Clockwork Angels

Clockwork Angels tour

Rush

Coming after the long-awaited superb remix version of their Vapour Trails album, this movie (directed by Dale Heslip) of the band’s concert in Dallas, begins with a rare soundcheck recording as Rush amble through Limelight, amidst more candid back- and off- stage scenes than we have seen before. I have collected/ watched all of their videos/ DVDs, and this region-free blu-ray release is, arguably, their greatest filmed live show, to date.

There’s certainly a richer sound-scape, courtesy of the rocking string section, staying aboard briefly - following all the newer material from Rush’s concept album Clockwork Angels (the explosive climax to Carnies looks and sounds great) - for voyages into Rush’s past, for classic tracks like Dreamline, but the violins and cellos are most effective on instrumental YYZ.

Neil Peart plays three virtuoso drum solos, each with its own distinctive rhythms and vibes, while Alex Lifeson performs excellent lead guitar sequences (his Peke’s Repose intro to Halo Effect is wonderful), that are almost as off the leash as his zaniac™ (patent pending) sense of humour. 

This is yet another celebration of their illustrious career, and Rush continue to create a world-class brand of engagingly mature and highly sophisticated rock music that is second to none.

TTA mags

New issues from TTA Press are out now...


Interzone #249 includes my regular 'Laser Fodder' column of DVD & blu-ray reviews. Here's the line-up with ratings:

Ikarie XB-1 (7/10)
Lifeforce (8/10)
Grimm - season 2 (6/10)
Dr Mabuse, The Gambler (7/10)
The Night Of The Hunter (5/10)
Pacific Rim (8/10)
Under The Dome (6/10)








Black Static #37 has my latest ''Blood Spectrum' review-column. This month, I'm looking at a batch of 21 titles:

The Body (6/10)
Byzantium (8/10)
No One Lives (7/10)
The Walking Dead - season 3 (6/10)
Only God Forgives (8/10)

    RetroGasm
Squirm (6/10)
The Mummy (4/10)
The Wicker Man: Final Cut (6/10)
Halloween (8/10)
The Witches (5/10)
Creepshow (7/10)
The Fury (6/10)
The Headless Ghost (3/10)
Pin (6/10)
The People Under The Stairs (7/10)
The Texas Chainsaw Massacre - part 2 (7/10)

    Tolerable Cruelty: Round-up
The Last Exorcism - part II
All Superheroes Must Die
I Spit On Your Grave 2
The Disco Exorcist
Thanatomorphose 

Pleased to get my name on the covers again!

Holmes

At first, I was a bit sceptical about Elementary... 

By making Dr Watson female (just a gender-switch gimmick?), and Sherlock a troubled junkie in recovery, have they changed the characters too much? 

No, I found this TV show really works as a refreshingly contemporary updating of the classic detective franchise. Far more than just a formulaic variation of Monk meets Lie To Me, this crime drama set in New York revitalises the iconic Holmes and Baker Street lore in ways that the BBC series Sherlock  largely failed to achieve. 

Entertaining as comedy (without ever lapsing into sitcom mode), and winningly effective as psychological character study, Elementary is appealing and fun as mystery, and - at halfway point through the superb season one - I'm enjoying this DVD boxset a lot more than any other TV 'cop show' that I have seen recently.         

WC4

Weng's Chop #4

Weird genre movies zine Weng's Chop #4 includes my comments on the best of Lucio Fulci, in a 'geek round-table' feature about House By The Cemetery... 

WC4 boasts an impressive and eclectic range of content, with articles on Larry Cohen, SyFy movies, Sonny Chiba, interviews with the likes of Tim Doyle (who did the cover artwork), a section of columns featuring writing by Steve Bissette, and many pages of reviews - covering at least 50 films you have never seen, and probably a dozen or more that you've never heard of before!  

Order this issue from: CreateSpace.There's also a choice of covers available. Just search the site for Weng's Chop to see art options.

BS 36

Black Static #36 (Sept. - Oct. 2013) arrived, yesterday. This issue has my latest rants and raves about horror on blu-ray and DVD. Here's the line-up, with ratings, for my 'Blood Spectrum' column:

The Car (7/10)
The Returned (6/10)
Escape (6/10)
Possession (9/10)
Dark Skies (5/10)
The Last Will And Testament Of Rosalind Leigh (4/10)
Evil Dead - remake (5/10) 
The Moth Diaries (5/10)
Dead Sushi (5/10)
The Fall Of The House Of Usher (6/10) 

     Debris Fields: round-up
Apocalypse Z (1/10) 
A Field In England (0/10)
Little Deaths (2/10)
The Seasoning House (3/10)
Deranged (2/10)
Into The Dark (2/10) 

     Afternoon update... 
Interzone #248 just arrived. This issue features my 'Laser Fodder' column of blu-ray/ DVD reviews.
The sci-fi and fantasy coverage includes movies and TV, and here's my ratings:

Defiance - season 1 (4/10)
The Host (3/10) 
Blancanieves (0/10)
Pi (4/10) 
Oblivion (3/10)
Space Battleship Yamato (5/10) 
Olympus Has Fallen (6/10)
The Four (7/10)

Helicopter blues

Model helicopters in blue... I collect them because I'm very keen on helicopters in movies and TV (see my unique website RotaryAction.com), and blue is my favourite colour. To me, these models are cooler than a freezer full of ice-cream. This is the most expensive one I've bought so far: Blue Thunder, a diecast model based upon the modified Aerospatiale SA-341 Gazelle seen in John Badham's techno-thriller Blue Thunder, and its follow-up TV series.

Blue Thunder model by Organic (Japan).

The model is 1:32 scale and produced in Japan by Organic's dream machine project. Blue Thunder is certainly the most iconic helicopter in cinema, especially with its sci-fi dimension as a stealthy urban surveillance platform with limited capabilities as a gunship. The model's geeky qualities include rotors that turn, a swivelling and tilting front-cannon, and a removable cockpit canopy to view the cabin's interior detailing. There's a pilot figure, but no back-seat observer. Of course, it's an exquisite scale model, not a toy, and so many of the plastic parts are very fragile. The model comes with a long black plinth, but it can also be displayed without any stand, on its own landing skids. In my cabinet it shares pride of place with the 1:48 model of Airwolf (made by SGM-08).

The model Gazelle that I have is only a small 1:70 scale but, as it's a French helicopter I wanted this vintage red one for contrast, and because it was actually made in France by Majorette.     

I don't own one of the smaller and older 'Blue Thunder' collectables (made by Ertl, I think), but I do have a Matchbox 'Mission Helicopter' in a blue finish (they produced several different colours), which is quite obviously copied from Blue Thunder.

Collectors of diecast stuff might also like the Hot Wheels toy 'Sky Knife' - clearly inspired by the 

likes of Blue Thunder and other helicopter names such as Airwolf.

Heatwave

British summertime. My low rate of activity today was enlivened by delivery of the latest TTA Press mags.

Black Static #35 (July-Aug.) includes my regular 'Blood Spectrum' column of DVD & blu-ray reviews. This issue's line-up:

Curandero: Dawn Of The Demon (4/10)
In Their Skin (3/10)
Texas Chainsaw (5/10)
Apartment 1303 (4/10)
Beautiful Creatures (5/10)
Mama (6/10)
Warm Bodies (4/10)
Maniac (6/10)
Stoker (7/10)

    RetroMania
Black Sabbath (4/10)
The Brood (8/10)
Kuroneko (6/10)
The Legend Of Hell House (7/10)
The Man Who Haunted Himself (8/10)
Motel Hell (5/10)
Spider Baby (6/10)

    Tedium Scene: Round-up
The Incident (2/10)
Kill For Me (2/10)
Death Game (3/10)
Static (3/10)   

Also received BS sister mag, Interzone #247 (July-Aug.), featuring my usual 'Laser Fodder' reviews, as follows:

Halo 4: Forward Unto Dawn (4/10)
Cloud Atlas (8/10)
Oz The Great And Powerful (5/10)
Falling Skies - season 2 (4/10)
Robot & Frank (7/10)

    Retronautics
Scream And Scream Again (6/10)
Devil Girl From Mars (5/10)
The Invisible Man (7/10)
Quest For Fire (8/10)  

This issue's book section has my review of graphic novel, Sláine: The Grail War by Pat Mills, Nick Percival, and Steve Tappin. If there were rating for book reviews, I'd give this 2000 AD reprint collection a 6/10 score.

Vehicle 19

A lone American flies into South Africa. After collecting a rented car at the airport, he finds a mobile phone and a handgun in the vehicle, and there’s also a bound and gagged woman hidden in the boot. Vehicle 19 is a criminal conspiracy thriller filmed entirely from inside a car (or, actually, often from around the car looking in). Either way, the car is very much at the centre of this undeniably preposterous drama, and the novelty approach soon wears out its limited welcome. 

Unlike Cujo (1983), but just like Five Across The Eyes (2006), this movie fails because of the artificial, wholly pointless, situational restrictions placed upon storytelling. It is nothing more than another gimmick flick and, despite its high quality production values; it quite obviously lacks any of the intensity of Rodrigo Cortés’ Buried (2010), another similarly constricted nightmare about an American abroad. While somewhat witless protagonist, Michael, performed rather weakly by Paul Walker (Timeline, John Dahl’s Joy Ride, and a mainstay of the Fast & Furious franchise), attempts to address his personal faults and correct all of the (presumably numerous) mistakes of his past, so our fugitive’s getaway vehicle drives through a car wash, and then visits a backstreet garage for a re-spray; mirroring the angst ridden hero’s final efforts to make a fresh start. (Gosh! That’s clever symbolism, eh?) 

Ultimately, this is a dismal effort and it drags on for twice the length required to adequately tell a middling tale. So, it is very easy to slip from wondering about what may happen next, to simply not caring at all. And, of course, such a reckless pursuit of redemption as this can only end in a tragedy during the inevitable confrontation with corrupt local cops. Yawn.

Miserables

Les Misérables

More than just a typically stilted musical in a period setting, and certainly better than Tim Burton’s black comedy horror Sweeney Todd (which also featured the always wonderful Helena Bonham Carter), this is a grandly cinematic adventure, a saga of surviving the hardships of poverty and finding a heart-warming redemption in coldly unsympathetic society of 19th century France. Russell Crowe is a sturdy presence as Javert, even when he’s not on-screen, and there is a great supporting performance from the talented Anne Hathaway as Fantine, easily vaulting far higher (like Catwoman meets Wolverine!), from the emotional depths of her blameless downfall than the lesser scales attained by Hugh Jackman’s weaker voice and acting ability as Valjean. Amanda Seyfried’s typical spectacularly-elfin glamour is subdued for her pivotal role as Cosette as “the pain goes on and on” for broken lives and failures in this longwinded retelling of an already familiar story of tragedy and misery. But, at the end of the day, I must admit that Billie August’s 1998 version, played - much less hysterically - as straightforward historical crime drama, remains a superior entertainment. The blu-ray is out now, and it looks and sounds great.

TTA mags

Interzone #246 is out now, and it includes my 'Laser Fodder' column of DVD & blu-ray reviews. Here's the line-up, with ratings:

Journeyman (4/10)
Life Of Pi (7/10)
Fringe - season 5 (6/10)
Dr Who And The Daleks (5/10)
Daleks' Invasion Earth: 2150 AD (6/10)

This issue also features a new column of incisive comment on genre matters, 'Future Interrupted' by Jonathan McCalmont, here considering whether SF is actually exhausted or just resting for a bit.

I read in dismay that, according to Dave Langford's reportage in his 'Ansible' link, the self-styled Barftas awarded Nicholas [sic] Cage a worst actor prize for Ghost Rider: Spirit Of Vengeance. As I wrote in Interzone #241, that comicbook sequel was very good fun (score: 7/10), and Cage is rarely less than entertaining, whether he goes crazily OTT, or not. I think some people really do need to see a few truly awful genre movies, with dully amateurish 'acting' before criticising a major box-office star like Cage, simply because they fail to appreciate the often satirical edginess of his typical screen pesona.

Also just published, Black Static #34 closes with my 'Blood Spectrum' of movies & TV reviews. This issue's coverage:

Sleep Tight (4/10)
The Echo (5/10)
Bait (3/10)
The Collection (4/10)
Spartacus: War Of The Damned (3/10)
White Tiger (5/10)
Slice & Dice: The Slasher Film Forever (3/10)
The Hidden Face (5/10)
True Blood - season 5 (6/10)

    1980s Retro
Scanners (8/10)
Scanners II: The New Order (5/10)
Scanners III: The Takeover (5/10)
Blood Simple (7/10)
Evil Dead 2 (7/10)
Knightriders (4/10)

    Slack-Jawed & Lifeless: Round-up
Baron Blood
The Facility 

Matching for IZ 241 for offering something new, but offering different content, BS 34 has a new column by 'Blood Pudding' (sounding too much like, or quite the opposite, of mine..?) by Lynda Rucker, who ponders the on-going debate in literary/ media circles about whether horror is dead, or currently being reborn.

   

88 Films

BRAIN SHARE TRUST

Last year, DVD label 88 Films launched their 'Grindhouse' collection with cult-worthy Cannibal Women In The Avocado Jungle Of Death (1989), a comedy adventure that stars Shannon Tweed and Adrienne Barbeau; and The Day Time Ended (1979), sci-fi that’s clunky as a bag of hammers, and pits Jim Davis against stop-motion animated monster effects. January’s titles were Ken Dixon’s Slave Girls From Beyond Infinity (1987), space opera nonsense recycling the basic plot of The Most Dangerous Game; David DeCoteau’s Creepozoids (1987) in which Linnea Quigley fights ugly bug aliens; and the same prolific director’s Dr Alien (1989), featuring Judy Landers as ‘Xenobia’.

February continued the parade of cheesy subgenre stuff, perhaps fondly remembered from the video rental/ retail decades - long before such B-movie material was tamed by Hollywood, and eventually became standard blockbuster fare. Seedpeople (1992) has audacity enough for genre-splicing Invasion Of The Body Snatchers into its low-budget creature horror. Beach Babes From Beyond (1993) attempts a simple gender-reversal of Julian Temple’s Earth Girls Are Easy, but lacks any genuine imagination or funny business.

The robotic hero!

One of the better efforts from Charles Band’s productions, Mandroid (1993), directed by Jack Ersgard, is about a tele-presence robot invented by a Russian boffin, whose duplicitous partner plots to sell the machine to CIA agents, for weaponisation. As the prototype machine clomps around, we are reminded in particular of RoboCop and its sequel (both are obvious influences), but the ghosts of many earlier SF movie metal-men haunt this movie, too, and its humour is far closer to amusing spoof than biting Verhoevenesque satire. There are two victims of accidents, with weird biotech, and one results in a human monster being given a cybernaut face. 

Overall, Mandroid is a hodgepodge of B-movie sci-fi elements (such as the elderly scientist’s beautiful daughter) but the commonplace/ retro tropes here are quite charming, and it avoids the naff mistakes that other, similarly intentioned, flicks tend to make. The eastern European locations (ruined buildings, etc. in Romania) add production value to some action scenes like the climactic shootout but, even with a Swedish director, the murky politicking is merely routine stuff scavenged from Cold War spy-fi. Mandroid is a minor gem from the Full Moon back catalogue, and a sequel was made, titled Invisible: The Chronicles Of Benjamin Knight (1993), for which the heroine was re-cast.

March mags

Interzone #245 is just out, and this issue includes my latest 'Laser Fodder' column of DVD/ blu-ray reviews. Here's the line-up, with ratings:

     Neverlandscapes
Peter Pan (2000) - (4/10) 
Peter Pan (2003) - (5/10)
Neverland (2003) - (6/10)
Finding Neverland - (7/10)
Neverland (2011) - (6/10)

Crawlspace (2/10)
Looper (8/10)
Game Of Thrones - season 2 (7/10)
Alps (1/10)

    Best Bonds
Licence To Kill (8/10)
Skyfall (8/10)

Black Static #33 has also been published, containing my 'Blood Spectrum' column, and here's the list of new and recent DVD/ blu-ray releases that I've reviewed this time:

Fear Itself (6/10)
Holy Motors (8/10)
Resident Evil: Retribution (6/10)
Chained (3/10)
Antiviral (7/10)
Sinister (8/10)
Lost Girl - season 1 (6/10)
Rust And Bone (7/10)
Room 237 (6/10)
The Tall Man (7/10)
Silent Hill: Revelation (5/10)

    Retrothon: 4 Decades
Dracula (7/10)
Black Sunday (5/10)
Lisa And The Devil (5/10)
From Beyond (7/10) 

Zoostorm

Got my new PC working fine, so far... but yesterday was an epic migraine by teatime.

New PC hardware

Windows 7 home premium (x64-bit system)

Bemused to note: a 32-bit system is called x86, but a 64-bit is x64. Such clever confusion! 

Intel i3 CPU @ 3.3GHz  

1 TB hard drive

8GB RAM

Blu-ray player + DVD RW

Everything runs through the HDMI cable from 1Gb NVIDIA graphics card to a new  Samsung 21.5 inch widescreen (1920 x 1080 p) monitor.

I'm still using M$ Office 2003 Pro.

All of my usual and old-favoutite software (like Paint Shop Pro 5) from previous desktop (Win XP) has installed without any problems.

The only thing I found was incompatible with x64 was a Casper 5 back-up maker, but I don't think it's necessary on this machine.

Anyway, this is very fast indeed, compared to the old XP desktop or my Vista laptop. If only my slow broadband connection had the speed to match this machine, I'd probably be doing the happy dance.

Ironic chancellor

I woke up with all this rattling around in my headache, so it’s as much a satirical rant as political commentary.

Why this man is a fool -->

Shark-boy

Campaigners for the separation of church and state often miss the point. It’s not just the encumbrance of traditional religions, and lobbying by modern cults, that hinder social progress; it’s also the many and varied, but all misguided, attempts to manage economies on national or global scales. Economics is simply another belief system, not a practical science. Consequently, there is no good news on political fronts, and I doubt there will be, unless the people demand/ enforce some radical social changes.    

Ministers in government can trace their jobs back to positions in the imperial system.The current Chancellor of the Exchequer probably thinks his job can be traced back to a royal treasurer for kings and queens, but he’s actually a modern version of the court jester. In popular mythology, King Canute became his own ‘fool’ when he seemed to believe that his royal blood granted him some kind of magical authority over the waves. Since tides are prompted by the Moon, what ‘delusional’ Canute really needed was anti-gravity technology.

That famous misquote: ‘the business of America is business’ no longer holds true, in any sense, because America itself seems no longer to be a nation, it’s just a business. Now, it's just too late to be an optimist.

Meanwhile, some notes for a hopeless manifesto:

For the 21st century, government needs inspired leaders not jobsworth managers. Of the currently elected officials, none are capable to solving the problems of a corrupted economic system. The political tools might well already exist, but the will to use them is not there. We need a new political system, and a social contract with a global reach. Something based on secular principles of a ‘united world’, not just a United Nations. Is it any wonder the dream of utopia (as process not destination) is lost?

Wild beasts

On the Mississippi delta, there’s a post–Katrina disaster area where levees are so broken that “everything beautiful is gone.” Indie hit Beasts Of The Southern Wild is a picture maintaining legends of a noble primitivism that glorifies political and cultural stagnation. This is Sundance bait with a deeply romanticised ‘plot’ of irrational nonsense. It presents us with a defiant sensibility so keen to stress the importance of feelings, as if logical thought holds no sway or relevance, that overdose on folksy hippie sentimentality seems a likely response to its worst moments of backwoods charm, all seemingly inspired by the worst pretensions of magical realism.

Helicopters pass overhead, appearing as far away as comets, and no more in touch with the plight of the protagonists below their flight path. If taken on face value, this has some marvellous fantasy images but it has all been created in the service of third world survivalism without hope of progress. Being content with less is portrayed here as hardly one step above blissful ignorance. Living in squalid flooded slums with nothing at all worth having is not the ultimate in spiritual freedom, despite this movie’s exploration of bohemian dreams. A compassionate humanity in a perfect kind of balance with feral nature must be far more than just a commune of scavengers (or tribal ‘beasts’), southern or otherwise.

New monsters

Monster movies used to be taken seriously, whether creature antagonists were oversized beasts, farfetched chimeras, or weird fantasy chosen from legend to menace the present day. Even in comedy–action treatments of the subgenre, like Tremors, there may well be a strong element of disgust (such as body horror). 

One way to almost certainly ensure grimly sombre reactions from viewers is to put children in peril, but Irish flick Grabbers fails to strengthen its appeal with any coldly fiendish moments. It succumbs to complete irreverence and plays out as a pub night siege, with a bunch of stereotypically characters pitted against a Lovecraftian yet frivolously weak invader.

Directed by Jon Wright (Tormented), its efficiently cartoonish presentation means there is no overt sense of dread, in spite of some grotesque imagery for the aliens. Grabbers can be fun, if watched as lightweight cross–genre fare, but it remains only modestly successful as a throwaway monsterama sitcom; something like Father Ted meets Slither.

 

Nowadays, of course, slithering up from the downmarket regions of parodic threats to humankind, an overabundance of straight absurdity has emerged, and the trend for silly mutant hybrids like Sharktopus continues in Jim Wynorski’s utterly farcical Piranhaconda. 

This is a tepid actioner, where a crew making a tacky horror movie on location in Hawaii are violently interrupted by a ‘real’ terror: part snake, part fish, all CGI. There is a pair of them and they do not get along. Gangsters act out a routine kidnapping sideshow to keep guest star Michael Madsen amused, so his heroic professor won’t simply collect his paycheque and wander off, muttering about a regrettable downturn for his career in genre pictures. 

Of course, this is not actually a ‘proper’ movie; it is just the punch–line for a childish joke: what is huge, and yellow and black, and swallows human prey whole - leaving only a red mist of arterial spray? It is a fairly typical example of the low–budget art of trash movies, today, and simply an accessory (and could or should be a free gift), when you buy beer and popcorn.

 

Lens flare

Since when did lens flare become trendy for cinematography in blockbuster movies?   

Enterprise... oh, shiny!

J.J. Abrams’ Star Trek reboot was the first big screen movie that overused lens flare for its live-action scenes aboard the Enterprise, and the constantly over-lit and blurry images proved to be so irritating it spoiled the whole movie. It did not present us with a brighter future, or some kind of spontaneous and organic creativity, it only looked far too amateurish to be taken seriously. 

Vulcan death rays

Abrams continued his apparent fascination with the visual noise of lens flare in the supposedly down-to-earth adventure Super 8, and it resulted in a terribly annoying train wreck of a movie. His malign influence on TV series Fringe is also noticeable, with a detrimental effect on the camera work.

Super 8 train wreck

Len Wiseman’s Total Recall is another remake that abuses viewers’ eyesight with its ridiculous glare from both on– and off–screen lighting. Many scenes are rendered all but unwatchable by streaks of whiteness that obscure details, and negate any sense of space within the frame. 

Total mood-lighting failure

Is it stylish? I certainly don’t think so. Babylon 5 used lens flare so that computer-generated scenes of the orbiting habitat, and varied starships, might appear as if they were filmed with actual cameras. It made a kind of sense… at the time. It could be perceived as a clever visual, even if it was not always artistically valid in frequent repetition. A similar conceit was used for many of those digitally created space battles in the BSG remake. Other movies troubled by a migraine blaze of lens flare include Michael Bay’s Transformers: Dark Of The Moon.

Blazing Transformers

CGI aside, lens flare is (of course) caused in actual cameras by light bouncing around inside the lens itself. The solution used by professional camera experts is to fit a hood on the lens. With recent big screen offerings that mess up clear views of expensive set designs, while also mistaking jittery handheld camera movement for real atmosphere, you might wonder if there is a shortage of lens hoods in Hollywood. I hope this stupid fad is over soon, but Abrams sequel Star Trek 2 is due soon, so I fear the worst is yet to come, and it’s been announced that Abrams will direct a new Star Wars feature.

Star Trek 2 - into the light!

Ultimately, lens flare is invalid as a subjective style or first–person–cinema technique simply because our eyes do not work like camera lenses. This futuristic dazzle for the look of sci-fi movies is so bright that we may have to squint to see anything at all.

Just published

Behold, a new issue of Black Static (#32) - with the free 'scent of darkness'!, and the latest Interzone (#244), too - boasting cover artwork by the great Jim Burns. Here's a listing with ratings for my first DVD and blu-ray review columns of the year...

'Laser Fodder' (IZ)

Death Watch (7/10)
The Arrival Of Wang (5/10)
The Castle (6/10)
The Lord Of The Rings (8/10)
U.F.O. (1/10)
Continuum - season 1 (6/10)










'Blood Spectrum' (BS)    

     URBAN MONSTERS
The Amazing Spider–Man (6/10)
The Dark Knight Rises (8/10)
Dredd (6/10)

Sound Of My Voice (4/10)
Southern Comfort (8/10)
Zombie Flesh-Eaters (2/10)
Berberian Sound Studio (6/10)
When The Lights Went Out (5/10)
The Possession (6/10)
House At The End Of The Street (5/10)
Stitches (1/10)