CAULDRON OF HORROR #3: MORE CRYPTIC TALES

AC continues to build terrifying traction with its all-color, Cauldron of Horror revival. The third issue is in wide release, and man, does it ever chill to the bone. 

For this gargoyle/girlie-cover submission, Mark Heike, Bill Anderson and Chuck Hawk present three, top-drawer tales: the earth-quaking, mad-scientist yarn, "Which Came First," a mix of mysticism and adultery for "Devil's Advocate," and last but not least, a buzzing, little fable that's big on scares, "Gnats." 

Cauldron #3's contents serve as much sci-fi as horror, creating a jarring blend of The Twilight Zone, Night Gallery and The Outer Limits, underscored by the nostalgic stylings of EC and Warren Publishing. 

I purchased my copy of Cauldron #3 at Comic Relief on Quakerbridge Road, Village Commons, Lawrenceville, NJ, a prolific hub for every imaginative need. 

And don't forget that Cauldron #4 is in the works. If its nightmarish cover is any indication, we're in for one helluva, medical shocker!

FORTIER/KATO'S RETURN TO NEVER NEVER LAND

I knew that Ron Fortier and Gary Kato had taken a stab at J.M. Barrie's exalted Peter Pan, but I had only experienced bits and pieces of the 1991 endeavor (catching a picture here and there). I'm proud to report that I finally purchased a copy of their comic-book triumph, Peter Pan in Return to Never Never Land (both issues in one, 52-page, Redbud Studio volume) and must declare, it's even better than I anticipated. In fact, I consider it one of the best Pan exploits ever rendered, holding more than its own with Barrie's classic novella. 

For this particular sequel, Fortier's script places understandable emphasis on its titular hero, but also grants special focus on Roxbury, Massachusetts brothers, Jerry and Mike (the former, a lover of cowboy lore and the latter, his conscientious, older sibling). 

The story starts with the youngsters being accosted by bullies just before Christmas break, but by a twist of fate, Peter Pan arrives to halt (and humiliate) the aggressors. Then, along with the glitzy Tinkerbell, the eternal boy inspires the lads to embark on a journey to his fabled world.

Once there, Jerry and Mike meet the petulant, Captain Hook; the legendary Lost Boys; the verbose Carousel Broncos; and neighboring, American Indians, including the beautiful yet crafty Tiger Lily, as they engage in roughhouse shenanigans that support the old adage, Boys Will Be Boys. 

Kato's artwork, combined with Aiden Belcher's vibrant coloring, gives Return to Never Never Land a fresh, modern look, though at the same time, Fortier's story never overlooks Pan's roots (as some retellings and follow-ups have done). Return to Never Never Land respects Barrie's mythology, with Jerry and Mike fitting right in, always embracing the proper, derring-do spirit.  

Return to Never Never Land is so darn invigorating, it's guaranteed to manifest the kid in anyone and everyone. (I only wish I had experienced the jubilation sooner!)

Order now at 

https://www.amazon.com/dp/1953589618?psc=1&ref=ppx_yo2ov_dt_b_product_details

HAPPY 50TH, WICKER MAN

This month marks the 50th anniversary-release of director Robin Hardy's The Wicker Man, a movie that Cinefantastique coined "The Citizen Kane of Horror." 

The praise comes with good cause, thanks to Wicker Man's pervading uniqueness, which centers on a philosophical battle between paganism and Christianity, as filtered through an investigation of a missing girl, presumed sacrificed due to a poor, apple crop. 

Scripted by Anthony (Frenzy) Shaffer (based on David Pinner's novel, "Ritual"), the unjustly edited Wicker Man went under the radar after its premiere and didn't receive U.S. exposure until 1978, and even then, averted accolades. It wasn't until the 1980s that serious acknowledgement of the film's peculiar splendor spread when a longer cut prevailed. 

The movie's bright, Scottish ambiance, as captured by cinematographer, Harry Waxman, and brilliant, earthy score by Paul Giovanni, differentiate Wicker Man from other horror movies, though several of its actors were already familiar faces of the genre. 

Christopher Lee portrays pagan patriarch, Lord Summerisle, and Edward Woodward, devout Christian, police inspector, Neil Howie. The men steal the show more often than not with their ardent melees. 

The rest of the cast includes Britt Ekland (who renders the greatest, musical, nude sequence ever to grace celluloid); Diane Cilento, Ingrid Pitt, Lesley Mackie, Aubrey Morris, Lindsay Kemp, Gerry Cowper and a host of other varied and interesting performers.

Wicker Man's ending, of course, is its most startling aspect, but the build-up ensures its impact. The film's legendary status even spawned a remake (starring Nicolas Cage) and a sequel, The Wicker Tree, but the original remains the be-all and end-all in shocking, folk terror. 

Revisit Wicker Man this December for a melodic, Yuletide chill. Like vintage wine, this one only gets better with each sardonic sip.  

PHOENIXVILLE PUNK ROCK FLEA MARKET NIGHT, DEC 15, 2023 (ROOT DOWN BREWING CO)

SURREAL SOJOURNS: LARRY JOHNSON'S HORSEMAN

I reviewed Larry Johnson's Tales of the Broken B in early December (after publisher Jim Main recommended it). As Bizarrechats readers know, I became enthralled by Johnson's weird, episodic western, enough that I grew curious about his other endeavors. After watching the latest Reviewing Small Press Comics (hosted by Steve Keeter and Larned Justin), I decided to make Johnson's Horseman my next-in-line. 

Horseman is, to say the least, amazing, combining components of Doctor Strange, Doctor Fate and Doom Patrol, with a steady stream of Homer's The Odyssey, John Boorman's Zardoz and general, Native American lore, while rendered in a stylish pantomime that would make the great Marcel Marceau bow with respect. On the other hand, my florid description doesn't do Johnson's contribution anywhere near the justice it deserves. Horseman is that unique. 

Horseman is, per his unpretentious label, an anthropomorphic entity, a humanoid with a horse's head, who for modesty's sake, wears white skivvies (though with evident room for a protruding tail). Is he Earth-grown or of alien emanation? Is his terrain of the past or future? Parts of the saga imply the terrestrial here-and-now, but regardless of Horseman's origin or the landscapes he roams, his nomadic mythology triumphs all onto itself. 

Along Horseman's psychedelic paths, he encounters a goat-headed counterpart; equestrian wolf men; amphibian men; hovering fish; a haunted graveyard; an octopus guide; a voracious spider; and skeleton scientists and their fiery, Frankenstein-ish apparitions. At one point, Horseman is swallowed by a giant anglerfish and mystically escapes by emerging from a chicken egg. At other points, he's visited by insects, elephants and a Pteranodon, and more by accident than plan, manifests from a children's book to embark on yet another twisted trail. Yes, it's all quite bizarre, but that's what makes Horseman so addictive.  

My favorite segment occurs in Issue #4, when a wolf man flaunts a grandmother persona, in homage to Little Red Riding Hood. Also, there's substantial food for thought in Johnson's recurring, lupine motif, as it often places the titular lead in a Brothers Grimm context. 

At present, Horseman consists of five, color issues, with a sixth in development. To embellish the existing exploits, Johnson offers an impressive companion piece, Encounter: The Birth of Horseman. 

This 160-page volume features Johnson's black-and-white illustrations, which influenced the character's progression. From an artistic standpoint, Encounter is as captivating as the individual comics, and for anyone who gets hooked on Horseman (and how can one not?), the curation will act as an appreciated appendage. 

For their innovative pizzazz, the Horseman entries are worth the indulgence. Please feel free to email Johnson on the issues' prices (individually or combined) at LewBrown1@verizon.net.

And for those who desire a steady spree of Johnson's color, Horseman imagery, check out his fantastic, YouTube channel at 

https://www.youtube.com/playlist?list=PLH2qnSaWeyd_N4_HkP9kUfmGcLHhsdoVa

WISE WORDS:

Collectible Time: LIFE's It's a Wonderful Life Magazine

Frank Capra's It's a Wonderful Life started off small, berated by many critics, overlooked by much of the public and decades later, distributed to public domain, but its humble status distinguished its destiny, making it a Christmas classic, even though it works just as well at any time of the year. 

LIFE's periodical homage, It's a Wonderful Life: The Season's Most Beautiful Film (#1 Christmas Movie of All Time), written by Richard Jerome, covers the production's genesis, stemming from an inspirational, short story by Philip Van Doren Stern to a complex, character-driven Twilight Zone precursor (accentuated by screenwriters Capra, Frances Goodrich, Albert Hackett, Jo Swerling and Dorothy Parker), where James Stewart's suicidal, do-gooder, George Bailey, is granted the chance to see how the world would be if he had never been born: a jarring wish bestowed by a bumbling, wingless, guardian angel, Henry Travers' amicable Clarence Odbody.   

Jerome's multi-part, detailed-laden essay is heightened by endearing photos (accompanied by rare, behind-the-scene shots) and sturdy bios, which cater not only to Stewart and Travers, but their exceptional costars: Donna Reed, Lionel Barrymore, Thomas Mitchell, Gloria Grahame, Ward Bond, Frank Faylen, Sheldon Leonard, Beulah Bondi, Samuel S. Hinds, H.B. Warner and Karolyn Grimes. I'd have preferred hearty sections on Todd Karns and Ryan Slater, but alas, these fine contributors must prevail through insinuation and viewers' cherished recollections.

On the further downside, Jerome's tribute sometimes delves into superfluous, socio-political editorializing, which has nothing to do with the movie or its message. That Capra was conservative is an implied concern, when all he did was make a heartfelt movie that appeals to all good, hard-working people, regardless of their philosophical swings or denominations. Let's be honest. The film's adage, "No Man is a Failure who has Friends," is what eclipses any and all distinguishing differences among those who fight the good fight. 

Despite its occasional, soap-box slant, LIFE's salute is a quality package, which commemorates one of cinema's inarguable greats. It's a Wonderful Life: The Season's Most Beautiful Film can be purchased at supermarkets and drugstores nationwide. Be sure to pick up a copy this holiday season.