Hey Comicon-ers! I’m ML Miller here with some in depth views on the good, the bad, and the futt-bugly in horror from the past, present, and future, high to low to no budget, and from domestic to international and beyond. If it’s horror, I’ll check it out and report back to you about it right here!
So sit back, pull the covers up to your nose, ignore that strange noise coming from the closet, and enjoy the fresh batch of horror I have on tap for you today!
Click title to go directly to the review!
THE AMITYVILLE MURDERS (2018)
ST. AGATHA (2018)
THE MAN WHO KILLED HITLER & THEN THE BIGFOOT (2018)
VELVET BUZZSAW (2019)
THE HOLE IN THE GROUND (2019)
HORROR NOIRE: A HISTORY OF BLACK HORROR (2019)
And finally…3Peat Presents “The Blackening!”
Directed by Roxy Shih
Written by Giles Daoust
Starring Adam Huss, Madeline Zima, Grant Bowler, Mischa Barton, Naomi Grossman, Debra Wilson, Maria Olsen, Tate Birchmore, James Logan
PAINKILLERS is a no frills vampire flick that takes away all of the gothic pomp and superstitious circumstance and simply tells a tale filled with heartache, guilt, and addiction. It handles all of these heavy feelings quite deftly, making PAINKILLERS much more of a study om grief and less of a schlocky horror film. Going in knowing this, I think the intent of the film will be much more appreciated.
When John (Adam Huss) loses his son Brian in a car crash, he is overcome with guilt to the point where he has a psychosomatic response giving him seizures and tremors at all times. After accidentally hurting his hand, he finds his tremors cease when he tastes blood. But with his hunger growing, he must decide to live with the debilitating ticks of his body or drink fresh blood to cure him. John is approached by another with his affliction (Grant Bowler), who tempts John to murder lowlifes and criminals in order to survive. Still, John doesn’t know if his conscience will allow him to murder others in order to survive.
Well acted and tightly plotted, PAINKILLERS is another reluctant vampire film reminiscent of Larry Fessenden’s HABIT, Romero’s MARTIN, and the surprise shocker THE TRANSFIGURATION. The film examines the way vampirism might weigh on a living soul. PAINKILLERS works on this level because of Adam Huss’ lead performance, which really does a good job of de-romanticizing the oft romanticized subgenre. The pain Huss’ John feels really does emanate from every minute. It’s a story I’ve seen before, but one done well nevertheless.
One of the things that I kind of felt was lacking in this film was a clearer resolution and a bit more of an explanation as to what was going on with John’s sudden transformation. Was it the guilt that made him manifest the thirst for blood or did he always have it and the death of his son triggered it somehow. With John being a doctor, one would think more research would have been a factor in this story. But this film chooses not to focus on the technical stuff and more on the everyday struggle with an addiction to blood.
PAINKILLERS doesn’t waste your time by offering up a typical vampire story. There are some cliched elements, but the performances and nuances of the way the problem is handled makes it feel original enough to take a stab at.
THE AMITYVILLE MURDERS (2018)
Directed by Daniel Farrands
Written by Daniel Farrands
Starring John Robinson, Chelsea Ricketts, Paul Ben-Victor, Diane Franklin, Noa Brenner, Noa Brenner, Zane Austin, Kue Lawrence, Rebekah Graf, Lainie Kazan, Burt Young, Sky Liam Patterson, Steve Trzaska, Eddie Alfano, Andrew Colin Allen, Steven Barton, Sarah French, Jon Mack
Find out more about this film here
Amityville is a real town south of Long Island, New York and the tragic tales of the Defeo and Lutz families that occurred in a house that may or may not be haunted are historical instances, meaning no one owns the rights to the story. This is why THE AMITYVILLE MURDERS is the twenty-first AMITYVILLE related movie put out over the last forty years. While the name is synonymous with the term haunted house, I really was never creeped out by any of the stories, except for the tale depicted in THE AMITYVILLE HORROR II. THE AMITYVILLE MURDERS is basically a remake of that film, so it already has a leg up over most of the films in this never-ending series.
The Defeo Family is not the happiest of ones with the abusive Ronnie (Paul Ben-Victor) forcing his wife Louise (Diane Franklin) to turn a blind eye to his drinking, swearing, and hitting. The five kids suffer in their own ways, but this film focuses mainly on the eldest pair, sensitive Dawn (Chelsea Ricketts) and distracted Butch (John Robinson). While Ronnie lords over the house, he also finds himself mixed up with mob money, raising the threat level in the household when the money goes missing. To add insult to injury, dark forces seem to be amassing in the hallways, closets, and especially the attic where Butch resides. Soon, these forces become overwhelming, threatening not only Butch’s sanity, but his family as well.
Daniel Farrands is no stranger to horror. The filmmaker busted his ass with some painstakingly detailed documentaries covering the entire FRIDAY THE 13TH series (CRYSTAL LAKE MEMORIES) and A NIGHTMARE ON ELM STREET series (NEVER SLEEP AGAIN). He also wrote HALLOWEEN: THE CURSE OF MICHAEL MYERS (but don’t hold that against him too much and to tell you the truth, I kinda liked that one). Farrands does a decent job here with the mid-scale budget and familiar story. Jump scares, false scares, massive bursts of sound; all the tricks of the trade are implemented here in order to ensure jolts in the viewer. But while most modern horrors rely only on these scares to ride through until the bombastic finale, Farrands scatters some actually creepy moments in here and here to make up for these annoying modern horror tropes. The depictions of the shadow people are quite effective—especially one moment where a shadow person is standing in the darkness and can only barely be made out. This makes for a wonderful trick for the senses. It helps that John Robinson’s slow descent into madness as Butch Defeo is fleshed out and believable. This makes for a tragic third act that wraps the film up with a gut-punch.
That said, there isn’t a lot here we didn’t already see in 1982’s THE AMITYVILLE HORROR II: THE POSSESSION. The film retells that tale rather effectively and even pays a nice homage to the film with roles given to Burt Young (who played the role of the abusive father in AMITYVILLE II) and Diane Franklin (who played the role of Dawn in the same film). Seeing Franklin (a childhood crush of mine) again was a treat and she actually is given quite a bit of scenes to show her stuff. It surprises me that the incest themes so prevalent in the original is not even touched in this new version. I am not sure if those scenes were an embellishment in the original and left out because of it or if we live in much too sensitive times and it was edited out for modern viewers. Either way, there’s an icky and uncomfortable feel to the original AMITYVILLE II that simply isn’t in this modern one, making it less likely to crawl under your skin.
Farrands is shaping up to be a solid director. THE AMITYVILLE MURDERS has enough spooky scenes to get a recommendation from me, despite glossing over some of the more skeevy bits and instead adding in some shoddy CG floating pennies. But despite all of that, if you’re a fan of the AMITYVILLE series, you are going to want to take up some residence with this one. It’s definitely one of the better of the sequels to the original film out there.
ST. AGATHA (2018)
Directed by Darren Lynn Bousman
Written by Andy Demetrio, Shaun Fletcher, Sara Sometti Michaels, Clint Sears
Starring Sabrina Kern, Carolyn Hennesy, Courtney Halverson, Marsha Fee Berger, Hannah Fierman, Seth Michaels, Trin Miller, Lindsay Seim, Shaun Fletcher, Jayson Warner Smith, Maximus Murrah, Rachael Gavrielli, Marion Guyot, Marilyn Light, Justin Miles, John Penick, Candy Rachor
Nunsploitation. It’s a thing. Some of the more memorable ones were Bruno Mattei’s THE OTHER HELL, Ken Russell’s THE DEVILS, and Pete Walker’s HOUSE OF THE WHIPCORD. Of course, there was last year’s THE NUN, but the less about that the better. Darren Lynn Bousman is a student of horror and offers up ST. AGATHA as a modern answer to those classic schlocky oldies. I’m sure the fact that THE NUN was released by Blumhouse is probably the reason this movie was greenlit. Of course, THE NUN doesn’t have a prayer’s chance in hell against ST AGATHA.
It’s the 1950’s and teenage, unwed pregnancy simply doesn’t exist, especially for good Catholic girls. When a young gal named Mary (Sabrina Kern) finds herself impregnated, she is shuffled away to a girls’ convent to have the baby and be “conditioned” to behave like a decent lady. As nuns become stricter (especially Mother Superior – played by Carolyn Hennesy), Mary attempts to leave, finding that it just isn’t an option. And while Mary was not too keen on keeping her baby at first, as her due date approaches and obvious evil things are happening behind closed doors at the convent, motherhood looks better and better for Mary and the safety of her and her child become all important.
ST. AGATHA is a collection of really great performances by the eclectic cast. From the over the top sternness of Hennesy and the rest of the sisters in the convent, to the likable but genuinely bent performances from the collection of troubled girls in the convent. Standing out, as usual, is Hannah Fierman (the “I like you” gal from V/H/S and SiREN), who gives a gutsy and memorable performance as one of the most flawed of the sisterhood. Sabrina Kern is strong in the lead, offering enough toughness to take on these habit wearing monstresses.
Bousman knows how to set up a scary scene and does so here well. There is a nice mystery going on as to what is going on behind the locked doors of the convent and Bousman reveals these dark secrets slowly and cleverly. There is also a nice buildup to the obvious climax of the film as Mary begins to give birth to her child. While this might be seen as cliché and has been the centerpiece of many a convent horror film, Bousman travels along this familiar path and makes it feel fresh and new. The film does seem to end rather abruptly, as if Bousman either didn’t know how to end this one or just didn’t have an end as powerful as what lead up to it. Still, ST. AGATHA takes advantage of the fear often associated with those who choose to follow the righteous path. There’s a mystery often associated with nuns who give up so much in order to serve their God. It’s understandable why that would be something questioned and even perverted when seen through the lens of horror. ST. AGATHA isn’t as controversially taboo (with over the top sex and violence) as films like THE DEVILS or HOUSE OF THE WHIPCORD, but it is a worthy successor honoring those schlocky terrors.
THE MAN WHO KILLED HITLER & THEN THE BIGFOOT (2018)
Directed by Robert D. Krzykowski
Written by Robert D. Krzykowski
Starring Sam Elliott, Aidan Turner, Ron Livingston, Caitlin FitzGerald, Sean Bridgers, Ellar Coltrane, Larry Miller, Anastasia Tsikhanava, Rizwan Manji, Kelley Curran, Alton Fitzgerald White, Silas Archer Gustav as the Dog, & Mark Steger as the Bigfoot!
The ominously titled THE MAN WHO KILLED HITLER & THEN THE BIGFOOT is a true oddity of filmmaking. There is no doubt Sam Elliot is amazing as the man himself who accomplished the titular tasks. But while the title might suggest action of the highest order, the film instead is an intimate, melancholy, and heartbreaking dissection of heroism – all set upon the backdrop of the meeting of the most notorious Nazi, the most elusive cryptid, and one simple man.
Do I really need to give a synopsis here? It’s in the title. Taken at face value, everything in the title happens. When we first see Sam Elliot’s Calvin Barr, he’s a broken and weary man. Sure he’s known far and wide for putting a bullet into Hitler’s noggin, but he’s sick of telling that tale and doesn’t think he can live up to the mythic stature adhered to him for having done the deed. We see Barr as a man who one might believe should be riding high and living the good life. Instead he is lonely, drunk, and simply sad. Having peaked at such a young age, what the hell else can he do to top killing Hitler. Well, sure enough, believing all of the hype, the government needs Barr to suit up once again and take on the Bigfoot, which is apparently spreading a virus across Canada. Having trapped the elusive beast in a quarantined mountain range in the Great White North, Barr is dropped in to confront the beast. Can Barr live up to the challenge twice in once lifetime? Is this all going on in his head? Is this all just an allegory on the weight and responsibility our military bring back with them after the war is over? Is the film worth watching?
Well, I hope so. I’m not sure. I think so. And yes.
Sure it’s entertaining to see Barr huffing it up a mountain in pursuit of Bigfoot. The conflict itself has a lot of buildup, but as with Barr’s previous achievement, it proves to be less of a feat than most are hyping it up to be. I believe that’s the message that this film is really trying to tell us here. It doesn’t matter if Barr is sent to behead the Kraken or be the first man to shoot a golfball off of Jupiter. The mission doesn’t matter here. What matters is the performance Barr gives and how amazing he is showing the weight of it all. This isn’t a story about heroes overcoming uncalculatable odds, its about the what’s next once the unbeatable foe is defeated. And that’s a damn sad story. Sure those of us who work hard to achieve a goal want to think that there is an overwhelming sense of satisfaction and accomplishment right after, but this somewhat pessimistic and altogether realistic portrayal bursts that bubble and simply tells us that once the hill is conquered, it doesn’t really feel all that different. It’s not a popular way of living and not the healthiest, but it’s a damn fine perspective to delve into and delve into it this film does (and quite successfully, I might add).
Sam Elliot is playing Sam Elliot here. He’s a badass, even without seeing the action he’s said to have accomplished. But there’s an everyman quality he possesses here that is really heartbreaking. He doesn’t let life break him down, but life does so anyway. It’s a sad spectacle to witness. Another standout here is the fantastic Larry Miller who plays Barr’s best friend. There’s something comfortable and genuine about the way these two guys interact that makes me want to sit and watch them interact with one another for hours.
Though his appearance is all too brief, I have to give props to the appearance and portrayal of the Bigfoot by Mark Steger. This isn’t your typical Bigfoot. It’s more of a primitive man—skinny, somewhat emaciated, yet still inhuman. Again, the way Bigfoot is presented here is not some larger than life beast. The film bursts that bubble, making the monster a threat with wild and unpredictable actions, but offers up the threat in a more subtle and disturbing manner than brute force.
Do not expect this film to be a balls to the wall actioner with Sam Elliot spitting bullets, punching Nazis, and taking down cryptids with one arm behind his back. This is a sad ballad of a film about shattering the mythology suggested in the title. It’s a film that’s going to make your heart open up as well as your brain. It delivers a level of awesome, just not the level promised in the overzealous title. I highly recommend THE MAN WHO KILLED HITLER & THEN THE BIGFOOT, but it’s a thinking man’s action movie—a post-modern dissection of what a hero is and what it feels like to be one before and after the deed is done.
New on Netflix!
VELVET BUZZSAW (2019)
Directed by Dan Gilroy
Written by Dan Gilroy
Starring Jake Gyllenhaal, Rene Russo, Zawe Ashton, John Malkovich, Toni Collette, Natalia Dyer, Daveed Diggs, Billy Magnussen, Tom Sturridge, Alan Mendell, Mig Macario, Nitya Vidyasagar, Sedale Threatt Jr., Pat Healey, Steven Williams, Marco Rodriguez, Stefan Marks, Pisay Pao, Rob Brownstein, Peter Gadiot, & Mark Steger as Hoboman!
Find out more about this film here
It’s no breaking news that the art world is a pretentious world indeed. Still, I think there is something satisfying when a film so aptly captures that pretentiousness in an unflinching look at those overcome with a view that doesn’t go much further than the mirrored screen of their smart phones. VELVET BUZZSAW, with its wonderful performances and scathing view of the LA art scene, does just that. It also, eventually, becomes a light-hearted, yet gratifying horror film.
Jake Gyllenhaal leads an all star cast as an influential art critic named Morf, one of many people who get caught up in a supernatural mystery involving a mysterious recluse named Dease, who dies and leaves word that his paintings are to be destroyed after his passing. When an eager to succeed assistant art proprietor Josephina (ANT MAN & THE WASP’s Zawe Ashton) happens upon the paintings, she ignores his final wishes and attempts to cash in on them, immediately making her the hottest art dealer in town and making Dease an overnight sensation with his entrancing paintings. Partnering with her boss (an infamous, no-nonsense dealer named Rhodora Haze, played by Rene Russo), Josephina exhibits the pieces, which begin a series of murderous events. As important people in the art world begin to perish, Josephina suspects that the paintings are the cause of it all. But do Josephina’s desires for fame and fortune surpass her consideration for the bodies left in the painting’s wake?
There’s something gratifying in seeing these pretentious snobs get what they deserve in VELVET BUZZSAW. While it is a criticism of criticism itself, as Gyllenhaal plays as pompous an art critic he can, it also is a bit of a slap on the hand to artists, the soulless business of buying and selling art, and even Hollywood itself, as this is a star-studded cast basically holding a funhouse mirror to the backstabbing, egocentric, and callous business they are entrenched in. As self-important Hollywood presents itself as, the cast and their actions make them the perfect fodder for some carnage. There is also a nice morality to this story, exemplifying the slippery slope one can find given an ounce of success and status. As many good horror stories do, VELVET BUZZSAW is a precautionary tale for those in the art world.
Gyllenhaal proves he is one of the best actors around these days. His comic timing is impeccable and he offers up a refreshing and nuanced character of a man who doesn’t know what he wants to do with his life as well as what he wants out of it. Everyone is sort of lost in this minutiae here with Ashton’s Josephina being tempted by fame and fortune, Russo’s Rhodora becoming more and more jaded with the art she deals with, and John Malkovich losing the “thing” that made him become an artist in the first place. Filmmaker Dan Gilroy offers up time for each of these actors to have a moment to shine, reflect, and transform.
With my background in art, psychology, and education (not to mention my experience in criticism), VELVET BUZZSAW really struck home for me. I’ve been to the hollow art openings where people are more interested in how they look looking at the art pieces rather than the passion put forth to make them. VELVET BUZZSAW takes its time to get to the horror, but once it does, the comeuppances arrive in vivid and imaginative ways. While some might say, let’s get to the horror already, VELVET BUZZSAW bides its time and offers up some fantastic moments of character from its talented cast as an appetizer, making the whole film quite filling by the poignant, powerful, and undeniably Malcovichian end.
In theaters March 1st! Available exclusively now on DirectTV!
THE HOLE IN THE GROUND (2019)
Directed by Lee Cronin
Written by Lee Cronin, Stephen Shields
Starring Seána Kerslake, James Quinn Markey, Simone Kirby, Steve Wall, Eoin Macken, Sarah Hanly, James Cosmo, Kati Outinen, Bennett Andrew, David Crowley, John Quinn, Miro Lopperi
Find out more about this film here
Comparisons to HEREDITARY and THE BABADOOK are already being lobbed around when talking about THE HOLE IN THE GROUND. The Irish evil child/troubled mom flick doesn’t quite live up to those standards, but it is a brilliant and nuanced horror film.
Single mom Sarah (Seana Kerslake) and her son Chris (James Quinn Markey) move into a new town to start a new life. Things seem idyllic, save for the crazy woman who wanders the roadways in her nightie that Sarah barely misses with her car. After Sarah has an argument with her son, he runs out of the house and into the nearby forest. Sarah loses Chris momentarily, but finds him on the edge of a giant crater in the middle of the forest. Upon returning home, Chris begins to act differently. Sarah begins suspecting her son is not hers==the same suspicions that drove the crazy lady nuts. Or is Sarah just going off the deep end herself?
As with THE BABADOOK, THE QUIET PLACE, IT COMES AT NIGHT, HEREDITARY, and a few other notable horror films over the last few years, THE HOLE IN THE GROUND deals with the horrors of parenthood. Though I have no children myself, I could imagine that the biggest fear one can have is to lose a child. Piggybacking on that idea is the paranoia of those closest to you becoming something different. I could see a lot of parents who have a teenager relate to the horrors of suddenly not recognizing their child. While this horror seems to come from some kind of supernatural or paranormal origin, the theme is prevalent throughout. The main reason why I didn’t flip for this film is because the theme of parenthood and all of the horrific nuances one can approach it has been the subject of so many bigger budgeted horror films. That is the theme of THE BABADOOK—is the kid doing the evil shit or is the mom going nuts. In one way or another, many horror films balance on the fact that we don’t know if the horror is all in the protagonist’s head or not. Frankly. I know this is a horror film and unless the film is ballsy enough, it isn’t much of a surprise when the horror turns out to be real (I don’t think I’m spoiling anything here since this reveal is in the preview).
THE HOLE IN THE GROUND is filled with fantastic cinematography, literally flipping the world we know upside down in the opening minutes. It sets up a lot of scares and ambiguity well. It is precisely acted and utilizes minimal CG and other effects expertly. In itself, it is a finely crafted film—one worthy of seeing. If not for the all too familiar themes at play, this film would be a must see. But if you’ve seen the hyped films from A4 (a company known for misleading hyperbole in their ad campaigns for HEREDITARY, IT COMES AT NIGHT, and THE VVITCH), you’re in for an experience that will feel like you’ve been there before. It’s still quite good, but I think there are other themes worth delving into besides the same old ones and THE HOLE IN THE GROUND just isn’t as good as A4’s previous horror releases.
New this week on Shudder!
HORROR NOIRE: A HISTORY OF BLACK HORROR (2019)
Directed by Xavier Burgin
Written by Ashlee Blackwell, Danielle Burrows, Robin R. Means Coleman
Starring Jordan Peele, Keith David, Rachel True, Tony Todd, Miguel A. Núñez Jr., Loretta Devine, Paula Jai Parker, Ken Foree, Kelly Jo Minter, Richard Lawson, Ernest R. Dickerson, Rusty Cundieff, Ken Sagoes, Tina Mabry, William Crain, Meosha Bean, Tananarive Due, Ashlee Blackwell, Robin R. Means Coleman, Monica Suriyage, Mark H. Harris
I’m as much of a fan of GET OUT as the next guy, but with the amount of hubbub attached to the film, one would think that it was the first film ever to be made by an African American. While it recognizes the significance of that entertaining film, HORROR NOIRE: A HISTOY OF BLACK HORROR acknowledges the black experience in horror in front of and behind the camera from almost the beginning of cinema itself.
HORROR NOIRE: A HISTORY OF BLACK HORROR skips through the years in chronological order, talking with influential African American men and women in horror through the years. While it is interesting seeing Jordan Peele and other black filmmakers and critics reminisce about the evolution of the black character in horror, some of the best moments come from the fun interplay between Ken Foree and Keith David who chat and joke as comfortably as can if they were hanging out in their favorite bar together. I would have watched these two wizened horror icons who have lived through various eras of black cinema for an entire movie. Seeing them talk about their struggles with roles, their coping with the amount of times they have died in films, and the baggage that is often associated with black characters is a treat that I don’t think the filmmaker of this doc knew he had until editing this doc together.
A lot of the film spends its time explaining the different roles African Americans have —from overly cartoonish or overly devoted servant to wise expert in mysticism or voodoo to first to die in most slasher films. This may not come as news to anyone who have watched their fair share of horror films, it is interesting to see all of these roles as they developed chronologically through the years.
If HORROR NOIRE has a fault, it is one that many films of its type suffer from; that is, it views everything through the lens of black culture/history/experience. I know that’s the point of the film, but certain things, such as black characters being underwritten might be true in some cases, but also that in a lot of horror movies, every character is underwritten and serves as more of a symbolic cartoon of an actual person than an actual fleshed out character. It’s one thing to complain about the criminal misuse of Scatman Crothers in THE SHINING, but it’s another thing to complain about the way the black gal from A NIGHTMARE ON ELM STREET 4 is underwritten. One is the mistreatment of a well developed character for shock value, the other is just another kid on the chopping block to up the body count.
I also disagree with the assignment of a symbolic meaning for black culture to films of the 50’s sci fi/alien invasion era of horror. There’s a bit of a leap to say that the bizarre looking, dark aliens represent black culture invading the culture of white America. I guess, if you squint, this might be a valid point, but I think a more accurate commentary is the one stating that this era focused mainly on scientists and less on the common man and that films of that era would not cast a black person as a scientist. I can see that one being much more on the nose than saying all aliens represent black culture.
My favorite moments delved in the nineties, which surprisingly made some great African American horror. TALES FROM THE HOOD, BONES, DEMON KNIGHT, and DEF BY TEMPTATION were all fantastic entries, taking points from the Blacksploitation horror films of old and making them modern and fun. It was also a treat seeing the adoration to one of my favorite films of the seventies BLACULA and SCREAM BLACULA SCREAM. These two films really hold up through the years and are just itching for a remake.
One of the coolest things that happen in chronologically themed horror docs like this is that is gives a great cross section of horror films to seek out afterwards. Even through I have seen most of these films, it is fun to find out those hidden gems that have escaped my purview. I’m looking forward to checking out some of these lost gems again having watched the small clippets shown here on HORROR NOIRE: A HISTORY OF BLACK HORROR.
And finally…keeping in tune with African American month and taking the tone into a more light hearted manner is 3Peat Presents “The Blackening!” This one has some harsh language, but it deals with a lot of stereotypes we have seen in horror in a way I found to be relevant and fun. Check out more funny clips and shorts on Comedy Central here. Enjoy “The Blackening” below!
Well, that’s it for this week’s Zombies & Sharks. There’s a lot to seek out and some to steer clear from. Be sure to let me know what you think below in the comments and please share the love across the internets.
M. L. Miller does not profess to be an expert in horror, but he has seen a ton of horror films in his time. You can check out an archive of his horror reviews as well as news about his various comic book projects such as Black Mask’s GRAVETRANCERS and PIROUETTE on his website, MLMILLERWRITES.com. Follow him on the Twitters @Mark_L_Miller.