.

The large Gothic-style rectory had been alleged to be haunted ever since it was built. Reports multiplied suddenly in 1929, after the Daily Mirror published an account of a visit by paranormal researcher Harry Price, who wrote two books supporting claims of paranormal activity.

The uncritical acceptance of Price’s reports prompted a formal study by the Society for Psychical Research (SPR), which rejected most of the sightings as either imagined or fabricated and cast doubt on Price’s credibility. His claims are now generally discredited by ghost historians. Neither the SPR’s report nor the more recent biography of Price has quelled public interest in the stories, and new books, television documentaries and two upcoming 2015 films continue to satisfy public fascination with the rectory.

A short programme commissioned by the BBC about the alleged manifestations, scheduled to be broadcast in September 1956, was cancelled owing to concerns about a possible legal action by Marianne Foyster, widow of the last rector to live in the house.

The first paranormal events allegedly occurred in about 1863, since a few locals later remembered hearing unexplained footsteps within the house at about this time. On 28 July 1900, four daughters of the rector, Henry Dawson Ellis Bull, reported seeing what they thought was the ghost of a nun at twilight, about 40 yards (37 metres) from the house; they tried to talk to it, but it disappeared as they got closer. The local organist recalled that the family at the rectory were “very convinced that they had seen an apparition on several occasions”. Various people were to claim to have witnessed a variety of puzzling incidents, such as a phantom coach driven by two headless horsemen, during the next four decades. Henry Dawson Ellis Bull died in 1892 and his son, the Reverend Henry (“Harry”) Foyster Bull, took over the living.

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Alleged sighting in the grounds

 

On 9 June 1928, Henry (“Harry”) Bull died and the rectory again became vacant. In the following year, on 2 October, the Reverend Guy Eric Smith and his wife moved into the home. Soon after moving in Mrs Smith, while cleaning out a cupboard, came across a brown paper package containing the skull of a young woman. Shortly after, the family reported a variety of incidents including the sounds of servant bells ringing despite their being disconnected, lights appearing in windows and unexplained footsteps. In addition, Mrs Smith believed she saw a horse-drawn carriage at night. The Smiths contacted the Daily Mirror. On 10 June 1929 the newspaper sent a reporter, who promptly wrote the first in a series of articles detailing the mysteries of Borley. The paper also arranged for Harry Price, a paranormal researcher, to make his first visit to the house that would ultimately make him famous. He arrived on 12 June and immediately objective “phenomena” of a new kind appeared, such as the throwing of stones, a vase and other objects. “Spirit messages” were tapped out from the frame of a mirror. As soon as Harry Price left, these ceased. Mrs Smith later maintained that she already suspected Harry Price, an expert conjurer, of causing the phenomena.

The Smiths left Borley on 14 July 1929, and the parish had some difficulty in finding a replacement. The following year the Reverend Lionel Algernon Foyster (1878–1945), and his wife Marianne (1899–1992) moved into the rectory with their adopted daughter Adelaide. Lionel Foyster wrote an account of various strange incidents that occurred between the time the Foysters moved in and October 1935, which was sent to Harry Price. These included bell-ringing, windows shattering, throwing of stones and bottles, wall-writing, and the locking of their daughter in a room with no key. Marianne Foyster reported to her husband a whole range of poltergeist phenomena that included her being thrown from her bed. On one occasion, Adelaide was allegedly attacked by “something horrible”. Foyster tried twice to conduct an exorcism, but his efforts were fruitless; in the middle of the first exorcism, he was struck in the shoulder by a fist-size stone. Because of the publicity in the Daily Mirror, these incidents attracted the attention of several psychic researchers, who after investigation were unanimous in suspecting that they were caused, consciously or unconsciously, by Marianne Foyster. Mrs Foyster later stated that she felt that some of the incidents were caused by her husband in concert with one of the psychic researchers, but other events appeared to her to be genuine paranormal phenomena. Marianne later admitted that she was having a sexual relationship with the lodger, Frank Pearless, and that she used paranormal explanations to cover up her liaisons. The Foysters left Borley in October 1935 as a result of Lionel’s ill health.

Borley remained vacant for some time after the Foysters’ departure, until in May 1937 Price recruited a corps of 48 “official observers”, mostly students, who spent periods, mainly during weekends, at the rectory with instructions to report any phenomena that occurred.

In March 1938 Helen Glanville (the daughter of S. J. Glanville, one of Price’s helpers) conducted a séance in Streatham in south London. Price reported that she made contact with two spirits, the first of which was that of a young nun who identified herself as Marie Lairre. According to the planchette story Marie was a French nun who left her religious order and travelled to England to marry a member of the Waldegrave family, the owners of Borley’s 17th-century manor house, Borley Hall. She was said to have been murdered in an earlier building on the site of the rectory, and her body either buried in the cellar or thrown into a disused well.The wall writings were alleged to be her pleas for help; one read “Marianne, please help me get out”.

The second spirit to be contacted identified himself as Sunex Amures, and claimed that he would set fire to the rectory at nine o’clock that night, 27 March 1938. He also said that, at that time, the bones of a murdered person would be revealed.

On 27 February 1939 the new owner of the rectory, Captain W. H. Gregson, was unpacking boxes and accidentally knocked over an oil lamp in the hallway. The fire quickly spread and the house was severely damaged. After investigating the cause of the blaze the insurance company concluded that the fire had been started deliberately.

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Rectory after the fire

 

Miss Williams from nearby Borley Lodge said she saw the figure of the ghostly nun in the upstairs window and, according to Harry Price, demanded a fee of one guinea for her story. In August 1943 Harry Price conducted a brief dig in the cellars of the ruined house and discovered two bones thought to be of a young woman. The bones were given a Christian burial in Liston churchyard, after the parish of Borley refused to allow the ceremony to take place on account of the local opinion that the bones found were those of a pig.

After Price’s death in 1948 Eric Dingwall, Kathleen M. Goldney, and Trevor H. Hall, three members of the Society for Psychical Research (SPR), investigated his claims about Borley. Their findings were published in a 1956 book, The Haunting of Borley Rectory, which concluded Price had fraudulently produced some of the phenomena.

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The “Borley Report”, as the SPR study has become known, stated that many of the phenomena were either faked or due to natural causes such as rats and the strange acoustics attributed to the odd shape of the house. In their conclusion, Dingwall, Goldney, and Hall wrote “when analysed, the evidence for haunting and poltergeist activity for each and every period appears to diminish in force and finally to vanish away.” Terence Hines wrote “Mrs. Marianne Foyster, wife of the Rev. Lionel Foyster who lived at the rectory from 1930 to 1935, was actively engaged in fraudulently creating [haunted] phenomena. Price himself “salted the mine” and faked several phenomena while he was at the rectory.”

Marianne later in her life admitted she had seen no apparitions and that the alleged ghostly noises were caused by the wind, friends she invited to the house and in other cases by herself playing practical jokes on her husband. Many of the legends about the rectory had been invented. The children of Rev. Harry Bull who lived in the house before Lionel Foyster claimed to have seen nothing and were surprised they had been living in what was described as England’s most haunted house.

Wikipedia

 


Hemlock Books – publisher

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British-based Hemlock Books was formed in 2007 by author and film historian Denis Meikle, whose own books include A History of Horrors: The Rise and Fall of the House of Hammer (1996), Jack the Ripper: The Murders and the Movies (2002), Vincent Price: The Art of Fear (2003) and Roman Polanski: Odd Man Out (2006). 

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The company was set up with a dual purpose: as a retail publisher of niche titles for horror and fantasy fans on one side, and as a retailer of (mostly) American fanzines on the other side. Hemlock has many exclusive US contacts and is now the online presence in the UK for genre magazines like Little Shoppe of Horrors and Rue Morgue. It is the official distributor of GoreZone and producer-director Charles Band’s new publishing offshoot, Delirium.

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Hemlock’s publishing arm was established to produce ‘cult’ titles of specific interest to fans of classic British horror. Many of these would be too narrow in their appeal to be of value to mainstream publishers but with modern digital technology, a niche publisher like Hemlock can print in lower volume and produce books for a limited audience who would not otherwise be catered for in the conventional marketplace. The model for this fan-based approach was US publisher Midnight Marquee Press, with whom Hemlock has a co-publishing agreement.

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Some titles have been specifically commissioned, such as those in Hemlock’s ‘British Cult Cinema’ series, but most are unsolicited submissions. Anyone can suggest a book to the company, the criteria being that a) the author can write, b) it should bring something new to the table in a field where many of the topics have effectively been ‘done to death’, and c) unique access or exclusive material is a definite plus. Proposals can be submitted to info@hemlockbooks.com

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New and forthcoming titles include X-Cert 2, the sequel to John Hamilton’s X-Cert (2012), Frightmares: The Films of Pete Walker, a new series of ‘Hemlock Horror Companion’s featuring Witchcraft & Black Magic in British Cult Cinema, the films of Canadian cult director Bob Clark and actor Udo Keir, as well as four new Midnight Marquee UK editions.

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Future titles will include the sequel to 2013’s Empire of the B’s, examining Charles Band’s days with Full Moon Features, and a new definitive film biography of Vincent Price.

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In the space of a few years, Hemlock Books has established itself as the leading publisher of genre titles in the UK, with a reputation for original and quality writing. 

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www.hemlockbooks.co.uk


Burke and Hare: Notorious murderers – article

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William Burke and William Hare, also sometimes referred to as The West Port Murderers, were notorious 19th century killers who supplied their victims’ bodies to surgeons for dissection and anatomy lectures in Edinburgh, Scotland.

Eschewing the traditional method of waiting for people to die to steal their bodies, the duo – both Irish immigrants – murdered no fewer than sixteen individuals in the Edinburgh area, over a period of about ten months in 1828. The beneficiary of these killings was one Doctor Robert Knox who purchased the corpses as dissection material for his well-attended anatomy lectures. Burke and Hare’s alleged accomplices were Burke’s mistress, Helen McDougal, and Hare’s wife, Margaret Laird. From their acts came the British word “burking”, originally meaning to smother a victim, or to commit an anatomy murder but which has since passed into general use as a word for any suppression or cover-up.

Like many places, the Edinburgh Medical School, which was universally renowned for medical sciences, relied increasingly on body-snatchers for a steady supply of “anatomical subjects”. Burke and Hare both met each other through happen chance and their sinister capitalism was first witnessed in 1827 when they took possession of a pensioner, dead from natural causes, who lived in the same lodging house. After filling his coffin with ballast, they took his cadaver to Surgeon’s Square where they sold the body for £7.10s (2010 values: £731, US$1,130) to an assistant of Dr. Robert Knox, an anatomist of considerable reputation owing to his knowledge and skill gained as an army surgeon at the time of Waterloo.

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Burke and Hare’s first murder victim was a sick tenant named Joseph, a miller by trade, whom they plied with whisky and then suffocated. When there were no other sickly tenants, they decided to lure a victim from the street. In February 1828, they invited pensioner Abigail Simpson to spend the night before her return home to the village of Gilmerton. The following morning they employed the same modus operandi, serving her with alcohol to intoxicate her, and then smothering her. This time they placed the body in a tea-chest and handed it over to a porter sent to meet them “at the back of the Castle”. They were paid £10, a princely sum.

Two further undated murders took place that Spring. One victim was invited into the house by Mrs Hare and plied with drink until Hare’s arrival; the other was despatched in similar circumstances by Burke acting on his own. Next, Burke encountered two women, Mary Paterson and Janet Brown, in the part of Edinburgh known as the Canongate. He invited them to breakfast at his brother’s house in Gibb’s Close, but Brown left when an argument broke out between McDougal and Burke. When she returned, she was told that Paterson had left with Burke; in fact, she, too, had been taken to Dr. Knox’s rooms in a tea-chest. The two women were described as prostitutes in contemporary accounts, but there is no evidence that this was true. The story later arose that one of Knox’s students had recognised the dead Paterson, whose acquaintance he had made a few days earlier.

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A further victim was an acquaintance of Burke, a woman called Effie who scavenged for a living and was in the habit of selling him found scraps of leather he could use for his cobbling. They were paid £10 for her body. Then Burke “saved” an inebriated woman from being held by a policeman and his assisting neighbour by claiming that he knew her and could take her back to her lodging. He delivered her body to the medical school just hours later. The next two victims were an old woman and her mute son or grandson, aged about 12. While the woman died from an overdose on painkillers, Hare took the young boy and stretched him over his knee, then proceeded to break his back. He later said that this was the murder that disturbed him the most, as he was haunted by his recollection of the boy’s deathly expression. The customary tea-chest being found inadequate, both bodies were forced into a herring barrel and conveyed to Surgeons’ Square, where they fetched £8 each. According to Burke, the barrel was loaded onto a cart which Hare’s horse refused to pull uphill from the Cowgate, so that Hare had to call a porter to help him drag it the rest of the way on a sled. Once back in Tanner’s Close, Hare took his anger out on the horse by shooting it dead in the yard.

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Two more victims were of Burke’s acquaintance; Mrs. Hostler, and one of McDougal’s relatives, Ann Dougal, a cousin from Falkirk. Burke later claimed that about this time Mrs Hare suggested converting Helen McDougal into merchandise on the grounds that “they could not trust her, as she was a Scotch woman”; but he refused. The following victim was Mary Haldane, a former lodger who, down on her luck, asked to sleep in Hare’s stable. Burke and Hare also murdered her daughter Peggy Haldane when she called a few days later to inquire after her mother’s whereabouts.

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Burke and Hare’s next victim was a familiar figure in the streets of Edinburgh, a mentally disabled young man with a limp, named James Wilson. “Daft Jamie”, as he was known locally, was 18 at the time of his murder. The boy resisted, and the pair had to kill him together, though later each blamed the other for taking the main part in the crime. When Dr. Knox uncovered the body the next morning, several students recognised Jamie. Knox denied that it was the missing boy, and was reported to have dissected the body ahead of others to render the remains unrecognisable. While Hare was in the habit of disposing of victims’ clothing in the Union Canal, Burke passed Jamie’s clothes to his nephews, leaving behind material evidence which was recovered before the trial.

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The final victim was Mrs Mary Docherty, also known by her maiden name as Margery Campbell. Burke lured her into the lodging house by claiming that his mother was also a Docherty, but he had to wait to complete his murderous task because of the presence of lodgers James and Ann Gray. The Grays left for the night and neighbours later reported having heard the sounds of a struggle and even a woman’s voice crying “murder!”

The next day the Grays returned, and Ann Gray became suspicious when Burke would not let her approach a bed where she had left her stockings. When they were left alone in the house in the early evening, the Grays checked the bed and found Docherty’s body under it. On their way to alert the police, they ran into McDougal who tried to bribe them with an offer of £10 a week. They refused.
Burke and Hare had removed the body from the house before the police arrived. However, under questioning, Burke claimed that Docherty had left at 7 a.m., while McDougal inconsistently claimed that she had left in the evening. The police arrested them.

An anonymous tip-off led them to Knox’s dissecting-rooms where they found Docherty’s body, which James Gray identified. William and Margaret Hare were arrested soon thereafter. The murder spree had lasted almost ten months.

The evidence against the pair was far from conclusive. In the one case for which the authorities had a body (Mrs Docherty’s) the medical experts could not state the cause of death with any certainty, and the prospect seemed real that Burke and Hare would blame each other for the murders, leaving a jury uncertain as to whom to convict for a capital offence. Lord Advocate Sir William Rae therefore offered Hare the opportunity “to turn King’s evidence” (this meant that essentially he would be granted immunity from prosecution if he confessed and agreed to testify against Burke).

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Contemporary accounts suggest that Burke was perceived as the more intelligent of the two, and was therefore presumed to have taken the lead in their crimes. After visiting both men in their cells, Christopher North described them in Blackwood’s Magazine (March 1829):- although there was “nothing repulsive” about Burke who was “certainly not deficient in intellect”, he was “steeped in hypocrisy and deceit; his collected and guarded demeanour, full of danger and guile”, a “cool, calculating, callous and unrelenting villain”; Hare, on the other hand, was “the most brutal man ever subjected to my sight, and at first look seemingly an idiot.” Comparing the two women, he observed that Mrs Hare “had more of the she-devil”.

The Lord Advocate’s decision was extremely unpopular with the press and public who throughout the trial expressed hostility towards the Hares. A petition on behalf of James Wilson’s mother and sister, protesting against Hare’s immunity and intended release from prison, was given lengthy consideration by the High Court but rejected by a vote of 4 to 2 against. Burke and McDougal faced three charges of murder in respect of Mary Paterson, James Wilson and Mrs Docherty (the third charge to be heard first and, on a successful capital conviction, the other two to remain unheard). The trial took place on Christmas Eve 1828 and lasted twenty-four hours.

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The jury retired to consider its verdict at 8.30am on Christmas Morning and returned just fifty minutes later to find Burke guilty of the third charge and the charge against McDougal not proven.
Before passing the death sentence, the Lord Justice-Clerk, David Boyle, addressed Burke with the words:

“You now stand convicted, by the verdict of a most respectable jury of your country, of the atrocious murder charged against you in this indictment, upon evidence which carried conviction to the mind of every man that heard it. (…) In regard to your case, the only doubt that has come across my mind, is, whether, in order to mark the sense that the Court entertains of your offence, and which the violated laws of the country entertain respecting it, your body should not be exhibited in chains, in order to deter others from the like crimes in time coming. But, taking into consideration that the public eye would be offended with so dismal an exhibition, I am disposed to agree that your sentence shall be put in execution in the usual way, but accompanied with the statutory attendant of the punishment of the crime of murder, viz.- that your body should be publicly dissected and anatomised. And I trust, that if it is ever customary to preserve skeletons, yours will be preserved, in order that posterity may keep in remembrance of your atrocious crimes”

Burke was hanged at 8.15 am on 28 January 1829 in a torrential rainstorm which did little to deter a crowd estimated at between 20,000 and 25,000. Window-seats in tenements overlooking the scaffold were hired at prices ranging from 5 shillings to £1. On the following day Burke was publicly dissected in the anatomy theatre of the University’s Old College. Police had to be called when large numbers of students gathered demanding access to the lecture for which a limited number of tickets had been issued. A minor riot ensued and calm was restored only after one of the university professors decided to allow the would-be gate-crashers to pass through the theatre in batches of fifty at a time.

During the dissection, Professor Alexander Monro dipped his quill pen into Burke’s blood and wrote:

“This is written with the blood of Wm Burke, who was hanged at Edinburgh. This blood was taken from his head.”

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Following the dissection, the Edinburgh phrenologists were permitted to examine Burke’s skull. Burke’s skeleton is now displayed in the Anatomy Museum of the Edinburgh Medical School. His death mask and a book said to be made from his tanned skin can be seen at Surgeons’ Hall Museum. As Robert Knox was the first conservator of the museum there are also specimens, instruments and other artefacts relating to him and the period (the museum is open daily to the public). Following the execution and dissection, wallets supposedly made from Burke’s skin were offered for sale on the streets of Edinburgh. A calling card case made from skin taken from the back of his left hand fetched £1050 at auction in 1988. It was sold by the family of Piercy Hughes, a descendant of one of the surgeons involved in the dissection, and bought by Robin Mitchell and Colin MacPhail of Edinburgh’s Cadies & Witchery Tours Company. Until 2013 the case was displayed at the Police Information Centre in Edinburgh’s Royal Mile. It is now displayed in The Cadies & Witchery Tours shop in Edinburgh’s West Bow.

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McDougal was released after the charge against her was found to be not proven. Knox was not prosecuted, despite public outrage at his role in providing an incentive for the sixteen murders. Burke swore in his confession that Knox had known nothing of the origin of the cadavers. Both McDougal and Mrs Hare were relentlessly pursued by angry mobs baying for justice but they lived out their lives in relative anonymity, away from the public gaze.

Hare himself was released in February 1829 and immediately assisted in leaving Edinburgh by the mail-coach to Dumfries. At one of its stops he was recognised by a fellow-passenger who, as chance would have it, was a junior counsel who had represented James Wilson’s family. On arrival in Dumfries the news of Hare’s presence spread like wild-fire and a crowd estimated at 8,000 gathered at the hostelry where he was staying the night. Police arrived and arranged for a decoy coach to draw off the crowd while Hare escaped through a back window into a carriage which took him to the town’s tollbooth. A crowd surrounded the building; stones were thrown at the door and windows and street lamps smashed before 100 special constables arrived to restore order.

In the small hours of the morning, escorted by a sheriff officer and militia guard, Hare was taken out of town, set down on the Annan Road and instructed to make his way to the English border. Two days later the driver of the northbound mail reported having passed him within half a mile of Carlisle. Several days later he was spotted two miles south of the town; the last reported sighting of him on the mainland. Though many folk tales still survive with lurid details of avenging mobs, lime pits and revenge murder, details of Hare’s final years remain unknown.

• The Burke and Hare murders are referenced in Robert Louis Stevenson’s short story, The Body Snatcher from 1884, which portrays two doctors in Robert Knox’s employ responsible for buying the corpses from the killers. The story was the basis of the 1945 film adaptation The Body Snatcher, directed by Robert Wise and starring Bela Lugosi and Boris Karloff.

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• The 1939 film The Anatomist was directed by the playwright James Bridie, and was based on his own 1930 play of the same name. In 1956, legendary producer Harry Alan Towers debuted with The Anatomist, based on the aforementioned play. Dennis Vance directed the movie, which starred Alastair Sim as Dr. Knox and Michael Ripper as William Hare. It was based on an episode of “ITV Play of the Week” earlier the same year by the same name and trio.

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• The murders were adapted into a 1948 film starring Tod Slaughter with the working title Crimes of Burke and Hare; however, the British Board of Film Censors deemed its topic too disturbing and insisted that references to Burke and Hare be excised. The film was re-dubbed with alternative dialogue and characters, and released as The Greed of William Hart.

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• The 1960 film The Flesh and the Fiends aka The Fiendish Ghouls starred Peter Cushing as Knox, Donald Pleasence as Hare and George Rose as Burke.

• The 1971 film Dr. Jekyll and Sister Hyde transported Burke and Hare into the late Victorian era and portrayed them as being employed by Dr. Jekyll. Burke was played by Ivor Dean and Hare by Tony Calvin.

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• The 1971 sexed-up film Burke & Hare starred Derren Nesbitt as Burke and Glynn Edwards as Hare.

• The 1985 film The Doctor and the Devils, directed by Freddie Francis, is based on Dylan Thomas’ 1953 screenplay of the same name and is a retelling of the Burke and Hare murder story with the names of the characters altered. Timothy Dalton plays Dr. Rock (Thomas’ characterisation of Dr. Knox), while Jonathan Pryce and Stephen Rea play the Burke and Hare surrogates.

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• The 2004 Doctor Who audio drama ‘Medicinal Purposes’ placed the Sixth Doctor (Colin Baker) amidst the events of the murders; the play featured Leslie Phillips as Dr. Knox and David Tennant (who would later become the Tenth Doctor) as “Daft Jamie”.

I Sell The Dead, a 2008 comedy horror film, has pub patrons claiming career grave-robbers Willie and Arthur are successful rivals to Burke and Hare’s notoriety.

Burke and Hare, a comedy film loosely based upon the historical case, starring Simon Pegg as Burke and Andy Serkis as Hare, and directed by John Landis (An American Werewolf in London).

Burke and Hare

Daz Lawrence, Horrorpedia

 


Hardware

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HARDWARE

‘You can’t stop progress’

Hardware is a 1990 British-American post-apocalyptic science fiction horror film directed by Richard Stanley (Dust Devil; The Profane ExhibitLost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau) and starring Dylan McDermott (The Fear Inside), Stacey Travis and John Lynch. Rock stars Iggy Pop and Lemmy (Motörhead) have cameo roles. The Simon Boswell soundtrack was bolstered by bristling tracks from Ministry (“Stigmata”) and Public Image Ltd. (“The Order of Death”).

Inspired by a short story in 2000 AD, the film depicts the rampage of a self-repairing robot in a post-apocalyptic slum. Other influences include Soylent Green, Damnation Alley, and the works of Philip K. Dick.

Plot teaser:

A nomad scavenger treks through an irradiated wasteland and discovers a buried robot. He collects the pieces and takes them to junk dealer Alvy, who is talking with ‘Hard Mo’ Baxter, a former soldier, and Mo’s friend Shades. When Alvy steps away, Mo buys the robot parts from the nomad and sells all but the head to Alvy.

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Intrigued by the technology, Alvy begins to research its background. Mo and Shades visit Jill, Mo’s reclusive girlfriend, and, after an initially distant welcome where Jill checks them with a Geiger counter, Mo presents the robot head as a Christmas gift. Jill, a metal sculptor, eagerly accepts the head. After Shades leaves, Mo and Jill argue about a government sterilisation plan and the morality of having children. Later, they have sex, while being unknowingly watched by their foul-mouthed, perverted, voyeuristic neighbour Lincoln Weinberg via telescope.

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Jill works the robot head into a sculpture, and Mo says that he likes the work, but he does not understand what it represents. Frustrated, Jill says it represents nothing and resents Mo’s suggestion that she make more commercial art to sell. They are interrupted by Alvy, who urges Mo to return to the shop, as he has important news about the robot, which he says is a M.A.R.K. 13. Before he leaves, Mo checks his Bible, where he finds the phrase “No flesh shall be spared” under Mark 13:20, and he becomes suspicious that the robot is part of a government plot for human genocide…

Hardware-25th-Anniversary-Blu-ray

Buy Hardware 25th Anniversary Blu-ray from Amazon.co.uk

Reviews:

” …Stanley’s feature debut is an impressive assault on the senses, a shamelessly plagiaristic robotics nightmare laden with OTT apocalyptic symbolism and brash cinematic homages, from Argento’s Deep Red to Cameron’s The Terminator. Stanley’s gaudy vision achieves a roller-coaster pace, swept along by an incessant industrial soundtrack, the perfect backdrop for Image Animation’s deliciously fetishistic creation, all pumping pistons and sinewy flex.” Time Out

“A cacophonic, nightmarish variation on the postapocalyptic cautionary genre, Hardware has the makings of a punk cult film. Hardware veers loonily out of control and becomes a black comic exercise in F/X tour-deforce that’s ceaselessly pushing itself over the top.” Variety

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Hardware is clearly a low budget affair but Stanley uses his limited assets well. The broader devastation is established through the use of color filters and available deserts and partially demolished buildings as sets. When he moves indoors Stanley limits the action to Jill’s apartment and the immediate environment, choosing to focus his resources to create a richly designed, completely convincing microcosm of the world at large rather than spreading himself thinly over a larger environment and being less convincing. Though the body count is low there are several truly gruesome moments pulled of with an undeniable, and undeniably revolting, sense of style.” Todd Brown, Twitch Film

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Cast:

Wikipedia | IMDb | Related: Kick ItKilled by Death


The Unsubtle Art of Body Snatching – article

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Body snatching is the secret disinterment of corpses from graveyards. A common purpose of body snatching, especially in the 19th century, was to sell the corpses for dissection or anatomy lectures in medical schools. Those who practiced body snatching were often called “resurrectionists” or “resurrection-men”. A related, slightly less ghoulish act is grave robbery, the uncovering of a tomb or crypt to steal artefacts or personal effects rather than corpses.

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The 19th century saw renewed attention given to medicine and science, the advancements in surgery and treatment being significant and ushering forth a new breed of talented doctors and surgeons. Previously oft-practiced but now clearly baffling treatments were being abandoned in preference to techniques which were more scientific than superstitious, though this meant ripping up many textbooks from the past and gaining a new understanding of how the human body worked and reacted to both drugs and disease. This, however, came with many challenges.

Before the Anatomy Act of 1832, the only legal supply of corpses for anatomical purposes in Britain were those condemned to death and dissection by the courts. Those who were sentenced to dissection by the courts were often guilty of comparatively harsher crimes. Such sentences did not provide enough subjects for the medical schools and private anatomical schools (which did not require a license before 1832). During the 18th century hundreds had been executed for trivial crimes, but by the 19th century only about 55 people were being sentenced to capital punishment each year. With the expansion of the medical schools, however, as many as 500 cadavers were needed annually.

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This created something of a moral dilemma for the authorities – clearly they couldn’t be seen to be complicit in the disinterment of the dead, or the ransacking of graves on sacred ground, but neither could they reconcile themselves with holding up the progress of medical breakthroughs and therefore the curing and treatment of the sick at the expense of only a few. The solution was a sort of compromise – although the tampering with graves was officially still frowned upon, the punishment was relatively slight, a misdemeanor rather than a felony, a potential fine and a stint behind bars rather than the, perhaps expected, execution.

With these relatively lax attitudes, families of the recently deceased had little option but to take it upon themselves to keep watch of their yet to be interred loved ones, for fear of them ‘going missing’ before they were even buried. Should they at least find their way underground, elaborate devices were employed to ensure the dead were not taken by the agents of needy doctors. Lead-weighted and iron coffins were sometimes chosen to make an attempted body snatching too time-consuming. Rich families were able to protect family member’s graves by employing large marble slabs and headstones, sometimes even locked mausolea which would prevent easy access.

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For the less well-off, it was necessary for the community as a whole to find ways to keep their graveyards free of trespassers. Watchtowers were employed in some areas, particularly Scotland, where teams of ‘watchers’ were also employed – in one instance, a 2000-strong collective was assembled.

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Anti-bodysnatching grille in Ballyphehane, Ireland

The early adoption of iron cages around graves soon developed into a more structured design, known as ‘the mortsafe’, first appearing in 1816. These were iron or iron-and-stone devices of great weight, in many different designs.

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Often they were complex heavy iron contraptions of rods and plates, padlocked together – examples have been found close to all Scottish medical schools. A plate was placed over the coffin and rods with heads were pushed through holes in it. These rods were kept in place by locking a second plate over the first to form extremely heavy protection. It would be removed by two people with keys. They were placed over the coffins for about six weeks, then removed for further use when the body inside was sufficiently decayed. There is a model of a mortsafe of this type in Marischal Museum, Aberdeen. Sometimes a church bought them and hired them out. Societies were also formed to purchase them and control their use, with annual membership fees, and charges made to non-members.

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London Burkers, a group of resurrectionists, comprising of John Bishop, Thomas Williams, Michael Shields, a Covent Garden porter, and James May, an unemployed butcher, also known as Jack Stirabout and Black Eyed Jack, who stole freshly buried bodies to sell to anatomists. In his subsequent confession, Bishop admitted to stealing (and selling) between 500 and 1000 bodies, over a period of twelve years. The corpses were sold to anatomists, including surgeons from St Bartholomew’s Hospital, St Thomas’ Hospital and King’s College. The Fortune of War Public House, in Smithfield, was identified as a popular resort for resurrectionists.

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There were various methods used by determined body snatchers; one method used was to dig at the head end of a recent burial, using a wooden spade – quieter than those made of metal. When they reached the coffin (in London the graves were quite shallow), they broke open the coffin, put a rope around the corpse and dragged it out. They were often careful not to steal anything such as jewellery or clothes as this would cause them to be liable to a felony charge.

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The Lancet reported another method. A manhole-sized square of turf was removed 15 to 20 feet (5 to 6 metres) away from the head of the grave, and a tunnel dug to intercept the coffin, which would be about 4 feet (1.2 m) down. The end of the coffin would be pulled off, and the corpse pulled up through the tunnel. The turf was then replaced, and any relatives watching the graves would not notice the small, remote disturbance. The article suggests that the number of empty coffins that have been discovered “proves beyond a doubt that at this time body snatching was frequent”.

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These events led to the more wide-spread introduction of vaults being used as resting places for the dead. The introduction of the Anatomy Act in 1832 was ultimately the answer to the practise of stealing corpses for profit, the ‘industry’ now being controlled by the Human Tissue Authority. However, this was not the end of people digging up rotting bodies for other reasons, as we will see later.

In the United States, body snatchers generally worked in small groups, which scouted and pillaged fresh graves. Fresh graves were generally given preference since the earth had not yet settled, thus making digging easier work. The removed earth was often shovelled onto canvas laid by the grave, so the nearby grounds were undisturbed. Digging commenced at the head of the grave, clear to the coffin. The remaining earth on the coffin provided a counterweight which snapped the partially covered coffin lid (which was covered in sacking to muffle noise) as crowbars or hooks pulled the lid free at the head of the coffin. Usually, the body would be disrobed, the garments thrown back into the coffin before the earth was put back into place.

Resurrectionists have also been known to hire women to act the part of grieving relatives and to claim the bodies of dead at poorhouses. Women were also hired to attend funerals as grieving mourners; their purpose was to ascertain any hardships the body snatchers may later encounter during the disinterment. Bribed servants would sometimes offer body snatchers access to their dead master or mistress lying in state; the removed body would be replaced with weights. Although medical research and education lagged in the United States compared to medical colleges’ European counterparts, the interest in anatomical dissection grew in the United States. Philadelphia, Baltimore, New York were renowned for body snatching activity: all locales provided plenty of cadavers. So in demand were corpses in some districts and so demanding were those wishing to utilise them that spies were sent to funerals to gauge sex, age, condition and means of death to determine desirability and cost.

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Public graveyards were not only sanctioned by social and economic standing, but also by race. New York was 15% black in the 1780s. “Bayley’s dissecting tables, as well as those of Columbia College” often took bodies from the segregated section of Potter’s field, the Negroes Burying Ground. Free blacks as well as slaves were buried there. In February 1787, a group of free blacks petitioned the city’s common council about the medical students, who “under cover of night…dig up the bodies of the deceased, friends and relatives of the petitioners, carry them away without respect to age or sex, mangle their flesh out of wanton curiosity and then expose it to beasts and birds.”

In December 1882, it was discovered that six bodies had been disinterred from Lebanon Cemetery and were en-route to Jefferson Medical College for dissection. Philadelphia’s African-Americans were outraged, and a crowd assembled at the city morgue where the discovered bodies were sent. Reportedly, one of the crowd urged the group to swear that they would seek revenge for those who participated in desecration of the graves; another man screamed when he discovered the body of his 29-year-old brother. The Philadelphia Press broke the story when a teary, elderly woman identified her husband’s body, whose burial she had afforded only by begging for the $22 at the wharves where he had been employed. Physician William S. Forbes was indicted, and the case led to passage of various Anatomical Acts.

After the public hanging of 39 Dakota warriors in the aftermath of the Dakota War of 1862, a group of doctors removed the bodies under cover of darkness from their riverside grave and divided the corpses among themselves. Doctor William Worrall Mayo received the body of a warrior called “Cut Nose” and dissected it in the presence of other doctors. He then cleaned and articulated the skeleton and kept the bones in an iron kettle in his office. His sons received their first lessons in osteology from this skeleton.

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Although some states took matter into their own hands, such as Massachusetts’ Anatomy Act of 1831, on a more local level, people used methods similar to those in Britain to ensure their loved one’s grave remained untouched. Police were engaged to watch the burying grounds but were often bribed or made drunk. Spring guns were set in the coffins, and poorer families would leave items like a stone, flowers or a blade of grass or a shell to show whether the grave was tampered with or not. Particularly popular around the Pennsylvania area were devices known as “cemetery guns”, wood and steel contraptions operated via trip wires arranged around the grave. Even more devastating were ‘coffin torpedoes’, a device invented in 1881 by a former judge, Thomas Howell, which detonated if the resting place of the deceased was tampered with. The aim of such arms were not necessarily to kill (though they frequently did) so much as to deter any future trespassers. In his collection of Boston police force details, Edward Savage made notes of a reward offer on April 13, 1814: “The selectmen offer $100 reward for arrest of grave-robbers at South Burying-Ground”.

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Iron fences were constructed around many burying grounds as well as a deterrent to body snatchers. “Burglar proof grave vaults made of steel” were sold with the promise that loved ones’ remains would not be one of the 40,000 bodies “mutilated every year on dissecting tables in medical colleges in the United States.” The medical appropriation of bodies aroused much popular resentment. Between 1765 and 1884, there were at least 25 documented crowd actions against American medical schools.

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Naturally, bodysnatching was not confined to Britain and America. Instances occurred in China as recently as 2006 with a resurgence in the ancient practice of ghost marriages (the bizarre ceremony of two deceased persons being wed) in the northern coal-mining regions of Shanxi, Hebei and Shandong. Although the practice has long been abandoned in modern China, some superstitious families in isolated rural areas still pay very high prices for the procurement of female corpses for deceased unmarried male relatives. It is speculated that the very high death toll among young male miners in these areas has led more and more entrepreneurial body snatchers to steal female cadavers from graves and then resell them through the black market to families of the deceased. In 2007, a previously convicted grave robber, Song Tiantang, was arrested by Chinese authorities for murdering six women and selling their bodies as “ghost brides”

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Body snatchers in France were called “Les Corbeaux” (the crows), whilst in the Netherlands, poorhouses were accustomed to receiving a small fee from undertakers who paid a fine for ignoring burial laws and resold the bodies, especially those with no family, to doctors.

Contemporary bodysnatching is understandably rare though not unknown; even the famous aren’t immune from post-life escapades; in Cyprus, the former President Tassos Papadopoulos’s body was stolen from his grave on 11 December 2009 and in the following year, the famous broadcaster Alistair Cooke’s bones were removed in New York City and replaced with PVC pipe before his cremation.

A forensics team cordons off a grave where the body of former Cypriot President Tassos Papadopoulos was located in Nicosia

In South America, there are accounts of graves being disturbed in order for body parts to be used in religious rites and ceremonies. Even Charlie Chaplin’s corpse was briefly stolen, in a bid to gain a large ransom. Some disturbed grave plots and empty coffins gave rise to rumours of vampires and other supernatural occurrences.

Finally, there is one other reason for corpses to be taken – for companionship and even sex. Necrophilia – derived from the Greek words: νεκρός (nekros; “dead”) and φιλία (philia; “love”) – is thankfully rare at the best of times and even then tends not to focus on bodies which have made it as far as the graveyard. Yet, the practice can be traced as far back as Ancient Egypt – Herodotus writing in The Histories that, to discourage sexual intercourse with a corpse, ancient Egyptians left deceased beautiful women to decay for “three or four days” before giving them to the embalmers.

Recorded examples of sexual activity with corpses obtained from graveyards include:

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Victor Ardisson

• Victor Ardisson, also known as the “Vampire of Muy,” exploited his position as an undertaker and gravedigger in late 19th century France, by violating many bodies, especially those of young women, and mutilating and decapitating them in some cases. According to his confession, Ardisson regularly spoke to the corpses which he had retrieved, feeling genuine shock and hurt when they would not respond. Ardisson was examined by Dr. Alexis Epaulard, one of the first psychiatrists to associate necrophilia and vampirism. Epaulard diagnosed Ardisson as a “degenerate impulsive sadist and necrophile.”

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Ed Gein

 

• American serial killer and body-snatcher Ed Gein is known to have used disinterred corpses for sexual gratification, as well as, of course, home furnishings.

Daz Lawrence, Horrorpedia

 

 

 

 

 

 

Works more generally related to bodysnatching include:

• H. P. Lovecraft’s works referring to body snatchers include his tales, The Case of Charles Dexter Ward and Herbert West – Reanimator.

• James McGee’s Resurrectionist centres on his main protagonist, James Hawkwood, in hunt of a group of resurrectionists who illegally smuggle bodies for medical school. Central to the theme of the novel, McGee explores the world of the resurrectionists and their doings.

• In Jonathan L. Howards novel Johannes Cabal the Necromancer, the eponymous protagonist practices body snatching.

• In Charles Dickens’s novel, A Tale of Two Cities, Jerry Cruncher works as a “resurrection man” in addition to his work as a porter and messenger at Tellson’s Bank.

• In the film Corridors of Blood, Christopher Lee plays a character called “Resurrection Joe”.

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• Henry Frankenstein’s experiments in bringing life to the deceased rely heavily on the thankless work of Fritz and in later entries into the saga, Karl and Ygor.

• In Mel Brooks’ film Young Frankenstein, Fredrick Frankenstein and Igor dig up a body to attempt to bring it back to life.

The Texas Chain Saw Massacre (1974) infamously opens would an image of an ‘art installation’ at a graveyard that has been constructed from body-parts of interred residents.

Avoid Meeting a Body Snatcher! is a 2009 ‘Danger Zone’ children’s book by Fiona Macdonald.

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Daz Lawrence

http://www.theguardian.com/world/2006/apr/02/usa.features

 


Blood Ninja – novel by Nick Lake

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Blood Ninja is a 2009 British fantasy martial arts vampire novel by Nick Lake, published by Corvus in the UK and Simon and Schuster in the USA. It was followed by sequel novels Lord Oda’s Revenge: Blood Ninja II and Blood Ninja III: The Betrayal of the Living.

Plot teaser:

1565: Taro is a boy from a coastal village in rural Japan, fated to become a fisherman like his father. But in just one night, Taro’s world is turned upside down – and his destiny is changed forever. Skilled in the art of silent and deadly combat, ninjas are the agents of powerful nobles who rule sixteenth-century Japan.

So, why did a group of these highly trained assassins creep into a peasant’s hut and kill Taro’s father? And why did one ninja rescue Taro from their clutches, saving his life at enormous cost? Now on the run with this mysterious saviour and his best friend Hiro, Taro is determined to learn the way of the ninja to avenge his father’s death…

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Reviews:

‘ …this is more martial arts adventure than horror. The vampire element takes something of a back seat for long passages in the story, emerging only when really necessary. I think the book is even better for this – Nick Lake could ‘easily’ have written an over-the-top vampire ninja horror story with blood dripping from every page but instead he shows restraint (until the final scenes that is, when it becomes something akin to a Quentin Tarantino Kill Bill bloodbath, not that there is anything wrong with this).’ The Book Zone (for Boys)

‘While the ending sets up an inevitable sequel, the riveting, often gruesome, action and rich, comprehensible mythology should have readers racing through the chapters … Lake uses the story’s familiar elements skilfully, combining them into an imaginative and original whole. And, really, with vampire ninjas, how can you lose?’ Publishers Weekly

‘ …all the minor parts in the book form an amazing, suspenseful plot… Teen Ink

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Post suggested by Dylan.


Amityville Playhouse aka Amityville Theater

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Amityville Playhouse – also known as The Amityville Legacy and Amityville Theater (USA) – is a forthcoming 2015 British horror film directed by John R. Walker from a screenplay by Steve Hardy. The film stars Monèle LeStrat, Linden Baker, Kennie Benoit, Hollie Anne Kornik, Eva Kwok, Logan Russell, Gary Martin, Ania Marson.

The film will be released in the US on DVD by 4 Digital Media on June 23, 2015.

Plot teaser:

Following the tragic death of her parents Fawn Harriman discovers she has inherited a theatre in the town of Amityville. Along with three friends, she decides to spend the weekend looking the place over. Meanwhile, one of her high school teachers begins an investigation into the village’s past and makes a connection with something that goes back beyond recorded history…

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The House in Marsh Road

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The House in Marsh Road  – US TV title: Invisible Creature – is a 1960 British supernatural horror film directed by Montgomery Tully (The Electronic MonsterThe Terrornauts) from a screenplay by producer Maurice J. Wilson, based on the story The House on Marsh Road by Laurence Meynell.

The film stars Tony Wright (The Man Who Haunted HimselfThe Creeping Flesh), Patricia DaintonSandra Dorne (Devil Doll; The Playbirds), Derek Aylward, Sam Kydd (Island of Terror; The Projected Man), Llewellyn ReesAnita Sharp-Bolster (Dr. Jekyll and Mr. Hyde, TV series; The Hands of Orlac).

Plot teaser:

When his young wife (Dainton) inherits ‘Four Winds’, an old house in the countryside, a bored alcoholic writer (Wright) plots to murder her so he can inherit the property and marry a curvaceous blonde divorcee (Dorne) instead. However, the resident poltergeist intervenes…

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Buy on DVD from Amazon.co.uk

Reviews:

‘ …entertaining and atmospheric low-budget feature rises above the standard expected from the much-maligned B-movie.’ BritMovie.co.uk

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‘This is a rather tame supernatural thriller…’ Phil Hardy (editor), The Aurum Film Encyclopedia: Horror

Choice dialogue:

“Everything and everybody in this town’s gone supernatural!”

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Cast:

Wikipedia | IMDb


Out of the Black – rock song and video by Royal Blood

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The surreal promo video for single ‘Out of the Black’ by British rock duo Royal Blood – vocalist/bassist Mike Kerr and drummer Ben Thatcher – features animated aliens that morph back and forth into live action gas station robbers dressed as a rabbit, a pumpkin, snowman, a heart and an ice cream. The video was co-directed by David Wilson and Adult Swim‘s Christy Karacas.

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Buy Royal Blood album on CD + MP3 | vinyl from Amazon.co.uk

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Out of the Black video


Nina Forever

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‘A fucked up fairy tale’

Nina Forever is a 2015 dark comedy romantic British horror film written and directed by Ben and Chris Blaine. It stars Fiona O’Shaughnessy, Abigail Hardingham, Cian Barry, David Troughton, Elizabeth Elvin, Bill Holland, Lee Nicholas Harris, Sean Verey, Phelim Kelly, Richard Sandling, Javan Hirst.

The Jeva Film production will have its world premiere at the South by Southwest Film Festival (SXSW) in Austin, Texas, on March 14, 2015 with a limited US release to follow.

Plot teaser:

Holly wants to save Rob and has fallen in love with him. She is training to be a paramedic and works a dead end job in a supermarket, where Rob is the only remarkable thing although he’s lost and angry since the death of his girlfriend, Nina.

Drawn into a relationship, the first time they’re in bed together, so is Nina. A tangled and bloody mess of broken limbs, she is very much dead but still here, still talking, still angry…

However, Holly doesn’t freak out and run. She is determined to be the one who heals Rob’s wounds. She can deal with the dead girl sharing their bed, their lives, their minds. If it’s what Rob needs, it’s what Holly will do, whatever the consequences…

IMDb

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Eden Lake

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Eden Lake is a 2008 British horror thriller film written and directed by James Watkins (The Woman in Black). It stars Kelly Reilly, Michael Fassbender and Jack O’Connell.

Plot teaser:

Nursery school teacher, Jenny (Kelly Reilly), and her boyfriend, Steve (Michael Fassbender), escape their everyday life to an idyllic remote lake in the green English countryside. Attempting to relax by a lakeside, their trip is disrupted by the presence of delinquent teenagers and their dog, but Steve intends to stay and not be driven away from enjoying their vacation.

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The following morning, as he is determined to report the unruly kids to their parents, Steve stops at a house hosting a group of bikes he thinks belongs to the kids. With zero response at the front door, he commits forcible entry, and he narrowly escapes out of a window before the homeowner, the father of one of the teenagers, returns.

The couple quickly head back to the lake. There, Steve goes scuba diving and Jenny sleeps on the beach shore. Unfortunately, Steve realises their beach bag containing his car keys, phone and wallet have gone missing. Instinctively, they check on the car, but it is gone. Returning to town on foot, they are nearly run over by their car that is being driven recklessly by the gang, only stopping for leader, Brett (Jack O’Connell), to smirk at them…

Eden-Lake-DVD

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Reviews [spoilers]:

‘ …while one doesn’t subscribe to the tenets of political correctness in such films, more care was surely required before playing so thoroughly to what looks like a massive dose of prejudice. Even so, it is impossible not to admire the way Watkins ratchets up the tension in his debut as director (he wrote My Little Eye) and keeps his tale strictly to 90 minutes. Beware that there are several scenes which will make you want to look away, and all the more scary because they seem uncomfortably real.’ Derek Malcolm, London Evening Standard

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‘Watkins serves up an intense experience that will not be to everyone’s taste – Eden Lake is certainly not an entertaining watch, more a form of mental and emotion torture. Its climax does not even provide the expected catharsis, rather the threat of worse horrors to come. In this regard, it surely qualifies as one of the most frightening films ever made.’ David Tappenden, Fright Films

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‘It is as if Watkins has taken the famous news picture of the hoodie making the “gun” gesture behind David Cameron’s back – and photoshopped a real weapon into his hand. But it is believable in a way that does not depend on a neurotic attention to sensational newspaper stories: it has its own internal logic. And when Jenny finally gets some kind of violent revenge, and this goes horrendously wrong, it is, once again, all too believable. Watkins crushes the good guys’ last stand with a realist moment of despair and blundering horror to match Michael Haneke’s tape-rewind scene in his Funny Games.’ Peter Bradshaw, The Guardian

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‘Alas, all the cliché boxes have been marked too, with people doing the sort of stupid things they only do in horrors. There’s also a ham-fisted message here about how violence dehumanises us all, which might have been pertinent if Wes Craven hadn’t already made it his own about 40 years ago.’ Daily Mirror

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Eden Lake benefits from superb cinematography by The Cottage‘s Christopher Ross, which perfectly contrasts the lush greens of nature with the bloody, muddy nightmare that unfolds, aided by David Julyan’s sympathetic, perfectly pitched score. The cast are uniformly good, including the kids, with simply amazing performances from Reilly and Fassbender.’ MJ Simpson, Urban Terrors

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‘This is not, however, a Daily Mail rant about feral chavs. Instead, Watkins uses stomach-knotting tension and tongue-slicing horror to explore the complex dynamics of anti-social violence. We identify with the victims throughout, but Watkins also depicts the complex peer-group pressures within the gang  and the pain and confusion behind its leader’s eyes. The film’s one major fault is that Reilly’s character repeatedly acts in ways that serve the plot, but which run contrary to rational human behaviour. By contrast, the shattering downbeat ending is well earned and genuinely shocking.’ Nigel Floyd, Time Out

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Wikipedia | IMDb


Crying Wolf

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‘Hungry, hairy, and ready to hunt you down’

Crying Wolf is a 2015 3D comedy horror film directed by Tony Jopia (Zombie Harvest; DeadTime; Cute Little Buggers) from a screenplay co-written with Andy Davie and Michael Dale. It stars Caroline Munro (Dracula A.D. 1972; Captain Kronos: Vampire HunterHowl of the Devil), Joe Egan, Kristofer Dayne, Chloe Farnworth, Gabriela Hersham, Gary Martin, Rosie Pearson, Ian Donnelly.

Plot teaser:

There are weird goings on in the little English village of Deddington. The gruesome death of local girl Charlotte by a rabid monster causes alarm and revulsion – before desperate reporters, crazy detectives and revenge seeking hunters descend on the scene…

Reviews:

‘Made over three years on a nano budget of £12,000, Crying Wolf won’t win any prizes for makeup or special effects and in places the acting is a bit creaky, but it’s a refreshingly funny movie with plenty of slapstick gore and some nice genre in-jokes.’ Simon Ball, The Spooky Isles

‘You name the scenario, cliché or effect, and it probably made an appearance in a scene from Crying Wolf. The only bit of back-story that made any sense was the Little Red Riding Hood themed analogy that is used to tell the story of the top werewolf Milly (played by the beautiful actress Gabriela Hersham). Sadly, this only manages to further derail the film.’ Cherry Bombed, Destroy the Brain

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‘From the title sequence it’s already crystal clear that this b-movie was made with passion and an eye for film making, as we’re filled with some really great gory aesthetics. Crying Wolf is extremely high-paced as there’s an abundance of intertwining stories that you’ll completely miss if you aren’t giving your undivided attention. Some might find it too much hard work to watch, but I felt it brought a fresh, exciting and unique twist to the story whilst making sure the audience is fully engaged and entertained.’ London Horror Society

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Cute Little Buggers

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‘Out of this world… Out of control… And out to get you’

Cute Little Buggers is a 2015 British science fiction comedy horror film directed by Tony Jopia (Zombie Harvest; DeadTimeCrying Wolf) from a screenplay by Garry Charles and Andy Davie.

The film stars Caroline Munro (Dracula A.D. 1972; Captain Kronos: Vampire HunterHowl of the Devil), Dani Thompson, Kumud Pant, Gary Martin, Sarah Bennett, Angela Holmes, Kristofer Dayne, David G. Robinson, John R. Walker, Romain Barbey, Dan Abrams.

Plot teaser:

When hostile aliens crash land on local farmland the villagers at the summer ball become suspicious, especially when young women begin to go inexplicably missing. The villagers soon band together around local hero Melchoir to fend off the invaders and bring back peace to the sleepy English countryside..

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Haters

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‘Hell has hatched’

Haters is a 2014 British apocalyptic horror film directed by Vincent Cleghorne. It stars Morjana Alaoui (Martyrs; The Hybrid) and Sam Clarke.


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Plot teaser:

Trapped in her Paris apartment in a world ravaged by demons, artist Elise (Morjana Alaoui) – a survivor awaiting any word from her husband Richard and infant son Louis in New York – is about to learn the true meaning of Hell on Earth. Inflicting a constant barrage of mental torment and physical assault, the demons scratch away at Elise’s perfect facade to reveal a life of secrets and concealed guilt; her loss of faith and the most shocking revelation of all….

Filming locations:

Liverpool, England

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Rabid (Over You) – song by The Damned

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The-Damned-White-Rabbit-Rabid-Over-You-Chiswick-Records-single

Rabid (Over You) is a 1980 science fiction and horror-themed rock song by British punk-goth-psychedelic band The Damned. The song – composed by Scabies, Sensible, Vanian, Levien – appeared on the B-side of the band’s ‘White Rabbit’ single, the latter being a boisterous cover of Jefferson Airplane’s 1967 hit, issued initially by Chiswick Records and then Big Beat. ‘Rabid (Over You)’ was intended as a single itself but Chiswick were apparently concerned that it was too raucous despite its melodic chorus and swirling synth sound.

damned black album

 Buy The Black Album from Amazon.comAmazon.co.uk

The song has subsequently appeared on a Best of compilation titled ‘Another Great Record by The Damned’, as an extra track on a remastered reissue of ‘The Black Album’ and as part of ‘The Chiswick Singles – And Another Thing’ compilation CD.

Lyrics:

I read about a bug eyed mad dog
Taking London in a storm
I heard about a blue eyed heroine
Screaming out for help
I held my breath as tentacles
Came through the cabin door
And timing forces slipped a cross
The traitor’s sticky core

I was just a hero of the human race
But monsters keep on trying
To take control of space

I heard about a brand new movie
That took the world by storm
People said the effects were groovy
The plot was much the norm
The garbage was whiter than white
The villain mostly dark
The hero was enlightened by light
Dogs began to bark

I was just a hero of the human race
But monsters keep on trying
To take control of space

You treat me like a dog
Give me a bone to chew
Frothing at the mouth
Frothing all over you
Yeah I get rabid over you
I’m kind of rabid over you
I’m kind of rabid over you

Your daddy’s got a gun
He’s gonna put me down
Compliments of public health
Horror teenage town
Yeah I’ve been bitten over you
I’m kind of rabid over you
I’m kind of rabid over you

Rabid rabid rabid

I can’t stand the rain (rabid)
Water on the brain (rabid)
I’m kind of rabid over you
I just gotta hide (rabid)
I wanna bite (rabid)
I’m kind of rabid over you

I can’t stand the rain (rabid)
Water on the brain (rabid)
I’m kind of rabid over you
We just gotta hide (rabid)
All I wanna bite (rabid)
I’m kind of rabid over you

The-Damned-The-Chiswick-Singles-And-Another-Thing

Buy The Chiswick Singles on CD from Amazon.comAmazon.co.uk

The-Damned-Chiswick-Singles-vinyl-box-set

Buy The Chiswick Singles in 7″ vinyl box set from Amazon.co.uk

Related: Dr. Jekyll and Mr. Hyde | ‘Nasty’ – episode of The Young OnesPhantasmagoria


Count Dracula – TV film, 1977

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Count-Dracula-1977-BBC

Count Dracula is a British television adaptation of the novel Dracula by Bram Stoker. Produced by the BBC, it first aired on BBC2 on 22 December 1977. It is among the more faithful of the many adaptations of the original book.

Directed by Philip Saville, the 150 minute production stars Louis Jourdan (Fear No Evil; Ritual of Evil; Swamp Thing) as Count Dracula and Frank Finlay (The Deadly Bees; Murder by Decree; Lifeforce) as Van Helsing, plus Susan Penhaligon (House of Mortal Sin), Judi Bowker, Bosco Hogan and Jack Shepherd.

countdracula_stakeLucy

Plot teaser: 

Lucy Westenra’s sister Mina bids farewell to her fiancé Jonathan Harker, who is leaving for a business trip. Harker, a solicitor, is travelling to Count Dracula’s castle in Transylvania to expedite his purchase of Carfax Abbey and other properties in England.

At the door of the castle, Count Dracula himself welcomes Jonathan. Abandoned by superstitious locals, Harker was forced to accept a lift there from an anonymous passing coachman. Jonathan agrees to stay for a month to help the Count with his English. Dracula is urbane and gracious, but also vaguely sinister, and casts no reflection. After a series of disturbing events, Harker explores the castle, finds the Count asleep in a coffin, and tries (ineffectually) to kill him with a shovel…

Count-Dracula-Louis-Jordan-BBC-1977

Buy on DVD from Amazon.com | Amazon.co.uk

Reviews:

‘A nice plushy production with much galloping off in all directions and sulphurous smoke effects, a pleasant sensation of space and time and money. Something of a hole in the middle though, like a vampire after remedial treatment.’ Nancy Banks-Smith, The Guardian

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‘ …a classic for its concentration on acting and a more literal treatment of the Dracula story. Louis Jourdan turns in a terrific performance as the legendary king of all vampires … Much like the book, the Dracula character is only used sparingly to great effect. The longer running time makes the story feel complete, and the English cast play everything serious and tight.’ Brett Cullum, DVD Verdict

countdracula_thebrides

‘ …has a rich gothic drama atmosphere that avoids falling too far towards melodrama. It does fail to be horrific, generally, but when it achieves it, such as with the staking of Lucy, it seems so more effective due to the gentile dramatic quality imbued within the production.’ Taliesin Meets the Vampires

‘ …the most careful adaptation of the novel to date, and the most successful.’ David J. Skal, Hollywood Gothic: The Tangled Web of Dracula from Novel to Stage to Screen

Hollywood-Gothic-David-J-Skal

Buy Hollywood Gothic from Amazon.co.ukAmazon.com

Count-Dracula-BBC-1977

Cast:

Wikipedia | IMDb | Image thanks: Taliesin Meets the Vampires

Dracula on Horrorpedia:

Assignment Terror aka Dracula vs. FrankensteinAurora Movie Monsters (model kits) | Batman Fights Dracula | Blood for Dracula | Blood of Dracula’s Castle | Bram Stoker’s DraculaCount Dracula uses ATM (advert) | Count Dracula’s Deadly Secret (ice lolly) | Count Dracula’s Great Love | Dario Argento’s DraculaDracula (1931) | Dracula aka Horror of Dracula (1958) Dracula (2013 TV series) | Dracula A.D. 1972 | Dracula II: AscensionDracula 2012Dracula 3000 | Dracula and Son | Dracula Blows His CoolDracula: Dead and Loving ItDracula ExoticaDracula Glow Putty (toy) | Dracula Has Risen from the Grave | Dracula in IstanbulDracula in the ProvincesDracula Lives! (comic) | Dracula Sucks | Dracula: The Dark Prince | Dracula: The Dirty Old ManDracula: The Impaler | Dracula: The Undead (video game) | Dracula Untold | Dracula vs. Frankenstein (1971) | Drak Pack (animated TV series) | Drakula halála | Fangs of Dracula (advertising campaign) | Fresh Garlic: Dracula’s Worst Nightmare (food) | Gallery of HorrorGenuine Soil from Dracula’s Castle (merchandise) | Guess What Happened to Count Dracula? | Hammer Presents Dracula with Christopher Lee (album) | The Hardy Boys and Nancy Drew Meet DraculaI Vant to Bite Your Finger: The Dracula Game | Kali: Devil-Bride of Dracula (Hammer projects) | Lady Dracula | The Legend of the 7 Golden Vampires | Mego Mad Monsters (toys) | The Monster Squad | Nocturna: Granddaughter of Dracula | The Satanic Rites of DraculaScars of Dracula | Son of Dracula (1943) | Son of Dracula (1973) | Spider-Man and His Amazing Friends: The Brides of Dracula! (animated TV episode) | Spider-Woman: Dracula’s Revenge (animated TV episode) | Taste the Blood of DraculaTender Dracula | The Batman vs. Dracula (animated) | The Tomb of Dracula (comic) | The Vampire Happening | Vincent Price’s Dracula | X-Men: Apocalypse vs. Dracula | Zoltan… Hound of Dracula


Dracula – Sunny D advert

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Screen Shot 2015-03-19 at 22.47.20

Dracula meets Sunny D in this 2008 advert: “Unleash the power of the sun”.

Sunny Delight, marketed as SunnyD in some regions, is an orange-coloured drink developed by Doric Foods of Mount Dora, Florida in 1963. It was purchased by Procter & Gamble in 1989. The drink produced an estimated $450 million in revenue for Procter & Gamble in 2004. In 2005, Sunny Delight was spun off into the independent Sunny Delight Beverages Company (SDBC).

The beverage was launched in the United Kingdom in Spring 1998 with a £10 million promotional campaign, and became the third biggest selling drink in the UK, behind Coca-Cola and Pepsi. It was sold in refrigerated cabinets and marketed as a healthy alternative to soft drinks, although it contains only 5% juice: its main ingredients are water and corn syrup.

Screen Shot 2015-03-19 at 22.47.38


The Watcher Self

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‘What will remain?’

The Watcher Self is a 2015 British psychological thriller film written, produced and directed by Matt Cruse – shot on DSLR – about one woman’s descent into hell.

Plot teaser:

Cora (Karen French) begins her day facing the consequences of a nightmare. Struggling to maintain a normal routine, she engages in a series of emotionally detached encounters and experiences a confusing psychological connection with the strange and elusive Van (Julian Shaw). Then echoes from the past threaten to derail her tenuous state of mind, and Cora becomes increasingly dislocated from her surroundings. Is she going insane, or is it something else?

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Cast:

  • Karen French as Cora
  • Julian Shaw as Van
  • Sylvia Seymour as Wanda
  • Lucy Charles as Kelly
  • Tony Stansfield as Pitman
  • Helen Barford as Rose

Wikipedia | IMDb | Official site | Facebook | Twitter


Sataan is Real – song by Terminal Cheesecake

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Pearlesque_Kings

‘Sataan is Real’ is a 1992 song by British band Terminal Cheesecake from their album Pearlesque Kings of the Jewmost released by World Serpent Records. Terminal Cheesecake are an English alternative rock band, originally formed by Gary Boniface (formerly of The Purple Things and The Vibes), Russell Smith (formerly of A.R.Kane and MARRS), Mick Parkin and John Jobbagy (also from The Vibes and Purple Things) in 1988 in North and East London. The band ceased activity in 1995 but reformed in 2013 with Neil Francis from the band Gnod replacing Boniface as vocalist.

This track is rather good, especially played at very loud volume:


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