Milena Velba Does Hardcore At Last

The reign of blood

Simon Clark
560 pages
Newton Compton Editori, 2006
€ 9.90

For Rick Kennedy is truly a happy moment. Tonight will be a memorable party, there is his brother who has not seen for years and may even be able to seduce Kate, the girl he is in love. In the quiet village of Fairburn in the evening was pleasantly warm. When the darkness Rick thinks he sees a strange creature from the gray face and gaze wandering in the forest, thought to be only a hallucination, a nightmare passenger. But the awakening will be terrible. The next day the city is invaded by thousands of men and women, escaped in a mysterious cataclysm that took place across England and beyond: the land heats up, the city burned, the lake water boils. It looks like the end of the world and who has managed to avoid the horror unleashed by nature is willing to do anything to escape the wrath of the mysterious Grey Demons.

The Apocalypse according to Simon Clark ( The city of vampires, vampire Lake, both published in Italy by the same Newton Compton) will be due to a sudden warming of the Earth, which will follow a ' orgy of volcanic eruptions and tidal waves of boiling water, which will transform the earth into a desert soil ash and false hopes.
not all. Why
middle there are the mysterious gray men, furious humanoid gym, through the eyes of steaming magma, that unconditional support by the destruction of everything and everyone. We do not know where they come from or who they are, but their appetite for violence is already a major problem to be solved, and the time to get other mental paranoia is not that abound.
It must be said that Clark's words are able to capture, in the early chapters. There is a vague hint teenage-boyish, of dreams and hormones, which offers light-heartedness and curiosity. At the feast of titanic Ben Cavallero, in fact, theater presentations of the three heroes of the novel - Don Juan the Kennedy brothers and the soft and sinuous Kate - you can breathe the scent of young really fun and loves coming to flowering. Also on the hand of a genuine sense of humor, mostly in the dialogues, simple and well-liked.
And even when he enters the end of the world, in his slow gait, mysterious and unique, the Witch and passionate reading, inserting here and there even unusual food for thought, well chosen and appreciated.
It is only when the enormous catastrophe becomes routine, and go into the bowels of the adventure that should govern the body of the plot, that things fall shamefully. The writing, as they scroll through the pages, it becomes more and more elementary and free nerve and was even irritating in the last two hundred pages. All this because, first, the effect of a sudden drop in surprise and an inexplicable desire to describe what happens always and only with the same terms, according to a narrative turn terribly unlikely (Simon Clark must have seen in loop continuous Ken , given the strange and Tamarra idea that the homeless and outcasts of society), which also has the courage to lead to an end with no rivals in terms of ridiculous improbability.
The critic in me tells me to add also the numerous and lengthy pieces of fiction in which they are told the sexual performance of the various participants, in an untenable and mileage succession of dialogues like "oooh, aaah, yeah." Indecent, really. And, in terms of comic expressions, I report an unstoppable river of thud!, Ouch!, And various obscenities narratives that are only smile and shake his head. Another thing that angers
is the continuous exchange of narrator, who, as you get towards the end of the journey, it becomes increasingly unpleasant and annoying, given its nature of low-evident device to lengthen the stock.
Because I want to do bad, then, must give credit to Alessandro Pilo, Mr. translator, I did a work obscene and indecent, stain to "d" euphonic continuously, and leaving out repeats in every where and every when.
This is a shame, because if the novel had been a two hundred pages shorter, it would surely have won. The new extreme length (nearly six hundred pages, but considering how much the layout, I am not exaggerating to say that, generally speaking, may actually be even seven hundred), however, carries, in addition to the above, a natural loss of interest. The action is unbelievably repetitive, the characters are stripped of their guess characterizations of the early chapters, instead of acquiring food and inexplicable behavior, and so, alas, not test is no longer any emotional bond with them.
concede only a thumbs-up to the dark artwork (even if totally unrelated to what is said in the story) and for the price really tempting, despite the amount of facades.
I do not know, without qualification, the remainder of the literary production of Simon Clark, and above all pretend not to see the lures that are proudly displayed on the back cover. I only know that the kingdom of the blood and remains a brick tasteless and boring, and so should be enough to discourage the unnecessary removal of cancerous and money.

Decorated Beauty Shop Cakes

Lost - Season Two

What remains of the mysteries of the second round

Island most bizarre memories that geography continues to churn out some question marks. And if on the one hand, among the maze of jungle and in the walls of bunkers, some sort of response comes out, new puzzles sign of their presence.
development that is taking root with the season two of Lost is one that television has never raised so far in the curriculum. The discovery of what lies inside the bunker, the arrival of new survivors of the crash, the demise of one of the most detested characters in the first series, a glimpse of vision on the reality of the feared Other, are elements which gripped the audience eager solutions.
The protagonists then change the design: the annoying and perky Jin becomes eclectic, Sayer aside momentarily from the air brazen cock, the charismatic and Sayid is accommodated in the background.
As the days passed, however, falls on the island soon a fog of narrative stasis and immobility. The cruel turn on former toxic Charlie (the most exemplary - even better with the personality of Michael) he is not rewarded with a strong screenplay and support to withstand the rigors of similar texture. All changes in dialogues, to hide an uncomfortable misery of ideas tend to be philosophical, leaving a bitter taste. If in fact the flashbacks become gradually more and more manufactured and joints between the various actors (not counting the platitudes of the past of Mr. Eko), the action becomes noiosetta island, denying any glimmer evolutionary fans (if not some popular activity, such as the discovery - or almost - to the detriment of the abduction of Claire in a staginoe).
Fortunately, in recent episodes 8:00 to 10:00, with the appearance of the mysterious Harry, the series takes place and inventiveness, in a frightening sequence of surprises and new puzzles television (with an obvious left in the final half), At this point, they will find a shred of response only in the third round (next to the conclusion in the States).
always remain big questions (the role of Rousseau, the true nature of the Others, the reason of the many bunkers scattered throughout the island, the Dharma project), but piece after piece, the vast puzzle finally starts to come together. Just be patient.

When Will Huntik Season 2 Start In Us

About Death behind the door

Director: Bob Clark
Cast: John Marley, Lynn Carlin, Richard Backus, Henderson Forsythe, Anya Ormsby, Jane Daly
Length: 88 '
Production: USA / Canada / UK
Year: 1975

The young Andy left for Vietnam, promising to return to his family safe and sound as soon as possible. Unfortunately, a stray bullet breaks his word, and Andy succumbs to the battlefield. However, one night, knocking the Brooks home, it is Andy.

Bob Clark, the first of the turn-adolescent Porcelain series Porkys , anonymity assigned by television and, unfortunately, the recent death in a car accident, was a champion of our favorite genre, capable of putting into Standing in '74 that Black Christmas, immortal father of all slasher, which many film classes was able to give. With the next
Death behind the door, however, Clark sprinkles the film sentimental-tragic atmosphere that you breathe slowly, in a morbid silence and smiles diverted blood that flows only in the final. Everything in Death behind the door, is devoted to a search of almost exasperated component dramatic and painful, and the same climate in which we are immersed not ever give glimmers of light or salvation film. The slow impassive which echoes the plot leaves no escape, enveloping the viewer attentive (and youngsters who want everything right away from here!) In a miasma of pain and despair.
The narrative focuses so long to share in dialogue, deep and rich in detail, exploring characters and psychologies - gradually more and more shattered - the family of Andy, before his mysterious reappearance and its troubling behavior. And Clark is suffocating in its still-image and those poignant close-ups, though often you grant Classic zoom at the speed of light, typically seventies styles that clash not just with the burial context and overwhelming - but it is not that time of defects, quietly negligible.
Here it is, the horror of the past, that has nothing to do with the hasty discharge section of the hormonal horror today. Script, dialogues, characters, social commentary on these points - now almost completely neglected - we focused so long ago, building the atmosphere after film atmosphere, and no roof after roof.
Only in the bitter ending, full of emotion and complaint, the fury of the horror film stands in all its violent and confusing charge, catching off guard by an unexpected acceleration of well-liked but who knows how to hit in the stomach and eyes.
torments and pains are well brought to light by John Marley and Lynn Carlin especially, husband and wife who see the destruction of his marriage in annihilating blows dall'angosciante the character played by Richard Backus. But perhaps the most clear proof that it is up to Jane Daly, a figure only actors, but able to illuminate his happiness with the emotional heaviness of the film.
A praise to the Gargoyle, which exits in a sea of \u200b\u200bpure garbage, can sometimes guess at some centers (including the upcoming the aforementioned Black Christmas ). And a heartfelt thanks to Bob Clark, for a piece of cinematic history that he, too, has helped to create.

Why Reruns On Desperate Housewives

Stay Alive

Director: William Brent Bell

Cast: Jon Foster, Samaire Armstrong, Frankie Muniz, Sophia Bush, Jimmi Simpson, Adam Goldberg, Milo Ventimiglia, Jim Bishop

Screenwriter: William Brent Bell, Matthew Peterman

Duration: 85 minutes
Production: USA

Year: 2006

Some young children spend their days online, virtual characters in a horror game that takes your breath away. But the mysterious deaths led to believe that the fault of the game itself.

sabbatical year postponement for Stay Alive (flag would come out in theaters last spring), given to him without any apparent reason, except to prepare for an unfortunate event advertising in order to give him a phantom of redress - in the critical field - land in italic. Damn! In fact, the hype will force again a good chunk of the public, standard-bearer of an ignorance that is flowing gold film to the teen horror production, followed by the raids of the four virtual menteccati protagonists.
But there's no way, no hope. Why Stay Alive in its smallness and its lowest realization creative project, is the worst the market can offer horror, a bloody insult to those who matter do not regard it as just a bunch of beautiful young faces weeping and stupid deaths, but also building fiction, drama and characters thicker than a sheet of paper.
But this, people are paying, does not seem to be interested, preferring solutions poor in ideas and content, set up without feeling (if not that of easy money), evidently with pure unconsciousness (or indifference) of what we fans might try Faced with this garbage.
Everything in Stay Alive, has already been read, stored, stored and then taken as an example of what should never do in any field of art, cinema and literature, of course, going to games, as cases are brought in here.
The script scrolls a bland plot, hinging on players far too stupid to even afford to be the heroes of a movie like this, then focusing on events so obvious that it seems impossible that no one will notice the real reason that creates them.
Bell director adds nothing interweaving, so sleazy that boredom comes after the opening credits, then to fade away when they get those credits, at least you're me want to smile because the destruction has finally come to an end.
be avoided totally. Not even the purists will find trash in the work of Bell sources of amusement and derision, because even in this field, everything is already old.

Half Brick Homes Paint Ideas

John Shirley
232 pages
Urania
€ 4.10

Just a blink of an eye separates the Nevada desert from the desert of Mars. The portal: Olduvai, striking transit inter-dimensional, the legacy of a mysterious alien technology. But when a scientist makes too bold experiment wrong, it's hell to go wild in the remote station Marian. It's up to Sarge, Grimm, Kid and the members of a deadly team of elite space marines descend into the abyss, facing first-hand the battle of the apocalypse.

John Shirley, wearing a camouflage vest, checked the plasma rifles, and filling up of as much ammunition as possible, has left for Mars in an attempt to kill himself after John Carmack (the guru game industry ) and Bartkowiak (a journeyman with dot adrenaline of the camera), the weird hellish monsters that inhabit the ruins of the red planet. The
here this Doom is the literary adaptation of the movie came out some time ago, which in turn stretch (quite freely) from that game that many years ago, marked an entire generation of worshipers pixel cubes.
John Shirley has just leafing through the script, copied as such dialogues, and expanded the plot with a little bit 'of sound psychological insight and an interesting new feature at the bottom. Obviously, then, that all those who have already seen the exploits of the duo- The Rock Karl Urban in action cinema, will find just a boring novel in that robbery of his free time. For those who, like myself, has clashed with the universe starting from the Book of Doom and reserved then the movie after reading (The videogame saga does not count, given the total alienation in terms of plot), or has not yet penetrated into the obscure passages Martian, let's dissect the work of Shirley.
The American writer is certainly endowed with a lively rhythm, his words are good examples of tight and fast-paced entertainment, and seeing as told by the plot (the soldiers good against evil monsters), his style is well suited to the situation.
Unfortunately, as in the novel as in the movie, doubts remain bound to a characterization of the protagonists too derivative (the good and brave soldier, the braggart, the hateful, the silent and strong, so the inexperienced and clumsy, and so on) . Shirley tries to circumvent the banality that distinguishes them with some digression about their past, but this just adds to their psychological inadequacy. The protagonists are still sufficiently charismatic, and spend some time with them, despite the lack of inventiveness, will altogether pleasant.
Another sticking point concerns the unfolding of the plot, which seems at times to forget the streets, vast portions of history. It follows an occasional loss, which absolutely does not affect the understanding of the plot, but irritated by a lack of continuity and narrative flow.
What remains, ultimately, is a fairly small book fantasy-horror, but even that is not boring amazing - and really do not understand the praise Shirley woven in an afterword, as if to consider the best writer of all time, or something like that. However, at least, is able to entertain. And sometimes it does not do much more.

Jeena Jameson Piercing

Doom The Good shepeherd

Directed by: Robert de Niro
Cast: Matt Damon, Angelina Jolie, John Turturro, William Hurt, Robert de Niro, Alec Baldwin
Screenplay: Eric Roth
Length: 167 'Production
: USA
Year: 2007

The life of Edward Wilson, a young student of poetry a founding member of the CIA: the duties, the love, the pain of a secret agent against himself himself and his family.

De Niro and the camera: a history that began thirteen years ago with Bron x, and now, finally found the right balance with screenwriter Eric Roth may continue, despite the large amount of time left to pass.
The Good Shepherd is an intricate and grandiose fresco that, through the eyes of an unusual stone Matt Damon, leads to a reading without the rhetoric of a cynical world and double agent, such as that of the secret services. Edward Wilson sacrifice their lives, loves and loved ones, with the mandate that it has undertaken to complete. And the film is a journey already calculated in detail, which explores, dissects, analyzes thirty years of its existence, the first tender heartbeat, passing through a stormy shotgun wedding, and then to England via the Second World War, and finally concluding with the delicate period of the Cold War and dell'ordigno Cuban, always ready to explode.
The method chosen is a complicated sequence of events, woven on two different time lines (present - the 1961 - and past), carriers at the same time fascinating narrative but also a dislike of confusion or because an excessive amount of information that affects the viewer, or, more than anything, a preference for the preferred image explanatory dialogues, leaving only keen eyes can fully understand the development of the tangled affair.
De Niro, in fact, very careful, too, in the definition of visual detail. No directorial virtuosity or stain to be clear, in fact, plenty of technique, but the thickness of which is steeped in The Good Shepherd struggling to come out completely through a single vision. And even the high playing time help in the difficult task of squaring the circle. On the other hand, Roth's script (he is remembered as the mastermind behind narrative Forrest Gump Zemeckis and Steven Spielberg's Munich ) Goduria is pure structure, demanding at least for the viewer, given the infinite number of topics touched upon, now more superficially, now with more heart and passion, and the game snap, satisfying, even exhilarating in specific segments. The combination of De Niro
-Roth, then, operates in half. Taken individually demonstrate cinematic delicacies ripping applause, but aggregated, unfortunately, fail to bring out one another's work as it should. Too precise, directed by De Niro for the depth of the screenplay, too structured for the plot of Roth's art direction, too tied to just gaze interpretation.
The result is still a great magic fiction film that, despite a kind of heaviness of funds due to the cumbersome nature of everything, he knows to catch the eye of the viewer engaged pretentious. This thanks to the titanic pregevolezza cast, with a statuesque Matt Damon, impassive and personification of the cold-hearted, going for a job exorbitant heard John Tourturro, the sweetness and the feeling of a beautiful Angelina Jolie, without forgetting the a precious cameos invecchiatissimo Joe Pesci and De Niro the same with emotions despite the small small part Set aside.

Can You Use Normal Polish With A Konad?

Radiodue on Alan Moore - part

Alan Moore, author of the eclectic masterpiece V for Vendetta, Watchmen and many other comics (though never as in this term that seems almost detrimental action against the guru English) that have made publishing history drawn.
At the recent Italian publication de Voice of Fire, a novel this time - but not out rightly bestowed by professionals, rather than relegating it to a more muted word of mouth rather than advertising to a real - Alan Moore tells Radiodue microphones during transmission All the colors of yellow, aired today at 13.00, and that the report will conclude tomorrow at 13.30.

To hear his own words, you understand how Moore is much more eccentric than the legend. He calls himself so captivated by his work, which has no free time to himself, to afford a vacation, or just a short visit to the barber to trim his beard and hair.
During transmission (very short indeed, and with too many pauses music, appropriately to contain everything you would want to know British author), Moore presents interesting reviews on his The voice of the fire, explaining the genesis, gestation and meaning. Then, looking to the future, offers interesting news about Jerusalem and (working title of the new novel in the works, set in its Northampton, and, more specifically, in the district where he was born) and an essay, written for four hands with Steve Moore, magic, passion (and perhaps philosophy of life) who has never hidden. The interview then stupidly
slips up smelling more than curiosity that gossip of information on literary (the urban legends that would see Moore as wanted by the CIA as a hater of children, so lazy as to never get out of the house) and even then goes into trips really silly and outrageous, when somehow mocked Moore's collection of rings, because of the envy that would cause this against Ozzy Osbourne and Alice Cooper.

You could do better, surely. But wait the second part to be able to tell if it is treated to a wasted opportunity or not.

How To Make Hinged Rings

Dead Meat

Director: Conor McMahon

Cast: Marian Araujo, David Muyllaert, Eoin Whelan, David Ryan, Amy Redmond

Writer: Conor McMahon

Length: 78 '

Production: Ireland

Year: 2004

Following an epidemic caused by a particularly brutal strain of mad cow disease, cattle town of some Irish farmers attack them and turn them into the living dead. Helena, a English tourist and Desmond, the local undertaker, who met by chance, will try to run away together by the threat, armed with a shovel, high heels, and a lot of hope.

Search and look, here's the gem that it is in Europe again. It is in this part of the world that the horror is gradually ascending to the throne that belongs to him, beyond the mega-Hollywood - which, film after another, they simply hit (and sink), our favorite genre. The Descent, High Voltage , Shaun of the Dead, these and other riders who drive the resurgence of terror on celluloid. And although Dead Meat can not be grouped with the aforementioned titles - in his blood flowing fiercely amateur huge portions - must give credit to Conor McMahon, with his tribute to Romero's father, can give an hour and a quarter of brilliant guignolesche grand and ingenious solutions found, to greet with smiles wider.

In his first film, in fact, the young director is the center. Not so much for a plot that makes no mystery of his nature citations, but to a wealth of fresh news, sparkling developments director, and a crescendo of horror and intestines that results in a bitter and painful ending.

And then you can be left on a casting - alas - not particularly happy, loving and beautiful Marian Araujo, David joins a Muyllaert hero comprimario too static, with that classic pole up his ass that prevents sbocciatura many, too many young actors. But the other journeyman, either because of inexperience or because the actual lack of talent, offer evidence for the most opaque part of the movie, uplifting only occasionally (the amazing final, a real epic where the film offers its best in any department)

So how can you let it go dark on certain points of a script and ran smoothly, such behavior a bit 'too cold once the actors become aware of the threat they will face, and some use of the zombies as a stopgap to stretch a bit' the already poor playing time.

And, of course, you can turn a blind eye make-up even on a not particularly glowing - but does his duty, given the abundance and creativity of a department visceristico and gore, which disgusted and intrigued.

There is a flaw, true. Many. But then, in a debut, so sincere and honest, so real and heartfelt, you really resist the temptation of praise for its load of bloody beauty and caring of the holes and dropping in pitch. Why Conor McMahon stuff for sale, and can cover all'elementarità of his script with a director who knows how to forge genuine flashes of genius. This is the case of the overwhelming and breathtaking start on killing the first living dead (gaming state that is the most original cinema zombesco all). O resurrected the assault of a cow, which releases pure thrills and tension. Or even apocalyptic end, complete with gothic and sinister atmosphere, created by the hand of a castle in the background, the assistance of the full moon and a simple craft torch, what works a thousand times better than any machine gun falciazombi.

then add a soundtrack to a minimalist, but who knows how to lead to disturbing excursions to the sound of violas and cellos, an example of how to create an atmosphere oppressive and dark with few resources (and a few notes) available.

is on the basis of these inventions that we must consider the primordial understanding of the horror. It is about people full of talent but also grateful devotion Conor McMahon and humility as you dive point. It is on such films as Dead Meat , which is his best card of spontaneity, that one is forced to bet. Why is this the horror we want.

Review originally published on Scheletri.com

Juicy

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Hard Rock # 54

number of Hard Rock, to April, featuring interviews (very long, as usual) to the Lords doom of Black Sabbath, Labyrinth, Porcupine Tree, Dark Tranquillity, Dimmu Borgir, Machine Head, Finntroll, After Forever, and many, many others, trying to dissect juicy news about new jobs coming
In the space devoted to reviews, rained praises to Fiction , In Sorte Diaboli, Dimmu Borgir, and Fear Of A Blank Planet , Porcupine Tree, while he gets an unexpected rejection of the new Gods of War , Manowar. And then, again, Scarve, After Forever, Annihilator, Finntroll, Ensiferum, Joe Lynn Turner, Marillion, Mayhem (Ordo ad Chao new , with the return of Attila Csihar on vocals), and many other reviews that fill the twenty-five pages devoted to new record coming out.
As always, Rock Hard is the perfect incarnation graphics, with ample space dedicated to the photography department and vision, but always with long and detailed articles, maybe sometimes too informal (professionalism - that does not disdain the student spirit - a Metal Maniac in the interview is still a long way), but that should be read with pleasure.

the enclosed CD, found the spot: Machine Head, WASP, Destruction, Porcupine Tree, Marduk, Naglfar, Rose Tattoo, Disguise, the surprising Oceans of Sadness, considerable emo screamers Ophydian, and other followers of the bloody word of heavy metal .

Mother Mastrabating With Daughter

Slither

Director: James Gunn
Cast: Nathan Fillion, Elizabeth Banks, Michael Rooker, Gregg Henry, Brenda James
Screenplay: James Gunn
Production: USA
Year: 2006
Length: 90 '

A meteorite from outer space falls deeper on the town of Wheelsy. It is the unfortunate Grant Grant the first to see it, and above all to get acquainted with what is hidden inside the space rock, since, after the point man, the alien thing gradually transforms into a deformed monster tentacle. It is therefore time to implement the plan for the conquest of Earth. Infected whore that Brenda, Grant makes her a sort of gigantic uterus for a host of slimy slugs and certainly not very friendly. In turn, the snails - which are naturally born for a reason anything but evolutionary - infect one after another all the inhabitants of Wheelsy, in mutandoli stupid zombies. It's up
ingenuous police captain Bill Pardy and Grant's wife, Starla, to try to stop the alien invasion. The results were much better comedians than expected.

piles and piles of rave reviews, critics unanimously positive feedback euphoric, that weave exclusively praise for his debut behind the bedroom wall James Gunn. Are they right? Of course, Gunn fabric, you can see a mile away, and although Slither (in his irresistible comic verve and bloody) is nothing but a heartfelt tribute to b-movies that were the most popular long ago, what it takes to become a cult has it all.
James Gunn, from his considerable experience as a writer (at the service of his majesty Lloyd Kaufman, to name just a name), managed to gather only the best of its production, and stain to avoid various pitfalls that we still can always expect from a debut. From script Tromeo & Juliet inherits the irony and the frequent turns splatter film, the two Scooby Doo horrorifica a nice atmosphere, but never too scary, while the remake of Dawn of the Dead , Action hectic and fast (leaving home for luck in the protagonists psychological excessive subsidence and certain structural weaknesses that were not run so well the pseudo remake of the masterpiece Romero).
Slither This is because, ultimately, is a nice film. Not a horror-comedy tout court (there are not many comedians), much less a horror film - seen as such - tinged with irony (the dial frightening is practically absent). Slither is Shaun of the Dead. Slither, simply, is a nice film. On the funny and carefree atmosphere of conduct so fair, but grotesquely realistic of the characters, and never too terrifying monsters - That almost seems to be having fun, too.
Slither is basically an honest film, a bow and a thank you to the horror of the past, that derived tin cans, foam costumes, and plenty of good will. Slither is basically the result of a person who loves horror. And this idea works better than many other words used inappropriately.
James Gunn, in the dual roles of writer and director, is in form, giving rise to his most successful creation, simple and derivative, what you want, but felt tremendously. Script sincere, fun, flowing with good skill from top to bottom, great director, which also features a couple of really found hilarious (the prologue, exceptional for the way in which it takes around a certain way of doing horror).
Ben took the persistent presence of sequences rather disgusting and full of offal is astounding, because of the likely target that is addressed here in this film, but do not ever say no to a good dose of gore.
The cast is outstanding for the presence of Michael Rooker (Henry - Raining blood ), ridiculous and naive bastard man in love, both in normal human form, and in those rubbery and tentacled alien hybrid. Truly exquisite test Nathan Fillion, clumsy police captain, the easy joke and the equally bizarre behavior easy. Elizabeth Banks beautiful at last, perhaps deserves more praise for his qualities as a woman than for acting, but basically blends well with the rest of the actors.
Slither is - and I will remain for quite a while '- one of the best examples of cinema. Period. Beyond the horror, monsters, blood and violence, passion and devotion Slither oozes from every inch of film. And so the film should be.

Skins Tags Or Genital Warts

Dark Tranquillity - A Looking Back, Part

Projector (1999 - Century Media)
Passing label and grafting of a new member, keyboardist Martin Brändström, electro-man foreign to the metal scene (Martin Henriksson, Furthermore, it has been replaced on bass by Michael Niklasson after passing the four-string guitars to the defection of Fredrik Johansson).
The sound forged by the sextet fresh fresh training is now more linear and straightforward, dark shades, the son of a good balance between mid tempos effect of electronic and carpets that create unusual scenarios for the universe darktranquillitiano. Total exclusion then blast beats, double bass and complex construction and arzigolate, all in favor of more research of the song form, and, perhaps, a project to rejuvenate and modernize their musical proposal. The growl of Stanne is now often accompanied by beautiful vocals clean, a symptom of a desire to try to change direction.
leaving songs certainly extraordinary ( Freecard , Therein, the electro-ballad Day-to-end), but you feel the need of a running stronger and safer, which can allow the band to be channeled in a Swedish melodic new route to follow.


Haven (2000 - Century Media)
Found a good game between schitarrate vaguely modern and futuristic keyboards, Dark Tranquillity correct defects Projector , shortening the pieces (only the final Acts Loss For Words than five minutes) and making them more simple, immediate and aggressive ( Feast of Burden, Indifferent suns ), not forgetting, however catchy refrain immediately capture the listener (the driving The wonders at your feet ).
good test, so where electronics play a major role in the band's sound, but is now implemented with greater capacity, with a strictly instrumental metal more inspired and less hesitant.


Damage Done (2002 - Century Media) Dark Tranquillity
At last look safe and decided which direction to take: thrash-style riffs, vitamin injections from pepatissime melodic pounding speed, the return of tyranny as the only growl vocal style, and pleasant background in electronic embroidery, all interspersed with soothing arpeggios that dampen the chaos, to create short tracks and violent, and who can hit his mark, alternating with mid tempo melodic and catchy, are meant to be printed in the head.
Final resistance, Monochromatic Stains , The treason wall superlatives are posters of the new Swedish band of course, thanks to their catchy riffs, which will mark a generation (and especially a specific music scene, soon to be sunk by myriad groups clone).
Basic.


Character (2005 - Century Media)
find a vein of gold and the global success, Dark Tranquillity decide not to risk too much, in giving the public a meal Damage Done - Part Two, which will satisfy the new fans acquired but that surely strikes at the heart for the lack of evolutionary step that has always accompanied the Swedish band in every release.
not a disk fails, it is clear, beautiful living inside pieces ( The new build, Lost to apathy, My negation), but every riff, every melody, every voice comes from the hard line that preceded it, leaving so, despite a newfound structurally arzigolata vein, a vague hint unwell. Dark Tranquillity The copy themselves, and this can only hurt.
And so you come to us, and that Fiction that day will plow the shelves around the world (apart from the virtual ones, where surfers soulless also grabbing the crumbs). I can only refer you to the review, which will shortly make his arrival in the bunker.

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Dark Tranquillity - Looking Back, Part

Pending the imminent release of the new album by melodic death gods Dark Tranquillity, Fiction (still eight long, dusty days separate us from April 20), which will show us whether the Swedish band has continued to position itself on the coordinates of the disk copy Damage Done-Character , or if you are open to innovations liked, I prepared a brief overview, divided into two parts, their previous work (I sit on the album, leaving out the various EP data fed to the general public).


Skydancer (1993 - Spinefarm)
rapidly in cascades of harmonic melodies and riffs, played with a skill worthy of the most complex progressive combo, and then again backbeat, rhythm changes, structures crazy, convoluted, complex and lengthy .
The onset of Dark Tranquillity is the lesson of his uncompromising speed of the Swedish death (the shards of At The Gates in the front row), a genre that the band will help to shape through their music (along with the same At The Gates, In Flames and, later, near a steering business to some extreme metal scene, even to Soilwork), blended with a progressive vision and brain of the music that they port to create songs tortuous and complicated.
Despite a good breath and freshness generated (by the shore of Nightfal timel, A bolt of blazing gold, Shadow duet ), but it denotes a desire to overdo it at times makes the songs so intricate that leave the sign even after several plays.
It just takes maturity and instrumental cohesion, qualities that will arrive shortly thereafter.
Trivia: the strangled vocals appears Anders Friden today rasta-frontman of In Flames cousins, while Mikael Stanne time was just the lead singer of Swedish relatives.


The Gallery (1995 - Osmose)
Album symbol of an entire music scene, as well as an example and starting point for armies of angry deathsters Scandinavia and beyond. The atmosphere is similar to that of his predecessor Skydancer, but now the songs are more reasoned and have their own thread, although it has not been sacrificed nothing in terms of structural complexity.
Punish and my heaven The dividing line are models of killer songs, they do live within them, with rare skill, imaginative melodies, smooth guitar riffs and drumming sprawling. The Gallery and Lethe show, however, the most romantic and melancholy side of the Swedes, are as rich as long arpeggiated share sad and nostalgic flavor. Exemplary
the quality of the instrumental group, which gives a very large space to the sound of the bass, usually placed in the rear, but here enhanced by creative melodies and intricate changes that follow the guitar well.
Stanne, the vocals, is capable of varying abilities with his snarl Mephistopheles, making it alive and rich different shades of sentimental. Dark Tranquillity
I leave a mark. A milestone in the history of music, and a class of composition which, unfortunately, will never be able to achieve.


The Mind's Eye (1997 - Osmose)
aside some ways the melodies of the previous album, in favor of greater strength and hardness of the sound, the Dark Tranquillity comeback with a hard fast, pounding, more linear and straightforward, the son of a musical idea that is now closest to thrash to prog.
beautiful songs come alive ( Dreamlore Degenerate; Hedow, Scythe, Rage and Roses ), Making the speed of execution and a tight riffing of their strength, while bearing in mind the melodic atmosphere, which is part of the DNA of the group. These good examples, however, are accompanied by other pieces of lesser quality, sunk by rhythmic sometimes too complex and tangled, and no longer made so elegantly as in the past, they do lose a lot in terms of authenticity.
This is definitely a good album, which demonstrates the continuing desire of evolution of the band, but we are close to a real change that will only start with the next Projector .

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Labyrinth - 6 days to nowhere

vaporized any reference to home-made power, which still peeped here and there in the previous Freeman, reappeared on the Labyrinth Mephistophelean music market with an album of simple, genuine rock metallic, perfect synthesis of developments undertaken with the same name album of the post-Olaf Thorsen, and then continued in the recent and already mentioned Freeman.
The songs are now direct subsidiaries of a linear structure that seeks catchy chorus ( There is a way , What , Rusty Nail), they show convincing with a more imaginative drumming of Matt Stancioiu, and an embroidery tastierstico De Paoli marginal but very valuable - even though you feel the lack of raids on the original ivory keys of the previous platter.
However, the songwriting is allowed to embrace a particular philosophy progheggiante, always present in the Italian band, who knows how to break up the songs and put so soft and delicate melodies, arpeggiated passages ( Crossroads, Mother Earth), or sudden leak in a double Cash ( Just one day), recalling a footprint music at this point disappeared.
But despite a mature artistic development, the Labyrinth is very vaguely grant a trial (the wonderful Lost - jewel of the disc - And in some ways the not entirely successful Wolves'n'lambs ), which makes his death the Scandinavian, with lots of blast beats, thrashy riffs, tight and melodic dall'attinenza and timid growl that emerge during the bridge.
Curiosa the cover of How Togheter well crafted and that utilizes a sumptuous rocking crescendo, but it seems a bit 'out of place from the stylistic choice for the entire Ellepi. Conversely, Piece of time, revisiting the classic with vitamins belonging to the era No limits, is fast and efficient, cheerful and singing.
Nothing to say about the vocal performance of Roberto Tiranti (which engages with the bottom, with results that are difficult to assess due to a production - still excellent - it totally hides), uvula hot mail as a bastion of Italian education.
You must be emphasized, however excessive length (nearly an hour) and found in the fourteen songs on the result of a malaise and a certain repetitiveness little bite, especially as we approach the conclusion ( coldness, Out of control, the insipid ballad Smoke and dreams), even guilty of a guitar work, which reported in parts and in some other occasion, it is too derivative and predictable.
course, with some tracks less and a little more effective, 6 days to nowhere could forge the title of masterpiece, or something like that. For now, it's worth a confirmation of the class and honest music of the Italian combo.

V2 Music
2007

1. Crossroads (4:03)
2. There Is A Way (3:36)
3. Lost (4:24)
4. Mother Earth (6:08)
5. Waiting Tomorrow (3:35)
6. How togheter (4:00)
7. Just one day (3:54)
8. What (4:15)
9. Coldness (3:49)
10. Rusty Nail (3:19)
11. Out of Control (3:46)
12. Wolves'n'lambs (4:53)
13. Smoke and Dreams (4:37)
14. Piece Of Time (2:50)

Xtra-10track Touching Top Of Rear Shock

Candyman - Terror behind the mirror

Given the presence of the film by Bernard Rose on newsstands, attached to Mania Horror of April, I made a quick review, to encourage the purchase of that film who was still hesitant to make eye hook Candyman. Woe to you if you miss the opportunity, Marranos, you lose a horror that, in times like these, we dream of having.


Director: Bernard Rose
Cast: Virginia Madsen, Tony Todd, Xander Berkeley, Kasi Lemmons
Screenplay: Bernard Rose (from a story by Clive Barker)
Searches: Steve Golin, Sigurjon Sighvatsson, Alan Poul
Executive Producer: Clive Barker
Music: Philip Glass
Duration: 95 minuit
Production: Use
Year: 1992

The student Helen Lyle is aware of a terrifying local legend, that of Candyman, a monstrous serial killer fitted with a hook that appears when you say his name five times in front of a mirror. Helen makes such research, for his dissertation, going places where it is said that Candyman has appeared. But after ignoring the warnings of the locals, attends a chain of gruesome crimes. Is it possible that the legend is true?

The six Books of blood , the first literary resurgence of the visionary Clive Barker's Lord of Illusions, is a staple of the horror pantheon, an unparalleled sanctuary bloody fantastic fiction. From one of these minor stories in the anthology five ( Visions, in Italy), the forbidden , Bernard Rose took his camera camera, drenched in blood and ink to make the raids of the English writer in literary images dall'indubbio charm.
We acknowledge the director to have drafted a screenplay quite faithfully, but all things considered valid in terms of structural-film, with good atmospheric moments and dream recall carefully measured. However, inevitably, the script takes its easy skidding, found in the dialogues sometimes not very incisive and unintentionally ridiculous excursions that bring the milk in the knees.
Not bad.
Errors are displaced by a directed simple but effective, which has its moments of great visual quality, thanks to the delirious ramblings that well filmed envelop the feelings of the two main actors, who try to steal one screen to another.
It raises a huge thumbs up to the gore factor, which we value so much degenerate maniacs. Candyman In fact, the department hemoglobin is plentiful and tasty, with a vast and unexpected bloodshed. In this
morbid universe, full of subtle references, but also social impulses of genuine supernatural, the beautiful Virginia Madsen offers a trial class, heartfelt and moving, reaching peaks of delicate poetry in dream sequences, rich in meaning as a tear ran down his cheek . Tony Todd, however, signs the birth of a new myth of horror, the cultured defender of the oppressed, the diversion of Captain Hook filmography guts dripping, playing in an elegant and professionally tortured Candyman. Rather drab the rest of the cast, despite the best facial expressions of a Xander Berkeley today, after fifteen years, appears not to be aged a single day.
Of note, but with a lot of trumpet sound, deserved the extraordinary soundtrack by Philip Glass, a musical masterpiece, built only on piano, organ and choral voices, that fit into a sublime maelstrom of unrest in the main theme, one of the peaks sound not only of extreme cinema, but the entire world of celluloid.
Removed some dead or ridiculous, which could be easily removed in post production (unintentionally comic scene dell'imbiancatura, a psychological digression of actors at times a bit confused and uncertain), Rose has made a good translation of an discrete story, and today would be a good thing that young filmmakers who are trying to depopulate, gave a look of spontaneity agonizing horror of a few years ago, including Candyman.

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Summer of fear

Dan Simmons 644 pages

Gargoyle Books, 2006 (first edition 1994) € 17.50

1960, is party time in Elm Haven, a small town in Illinois. You just arrived in the summer, and it is finally out of school. Five boys from twelve years and then get ready to live carelessly smiling three months of hot sun and games that await them. But in reality, waiting for them there is something else. Monstrous entity that is waking up gradually, a threat that has to do with the Old Central, the huge school just closed, with a terrible event that happened sixty years before, and with a legend that is more real than you might think.

The more surprising Gargoyle Books reprint, with new graphics and a new translation, and more careful wording, the novel pluriosannato Dan Simons - one of the rare foray into horror territory by the master of Peoria - previously published by Mondadori in the 90s (whose copies, now unavailable, roam the lofty prices at auctions).
The first impression is to be located in the territories of the King, Stephen King, and his most acclaimed IT. In fact, the elements are basically the same as the masterpiece king: a group of teens growing up, the evil that rises in cycles, and the fight against the unknown as children transition from childhood to adulthood.
But Simmons is not King, and beyond a different narrative structure, you can tell immediately from a more stilted writing style, devoted to the description of the slightest particular, and especially the lack of a sort of disenchanted irony that pervaded the novel of King
Simmons indeed can be confusing, mostly in the beginning of the novel, is much too bombastic and property. Anyway, you can see until the end of his willingness to explain, speak, tell, expose, stain to feature that, continuing the comparison, was much higher than even the last King of mileage tests.
On the other hand, in this way, Simmons is able to give images of extraordinary intensity and magic of fiction, which peaked in the very long section dedicated to the fight in the mud between the group of players and their friends, rivals, and in a successful final abundance of sewage, slimy and shapeless monstrosity tentacular protuberances.
About the supernatural, then, must be accountable to Simmons to leave enchanted with its ability to sip the information dedicated to the mysterious Old Central and hell that surrounds it, transporting the reader into a vortex of insatiable curiosity. Curiosity satisfied wisely at the gates of a final detector which, thankfully, lacks the painstaking explanation by the evil of the moment - to demonstrate its superiority in front of five little children too arrogant for their age. And is to be the intelligent way in which the author around this annoying detail that haunts most of the universe cinematic and literary (and for some time now also fun, why not).
Spend more words on the pen by Simmons and the way in which it gives rise to a handful of heroes credible and realistic - as well as the evil counterpart - is also unnecessary, because the skill with which he paints Dale and his friends, the brave defenders of ' innocent age, and detailed research and disgusting horror evil in the entity that haunts Elm Haven.
Summer of fear, however, is not flawless, mind you. Excessive length is the first report to do, and thus the already accredited truly unstoppable stream of words of American writer. It is also right to criticize the character of the pestiferous Cordy, really uncomfortable and too rotten to be fully appreciated, despite the sometimes irresistible charisma that distinguishes the girl. And finally, to be complete, a Bildungsroman in which the title is concerned, perhaps lacks a reference to the much more marked in a love story (or as you call it, when you have twelve years or so) , necessary and inevitable step in any self-respecting kid, because even the constant reference to Michelle Stafney (and actual Cupid's arrow that arrives at the end of the novel) is probably still too little for the male universe designed by Simmons.
Anyway, these are but trifles, annoying and inevitable that we must carefully find details in a work of such depth, that absolutely do not affect the final result, but rather that leave hope for perfection in this kind Simmons has reached with the the sequel, A Winter Hunting , which always Gargoyle Books will publish for the first time in Italy in 2007.

Review originally published on Scheletri.com

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Award Skeleton - Results

Here are the 15 selected Skeletons Prize, a competition organized by Scheletri.com , which will joining the fearless finalists in an anthology published by Editions Magnetic , which should be titled The horror around the corner:

Asualea - Francesco Donato
They sleep deep in the woods - Maria Galella
And from there I will see you grow - Simone Pera Fiat
Revenge - Sabrina Modesti
dormant buds - Luca Iaccarino
The paintings of Sofia - Marco's grandfather Crescimbeni
Marco - Marco Cartel
The meal of the snail - Andrea Cavaletto
New shoes - Alfredo Mogavero
Nothing - Alberto
Warm Eyes blue - Raffaele Serafini
rests, tears, blood and soil - Simone Cora
Beneath the Surface - Simone Cremonini
between the legs of time - Andrea Franco
grass pea soup - Marica Petrolati

The positive response of participants, over 140, has demonstrated the value of the project, set up with care, dedication and sweat from the mighty webmaster Alessandro Balestra. Moreover, the quality of stories, past the first round judged by only bloodthirsty boss of the site, has proved so valuable to properly set up an anthology that collects the 15 most hard luck. A time to praise and her Magnetic Lorenzo Nicotra Editions for the courage expressed in this initiative.

compliments go to everyone, good and bad, winners and losers, and not selected. And to me, to be honest, the blog is mine and I have right to brag a bit '