All posts by Ken Miller

The Desrick on Yandro

A tale featuring mysterious, quirky, mountain-dwelling beasts!

This book collects a lot of the Silver John short stories, including THE DESRICK ON YANDRO
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 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 unpublished. Here's a DESRICK-inspired illustration.
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!
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)
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 Legend of Hillbilly John video cover

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
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!
Ugly Bird attacks John!
The animated monster bird swoops through the air!
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 LEGEND OF HILLBILLY JOHN

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.

ALFRED HITCHCOCK'S MONSTER MUSEUM book cover

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?

John the Balladeer book cover
Lee Brown Coye cover art for this edition published by Arkham House Press in 1963
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)
HELLBOY: THE CROOKED MAN (2024)

Issue 7 of Imaginator Magazine Has Been Rediscovered!

From the ancient Imaginator storage vaults… some copies of ISSUE 7 of IMAGINATOR magazine have been discovered! If you live in the UK, the EU, or the USA, you can purchase one of these rare printed gems (while stocks last!) …

TO ORDER A COPY IN THE UK:

Imaginator Issue 7 – UK

Genre film magazine. Interviews with Dario Argento, John Woo, Richard Stanley and Donnie Yen! A huge Asian movies section! Joan Collins tries not to talk about Empire of the Ants! Film reviews and more!

£12.99

TO ORDER A COPY IN THE EU:

Imaginator Issue 7 – EU

Genre film magazine. Interviews with Dario Argento, John Woo, Richard Stanley and Donnie Yen! A huge Asian movies section! Joan Collins tries not to talk about Empire of the Ants! Film reviews and more!

€19.99

TO ORDER A COPY IN THE USA:

Imaginator Issue 7 – USA

Genre film magazine. Interviews with Dario Argento, John Woo, Richard Stanley and Donnie Yen! A huge Asian movies section! Joan Collins tries not to talk about Empire of the Ants! Film reviews and more!

$22.99

Imaginator issue 7 cover

WHAT YOU NEED TO KNOW ABOUT IMAGINATOR ISSUE 7…

It was published way back in 1991. 36 glossy pages. B&W (with a couple of green duotone pages). This issue includes:

An interview with director RICHARD STANLEY!

Film reviews for movies including DER TODESKING (1989), A NYMPHOID BARBARIAN IN DINOSAUR HELL (1990) and TERMINATOR 2: JUDGMENT DAY (1991)!


A NYMPHOID BARBARIAN IN DINOSAUR HELL (1990)!!!
A NYMPHOID BARBARIAN IN DINOSAUR HELL (1990)!!!

There’s an interview with the uber-talented, unhinged and amazing DARIO ARGENTO!

Dario Argento page scan

JOAN COLLINS becomes rather prickly when she is interviewed about EMPIRE OF THE ANTS!

EMPIRE OF THE ANTS video cover

This issue includes a massive 18-page ASIAN MOVIES SPECIAL!
This celebration of Asian genre filmmaking includes…

An interview with the god-like director JOHN WOO!

An interview with action legend DONNIE YEN!

Donnie Yen

An interview with YUKARI OSHIMA, star of action flicks like KUNG FU WONDER CHILD (1986), IRON ANGELS (1987) and BURNING AMBITION (1989)!

Yukari Oshima

A location report on the filming of the Hong Kong movie GUNS & ROSES (1993), which was being shot in Birmingham in the UK! 

Reviews of movies from Hong Kong, Japan, Indonesia, Taiwan and India! Films being reviewed include: HUMAN LANTERNS, AKIRA, GODZILLA VS BIOLLANTE, GUNHED, KAMEN RIDER BLACK RX, HATYARIN, and SPECIAL SILENCERS!

An interview with western stuntman and actor VINCENT LYN, who talks about making Jackie Chan’s OPERATION CONDOR!  

An interview with action actor LOREN AVEDON, the star of Seasonal Films’ NO RETREAT, NO SURRENDER 2 (1987) and KING OF THE KICKBOXERS (1990)!

PLUS

This issue also includes…

An interview with HUGH GALLAGHER, the director of GORGASM (1990)!

NICK FIEND, the lead singer of the band ALIEN SEX FIEND, lists his best-loved genre movies!

There are some storyboards for DUST DEVIL (1992)!

Listings of fanzines from the period. And more!

Imaginator Magazine’s FOLK HORROR SPECIAL EDITION!

Imaginator magazine’s FOLK HORROR SPECIAL EDITION will be available everywhere (UK, US, Europe, Japan, etc) from mid-April, via Amazon and other fine retailers!

If you live in the UK or the EU, you can preorder the issue from the Imaginator store – and the first 30 copies ordered will come with TWO A5 LIMITED EDITION PRINTS, numbered and signed by Imaginator’s cover artist, Zilla Man!

You can find the links HERE!

All about the FOLK HORROR SPECIAL EDITION…

Every film featured in Severin Films’ awesome boxset ALL THE HAUNTS BE OURS: A COMPENDIUM OF FOLK HORROR VOLUME 2 is reviewed! Plus other fine folk horror flicks are reviewed too!

There’s an interview with director KIER-LA JANISSE, who talks about her definitive, all-encompassing feature-length documentary WOODLANDS DARK AND DAYS BEWITCHED: A HISTORY OF FOLK HORROR!

Author Adam Nevill speaks about his top-notch, scrumptiously sinister folk horror novels, which include THE RITUAL, THE REDDENING, NO ONE GETS OUT ALIVE and CUNNING FOLK!

Writer, director and producer Sean Hogan chats about his menacing, brooding, brilliant film TO FIRE YOU COME AT LAST.

Creature Designer, Concept Artist and Illustrator Guy Davis divulges how the fantastic Wendigo folk-creature from ANTLERS (2021) was conceived!

Actor Russell Shaw, who plays the demon-hunting, bewhiskered, time-travelling protagonist in WITCH (2024), talks about making this wild, genre-twisting occult-themed movie!

A conversation with the super-talented Concept Artist and Creature Designer Keith Thompson: the man who conceptualised the spectacular Jötunn god-monster in THE RITUAL (2017)!

A look at the upcoming Folk Horror graphic novel A VVITCH: many of artist/writer Russell Fox’s awesome illustrations are displayed within these pages for your viewing pleasure!

A deep dive into the adaptations and homages inspired by M.R. James’s classic ghost story OH, WHISTLE, AND I’LL COME TO YOU, MY LAD.

Horror fiction writer, editor and critic Ramsey Campbell provides a special guest film review, and top scriptwriting guru and author William Martell also shares a special guest film review with us!

And there’s much more inside this issue!

BEAUTY AND THE BEAST (1978)
BEAUTY AND THE BEAST (1978)
A giant, ugly bird attacks in WHO FEARS THE DEVIL (1972)
A giant, ugly bird attacks in WHO FEARS THE DEVIL (1972)

Drained (2024)

A bloody romance

Starring Ruaridh Aldington, Madalina Bellariu Ion, Craig Conway, Angela Dixon, Andrew Lyle-Pinnock, Natasha Patel, Andrew Lee Potts, Timothy Blore, Kenton Lloyd Morgan, Ayvianna Snow, Sean Earl McPherson and Matteo Pasquini.
Written by Peter Stylianou.
Directed by Peter Stylianou and Sean Cronin.
Produced by Sean Cronin, Peter Stylianou and Daniel Patrick Vaughan.
House54/Magnificent Films/RG Films/Red Guerilla Films

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A young, jobless artist becomes obsessively attracted to a seductive woman he encounters at a London club, and he finds himself unable to stop seeing the woman, even after he discovers that she’s a vampire intent on feeding from him daily, draining him slowly…

Thomas' time spent with Rhea can be draining...
Thomas’ time spent with Rhea can be very draining…

The filmmakers do wonders with the budget available to them here, crafting a satisfying modern vampire tale. The protagonist’s relationship with his vampire lover effectively shows how romantic entanglements can be very needy and one-sided, ultimately becoming toxic for the obsessed partner. And in the case of this romance, it is literally a draining experience for the boyfriend, as he offers up his blood to keep his girlfriend satiated.

Madalina Bellariu Ion is Rhea the vampire
Madalina Bellariu Ion is Rhea the vampire
Ruaridh Aldington is Thomas

Ruaridh Aldington is a revelation here as the initially rather pathetic Thomas, an aimless young guy living at home with his mum, who falls head over heels for the sultry vampire Rhea, played nicely in a coldly no-nonsense manner by Romanian actress Madalina Bellariu Ion. The film’s success really depends upon Aldington making his character work, because Thomas is a pretty unprepossessing, ambition-free dude when we first meet him at the start of the film, as he masturbates in his bedroom, takes his mother’s hospitality for granted, and refuses to make any effort to get to know his mother’s new boyfriend. But, thanks to Aldington’s subtly persuasive acting here, we do start to care for Thomas as he navigates as best he can through his problematic relationship with Rhea.

Good actors can convey everything just with their eyes. Ruaridh Aldington is one of those actors
Good actors can convey everything just with their eyes. Ruaridh Aldington is one of those actors

DRAINED has its own specific vampire rules. These include Rhea’s ability to fly and move super-quick when she wants to, she can walk about in the daytime (but she does like the sky to be cloudy, hence why she moved to London), she prefers to not fully drain and kill her victims if she can help it, but she must battle increased predatory urges during the full moon. Rhea needs to be invited into a person’s home, she likes to feed from arms rather than necks, and she is attracted to the blood of certain people – and it turns out that Thomas has just that type of blood, drawing Rhea to him.

“So, can I come in?”

This last point helps prevent the central relationship from being totally unequal: Rhea keeps coming back to Thomas because his blood is a little different, so they do share a mutual addiction (Thomas gets some kind of supernatural buzz from being fed upon), but it is definitely Rhea who has the upper hand in the relationship. As Thomas’ health begins to deteriorate, and he tries to break free, matters become more serious, and people die. 

Don't get on the wrong side of Rhea...
Don’t get on the wrong side of Rhea…

There are some bloody scenes, but the film isn’t particularly gory. Rather than depending on show-stopping bouts of carnage, DRAINED keeps you watching because Aldington manages to make you care about his character’s plight. The script dodges the pitfall of becoming a typical vampire romance by being more honest about Rhea’s part in the ‘romance’: she never bullshits about being truly in love, and she openly admits to Thomas that it’s his blood that she needs on a very regular basis.

Vampire victims in this film always have puncture marks on their arms
Vampire victims in this film always have puncture marks on their arms

With Thomas becoming a prime murder suspect, then finding himself on meds in a mental institution for a while, you’d be forgiven for assuming DRAINED must be quite dour and depressing, but it isn’t, thanks to the way it is filmed and acted, and because there’s a vein of humour threaded through the movie that lightens the atmosphere, a lot of it stemming from Thomas’ interactions with his mother’s new partner John, a local pest control expert, played by Craig Conway.  The film also finds time to show that Rhea does have feelings after all, as she stays connected with her previous lover Andreas (Pasquini), who is severely ill. The inclusion of Andreas, whom Rhea refers to as her Old Man, also helps to drive home to Thomas (and the viewers) that this is what happens to anyone who stays too long with Rhea: they’ll be emotionally and physically sucked dry by her.

Thomas ends up in a mental ward
Thomas ends up in a mental ward
Craig Conway is John the exterminator, out to rid Thomas' mother's home of pests (and hopefully Thomas too)
Craig Conway is John the exterminator, out to rid Thomas’ mother’s home of pests (and hopefully Thomas too)
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The cinematography by Daniel Patrick Vaughan is top-notch, the music score really enhances the film, and good story choices are made throughout by writer Peter Stylianou. Stylianou also co-directs the movie with Sean Cronin, who gets to play a SWAT captain during the finale!

A SWAT team is called in!
A SWAT team is called in!

Go and give this a watch, I’m sure you’ll enjoy it.

She wants your blood…
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Demon of the Lute (1983)

Starring Chin Siu-Ho, Kara Wai, Philip Kwok, Kei Kong-Hung, Jason Pai Piao, Yuen Tak and Lung Tien-Hsiang.  
Written and directed by Lung I-Sheng.
Produced by Mona Fong for Shaw Brothers.

Feng Ling (Wai) is sent by her master to locate the special fiery bow and arrows that are the only treasures that can stop a mystery villain from using the lethal Six-Stringed Demonic Lute to wreak havoc everywhere. Along the way she teams-up with her brother Old Naughty (Tak), a likeable thief (Kwok) and his son, a good guy called Yuan Fei (Siu-Ho) and a powerful martial artist known as the Woodcutter (Tien-Hsiang).

This dude's got a huge chopper!
This dude’s got a huge chopper!

DEMON OF THE LUTE’s director, Lung I-Sheng (aka Tang Tak-Cheung), was primarily an actor in the Hong Kong film industry. He was also a martial arts director on many films, and he was the action designer on the very wild BUDDHA’S PALM (1982). This fantasy wuxia, you’ll be pleased to know, is equally over the top! It really is lots of fun, crammed with loads and loads of exotic characters! Let’s look at just some of them: there’s Red Haired Evil, who rides a small chariot drawn by german shepherd dogs and hurls his Thunder Flying Wheel weapon like a frisbee, Eagle Man, who can flap his costume’s wings to fly like a bird, Long Limb Evil, who can super-extend his arm, and Fatty Elf, who can entangle folks in his lengthy beard.

Red Haired Evil, riding his chariot pulled by dogs!
Red Haired Evil, riding his chariot pulled by dogs!
Eagle Man!
Eagle Man!
Watch out for Fatty Elf's super-long beard!
Watch out for Fatty Elf’s super-long beard!

One of my favourite fantastical characters in this outlandish fight flick is Skinny Elf, who has a misshapen forehead – he likes to sit on the hero’s shoulders and can’t be shaken off!

Above: two pics of Skinny Elf!
Above: two pics of Skinny Elf!

Utter strangeness abounds throughout this production, with warriors erupting from a giant silver ball, Feng Ling using her rainbow sword like a guided missile, a horseless wagon whizzing around with the deadly lute inside, some trees momentarily becoming monsters, Old Naughty riding his horse backwards, and a kitschy killer lute that glows with LED strip lights when it’s played.

Monster trees attack!
Monster trees attack!
The lethal magic lute's strings are made from dinosaur ligaments!
The lethal magic lute’s strings are made from dinosaur ligaments!

Though some of the music and on-screen antics become rather too childish (this film dedicates itself to children in the opening credits), DEMON OF THE LUTE has much to offer, including Kei Kong-Hung, who is surprisingly good as the thief’s plucky young son Xiao Ding Dong.

I dig that hairdo!
I dig this hairdo!

Let’s end this review with another look at Skinny Elf…

Handsome he ain't!
Handsome he ain’t!

A Ballad About Green Wood (1983)

This stop-motion crow ain't nice!
This stop-motion crow ain’t nice!

Written and directed by Jirí Barta. Music by Vladimír Merta. Art direction by Lenka Kerelová. Cinematography by Jan Vycítal. Edited by Helena Lebdusková.
Produced by Krátký Film Praha and Studio Jirího Trnky.

Stump on a bonfire

This short film from Czechoslovakia uses a mixture of live action and stop motion.

The movie begins with close-up shots of an axe chopping into logs. One log splits into multiple pieces of wood, some of which have faces. These wooden sticks rush about the landscape, seemingly elated that spring is coming, with the stop-motion footage intermixed with time-lapse photography of seeds germinating and the ice receding. 

This stick has a woman's face
This stick has a woman’s face

The wooden stick with a maiden’s face is attacked by a crow, which pecks the stick to pieces and swallows the splinters.

The crow attacks the lady-stick!
The crow attacks the lady-stick!

The stop-motion crow now turns into a creepy, skull-faced, winged piece of wood. This weird log-thing flies over the countryside, enters a cavern lit by candles, and roosts upside down like a bat, becoming an icicle. Sunlight enters the cave and the icicle becomes the death-faced stump again, which fights a wooden carving of a knight on a horse. The knight wins!  

The crow turns into this evil stick!
The crow turns into this evil stick!
The winged stick-monster flies over the woods
The winged stick-monster flies over the woods
This heroic piece of wood is shaped like a knight on a horse!
This heroic piece of wood is shaped like a knight on a horse!

The other sticks carry the winged, skull-headed piece of wood aloft and place it atop a bonfire on a hill. Then, instead of burning the bonfire, a stick with the maiden’s face uses a newly-grown leaf to make the bonfire burst into a flurry of spring growth, with long blades of green grass consuming the monster-branch, transforming it into a normal piece of wood once more. 

The crow-stick is engulfed by a 'bonfire' of fresh grass
The crow-stick is engulfed by a ‘bonfire’ of fresh grass

Jirí Barta’s sweet-and-sinister short is inspired by Vesna, a female character from Slavic mythology, who is associated with rituals conducted in rural areas during springtime. Here she is represented as the wooden stick with a maiden’s face that is consumed by the black crow, then returns anew to ignite the return of spring, as symbolised by the bonfire of rapidly-growing grass. 

The branch-of-badness is swamped by the blades of grass.,..
The branch-of-badness is swamped by the blades of grass.,..
...and it becomes a normal piece of wood again, which sprouts fresh leaves
…and it becomes a normal piece of wood again, which sprouts fresh leaves

The yarn, which possesses a typically surreal Eastern European folktale vibe, begins in an upbeat manner, turns darker with the arrival of the crow-stump-creature, then seemingly becomes upbeat again after the (ritualistic-looking) ‘burning’ of the winged branch transforms it into a regular stick again, which starts to grow fresh leaves. This would be the happy ending, right? But Barta chooses to finish the story by showing the sticks being collected by a villager to be used as firewood. The final shot is of smoke issuing from a chimney! The end!

The stop-motion animation of the sticks and the puppet crow was done outside, on location in the Bohemian Forest, the High Tatras, and the Koněprusy Caves. 

The animation was filmed on location in the outside environment
The animation was filmed on location in the outside environment

Barta’s other short films include THE VANISHED WORLD OF GLOVES (1982), THE PIED PIPER (1986), THE LAST THEFT (1987) and THE CLUB OF THE LAID OFF (1989).

The crow-stump of doom!
The crow-stump of doom!

Graveyard Shark (2024)

Stephanie Ward plays Abby the cryptid hunter
Stephanie Ward plays Abby the cryptid hunter

Starring Stephanie Ward, Michael John Gilbert, Berndele March, Ryan Santiago, Madisen Zabawa, Olivia Walton and Olga N. Bogdanova. Written and directed by Matthew A. Peters. Produced by Joe Cappelli, Avery Guerra, Ainslee Looman, Anthony Clark Pierce, Brandon Wheeler, Sifundo Nene and Brandon Wheeler.
Mad Angel Films 

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A toothy humanoid creature known as the Graveyard Shark is said to be responsible for the disappearances of various people in the backwater town of Willsboro Point. Abby Wescott (Ward), a wannabe cryptid hunter, is called in to uncover the bloody truth behind these events. Accompanied by her assistant Greg (Gilbert), Abby eventually teams-up with local oddball Captain Seyburn (March) and members of a Graveyard Shark survivors counselling group. Even though the local shades-wearing sheriff (Santiago) says that the Graveyard Shark is just some local folklore nonsense, the critter proves to be all too real when it bloodily attacks a busty, tattooed female deputy whilst she’s enjoying a sex session with her colleague near the latest crime scene! Abby and her allies finally face-off against the creature (one of the counselling group women actually gets it on with the brute!), and the identity of the person who has been secretly helping the blue-skinned beast is revealed…  

Graveyard Shark stalks through the foliage
Graveyard Shark stalks through the foliage
One of the characters strokes Graveyard Shark's abs...
One of the characters strokes Graveyard Shark’s abs…

GRAVEYARD SHARK is a movie that most definitely doesn’t take itself seriously. The folks behind this knew (I hope) what their limitations were, so they proceeded to deliver a film full of dumb humour, copious amounts of spraying blood, stupid dialogue, boobs and a big beast.

The hammer-headed mutant rips out a human heart!
The hammer-headed mutant rips out a human heart!

The film’s lighting and cinematography is on par with the general acting quality, which is to say that it’s all strictly amateur hour level. And yet… the filmmakers are obviously having fun, and this adds to the viewing experience. So, when we get the creature’s origin story, we can be sure that it will be a really stupid, stupid, stupid (but fun) origin story! You see, this muscled monster is the result of a union between eccentric loner Captain Seyburn… and a mermaid of colour that Seyburn encountered in a swamp! The whole backstory is explained to Abby as she sits with Seyburn in a diner. Seyburn describes, with the help of flashbacks, how he met a ‘fine-ass mermaid’ and they had comical intercourse which seemed to consist of Seyburn just grinding his groin against the underside of the mermaid’s tail. As Seyburn climaxes in his flashback, the film cuts to a shot of him in the diner, pouring melted butter all over a cooked lobster. Subtle this ain’t! 

Captain Seyburn (Berndele March) talks with Abby...
Captain Seyburn (Berndele March) talks with Abby…
...and he divulges what happened when he met a mermaid in a swamp
…and he divulges what happened when he met a mermaid in a swamp

Abby learns from Captain Seyburn that the mermaid had returned with a love child, asking him for money to raise their lil’ shark-headed nipper, but Seyburn killed the siren with a shovel instead, burying her and the baby in the cemetery. But, somehow, the tiny mutant shark had clung to life and now it dwells in the graveyard…

Don't trust this dude
Don’t trust this dude

This film really is a dumbass nonsense-fest, with such silly scenes as a dream sequence in which Abby gets high and romps in bed with a bigfoot, who is actually Greg in a costume. But I felt compelled to keep watching anyway, in large part because the movie’s titular monster is brought to the screen via the old school method of using a monster suit!

Graveyard Shark claims a victim!
Graveyard Shark claims a victim!

The Graveyard Shark creature has a buff, musclebound humanoid body that is topped with a toothy hammerhead shark face! I’m just a sucker for practical effects creatures, even when it is a cartoony, cheesy-but-cool costume like this one! This hammer-headed fishy freak, designed by Anthony Clark Pierce, is far preferable to the sub-par CGI effects seen in most low-price b-movies of a similar budget, that’s for sure.

This monster looks like he's been down the gym!
This monster looks like he’s been down the gym!

Many of the monster attacks are shot in a very similar fashion, with the suitmation actor (Brandon Wheeler) shoving the costume’s shark head against the current victim’s neck, as blood is pumped everywhere. Though the results are samey, they are bloody, and there’s the occasional disembowelment of a victim added to the mix too.

A cop gets ripped up!
A cop gets ripped up!
Counsellor Dr. Jan Lovnik (Olga N. Bogdanova) is disemboweled!
Counsellor Dr. Jan Lovnik (Olga N. Bogdanova) is disemboweled!

GRAVEYARD SHARK is, without a doubt, a shoddy, cheapo production, which leaps at any chance to include some nekkid flesh and includes a lot of crass ‘humorous’ chat about going down on mermaids. But the film does end with a fight between the rubbery Graveyard Shark and a fuzzy werewolf! Yes, you read that correctly: it turns out that Greg is actually a man-wolf! This monster suit showdown is slapdash and, of course, pretty enjoyable, with the werewolf costume’s yellow-green eyes glowing so brightly they sometimes look like twin torch beams shining in the mist! So I kinda liked this flick anyway – sue me!

Above: some shots from the film!
Above: some shots from the film!

The Pale Door (2020)

Zachary Knighton is pretty good in the role of gang boss Duncan
Zachary Knighton is pretty good in the role of gang boss Duncan

Starring Zachary Knighton, Devin Druid, Stan Shaw, Bill Sage, Melora Walters, Noah Segan, Pat Healy, Tina Parker, Natasha Bassett, Darryl Cox and Jennifer Rader. Written by Cameron Burns, Aaron B. Koontz and Keith Lansdale. Directed by Aaron B. Koontz, produced by Cameron Burns, Roman Dent and James Norrie.
Paper Street Pictures/Storyteller Media/BondIt Media Capital/Title Media.

'It was the perfect score, but hell was their reward'
‘It was the perfect score, but hell was their reward’

After a member of his gang dies during a gun duel, Duncan (Knighton) begrudgingly allows his nice guy brother Jake (Druid) to make up the numbers for an upcoming train robbery. The outlaws (rather ruthlessly) kill all the Pinkertons guarding a locked chest in one of the carriages… but there’s no cash or gold inside it, instead there’s a young woman called Pearl (Bassett). This girl explains that she was abducted, and she tells the gang there’ll be a big reward if they take her back home, to a place called Potemkin. The outlaws decide this is the only way they can make any money now, so they head for this out of the way township. But they need to hurry, as their leader Duncan has been badly wounded and he’s in urgent need of medical attention. Once they do reach Potemkin, the place seems to be deserted at first, but Pearl leads the outlaws to a brothel, which is packed with friendly prostitutes. But these working ladies are not what they seem to be…

Natasha Bassett plays Pearl
Natasha Bassett plays Pearl
The brothel's madam, Maria (Melora Walters), is Pearl's mother
The brothel’s madam, Maria (Melora Walters), is Pearl’s mother

THE PALE DOOR really struggles at the beginning to properly paint a convincing picture of the time and place the story is meant to be set in. There’s a one-on-one gunfight scene, for instance, that in no way looks like it’s happening back in the late 1800s. It actually resembles something you’d see at a wild west historical re-enactment event. It just ain’t very convincing, pardner. I’m assuming that cash was really tight during the filming of these earlier sequences, but the filmmakers must’ve gotten themselves a little more money later on, as the movie does improve if you stick with it.  

This is a nice shot
This is a nice shot

And the point at which the enjoyment levels of this film ratchet upwards occurs when the secret of Potemkin (which is kind of like a horror film version of Brigadoon) is finally revealed: all the feminine denizens of the brothel are, in actuality, ancient witches! And they’re not just your normal, average witches – these are blackened-skinned, crone-faced, scampering hags. They’re great! These hook-nosed, pointy-chinned occult harridans can defy gravity as they scuttle upside down on the ceiling, they frequently zip about in an animalistic fashion on all fours, and bullets don’t seem to keep ’em dead for long!

Witches on the loose!
Witches on the loose!
Hey, dude, there's an undead hag on the ceiling behind you!
Hey, dude, there’s an undead hag on the ceiling behind you!

With better direction from Aaron B. Koontz, and an injection of additional funding, THE PALE DOOR might have had a chance of becoming a much more memorable horror-action-western. Maybe my expectations had been set higher than they should’ve been because I’d spotted Joe R. Lansdale (BUBBA HO-TEP, COLD IN JULY) credited as one of the film’s executive producers, though perhaps he was involved in view of the fact his son Keith is one of the writers. As it is, the quality of the acting varies a lot (Devin Druid has a cool-sounding name, but his thespian skills ain’t so hot), and better lighting in some of the scenes definitely would’ve helped matters. But, hey, the film (which was partly shot in Rollins Creek Old West Town, located outside of Guthrie, Oklahoma) does manage to gradually become better and better as it progresses, thanks to a satisfying score from Alex Cuervo, the inclusion of folk horror-style costumes that mix long cloaks with a variety of horned animal skulls, and a novel death scene involving a crow emerging beak-first from a victim’s bloody mouth.

Above: a couple of shots of the witches kitted out in their folk horror-style gear
Above: a couple of shots of the witches kitted out in their folk horror-style gear

There’s a topsy-turvy sequence in a church, which involves one of the outlaws being mysteriously compelled to mutilate himself, a fleeting deluge of blood, plus several Puritan-era flashbacks, and two burning-at-the-stake scenes (which are obligatory for witch-themed flicks, right?)   

The cool, off-kilter church scene
The cool, off-kilter church scene
A witch-burning flashback
A witch-burning flashback
Disemboweled in the bordello!
Disemboweled in the bordello!

The way in which the gang members brutally murder the Pinkerton detectives during the locomotive robbery (including some spurs-in-the-mouth violence) hardly makes these people an appealing bunch to root for (only Jake is not a die-hard killer), but attempts are made to garner sympathy for the outlaws once they come under threat in Potemkin, and some of the heartfelt melodrama between brothers Duncan and Jake featured in the film’s later stages is not totally without merit, aided as it is by Cuervo’s music. But, let’s be honest, it’s definitely the confrontations with the swarms of grimy, raggedy, semi-undressed, burnt-bodied witches that are the standout portions of this production, including one shot where a witch lurches out of a puddle of blood during a downpour. The outlaws-vs-witches-in-a-brothel set piece is without doubt the movie’s best sequence, so lets spare a moment to acknowledge the contributions made by Krista Perry, Shannon Beshears and Jennifer Rader: they were the film’s ‘Stunt witches’!

Above: two shots of the wicked witches
Above: two shots of the wicked witches

Let’s finish with another look at one of the skull-faced costumes worn by the witches…

Niiiiiiiiice...
Niiiiiiiiice…

The Wyrm of Bwlch Pen Barras (2023)

Starring Bryn Fôn, Morgan Hopkins, Sean Carlsen, Victoria Pugh and Morgan Llewelyn-Jones. Written and directed by Craig Williams. Produced by Julien Allen for Two Draig Films.

'Fate will unwind as it must'
‘Fate will unwind as it must’

When Gwyn (Fôn) gets an early morning phone call, it’s obvious he is being informed about something that is serious, and it’s also clearly an occurrence that has happened before. What seems to concern Gwyn and his wife Anwen (Pugh) most is the fact that this event has started sooner this time around..

Gwyn gets an unwelcome call
Gwyn gets an unwelcome call

We follow Gwyn as he fetches items hidden in his attic, makes another call, then heads out to pick up the two other members of his team, Emlyn (Hopkins) and Dai (Carlsen). These men drive over to a farm, where they physically attack and subdue Dafydd (Llewelyn-Jones), who they shove into the boot of their car. They drive Dafydd to Bwlch Pen Barras mountain, get him out of the vehicle, and lead him further up the slope. The young captive’s wrists are tethered to a tree branch with rope, black markings are applied to Dafydd’s face, and Gwyn calls out to the Queen of the Mountain as something horrible happens to Dafydd off-screen…

Dafydd is the latest sacrifice...
Dafydd is the latest sacrifice…

This short Welsh movie, shot on nicely-grainy Kodak Super 16mm film, purposefully leaves a lot of details unanswered, so viewers must fill in the blanks themselves. Just what is it that has happened sooner this time? How are the sacrificial victims chosen? Is this a ritual tradition that has been undertaken by multiple generations of Gwyn’s family? 

Poster

The film’s title is the main clue to explain what is actually occurring in the story: the word ‘Wyrm’ relates to dragons, such as the one featured in the Anglo-Saxon poem Beowulf. A red dragon, of course, is the most prominent symbol of Wales and it is included on the kingdom’s flag. Though the legendary creature is a symbol of national pride in Wales, in local myths dragons can have a more ambiguous or infernal significance. Writer-director Craig Williams has said in an interview that there are still folk stories which carry symbolic weight today in which dragons protect villages for a price, and he explained that he wanted to draw on that idea in the context of a horror film. 

Some viewers will be frustrated that the finale refrains from actually showing the creature: THIS IS A MONSTER-RELATED MOVIE THAT DOESN’T SHOW THE MONSTER! But, though I can sympathise with that opinion, I found some tasty tidbits to savour throughout this folk-horror-urban-fantasy’s brief running time, including the sweetly unnerving opening music by Dafydd Ieuan & Cian Ciarán (of the band Super Furry Animals). The overall no-nonsense vibe of the piece is the film’s main selling point, as it depicts the average Joe characters going about their business in a down-to-earth manner. Gwyn is very restrained and world-weary, Emlyn is rather fretful, out of shape, and is evidently content to follow Gwyn’s lead, whilst Dai likes to act the hard man, obviously getting a kick out of what he’s doing.

Above: Gwyn, Emlyn and Dai
Above – shots of the protagonists (top to bottom): Gwyn, Emlyn and Dai

THE WYRM OF BWLCH PEN BARRAS was originally shot as two versions, one in English and one in Welsh. But it soon became apparent to Williams, during the postproduction process, that the Welsh version felt far richer and seemed more true to the material, so that was the one the director submitted to film festivals.

Gnarled trees

This unflashy short film acts almost like an extract from some larger work, and it poses enough questions (Why has the Wyrm’s need for a sacrifice become more regular? When will the rituals not be enough?) to make me want to see them answered in a more substantial follow-up movie – and hopefully a sequel would put the scaly ‘Queen of the Mountain’ on screen!

We didn't get to see what attacked Dafydd in this film. If there's a sequel we want to see the dragon!
We didn’t get to see what attacked Dafydd in this film. If there’s a sequel we want to see the dragon!

Unwelcome (2022)

Starring Hannah John-Kamen, Douglas Booth, Colm Meaney, Kristian Nairn, Chris Walley, Niamh Cusack and Jamie-Lee O’Donnell. Written by Jon Wright and Mark Stay. Directed by Jon Wright. Produced by Piers Tempest, Peter Touche and Lauren Cox. Tempo Productions/Ingenious Media/Rococo Films

Poster
Poster
Jamie and Maya
Jamie and Maya

Several months after they suffer a violent home invasion incident in their inner city London apartment, young couple Maya (John-Kamen) and Jamie (Booth) eagerly move to a village in Ireland when Jamie inherits a house from his recently deceased aunt. To fix a hole in the roof, they hire the Whelan family building firm, but these four individuals prove to be a loutish, aggressive and strange bunch. To add to their woes, Maya and Jamie are informed by local landlady Maeve (Cusack) that their late aunt had believed in the ‘old ways’ and used to leave blood offerings at the bottom of her garden to appease the Little People… and Maeve emphasises that these creatures, also known as the Far Darrig or Redcaps, are not jolly little elves: they’re hungry and they’ll need feeding every day. Not wanting Maeve to be trespassing onto their land to continue this tradition, Maya promises that she will regularly leave a plate of raw liver near the garden gate… which leads into the vast woodland beyond, where a small, domed stone building lurks amongst the trees…

The forest lurks beyond the garden wall...
The forest awaits beyond the garden wall…
What lurks below?
What lurks below?

Hannah John-Kamen is on top form as the heavily pregnant Maya, nicely balancing her character’s varied emotions, ranging from happiness (especially when she discovers she’s pregnant), to fearfulness, to (when required) boldness, as she faces various challenges throughout the story. Douglas Booth, whether intentionally or not, comes across as rather irritating playing the pleasant-but-wimpy Jamie, who is always striving, but failing, to stand up to the bullies in his life. Niamh Cusack, as Maeve, manages to make her friendly warnings regarding the Redcaps come across as sincere and believable, and Colm Meaney seems to be having fun playing ‘Daddy’ Whelan, the rough patriarch  overseeing his obnoxious adult kids, who are all pretty weird but played straight by Chris Walley, Jamie-Lee O’Donnell and Kristian Nairn.

Daddy’ Whelan, Jamie and Maya
‘Daddy’ Whelan, Jamie and Maya

There’s a pleasant use of lush colours in the film, with cinematographer Hamish Doyne-Ditmas ensuring the surrounding countryside is verdantly green and the sun is always golden. The large garden seems to be a big indoor set most of the time, and this slight artificiality adds to the twisted fairytale look and feel of the production. 

The film features lots of yellowy golds and greens for its colour palette
The film features lots of yellowy golds and greens for its colour palette

Director Jon Wright, who also made the wonderful sci-fi-horror-comedy GRABBERS (2012), has described UNWELCOME as ‘GREMLINS meets STRAW DOGS’, and this production does, to a degree, fit this description, though it seems that Wright couldn’t quite make up his mind whether to make his film a gritty home invasion movie, or a horror movie, or a creature feature comedy. GRABBERS certainly balanced its horror and humour elements better, but UNWELCOME does prove to be an enjoyably watchable yarn. 

'Beware the locals. All of them.'
‘Beware the locals. All of them.’

The UK/Irish production holds back from showing the Redcaps till later in the tale and, when the Little People do make their appearance, the movie’s entertainment value really rockets skywards!

A Redcap!
A Redcap!

The sharp-nosed, pointy-eared, caped Redcaps are so much fun! They are violent, belly-slitting, dagger-throwing little buggers, but they’re also almost sweet somehow due to their interactions with each other. These Little People will help you out if you ask a favour… but you must pay a price! This last point, of course, leads to a finale in which Maya must prove herself to be really ruthless in order to get her child back.

A Redcap gets knocked onto a bed
A Redcap gets knocked onto a bed

The first time we see one of the Far Darrig properly is when one of the cowled critters lets itself into the house, walks over to Maya, and presents her with the severed head of a would-be rapist in a plastic bag. The lil’ Redcap in this scene looks great, thanks to the fact the wee fellow is obviously a fine example of the use of practical effects. Soon we get to see more of the Little People, and they all boast different facial features!

Lots of wee Redcaps!
Lots of wee Redcaps!

These superbly crafted Redcaps are played by short actors wearing costumes and latex masks. For a lot of the shots, this simple approach (which included the use of double-sized sets) is enough, with no VFX required. When one Redcap is hacked in the head with a cleaver, the filmmakers simply smash the cleaver into a puppet! But, when the Redcaps are required to talk, or to emote, the filmmakers replace the masks and use the minimum amount of 3D VFX possible. This approach, for me, looks far better than the use of CGI-only creatures: the in-camera effects and the post production digital VFX here work wonderfully together! And this all helps make the violent set piece showdown towards the end of the movie so memorable, when Maya (who ends up going into labour!) and Jamie take-on the psycho Whelan family in their home… and the Redcaps join the bloody skirmish too!

A Redcap is hacked in the head with a cleaver!
A Redcap is hacked in the head with a cleaver!

Perhaps UNWELCOME underplays the comedy a little, and it doesn’t quite hit the mark when it comes to the horror moments sometimes, but it is entertaining. And I really enjoyed the finale, which reaches an unexpectedly triumphant, strange & very exuberant climax! 

Above: four shots from the film
Above: four shots from the film

But, yeah, for me it is the excellent Redcaps (which remind me, design-wise, of the illustrations seen in the book Faeries by Brian Froud and Alan Lee) that help make the movie such a satisfying fantasy-horror picture!

'Break a promise, pay the price'
‘Break a promise, pay the price’

SOME BEHIND THE SCENES SHOTS.

The Prosthetics Studio, run by Shaune Harrison and Paula Anne Booker-Harrison, created the Redcap masks and other prosthetics for UNWELCOME. Take a look at these beauties…

Above: five shots of Redcap heads!
Above: five shots of Redcap heads!