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Happy 64th Birthday to Clive Barker!

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Today marks the 64th birthday of English author/director/artist Clive Barker, a man who probably doesn’t need any introduction to the horror community. But just in case, he’s the man who created perhaps the most evil and dangerous puzzle box in Hellraiser, who mixed noir and horror in the criminally under-appreciated Lord of Illusions, who shaped my early nightmares with “The Thief of Always“, whose game Undying is still to this day one of the most eerie interactive experiences I’ve ever gone through.

You see, Barker is not a traditional horror creator. Rather, he has this wonderful fascination with magic, mysticism, the supernatural, and all things related, finding a way to blend them all into grand, almost epic tales. His stories don’t put only our world in a state of peril, they risk other worlds as well. No plane of existence is safe from Barker’s pen or brush, from “The Kingdom of The Cuckoo” in “Weaveworld” to Mr. Hood’s time warping realm in “The Thief of Always” to Pandemonium, the capital city of Hell, in “The Scarlet Gospels”. It is because of Barker’s seemingly limitless imagination that his works feel vast and limitless, the possibilities of where his stories might go endless and, therefore, always exciting and unpredictable.

As I’ve mentioned in the past, my first encounter with Clive Barker was with his children’s book “The Thief of Always”, which I saved up my lunch money to buy a copy of. A few years later, I got my hands on his game Undying, which only further sealed the deal of my interest in his works. As the years passed, I found myself watching his films, reading more of his novels and venturing into his short stories, and ogling his artwork. His oddities were as fascinating to me as many find the works of David Lynch, David Cronenberg, and Tim Burton. He found ways to marry beauty and horror in unique approaches, which is why he is one of the most recognized horror authors and ranks up there with King, Koontz, and similar contemporary names.

Although he hasn’t gotten behind the camera too many times, Barker’s three studio films that he did direct are each classics in their own right. Obviously we all know Hellraiser and the impact the ensuing franchise has had. Doug Bradley’s performance as Pinhead is so iconic that fans can’t imagine him played by anyone else. Nightbreed has become a cult sensation, one that perfectly exemplifies the imagination and scope that I spoke of earlier. It also turns horror conventions on its head, making the monsters the heroes and humans the villains. However, there is always that shade of gray in the middle, where nothing is falls under simple categorizations. And in Lord of Illusions, Barker took the world of illusionists and magicians and wove a haunting story behind their mystery. Scott Bakula’s portrayal of Harry D’Amour is one of my favorites in the horror genre and Daniel von Bargen brought charisma and foreboding, demonic strength to Nix.

With 16 novels, dozens of short stories, wonderful collections of art and a few video game titles under his belt, Barker is a horror auteur who paves the way with his works. We wish him a very happy birthday and are always excited to see what comes next from him!

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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