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[Review] “American Horror Story: Hotel” – ‘Checking In’ to Utter Debauchery

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Strong opener for “AHS: Hotel.” I’ve started going into this show with a lot of caution after the mess that was season three and four. But I was instantly turned on by the retro yet dichotomous ambiance of the Hotel Cortez and the insanely diverse cast of characters. The setting, music, and mood of this pilot episode were stunning, haunting, disturbing, and totally arousing. The music in particular was just so spot on.

It’s not the easiest pilot episode to recap as it left a lot open to interpretation and didn’t give a lot of explanations for…anything. Though MrDisgusting does a pretty good job of recapping, which you can read here. We know there’s a hotel. And it’s special. We know Lady Gaga is some sort of vampire type thing who rules them all. We know not to go into room 64. And don’t rip open any mattresses.

Right off the bat, “Hotel” has a very similar feel to “Murder House,” which was personally my favorite season of AHS. It’s sexy, really, really sexy. It’s the first season since season one that has as much sex appeal as it does horrific elements. While the other seasons straddled the line of psychosexual horror, “Hotel” is about as psychosexual horror as you can get—as evidenced in the orgy scene that turned into a sexual bloodbath. Speaking of which, Lady Gaga and Matt Bomer are absolutely perfect. From the second they came on the scene they were viciously erotic, unbelievably daring, and flaunted a nonchalant confidence that made me swoon.

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Another thing that “Hotel” really has going for it is that Murphy pushes more boundaries—even for FX—than he ever has before. And this is Ryan Murphy we’re talking about, the king of pushing boundaries. Yet still, “Hotel” beats out anything else he’s done as far as sex and gore are concerned. I’m always slightly shocked by what he is able to get away with on television. This was definitely the goriest AHS pilot to date.

I wasn’t crazy about Wes Bentley and Chloe Sevigny’s storyline. It’s a bit cliché for my tastes. Obsessive detective who works too hard, destroys his family because of his workaholic tendencies. Wife who can’t look her husband in the eyes because he reminds her too much of their lost son. I’ve seen it a million times before. The only hope I have that the storyline will improve is that he moved into room 64 by the end of the pilot. For his sake, I hope the drill-like strap-on never makes an appearance again.

“Hotel” feels drastically different from previous seasons while still keeping that quintessential Murphy flavor. It’s moodier, darker, and more sensual. It’s extremely more graphic with a juxtaposition of old-fashioned whimsy. If Murphy can stray away from his MO of throwing too many storylines at his audience while leaving so many questions unanswered, I think this could be the best thing to happen in a while. Meaning: I was a huge fan of the pilot. Let’s see how I feel next week.

Stray Observations:

I was hesitant about Max Greenfield because he’s such a doof in “New Girl,” but he was so perfect as the douchy, arrogant junkie and I truly hope to see more of him.

The real estate agent from season one and the inside joke about the dog! Perfect!

Smart move making the first hotel guests of the pilot foreign. It felt like a page out of the book of Eli Roth.

Denis O’Hare. That is all.

Books

‘In Search of Darkness’ Book Review: A Must-Have for ’80s Horror Fans

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In 2019, the documentary of 80s horror In Search of Darkness became an instant hit with horror fans. Now, a beautiful coffee table style companion book is available and is a must-own for all fans of one of horror’s greatest eras. The book is a walk down the horror aisle of the best mom and pop video store in the heyday of VHS, featuring full color photos, poster art, insightful essays and more. More than just a nostalgic throwback, In Search of Darkness is the kind of book I wish I’d had back in my years as a burgeoning horror fan but is also satisfying for the film fanatic I have become in the years since.

The format is beautifully and simply laid out, with at least a dozen (usually more) movies from each year of the decade presented in order of release accompanied by informative and insightful essays by the authors Heather Wixson and Patrick Bromley. Both authors have been mainstays of film journalism, specializing in horror, for many years. Wixson began her career in 2007 with Dread Central and has spent the past ten years as the Managing Editor of Daily Dead, from which she recently retired to focus on books and other projects. She has devoted the past several years to interviewing and writing books about the Make-up and Special Effects wizards that have brought so much to film over the years, specifically the horror genre.

Bromley is a film journalist and critic whose work can be found all over the place including right here on Bloody Disgusting. He recently provided the commentary for the Vinegar Syndrome release of The Texas Chainsaw Massacre 2 and is known as something of a Tobe Hooper expert. He is also the founder and editor of F this Movie!, an eclectic film website, and host of its accompanying podcast. So, to be clear, the authors know their stuff.

Wixson and Bromley divide writing duties roughly in half and though each has a distinctive voice, their writing styles dovetail beautifully into a cohesive whole. Each author plays to their strengths. Being familiar with both their work I didn’t even have to look at the bylines to know that Heather covered Christine and Terror in the Aisles and Patrick took on The Funhouse and Hollywood Chainsaw Hookers. Wixson’s passion for make-up effects is clear and comes through in many of her contributions. In general, Wixson takes on the “big” titles, the movies that defined the decade the most, and Bromley covers what the more cynical among us might call schlock, but he would likely call pure cinematic bliss. There are exceptions and surprises, of course, as there should be (Patrick covers The Shining for example). Each essay dives into the history behind the film, the major players involved, the reception, and legacy with often surprising aspects drawn from interviews with the filmmakers from various sources and insights from the authors.

For all their in-depth explorations of each film, in general the authors keep their critics’ hats safely stowed, keeping in mind that every entry on the book has its fans. In fact, they may well have sold me on finally hitting play on some of the schlockier offerings of the decade like Evilspeak, Nightbeast, and Blood Diner. Hell, I may even give The Beast Within a spin for shits and giggles. The point is that this book is a celebration through and through. The authors are honest about the critical receptions of the films, which were often unkind, and sometimes let their own opinions shine through, but recognize how beloved even the schlockiest films can become given time and availability. And that is an ongoing theme of In Search of Darkness. What may have been dismissed in its day often becomes revered as the years pass. Variations on the phrase “the years have been kind to…” referring to various maligned projects like The Thing, Halloween III: Season of the Witch, The Blob and many, many others, can be found throughout the book for good reason.

Each chapter of the book also includes a rundown of the top horror movies at the box office for the year as well as the top movies of all genres for context. The final page for each year highlights some of the major news and pop culture events including the top songs, albums, and television shows. There is a large central section that pays tribute to the talent involved with the greatest horror films of the 80s including directors, actors, effects artists, and more. This section includes brief biographies of John Carpenter, Wes Craven, Stephen King, Tom Savini, Barbara Crampton, Robert Englund, and many others presented in a dynamic and engaging fashion.

One of the beauties of the book is that it covers so much ground. Sure, you’ll find Friday the 13th, A Nightmare on Elm Street, Hellraiser, and the Halloween sequels in it, but you’ll also find deeper cuts like The Changeling, The Being, and Tetsuo: The Iron Man. I was happy to find the same love given to Frank Henenlotter and Larry Cohen as to George A. Romero and David Cronenberg. In other words, In Search of Darkness is extraordinarily eclectic, highlighting the diversity that truly defined what is often viewed as a homogenous decade. The authors make the case that the 80s was horror’s greatest decade, and with what they lay out throughout this book, it’s tough to argue against that. I even came across a film or two I hadn’t even heard of before, which has become increasingly rare as the years go by.

At just shy of $85, the cover price may give some horror hounds pause, but believe me, it’s worth every penny. This is a beautiful volume that every fan of 80s horror will want on their shelf or prominently displayed on their coffee table. Filled with favorite titles, hundreds of full color photos, insightful and informative writing, this is simply a must own.

You can order your copy now.

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