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Reviews & Commentary by Adam Groves
CASTLE FREAK
In early 1995 CASTLE FREAK was the most anticipated horror movie on the scene. Did it deliver? In a word: no
THE CARRIER
A far weirder-than-average eighties horror fest with a shadowy monster, a deadly epidemic and a large-scale feud
CARNE DE TU CARNE
Politically minded Columbian horror pivoting on incest and vampirism
THE CAR
One of the odder JAWS wannabes from the seventies: a big budget horror programmer about a killer car!
CAPRICCI
An unrestrained phantasmagoria from Italy’s Carmelo Bene, one of the world’s most defiantly idiosyncratic filmmakers
ANYHOW STORIES
This remains one of the great curiosities of the Victorian era, a children’s book of considerable richness, bizarre, and not a little darkness. You’ll find few books of any sort with as strong a grasp of otherworldly apprehension as these “Anyhow Stories,” not all of which are explicitly horrific.
CUJO
CUJO carries Stephen King’s well-known penchant for bloat to hellacious extremes. It includes just about every extraneous detail you can think of.
CRIMSON ORGY
The first novel by Austin Williams, CRIMSON ORGY has a suitably nerdy framework: it opens and closes with articles about an obscure sixties era splatter epic called CRIMSON ORGY, which gained notoriety due to rumors that it contained footage of an actual killing. We learn what actually occurred during the making of CRIMSON ORGY in the bulk of the novel, and the production turns out to be every bit as sordid as it’s been cracked up to be.
CREEPERS
This fitfully trashy paperback original is viewed by many as a forerunner of the splatterpunk movement. Its gritty urban setting certainly sets it apart from most early-1980s horror fiction (and makes it something of a companion-piece to John Shirley’s CELLARS, which appeared the same year), although in truth CREEPERS isn’t nearly as subversive as its reputation suggests. Most of the book’s famed splatter, in fact, is confined to the final 30 pages.
CREATURES OF THE POOL
Of the thirty-some novels by Ramsey Campbell, this is only the second to be written in the first person.
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