The Second Coming of "Suspiria"

If you’re a serious horror fan, you’ve likely seen (or at least heard of) Dario Argento’s classic Suspiria. The terrifying story of a witches coven operating out of a ballet school in Germany is one of the director’s most revered films. The movie evokes a deep sense of terror and dread. Suspiria has atmosphere to spare, and plays like a nightmare captured on celluloid, set to a pulsating score by the rock band Goblin. The film also features a rich palette that bathes scenes in a spectacular array of phantasmagoric colors. The movie was followed by two (sort of) sequels, Inferno and Mother of Tears, both of which further explored the mythology of the Three Mothers, immortal witches whose power allows them to manipulate mankind behind the scenes. Suspiria has been an inspiration for an entire generation of horror filmmakers. Director Luca Guadagnino, best known for his Oscar-nominated film Call Me By Your Name, helmed a remake of Argento’s groundbreaking thriller in 2018. It’s an alluring, frightening, fascinating and intense re-imagining of the original story.

Tilda Swinton in Suspiria

The film is set in 1977, the year of the original version’s release. It follows the story of Susie Bannion, a young dancer, who arrives in Germany to study at the prestigious Markos Tanzgruppe. The school has a sterling reputation, but there is something odd about the place. One of the students, a dancer named Patricia, has disappeared under very mysterious circumstances. She tried unsuccessfully to convince her therapist, Dr. Klemperer, that there was an evil presence at the school. Susie becomes an integral part of the dance troupe, and forms a bond with Madame Blanc, the artistic director of the academy. It turns out the school really is hiding a secret; the teachers are all witches, under the control of Helena Markos, an ancient being who needs a new host body in order to survive. Susie’s name is at the top of the list for this role, despite Blanc’s misgivings about sacrificing her. As mysterious events and horrible deaths occur, it becomes clear that there is a struggle between Blanc and Markos for control of the coven. Meanwhile, Dr. Klemperer is attempting to uncover the secrets of the academy, but his discoveries may come at a terrible cost.

This new take on Suspiria offers some startling and truly unsettling moments. The dance sequences are unusual and uniquely choreographed. A scene early on where Susie’s movements in her audition mirror the wounds inflicted on Olga, a dancer in another area of the school, is strikingly photographed, as is a group dance sequence later in the film. In contrast to Argento’s use of wild colors, Guadagnino offers a muted palette, though he does use splashes of color for strong effect in several scenes. His direction is excellent, as is the stylish work of his production team. The largely female cast is superb, with Dakota Johnson coming into her own with a strong performance as Susie. The one and only Tilda Swinton is fantastic as Madame Blanc. There's also fine supporting work from Chloe Grace Moretz, Angela Winkler, Mia Goth, and...Swinton, who not only plays Blanc, but also portrays the male Dr. Klemperer and the aged Helena Markos! Jessica Harper, the star of the 1977 version, makes a cameo appearance late in the film.

The story is more linear than the original, which was a triumph of dazzling style over narrative. Screenwriter David Kajganich focuses the core of the story on the strength and power of the female spirit, and its capacity for both good and evil. There are some elements (like a political terrorism subplot which draws attention away from the main story) that feel unnecessary, but overall the slow build to the terrifying, blood-drenched finale is well done. There are a couple of clever twists that help this version stand apart from the original. The effective and understated score is by Thom Yorke of Radiohead. Swinton has called the movie a “cool cover version” rather than a remake, and that’s an apt description. If you’re in the mood for a different kind of horror experience, check out Suspiria. Guadagino’s film has sharply divided critics, as well as fans, and definitely evokes some strong reactions from viewers, but I feel it's worth checking out. The film is available to stream on Amazon Prime, as well as for purchase on DVD and Blu-ray. T. Here’s a link to the trailer for the movie: https://www.youtube.com/watch?v=BY6QKRl56Ok.

Doctor Sleep: Mike Flanagan Unites the Iconic Worlds of King and Kubrick

The Shining is one of Stephen King’s most beloved novels. For many readers, it’s the work that cemented their interest in King’s writing, and turned them into long-time fans. Stanley Kubrick released a film version of the book in 1980, and that eerie, visually stunning movie (featuring Jack Nicholson) is now regarded by many as a classic of horror cinema. Except that is, for Stephen King. He intensely disliked the movie, and the changes Kubrick made to his original story. King has both spoken of and written about his disdain for the Kubrick film over the years. He even wrote the teleplay for an ABC TV movie remake in 1997 starring Steven Weber that stuck closer to the novel. The author’s most notable rebuff of Kubrick’s take on his story is the novel Doctor Sleep, which was published in 2013. The book, a sequel to The Shining, follows a grown up Danny Torrance as he struggles with the ghosts of his past, and his terrifying childhood experience at the Overlook Hotel. The novel garnered positive reviews from critics and fans, and in his introduction, King recalls his dislike of the Kubrick film, and how he wanted to complete Danny’s story in his own way, essentially ignoring the movie. Doctor Sleep was a huge bestseller, and a film version was inevitable.

Who would tackle this adaptation of King’s work? After the project was stuck in development hell for a while, writer-director Mike Flanagan took on the job. Flanagan, who made a splash with the chilling Netflix series The Haunting of Hill House, and also helmed a well-received version of King’s novel Gerald’s Game, pitched a unique idea. He wanted the film version of Doctor Sleep to pay homage (and stay true to) to King’s version of The Shining, as well as the style and iconography of the Kubrick movie. He presented his ideas to Stephen King, and the author signed off on the concept. It helped that King had liked Flanagan’s film of Gerald’s Game, and was a fan of The Haunting of Hill House. The cinematic version of Doctor Sleep is currently in release, and it’s a chilling treat for fans of King’s novels, and Stanley Kubrick’s film. 

The movie charts the journey of an adult Danny Torrance, who’s never gotten over the trauma caused by the nightmarish events he and his mother endured when the dark forces of the Overlook Hotel possessed his father. Danny’s an alcoholic, and drifts through life on a series of benders and one-night stands. The spirit of Dick Halloran (who also had the power of the shining, and befriended Danny at the Overlook before he was killed by Danny’s father) visits Danny and teaches him how to use his gift to put his fears and nightmares to rest. This helps Danny turn his life around, and he settles down in New Hampshire, gets a job, joins Alcoholics Anonymous and makes some new friends. He works at a hospice facility, where he quietly sits with patients about to pass on, guiding them to the next world, thus gaining the nickname “Doctor Sleep.”

Ewan McGregor and Carl Lumbly

Meanwhile, a nomadic band of killers (called the True Knot) led by the beautiful but deadly Rose the Hat, hunts down children who have the shining and robs them of their life force. This group of “energy vampires” prolongs their own lives by feeding off these innocent children. In one of the film’s most chilling and unsettling sequences, they drain the energy of a young boy who they’ve stalked and captured. This puts them on a collision course with a young woman named Abra, who can see what they’re doing thanks to her own gift of the shining. The problem is, it's a two-way connection: Rose can see Abra as well, and feels the depth of the young girl’s power. Abra connects with and befriends Danny, while Rose plots to find her and take all of her energy for the long-lived members of the True Knot. Danny decides to help Abra stop these monstrous beings, and end their reign of terror. His decision to aid Abra will not only put him in the crosshairs of Rose and the True Knot, but will bring him face to face with his deepest and darkest fears at the one place he thought he’d never return to: the Overlook Hotel. The climactic showdown will bring the nightmares of that evil location back into Danny’s life, as he and Abra try to end Rose's reign of terror.

Flanagan and his crew do a fantastic job melding together the worlds of King’s novels and Kubrick’s film. The spectacular production design effectively recreates the memorable backdrops of Kubrick’s movie. Flanagan also seeds the film with elements of Kings original novel that weren’t used in Kubrick’s version, which should please the author’s fans. The cast is superb; Ewan McGregor is quietly effective as Danny, Carl Lumbly projects a strong and supportive presence as Halloran (a role played Scatman Crothers in the original film), and Kyliegh Curran has an ageless, ethereal quality as Abra. There’s also fine supporting work from Cliff Curtis, Bruce Greenwood, Zahn McClarnon, and Carel Struycken. But it’s Rebecca Ferguson who steals the show with her by turns sensual, sadistic, charming and terrifying portrayal of the evil Rose. 

The film runs two and a half hours, but you never feel like the story is dragging or losing its focus. Doctor Sleep is an atmospheric, haunting tale that slowly builds to a crescendo of terror in it's climax at the iconic Overlook Hotel. One caveat: there are characters and plot elements of the Doctor Sleep novel that are either compressed or eliminated, mostly for the sake of narrative flow. It’s clear that if they'd done a full adaptation of the book, the film would have run five hours or more. Writer-director Mike Flanagan pulls off a nearly impossible task here, staying true to the spirit of both King’s and Kubrick’s visions, and adding a bit of his own unique take on the material. There are also some wonderful easter eggs for fans of King's work spread throughout the film. Doctor Sleep is so good that you’ll wish that he would adapt even more of King’s work for the screen. Here's the trailer for the movie: https://www.youtube.com/watch?v=BOzFZxB-8cw.

Midsommar: A Dark Tale of Folk Horror

Writer-director Ari Aster made quite an impact with his debut film, Hereditary. The intense drama told the story of a family which was being torn apart after the death of their matriarch. That loss was only the beginning of a terrifying journey thats left them irrevocably changed. The performances were excellent, highlighted by a spectacular turn by Toni Collette as a mother who’s slow descent into madness was both chilling and unsettling. If there was ever a movie where “my family is a horror show” was a perfect tagline, it’s Hereditary. The film was a truly original story that didn't’t rely on jump scares or cheap tricks to terrify viewers. How did Aster follow up that well-received debut? With another unique film, a tale of folk horror entitled Midsommar. The story follows several college students who accept the invitation of their friend Pelle to visit his family’s commune, the Harga, in Sweden. The community is having a midsummer celebration that only occurs every ninety years. All of them have different reasons for going on the trip. One of the students' girlfriends, Dani, has suffered a devastating loss, and is coming unraveled emotionally. Her boyfriend, Christian, invites her along, much to the dismay of his friends Mark and Josh. He had been thinking of breaking up with her, but can't bring himself to do it.

Florence Pugh in Midsommar

What they find when they visit is a lovely, peaceful, pastoral group who live off the land, and form a deep bond with both the earth and each other. Their traditions are based on ancient rites and rules, and the newcomers are at times both baffled and fascinated by their pagan customs. The first sign that things are far outside of their modern range of experience is when the group witnesses the ritual suicide of two elderly members of the commune. Dani and the others are horrified and shaken by this act, but it's explained to them that this is normal for members of the Harga, and that it's perfectly natural, and part of the cycle of life. Both Christian and Josh decide to do their thesis on the Harga and their history, and start asking questions about their customs. Another pair of visitors, Simon and Connie, decide to leave the commune after witnessing the ritual suicide, but the couple disappears under mysterious circumstances.

The tension between the commune and its visitors escalates when Mark (who went along on the trip mostly as a lark) urinates on a tree that is sacred to the Harga, and Josh asks a few too many questions about their culture and rituals. Both Josh and Mark also end up disappearing. Dani, who has been on an emotional roller coaster since her personal loss, slowly becomes drawn to the deep familial bond offered by the commune. Christian, who's been distancing himself from Dani, finds himself tempted by a member of the commune that's attracted to him. It all culminates in an intense finale that reveals the final fate of Christian and Dani, as well as the others. Suffice it to say that if you've seen other tales of folk horror, like the original version of The Wicker Man, or Blood on Satan's Claw, you'll know that there are deadly secrets and real terror lurking behind the kind faces of the commune, and the seemingly innocent pastoral settings.

If Hereditary was about the disintregation of a family, Midsommar feels like it charts the search for a surrogate family and a sense of community, at least in Dani's case. She's like a ship without a rudder after her loss, and the Harga seems to offer what she's been missing. The film is also a compelling commentary about the clash of our modern world of iPhones, computers and the internet with a culture that has no interest in such things. Are the Harga murderers, or are they just following customs and rituals that have been passed down to them for centuries? Their traditions are certainly far removed from what's normal for us in the 21st century. Writer-director Aster doesn't paint the Harga as black hat villains. While they do disturbing and violent things in the service of their community, it's all to protect their way of life. It's an interesting and compelling comparison, seeing the way the visitors react and interact with the Harga, and how the commune reacts in turn to their guests' modern, and often disrespectful, attitudes.

Aster's writing and  direction are top-notch. He subtly illustrates the conflict of cultures within the framework of a dark and often disturbing tale of terror. The cast is excellent. Florence Pugh is stellar as Dani; she portrays her as a crumbling soul, who find herself with no love and support after her loss. In the early part of the film, her emotions are raw and almost off-putting, but the tone of the performance fits the arc of her character. Pelle. Jack Reynor is good as Christian, who tries to be a good guy, but also wants to be free of his responsibilities as Dani's boyfriend and emotional support system. The rest of the cast, including Will Poulter as Mark and Vilhelm Blomgren as Pelle, also offer solid performances. The film is a visual marvel, with an amazing array of costumes, illustrations, language and music showing us the culture of the Harga. The excellent production design provides a great backdrop for the story. It's a fully realized world that truly feels different from our own.

Writer-director Ari Aster is a talent to watch. I was a big fan of Hereditary (though it is something of a "love it or hate it" film for some viewers) and with Midsommar, he knocks it out of the park once again. This is a dazzling, original film that bears repeat viewings to catch the care and depth of detail involved in the project. We seem to be in a new golden age of horror films, with talented filmmakers such as Aster, Mike (The Haunting of Hill House, Doctor Sleep) Flanagan, Jordan (Get Out, Us) Peele, Robert (The Witch, The Lighthouse) Eggers, Andres (Stephen King's It) Muschietti, Jennifer (The Babadook) Kent and others, whose work is definitely helping to re-define and re-invigorate the genre. Midsommar is now available on DVD and Blu-ray and for online streaming. There's also a director's cut of the film available. Check out the trailer for the film here: https://www.youtube.com/watch?v=1Vnghdsjmd0.

A Superb "Last Waltz" Shines at Oakdale

In the modern world of live concerts, some shows are just plain fun. Others are technically amazing, displaying a band or individual performer’s instrumental prowess . Some are simply kick-ass rock outings, allowing fans to enjoy their favorite songs from an artist’s catalog. Once in a while, a show comes along that combines all of those elements, while adding a powerful, emotional connection between the music, the artist and the audience, creating a truly transformative experience. The Last Waltz Tour, featuring Warren Haynes, Lukas Nelson, and Jamey Johnson, which stopped off at the Oakdale Theater in Wallingford on November 8, was definitely one of those shows. The tour pays tribute to the final live performance from the original lineup of the legendary group The Band. The concert took place on Thanksgiving Day in 1976, and included guest stars such as Bob Dylan, Muddy Waters, Van Morrison, Neil Diamond and Joni Mitchell. The show was immortalized on record (and on film) as The Last Waltz. The filmed version was directed by none other than Martin Scorsese, and is widely considered one of the best concert movies ever made.

Lukas Nelson, Warren Haynes & Jamey Johnson

For The Last Waltz Tour, Warren Haynes (of Allman Brothers and Gov’t Mule fame), along with Lukas Nelson (Willie’s son) and Jamey Johnson, team up with a talented array of musicians to perform the songs from the original show. This wasn’t just a concert, it was a truly transcendent, beautiful evening of marvelous music.  The show opened with a joyous version of “Up On Cripple Creek” followed by a rollicking take on“The Shape I’m In”  featuring outstanding work from Haynes, Nelson and Johnson. What followed this fantastic opening salvo was an almost three hour celebration of the music of The Band, brilliantly performed by an outstanding ensemble. Jamey Johnson contributed a passionate lead vocal on a wonderful version of “Georgia On My Mind," which was an early highlight of the show. Guest stars Cyril Neville and Dave Malone (of The Radiators) brought a deep New Orleans vibe to jam-tastic run-throughs of  “Who Do You Love” and “Down South in New Orleans.” Neville and Malone re-appeared several times throughout the evening, adding additional depth to an already spectacular band. 

Guitarist Bob Margolin, who appeared at the original Last Waltz concert with Muddy Waters, joined the group for blues-drenched versions of "Mannish Boy" and "Further On Up The Road." There was brilliant, often searing guitar from Haynes, Nelson and Johnson, and excellent backing from acclaimed producer-musician Don Was, John Medeski on keyboards, Terence Higgins on drums and Mark Mullins on trombone, as well as The Levee Horns. The set list was filled with fantastic versions of songs such as “Stage Fright” and “It Makes No Difference,” as well as "King Harvest (Has Surely Come)." The night featured one astounding performance after another. Lukas Nelson led a breathtaking take on Bob Dylan’s “Forever Young," while Johnson anchored an emotional run through of the CSNY classic, “Helpless.” There was also an incandescent version of Dylan's “I Shall Be Released.” Of course, the enthusiastic audience of baby boomers (as well as a number of younger fans) were brought to their feet by “The Night They Drove Old Dixie Down” and “The Weight." And everyone put on their dancing shoes for "Ophelia" and Van Morrison's "Caravan."

Cyril Neville and Dave Malone join the lineup

By the time the the encore, consisting of the Dr. John standard "Such A Night" and the Marvin Gaye cover "Baby, Don't You Do It," came around, the audience had been rocked, rolled, mesmerized, transported and musically sanctified. This unforgettable show was a shared experience that will stay with those of us who attended for a long time to come. It’s obvious that these supremely talented musicians enjoy playing together, and also have a deep and abiding love for this classic music, which clearly resonated with the audience. The Band were one of the groups that helped popularize the Americana sound, combining elements of country, rock, jazz, and soul to create memorable albums such as Music From Big Pink. Truly great songs stands the test of time, and this show honors the legacy of this outstanding music. I truly enjoyed this concert, and highly recommend it. If you're a fan of the Band or any of the artists that are part of The Last Waltz Tour, this is a not to be missed experience. For more info on the tour, you can follow this link: https://blackbirdpresents.com/concert/the-last-waltz-tour-2019/.

The Gothic Darkness of "Black Sunday"

Barbara Steele

Italian director Mario Bava is justly celebrated as one of the true masters of modern horror cinema. He helped popularize the giallo genre with films like Blood and Black Lace, Hatchet for the Honeymoon and A Bay of Blood, aka Twitch of the Death Nerve. He also directed science-fiction films like Planet of the Vampires, westerns such as Roy Colt and Winchester Jack, and the delightful pop art infused spy thriller Danger: Diabolik. In addition to directing, he was also a talented cinematographer, screenwriter and special effects artist. His ardent fans include Joe Dante, Martin Scorsese, Guillermo Del Toro and Tim Burton. One of his best early films is the 1960 thriller Black Sunday, also known as La Maschera Del Demonio, or The Mask of Satan. It's a spine-chilling tale from a truly visionary director.

As Black Sunday begins, a witch (though she’s also referred to as a vampire in the film’s opening narration) named Asa Vadja and her companion, Javutich, are about to be burned at the stake for spreading terror in the land of Moldavia, and for being loyal servants to Satan. The man in charge of carrying out the sentence is Asa’s own brother! She isn’t just going to be put to death, however. In one of the most chilling and vivid scenes in 1960s horror, she’s first branded with “the mark of Satan,” and then a spiked metal mask is hammered onto her face. Prior to her death, Asa vows revenge, and places a curse on her sibling and his descendants. 

The story then jumps forward two hundred years. Dr. Kruvajan and Dr. Gorobec are on their way to a medical convention when they are waylaid because their carriage breaks down. While waiting for the repairs to be finished, they discover Asa’s final resting place. Kruvajan accidentally cuts himself while exploring the crypt, and unwittingly revives the evil witch. When they step back outside, the two men meet Katia, a descendant of Asa’s who looks remarkably like her. Once their carriage is ready, the doctors part ways with the young woman, and head off to their lodgings at a local inn. Gorobec, the younger of the two doctors, is smitten with the lovely Katia, and their paths will cross again as the story unfolds. But there are dark times and black deeds ahead.

A rejuvenated Asa calls out to Javutich and commands him to rise from the grave. With his help, Asa plots to drain Katia’s life force, so she can once again be restored to youth and vitality. She also enslaves Dr. Kruvajan, and uses him as a pawn in her plan of revenge against Katia’s family, starting with the murder of Katia’s father, who has become obsessed by the evil deeds of his ancestors. Will Asa triumph, fulfill her curse, and begin a new reign of terror? Can Dr. Gorobec, who has fallen in love with Katia, save the day? When Asa and Javutich kidnap the young woman, and the witch poses as Katia in order to tempt him to the side of darkness, will he be able to tell the difference between the two? It all leads a frightening confrontation at the story's climax.

Black Sunday is a terrifying film that manages to use several of the themes and much of the iconography of the Gothic horror genre (crypts, castles, curses, ladies in distress, descendants haunted by the evil deeds of their ancestors) to full advantage. The movie is a fascinating hybrid, mixing the almost mythic visual style of 1930s horror films with the more graphic intensity the genre began leaning toward in the 1960s. It's a combination that could almost be called "modern Gothic," a blend of Universal horror and Hammer films, filtered through Bava's unique stylistic lens. His direction is masterful, and the movie features some truly eerie and stunning images. Black Sunday is absolutely dripping with atmosphere, and though Bava was truly innovative with the use of color in his later films, his use of black and white in this one is particularly striking. Bava (who also served as cinematographer for the film) also contributes some ingenious camera tricks and offbeat lighting effects. 

The cast is quite good, featuring John Richardson as Gorobec, Arturo Dominici as Javutich, and Ivo Garrani as Katia’s doomed father, Prince Vadja. But the real standout here is Barbara Steele in the dual role of Katia and Asa. She gives a full-blooded (pun intended) performance in both parts, contrasting Katia’s aura of light and innocence with the vindictive, gloriously evil, and darkly sensual Asa. She manages to be a Gothic style heroine and villainess at the same time! Despite the fact that, like the rest of the cast, Steele is dubbed, she managed to make a truly lasting impression in the part, one which propelled the actress into a string of roles in a number of European horror films. She also appeared in Roger Corman's The Pit and the Pendulum and Dan Curtis’ 1991 primetime television re-imagining of his fondly remembered horror soap opera Dark Shadows.

American International Pictures distributed Black Sunday in the United States. Several minutes of violence were toned down or cut from the film, and the original score by Roberto Nicolosi was replaced with one from Les Baxter. AIP later released Bava's horror anthology Black Sabbath in the US. In England, the movie was banned until 1968, when it was released in a severely edited version. The uncut edition of the film wasn’t available there until 1992! While there have been several decades worth of horror films released in the wake of Black Sunday, the movie has lost none of its power. The sense of dread, fear and terror is palpable, and it reaches you on an almost emotional level. The movie is an intense, powerful and effective chiller that you won’t soon forget. Here’s a link to the trailer for Black Sunday: https://www.youtube.com/watch?v=mjGX72iCzmI.

This post is part of Dark and Deep: The Gothic Horror Blogathon, hosted by Gabriela over at Pale Writer, a truly wonderful blog. I'm really thrilled to be a part of this blogathon with a talented group of fellow writers/bloggers. Thanks to Gabriela for letting me join in on all the scary fun! You can get more information about the blogathon and the other entries by following this link: https://palewriter2.home.blog/2019/08/03/dark-and-deep-the-gothic-horror-blogathon/.

Who or What is King's "The Outsider?"

Imagine what would happen if you were accused of a horrible crime that you didn’t commit, but for which much of the evidence pointed directly to you as the perpetrator? That’s the setup of the Stephen King novel The Outsider. Terry Maitland is a well-respected guy in his Oklahoma community. He's a good teacher and a well-liked (and very successful) Little League coach. One night, during an important game, Terry is arrested by police detective Ralph Anderson (in full view of the crowd) for the brutal murder of a child. Anderson (and the police) have gathered an overwhelming amount of evidence (including DNA and eyewitness accounts) that reveals Terry to be the murderer.

Terry maintains his innocence, but his reputation is ruined. He and his family are subject to scorn and harassment by a town that has turned against them. As the DA prepares his case against Terry, several pieces of conflicting evidence come to the surface. It seems Terry has an airtight alibi for the night of the murder. He was out of town with colleagues at a conference, and actually appears on videotape captured during the event. How can he have been in two places at once? Though Detective Anderson is troubled by these out of sync elements of the case, he and the DA push forward with Terry's arraignment for murder. Tragic events ensue, and Terry is killed by a distraught family member of the murder victim.

A guilt-ridden Anderson realizes there is more to the story that meets the eye. He feels that he owes it to Terry's family (and his own piece of mind) to discover the truth. Anderson decides to delve a bit deeper into the case, and enlists a private investigator named Holly Gibney (who will be familiar to fans of King's Mr. Mercedes trilogy) to help him. What they discover is that this isn't the only time a doppelganger like this has committed a murder, or the first time an innocent man was blamed for the crime. There is an evil "outsider" at work, and his true identity may be more terrifying than they could ever have imagined. It will take the combined efforts of Ralph, Holly and some additional allies to confront and defeat this powerful, otherworldly killer.

As usual, Kings gift for sharply drawn characters and naturalistic dialogue is operating at full strength. You care for these people, and the fast-moving story keeps you turning the pages. Holly Gibney, that quirky heroine of the Bill Hodges/Mr. Mercedes novels, is a rich, multi-layered character who really helps anchor the narrative. If King ever spins Holly off into her own series of mystery novels, count me in. The Outsider is an eclectic mix of straight mystery/detective thriller and supernatural horror elements. As usual, there are some creepy sequences and frightening moments in the book. The novel's turn towards the fantastic midway through is not quite as sharp as some reviewers have noted. Throughout the book, there is a sense that something is not quite right about this murder case, and once the villain's supernatural nature is revealed, you're already hooked on the story, and are ready to finish the ride along with King.

The book also makes an insightful (and quite topical) point about how easily people can be swayed by public opinion and the media. Terry is tried and convicted before he ever reaches the inside of a courthouse, and even the police aren’t initially swayed by the conflicting evidence they discover. The creature called "The Outsider" is able to take on the form of others, and commit horrific acts of murder wearing their faces. He's also able to control other people through, fear, intimidation and empty promises, feeding off the negative energy he creates through these manipulations. As is often the case, the greatest monster we face is within ourselves; it's our own weakness and prejudices. The Outsider is a compelling and intriguing tale that's well worth a read for long-time King fans, and I think newcomers will enjoy it as well.

A Baker's Dozen of Soulful Tunes

When I started this blog back in 2011, I occasionally posted playlists of music I thought my readers might enjoy. I haven't done one of them in a while, so I thought I'd post this list of some fine modern, yet retro, soul tunes you should check out. Enjoy the music, and feel free to comment below!

1. Old Songs – Betty Wright & The Roots sing about the virtues of love and (of course) old school soul on this track from their very cool collaboration from 2011 on the album Betty Wright: The Movie: https://www.youtube.com/watch?v=XTsDIgByFG8.

           2. Just Ain't Gonna Work Out - Mayer Hawthorne gets into the Motown groove on this tune from A Strange Arrangement (2009): https://www.youtube.com/watch?v=pBKx8PyE5qQ.

           3. Sugarfoot – Black Joe Lewis & The Honey Bears do their best James Brown impression on this funk-filled track from their disc Tell ‘Em What Your Name Is!: https://www.youtube.com/watch?v=oJ-M_8pY6TI.

           4. Love That Girl - Raphael Saadiq channels equal parts of soul men Eddie Kendricks (of The Temptations) and Curtis Mayfield on this entry from the excellent album The Way I See It: https://www.youtube.com/watch?v=2dkPFyubi_M.

           5. Mama Knows  - Sister Sparrow & The Dirty Birds fire up a great combination of rock and soul on this track from The Weather Below: https://www.youtube.com/watch?v=nOjFVuiUJPY.

           6. Tighter – A haunting ballad from Fitz & The Tantrums’ excellent debut album, Pickin Up The Pieces (2010): https://www.youtube.com/watch?v=6UW_yRj-NlI.

           7. Longer & Stronger – From the late great Sharon Jones & The Dap Kings. Wonderful song featured on the B-sides and rarities collection, Soul Time! (2011): https://www.youtube.com/watch?v=L6ikMqmjo9c.

           8. Howling at Nothing– The incredible Nathaniel Rateliff & The Night Sweats sound like a combination of Sam Cooke and Jackie Wilson on this fantastic track from their 2015 debut album: https://www.youtube.com/watch?v=AzqmVa6n-es.

           9. Make A Change – Durand Jones and The Indications get deep into a very Sly Stone-style vibe on this tune from their self-titled debut, which was released in 2016: https://www.youtube.com/watch?v=IZJ-7BJ46U0.

           10. Broken Bones and Pocket Change– St. Paul & The Broken Bones, a Birmingham-based soul outfit, shine on this number from Half The City (2014), featuring a powerful vocal from lead singer Paul Janeway: https://www.youtube.com/watch?v=YyeGzSA_Ua8.

           11. Call Off Your Dogs – Lake Street Dive’s lead singer Racheal Price has one of the most expressive voices in rock and roll these days, and she's comfortable singing in multiple genres; rock, soul and jazz. This is a fun, disco-fied track from Side Pony: https://www.youtube.com/watch?v=OMEPgLxvNPk.
12. Changes – The late Charles Bradley takes a Black Sabbath tune from 1972 and turns it into an incredibly mournful, emotion-filled piece of classic R&B. From the deeply soulful album Changes: https://www.youtube.com/watch?v=xi49yirJiEA.
13. Smooth Sailin' – Leon Bridges sounds very smooth indeed on this soulful number from Coming Home: https://www.youtube.com/watch?v=MTrKkqE9p1o.