Starring Toby Poser, John Adams and Anders Hove. Written by John Adams, Lulu Adams and Toby Poser. Directed by John Adams and Toby Poser. Produced by Matt Manjourides and Justin A. Martell.
‘A hole new kind of hell’
Tentacles erupt from the water!
This flick begins with a large tentacle extending from a Napoleonic soldier’s arse! And why not, eh?! Jumping to the present, a Napoleonic soldier’s (still-living) body is pulled from a fleshy cocoon in the muddy soil near a fracking operation, and a killer parasite begins to infect one victim after another.
Oh no! An arse-tentacle!
We learn that the parasite-mollusc always chooses male victims because their sperm is needed to fertilise the egg of this creature, and little nuggets of extra information regarding the mollusc-thingy are revealed, keeping the plot kinda interesting, but the narrative drive is continually stalled by the filmmakers’ decision to constantly halt proceedings for yet another scene of characters standing around, chatting.
Yikes! It’s a tentacled monster!
The creature’s host-hopping activities lack the variety and impact of THE THING (1982), but the effects turned out to be more impressive than I imagined; I’d assumed various tentacle shots were CGI, but they were achieved via stop-motion animation on green screen, then motion-tracked into live action plates. Wow! These tentacle shots are supplemented by quick cuts to a practical creature model. The critter itself, when it is seen clearly at the end, is a novel little squid-beast with an eye encircled by protruding teeth.
Small tentacles sometimes poke from a victim’s mouth…
…and we get to see a mini-tentacle slither from someone’s eye…
…and sometimes tentacles protrude from various facial exit-points at the same time!
HELL HOLE, made by the Adams Family – father John Adams, mother Toby Poser, and daughter Lulu Adams – is definitely a watchable film that really could’ve been better with a less repetitive plot.
Watch out for the squid-thingy!
But, hey, the movie earns a thumbs-up because it does include folks exploding and, of course, it features arse-tentacles too!
Do not trust the royal family of the kingdom of Aurea…
Starring Millie Bobby Brown, Ray Winstone, Angela Bassett, Brooke Carter, Nick Robinson, Robin Wright and Milo Twomey. Written by Dan Mazeau, directed by Juan Carlos Fresnadillo, and produced by Jeff Kirschenbaum, Chris Castaldi, Jonathan Loughran, Morgan Bushe and Emily Wolfe. Netflix, PCMA Management and Productions, Roth/Kirschenbaum Films
Elodie and her family should have stayed at home…
Elodie (Millie Bobby Brown), one of the daughters of Lord Bayford (Ray Winstone), becomes betrothed to Henry (Nick Robinson), the prince of the wealthy island kingdom of Aurea. Elodie agrees to the marriage initially because the riches being paid for this union will mean much needed money going to her father’s poor, needy land, but then Elodie finds herself actually starting to like Prince Henry, and it all seems too good to be true… and that’s because it is too good to be true! Henry’s elite royal family, headed by the imperious Queen Isabelle (Robin Wright), intends to feed Elodie to a grudge-bearing dragon!
Prince Henry seems like such a nice chap…
…but when Henry and the royal court dress up like this, then you know it ain’t going to end well…
Millie Bobby Brown is okay in the earlier scenes, which boast some luscious fantasy visuals of mountains, knights, royal courts and castles, but she gets far better, I think, once her character is put under duress in the subterranean cavern that Prince Henry has thrown her into.
This is a damn cool-looking fantasy film image!
The film as a whole becomes more immersive once we find ourselves in the cave system with Elodie, who must keep her wits about her as she attempts to stay out of the grasp of the dragon. The script benefits from an efficient forward momentum, with new plot developments keeping the story interesting, like the inclusion of the helpful messages (written by a previous sacrificial princess) that Elodie finds and uses to evade the fire-breathing beast. A cool touch is the discovery of glowing grubs, which are a neat way to provide the heroine (and us) with a light source. These grubs also have healing properties, which prove to be useful later in the tale. To keep the location from becoming samey, the cavern is subdivided into different zones, like a vertical tunnel lined with sharp crystals, a cave filled with stalactites & stalagmites, and so on.
A bioluminescent cave-grub creature!
A vertical cave shaft that is lined with sharp crystals
There are a number of striking visual sequences in the movie, including a flock of burning birds seen whirring through the cavern, a shot of ice melting as dragon-breath blasts it from above, and a later shot of flames lighting up the sky over the dragon’s mountain domain, which looks especially fantastical.
Dragon flames illuminate the night sky…
The female dragon is a pretty fine creation. She has a sleek build, with a solidly-built, ridged neck. Her throat glows before she breaths lava-like flames, and she possesses a long, prehensile tail, a spike-festooned head, a neck covered in spines, and large wings. This dragon has a characterful face, looking a little bit like Draco from DRAGONHEART, and, just like Draco, she can speak. I am not usually a big fan of talking movie dragons, but the way this one speaks, with a female voice courtesy of Iranian actress Shohreh Aghdashloo, it works quite effectively. The dragon also has a legitimate reason to want revenge on humans…
A damsel-versus-dragon face-off!The dragon’s body-structure gives her something of a stylised, heraldic look
DAMSEL’s plot machinations sees Elodie’s younger sister Floria being chucked into the dragon’s lair (because Queen Isabelle realises Elodie has evaded the dragon), and it all becomes really quite thrilling as Elodie goes back into the danger zone to save her sis! Elodie finally tips the balance in her favour after she finds the chance to explain to the dragon that the vengeful beast has been lied to over the years with regard to the identities of the sacrificial princesses.
Many of the caves are large enough for the dragon to fly around in
The dragon’s flame-breath has a lava-like quality to it
Robin Wright is sufficiently dastardly as the queen of the island kingdom, Ray Winstone is all right as the father who finally attempts to do the right thing, Angela Bassett is good as the stepmother who smells a rat, and Millie Bobby Brown just gets better and better as the film progresses. She looks very striking as the burnt, bruised, ragged, dirty heroine who eventually finds a way to exact revenge on Queen Isabelle and her sneaky, ruthless clan…
Elodie becomes more battered and bruised as the story progresses, but she will get her revenge!
There is SO MUCH monster-tastic wonderfulness enclosed in this issue!
Imaginator magazine’s CREATURE FEATURE SPECIAL EDITION is available all over the world (UK, US, Netherlands, Japan, Brazil, etc) via Amazon and other fine retailers!
PREDATOR Award-winning creature designer/creator STEVE WANG talks about designing and building one of the most iconic alien characters ever created for the screen… the original PREDATOR!
DRAGONSLAYER Special effects & make-up effects titan CHRIS WALAS recounts what it was like helping to bring to life the greatest-looking movie dragon: Vermithrax Pejorative!
ALIEN Actress VERONICA CARTWRIGHT is interviewed about working on the classic genre movies ALIEN, INVASION OF THE BODYSNATCHERS and THE BIRDS! She describes the day they shot the bloody Chestburster scene!
WEREWOLVES A look at the awesome practical creature FX used in WEREWOLVES (2024)! One of the actor-producers tells us what it was like to work with Frank freakin’ Grillo!
ELDRITCH ENCOUNTERS Horror fiction author, editor and critic RAMSEY CAMPBELL reviews two films made by the H. P. Lovecraft Historical Society!
CREATURE FEATURE REVIEWS Noah Kneal, Simon Pritchard and Ramsey Campbell review a bunch of monster movies! Titles include BOGIEVILLE and ALIEN FROM THE ABYSS!
THE DEADLY SPAWN JOHN DODS chats about making the gorgeously gooey, triple-headed monster star of THE DEADLY SPAWN (1983), plus he covers other pivotal moments in his career, including building creatures for SPOOKIES (1986) and NIGHTBEAST (1982)!
INTO THE DEEP 2025 is the 50th anniversary of the release of JAWS… and it is also the year that Richard (Hooper) Dreyfuss is unleashed upon the world in a brand new shark movie: INTO THE DEEP! Action director CHRISTIAN SESMA tells us all about it!
BEASTS OF BLOOD ISLAND A dive back into the lurid, tropical, colourful world of Eddie Romero’s Filipino fright flicks!
SQUIRM Director JEFF LIEBERMAN reminisces about his incredibly enjoyable killer bloodworms opus SQUIRM!
HORROR QUEEN Exploitation movie star GERETTA GERETTA chats about starring in RATS: NIGHT OF TERROR (1984) and the insanely kinetic DEMONS (1985) – plus she even reveals what the recipe is for making demonic movie drool!
MONSTROUSLY TALENTED This interview with KEN BARTHELMEY, a mega-gifted concept designer and illustrator who focuses on Creature & Character Design work for big Hollywood movies, includes lots of very impressive concept artworks for such films as THE TOMORROW WAR, GODZILLA: KING OF THE MONSTERS and GODZILLA VS. KONG!
SHE’LL BLEED YOU DRY MADALINA BELLARIU ION stars as a sultry and sometimes savage vampire in the impressive UK horror movie DRAINED! Here she chats about playing a vampire and playing a werewolf, and also fills us in on what it was like co-starring with Scott Adkins in a recent action flick!
NO ONE GETS OUT ALIVE The supremely talented Creature Designer KEITH THOMPSON discusses how he conceptualised the surreal and wonderfully macabre god-monster that appears in the memorable finale of NO ONE GETS OUT ALIVE (2021), the movie adaptation of the Adam Nevill novel!
THE FLY Oscar-winning creature-creator CHRIS WALAS returns with a second interview this issue! Here he talks about the amazing work he did creating Brundlefly for David Cronenberg’s utterly wonderful THE FLY!
A VVITCH – GRAPHIC NOVEL UPDATE Artist and writer Russell Fox treats us to another sneak peek at more sumptuous-looking illustrations that’ll be appearing in his upcoming folk horror graphic novel A VVITCH! (More of his work can be viewed in issue 8 of Imaginator)
BONE KEEPER This is a new movie, which has recently finished principal photography, about a group of friends being hunted by a malevolent monster in a cave. Director HOWARD J. FORD and creature effects VFX supervisor GIORDANO AITA talk about working together on BONE KEEPER, and they share with us some ace images of the development of the cave creature!
THE MAN WHO WAS MOLASAR Actor Michael Carter is asked what it was like to wear the incredibly distinctive and damn cool Molasar muscle suit in THE KEEP. He also speaks about the makeup application process he underwent to become Bib Fortuna in RETURN OF THE JEDI, and he chats about playing a memorable London subway victim in the all-time 80s horror film classic AN AMERICAN WEREWOLF IN LONDON!
RADIOACTIVE REVIEWS To finish off this issue there are a couple of non-monster movie reviews, including one for the Italian Mad Max ripoff 2020 TEXAS GLADIATORS!
Wow! So much lovely stuff is jammed inside this single issue!
LIMITED EDITION PRINTS You can buy two Limited Edition Creature Feature Prints, signed and numbered by Imaginator’s cover artist ZillaMan, via this LINK!
Starring Jack Kesy, Jefferson White, Adeline Rudolph, Leah McNamara, Suzanne Bertish, Joseph Marcell and Martin Bassindale. Written by Christopher Golden, Mike Mignola and Brian Taylor Directed by Brian Taylor. Produced by Jeffrey Greenstein, Yariv Lerner, Mike Richardson, Sam Schulte, Les Weldon and Jonathan Yunger. Campbell Grobman Films/Dark Horse Entertainment/Millennium Media
Tom Ferrell, Bobbie Jo Song and Hellboy
In 1959 Hellboy, who is accompanied by BPRD agent Bobbie Jo Song, has an occult adventure in the witch-filled woods of the Appalachians, where he teams-up with the stoic hillbilly hero Tom Ferrell and encounters the hellish Crooked Man, whilst also hunting down an escaped funnel-web spider that houses a demonic entity.
The demon-possessed funnel-web spider is capable of growing to giant size! Yikes!
This is an engaging, more compact instalment of the Hellboy saga, underlining the horror aspects of the comic book source material and deftly maintaining a folksy supernatural tone throughout.
This insect is actually a witch’s familiar
Jefferson White is particularly good as Tom, a character inspired by Manly Wade Wellman’s pulp horror protagonist Silver John, Adeline Rudolph plays special agent Bobbie Jo Song nicely as someone who views all the supernatural occurrences and practices from a very scientific perspective, and Jack Kesy is actually a really good Hellboy.
Hellboy and Tom Ferrell
The Crooked Man himself (played by Martin Bassindale) is an interesting screen bogieman, though he did look scarier, I think, in the comic book version, as illustrated by the late, great Richard Corben.
A page from the comic book, written by Mike Mignola and drawn by Richard Corben
There’s a lot of cool, interesting content and imagery in the movie: a witch refills her skin-suit by crawling back into it whilst in the form of a raccoon, and a supernatural black snake slithers from between a character’s legs and slides down her throat in a continuous cycle – and there’s other memorable stuff, including the lowdown on how to make witchballs.
HELLBOY: THE CROOKED MAN is not as big scale or glossy as its predecessors, but this works to its advantage, helping the film to come across as more faithful to the vibe (and often more modest scope ) of many of Hellboy creator Mike Mignola’s original yarns.
I really enjoyed this flick, and I would definitely like to see more Hellboy films told in this style!
Starring Hiroki Hasegawa, Yutaka Takenouchi, Satomi Ishihara, Ren Ôsugi and Akira Emoto. Written by Hideaki Anno. Directed by Hideaki Anno and Shinji Higuchi. Produced by Minami Ichikawa, Yoshihiro Satô, Masaya Shibusawa, Taichi Ueda and Kazutoshi Wadakura for Toho Pictures.
Toho put its Godzilla movie series on hold for a while after the release of the hugely entertaining Godzilla: Final Wars (2004), which was the final entry of the Millennium era. Toho eventually decided to shoot a new Godzilla flick in 2016, called Shin Godzilla, which was the first Japanese Godzilla movie of the Reiwa era.
This iteration of Godzilla initially has large, unblinking, fish-like eyes!
Shin Godzilla was a huge critical and financial smash in Japan. However, some western fans complained about the amount of time that was spent in the film focusing on the politicians and bureaucrats trying to work out what to do as the crisis deepens, but I think that watching how all the many viewpoints, red tape and opinions swamped the decision makers added quite a bit of realism to the story.
I liked all the scenes of the authorities trying to work out what to do!
The movie adds new twists to Godzilla’s lifecycle, with the creature evolving through different forms, which I really liked: you can’t just keep doing the same old schtick every time. In this iteration of Godzilla we see him transform from a low-sprawling aquatic beast to upright god-reptile. We watch him continually adapt, utilising atomic breath and then photon beams. Maybe old school Godzilla fans might not like this updating of his abilities, but I thought the ever-evolving powers and adaptations kept the story intriguing. Even the ending leaves viewers with a mystery: the last shot of Godzilla’s tail hints that an even weirder evolutionary step was underway within the great beast…
Above: two shots showing Godzilla letting loose with photon beams!
The devastation shots of boats & debris being pushed down the river as a wreckage-wave effectively replicated real disaster imagery seen during the 2011 Japanese tsunami, and I liked the many scenes of Godzilla stomping through the city seen in extreme long shot, giving an expansive view of the creature’s progress through Tokyo.
Helicopters get ready to attack!
Oh, and I loved the way the Japanese forces not only used tanks and jets and helicopters against Godzilla… they also utilised ‘train bombs’ too – cool!
You could argue that there were some odd design choices, like the early-stage googly fish eyes, for instance, but these strange, unblinking eyes do look quite unsettling!
The earlier-stage Godzilla has grotesquely-wobbling gills and freaky, staring eyes!
Ultimately, there is a lot to enjoy with this version of Big G, who, once in adult form, looks quite different to his typical body shape, with very tiny eyes, a longer neck and jawbones that can detach, allowing his mouth to widen (Godzilla’s mouth can also really extend vertically). Not only is the Godzilla in this film quite a unique design, this great beast looks pretty damn scary and creepy too!
Little beady eyes and a mouth that’s full of sharp teeth!
Shin Godzilla was the first Japanese Godzilla to be rendered primarily through CGI, though he somehow retains a slight suitmation vibe, maybe because actor Mansai Nomura portrayed Godzilla through motion capture.
This is a Godzilla film, so there’s lots of devastation!
Shin Godzilla is a very fine Godzilla movie. ‘Nuff said!
Yes, you read that correctly: issue 9 of Imaginator is going to be a CREATURE FEATURE SPECIAL…
Here’s a taster of some of the interviews that will be in this issue…
Also in this issue…
Steve Wang talks about creating the PREDATOR!
Chris Walas talks about creating his Oscar-winning makeup effects for THE FLY!
Veronica Cartwright talks about confronting the ALIEN!
There’s a chat with Michael Carter, who played Molasar in THE KEEP! The talented actor was also Bib Fortuna in RETURN OF THE JEDI and he was a very memorable victim of AN AMERICAN WEREWOLF IN LONDON!
Plus – actress Geretta Geratta is interviewed about her films DEMONS and RATS: NIGHT OF TERROR!
And there’s going to be so much more, including reviews of a bunch of monster movies, including these beauties…
Starring Masaaki Daimon, Kazuya Aoyama, Reiko Tajima and Akihiko Hirata. Written by Jun Fukuda and Hiroyasu Yamaura. Directed by Jun Fukuda. Produced by Tomoyuki Tanaka.
Cool poster
Also known as GODZILLA VS. BIONIC MONSTER and GODZILLA VS. COSMIC MONSTER, this kaiju flick came out to celebrate Godzilla’s 20th anniversary.
This poster is ace!
The movie presents us with our massive reptilian hero tackling his mechanical doppelgänger: Mechagodzilla! This marvellous, monstrous machine is controlled by alien ape-beings who come from a planet orbiting a black hole! Failing to beat his robo-twin in combat on his own, Godzilla is assisted by dog-faced Okinawan god-monster King Caesar (aka King Seeser). Godzilla’s beastly buddy Angiurus returns, and is now capable of leaping at his foes, leading to a very physical fight with Mechagodzilla!
Above: three colourful kaiju pics!
Mecha-G is definitely the stand-out element in this film, with the robo-beast firing rockets from its fingers, discharging lightning bolts from its chest, emitting colourful beams from its eyes, and creating whirling forcefields with its spinning metal head! Woot!
The fights in GODZILLA VS. MECHAGODZILLA are really enjoyable, full of multiple explosions and animated power beams. Even Mechagodzilla’s knees are lethal, as they are capable of firing projectiles at Godzilla and King Caesar!
Godzilla and his robotic nemesis!
This film is fun, fun, fun! The ape-aliens look goofy, goofy, goofy! And Mechagodzilla is cool, cool, cool! No wonder the titanium terror went on to become one of Godzilla’s most popular foes.
Yes! Issue 8 of Imaginator magazine is now roaming the world!
There are loads of links to places it can be bought HERE!
I am so proud of this issue!
I love the way the magazine looks, design-wise, and I think it contains a wealth of wonderful folk horror-related contents that anyone with even a passing interest in the sub-genre will enjoy reading!
Check out the magazine’s contents…
FOLK HORROR RISING
Noah Kneal looks at what makes Folk Horror so special… and ponders why the sub-genre continues to go from strength to strength.
ALL THE HAUNTS BE HERS
Ken Miller talks with Kier-La Janisse, the director of stunning folk horror documentary Woodlands Dark and Days Bewitched: A History of Folk Horror.
Screenshot
REMEMBERING THE RITUAL
Dan Nicks reminds us why The Ritual (2017) is such a wonderful melding of folk horror and survival horror.
THE MAN WHO UNLEASHES HORRORS
Ken Miller speaks with Adam Nevill, author of such scrumptiously sinister folk horror books as The Reddening, The Ritual and Cunning Folk.
MAKING THE MONSTER!
Charlotte Quist supplies the lowdown on how the awesome and freaky Jötunn god-monster was created for the film adaptation of The Ritual.
DREAMING OF THE JÖTUNN
Talented Concept Artist and Creature Designer Keith Thompson reveals to Ken Miller how he designed the monstrous, marvellous movie beast featured in The Ritual.
FOLK HORROR MOVIE REVIEWS
Noah Kneal and Ken Miller review loads and loads of folk horror flicks… and horror fiction writer, editor and critic Ramsey Campbell provides a guest movie review too!
THE ROAD LESS TRAVELLED
Writer, director and producer Sean Hogan chats to Ken Miller about his menacing, brooding, brilliant film To Fire You Come at Last.
“WHO IS THIS WHO IS COMING?”
Sebastian Starkey clarifies why Oh, Whistle, and I’ll Come to You, My Lad is such a fine ghost tale, then checks out the various adaptations, homages and parodies inspired by the story.
DESIGNING THE PERFECT WENDIGO
Creature Designer, Concept Artist and Illustrator Guy Davis divulges to Ken Miller how the fantastic folk-creature from Antlers (2021) was conceived.
SEQUENTIAL TALES OF TERROR
Artist and writer Russell Fox spills the beans on his stunning-looking folk horror graphic novel A VVitch. His illustration work is so good!
DEMONFINDER WARLOCK
Actor Russell Shaw tells Ken Miller what it was like playing the demon-hunting, bewhiskered, time-travelling protagonist in the wild, medieval-set movie Witch (2024)
RADIOACTIVE REVIEWS
The movies reviewed in this section are non-folk horror flicks (though some are folk horror-adjacent). Top scriptwriting guru and author William Martell supplies a guest film review.
I think this issue rocks – and I think you will agree once you’ve read it!
Starring David Dukes, Kelly Piper, Hugh O’Conor, Cora Venus Lunny, Ronan Wilmot, Niall Toibin, Niall O’Brien and Heinrich von Schellendorf. Written by Clive Barker. Directed by George Pavlou. Produced by Kevin Attew, Don Hawkins, David Collins, Al Burgess and Paul Gwynn. Alpine Pictures/Green Man Productions
4K Blu-ray cover
There’s something nasty lurking beneath this standing stone…
An American author, Howard Hallenbeck (Dukes), travels around Ireland with his family, doing research for his book focusing on the persistence of sacred sites. The Hallenbecks are staying in a small village, where Howard is checking out the local church’s intriguing stained glass panels, when an enraged, toothsome monster is released from beneath an ancient menhir.
The demonic creature depicted in the stained glass is no mere myth…
This beast goes on the rampage, and one of the creature’s victims is Howard’s son, provoking the upset & angry author to seek out a way to destroy the monster, but there are those, including the church’s rector, Declan O’Brien, who regard the critter as a pagan god…
A dentist’s nightmare!
RAWHEAD REX started life as a short story included in Volume Three of Clive Barker’s BOOKS OF BLOOD anthology series. The original story is set in Kent, and features a folkloric humanoid monster, a kind of raw-fleshed, ferocious personification of hyper-toxic-masculinity. This berserk, barbaric boogeyman devours innocent children and violates women, though the brutal man-beast has an aversion to pregnant females and those who are menstruating: they cause a sense of fear within the ancient, feral being. Barker wrote the screenplay for the film adaptation, but he was pretty dissatisfied with the way the movie eventually turned out, prompting him to direct the next movie version of one of his stories himself, that film being HELLRAISER (1987), based on Barker’s novella THE HELLBOUND HEART.
Okay, I can fully understand why Clive Barker felt let down by the cinematic representation of his original yarn. There was no way George Pavlou’s low budget flick was going to live up to the impactful, visceral tone and atmosphere of Barker’s source material. I really like that original story, it’s one of my favourite Barker tales. And yet…
…I believe that this film is definitely in need of reappraisal!
Maybe this sounds like I’m damning the movie with faint praise when I say that the practical effects monster on show here is better than so much of the cheap CGI dross churned out over the last couple of decades, but I do mean this as a compliment. Sure, Rawhead Rex’s scowling face doesn’t have an awful lot of different facial expressions, but it’s still damn satisfying to see an actual creature suit being used, something that is really there, really in the scenes! I love the fact this beast-man is basically a big, leather-clad humanoid monster with a huge maw full of teeth!
It’s Rawhead Rex!
The special effects team had a frantic four week deadline to create the Rawhead Rex creature: a body suit, with an animatronic monster head for close-ups, brought the snarling monster to life in the movie. And, by god, it works just fine!
Roaring, rubbery wonderfulness!
The film is not as transgressive as the short story, but it is enthusiastically gory, and there is a lot of fun/cool stuff to look out for, like the great shot of Rawhead standing on a hill holding aloft a severed head, his beastly breath illuminated as he exhales. And then there’s the attack on the caravan park: faces are slashed and boobs get revealed as the wild, primal creature runs amok! And let’s not forget the blasphemous baptism scene (taken from the original story), where Rawhead bathes the kneeling Declan O’Brien with its urine!
Rawhead rampages through a caravan park!
Irish coppers go up in flames!
O’Brien tells his boss, Reverend Coot, that Rawhead Rex is a god, a deity that was here long before Christ: before civilisation, Rawhead was the king of this place. Later on, O’Brien utters a classic line as he forces Coot to meet the deadly Rawhead: “Get upstairs, fuckface, I can’t keep god waiting!”
The barechested, muscled Rawhead (played by Heinrich von Schellendorf) has glowing red eyes, which have the ability to overwhelm the minds of some victims (the creature doesn’t have this power in the original story). “For you!” Says a burning cop, who has become one of Rawhead’s acolytes, as he immolates his fellow officers!
Beware the glowing red eyes!
Salvation is hidden within the church’s altar, in the form of a small, stone earth-goddess-style idol, which a woman must wield, leading to an optical FX-drenched showdown, as Howard’s wife Elaine (Piper) uses the idol to unleash supernatural forces to drive Rawhead back into the ground. This is a colourful, rousing fantasy-horror finale!
Time for some magic!
Honestly, I don’t believe RAWHEAD REX deserves the derision levelled at it from many critics. It is an unpretentious, cheesy-but-satisfying, 80s-tastic entertainment, a B-movie that makes sure its rampaging, rubbery, rockin’, rampant god-beast is given a lot of time on screen! And for that I respect it!
A tale featuring mysterious, quirky, mountain-dwelling beasts!
This book collects the Silver John short stories, including THE DESRICK ON YANDRO
THE DESRICK ON YANDRO is a short fantasy-horror story written by pulp horror, sci-fi, fantasy author Manly Wade Wellman (May 21st, 1903 – April 5th, 1986), who created the wonderful evil-vanquishing character John, often referred to as Silver John or John the Balladeer. John roamed the Appalachian mountains with a silver-stringed guitar, which helped him to ward off evil (because the Devil and evil in general doesn’t like silver!) John speaks in a dialect that sounds authentic for the region, and Wellman’s turn of phrase in these stories lends a lyrical, poetic-folksy vibe to the narratives. THE DESRICK ON YANDRO was the second story about John to be written by Wellman, and it was first published in the June 1952 issue of THE MAGAZINE OF FANTASY & SCIENCE FICTION.
THE DESRICK ON YANDRO was first published in this magazine
The yarn sees John agree to accompany a rich, pushy, unpleasant man called Mr. Yandro on a trip to Yandro Mountain, a mysterious place where Yandro’s grandfather, Joris Yandro, had courted a pretty witch, Polly Wiltse, who lived in a desrick atop the flat, wooded mountain peak. John and Mr. Yandro reach a cabin in the valley below the mountain, where Mr. Yandro is told by an old woman called Miss Tully that, seventy-five years ago, his grandfather had used Polly Wiltse’s witch-powers to locate gold on the mountain and then he had run away with the treasure, abandoning Polly.
Mr. Yandro, it seems, intends to trudge up the mountain and coerce the ancient Polly Wiltse into giving him more of the gold.
Miss Tully warns Mr. Yandro that ‘scarce animals’ live up on the mountain, creatures like the Toller – the hugest flying thing there is: its voice tolls like a bell, to tell other creatures their feed’s near. And she talks about the Flat – a critter that lies level with the ground, which can wrap around people like a blanket. Miss Tully mentions a furred beast called the Bammat, but Mr. Yandro suggests the old woman is referring to the Behemoth. Tully says that the Behemoth is from the Bible, and the Bammat is different, something hairy, with big ears and a long wiggly nose. Mr. Yandro laughs at this, saying that Miss Tully is referring to the extinct Mammoth. The old woman continues, telling Mr. Yandro about the Behinder – which is always hiding behind the man or woman it wants to grab, and she describes the Skim – a living thing that kites through the air, and she explains what the Culverin is – a creature that can shoot pebbles with its mouth.
Mr. Yandro just sneers at all this talk of weird animals. The next day he and John make their way up the mountain trail. John notes that it wasn’t folks’ feet that had worn that trail, it was hoofmarks… and soon John starts noticing things peering from the foliage, such as a big, broad-headed Bammat, a creature with white tusks like ‘bannisters on a spiral staircase’. But Mr. Yandro is oblivious to the things lurking amongst the trees until it is too late, and then, finally, he discovers that all these unlikely beasts really do exist…
Artist Thomas Boatwright created some drawings of Silver John for a graphic novel treatment, but the comic book was never published. Here’s a DESRICK-inspired illustration. Check out the Bammat behind John!
Another one of Thomas Boatwright’s Silver John drawings produced for a graphic novel that never got produced. Shame!
THE DESRICK ON YANDRO is an enjoyable tall tale, with John playing something of a passive role, even though he is the narrator. But once it is explained by Miss Tully that the bitter witch Polly Wiltse had created a special song with the power (if it is heard by a member of the Yandro family) to draw a male Yandro relative back to her desrick, it becomes apparent that John has indeed played a very important function in the story: he happens to be singing this very song at a rich folks’ gathering at the start of the story, which triggers Mr. Yandro’s urge to seek out Polly.
When John and Mr. Yandro reach the desrick (an old term for a kind of cabin that’s made of strong logs with loophole windows), Yandro is set upon by various creatures, and he is chased into the witch’s desrick, never to be seen again. It is inferred that the old, haggard Polly Wiltse doesn’t care which generation of the Yandro family she punishes, just so long as they resemble the man who’d wronged her all those years ago.
Hedges Capers plays John in the film WHO FEARS THE DEVIL, aka THE LEGEND OF HILLBILLY JOHN (1972)
I love the menagerie of uncanny critters that pop-up in this story. The Culverin has many legs, and has a needle-shaped mouth from which it spits a pebble at Mr. Yandro. The Behinder, which is a variation on the Hidebehind creature featured in lumberjack lore, is not explicitly described by John because it is too terrible a thing for anyone to want to remember properly. Several of the Skims are seen and they seem to be living frisbee-things, whilst the Flat resembles a black, broad, short-furred carpet rug! The specific look of the avian Toller isn’t gone into, we are simply told that it makes gong-gong-gong sounds.
Wellman wrote a whole bunch of short stories about John, plus five novels. In 1972 the movie WHO FEARS THE DEVIL, aka THE LEGEND OF HILLBILLY JOHN, was released. This was a movie about Silver John’s adventures, and it was set within the same supernaturally-flavoured backwoods milieu of a bizarre rural Appalachia, just like in the books. Two of Wellman’s stories, O UGLY BIRD! and THE DESRICK ON YANDRO, were incorporated into the film’s script.
The section of the movie that is based on THE DESRICK ON YANDRO story features actor Harris Yulin playing Mr. Yandro. In the film the character likes to dress as an undertaker. This part of the movie boasts some nicely-lit night shots, and it adds scenes that weren’t in the original story, involving Susan Strasberg playing the old hag witch Polly Wiltse, who pretends to be an attractive, still-young woman. The movie also includes John’s dog, called Honor Hound, which accompanies him on his trek up the mountain (the dog isn’t in the short story). This segment of the movie is certainly engaging, but (no doubt because of budgetary reasons) all the quirky folklore creatures are not shown! In the movie adaptation, John and Mr. Yandro simply mention such creatures as Behemoths and Behinders, and there’s an off-screen roar heard at one stage… but we NEVER get to see the folkloric fauna, which is a damn shame!
In the movie Mr. Yandro dresses like an undertaker
John and Yandro climb up the mountain
Fortunately, the part of the film inspired by the O UGLY BIRD! story does show the monster! The filmmakers bring the feathered fiend to the screen as a Ray Harryhausen-style flying, fiendish animated fowl! The Ugly Bird scenes add a lot of much-needed action and fantasy thrills to the production, and they’re definitely my favourite moments in the film. The quirky & creepy-looking puppet was designed and made by key animator Harry Walton, who did 85% of the animation, with Gene Warren Jr. providing animation for four shots.
Ugly Bird attacks John!
The animated monster bird swoops through the air!
Despite the omissions in the DESRICK portion of the plot, and the rather loose directorial style, WHO FEARS THE DEVIL/THE LEGEND OF HILLBILLY JOHN remains an easygoing, episodic, folksy fantasia that’s fun to watch, even if the film lacks the specific atmosphere of the Wellman stories.
The film WHO FEARS THE DEVIL is reviewed in Imaginator magazine’s FOLK HORROR SPECIAL EDITION. You can find out more about this folk-tastic magazine HERE!
I first read THE DESRICK ON YANDRO short story within the pages of ALFRED HITCHCOCK’S MONSTER MUSEUM. This anthology book had stories about such beasts as a slimy blob-creature and intelligent ants, but it was the YANDRO tale that lodged itself in my memory.
The DESRICK story is also featured in various books that collect Wellman’s Silver John short tales together – JOHN THE BALLADEER, OWLS HOOT IN THE DAYTIME AND OTHER OMENS, and WHO FEARS THE DEVIL?
Lee Brown Coye cover art for this edition published by Arkham House Press in 1963
Mike Mignola’s and Richard Corben’s comic book tale HELLBOY: THE CROOKED MAN was heavily inspired by Manly Wade Wellman’s Appalachian-set Silver John pulp-fantasy-horror stories. I really enjoyed the 2024 movie adaptation – it’s well worth seeking out!
HELLBOY: THE CROOKED MAN (2024)
Devoted to every kind of movie and TV monster, from King Kong to Godzilla, from the Blob to Alien. Plus monsters from other media too, including books and comics.