STARTLING TOMES

BLOOD MONEY: A History of the First Teen Slasher Film Cycle . Richard Nowell. Continuum; 2011. This book reads like a college thesis, which is probably how it originated. An editor would probably have been wise to cut out the passages where Nowell writes about what he's   going   to be saying in the rest of the chapter, which we can actually read for ourselves on the next pages. His constantly spelling out and summing up -- making the same points over and over -- gets annoying. That being said, it must also be said that this is   not   a critical study of the slasher genre, at least not of individual movies, although Nowell does make some interesting points about them as a by-product. Instead the book looks more at the business end of the teen slasher cycle, how it came about from a commercial stand-point, and which films actually influenced the cycle in both the financial and creative sense. Nowell argues that the first teen slasher pic was actually the Canadian ...

SCIENCE FICTION, FANTASY AND HORROR FILM SEQUELS, SERIES AND REMAKES :   An Illustrated Filmography with Plot Synopses and Critical Commentary . Volume 1. Kim R. Holston and Tom Winchester. McFarland; 1997. Foreword by Ingrid Pitt. You gotta love a book that has a foreword by the one and only Ingrid Pitt of Hammer horror fame. But there's lots more to enjoy afterward, including synopses of hundreds of movies, along with a brief analysis of each film and interesting quotes from reviews both good and bad. There are also lots of photographs in this very thick volume, which covers everything (in more or less alphabetical order) from   The Abominable Dr. Phibes  to   Zapped Again , with stops along the way to look at multiple versions of   Invasion of the Body Snatchers , the   Halloween   and   Friday the 13th   films, Roger Corman's Poe series, the many, many Frankenstein and Dracula movies, and a whole lot more, covering the classics up to the ...

BROKEN MIRRORS, BROKEN MINDS:   The Dark Dreams of   DARIO ARGENTO.   Maitland McDonagh. University  of Minnesota Press; 2010 -- expanded edition. McDonagh takes an interesting look at the Italian maker of horror films with an academic approach. Dario Argento has garnered many fans of his work, although he's never been taken that seriously by U.S. mainstream critics. Some of that is due to what may be seen as over-the-top violence, a few weak screenplays, an adherence to visual effect over logic, and so on. Despite this, some of his films are quite creepy, exhilarating, and yes, artistic in their way. McDonaugh won me over with her fond [?] look at the Times Square movie houses of yesterday (where she first saw Argento's early films), where often there was more drama going on in the audience than in the picture, writing of one theater that it was "a shoebox of a grindhouse, so dirty, claustrophobic and relentlessly seamy that I remember it more vividly than the movie...