A "Diabolically Good" Tribute to a Horror Icon

Drew Pisarra is an extraordinarily talented author, poet and playwright whose previous works include Periodic Boyfriends, You’re Pretty Gay and Fassbinder: His Movies, My Poems. For his latest project, he turns his attention to the life and career of legendary horror star Vincent Price. Diabolically Good: The Movie Career and Afterlife of Horror Icon Vincent Price, features Drew’s fabulous radio play Price In Purgatory, as well as a marvelous guide to Price’s filmography, featuring Drew’s astute, witty and sharply observed thoughts and reviews on many of Price’s movies. If, like me, you’re a fan of Vincent Price (and of Drew and his work) you’ll really appreciate this loving, affectionate and humorous tribute to an iconic performer. Drew took some time out of his busy schedule to answer a few questions for me about the book, Vincent Price's cinematic legacy, and what Vincent and his work has meant to him.

Q: Price In Purgatory is an evocative, imaginative and introspective play. What inspired you to set the story in Purgatory, with Vincent on trial, competing against his younger self to earn a spot in Heaven? It’s an inspired idea, allowing for some delicious dialogue and irreverent humor. It’s also a fascinating look at the difference between Price’s public persona, how he sees himself, and how he’s perceived in the afterlife. It turns out even God is a Vincent Price fan!

A: To be perfectly honest, the setting was entirely pragmatic. Theater is so prohibitively expensive to produce nowadays that I decided to write a play with the lowest overhead I could imagine. And what could be more minimalist than Purgatory? I mean, what's there? Nothing but you and your sins. And it's such a great place for drama. The stakes are high. The internal conflict unavoidable. How long's it gonna take for our hero to work through his shit to get to Heaven? Well, since it's a play, I promise it'll be under 90 minutes.

Q: It’s pretty clear from Price In Purgatory, and the delightful journey through Vincent’s films featured in Diabolically Good: The Movie Career and Afterlife of Horror Icon Vincent Price, that you have a real love for classic cinema. The film guide is written with wit, style and obvious affection for Vincent and his work. It’s an enjoyable read, and a wonderful trip through his expansive filmography. Was he a hero of yours growing up?

 

A: He was definitely a source of fascination. He could be so effortlessly distinct, so strangely 19th century. By turns sly and sinister, silly and suave, he set off my gaydar before I knew what gaydar was. Ultimately, for me, Price registered as a man who wasn't afraid of being typecast and someone who knew that being bad could be fun. I think subliminally, he emerged as a kind of role model for how to exist in the world. Not the torture thine enemies part. More the embrace your eccentricities thing. Be your one-of-a-kind self!

Q:  I love that you singled out The Haunted Palace as the best of the Corman/Poe cycle (and noted the film’s H.P. Lovecraft connection), praised his enjoyably over the top performance in His Kind of Woman, and saluted his work in House on Haunted Hill, all of which are favorites of mine, as is The Baron of Arizona. Do you have any special favorites among Price’s films?

A: One new favorite initially proved to be quite difficult to find: Return of the Fly. But I eventually tracked it down in laser disc form at the Film Archives at Yale then spent a joyous afternoon in a booth watching it alone. Shot in black and white with a terrific noir score, this sequel to The Fly is B-movie perfection: A cautionary tale about teleportation in which a mad scientist's son ends up doomed to swap heads with an insect just like his dad. The sins of the father revisit the next generation! And as ridiculous as this sounds, I'm still haunted by that movie's image of a guinea pig who re-materializes with a pair of human hands. Dumb yes, but scary, too.

Q: What I also appreciated about the film guide in Diabolically Good is that you also take time to celebrate Price’s work in some of the lesser films among his oeuvre.  Can a movie with Vincent Price in it really be all bad? You also mentioned re-watching some of his movies while preparing the book. Did your opinion on any of those films change when you saw them again?

A: When revisiting his filmography, I was reminded that The Ten Commandments is a Vincent Price movie too. Price may not get star billing like Charlton Heston and Yul Brynner but in terms of villainy, he's the most twisted. Which is saying a lot. There's a reason that Heston's Moses bare-handedly strangles Price's character in a fit of rage. That movie also may have been when I realized that Price is a star no matter how he's billed and how many lines he's given. He's consistently memorable.  

Q: You honor and acknowledge the fact that Vincent has become something of a queer icon. He’s certainly a charismatic performer who appeals to a wide spectrum of fans. Do you think he would have embraced that status?

A: Price was ahead of his time in terms of LGBTQ+ rights. He toured an unapologetically gay-affirming one-man-show about Oscar Wilde internationally in the 1970s. He was an honorary board member of PFLAG. He made PSAs about AIDS when most of his peers were afraid to do so. So while he may not have been out as bisexual, he was fearless in many other ways that count.

Q:  Horror is a genre that has cycled in and out of popularity throughout the years. The fright films which are currently successful are, for the most part, quite a bit different than the ones that were released in Price’s heyday. Do you think we’ll ever see the style of films which featured iconic performers like Vincent Price, Christopher Lee or Boris Karloff again, or has the cinematic world of horror changed too much?

A: I wonder if what's changed is the medium. Marquee stars still headline horror if you consider TV. We've been blessed with Jessica Lange on American Horror Story, Winona Ryder in Stranger Things, and Sarah Paulson in Ratched. On the big screen, there's also been an unforgettable Glenn Close and Mo'Nique in the underrated The Deliverance. And may I remind you how many Price fright flicks have come back to haunt us in new versions: Cronenberg's brilliant The Fly, the star-studded remake of House on Haunted Hill, and two updates of The Last Man on Earth -- The Omega Man and I Am Legend. Vincent Price will never die.

 

Many thanks to Drew Pisarra for chatting with me about his latest project, Diabolically Good: The Movie Career and Afterlife of Horror Icon Vincent Price. This terrific book, which also includes thoughtful and well-written introductions by Sean Redlitz and Maitland McDonagh, is now available from Anxiety Press, and can be purchased from online retailers like Amazon.

"Anthology" Celebrates 30 Years of Monogroove

Monogroove is a California based rock and roll band, led by the immensely talented singer, songwriter and guitarist Rin Lennon. I’ve raved about their terrific albums like There’s Something Here, Into The Sun, and Popsicle Drivethru in previous posts on this blog. All of those discs, as well as the rest of Monogroove’s discography, are filled with terrific songs which are deeply infused with the sounds of pop, rock and punk, topped off with more than a dash of power pop thrown in for good measure. The band recently released Anthology, a career-spanning retrospective celebrating the group’s 30th anniversary. The 20 track collection is chock full of fabulous music, including song demos, rare tracks and early recordings, as well as a trio of awesome new songs, “Back To School,” “Autopilot” and “Betty Can't Come.,” recorded by the group’s current lineup. Rin Lennon recently took some time out of her busy schedule to answer a few questions for me about the band’s history, and the release of Anthology.

Q: Monogroove has been around for 30 years now. The band has created some phenomenal music, and achieved a significant amount of success. As the heart and soul of the band, are there any moments in Monogroove's history that stand out for you?

A: There are a few, but one festival we did back in 99 at Rio Grande's Bass Derby Festival was very entertaining to say the least, to us anyway. We road tripped it to Rio in a beat up VW bus van, affectionally known as “Janis.” We arrived in Rio and kind of rolled out of the back dragging ourselves to the hotel rooms. To this day, I wonder how that van made it there and back, it was so broken down and beat up. Anyway, we couldn’t help but giggle about the title of the event, which was “The Bass Derby.” They even had a contest for Miss Bass Derby wearing a wonky fish dress of some kind, and we went on about "what is this place and why is there a Queen Fish?” That was the big deal ya know. Our performance was fun, the stage was at least 20 feet high off the ground, and the only entrance to the stage was through the back. We played in front of 10,000 people. That was pretty cool, signing autographs afterwards and the like. They treated us as if we were some big famous band, we were grateful about that. 

Q: Monogroove is an incredible live band. It’s clear that you have a real passion for performing, and truly enjoy being on stage, doing what you love. Are there any venues that you really enjoyed playing at throughout the years?

A: I love playing events:  The Bass Derby, the LA County Fair, the OC County Fair, and the Del Norte County Fair. My favorite venues were "the Joint"  "Molly Malones” and "Rusty's Surf Ranch.” I guess its a nostalgia feeling with the venues I mentioned, as that was the original band line up: Rin, Dre, Hector, Scott and Mac Beth, I miss Hecky and Beth a lot, both have passed. 

Q: I'm a big fan of your music, and you’ve got an incredible catalog of songs. I hear a lot of influences in your songwriting and the band's sound, ranging from the 1960s to the present, including rock, pop, power pop and punk. Who were some of the artists that inspired you?

A: Oh man so many, my biggest influence is definitely The Beatles, I’ve loved their music since I was 4 years old. I also really dig The Pandoras, The Bangles, Slamdinistas, The Woggles, The Weeklings, and Teenage Fanclub; there far too many to name! I admire all musicians that write, sing and play because they love it. I believe they must feel like me; they play, sing write, etc. because its like breathing for them: THEY HAVE TO.

Q: With the release of Anthology, you're shining a light on 30 years of amazing music from Monogroove, including some early demos and live to DAT recordings, right on up to three fabulous new tracks, “Back To School,”  “Autopilot” and “Betty Can't Come.” Are there any tunes on the collection that you're especially excited for people to hear?

A: Hmm, there are a few, "When You Touch Me,” which is currently being played on Bill Kelly's Blackhole Bandstand, "No One Left To Play", 'Spanish Dancer" and "Punk.Com." I always thought that one was kinda different. 

Q: What’s coming up next for the band?

A: Well, we're behind on making videos for our last record, Popsicle Drivethru, so we need to get going on those, and I think one or 2 from the Anthology. Outside of that, we're mostly a recording band these days, playing out rarely. Monogroove is working with One King Entertainment and their CEO, John Mendoza. It’s a new company that is putting together events for "Original Bands" only, which is great. We participated in one last year. There were very few original bands in this area when I moved up here back in 2016, today there are more than 20 new original bands and more starting up every year.

Q: I think long-time fans of Monogroove will really dig Anthology. This superb collection will definitely gain you a lot of new ones as well. Anything you’d like to say to Monogroove’s fans, old and new?

A: Thank you to everyone that has come on this journey with us, and those that are just coming along now. Cheers to all!

Anthology by Monogroove is now available on disc exclusively from Kool Kat Music, https://www.koolkatmusik.com/ and as a digital download at Bandcamp, https://bandcamp.com/. This splendid album is highly recommended for fans of the band, and for for those who enjoy classic rock, pop, power pop and pop/punk. Congratulations to Rin and the band for 30 years of fantastic rock and roll!

Is This Offbeat Folk Horror Tale a "Keeper?"

The surreal, eerie film Keeper (2025), keenly illustrates why Osgood Perkins is one of the most talented and original directors currently working in the horror genre. His filmography includes distinctive and extraordinary films like The Blackcoat's Daughter (2015) and I Am the Pretty Thing That Lives in the House (2016), as well as offbeat spins on more traditional thrillers, such as Longlegs (2024) and The Monkey (2025). As Keeper (2025) opens, we think we're being treated to a traditional relationship drama, as Malcolm and Liz celebrate their one-year anniversary by spending the weekend at a secluded cabin in the woods.

Malcolm prepares a romantic dinner for Liz, and points out a cake left for the couple, supposedly by the cabin's caretaker. Their meal is interrupted by Malcolm's obnoxious cousin Darren and his girlfriend, who quickly wear out their welcome. That's when things start to go south, as Liz begins having strange visions, and hearing weird noises. Malcolm, who's a doctor, suddenly has to return to the city to help a patient. Liz's experiences become even more nightmarish when she's alone, as frightening apparitions appear in the house, and haunt and bedevil her. When Malcolm returns, dark secrets about his past are revealed, and Liz's life is changed forever. This is where the twist in screenwriter Nick Lepard's folk horror-inflected tale comes to the fore.

Keeper (2025) is truly haunting and atmospheric. As the supernatural aspects of the story deepen, it becomes obvious that this isn't a typical romantic drama, and Malcolm isn't the nice guy he appears to be on the surface. What really makes the film work is Perkin's assured direction. He provides a real sense of dread and unease to the story as it unfolds, and imbues the film with an almost dreamlike quality, thanks in no small measure to cinematographer Jeremy Cox's excellent work. The other thing that helps Keeper (2025) succeed is the strong performance of Tatiana Maslany as Liz. Maslany, who also worked with Perkins on The Monkey, and was memorable playing multiple roles on TV's Orphan Black, is terrific here, giving an emotional, three dimensional performance. She also plays well off Rossif Sutherland as Malcolm, who initially brings out the character's subtle weirdness, and ultimately reveals his true colors.

Osgood Perkins' oeuvre definitely stands out in the current horror genre, which has experienced a recent resurgence, with successful movies like Weapons (2025) and Sinners (2025) garnering critical acclaim and winning major awards. Like David Lynch, Perkins has a unique style all his own, and his films often transcend the genres he works in, with compelling and mesmerizing results. Keeper (2025) is a hypnotic and unsettling tale, and is worth adding to your watch list. Here's a link to the trailer: https://www.youtube.com/watch?v=L1EeA-OihKA.

 

"Grey & Greene" Offer Up Some Vintage Grooves

The multi-talented Grey DeLisle has released a lot of incredible music in the last few years, including the fantastic records She’s An Angel (2023) and The Grey Album (2025). She was the executive producer and driving force behind last year’s all-star benefit album It’s All Her Fault: A Tribute To Cindy Walker. But if you thought the amazing Ms. DeLisle (who’s also a marvelous voice actress and stand-up comedian) was going to rest on her laurels after that, then you don’t know her very well. Her latest album, Grey & Greene, is a fabulous collaboration with soul singer Les Greene, who you might recognize from Baz Luhrmann’s 2022 film Elvis, in which he portrayed Little Richard, or from his work with his fabulous soul/rock band, Les Greene and The Swayzees.

Grey and Greene is a sensational record, which finds DeLisle and Greene deeply inhabiting some soulful tunes which are infused with the sounds of classic soul, country, pop, and rockabilly, though the driving force here is soul with a capital S. Greene offers spectacular vocal work on the R&B flavored “I’m Gonna Let You Call Me Baby” and “Back of Your Hand,” while alt-country heroine DeLisle indulges her inner soul sister on the lovely “Mariposa” and the gospel-infused “Mister.” The dynamic duo trade vocals on the rollicking “Go Go Go,” “Shake That Thing” and “Home Wrecker,” which is a Greene led re-working of the title track from DeLisle’s 2002 album.

The tunes on Grey and Greene have a timeless quality, which is one of the hallmarks of DeLisle’s songwriting. She penned most of the tunes on the album, collaborating on several tracks with producer James Intveld. These exceptional songs are filled with real emotion, and the performances by both singers are outstanding. Just listen to the stellar work from DeLisle on the heartfelt “The Pieces,” and Greene’s exceptional take on the heartbreaking ballad “That’s All.” Their voices meld perfectly throughout the record, including on the closing track, a delightful cover of the John Travolta and Olivia Newton-John hit “You’re The One That I Want.” Here's a link to the video: https://www.youtube.com/watch?v=t1Rm8nR_dto.

The disc also features some fabulous backing musicians, including DeLisle’s frequent collaborator, guitarist and singer Deke Dickerson. Grey & Greene is a compelling, groovy and exuberant record. The disc moves effortlessly between multiple genres, including Southern soul, pop, rockabilly and country, but maintains a truly soulful sound at its core, steeped in real heart and emotion. If you’re a fan of Grey DeLisle and Les Greene, or dig the vintage genres featured on the disc, then this album is a must have. It's one of the best records of the year. Check out these links for “I’m Gonna Let You Call Me Baby” https://www.youtube.com/watch?v=f7a0ev2pFcw and “The Pieces.” https://www.youtube.com/watch?v=EQs_D5qcnZs&list=RDEQs_D5qcnZs&start_radio=1.

The Monster and The Bride: Bonnie and Clyde?

Writer-director Maggie Gyllenhall's The Bride! is an inventive, kinetic and expressionistic re-imagining of the Frankenstein saga, focusing on the story of the Bride of Frankenstein. The bride of the monster was previously immortalized in the classic 1935 film helmed by James Whale. Gyllenhall's dazzling, creative and imaginative take on Mary Shelley's tale features an amazing performance by Jessie Buckley, who portrays both Shelley and The Bride, while Christian Bale portrays the Frankenstein Monster, and Annette Bening plays a brilliant doctor named Cornelia Euphronius.

The Bride! takes place in 1936 Chicago, where we meet Ida, a sort of gangster's moll who is possessed by the spirit of Mary Shelley, and begins blurting out the secrets of a gang boss named Lupino. Ida is killed while being pursued by Lupino's henchmen. Meanwhile, Frankenstein's Monster visits Dr. Cornelia Euphronius, who is experimenting with reanimating dead flesh. He begs her to create a companion for him. At first, she's reluctant, but ultimately she agrees, and it turns out the corpse they choose to work with is Ida's. The experiment is a success, but the revived Ida has no memory of her previous life.

That's the starting point for a wildly over the top tale that's partly a Bonnie and Clyde lovers on the run tale, mixed in with a female empowerment story, a classic 1930s style monster movie, and a little touch of an old fashioned gangster saga thrown in for good measure. Oh, and it's a moving love story as well! Guillermo Del Toro's fabulous 2025 film Frankenstein might be the more mythic "classic rock" version of Mary Shelley's tale, but Maggie Gyllenhall's The Bride! is most definitely it's irreverent punk rock cousin. This is a visually striking film, courtesy of cinematographer Lawrence Sher's and production designer Karen Murphy. And it's all shot in glorious black and white!

Gyllenhall's clever script combines elements of horror, comedy, and drama, with moments of real emotion and pathos, and her direction is nothing short of masterful. The cast is terrific, with Buckley and Bale doing superb work as The Bride and The Monster, while Bening shines as the somewhat mad doctor. The excellent supporting cast includes Penelope Cruz, Peter Sarsgaard and Jeannie Berlin. Maggie Gyllenhall and her talented cast and crew took some really big creative swings on this project, and I think they succeeded in producing a creative, unique, and visionary film experience. If you're looking for something truly different on your movie menu, The Bride! just might fit the bill.

Sam Raimi's Wildly Entertaining "Send Help"

Dylan O'Brien and Rachel McAdams

Sam Raimi has achieved considerable success as a director, and is probably best known to genre fans for his work on the original Evil Dead trilogy, Darkman, the Spider Man films from the 2000s which starred Tobey Maguire, the horror thriller Drag Me To Hell, as well as other high profile projects such as Oz the Great and Powerful, and Doctor Strange in the Multiverse of Madness. His latest film, Send Help, is a wild, enjoyable, and often surprising ride; the movie spins through a number of genres including thriller, horror, survival drama, and (very) black comedy.

Send Help is the story of Linda Liddle, who's an employee of Preston Strategic Solutions, While she's a smart, efficient  ans successful worker, she quickly is sidelined by Bradley, the company's new CEO, a frat boy, "bro" type dude who takes over the company after the death of his father. He marginalizes Linda, and denies her a promotion that was promised to her, citing what he views as her meek personality and socially awkward style.

The balance of power changes drastically when a plane traveling to a corporate meeting crashes, killing everyone onboard except Linda and Bradley, stranding them on a deserted island. Suddenly, the tables are turned. Bradley, who has no real world skills, must depend on Linda, who's clearly more effective in this type of crisis. Their desperate situation flips the established hierarchy. Bradley’s cocky confidence is useless, while Linda’s survival knowledge gives her the upper hand. She thrives on the island, providing food, water and shelter for herself and Bradley.

As Linda rises to the challenge and helps keep them alive, Bradley sees her in a different light. However, there might be a darker side to her personality, and she could be keeping secrets from him. As time goes on, Bradley suspects there may be something amiss in their idyllic island world. The central tension of the film comes from watching each of these characters refuse to fully surrender the upper hand. Who will be the last one standing in what ends up being a terrifying game of cat and mouse?

What makes Send Help so entertaining is that we're never quite sure what will happen next, and there are several twists to the tale. The film constantly shifts our allegiance between the lead characters. Bradley begins as an arrogant and sexist jerk, but the clever and resourceful Linda (who we are rooting for initially) ends up being the more terrifying of the two. The bravura performances of Rachel McAdams and Dylan O'Brien deftly illustrate the psychological tug-of-war between Linda and Bradley.

Sam Raimi's terrific direction really energizes the film, which is laced with black humor and features some unsettling, quirky and what the heck? moments, which will be no surprise to fans of director Raimi's earlier genre work. The score has a fabulous old school movie music vibe, thanks to the talents of Danny Elfman, and the clever, twisty screenplay for the film was written by Damian Shannon and Mark Swift. Send Help is well worth checking out for thriller fans, especially if you're a fan of vintage Raimi, like I am. Here's a look at the film's trailer: https://www.youtube.com/watch?v=R4wiXj9NmEE.

Presence: Family Drama, Supernatural Style

Chris Sullivan and Lucy Liu

Have you ever felt like there was an otherworldly spirit in your home? That's what happens to the Payne family in director Steven Soderbergh's compelling 2024 film Presence. Husband and wife Chris and Rebekah, and siblings Tyler and Chloe move into a new home after Chloe suffers the loss of a close friend from a drug overdose. Chris and Rebekah feel like the family needs a change, and hope a different location and neighborhood will provide them with a fresh start. But from the beginning, there's a ghostly presence in the house, which adds to the family's stress level. This spirit reveals itself several times, and its interest seems to be centered on Chloe.

While Chris and Rebekah deal with the cracks that have developed in their marriage, Tyler's new friend Ryan insinuates himself with both Tyler and Chloe. Ryan's something of a bad influence on Tyler, but he displays a more low-key, understanding side with Chloe....or does he? When Chris and Rebekah leave for a business trip, Ryan visits and parties with Tyler. He also appears to have sinister designs on Chloe. Can the mysterious supernatural force that's present in the house protect Chloe from danger?

Presence is a captivating film that's as much a powerful family drama as it is a ghost story. In fact, while much of the advertising for the movie played up its horror elements, it's the story of the Payne family, and their issues, that really drive the narrative. Chris Sullivan (who's perhaps best known for his role as Toby on the NBC series This Is Us) gives a superb, nuanced performance as Chris, the head of the Payne family, who's struggling with issues as both a husband and father. Lucy Liu as Rebekah, Callina Lang as Chloe, Eddy Maday as Tyler and West Mulholland as Ryan are all excellent in their roles as well.

What sets Presence apart is that the story is told from the perspective of the ghost, as it observes and interacts with the Payne family. Director Steven Soderbergh served as the cinematographer for the film, and he's credited under the pseudonym Peter Andrews. The movie features clever visuals, creative POV shots and longer scenic takes. Soderbergh and his camera are essentially a character in the story. He also edited the film, using another pseudonym, Mary Ann Bernard. The screenplay for Presence was written by David Koepp, who's penned the scripts for movies like Jurassic Park and Carlito's Way, based on an idea by Soderbergh.

Presence is a captivating film that's part family drama, part thriller and part ghost story. The family drama aspects of the story are emotional and powerful, and the thriller and horror components of the movie are gripping and spine-chilling. It's a unique tale that's worth seeing, even if you're not normally a horror film enthusiast. Soderbergh continues to experiment with different genres and styles in his work, as he has with other recent projects like 2022's action-oriented thriller Kimi and 2025's spy drama Black Bag. Presence is now available on Blu-ray and DVD, and is currently streaming on Hulu. Here's a look at the trailer: https://www.youtube.com/watch?v=XfSNmYhV8Xc.