The latest from Patrick C. Greene and Hobbes End Publishing – THE CRIMSON CALLING – Centuries after their eradication and the death of their Queen in the Great Fire of London in 1666, the Vampire population now numbers in only the hundreds. A few of the remaining survivors regrouped and a High Council was born. Now a new threat has arrived: modern day military is not only tracking members of the council, they are attempting to create their own vampire soldiers.
Enter Olivia Irons. Ex Black Ops. Doing her best to live a normal civilian life, but it never feels right. No family, no friends, and trouble always seems to follow. When the Sanguinarian Council offers her the chance of a lifetime, the biggest risk of all seems like the only path left to choose. How will she answer The Crimson Calling?
The latest from PCG’s Quirky Queue
Donnie Yen, the most prolific Asian action star working, is doing what they all do, which is to transition from pure martial arts films to grittier action dramas. This one delivers the goods in almost every department (though it could use a bit of a trim IMO) and as a student of both realistic combat techniques and great action choreography, I was pleased to see how Yen’s always spectacular choreography has continued to not only improve, but work nicely with the story. For example, it’s not unusual to see MMA style techniques in action movies these days, but Yen really knows how to set these up within the framework of a given fight’s psychology.
This low budget sci-fi actioner holds up pretty well against its more expensive brethren thanks to good performances from a likable cast. Loved the score for this one, reminiscent of The Terminator though it was.
COME BACK TO ME
A good concept, dark enough to be shocking at times, but more often rather pedestrian thanks to what seems like rushed directing. Like I know anything. But anyway, the cast, looking like soap opera stalwarts, rises to the occasion throughout, making it a decent watch.
The end times prophesied by St. John in the book of Revelation are here! And while the tribulation of those left behind, or whatever, is indeed horrendous, it’s also a rich mine of comedy gold. Those little scorpion/locust things are a major annoyance (as well as a hilarious homage to The Outer Limits’ Zanti Misfits) but they pale in comparison to cursing crows, fiery comets and The Beast himself, as portrayed by Craig Robinson.
‘Member this one, from 1985? Based on the popular board game (when was the last time that happened?) this one drops some 80s B-listers into an old dark mansion with a scoundrel who is blackmailing them, and of course the bodies hit the floor. The multiple endings have all been clumsily edited into the digital version for Clue completists (?)
SIR ARTHUR CONAN DOYLE’S SHERLOCK HOLMES
The Asylum, progenitors of “mockbusters” like SNAKES ON A TRAIN and TRANSMORPHERS, offers up its take on Sir Doyle’s famous detective, hoping you’ll accidentally rent it instead of the Guy Ritchie/Robert Downey Jr. smash. You could do worse though, as there is plenty of eye candy and decent enough acting.
DEATH ON DEMAND
How do you take a cast of attractive, frequently nude actors and make their sex scenes utterly repugnant? How do you turn the tongue-in-cheek subtleties of a self-conscious slasher script into a humorless embarrassment? How do you make gory, harrowing death scenes boring beyond belief? Apparently, you hire a reality show director, and let him ply his cynical trade, unhindered. To be avoided.
Jean-Claude Van Damme plays a retired mercenary drawn back into the game when the American daughter of an MMA contender is kidnapped by sex traffickers. Not as much martial arts as that synopsis might imply, but still plenty of satisfying action, and JCVD’s grown kids are certainly coming into their own as performers.
Though it’s a little found footagey, this bizarre effort transcends that gimmick in short order, becoming a trippy meditation on the power of art versus the comfort of mundane existence. Not for everyone but those who “get it” will love it.
THE TOWN THAT DREADED SUNDOWN
Drive-ins of the 60s and 70s seem to have been the targets of the films created by Charles B Pierce, who helmed this 1976 proto-slasher that is probably too deliberately paced for young whippersnappers. I know it was for me; though there are a handful of moments that stand with the best of the early slashers. A good sense of time and place (Texarkana, post-war 1940s) is the film’s greatest asset, making it well worth a watch.
Stay tuned for the next Quirky Queue! Coming soon!
FINAL DAYS of the PROGENY Kindle Countdown Sale!
“Progeny is a rip-roaring quick read that’s told so vividly, you’ll feel like you’re watching a movie. It’s one of those stories that builds its premise slowly but surely, enticing the reader to turn the pages faster and faster as the terror heats up. In fact, I’d say for the last third of the book, I was curled in a fetal position, afraid to even look out my own window lest I see a giant monster staring in at me.
“Deanna reflexively turned toward Chuck–but her eyes were drawn to the window of the door behind him. A massive dark form was there, filling the window frame, peering in at them with huge eyes that eerily reflected the firelight.”
For me, Progeny was all the scarier because of my fear of the woods (don’t you dare laugh!). I don’t know how many times I’ve walked through the forest and heard a twig snap or seen a footprint that was way too large to be a deer or rabbit. Furthermore, I don’t know how many stories I’ve heard from friends who’ve come upon a mountain lion or bear while hiking. The woods are teeming with life, and in Progeny, they’re teeming with a life that’s far more alarming than any mountain lion or bear.
“Lightening flashed in an extended strobing burst, silencing Zane–and giving all of them a brief glimpse of the massive hairy beast standing less than ten yards behind them…Then it was dark again.”
Yet, despite its many terrifying moments, Progeny had its touching moments, too. Bigger than the battle between man and Bigfoot is the battle between man and son. The word “progeny” means offspring, descendent, or son. In this book there are three distinctive father/son relationships, and each one has their own complexities and dramas and heartaches. Yet, although these three father/son pairings are different from each other, they also share a painful similarity: loss. Loss of respect. Loss of innocence. Loss of control. Loss of love. Loss of life! Patrick C. Greene does a terrific job of telling a horror story that goes beyond monsters lurking in a forest. He tells a story of monsters lurking within living beings. Of anger and sorrow and regret. Of broken relationships and misunderstandings that wreak more havoc than Bigfoot himself.
If you’re looking for a heartfelt yet suspenseful read, this is it!” Jen’s Pen Den
THE CRIMSON CALLING is an action-packed vampire thriller sure to satisfy the most vicious blood-suckers.
Centuries after their eradication and the death of their Queen in the Great Fire of London in 1666, the Vampire population now numbers in only the hundreds. A few of the remaining survivors regrouped and a High Council was born. Now a new threat has arrived: modern day military is not only tracking members of the council, they are attempting to create their own vampire soldiers.
This will be the second novel Mr. Greene has sold to HEP. The relationship began with the sale of multiple short stories for THE ENDLANDS series and continued when HEP bought Mr. Greene’s novel PROGENY. That novel has maintained high ranking on Amazon and garnered purely positive reviews thus far. PROGENY tells the story of fathers and sons and the monsters they must battle – within themselves, and within the forest. In addition to its success on Amazon, PROGENY has topped several charts on the social cataloging site GoodReads.
HEP also recently published the horror-thriller STRINGS by Allison M. Dickson, with Ms. Dickson’s next novel THE LAST SUPPER to be released very soon. HEP front-man, Jairus Reddy, says he hopes for a Fall Release of THE CRIMSON CALLING.