I love a good haunted house yarn. Nowadays there’s this delicate balance you have to strike: you gotta give people what they’ve come to expect, but if you give ’em too much of it you’ll end up writing Just Another Haunted House Novel. Scott Thomas’s Kill Creek gives us what we want and happily dodges the usual pitfalls. If I told you why it’s so different (or more accurately: just the right amount of different), I’d be giving away too much.
It’s about Sam McGarver, a horror novelist, who’s invited to an allegedly haunted house as part of an internet stunt. Early on, Sam stumbles into the interview room and gazes over three other authors’ books which have been put out on display next to his own. Thomas uses the moment to flesh out his other characters, merely by describing their book covers and writing styles. That’s pretty clever. Soon after, the writers realize the house has some sort of power over them.
I had expected something fluffier, along the lines of Peter Clines’ 14 (a novel I enjoyed very much), and because I wasn’t in the mood for lite horror at the moment, I held the story at arm’s length until it slowly but surely dissolved its facade. I would have finished the second half in one sitting if it hadn’t been for my antihistamine-induced drowsiness. It manages to take what could have been an extremely hokey element (“What’s behind the sloppily bricked wall inside the house?”) and turn it into a genuine lever for suspense.
Kill Creek sort of reminded me of Joe Hill’s Heart-Shaped Box, another debut novel which is less about a haunted house and more about a haunted object. At one point the main character sees the otherworldly entity that’s tormenting him, which (if memory serves me correctly) appears as an old man standing at the end of a hallway, legs fading out of the visible spectrum. The presence gives the hero a sinister smile as it dangles a razor blade from a necklace, the significance of which the reader won’t learn until later. I have 0% belief in the paranormal, but damn. Chills, my friend. Chills.
Sometime in the 90s, I saw Highway to Hell and absolutely adored it. More than twenty years later I finally ordered the Blu-Ray to see what my inner child has been yapping about for decades now. Kristy Swanson and Chad Lowe play a couple of eloping teenagers who happen upon a literal highway to hell. Satan, who takes a special liking to Swanson, agrees to let the teenagers return to the land of the living if they manage to win a car race.
The premise is all kinds of awesome, but the execution leaves a bit to be desired. They really could have tightened the movie up in editing, as tons of shots go on just a little too long. Still, you can’t accuse the movie of not being ambitious, even if “hell” is just a plain ol’ desert full of lame sign gags. (The roadside casino in hell is called Hoffa’s. Funny? Not really.) Satan’s right-hand man is The Hell Cop, a surprisingly effective villain whose handcuffs are severed zombie hands which are linked by chain. A young Ben Stiller and three of his family members make cameos, while Gilbert Gottfried plays Adolf Hitler. Like the sign gags, the cameos aren’t as funny as they want to be, but they’re amusing nonetheless.
My biggest complaint is probably asking too much of a 90s B movie: I would have preferred it if they explained the setting more, which very spottily incorporates Greek mythology. Like, what’s the hierarchy in this version of hell? What are the rules? Why are biker gangs allowed to roam at will, mingling with Cleopatra and hex-protected cage dancers, while many others are ground up and used as road pavement? And what, exactly, happens when people “die” in hell? Do they go to… hell?
Doesn’t matter. I can’t dislike this movie, even if it is a little slower than I remembered.
Two more movies I enjoyed tremendously this week: The Killing of Sacred Deer and Raw. Neither one of these movies are what I would call crowd pleasers, but that’s what makes ’em special. Both are insidiously funny and pleasantly disturbing in entirely different ways. Raw will definitely make some viewers gag, and the soundtrack is killer (I’m listening to it right now, in fact).
Steer clear of Sacred Deer if you weren’t a fan of The Lobster, which was also directed by Yorgos Lanthimos. His movies seem to be abrasive to some. What I loved about his newest film is it seems to really take its time, but in retrospect it goes from absurd to flat-out insane pretty quickly.
In case you didn’t see my last post, Corpus Evil has been postponed. I thought it would be on sale by April 1st, but it looks like that’s around the time beta readers will get it, starting with my girlfriend. It’s pretty much as polished as I can get it without reader input, I just want to go through it a few more times and hopefully uncover some more mistakes.
I’ve finally started working on my next novel. I’m having trouble finding the tone, but other aspects are working out nicely.