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Masters of Horror: Screwfly Solution, The (TV)

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The Screwfly Solution review (click to see it bigger!)Starring Jason Priestley, Elliott Gould, Kerry Norton, Brenna O’Brien

Directed by Joe Dante

Original Air Date: December 8th, 2006


The screwworm is a nasty bastard. The screwfly, which is twice the size of a housefly with large orange eyes, will lay its eggs –up to 400 at a time- in open wounds of livestock (or humans, if one’s handy) and the hatched larvae eat their way out. Kind of like maggots. But unlike those pleasant little cleaners, which only eat dead matter, the screwworm likes LIVING tissue. Yum! Cannibal worms! If left untreated, an infestation can be fatal. In fact, by the 1930’s in America, screwflies were wreaking havoc on the livestock industry to the tune of $400 million a year. And that’s when the USDA came up with the Screwfly Solution…

You’ll get some of that information from the little educational video at the beginning of this week’s episode of Masters of Horror. And it’s 100% true. In the 1950’s the USDA did create thousands of sterile male screwflies by exposing them to gamma radiation and then releasing them into the environment to breed the population down to extinction, which it achieved by the 1960’s. It’s not only where the episode, and the short story it’s based on by Alice “Raccoona” Sheldon, got its name – it’s important, so pay attention. There will be a pop quiz later.

The opening scene treats us to nice little bit of uneasy setup, a seemingly normal suburbanite watering his lawn and chit-chatting with his neighbor, but as she glances over the hedge, she notices it’s blood he’s hosing off his concrete walk. When the cops arrive, they find blood in the oven and bloody rags all over the house, three dead women in the garage (his wife, daughter and either mother or mother-in-law), and a man who doesn’t understand why they’re upset. God told him to, he says, told him to “clean up around here.” It’s a good way to let the viewer know right away that something rotten is going on. What, exactly, remains to be seen.

Alan (Jason Priestley) and Barney (Elliott Gould) are entomologists. They work for the CDC (Centers for Disease Control), traveling around the world eradicating deadly pests. They’ve just returned from a 5-month trip to a third world country doing just that and are having a celebratory dinner with Alan’s wife Anne (Kerry Norton), daughter Amy (Brenna O’Brien) and good friend Dr. Bella Sartiano, who works for the NIH (National Institutes of Health) as an epidemiologist – someone who studies the how’s and why’s of a population’s diseases.

Has your brain gone numb yet? There’s a lot of science in this episode, though I wouldn’t call it science fiction exactly. Or not exclusively. There is definitely a horror element to the subject matter. When Bella gets called away from dinner to Jacksonville, Florida, to investigate “bird flu,” it turns out she’s really going to investigate an epidemic of femicide. 1,100 Murders in a matter of days, she’s informed, accompanied by some sort of religious mania backed by a cult called the Sons of Adam. Bella’s detainment with the Army results in some of the best scenes in the episode. For those of you who like gore, the recount of the stripper’s murder has some tasty bits. A particularly interesting point, I thought, was the murderer’s reaction to Sartiano and her slightly unbuttoned shirt. She’s a middle aged woman, big boned, and while she’s not unattractive, she’s more what you’d call handsome. Still, he reacts to her as if she were Pamela Anderson, naked, eating an ice cream cone. (I’ll give you guys a minute with that image before I continue).

Anyway, it seems this pandemic is worldwide and traveling suspiciously like an airborne disease, turning men into viscious women-killers, unable to differentiate between sexual arousal and aggression. Bella herself then falls victim, resulting in my favorite scene of the whole hour, even though we don’t see the actual murder. Dante does a really fabulous job with this subtle little scene; an army officer standing at the window, watching other men in the parking lot sing “Amazing Grace” as, faintly in the background, you can hear the sounds of Bella being murdered. It was the kind of scene that gives you goose bumps and you almost don’t know why. If only the whole episode could have been that good.

Here’s the thing – the good parts of the episode were really good. But they were much too few. Jason Priestley was really very good as Alan, the too-good-to-be-true husband and father. And though it was sadly only a brief moment, when he slipped over the edge and grabbed Amy in that extremely unfatherly embrace, the look in his eyes was truly unsettling. The rest of the acting though was pretty mediocre. Elliott Gould, who’s normally a great actor, was underused and his character had very little personality. Brenna O’Brien was annoying as hell, but considering her character was supposed to be a bitchy teenager, I suppose that should be counted in the “good acting” category. And then there was Kerry Norton. Bad, bland, and boring. It’s unfortunate so much of the story rested on her frail shoulders.

And that’s the bad. The first part of the story, where we learn about the pandemic and there’s all the speculation about religious mania and who’s causing the problem (if you were surprised at the end, I’ve got a bridge I could sell you), why, and what to do about it (remember the Screwfly Solution?) was the most interesting. As soon as Anne and Amy go on the run and hide out, the ship begins to go down. For one, we’re now cut off from what’s going on in the world and stuck with the bickering of a mother and daughter, which is much less interesting.

Then there’s the fact that the destruction of the family that has been the center of the whole episode is shunted aside in about two minutes in favor of several scenes of Anne in the woods with Barney or Anne in the general store. And though I know what they were going for with those scenes, it’s only because I read the short story. And the short story is really good. But it’s short, and they definitely had to pad it to stretch it into an hour, which shows throughout. There’s one scene where Anne, who works in a shelter counseling abused women, is trying to find blankets for the busloads of women coming in and one of her abuse victims turns to her and says something along the lines of “All this time, I thought I was the strange one, and you were normal. But now it turns out I was the normal one all along.” It’s a completely out of place line, awkward and unnecessary and felt stuck in out of nowhere.

And though they were pretty faithful to the story for most of the hour, they botched the ending. Dante and screenwriter Sam Hamm are the same pair who gave us last season’s “Homecoming,” which had the same problem. Apparently they just aren’t that great with endings. They seem to lose focus and decide to just “wrap it up.” The last line of Alice Sheldon’s short story packs a real punch, but that punch was substituted for a limp tap on the shoulder. Not even. That last line has absolutely nothing to do with the proceeding storyline. It’s aggravating beyond belief when an ending falls down this badly.

It’s a damn shame, too. They started off strong with some nice visuals, good acting (and may I just say Jason Priestley is looking VERY good these days), and an interesting concept based on a well written short story. And then the story starts to go off kilter and never recovers, limping to a lame duck finish. And some decent acting and a few good scenes aren’t enough to carry the rest of the dead weight to a satisfying conclusion.

It may sound like I’m being unreasonably harsh when I’ve been more forgiving in the past. But episodes that are mediocre from beginning to end are less upsetting than something like this where there are some glimpses of good stuff. They make the bad stuff seem even worse. And when you’ve got such a good story as a basis, there’s farther to fall. And that’s the case here. My suggestion? Read the short story instead. The text is available online for free.

2 out of 5

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Who Goes There Podcast: Ep 148 – Inside (2017 Remake)

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We’ve all heard the old saying, “in this world nothing can be said to be certain, except death and taxes.” Well, I’m here to tell you that’s only partially true. It seems there is a third certainty that had been omitted from the original quote, “It is certain, if you enjoy a movie, at some point someone will remake that movie.” Now is the time when one of my favorite movies gets reimagined, “for an American audience”.

In the late 2000’s an explosion of “French extreme” horror films was released. Martyrs and or High Tension can often be found on any number of lists of the “most fucked up horror movies ever”. Unfortunately, the vastly superior Inside is often forgotten (as well as Frontier(s), but that’s a whole ‘nother rant). Now, ten years after it’s initial release, Inside has been Americanized. Don’t worry, we watched it so you don’t have to. You’re welcome.

Mommy says you’re not dead. Is that true? It’s the Who Goes There Podcast episode 148!

If you like what you hear, please consider joining our Patreon subscribers. For less than the cost of a beer, you get bonus content, exclusive merchandise, special giveaways, and you get to help us continue doing what we love.

The Who Goes There Podcast is available to subscribe to on iTunes right here. Not an iTunes user? You can listen on our Dread Central page. Can’t get enough? We also do that social media shit. You’ll find us on FacebookTwitterInstagramTwitch, and YouTube.

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Totem Review – It’s Not Always A Bad Thing To Look Up From The Bottom Level, If You Like That View

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Starring Kerris Dorsey, James Tupper, Ahna O’Reilly

Directed by Marcel Sarmiento


Following the untimely death of a family’s matriarchal figure, a young woman finds out that managing to hold all of the pieces in place becomes increasingly more difficult when otherworldly infiltrators make their presence felt. We’re going to have to work our way up this Totem, as

17 year old Kellie is the leading lady of the home following the passing of her mother Lexy, and with a needy father and tiny tot of a baby sister, she still keeps things in working order, regardless of the rather large hole that’s been left in the dynamic due to the death. Kellie’s dad after a while decides to ask his lady-friend to move in with the family, so that everyone can move onto a more peaceful existence…yeah, because those types of instances always seem to work seamlessly. As fate would have it, Kellie’s sense of pride is now taking a beating with the new woman in the mix, and her little sister’s new “visitor” is even more disturbed by this intruder – only question is, exactly who is this supernatural pal of sorts? Is it the spirit of their dead mother standing by to keep watch over the family, or is it something that’s found its way to this group, and has much more evil intentions at hand?

What works here is the context of something innately malicious that has found its way into the home – there are only a couple moments that come off as unsettling, but the notion of having to weave through more than half the film acting as a sullen-teen drama is rather painful. The presentation of the “broken family” is one that’s been done to death, and with better results overall, and that’s not to say that the movie is a complete loss, it just takes far too much weeding through at times stale performances and even more stagnant pacing to get to a moderately decent late-stage conclusion to the film. Under the direction of Marcel Sarmiento (Deadgirl), I’d truly hoped for something a bit more along the lines of a disturbing project such as that one, but the only thing disturbing was the time I’d invested in checking this one out. My best advice is to tune into the Lifetime channel if you want a sulky teen-melodrama with a tinge of horror, or you could simply jump into this one and work your way up…but it’s a LONG way to the top.

  • Film
2.0

Summary

Sulky, moody, and ridden with teen-angst buried in the middle of a supernatural mystery – SOUNDS like a decent premise, doesn’t it?

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IAMX’s Alive in New Light Review – A Dark, Hypnotic, and Stunning Musical Endeavor

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Recording eight albums is an achievement no matter the artist, group, or band. This is especially true for Chris Corner’s IAMX, his solo project after the trip hop group Sneaker Pimps, which has enchanted listeners since 2004’s Kiss + Swallow with its dark electronic aesthetic. There’s something fascinating about the music Corner puts out as IAMX. Perhaps it’s the underlying melancholy that seems to pervade the music, almost certainly a result of the musician’s battle with depression and chronic insomnia [Source]. Perhaps it’s the unexpected melodies that reveal themselves with each new measure. Whatever it is, IAMX’s music is a constant delight.

On Alive in New Light, Corner reveals that his eighth album was a product he created as a way of “…breaking free from demons that have long plagued him,” per an official press release. Strangely enough, this uplifting attitude may easily be overlooked but repeat listens unveil a sense of hope and wonder that are simply breathtaking. The title track echoes with almost angelic choir pads that positively shine as Corner exultingly cries in a shimmering falsetto, “I’m alive in new light!” This comes after the Depeche Mode-esque “Stardust”, which offers the first collaboration with Kat Von D, whose pure voice is a beautiful addition to the pulsating track.

The third track, “Break The Chains”, has an opening that immediately called to mind Birds of Tokyo’s “Discoloured”, which is meant as a compliment. It’s followed by the Nine Inch Nails influenced “Body Politics”, which meshes Corner’s crooning vocals with a 90’s industrial backdrop. “Exit” has an almost sinister progression lurking in the background that builds to an aggressive, in-your-face third act. The cinematic Middle Eastern flairs of “Stalker” mutate effortlessly into a heartbeat pulse that features back-and-forth vocals between Corner and Von D. The haunted circus vibe that permeates through “Big Man” is mirrored by its playful gothic aura, ghostly “oohs” and “aahs” sprinkled carefully here and there.

While the album has been a delight up to this point, it’s the final two tracks that took my breath away and left me stunned. “Mile Deep Hollow” builds layer after layer while Corner passionately cries out, “So thank you/you need to know/that you dragged me out/of a mile deep hollow/and I love you/you brought me home/because you dragged me out/of a mile deep hollow.” The way the song’s melodies back these wonderfully uplifting lyrics feels grand and epic, as though a journey is coming to an end, which is where “The Power and the Glory” comes in. Far more subdued, it’s a beautiful song that feels almost like a religious experience, a hymn of a soul that is desperate to claw its way to salvation and escape a life of pain and darkness.

What makes Alive in New Light so wonderful is how much there is to experience. I got the album and listened to it no less than five times in a row without pause. I simply couldn’t turn it off because each return revealed something new in the music. Corner also makes fantastic use of Von D’s vocals, carefully placing them so as to make them a treat and not a commonplace certainty.

While some may be disappointed that there are only nine tracks, each of the songs is carefully and meticulously crafted to be as powerful and meaningful as possible. It really is a stunning accomplishment and I’m nothing short of blown away by how masterfully Alive in New Light plays out.

  • Alive in New Light
5.0

Summary

IAMX’s Alive in New Light is a triumph of music. Full of beauty and confidence, it doesn’t forget the foundation that fans have come to know and love for over a decade but instead embraces that comfortable darkness with open arms. Corner states that this album was a way to break free from his demons. It certainly feels like he’s made peace with them.

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