Review Category: Books

This collection of reviews, as the title suggests, covers the movies made in Britain during what was arguably the least profitable time for UK cinema. Video had all but killed the act of ‘going to the pictures’ and the films being made would sneak straight out onto tape or, worse still, never see the light of day at all.

The wonder of this pool of titles is the diversity. Well-known highly budgeted films rub shoulders with the ones that have hardly been heard of. And although the book may not look much – the current version is a ‘festival edition’ printed in black and white with few photographs (and those that are included are lower quality) – an expanded, fully-illustrated version is due next year from US publisher Midnight Media. What it lacks in panache, the book makes up for in content. Laid out chronologically, with numerous writers tackling the reviews, there are plenty of gems to (re)discover. There’s even an invaluable appendix of short films, a neglected area of cinema if ever there was one.

This is, of course, Buxton’s second decade-centric review book, as his Shrieking Sixties was released several years ago and should be on everyone’s bookshelf (the ‘70s were skipped since the brilliant Ten Years of Terror did them so well), and Dead or Alive is a worthy follow-up. The writing is fun, informal and informative. Due to the different assortment of writers, the style doesn’t become predictable or samey. Some films have more attention than others, and thankfully, it’s not the obvious ones, either. The 1984 slasher Don’t Open Till Christmas is given two separate reviews (as are a few more films) and the biggest word count. It’s also represented in one of the appendix sections, as the feature-length ‘Making of’ is covered too. While the movie itself is an enjoyable mess, the critiques here both highlight the low points of the film, while celebrating the shear ludicrousness of it all. Director Derek Ford’s next film, The Urge to Kill (originally intended to be called Attack of the Killer Computer) is also covered, and instantly makes the ‘track down’ list!

There are some dubious entries – Aliens, for example – where the British involvement is negligible, but enough to class it as such, but these are not included at the expense of other films. Where else will you read about Cliff Twemlow’s Moonstalker, or indeed, his unfilmed project The Pike? Or Torment, one of the forgotten films of Michael J. Murphy, who’s Invitation to Hell was a VHS hit, and who contributes the foreword for the book. Sadly, Murphy passed away before publication, but his endorsement is fitting. It’s an impressive collection of assessments of an often derided era of horror cinema, but certainly one that provided its fair share of classics.

While this Festival Edition is decidedly lo-fi (a hardback version is available on Lulu, but it’s pricey), it’s a cracking read, and certainly worth any horror fan’s time. 

DEAD OR ALIVE: BRITISH HORROR FILMS 1980-1989 / EDITOR: DARRELL BUXTON / PUBLISHER: RAMPAGE PRESS / RELEASE DATE: OUT NOW

Halo as a universe has always been one of those success stories better buoyed up by its tie-in literature than main storyline. While the video games might have formed the skeleton, it was only through its novels that something of true substance began to emerge. Hunters in the Dark is the latest book to add greater depth to the setting, and it’s very much a return to form for the franchise.

Set two years following the UNSC-Covenant war, the novel follows a joint excavation between human and sangheili remnants as they attempt to uncover the relics of the Forerunners. As things quickly spiral out of control, threatening the tenuous peace, and something far worse than anything they imagined awaits them in the halls of the dead…

Past novels have focused almost exclusively upon humans combating the Covenant. As such, the point here of showing both sides in a tense uneasy truce for the first time is incredibly refreshing, as are its main characters. Both Luther Mann and Usze ‘Taham are very atypical members of their kind, having escaped or overcome the distrust on both sides. With one a scientist and the other a warrior, their thoughts prove to be just as interesting as the book’s core mystery, especially surrounded by those embittered by the conflict. Peter David manages to rapidly establish an even focus, voice and memorable characteristics without the book feeling rushed.

The crux of the action stems from situational pressure and the fractious nature of two former foes having to work together. As such, while it takes time for the bullets to start flying, even prior to that the tensions of dealing with Forerunner technology and a conspiracy within sangheili ranks is enough to get most readers hooked.

Unfortunately the novel is often far too direct in presenting events. Much of its structure is one which would far better benefit a comic or more visual medium. As such, beyond an excellent introduction to Mann, there are many sections where it feels as it if has been written with visual panels in mind. As such, the book doesn’t quite so organically develop as you might expect, and lacks some of lengthier character elements which would have seriously benefitted the storytelling here. What’s more is that the story has obviously been written for fans, and as such there’s very little effort made to introduce the universe to new readers.

As Halo novels go, it’s a decent outing with a few points of note. Fans who suffered through the misery of the Kilo-Five Trilogy would do well to give this one a try, and see the universe can still produce worthwhile tales.

INFO: HALO: HUNTERS IN THE DARK / AUTHOR: PETER DAVID / PUBLISHER: TITAN BOOKS / RELEASE DATE: OUT NOW

 

UNDER GROUND

Under Ground is the latest book by the duo that form S.L. Grey and the first to be published by Pan Macmillan. Its marketing has been centred on it being a ‘high concept thriller’ and having comparisons drawn from Stephen Kings The Stand. Although Under Ground may not be as epic as The Stand, it certainly lives up to the excitement that it is currently generating.

The main plot of the novel is based around The Sanctum, a self-sustaining survival facility for the rich. As is inevitable in every survival story, a super-virus breaks out, forcing the paranoid to lock themselves away within The Sanctum. Once the story reaches this point, it becomes clear where the story is heading. Personalities clash and secrets are slowly revealed as the situation becomes increasingly desperate.

The novel is told through a mix of third person and first person narrative, focusing on different characters by chapter. S.L. Grey has managed to make this work effectively by allowing the reader to see how some characters think, whilst hiding other characters thoughts by telling their story through a third person narrative. This works very effectively and distorts the reader into changing their thoughts about certain characters based on one character’s point of view. Some characters are less developed than others, but that is at a consequence to how the story is told and does not necessarily have a negative influence on the overall enjoyment of the story. Some of the characters can also be stereotypical, but when the characters are limited in their physical surroundings it’s difficult to give them more of a personality. S.L. Grey has done a terrific job within the limitations the story has.

Under Ground is well paced and it certainly has the potential to become a classic thriller if it’s able to get the exposure it deserves on release. It’s full of well-developed characters, captivating twists and an unpredictable conclusion that will have any thriller fan guessing all the way through.  A thoroughly enjoyable read from an up and coming author.

INFO: UNDER GROUND / AUTHOR: S.L. GREY / PUBLISHER: PAN MACMILLAN / RELEASE DATE: JULY 16TH

 

THE SKYRIM LIBRARY, VOL. 1: THE HISTORIES

Few can build a world quite as immersive and detailed as Bethesda. From their contributions to the Fallout series to the many Elder Scrolls instalments, there is a constant sense of wonder and creativity. However, while they might be truly beautiful, often criticisms surrounding the games list them as being shallow, lacking dimension or immersive lore to keep the world interesting. This first volume of The Skyrim Library proves just how wrong that assertion truly is.

Serving as an in-universe documentation, The Histories is a collected series of works by multiple authors. Offering a variety of differing extracts and authors, readers are given a general outlook at the world and its events. Starting with the Empire’s brief history and the societal links across Tamriel, the authors elected to take very broad view. The focus here was upon the events leading up to Elder Scrolls Online and Skyrim itself, fleshing out how the world developed. As such, while it might skip over points such as the arrival of humans and fall of the Ayleid, the book covers events such as the ill-fated invasion of Akavir. Chapters include stories familiar to fans such as The Argonian Account and a variety of travel journal extracts. It might not be as in-depth as other accounts, but it ultimately offers a great starting point for many fans looking to expand their understanding of the lore.

Backing the varied stories and historical depictions are some truly stunning pieces of artwork. These range from scratchy images of a tomb and mummified corpses to full illustrations of Azura’s statue. Each compliments the various texts extraordinarily well and helps offer something even for fans who retain extensive knowledge of the timeline and lore. This said however, it’s with the artwork that you do begin to realise the book’s greatest failing: It doesn’t push the envelope. Much of what’s found here is a recounting and listing of many known events, and it never manages to go into some of the more obscure or unseen areas of the world. There’s no mention of the sea elves, the aspects of Oblivion, and tenures of certain leaders are woefully cut short. There is also very little reflection on the other games, with Morrowind only getting a brief mention and the artistic styles emulating only Skyrim’s armour or species designs over any other game.

The first volume of The Skyrim Library is a fantastic start to a promising series, and offers a great deal to fans. It’s a shame that it couldn’t do more to reflect on the series as a whole. Buy it, but just bear in mind it’s more focused upon recent releases than the whole series.

INFO: THE SKYRIM LIBRARY, VOL. 1: THE HISTORIES / AUTHOR: BETHESDA SOFTWORKS / PUBLISHER: TITAN BOOKS / RELEASE DATE: JUNE 26TH

 

CHILDREN OF TIME

Adrian Tchaikovsky’s epic sci-fi novel Children of Time follows two beings at opposite ends of their evolutionary timeline. Having left a dying Earth, the remaining, desperate members of humankind have journeyed across space searching for worlds believed to be colonised by their ancestors hundreds of years in the past. In that time a nanovirus intended to kick start these new worlds into a habitable environment has taken nature in a different direction. Now the arachnid is the dominant species.

Children of Time is a thought-provoking, detailed account of how these very different civilisations react to their changing environments. Time is the key factor in Tchaikovsky’s novel, being set over many generations of spider development while the last of the humans spend most of their journey cryogenically asleep. Initially both unaware of the other and believing themselves to be the most advanced species, the approaching encounter is interesting to observe as Tchaikovsky explores the differing beliefs and societal structures. Where the novel struggles is in making some of the exposition “fun”, especially when outlining the plight of the humans. While the spiders make interesting and original subjects, the humans feel more stereotypical and formulaic, and you find yourself almost rushing through those chapters to find out more about the spiders.

Epic is definitely the correct word to describe Children of Time as it does require a certain amount of commitment to reach the end. As with the human characters, many readers may fall by the wayside searching desperately for the conclusion, but while the journey may be fraught with risks it is still one worth taking. Part evolutionary study, part hard sci-fi: Children of Time falls somewhere between the two.

INFO: CHILDREN OF TIME / AUTHOR: ADRIAN TCHAIKOVSKY / PUBLISHER: TOR / RELEASE DATE: OUT NOW

THE EMPRESS GAME
Kayla Reunimon harbours a deadly secret; she and her brother, Corinth, are the rightful heirs of their planet Ordoch, a planet in Wyrd Space, and potentially the only survivors of a deadly military coup initiated by the Sakien Empire’s International Diplomatics Corps (IDC). In order to protect them both they have escaped to a backwater planet where she gets by on the winnings from the Blood Pit, a fight-to-the-death tournament that pits woman against woman. Her cat-like stealth and ability to put on a show earns her the moniker Shadow Panthe, and it is this skill that Malkor, leader of an IDC octet, needs to ensure that his friend Princess Isonde, wins the Empress Game.

Rather than being allowed to marry her lover Prince Aldrin, Isonde must undergo fighting in the Empress Game, an ancient ritual set up primarily for the pleasure of the (predominantly male) rulers. The prize? As well as being allowed to marry her lover, Isonde would gain a seat on the Council of Seven – the sovereign body overseeing the Sakien Empire. The winner of the Empress Game has the power to influence political decision making as an ambassador and political player. If she can convince the crowds as a body double and win the seat for Princess Isonde, the promise of cessation of the military occupation of Kayla’s home planet is assured.  There are no guarantees that the fight will be easy for this gladiatrix; every eligible woman in the Empire desires membership of the Council of Seven.

Alongside the main narrative, the subplots that run throughout offer an opportunity for spinning future stories to explore – a deadly, incurable disease carried by nanoparticles threatens the ravage the entire empire, other worlds and their exotic differences are introduced through some of the women who fight Kayla, there is an entire back story of the formation of the Council of Seven and how the IDC “civil servants” became corrupted (and who these antagonists are). There are many parallels to contemporary western society in this novel, which makes the novel all the more intriguing and the situation and characters sympathetic. Ending on a brilliant cliff-hanger, this fast-paced, feminist-tinged, intelligent novel from Rhonda Mason is (hopefully) the opener to a brilliant science-fiction epic.

INFO: THE EMPRESS GAME / AUTHOR: RHONDA MASON / PUBLISHER: TITAN BOOKS / RELEASE DATE: JULY 10TH
 
 

RUINS

Benefitting considerably from the set-up and establishment of Sentinel, the story of Ruins is one which is freed from its baggage. With less time required to truly explain what is at stake or the rules of the universe, there is far more focus placed upon the story and characters. As such, the story takes strides in fully fleshing out and detailing its characters while retaining a strong central narrative.

While there is still a great deal of world building to be done, it’s better balanced against an ongoing plot. Rather than dragging during the middle sections of the tale and suffering from an unreadable protagonist, this time Ruins remains more evenly paced and with more distinct characterisation. This is helped especially by the introduction of a number of new characters closer to the protagonist’s, Nicholas’, age. Those who do return offer a better counterpoint against his personality this time, and there is a far better sense of direction thanks to his hunt for hostile infiltrators.

The demons and threats are ghoulishly described with some quite memorable appearances. The horror tropes have gone from Hammer Horror to John Carpenter here, as each monsterous form is excellently described and outlined in their full horror. While this was certainly true of Sentinel, this is taken to the next level here, offering some striking appearances and incredible tension whenever they rear their heads.

Many of the character moments carry far more impact, with the likes of the mentor and student role between Nicholas and Sam proving to be a high point. The seventh chapter in particular stands out thanks to a broad mix of quiet moments and action scenes, both of which show the strong bond between one another. This helps to give the book a greater sense of purpose, and is a far better use of the supporting characters than before.

If there is one definite weakness to be cited, Ruins proves to be oddly subdued when it comes to certain violent acts. Certain moments fail to truly hit home thanks to a strange lack of descriptive information, resulting in some surprisingly subdued outcomes to battles.

After a weaker start, Ruins proves to be a definite step forwards and a solidly entertaining novel overall. While some of the characters still prove to be weak in regards to dialogue and more personal scenes, there’s a far more cohesive structure and better pace to events. Even if you don’t like the original, at least give Ruins’ opening chapters a skim through, you might be surprised at what you find.

INFO: RUINS / WRITER: JOSHUA WINNING / PUBLISHER: PERIDOT PRESS / RELEASE DATE: OUT NOW

SENTINEL

As is often the case in many novels, Sentinel’s strengths stem more from the author’s ability to spin new ideas than the tropes themselves. Dead parents, a young man finding out the world is different than he imagined, ancient dark forces gathering against secret defenders – we’ve all seen these before. However, Sentinel finds a way to still spin out these ideas but keep certain points fresh.

The foremost aspect is the lengths the book goes to show how a long peace has weakened humanity’s defenders. The problems created by complacency and the failings stemming from their apparent victory, and just what that meant for many of their members. The concept is far better explored than many other franchises with the same premise, and helped considerably by Joshua Winning’s obvious awareness of horror tropes.

Even when focusing upon teenage angst and personal life, there’s always a hint of classic Hammer or slasher horror in there, often blended with supernatural ideas. This element assists considerably in giving the book’s threats notable tension and some surprising weight to its conflicts. Even during the downtime, this offers a constant background presence and a thematic element which helps hold your attention. It also helps that the world building itself is remarkably well thought out and holds great potential.

The definite problems with this book stem from its use to set up the trilogy. Winning is trying to push his concept as hard as he can through the narrative even as it is built up, and leads to the book retaining an extraordinarily slow pace and very basic plot at times. It also doesn’t help that the central chapters in particular prove to be extraordinarily drawn out. This considerably assists world-building, but not so much character growth or maintaining a fast flowing plot to keep the reader’s attention. It proves to be especially harmful as the character’s actual personality his buried beneath layers of misery. Not the best of introductions for a new audience, and the supporting cast fails to make up for this shortcoming.

The actual character drama itself often is far too subdued and by the numbers. Often bland and with little in the way of real impact, when taken away from outlining the role of Sentinels or the threat, they often prove to be lifeless. They’re enough to keep the story going, but all too often seem like devices to continue the plot than characters caught up in events.

As Young Author novels go, Sentinel is average. It certainly has a few interesting ideas and strengths, but remains hamstrung by a good few failings. Give it a look if you like the idea, but keep your expectations grounded.

INFO: SENTINEL / WRITER: JOSHUA WINNING / PUBLISHER: PERIDOT PRESS / RELEASE DATE: OUT NOW

THE LIAR’S KEY

The Liar’s Key, the second book of Mark Lawrence’s Red Queen’s War trilogy, is here at last, a year after the author left readers with one of the best closing lines ever to see print. Dubious hero and narrator Jalan Kendeth is far from home, threatened with a new adventure that will push him to the limit, reveal missing episodes from his past and test his friendship with the Norseman Snorri ver Snagason.

Jalan and Snorri are one of fantasy’s great double acts, although this time round they don’t spend as much time in each other’s company. That’s not a bad thing, given the various gods and demons dripping poison into Jalan’s mind, making him doubt the loyalty of his friend and dwell on the apparent futility of their quest. Snorri, you see, has Loki’s key and seeks the entrance to Hel, from where he intends to bring back his wife and children.

In a 650 page doorstopper of a story, Lawrence takes readers on a tour of Jalan’s world – from the Norselands to Northern Italy – showing different cultures at work and play, their varying applications of commerce and uses of technology. He’s an author who’s unafraid to play with expectations, a writer who creates a rewarding read by populating it with realistic characters whose actions have appropriate repercussions. There isn’t a dull moment, no scene that feels tacked on to increase the word count. Everything is relevant, combining to form a work of literature that is dark, disturbing, amusing and poignant – often on the same page. It’s a story that works extremely well from beginning to end, never making its reader feel cheated or manipulated, and being further proof that Lawrence deserves all of his accolades.

The Liar’s Key is a book that, once started, is near impossible to put down, immersing the reader in a world seen through a unique pair of eyes, a tale narrated with its own distinctive style. It’s a fascinating read for all fans of fantasy; one filled with high adventure, brutal plot twists, characters to care about and moments of deep profundity.

It’s felt like a long year, but it’s been well worth the wait; Lawrence improves with every book he writes and if he keeps on like this, we may have to turn the ratings system up to eleven. Magnificent, and highly recommended.

INFO: THE LIAR’S KEY / WRITER: MARK LAWRENCE / PUBLISHER: HARPER VOYAGER / RELEASE DATE: OUT NOW

ENGLISH GOTHIC: CLASSIC HORROR CINEMA 1897 – 2015

Acclaimed author Jonathan Rigby marries meticulous research, opulent prose and a genuine passion for his subject of English Gothic, adding another exhaustive study to his bulging bibliography. It swiftly became an essential text for academics, horror fans and cinephiles alike on its initial print in 2000. This fourth edition, with the late great Christopher Lee adorning the cover, and some revisions and additions, it remains the definitive exploration of British horror fifteen years later.

English Gothic was the first of its kind to archive the lustrous cinema of English gothic, to cover the highs and lows in such depth. With this, the fourth edition, Rigby remains top of the literary heap. In the Author’s Note, Rigby graciously admits his mistake in claiming British horror a has-been, as in the last ten years especially there has been a boom. This creative spurt alone warranted the latest revision, but it isn’t focussed on film alone. TV has also become a fertile ground for morbid British minds to flex their macabre muscles, and Rigby devotes the second appendix entirely to Gothic TV. While only a relatively brief section in the book’s larger word count, it does prove thorough.

Rigby’s writing is wry and affectionate, funny and zesty to frame his encyclopaedic knowledge. His rich vocabulary and anecdotes may intimidate some, but it’s a very compelling text. It might be a reference coffee table topper, but its alluring style will quickly sucker the reader in to finishing it cover to cover. The genre genesis, fascinating as it is, is set in stone, and it’s the latter chapters which detail the death and rebirth of British horror that prove the most fascinating.

By putting British horror into such illuminating social and historical context, English Gothic becomes something greater than nostalgia, and something truly essential and important. From the genre’s literary origins right through the noughties, it’s a book that the desk or coffee table of any STARBURST reader shouldn’t be without.

INFO: ENGLISH GOTHIC: CLASSIC HORROR CINEMA 1897 – 2015 / JONATHAN RIGBY / PUBLISHER: SIGNUM BOOKS / RELEASE DATE: OUT NOW