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Vampyres of Hollywood (Book)




Vampyres of Hollywood review (click for larger image)Reviewed by Debi Moore

Written by Adrienne Barbeau and Michael Scott

Published by St. Martin’s Press

Vampires. Forget everything you think you know about them, including how to spell the word. All the myths and lore regarding their habits, their weaknesses, and even how to kill them are wrong. In fact, they were made up by the real vamps who walk among us in order to throw everyone off their scent. Because an odor — more often than not an unpleasant one — is something they undeniably share.

Meet Ovsanna Moore, charismatic head of Anticipation Studios in Hollywood and star of numerous successful horror films. Ostensibly she’s following in the footsteps of her mother and her mother’s mother. A real scream queen. But there’s a great deal more to Ms. Moore than meets the eye. She’s also a five centuries old vampyre with the title of Chatelaine of Hollywood, meaning that every other vampyre in the city owes fealty to her. She was the first to call LA “home,” and hence, per vampyre law, all claim to the city belongs to her. However, something is definitely amiss. Within the span of less than two weeks, three people, all actors with a connection to Anticipation — and Ovsanna — have been murdered. And we’re not talking about a regular shooting or a heat-of-the-moment type stabbing. The first, Jason Eddings, had his newly won Oscar thrust up his ass in the back of a limo. The second, 23-year old rising starlet Mai Goulart, met an even more unpleasant fate while Tommy Gordon, lead actor on the Fox Network’s “Cop Jocks” series, had his cock sucked up by a Jacuzzi filter.

The lead investigator on the case is Beverly Hills Police Dept. Officer Peter King. He’s pretty much seen it all and is even a bit of a hero in his own right, having saved a kid from drowning in the LA River. But these killings … they’re something else. And they’re just the beginning. Soon a few more people with ties to Ovsanna are slaughtered — even more brutally than the others. Peter suspects Ovsanna, or possibly her attractive young assistant Maral McKenzie is the guilty party; she, too, has skeletons in the closet. But as more and more clues are revealed, he becomes conflicted. The attraction he feels toward Ovsanna doesn’t help matters much either.

For her part, Ovsanna is drawn to Peter also; however, she knows the closer he gets, the more dangerous things become for both of them. She needs to protect herself and keep her secrets from him, one of which is that all three victims were vampyres. Vampyres that she created. Which means someone is sending her a message. She’s not sure if the messenger is a hunter or a rogue vampyre; either would be equally devastating. But she’s far from alone in her battle. You see, everyone who’s anyone in Hollywood — actors, directors, agents, lawyers — is a vampyre. In particular the big-name stars; film magnifies their luminescence such that the audience can’t take their eyes off them.

The real beauty of Vampyres of Hollywood is how it stands the vampire mythos on its head and reinvents the genre with style and class, all the while skewering the conventions of the movie biz and today’s pop culture. We don’t get your run-of-the-mill cape-wearing Gothy vamps. Ovsanna and her ilk are much more interesting than that. They are comprised of factions with names like Dakhanavar (Ovsanna’s clan, known for their fighting abilities and ferocity) and Obdour (often attorneys, they have a single nostril and no fangs). But they’re only the tip of the proverbial iceberg. The world Ovsanna comes from also birthed Bobhan Sith, Dearg Due, dhampirs, and were-creatures. And before all of them were the Ancients, the oldest of the old who are now forced to live in the shadows, their appearance much more animal-like than human. And don’t expect any of them to change into something so conventional as a bat. No, Ovsanna and her fellow Vampyres of Hollywood prefer to exemplify some of our culture’s most malevolent symbols and legends: Medusa, gargoyles, werewolves, dragons, and demons.

And who are these “Vampyres of Hollywood” anyway? Just the crème de la crème of Hollywood’s Golden Age. There are twelve in total; to whet your appetite, I’ll name two: Theda and Tod. All of them, with their beloved Chatelaine at the helm, wrote the so-called rules of vampire behavior and made sure the public at large bought their stories hook, line, and sinker. Quite ingenious, actually. Once they all re-enter the picture to assist Ovsanna in what ultimately becomes the pivotal battle of her lengthy lifetime, the novel Vampyres of Hollywood really hits its stride.

Initially Vampyres reads more like a taut, hard-boiled detective story than the typical bloodsucker’s tale. In this case that’s a plus. It’s mature, sexy, funny as hell, and full of old school Hollywood glamour. The dialogue flows naturally with the chapters written in first-person but alternating between Ovsanna’s and Peter’s perspectives. The technique grabbed my attention from the very start and made for a real page-turner. And then, in the final third, when it turns into balls-to-the-wall horror, well, I couldn’t put it down. I sped through the entire 325 pages in a couple of days. You want to talk about a perfect summer beach book? Or how about a rainy weekend companion? This is it in spades.

There are a couple of little nitpicks I have to mention, however. The most glaring is the timeframe of the storyline. The three main murders occur around Oscar time, which is typically in early spring. But then suddenly it’s the holiday season, and some characters are wondering what to get others for Christmas. I’m willing to go pretty far with artistic license, but that really stuck out considering how accurate and genuine everything else about the book feels. And while there’s a lot of sexual tension between Ovsanna and Maral, Ovsanna and Peter, and even Peter and Maral to some degree, there’s no actual sex. I’m hoping Ms. Barbeau is just toying with her readers by letting things build up to a passionate encounter or two in the next installment. She’s certainly proven she can write about gore and gruesomeness both vividly and explicitly! The imagination shown by her and co-author Michael Scott in terms of the various monsters’ back stories, along with all the different terrifying forms they can take, was absolutely inspired. Vampyres may be geared slightly more toward female readers, but the men who pick it up shouldn’t have any complaints about how graphic the violence is.

Nor how seamlessly Barbeau and Scott managed to work together. This pairing is a true winner. Their protagonists smolder with preternatural sexuality and are as current as the latest issue of People Magazine. It’s not just old-time Hollywood that gets the spotlight. The follies of those in charge today are exposed with just as bright a glow. Which leaves me extremely curious what the second chapter in Ovsanna and Peter’s story will be. Will they work together to solve crimes? Will she Turn him or leave him Warm like Maral? It’s been a long time since I read a book that had me as anxious to see what would happen next as my favorite weekly TV shows. Especially one where the main character is a vampyre (almost always a bonus for this Woman). There’s no way of knowing how many sequels Vampyres of Hollywood may spawn, but if they’re anywhere as good as the original, then hopefully we’ll have a nice long series to look forward to.

4 out of 5

Listen to Uncle Creepy’s interview with Adrienne Barbeau here!
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LIQUID SKY Blu-ray Review – You Don’t Need Acid For This Mind Melting Trip



Starring Anne Carlisle, Paula E. Sheppard, Susan Doukas, Otto von Wernherr

Directed by Slava Tsukerman

Distributed by Vinegar Syndrome

Succinctly summing up a slice-of-life avant-garde feature film can be difficult when the picture relies heavily on the audio-visual experience and not necessarily the story. Liquid Sky (1982) is an acid-fueled trip through the emerging New Wave movement, viewed through the vapid lens of the fashion world, where drugs and sex are a commodity to be frequently bartered. The film juxtaposes the grimy and gritty streets of New York City with liberal use of bright, flashy neon, creating an aesthetic that both revels in the post-punk subculture and looks forward to the eye-popping pastels that would come to define the ‘80s. Within this kaleidoscope is a story about androgyny, rampant drug use, pleasures of the flesh, sexual abuse, and tiny invisible aliens that subsist on the endorphins released when people either get high or get down. As director Slava Tsukerman states in the extras, the idea was to craft a unique visual palette, the likes of which cinemagoers maybe hadn’t seen before; in that respect, Tsukerman capably succeeded. This is true subversive cinema, not for the mainstream.

Margaret (Anne Carlisle) is an androgynous NYC fashion model, looking to get her big break into certifiable stardom. Her nightclub fashion shows bring out all the fringe of the city – drug users, sexual deviants, flamboyant personalities, and her rival, Jimmy (also Carlisle), who is a fiend for cocaine. Margaret’s girlfriend, Adrian (Paula E. Sheppard), is a coke dealer whom Jimmy constantly harasses for a quick high, despite the fact he never has any money. Sex is his usual currency, consensual and otherwise. For reasons unknown, though easy to glean, a tiny UFO has landed on top of the apartment building in which Margaret lives, the visitors here to feast on endorphins released by the brain during drug use… or explosive, orgasmic sex.

Jimmy has lunch with his mother, Sylvia (Susan Doukas), a television producer who he sees as little more than a blank check. Sylvia also happens to live across the street from Margaret’s building, making it the perfect vantage point for scientist Johann Hoffman (Otto von Wernherr) to observe the till-now undiscovered, minute aliens and their spacecraft. Margaret, meanwhile, finds herself in one compromising sexual position after the next, often against her will, though these (let’s be honest here and call them) rapes tend to end with her perpetrators dead, a thin crystalline sliver embedded within their skulls; brain removed. Margaret doesn’t quite understand why, but the frequent cause and effect makes her imagine she has unbridled power, able to kill anyone that has sex with her. Eventually, Margaret comes to use this “power” to destroy anyone who crosses or uses her, which as the film will show is a significant number of people. Little does she know, all this time her saviors have been invisible to the naked eye and living atop her building.

The above plot synopsis barely scratches the surface of the weird and insane places this film travels. The biggest takeaway here should be the ground Tsukerman was breaking, which feels very much in the vein of something Andy Warhol might have been behind. The cast is comprised of societal outcasts; populated by homosexuals, ambiguous individuals, gender-fluidity, heroin users, club cronies, kink, vulgarity… all things that in no way conform to societal standards of normality. Carlisle pulls double duty playing two characters – one reprehensible, the other vaguely sympathetic – yet both fall under the rubric of blurred lines; they embody qualities of both masculinity and femininity. Tsukerman embraces the abstract and absurd, delivering a film that is fiercely independent and wholly incapable of direct categorization.

Driving this tour de force is a cutting edge synth score that is constantly active and consistently weird. A trio made up of Tsukerman, Clive Smith, and Brenda I. Hutchinson composed the soundtrack, and it sounds alien and otherworldly while also capturing the essence of the New Wave. The electronic cues and deep bass beats are energetic and repetitive, often making use of bizarre time signatures. Large portions of it reminded me of John Massari’s stellar synth score to Killer Klowns from Outer Space (1988), as the synthesizer sounds are nearly identical in some passages. The grooves are infectious and wonderfully lo-fi, adding an audible assault to complement the visual feast.

Still, Liquid Sky is something of a challenging watch, especially a first-time viewing when expectations are impossible to calibrate. Because Tsukerman purposely made his film so esoteric and obtuse, it can be tough to settle into a comfortable viewing mindset because so much of the film is uncomfortable and unconventional. The acting quality is passable enough that viewers may find themselves watching the film less as a veritable feature and more a staged, lengthy piece of performance art, which it is in certain respects. Liquid Sky doesn’t lampoon the period or people associated with it, though it does offer an exaggeration of current trends. One thing is for sure, this is bespoke filmmaking at its core and a shining example of the marriage between emerging trends and psychedelic euphoria. Mind blowing stuff.

Vinegar Syndrome is consistently lauded for their A/V work and, boy, did they ever knock this one out of the atmosphere. The 1.85:1 1080p picture is pristine, making it almost impossible to believe this is a low-budget indie from ’82. The original 35mm negative has been given new life via a 4K scan, with the resulting image looking nearly flawless. Aside from literally two or three white flecks the picture is immaculate. Film grain has been smoothed out and minimized without the use of waxy DNR. Fine detail is exquisite, adding a sense of true life to these shiny and squalid environments. Colors are richly saturated and pop off the screen, just as eye-catching neon might do in real life. Color filters are used frequently, bathing the image in hues of blue or green or whatever color fits the intended mood. Skin tones are spot-on and accurate. There is nothing worth complaining about making this one of the finest images Blu-ray is capable of producing.

Although the audio is a single-channel English DTS-HD MA 1.0 mono track you’d never know it from the sonic quality. The synthesized score is catchy and constant, causing the film’s soundfield to be brimming with life at every moment. The aggressive mix and high levels cause a mild sensation of discomfort and unease for viewers, ensuring the picture is never viewed too comfortably. Dialogue is understandable and totally clean, with no indication of hissing or pops at any point. Subtitles are available in English.

An introduction is available before the feature begins, with director Slava Tsukerman giving viewers a brief greeting along with praise for Vinegar Syndrome’s new home video edition.

An audio commentary is available, featuring director Slava Tsukerman.

The disc also contains an isolated soundtrack, highlighting that groundbreaking score.

Interview with Slava Tsukerman is a recent chat with the Russian director, who touches upon his career, influences, and the legacy of his most endearing creation.

Interview with Anne Carlisle is a similarly themed chat, with the leading lady discussing topics ranging from her early beginnings to where her career has taken her now.

Liquid Sky Revisited is a nearly-hour long documentary covering all aspects of the film’s production, with Tsukerman delving into every bit of minutia behind the production, genesis, inspirations, etc.

Q&A from 2017 Alamo Drafthouse Yonkers Screening, featuring Tsukerman, Carlisle, and co-composer Clive Smith.

A lengthy reel of outtakes, alternate opening sequence, rehearsal footage, multiple trailers, and a still gallery complete the wealth of bonus features found here.

Additionally, the cover artwork is reversible allowing for display of the original key art or newly commissioned artwork.

Special Features:

  • BRAND NEW 4K RESTORATION OF THE FILM from the 35mm original negative
  • Brand new commentary track with: Slava Tsukerman (director)
  • Video interview with Slava Tsukerman
  • Video interview with Anne Carlisle (actress)
  • Director’s introduction
  • “Liquid Sky Revisited” (2017) – 50 minute making-of documentary
  • Q&A from a 2017 Alamo Drafthouse Yonkers screening with: Slava Tsukerman, Anne Carlisle and Clive Smith (music)
  • Isolated soundtrack
  • Never before seen outtakes
  • Alternate opening sequence
  • Behind the scenes rehearsal footage
  • Multiple theatrical trailers
  • Still gallery
  • Artwork designed by Derek Gabryszak
  • Reversible cover artwork
  • English SDH subtitles
  • Liquid Sky
  • Special Features


Supremely psychedelic and infinitely eccentric, Liquid Sky was 1983’s most successful independent film and for good reason: it is impossible to categorize and there are few films that color outside the lines so vividly and uniquely. You can’t explain it or understand it; you just have to see it. Vinegar Syndrome have raised the bar with their impeccable a/v quality and wonderful selection of extras.

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Zena’s Period Blood: Dying for a DEAD END



It can be difficult finding horror films of quality, so allow me to welcome you to your salvation from frustration. “Zena’s Period Blood” is here to guide you to the horror films that will make you say, “This is a good horror. Point blank. PERIOD.”

“Zena’s Period Blood” focuses on under-appreciated and hidden horror films.

How do you turn $900,000 into $77,000,000? Offer directors Jean-Baptiste Andrea and Fabrice Canepa the initial amount and give them the freedom to let their minds wander. In 2003, both directors accomplished this unimaginable feat with Dead End. Under the clouds of a small budget, typical poster and insubstantial trailer, most viewers forecasted one long stretch of boredom. However, 15 minutes in and I was as hooked as a pervert in a strip club with his tax refund money. In 83 minutes, the movie unravels and exposes intelligent craftsmanship with story, acting and location, introducing us to the Harrington family and their demise.

After 20 years following the same route, Frank Harrington (Ray Wise) decides to take his family down a shortcut to his in-laws home during Christmas Eve. Wife Laura (Lin Shaye) sings in the passenger seat, serving as the optimistic family unifier who is often ignored by her husband and children. Behind Frank is their oldest child Marion (Alexandra Holden), unnervingly sheltered under the arm of her soon-to-be fiancé, Brad. And forever mom’s favorite boy is Richard (Mick Cain), who rocks out to Marilyn Manson blaring in his headphones. After this brief introduction to the characters and their distinct personalities, we witness everyone fall asleep, including Frank, who refuses to let anyone else drive.

Several seconds pass before the Jeep Wagoneer veers into the opposite lane. Gradually, a honk pleads from an approaching car, startling the Harrington family and forcing Frank to fight with the wheel until he brings the Jeep to a stop. Wide-awake, the family begins to move forward, now entrapped on a new, never-ending road.

I could elaborate on so many scary details in the movie, but the never-ending road stands out the most. What makes it worse is that there are signs for a town called Marcott, with an arrow indicating the town is straight ahead. But the Harringtons never reach the town. This scares me because I believe that every human being has a mental list of things they are scared of or things they should keep an eye out for in certain situations. Unfortunately, this movie exists to expand that list. What sucks for me is that my husband likes taking back roads. Because I strive to have a happy marriage and a peaceful death, I usually fall asleep to avoid an argument and the grim reaper, both of which usually exist on these particular roads. However, I never imagined that a back road could become a never-ending road. Man that would suck!

Speaking of never-ending, the directors became devils of discomfort by never really showing the deceased’s mutilated body, leaving your brain struggling to piece together the unseen image long after the movie ends. Throughout the movie, the family and Brad are picked off one by one. We mainly suffer these devatations through the reactions of the family members that are still alive, sometimes witnessing them lift a severed ear or caress a charred hand. This movie taught me that I can still taste bile at the back of my throat when a mutilation is suggested rather than shown.

Directors Andrea and Canepa accomplished greatness in Dead End with little time and little money. It is a testament that imagination coupled with skill is the true combination to capturing a big budget feel. I hope that all the individuals behind this movie have a long, never-ending road ahead of them because they have delivered brilliance to the world. This is a good horror. Point blank. Period.

In addition to contributing to Dread Central, Zena Dixon has been writing about all things creepy and horrific for over six years at She has always loved horror films and will soon be known directing her own feature-length horror. Feel free to follow her on Twitter @LovelyZena.



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Who Goes There Podcast: Ep 164 – THE CLEANSE



The Master Cleanse

Wait no longer, boils and ghouls! Today is the day you’ve been waiting for; today is the day we sink our teeth into 2018’s The Cleanse! What’s that? You’ve never heard of The Cleanse?! Well, neither had we, but horror releases are slim pickings right now, so we take what we can get. At least we can all agree that we’ve been dying to see Johnny Galecki in something other than Big Bang Theory, right? No? Well, fuck. Here’s an episode about his new movie anyway. What are we even doing?

It was crazy of me to think I could help the police, but I’m going to keep researching, keep writing, there are stories that need to be told, so… here’s the Who Goes There Podcast episode 164!

If you enjoy the show, 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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