If I had to come up with one word to describe THE LIMEHOUSE GOLEM, it would probably be “stylish.” However, that isn’t the way reviews work, so… let’s get to it, shall we? The film, based on the Peter Ackroyd novel, THE TRIAL OF ELIZABETH CREE (also known asDAN LEO AND THE LIMEHOUSE GOLEM), is a tightly woven murder mystery set in the Limehouse district of 1880 London. At the time, Limehouse was a dark and gritty place and, geographically, not too far from Jack the Ripper’s Whitechapel haunts of 1888. Thanks to the attention to detail by director Juan Carlos Medina, cinematographer Simon Dennis, set decorator Pilar Foy and all of the other talented individuals on the other side of the camera, the seediness and rather tawdry look and feel of the sets (especially the music hall, where much of the movie takes place) are as important to the plot as any single character.
THE LIMEHOUSE GOLEM (Olivia Cooke, Douglas Booth) (photo courtesy: NICOLA DOVE)
That plot unfolds from the end, with a music hall dramatization of the murder trial of Lizzie Cree, an abused and neglected child who has grown up to be an abused and neglected young woman. Amid a frenzy of savage murders perpetrated by a sadistic slasher dubbed the Golem, Lizzie is accused of murdering her husband, John, a failed author, aspiring playwright and primary suspect for the Goelm’s grizzly work. The public, fascinated and horrified by the Golem murders, demands answers and an end to the madness; faced with the possibility of failure, the high-ranking Scotland Yard official handling the case passes the assignment off to Inspector John Kildare, a senior detective with “problems” of his own. With Kildare installed as the fall-guy, the Yard’s hierarchy sees a chance to kill two birds with one stone, so to speak: If Kildare fails to stop the killings, the top brass can save themselves a personal humiliation by laying the blame squarely at the feet of a man they don’t like and want to be rid of. And, why don’t they like Kildare? He is one of THOSE fellows – the Inspector is gay, something not well tolerated in the nineteenth century. By extension, Kildare also inherits the Cree murder case, which leads to a kind of father/daughter relationship with Lizzie. Believing her husband to be the murderous fiend terrorizing Limehouse, the Inspector seeks to prove John guilty in an effort to free Lizzie on a self-defense plea.
THE LIMEHOUSE GOLEM (Daniel Mays, Maria Valverde, Bill Nighy) (photo courtesy: NICK WALL)
As the tale continues to be told with a glance backwards, we are introduced to several characters essential to the Cree’s story, including Dan Leo, a flamboyant music hall performer and stage “narrator”; a stage director and calming presence for the music hall troupe called “Uncle”; aerialist and sexual focal point of the group, Aveline Ortega; and, in flashback fashion, perhaps the person most pivotal to Lizzie’s current woes, her mother. In the 1995 novel, Ackroyd populated his story with several historical figures; Jane Goldman’s script retains three of those luminaries for the film version, to stunning effectiveness: George Gissing, the troubled author whose first novel, WORKERS IN THE DAWN, was published in 1880; Karl Marx, the father of modern Socialism and Communism; and the aforementioned Leo. It is never an easy task to weave real personalities into a work of fiction, but the creative team responsible for THE LIMEHOUSE GOLEM have peopled the story with an entire cast of realistically believable characters that the trio of Leo, Gissing and Marx fit right into the surrounding landscape. All three lived in London during the time of THE LIMEHOUSE GOLEM, with both Marx and Gissing appearing on the suspect list (and in Kildare’s reimagining of the grizzly killings).
THE LIMEHOUSE GOLEM (María Valverde, Sam Reid, Douglas Booth, Olivia Cooke, Eddie Marsan) (photo courtesy: NICOLA DOVE)
While I fairly well had sussed out who the killer was early into the film, I found myself second-guessing my theories – changing my mind several times as Inspector Kildare and his equally astute assistant investigator, Officer George Flood, interviewed Lizzie and her music hall compatriots and unearthed new leads. Yet, the story is so well done that, when the identity of the Golem is finally revealed, you aren’t disappointed in the least. This is a movie and a story that works so well on so many levels. At the beginning of this review, I told you about the artistic and stylistic beauty of the sets… to that beauty, we can definitely add the work of costume designer, Claire Anderson, whose slightly modern take on the wardrobes of Victorian Londoners is every bit as important to the look of THE LIMEHOUSE GOLEM as anything else. Of course, any film is ultimately based on the talents of the people on the screen and this one is stacked with actors perfect for their roles, even if one is actually a replacement for another beloved performer. Olivia Cooke (ME AND EARL AND THE DYING GIRL and the BATES MOTEL television series) is devastatingly vulnerable as Lizzie Cree, while Sam Reid is suitably smarmy as her fame-seeking husband, John; as both business man/mentor and over-the-top stage performer, Douglas Booth (JUPITER ASCENDING, as well as Reid’s co-star in THE RIOT CLUB), shines in the pivotal role of Dan Leo; Spanish beauty Maria Valverde sizzles as Aveline Ortega; in fact, each member of the supporting cast shines brightly and each is given their moment in the spotlight, including Eddie Marsan (Uncle), Keeley Forsyth and Amelia Crouch (as Lizzie’s mother and a younger Lizzie in a couple of frightening sequences that give the viewer important insight into the character) and Daniel Mays (as the rather uptight but totally professional – and loyal – George Flood). As brilliant as these cast members are, I’m not sure that this flick would have risen to the heights to which I have elevated it if it were not for the presence of Bill Nighy (Davy Jones in the PIRATES OF THE CARIBBEAN movies, Minister Rufus Scrimgeour in HARRY POTTER AND THE DEATHLY HALLOWS, PART ONE and a ton of video games and animated stuff over the last decade or so) as Inspector John Kildare; with Nighy’s understated performance, Kildare is thoughtful, vulnerable and, though set-upon (and set to fail), determined to get at the truth. Nighy was a last minute replacement for Alan Rickman, who was forced to pull out of the project due to illness (the film is dedicated to Rickman, who passed away in 2016).
THE LIMEHOUSE GOLEM (Olivia Cooke, Bill Nighy) (photo courtesy: NICK WALL)
Obviously, to divulge too many of the intricacies of the plot would be akin to telling your kids that the Tooth Fairy doesn’t exist (remember how that turned out for Dwayne Johnson in THAT movie?), so I’m just going to tell you that THE LIMEHOUSE GOLEM is worth your attention and, even if you think you have things figured out in the first twenty minutes, you won’t see the end coming. Just getting to the end is a thrilling, chilling ride through the dark underbelly of late nineteenth century London. Anyone who has ever explored, examined or theorized over the case of Jack the Ripper will certainly recognize the similarities here… that was Ackroyd’s intent with his novel. The fact that the film incorporates several of the tropes common to modern police procedural and crime scene investigation fiction keeps things fresh and allows us to play armchair detective, all the while rooting for Lizzie and Kildare; the fact that both of the main characters are fundamentally flawed (but, then, aren’t we all?) keeps us intrigued and totally invested in the story’s outcome. As always, there are certain scenes, as well as the generally violent theme of the movie that some may find objectionable and, as such, I would probably advise parents of children thirteen or younger to steer clear of THE LIMEHOUSE GOLEM while the kids are around… though I’m sure that they could possibly see far worse on an episode of LAW AND ORDER: SVU.
(Scott R Schmidt/Tyler Sowles/Sara Sowles; 32 pages; SOURCE POINT PRESS; 2014)
Hard boiled film noir detective meets things that go bump in the night in the premiere issue of HANK STEINER, MONSTER DETECTIVE; or, maybe a more apt description for the minions of the monster underworld would be “things that get bumped off in the night.”
HANK STEINER, MONSTER DETECTIVE Page 5 (Written by SCOTT R SCHMIDT, art by TYLER SOWLES and SARA SOWLES)
Hank’s Tower City mirrors a world divided; there’s the Human Side and the Monster Side. Both communities would like nothing better than that the twain never should meet. This first issue begins with – as all great detective stories should – a body. The desecrated body of something… not human has been pulled out of the river that separates the two sides of the city. The police on the Human Side grouse and grumble about having to handle a suspicious death from the other side, especially during the playoffs; the detective in charge is not about to miss the playoffs, so he’s called in back-up from the Monster Side: “Stand down, fellas, that’s a pal of mine, Frank.” Well, close… “It’s Hank.” In true noir fashion, our hero delivers a running inner-monologue-as-therapy, beginning here: “I hate humans. Comedians, every one.” Detective Steiner quickly identifies the putrid remains: “Looks like you fellas got yourselves what used to be an imp.” Equally as quick, the human cops dump the case on Hank, telling him to “Take him with you when you’re done.”
HANK STEINER, MONSTER DETECTIVE Page 9 (Written by SCOTT R SCHMIDT, art by TYLER SOWLES and SARA SOWLES)
Back across the bridge, we meet Hank’s operatives, including his secretary, Iris, and a human informant (and garbage man) named Gus. The garbage man’s trash talk (literally) leads the big guy to some underhanded dealings coming from the goblin underworld boss, a fat, cigar-chomping Mafioso called Madtooth. Action comes fast and furious, as Steiner confronts some of Madtooth’s underlings and a trio of vampiric babes in a pool room dive that serves as a front for the mob’s business activities. Of course, Madtooth’s intervention leaves more questions than answers, as he tells Hank that they’re merely the middle men for something far more nefarious than his boys’ illegal shenanigans. Like many of the finest films of the genre, things take a rather unexpected turn, leading to an apt justice being meted out to the criminal element; also mirroring those classic movies, that justice comes in the form of a too-quick resolution. This plot could very easily have been delivered as a multi-issue storyline, fleshing out the characters (recurring and otherwise), the historical background regarding the animosity of the two districts of Tower City and the origins of Hank Steiner’s world.
HANK STEINER, MONSTER DETECTIVE Pages 14-15 (Written by SCOTT R SCHMIDT, art by TYLER SOWLES and SARA SOWLES)
But… that’s a trifling complaint. Scott R Schmidt’s story and dialogue is fast-paced and quick-witted. One could almost envision Humphrey Bogart (well… maybe Raymond Massey) in the role of the Monster Detective. Tyler Sowles’ artwork is powerful and uncluttered, with his wife, Sara’s muted colors adding to the overall noir feel of the book (by the way, she is responsible for page layouts and lettering, as well). If Schmidt and the Sowles can deliver high quality stories like this in a consistent manner, the future certainly looks bright for the denizens of Tower City… or, at least as bright as things ever get in Hank Steiner’s world. I personally cannot wait for future installments, hopefully ones that will answer some of my questions about the whos, the hows and the whys of just what is happening in Tower City. HANK STEINER, MONSTER DETECTIVE is available at your favorite comics shop or, you can secure it digitally from DriveThruComics or Comixology. Now… go ye forth and consume, comics lovers. The fun part of your brain will love you for it.
(Kim Roberts/Various Writers and Artists; 80 pages; WP COMICS; 2016)
The English people are a weird lot. They have a very dry, wicked sense of humor. They have also given us some of THE most frightening tales of horror… ever! Their views on Christmas are… let’s go with “skewed,” shall we? It goes well beyond the fact that they maintain a stubborn habit of saying “Happy” rather than “Merry” when wishing one well during the season of goodwill. Many of those views have been engrained for centuries; well before, I’m sure, the Church usurped the holy days, celebrations and traditions surrounding the winter solstice. All of this is my wholly American way of introducing you to a relatively new comic from the UK called CHRONICLES OF TERROR and, in particular, the fourth issue, a collection of Christmas themed stories sub-titled “Santa’s Twisted Tales.” Now, to be certain, all of the pieces here do not come from the minds and hands of our stalwart British friends; in point of fact, a “Creator of the Month” feature highlights Ohio comics writer and publisher of Disposable Fiction Comics, Jack Wallace.
CHRONICLES OF TERROR, Issue 4: “Snowvenge” (written by KIM ROBERTS, art by HARALDO)
Starting with the magnificent, delightfully gruesome cover image by Haraldo (like Cher, I suppose, this artistic genius only needs the one name), this book takes on every traditional concept – both religious and secular – regarding Christmas, as well as the so-called “pagan” rites and rituals of more ancient (some would say “arcane”) holy days. Haraldo’s stunning artwork is back in an imaginative take on the old “revenge is a dish best served cold” proverb; with a brilliant story and script by anthology editor, Kim Roberts, “Snowvenge” is certainly setting the bar high as an opening salvo, as it hits on all cylinders, from concept to finished art. “The Never” is a cautionary tale from the twisted brain of writer Eric Gahagan… a warning from the Anti-Santa for children everywhere about peeking at their presents. Pietro Vaughan’s hard angular lines and thick black shadows are akin to the fever-dream sets used in the brilliant, century old German expressionist horror film, THE CABINET OF DOCTOR CALIGARI. Ever wonder what the Jolly Elf’s reindeer eat to keep their energy up on those long Christmas Eve journey? Paul Bradford and artist Allen Byrns paint a very vivid picture in “Reindeer: Oh, Deer – Oh, Dear.”
CHRONICLES OF TERROR, Issue 4: “Charles ‘Chucky’ Dickens’ ‘A Christmas Carol'” (written by GABE OSTLEY, art by GABE OSTLEY and CHRIS ALLEN)
Gabe Ostley’s obscenely off-kilter “Charles ‘Chucky’ Dickens’ A Christmas Carol” is eight pages of wildly gratuitous violence featuring the obligatory firefight between Death and Satan and his goat-minions, as well as Cthulhu, the festering corpse of the famed author of THE STORY OF THE GOBLINS WHO STOLE A SEXTON (if I’m not mistaken, he may have written some other fairly famous pieces, as well) and, of course, the totally unlikeable (anti-)hero of the story, a rooster named Cluck, appearing here as Scrooge McCluck; as Cluck is so repellant, I cannot wait for another installment of his adventures. Chris Allen’s vivid palette adds to the already surreal Hellscape. “The Ancestors” delves into some of the “pagan” beliefs and rituals that have become a part of traditional Christmas celebrations. MC Carper’s art has an old-world quality that fits Hunter Eden’s story perfectly, just as Chris Allen’s colors suit Carper’s line-work. As people of varying cultures and religions have migrated farther and farther from the homes of their fathers, the desire to break away from those familial and cultural bonds has grown, even as the need to remain grounded in those cultures and religions is instilled by the ancestral ways invariably follow (and, sometimes, haunt) the immigrant; this story follows one such tortured soul to his own inevitable conclusion. Though only three pages in length, “The Book of Eden Z: Come Gentle Christmas Angels” is… beautiful. The story is simple, elegant and sentimental; I’m not ashamed to say that it brought a lump to my throat and a tear to my eye. What do the spirits of children who are the victims of some unexpected violence wish for on Christmas? J Christopher Greulich’s story is both heart-warming and heartbreaking and his magnificent black and white art is among the best in this volume.
CHRONICLES OF TERROR, Issue 4: “Bad Santa” (written by KIM ROBERTS and CHRIS ALLEN, art by BRADEN HALLETT); “Unwanted Gifts” (written by JAMES JOHNSON, art by JAMES JOHNSON)
“Bad Santa,” from writers Kim Roberts and Chris Allen and artist Braden Hallett is a cautionary tale of greed and the importance of inspecting each and every package, making sure to read any and all warning notices… even hand-written ones from in-house quality-control engineers. James Johnson’s “Unwanted Gifts” holds the least appeal, story-wise, for me. I don’t know why… it has so many horror linchpins: Loving family set upon by demon spores/spirits/whatevers living in the limbs of the family’s chosen fir tree, each possession driving the inhabited family member over the edge and, as they succumb to their inhabitants, further into the world of ancient Solstice religious beliefs and secular Christmas traditions. Maybe that’s the problem: Johnson’s plot is just too chock full of thoughts and ideas and visions to be coherent enough for a numbskull like me. The blood and the guts (yards and yards of guts!) and the extreme mayhem are cool, though. A drunken stepfather, an uncaring mother and an alien monster all impact poor little Sidney as she awaits a visit from Santa Claus on “Christmas Eve,” though, maybe not in the way that you would imagine. Jojo King’s story does a fine job of exploring the young girl’s hopes and wishes, while the artwork of Alister Lee aptly relates the horror of the season. The ending is much more graphic but is still very reminiscent of this issue’s earlier “Reindeer: Oh, Deer – Oh, Dear.”
CHRONICLES OF TERROR, Issue 4: “The 512th Day of Christmas” (written by JACK WALLACE, art by REINALDO LAY CONTRERAS and CHRIS ALLEN
The remainder of this fourth issue of CHRONICLES OF TERROR is comprised of special features and pin-ups, including a killer pin-up by Gabe Ostley (with suitably bright colors from Chris Allen) called “Christmas Turkey.” As mentioned earlier, a “Creator of the Month” feature focuses on Jack Wallace, writer and co-publisher (with the by-now ubiquitous Chris Allen)at Disposable Fiction Comics, who discusses his entrance into the comics industry, working with a wide variety of artistic talents and the pitfalls of self-publishing. Following this in-depth profile is a five page preview of Wallace’slatest graphic novel, THE 512TH DAY OF CHRISTMAS,with magnificent art from Reinaldo Lay Contreras (better known as Rei Lay) and colors from… you guessed it: Chris Allen. More info about and ordering info for the book is available at Disposable Fiction Comics; plus, you can order your own copy (physical or digital) of this Yule-themed CHRONICLES OF TERROR (as well as the first three issues of the incredible anthology) here. Enjoy! And… Merry Christmas, one and all.
(FULL MOON FEATURES/FULL MOON ENTERTAINMENT (32 minutes; Unrated); 2016)
Populated by the usual freaks, degenerates, mad scientists and monsters that have become staples in any of his devilishly off-kilter features, Charles Band’s new web series, RAVENWOLF TOWERS, will be an acquired taste for the uninitiated, but… for those familiar with such delightfully gory offerings as THE GINGERDEAD MAN, PUPPET MASTER or GHOULIES, this first episode is like manna from the dark gods. The premiere installment of the seven-part series debuted on December 13, to coincide with the full moon; future episodes will follow suit, bowing on the six subsequent full moons. RAVENWOLF TOWERS can be viewed at Full Moon Entertainment’s streaming platform and their Amazon channel; each episode will also be offered as a stand-alone DVD release (no word yet on a collected DVD release).
The half-hour opener is titled “Bad Mary” and begins with an obligatory sexual encounter which – in true Band fashion – ends with one of the participants dying on the floor, minus an arm after checking the couple’s wardrobe for a boogie man. The horribly deformed giant in the wardrobe (so hideous, in fact, that he has to be played by two actors – Robert Cooper and Nihilist Gelo) is a member of the freakish, incestuous family who inhabits the top floor of the formerly opulent Hollywood hotel. And, then, things start to get weird… GENERAL HOSPITAL, soap opera weird. The newly hired assistant manager of the Ravenwolf, Jake (Evan Henderson), is warned by his histrionic boss (Sonny King) to stay away from the eleventh floor unless specifically requested by the family living there. During this admonishment, a suspicious character calling himself Doctor Ivan Ivanoff (a dark, understated performance from George Appleby, who has a resume that includes GAME OF THRONES and SHERLOCK) appears, seeking to rent a room. When the manager asks him to fill out an application for the room, the good doctor produces a stack of hundred dollar bills and is immediately given a key, offering insight to the management’s priorities. Once in his room, it becomes apparent that Ivanoff is a very different kind of doctor.
As fate – or, someone’s insidious plan – would have it, Jake is called to a room on the tenth floor due a leak from the floor above. By the way, as part of what Charles Band calls a “love letter to Full Moon fans past and present,” the occupant on ten will look very familiar to Band and Full Moon devotees. Jake’s repairs on eleven are interrupted by a beautiful young woman (Shiloh Creveling), crawling down the hallway, asking for help. Thinking the girl is being held against her will, Jake does the only reasonable thing he can think of: He takes her to his room and beds her. In the meantime, two of the occupants on the eleventh floor, a bedridden and irascible old coot (played with venomous glee by Arthur Roberts) and his daughter (portrayed in true scenery-chewing fashion by Full Moon mainstay, Maria Olsen) are told by their creepier-than-thou offspring that her son and brother, the giant in the wardrobe has disappeared. After dealing with the mess left by the brute Samson (collecting and destroying the remains in the room, as well as dragging off his traumatized bed-mate for a little late night blood-draining ritual), the father/brother/uncle/son/what-have-you asks a very simple question: “Oh, by the way, where’s Mary?” At which point, things reach a crescendo of weird… we’re talking ANOTHER WORLD weird here, with twisting plot-lines that will leave even the most clear-headed among us feeling a bit dizzy and scratching their head in an “I did not see that coming” sort of way as the credits roll. And, I haven’t even mentioned the very familiar clown who inhabits room 1012!
RAVENWOLF TOWERS (publicity still)
With this first episode, it might seem that Band is attempting a bit too much – getting most of the exposition (or “origin,” if you rather) out of the way before charging full-tilt into the mayhem in the next six installments. Time – and episode two – will tell; so, strap in, kiddies… another full moon is nearly upon us!
Every generation needs its “Scream Queen,” a pretty young lady destined to be set-upon by various creeps, ghouls, monsters and demonic beings in horrific movie after horrific movie. Katie Keene is working very hard at being this generation’s version of the frightened survivor of such horrendous happenings, appearing in a slew of horror flicks including LOST LAKE, UNION FURNACE, the new CLOWNTOWN and the upcoming hospital torture film, INOPERABLE. In a recent interview, Katie discussed her craft, her favorite Halloween memories, her very real case of coulrophobia and her INOPERABLE co-star, the reigning Queen of Scream, Danielle Harris. Strap in, boys and girls… Katie Keene is an up-and-coming talent who is really gonna play on your fears.
THE MULE: Okay… first things first, give us a quick synopsis of CLOWNTOWN and tell us a little bit about your character, Jill.
KATIE KEENE: So… CLOWNTOWN… a little killer clown action for you. A couple of friends go to see a concert, they kinda get lost along the way and end up in this really small town full of killer clowns. Jill is a friend that’s going with the rest of her buddies. You know, couples date. And, she gets stuck with the rest of her buddies in this terrible town… of killer clowns.
THE MULE: You do a lot and I mean… a LOT of screaming in this film. Did you ever lose your voice during your oxygen-depleting, throat-mangling, near-operatic performance?
KATIE: My big screaming scene in CLOWNTOWN, that was a tough one. I have a space that I go to and I sit in this space on set. I’m there way before we’re filming, sitting at that tree, just zoning in… I just kind of sit in the environment and… sorta let that get to me emotionally and, buddy, when I’m directed to scream and to not stop screaming, that’s what I do. I just bring everything I’ve got. I give everything my little body can give. And, when I do it, I’m physically exhausted after but… I never lose my voice. So, that’s kinda cool.
THE MULE: So, you’re physically exhausted, but that must take an emotional toll on you, as well.
KATIE: Absolutely… it does. It’s really a lot of work. I’ve made a couple of horror movies and horror movies are hard to make. They take a lot out of you emotionally. There’s so much screaming, there’s so much high emotion and, when you’re in high emotion like that every day for a month or however long, it works on you… it works on your body, it takes a toll on you. My body is literally giving everything I can to the role. That’s what I love to do.
THE MULE: You mentioned that you’ve been in a couple of horror movies before CLOWNTOWN. So, what really frightens you?
KATIE: Well, that would be those filthy clowns! Clowns are my biggest fear in all the world and when they had… When I took this role, I didn’t know it was about killer clowns. When Tommy, the director, asked, “Oh, you want to be in a movie?” So, yeah… after I booked the role, I was so excited and then he said, “But, we have to let you know… it’s about killer clowns!” I was so taken aback and was a little speechless because I have a legit fear of them. As a young girl… I suffer from terrible nightmares and ever since I was a young girl, I dream about clowns. I’m SO scared of them. It’s crazy to be thirty years old and be afraid of clowns, you know. That’s a real fear that I have and it took me a minute to really check in with myself to see if this was something I could do and I was just like, “You know what? It could be the greatest acting I’ve ever done ’cause I’m not gonna be acting… I’m really going to be scared!”
THE MULE: Oh, yeah… you gotta watch out for those killer clowns! I don’t trust any of them!
Katie Keene on the set of CLOWNTOWN (uncredited photo)
KATIE: Oh, no! Gosh, aren’t they just so terrifying?
THE MULE: So, aside from CLOWNTOWN, what’s coming up for you next?
KATIE: After this movie, actually with some of the same producers, I was… on another horror film called INOPERABLE. We’re finished filming now, but that’s my newest film coming up on the horizon. And that’s just now having a trailer come out and starting to get a little buzz from that. Then, continuing my day-to-day actor life here in LA, you know, auditioning for all kinds of different things day-to-day and working on the craft and seeing what you can land next. It’s kinda nice, ’cause I’ve got a couple films that are coming out around the same time. It’s really cool, especially with the Showmi and the Netflix. You know, I’ve got a couple movies on a couple of different things and people see the trailer for CLOWNTOWN and they go, “Oh, I’ve been a fan since LOST LAKE” or “I’ve been a fan since UNION FURNACE” or a couple other horror films I did… they’re starting to come out around the same time. It’s great for my career; people recognize me from a couple other very small independent horror films. It’s just so cool to be recognized, that people are watching some of these films. It’s just great!
THE MULE: Oh, absolutely. Now, INOPERABLE… I have seen the trailer for that one and, yeah… I guess that’s another thing that can be kinda creepy… hospitals.
KATIE: Absolutely. That hospital we filmed in WAS creepy. It was not a very fun hospital. It’s so neat what scares people… that’s what so fun about horror films – it’s like, there’s so many things you can make scary, you know, you can just play on peoples fears. I know,,, the fear of clowns is very common. There are so many people. And, fear of hospitals… people are scared of hospitals and there are just so many… so much opportunity to play off the fear of real people but… can I just say, it’s really fun!
THE MULE: Yeah, it is. I mean… people love to be scared.
Katie Keene is terrorized and tortured in LOST LAKE (publcity still)
KATIE: Yeah, they love to be scared! You know what? I like to be scared. Halloween is my favorite holiday. The scary haunted houses, they scare me. I mean, I know they’re actors… I used to act in them but, now, that’s what scares me – going to haunted houses. Horror films these days, I’m very critical. It’s very hard for me to find a scary movie that really scares me. I’m always like, “Bring it on! Bring me everything you got!”
THE MULE: I’m less than an hour away from Saint Louis and there are some really good haunted houses there. I’m talking world class haunted houses.
KATIE: Oh, absolutely! And, people will drive from all over to go to the real good ones. It’s crazy! It’s such an interesting thing that people just love to get the shit scared out of them!
THE MULE: You mentioned Halloween. It’s probably everybody’s favorite holiday… well, Christmas is up there, too. But, anyway, what is your favorite Halloween memory?
KATIE: Oh, wow… I’ve just got so many. You know, the Halloween I really liked, I was working in a haunted house; it was a couple years back. It was the Hollywood Haunted Hayride… I don’t know if you’re familiar with it but, they do big haunted houses here in LA. I was working that for Halloween one year and we just had a ball! It was just so much fun. That’s the most recent one that really sticks out in my mind. I always try to do something crazy for Halloween. A lot of Halloweens these days, I’m working. As a child, growing up, we always would dress up and trick or treat and then, when I got a little older, then started the pranks. I was always running around in camouflage, me and my buddies from school… we were big pranksters. So, every Halloween, everybody was going to get egged or pranked in some way. I had a lot of fun on Halloween growing up… always trying to scare people. I’ve got so many good Halloween memories.
THE MULE: Cool. I was just going to get back to INOPERABLE again. What is it like to work with Danielle Harris? She’s kind of a queen of the scream movies.
KATIE: Danielle… yeah, she sure is. Danielle was so great, such a big help to me, such a good friend to me, such a good mentor. She’s been working since she was three years old and now she’s kinda the big scream queen, you know, with HALLOWEEN. That’s what she does. We were so in awe… it’s always really neat when you grew up watching someone on television and then, a few years later, down the road, there you are working with them in a movie. A known movie. It’s always so great. She was just so very informative, she’s very professional. I love to watch her work, I love to watch her act and to hear her ideas and her thoughts. It was just so professional; you could just tell she’s been doing it her whole life. It was just great to see. We have a similar… She gave me a lot of great advice for my own career. She did a lot of horror films; I’m kinda… in that way, as well… doing a lot of horror films. She gave me great advice and had only nice things to say about my acting. She was like a friend and a mentor, too. I just loved her. She was amazing to work wth, so professional, so good at what she does… it’s second nature to her. It’s so cool to see people work that way, She’s a love, a friend of mine to this day. I really appreciate that. Just a lovely lady.
THE MULE: Awesome. We will be looking for that one and CLOWNTOWN is coming up soon. Thanks for the time and maybe we’ll talk again around the time INOPERABLE is released.
(MILLMAN PRODUCTIONS/STEEL HOUSE PRODUCTIONS/ZORYA FILMS (85 minutes; Unrated); 2016)
This could very well be the first current events, topical horror movie ever made. It is released in the midst of a “Creepy Clown Mania” that has overtaken small towns from coast to coast; in many in rural areas, there are (mostly unsubstantiated) reports about children being menaced and stalked by people dressed as clowns. Personally, I think it’s all a magnificently choreographed – if terribly misguided (think Orson Welles’ 1938 radio broadcast of THE WAR OF THE WORLDS) – promotional stunt… maybe one intended to prepare audiences for CLOWNTOWN. Be that as it may, the Tom Nagel/Jeff Miller hack and slash is, actually, “Inspired by true events.” Apparently, October 2014 saw numerous armed people in Bakersfield, California dressed as clowns, scaring the populace at-large. I guess I missed that newscast… or, just maybe, living here in the middle of the country, I’m kinda used to seeing armed clowns at the corner store and at the family diner down the street. (Before a large contingent of angry townsfolk come after me with torches and pitchforks… that was a joke! Sheesh… why so serious?) Some of the situations our hapless heroes find themselves in call for a major suspension of reality on the part of the viewer, much like great hack ‘n’ slash movies of the past, like FRIDAY THE 13TH. That doesn’t make the film any less enjoyable for what it is: A Halloween movie meant to scare the crap out of you.
CLOWNTOWN (David H Greathouse) (publicity still)
CLOWNTOWN begins – as most such stories do – with a preamble, a foreshadowing of the impending violence. A pretty blond babysitter (I would identify her as “Interchangeable Blond Rack 247,” but that would be demeaning and chauvinistic, so I won’t… the actress’ name is Kaitlyn Sapp, by the way) and her two charges enjoy a final swim before the kiddies’ bedtime; a foreboding mention of the sitter’s predecessor and random shots of clown-related knick-knacks inevitably lead to the… well, that would be telling, wouldn’t it? Fast forward fifteen years as four friends (played by Brian Nagel, Lauren Elise Compton, Katie Keene and Andrew Staton), on a road trip through Southern Ohio to a concert in Columbus, pull into a roadside diner to ask directions and use the facilities. A pair of workers (director Tom Nagel and Jeff Denton) sit at a window booth, one wanting to be on his way home and bemoaning the slow, leisurely manner of his friend’s eating style; remember them… they’ll be back later. Also adding to the (weird) local flavor is the county sheriff (Christopher Lawrence Chapman) and a leering old dude with lewd intentions (don’t worry about him, though, as he ends up dead in the next scene).
CLOWNTOWN (Chris Hahn, Lauren Elise Compton, Brian Nagel) (publicity still)
With directions for a shortcut offered by the Sheriff, the revelers are on their way. On the road once more, Mike (Staton) asks his girlfriend to locate the nearest gas station, but Jill (Keene) discovers her phone is missing. Sarah (Compton) calls Jill’s number in hopes of locating it; a male voice answers the call and directs the group to the nearby town of Clinton, promising to meet them there with the phone. The town seems deserted as the four head to the designated meeting place; after several frustrating hours spent waiting, the decision is made to abandon the phone for the time being and get back on the road to Columbus. The group returns to their vehicle only to find that it has been tampered with and won’t start; as the hood is closed, they finally see another person, a menacing looking man dressed as a clown and wielding a machete. The man disappears as Brad (Nagel) and the others approach. Desperate to be on their way, they begin searching for additional signs of life in the town and eventually run into Billy and Dylan, the two homeward bound workers from the diner, who have just had their own encounter with a clown. As notes are compared, the clowns return and Billy is… well, let’s just say that things quickly degenerate from that point. Heading into a suitably foreboding junkyard, the quintet is quickly reduced to a quartet as Jill is caught lagging behind the others; the hotheaded Mike is ready to confront the murderous clown horde, but is held at bay by the levelheaded leadership of Dylan (Denton).
CLOWNTOWN (Chris Hahn, David H Greathouse, Ryan Pilz) (publicity still)
That works out so well for the harried remnants of the little group that they find themselves surrounded, cowering in the husk of an old Winnebago until a grizzled citizen-in-hiding comes to their rescue – a variation on the whole “Follow me if you want to live” theme. Frank (Greg Violand) comes across as a stereotypical homeless psychotic, but once our heroes regroup in an abandoned warehouse, the truth about why he is the way he is comes to light. It seems that Clinton was once a thriving railroad stop, until a horrendous train wreck ruined the economy and turned the village into a virtual ghost town where the clowns imposed their own style of marshall law on the remaining citizens. Frank concludes the story by emphasizing, “Clowns own this town now.” Dylan says, “I heard rumors of clowns in this town, but I thought it was just bullshit to scare people. I heard it all started with some crazy, messed up family.” Looking away, Frank replies, “I don’t know nothin’ about that.” Which, of course, means… the clowns have discovered their hiding place and are on the hunt again. The sad thing about the whole predicament is highlighted at about the forty-four minute mark of the film, when Sarah tells Brad that she doesn’t really like Country music, anyway – had she made that fact known way back before the original foursome set out for Columbus, they would be safe at home, not running for their lives from a gang of homicidal Bozos (the killer crew are played by David H Greathouse, Ryan Pilz, Alan Tuskes, Beki Ingram and former WWE/WCW/ECW wrestler, Chris Hahn). But, then, what fun would that be for us?
So, anyway… with Frank and his new friends once again on the run, the clowns begin to exhibit certain preternatural – if not supernatural – abilities: Heightened agility, strength, speed and a high tolerance for pain among them. It’s also around this point in the flick that we finally get a glimpse of Jill’s fate; she isn’t dead, but she is being held captive at the clowns’ “compound.” The fact that she is still alive actually came as a bit of a surprise to me, even though the actual body count throughout the entire movie is startlingly low for one of this genre. Don’t get me wrong, there are plenty of gruesome scenes to keep today’s horror fan watching, just not a lot of people dying. After escaping from the clowns (and doing damage to at least one), Frank gives the others directions to find Jill, but along the way, they are set upon once more, as Brad is separated from Sarah and Mike. Now, well after dark, Brad sees lights on in a house; entering the home, he finds a woman (Maryann Nagel… that’s right, this low budget screamer is a family affair, with many a Nagel and Uncle Greg Voiland involved, either behind or in front of the cameras) with screws looser than Frank’s and, upon seeing a familiar picture on the mantle, begins to put things together. Meanwhile, Mike and Sarah are captured as they try to get help and removed to the clowns’ sanctuary. There really aren’t a lot of surprises left by this point, but getting to the end of the story is still a lot of fun… in a “brain-disengaged” sort of way. As I mentioned at the top of this review, CLOWNTOWN ain’t Shakespeare; it’s just good, cheap fun meant to scare the bejeezus out of you around Halloween time. Having said that, I must congratulate the writers for the humorous deaths of a pair of clownsin the last few minutes of the movie. For those who are interested in such things, the movie features a very HALLOWEEN-esque soundtrack. As far as parental warnings, there are more than a few very violent scenes, some implied bondage and one topless babysitter… kinda mild for a horror film nowadays, actually.
CLOWNTOWN is coming to DVD and Video-On-Demand on October 4, 2016… just in time for Halloween and your “Creepy Clown” or “Scream Queen” festivities.
The much anticipated thriller from filmmaker Alejandro Amenabar makes its DVD and Blu-Ray – as well as digital and On-Demand platforms – debut on May 10, 2106. The film is set in 1990, as a Minnesota youth, Angela (Emma Watson), accuses her father of sexually abusing her as a child. Detective Bruce Kenner (Ethan Hawke) investigates the girl’s allegations and becomes embroiled in tales of repressed memories and Satanic rituals. The palette of this movie is suitably dark and, like Amenabar’s genre-hopping classic, THE OTHERS, the twists and turns here keep you guessing. The plot features elements of horror, crime drama and psychological thriller all rolled into one, as first Angela, then her father begin to remember a past that may or may not be real. Hawke is at his brooding best as Detective Kenner, while the rest of the formidable cast (including David Thewlis) are swept along in his vortex. Watson is doing her best to move past her HARRY POTTER character, as she chooses roles that are far edgier than the sweet Hermione Granger. Just watching the trailer, I’m not sure this will earn her any new fans (or convince her longtime fans that she is anyone other than Hermione). Time… and a full viewing of REGRESSION… will tell.
(HAMMER FILMS/UNIVERSAL PICTURES/WARNER HOME VIDEO (82 minutes; Unrated); 1958/2013)
The power of atmosphere can not be overstated. The act of becoming immersed in a movie is one of the most rewarding and genuine aspects that one can experience whilst viewing a film. Director Terence Fisher realized this to the fullest when helming HORROR OF DRACULA (known simply as DRACULA outside of the US) in 1958, and it’s outcome paid off immensely, with critics and fans alike set to sing the film’s accolades for decades to come.
Following the path tread by it’s predecessor, THE CURSE OF FRANKENSTEIN, the film possesses all of the signature Hammerisms that would prove to be the British production company’s lasting calling cards, IE: vivid color, eroticism, action and a quirky sense of British discernment. These attributes, combined with career defining performances from Christopher Lee and Peter Cushing, propel the body of work to a preeminent level that very few vampire films have managed to reach. The set design, provided by one Bernard Robinson, is nothing short of breathtaking. Gothic and lavish, Mister Robinson walked a razor thin line between aesthetic beauty and the overwhelmingly grandiose. The artistry and tastefulness in which these pieces were created has, with no doubt, gone on to influence many present day films, not limited to THE OTHERS, THE WOMAN IN BLACK and CRIMSON PEAK.
HORROR OF DRACULA (Melissa Stribling, Christopher Lee) (publicity still)
On the negative side, the film falls prey to a fair amount of melodramatic excess, mostly in the form of overacted sequences from Melissa Stribling. And, while wholly majestic, the score can at times feel a bit forceful and overpowering. Altogether, HORROR OF DRACULA is a seminal horror film that should be able to find a home in any genre fan’s collection. It’s stylish and elegant imagery allow it to retain it’s place among the best the vampire sub genre has to offer.
4 FILM FAVORITES, DVD cover (WARNER HOME VIDEO)
HORROR OF DRACULA is currently available as part of a budget-priced DVD collection from Warner Home Video called FOUR FILM FAVORITES: DRACULAS, alongsideDRACULA HAS RISEN FROM THE GRAVE, TASTE THE BLOOD OF DRACULA and DRACULA, AD 1972; these and most of the Hammer Studios horror films show up occasionally on the Turner Classic Movie channel (usually during October, as part of their Halloween celebration), as well as being available digitally.
I’ve never been a huge fan of Charles Band’s PUPPET MASTER movie franchise. Ever since my first viewing at age seven (yes, I watched rated R films as a seven year old child… thanks, Mom), I’ve always found the series to be overtly desperate without providing much quality to back up the undeniably ambitious plot. So, naturally when Unka D asked me to review the recent continuation of the PUPPET MASTER mythos from Action Lab’s Danger Zone mature readers imprint, my expectations were thoroughly embedded beneath the soles of my Vans sneakers. Luckily for me, I was pleasantly surprised.
PUPPET MASTER Issue 1 cover, page 3 (Written by SHAWN GABBORIN, cover and art by MICHELA DA SACCO and YANN PERRELET)
Familiarity settles in quickly as the story kicks off at the well known Bodega Bay Inn. For newbies to the series, the aforementioned lodge has become a staple setting in the ten film (yes, ten film!) franchise. After a quick intro sequence involving an unlucky vagrant who meets his untimely demise, we’re introduced to the protagonists of the tale, a group of horny college students who, in typical ’80s horror fashion, have decided to get hammered and spend the weekend at the abandoned inn.
PUPPET MASTER Issue 2 (Cover by MICHELA DA SACCO and YANN PERRELET)
Script-wise, these books are topnotch. All the recognizable puppets make their triumphant returns (Blade being my personal favorite.). The narrative is paced like a horror film, which really keeps you immersed in the overall linearity of the story. Ladened with genuinely creepy moments, the tone of the miniseries-within-a-series (this collection features the first three-issue story arc of the current ongoing series) walks the line between black humor and horror very well. The artwork, courtesy of Michela De Sacco, really captures the dark, yet kitschy vibe that is so identifiable with the franchise. Chock-full of brutal death scenes, there is more than enough blood and guts here to please the gore hounds, as well.
PUPPET MASTER Issue 3 cover, page 3 (Written by SHAWN GABBORIN, cover and art by MICHELA DA SACCO and YANN PERRELET)
Shawn Gabborin has done an admirable job of taking a brand that has been contrived (at best) for the better part of the last decade and breathing new life into it. This reviewer looks forward to seeing where the story goes from here. PUPPET MASTER, VOLUME 1: THE OFFERING is available at comic shops everywhere, as well as the usual on-line places, including digital download outlets such as ComiXology. For more on the PUPPET MASTER movie franchise, as well as signed, limited edition comics and more visit: Full Moon Direct.
(IMAGE ENTERTAINMENT/CALIBER MEDIA/DESTROY ALL ENTERTAINMENT/REVEK ENTERTAINMENT (83 minutes; Unrated); 2015)
Today’s version of the slasher movie is very rarely a nuanced thing; these flicks are more about the body count, finding unique ways to raise that body count, as well as making sure that a fair number of the bodies being counted are either scantily clad or completely unclad… there is generally no rhyme or reason for the slaughter, as the slasher (rather human, spirit, demon or other) just shows up and starts hacking. I’m not going to tell you that certain aspects of the genre are not here in spades with SOME KIND OF HATE but, the reasons are well-placed and well-thought-out. The writers‘ (Brian DeLeeuw and Adam Egypt Mortimer co-wrote the screenplay) original concept and script was titled BULLIED, so there is much more of a message here than the usual “let’s go to the woods, get drunk and screw” mentality of one of these things. Obviously, bullying is a horrible problem pervading our society, particularly our school systems. It isn’t a new thing… there have always been older, bigger, richer, prettier, whatever type of people who feel a need to push and belittle those they deem to be beneath them; sometimes a bully is someone who is so insecure that they attack others just to feel good about themselves. The problem – and the symptoms – seems to be getting worse, with the number of victims rising daily. Even without the vengeful spirit aspect of this movie, the under-riding theme is enough of a horror story on its own merits. This ain’t no AFTERSCHOOL SPECIAL or one of those “Very Special Episodes,” though… there’s too much blood.
SOME KIND OF HATE (Ronen Rubinstein) (photo credit BENJI BAKSHI)
The lead character, Lincoln, is your standard issue dark and brooding angst-ridden type… a quiet, artistic tortured soul who is abused at home and bullied at school (played to the quiet, brooding hilt by Ronen Rubenstein, who explained in a recent interview that, while he was never really bullied, one of his friends was bullied to the point that he committed suicide). Lincoln tries to stay out of the way of the big-man-on-campus, spoiled jock who delights in torturing those he deems too different (Lincoln is an “art fag” who doesn’t look or dress like everybody else); the loutish tormentor – his friends and hangers-on trailing behind like puppies – finds Lincoln alone and pushes the kid over the edge. Of course, when Lincoln retaliates, he is the one deemed a troublemaker and he is the one sentenced to a rehabilitation facility for teens with anti-social proclivities. The secluded “camp” is one of those “let’s get in touch with our feelings,” hippie psuedo-religious places for “troubled youth” that MAKE you wanna go all Jason Voorhees just to shut up the directors and counselors. The name of this place? Why, Mind’s Eye Academy, of course. There are the usual group of screw-ups and misfits, all stunningly beautiful, most with darker problems and secrets than the things that had them sent to the MEA; naturally, they have all learned to play the game and fooled the staff into believing they have assimilated. Lincoln is befriended by another newcomer, his bunk-mate Isaac (Spencer Breslin), a sorta boastful, obnoxious kid who ended up at the camp for “porn hacking” the computer system at his school. Everyone definitely is not copacetic with the new kid, though, as a tough named Willie (Maestro Harrell) and his goons start pushing Lincoln to see how long it will take before he goes crazy and attacks them. Ah… good times. Good times.
SOME KIND OF HATE Ronen Rubinstein, Grace Phipps, Spencer Breslin) (photo credit: BENJI BAKSHI)
Lincoln finds solace and a kindred spirit in another societal reject, Kaitlin (played by Grace Phipps, a refugee from Disney, who starred in the tween-sation TEEN BEACH MOVIE and its sequel), a bad girl cheerleader whose coping mechanism was/is cutting; Kaitlin is another kid with a secret… she has first person knowledge of what bullying can lead to but, she doesn’t share with Lincoln until much later. After the third altercation with Willie and his minions, which sees Lincoln lashing out and hitting his tormentor, Lincoln is drawn to the basement of an old building, just to get away from everything and to get his thoughts together. Still enraged, he blurts out, “I wish they were all dead!” That phrase brings forth the spirit of Moira (another former Disney star, Sierra McCormick, who played the oddball genius Olive in a series called ANT Farm; she may also be remembered for her role as Lilith for a couple of episodes during season four of SUPERNATURAL, her only other appearance within the horror genre), a former student at the Academy; Moira was driven to suicide by the taunts and bullying of her peers and now seeks vengeance for herself and for other victims of bullying. Part of the appeal of such movies is discovering how and why violent things start happening, so I don’t want to spoil the fun for you; let’s just say, that soon after Moira’s appearance, Willie is found dead, with deep cuts all over his body and a razor blade in his hand. The first sign that things are not all sunshine and light at the Mind’s Eye Academy occurs as a sleazy sheriff’s deputy comes to investigate Willie’s apparent suicide: The deputy tells Krauss, the assistant director of the facility (Noah Segan), “It’s an hour drive – each way – every time I gotta come out here to pick up another dead kid.”
SOME KIND OF HATE (Sierra McCormick) (photo credit: BENJI BAKSHI)
As the body count starts to rise, Kaitlin begins to think that Lincoln is the one killingthe bullys; he tells her and Isaac about Moira but, Kaitlin has her doubts until she follows Lincoln back to the basement, where he confronts Moira and begs her to stop. Moira, once again feeling betrayed, tells the boy, “I’m yours Lincoln… and you’re mine.” Now a believer, Kaitlin seeks out Moira and the two bond over a bit of self-loathing and bloodletting, as the vengeful spirit recruits the other to help with the devastation. Now, I know that you guys are pretty sharp, so you’ve probably already guessed a lot about this movie that I didn’t share here, but… I think that there are still enough scares and more than enough buckets of blood to keep you engaged ’til the end. And, if you stick around, there’s a quick tease to let us all know that there will be a sequel. While the underlying current (bullying) is something that the kids should be made aware of, I’m going to suggest that you keep this one away from them until they’re sixteen, at least. The flick is available on DVD or Blu-Ray, as a digital download or Video-On-Demand.
I had the chance to speak to the star of SOME KIND OF HATE, Ronen Rubenstein regarding this movie and another project that will be premiering soon. It’s called CONDEMNED and is in select theaters on November 13. The movie also stars Dylan Penn as a rich kid, squatting with her boyfriend in an abandoned building. Unfortunately, we had horrible reception (he lost signal at least once), which means that I wasn’t able to save enough of our conversation to post the whole thing here. However, he did have this to say about CONDEMNED: “It’s funny, it’s gory; some scenes make you want to throw up, some scenes make you want to laugh.” You had me at “throw up,” Ronen. We’ll definitely be looking for that one soon. Until then, here’s the trailer:
My new addiction is BEHEMOTH. In a nutshell, BEHEMOTH follows a young girl named Theresa, who is gradually transforming into a beast. She is sent to a government facility and is led to believe there is no hope; nor is there a cure. Thank you, Chris Kipiniak, for writing something so intriguing, but also that hits me right in my heart strings.
BEHEMOTH, issue 1, page 2 (Written by CHRIS KIPINIAK, art by JK WOODWARD)
I would like to begin by saying kudos to series co-creator JK Woodward for the beautiful artwork done in this comic. The characters are very well done and wonderfully random; mildly terrifying but, I’m willing to look past that. There is also enough gore for a mature reader but, not so much where it is grody. Also, the layout of each page made it easy to follow and the lettering – by Jesse Post – is easy to read. This makes each comic fast paced, with no frustration.
BEHEMOTH, issue 1, page 3 (Written by CHRIS KIPINIAK, art by JK WOODWARD)
My only issue with the comic is a certain lack of character development and “real” feels. It appeared as though the protagonist accepted her new life as a beast too quickly. Also, a relationship is formed within the first two issues making me somewhat not want them to be together at all; I would have preferred to see more small, flirtatious interactions hinting at a relationship in the future instead of one right off the bat.
BEHEMOTH, issue 2, page 3 (Written by CHRIS KIPINIAK, art by JK WOODWARD)
I cannot wait for new additions to this story and am pumped to see what happens next. Already, I have been given the conflict (actually on the very first page of the first book) and I have been introduced to some crazy, but strangely lovable characters. Also, the action is intense and oh so suspenseful and was able to capture and hold my attention. And trust me that is not easy to do… I have the attention span of a two year old. I may or may not have a heart attack from all this suspense. Jeez! I highly recommend this comic to any reader who enjoys monsters and fight scenes. Both issues of BEHEMOTH are available digitally for an insanely cheap price at the Monkeybrain site or at ComiXology.