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Vampirella: The Morrison Millar Collection (Book)



VampirellaWritten by Grant Morrison/Mark Millar

Published by Harris Publications

I’m somewhat of a newcomer to the world of Vampirella though I have to admit that I have given the gal more than a passing glance each time I have seen her sitting on the shelf of the comic book store. What red-blooded male would not stop to stare at a woman of such… um… glorious talents?

In my relative ignorance with the character, however, I find that the perfect place to jump into the ever lengthening line of her comic legacy is to read the newly released Vampirella collection showcasing the stories written by Grant Morrison and Mark Millar; it is not a rebirth of the character, just a redefinition. In the interview on the last page of the collection, Morrison and Millar discuss the problems that have plagued Vampirella as a comic, mostly lack of focus and definition as a character. Vampirella was a series of issues that had little or nothing to do with each other. The few issues I have read prior to this collection were one shots that I picked up due to the artists working on the issue.

Here is where Morrison and Millar are trying to change things. They are giving Vampirella a purpose, and they are using it to define her motivations and flesh out the edges of the character. Vampirella graduates from lusty busty figure to true vampire fighting female. In the primary story contained in the collection, a compilation of the first six of the ongoing Vampirella monthly issues entitled “Ascending Evil” and “Holy War,” we are shown what the future holds for Vampirella.

Taking a page from a certain Marvel vampire turned cinematic wunderkind, Vampirella is charged with the destruction of all vampires on earth by her demon mother Lillith. Whereas Blade takes little pleasure in his infliction, this feral femme enjoys her work immensly. The sight of blood does not do anything but make this bitch hungry! In a stark contrast to the Blade series, she does not just kill vampires, she actively feeds on them! She dispatches all bloodsuckers in her way with giddy glee, leading to copious amounts of crimson color careening off the comic page, most of it belonging to the undead. In the middle of all of it is Vampirella; claws and fangs, she kills like an animal, resorting to a stake in the heart when needed, but always taking a second to relish the moment. Either a quick drink or a quicker quip finishes the vampire hordes that she is facing. She is a force of nature to be reckoned with.

The story sets up as a bold move is made by the more outgoing factions of the vampire society. They who must drink blood are trying to take over all the organized crime centers. By whacking off the Dons, the vampires hope to get their claws into the underbelly of the world and manipulate its blood flow from there. The endgame here is undead domination, where the apex predators rule instead of skulking in the shadows and humans are cattle to be processed, bred, and fed upon.

Thank god we have Vampirella on our side.

It’s a good plan by the vampires. It would give them the power to do the subtle societal manipulations they would need to earn their place at the top. There is a brutal correlation between vampire high society and the Mafia, which was explored in the first cinematic outing of Blade but here it is played as a straight turf war. Neither side will fold to the other; there is too much piety and ego at play. The arrogance of the vampires butts heads with the thick headed bravado of the Mafioso, and Vampirella finds herself caught in the middle; yet, she is not alone.

A young woman is forced to do an atrocious act against her family at the hands of an enigmatic character named Van Kreist, who is not a vampire. The truth behind his condition is more complex than mere bloodsucking. He is hostile, ruthless, and sadistic. His torture of Dixie Fattoni, daughter of one of the Mafia bosses, and the capture of her sister Pixie force Vampirella into an empathetic partnership with Dixie. They both hate vampires, especially Von Kreist, so it is logical for them to work together. Even though Dixie is only 16 and seems to have led a spoiled rich girl life, she learns to kickbox and drive stakes through hearts very, very quickly.

I will venture no further into the plot. Suffice it to say that we get to see the Red Nun warriors, the Anti-Vatican, and an odd dream sequence of a place called Drakulon, a planet where the oceans are red and it rains blood. It seems that our heroine is an erotic little extraterrestrial.

Are all vampires from Drakulon? Are they all from Hell? Where is Drakulon? Are these two places one and the same? These are some of the millions of questions I have for the series, and I must beg your forgiveness if you have the answers and I do not. If they are answered elsewhere, then I will find them. If they have yet to be, then this is the triumph of Morrison and Millar. They have seeded the series with some very large questions, and I for one find myself hooked on them. Isn’t that the essence of creating a successful comic franchise: Give them what they want, but always leave them asking for more?

This collection also has a few solo stories that detail the different types of encounters that Vampirella has to go through in her travels in the world of the undead. Interesting stuff, but it doesn’t hold a candle to the larger arc story. The smaller stories are what I remember from Vampirella comics, and while they are a nice distraction, I find myself preferring the more open ended format for Vampirella to lurk within.

“Ascending Evil” is penciled by Amanda Conner and inked by Jimmy Palmiotti. There is nothing spectacular about the work itself, just bare bones comic art, uninspired at best. Michael Bair and Kevin Nowlan give “Holy War” a far more polished and sleek look. In neither of these series is there a single frame that I can remember standing out from the rest. The story does lend itself to some wild visuals, but the execution is very functional, maybe overly so. If the artists tried a different approach and took a chance with some of the structure of the panels, or took the art to the next level, the pictures may have more of an effect. In contrast to the story that is being told, however, the art seems like an afterthought.

Let me beat this horse just a minute longer. Take the character of Von Kreist. He’s a very interesting person to read about but uninteresting to look at. He’s portrayed as a man in a trench coat with bandages covering his face, coming across as a mish mash of The Invisible Man, Darkman, and the little freaky German dude from Raiders of the Lost Ark. There’s nothing that paints him as a fully developed visual character. Sure his actions and his lines are brilliant at times, but in this medium I find myself wishing for more.

There are some great covers from the series included within the pages. Jae Lee’s touch adds a gritty realism that makes the clean creature flesh of Vampirella stand out on the Part 3 variant cover. I wish this is how more of the book looked; it would have launched this series of Vampirella from a must read for fans of the character to a must read for all horror comic fans. Too bad.

Morrison and Millar are doing regular duty on the Vampirella monthly comic series now, and it’s about time. Vampirella has been poised to be so much more than a cult comic; just a small nudge and she would see her wings take full form. I have all the faith in the world that she is in the right hands. Morrison and Millar have built a very solid foundation, a vast and complicated construction within which we could easily get swept up. I find it refreshing to see such a character finally get her due… I just hope they can keep it up.

Not that that is ever a problem with Vampirella around!

3 out of 5

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The Open House Review – Abandon Hope All Ye Who Enter Here



Starring Dylan Minnette, Piercey Dalton, Patricia Bethune, Sharif Atkins

Written by Matt Angel and Suzanne Coote

Directed by Matt Angel and Suzanne Coote

Mere weeks, even days, after effusively beating Netflix’s original horror content drum (The Babysitter, Before I Wake, Creep 2), I’m here to confirm that The Open House is emptier than an vacant bomb shelter. Cold, unappealing and thoughtlessly plotted to the point where “generic” would have been an improvement. From the moment we’re welcomed into Matt Angel and Suzanne Coote’s scripted imprisonment, it’s nothing but loose floorboards and busted plumbing. The home invasion genre has rarely been navigated with such little attention to detail, asking for our suspension of coherent storytelling early, often, and without earning the right to be deemed mindless genre fun. Not even Ty Pennington could save this extreme renovation disaster.

Dylan Minnette plays Logan Wallace, a track star and student who must find closure after watching his father fall victim to a fatal car accident. It is his mother Naomi’s (Piercey Dalton) idea to spend a little time away from their suburban home – escape those painful memories – so they retreat to her sister’s luxurious mountain getaway. The catch? It’s in the process of being sold and open houses are on the regular, so Naomi and Logan must vacate their temporary premises on certain days. It’s after one of these very showings that Logan begins to notice slight changes around the house, and he fears that an unwanted visitor may be in their midst. Guess what? He’s right.

To understand how little The Open House cares about conscious blueprinting, just read the poster’s tagline. “You can’t lock out what’s already inside” – right, but you could have prevented them from coming in, or checked the house to make sure they weren’t squatting, or explored numerous other possibilities to avoid this scenario. The mansion’s realtor allows prospective buyers to come and go but it’s not her job to make sure no one’s hiding in the basement? Naomi can’t even keep track of the *single* visitor she lets look around the house? It’s infuriating to see so many people neglect safety out of forced coincidence because the script couldn’t rationalize the killer’s entry any other way – a confounding strike one.

This is also a film that admits no reasoning for why its own murderer has targeted the Wallaces, or why he stokes a violent fetish when it comes to open houses. We never actually see his face, just his imposing handyman-looking attire, nor do we savor any kind of tangible backstory (his family died during their own open house and he suffered a psychotic breakdown – just give me *something*). His undefined form never demands curiosity like John Carpenter’s “The Shape” once did, because scripting is nothing more than bullet notes for basic horror movie necessities. Here he is, your bad guy – too bad he’s introduced without fear, handled without originality and unable to characterize beyond torturous kidnapper dotted lines. He’s just, you know, a guy who sneaks into open houses and kills – COMPLETE WITH A FINAL PAN-IN ON AN OPEN HOUSE SIGN WHEN HE MOVES TO HIS NEXT TARGET [eye roll into infinity].

Every scene in The Open House feels like an afterthought. “Ah, we need a way to build tension – how about a senile local woman who lives down the street and wanders aimlessly into frame?” Overplayed and in no way suitable to most her inclusions, but sure. “Oh, and we need inner conflict – what about if the breaker-iner steals Logan’s phone and frames him for later acts?” I mean, didn’t Logan canonically lose his phone even before Naomi’s mid-shower water heater issues – but sure, instant fake tension. “How are people going to believe the killer is always around and never blows his cover – think they’ll just buy it?” No, we don’t. Worse off, his cat-and-mouse game is dully repetitive until a finale that skyrockets intensity with jarring tonal imbalance. This closing, dreadful end without any sort of redemptive quality. More abusive than it is fulfilling.

If there’s anything positive worth conveying, it’s that Minnette does a fine job shuffling around as a character with severe sight impairment. The killer makes a point to remove his contacts as a final “FUCK YOU,” just to toy around a bit more, and Minnette frantically slips or stumbles with nothing more than foggy vision. Otherwise, dialogue finds itself ripped form a billion other straight-to-TV Logo dramas about broken families, no moment ever utilizing horror past a few shadowy forms standing in doorways after oblivious characters turn away. You can’t just take an overused subgenre and sleepwalk through homogenized beats…case and god-forsaken point.

Even as a streamable Netflix watch, The Open House is irredeemable beyond fault. The walls are caving in on this dilapidated excuse for home invasion horror, benefiting not from the star power of a temperamental Dylan Minnette. I have seen most involved players here in far better projects (Minnette’s stock has rightfully been skyrocketing, Matt Angel in The Funhouse Massacre, etc), but this is bargain bin theatrics without a fully formed idea. A nameless villain, doomed nice guy (Sharif Atkins), woefully unaware plot advancement – all the worst cliches found in one rage-quit worthy effort. Anyone who makes it through deserves an award…or a dunce cap.

  • The Open House


Unless you’re irrationally afraid of cold showers, The Open House fails to deliver on a premise that can be summed up by no more than two lines of text.

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Ruby Blu-ray Review – ’70s Drive-In Psychic Shocker From VCI



Starrign Piper Laurie, Janit Baldwin, Stuart Whitman, Roger Davis

Written by George Edwards and Barry Schneider

Directed by Curtis Harrington

Distributed by VCI Entertainment

Imitation is the sincerest form of flattery, and director Curtis Harrington’s Ruby (1977) is paying it to a few of the ‘70s most notable horror films. Cribbing liberally from such better pictures as The Exorcist (1973) and Carrie (1976), this is a picture that could have worked well despite being a pastiche because it begins with a decent setup and the elements for something interesting are present. Unfortunately, nothing ever gels like it has to and Ruby loses focus early on, dashing from one death scene to the next and allowing for little salient connective tissue to tie it all together. The big mystery presented early on should be easy enough for horror fans to deduce, and the film never brings the scare factor. A few of the deaths are novel in their inventiveness, especially the use of the drive-in theater surroundings, but a couple kills do not a movie make and Ruby spends too much time middling and being weird to be of any note.

Florida, 1935. Low level mobster Nicky Rocco (Sal Vacchio) is gunned down by a lake as his pregnant girlfriend Ruby watches on in horror. Just before dying, Nicky swears vengeance on whoever did this to him. Cut to sixteen years later and Ruby (Piper Laurie) runs a drive-in movie theater and lives in a home nearby with her daughter, Leslie (Janit Baldwin). Ruby is a tough broad, quick-witted and foul-mouthed; able to hold her own with the guys. But those guys are beginning to vanish one by one as the bodies start piling up at the theater. Ruby suspects there’s something off with Leslie, so she brings in her own psychic doctor, Dr. Paul Keller (Roger Davis), to examine her daughter. Leslie, as it turns out, is acting as a conduit for the wayward soul of Nicky, who blames Ruby for his ultimate demise. Possessed and programmed for vengeance, Leslie and Ruby have an all-out battle in a search for the truth.

The second half of this film is where things go right off the rails, with scenes aping The Exorcist so much it feels like a knock-off. This isn’t always such a bad thing because knock-offs of better films can always turn out great (see: most of the post-Gremlins little creature features), but Ruby never makes a clear case for introducing these fantastical elements in the third act. This is a story that could have worked better by exercising restraint, playing closer to something like J.D.’s Revenge (1976), a similar gangster-soul-out-for-justice film, than a wild, possessed ride.

What does work, for me, are the drive-in theater setting (I’m a sucker for movies that also involve the craft of film in some way) and the kills, a few of which make great use of the theatrical setting to deliver fitting fatalities. One employee winds up stuffed into a soda machine, with his blood getting pumped into a dark, syrupy drink and served up to guests. Another meets his end on the screen, impaled by the pole on which car speakers are kept. Harrington does inject this picture with a strong sense of atmosphere, too. The locale is woodsy and feels remote; the countryside is dark and foggy, the perfect setting for something grim to occur. None of these elements are enough to fully save the feature, though they do bring enough production value to ease to burden of a poor script.

Personally, I’m a sucker for almost any horror from bygone eras – especially the ‘70s and ‘80s – so, deficiencies aside, Ruby is still worth a spin if you enjoy reveling in this particular era. This is far from an unheralded gem or little-seen treasure, but it does, at the least, rip-off good pictures in spectacularly bad fashion.

This is a rough film and every bit of work done for the 2K restoration still can’t do much to polish it up any better. First, a note: there is a video drop-out for approximately ten seconds around the 21-minute mark. VCI is offering replacement discs via their Facebook page, so check there for further details. Future copies will be corrected, and those should already be on “shelves” now, so consider this an FYI. The 1.85:1 1080p image is frequently soft and murky, darkly shot and poorly lit. Shadow detail is virtually non-existent. The color temperature looks a bit on the warm side. Film grain is noisy and occasionally problematic.

An English LPCM 2.0 track carries a clean & balanced audio experience. Voices sound a touch muffled at times, though nothing too severe. The murders scenes are accompanied by creepy ambient sounds, adding a slight chill. The film’s closing theme song is awesome cheese that must be heard. Subtitles are available in English SDH.

There are two audio commentary tracks; the first, with David Del Valle and Nathaniel Bell; the second, with Curtis Harrington and Piper Laurie.

The film’s original trailer is included in HD.

Also included are a few interviews with Harrington, conducted by David Del Valle, including “2001 David Del Valle Interview with Curtis Harrington”, and “Sinister Image Episode Vol. 1 & Vol. 2: David Del Valle Archival Interview with Curtis Harrington”.

Special Features:

  • NEW 2K RESTORATION from the original camera negative
  • Original theatrical trailer
  • Audio Commentary with Director Curtis Harrington & Actress Piper Laurie
  • New Audio Commentary with David Del Valle and Curtis Harrington historian Nate Bell
  • Two Interviews with Curtis Harrington by Film Critic David Del Valle
  • Photo Gallery
  • Optional English SDH subtitles
  • Ruby
  • Special Features


A simple plot becomes wildly unfocused but Ruby does have intermittent camp value fans of ’70s horror cinema should dig. VCI’s Blu-ray is no beauty by any means, though it’s likely to be the best this poorly-shot feature will get.

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The Midnight Man Review – Don’t Hate The Game, Hate The Players



Starring Lin Shaye, Robert Englund, Grayson Gabriel, Emily Haine, Gabrielle Haugh, Summer H. Howell, Louise Linton

Written by Travis Zariwny

Directed by Travis Zariwny

Travis Zariwny’s The Midnight Man is largely a robotic hide-and-seek slog, yet if dissected in butchered chunks, smaller bites range from delicious destruction to utterly incompetent character work. Judging by the bloodthirsty opening sequence alone, you’d think Zariwny is about to blow our morality-siding minds. A sad misconception, I’m afraid. After our hopes skyrocket, mechanical plot devices are pinned to a storyboard with the utmost lack of exploration. The Midnight Man’s game is afoot, but these players would barely compete against an opponent crafted from brick and mortar. Can someone calculate a handicap for them, please?

Gabrielle Haugh stars as Alex Luster, a caring granddaughter to Nana Anna (Lin Shaye). One night, upon the request of her not-always-there relative, Alex rummages through attic trunks for a silver-backed hand mirror. Instead she finds a nondescript wrapped box with what appears to be a game inside. Her crush Miles (Grayson Gabriel) has arrived by now, and after an incident where Anna requires medical attention from house-call doctor Harding (Robert Englund), the two friends begin playing whatever it was that caused Anna to screech in disapproval. You know, the only rational decision.

At the risk of sounding like a smug CinemaSins video, The Midnight Man would surely bomb any horror IQ test. Zariwny’s *first* piece of introduced information after discovering Midnight Man’s altar is quite simple – DANGER. DO NOT PLAY. IT JUST CAUSED A WOMAN TO FAINT. Nevertheless, our braindead sheeple follow careful rules to summon Mr. Midnight Man into their house – because, as horror movies have proven, tempting occult fates is buckets of fun! At least the characters don’t confess romantic feelings and makeout while another friend who joins the game late – “Creepy Pasta” obsessed Kelly (Emily Haine) – could already be in the Midnight Man’s clutches, that’d be – oh, right. That happens.

Senile Anna is another story altogether – Zariwny’s grey-haired red herring in the worst way. Lin Shaye injects so much destabilized madness into this energetic, midnight-perfect role, elevating herself into a stratosphere well above The Midnight Man itself. Whether she’s screaming about Alex’s disgusting blood, or ominously whispering dreadful remarks through a housewide intercom, or beating Robert Englund to a pulp with wide-eyed psychosis – well, if you’ve seen Dead End, you *know* the kind of batshitery Shaye is capable of. Her genre vet status on display like a damn clinic here.

Shaye – and even Englund – aside, scripting is too procedural to salvage any other performances. Kelly doesn’t even deserve mention given her “bring on death!” attitude and enthusiastic late entry INTO AN URBAN LEGEND’S DEATHTRAP – a poorly conceived “twist” with less structure. This leaves Grayson Gabriel and Haugh herself, two thinly-scripted cutouts who couldn’t find a more repetitive genre path to follow. There’s little mystery to the gonigs on, and neither actor manages to wrangle tension (even when staring our Midnight friend in the face…thing).

Scares are hard to come by because Zariwny opts for a more “charismatic” villain who talks like Scarecrow and appears as a dyed-black, cloaked Jack Skellington. He can form out of clouds and is a stickler for rules (candles lit at all times, 10 seconds to re-ignite, if you fail he exploits your deepest fear). Credit is noted given this villain’s backstory and strict instructions – which does make for a rather killer game of tag – but the need to converse and expose Midnight from shadows subtracts necessary mysticism. He’s a cocky demon with masks for each emotion (think woodland death imp emojis), but never the spine-tingling beast we find ourselves hiding from.

This is all a bummer because gore goes bonkers in the very first scene – with underage victims no less. One young player gets decapitated, another explodes into a red splattery mess (against fresh snowfall), but then a vacuous lull in process takes hold. It’s not until Alex’s fear of blood and Miles’ fear of pain that we get more eye-bulging squeamishness, then again when Kelly’s bunnyman appears. A no-bullshit, bunny-headed creature wearing a suit, which plays directly into Kelly’s deepest fear. When Zariwny gets sick and surreal, he scores – but it’s a disappointing “when.”

I take no pleasure in confirming that any small victory The Midnight Man claims is negated by kids who should’ve been offed for even thinking about a quick playthrough of Anna’s old-school entertainment. Invite him in, pour your salt circles and try to survive until 3:33AM – sounds easy, right? If the demon plays fair, you bet! But why would ANYONE trust a demon’s word? Makes sense given Alex and Miles’ ignorance of more red flags than a Minesweeper game, and a thrilling chase these bad decisions do not make.

  • The Midnight Man


The Midnight Man begins by striking a meteoric horror high, only to plummet back down towards repetitive genre bumbling once the game’s true – and less enticing – plot begins.

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