Month of Darkness 2026: Day 8

No One Will Believe You

He’d grown use to the stink of his own body, the pungent reek of human filth, and the smell of rotting food. The house was dark, even during the day. He’d painted the windows with the dregs of paint cans from the garage, turning each into a chaotic collage of a half-dozen colors. The faint glow of the TV no longer connected to the internet was the only light.

His walk had become a scuttle, his movements like a beaten dog awaiting the next blow of its master’s hand. The slightest sound caused him to start, a gasped whimper escaping his lips. Once, two or three days ago, he had tried to leave the house, but the touch of the door handle burned his hand like a stovetop. A malignant laugh from somewhere inside the home came in response to his scream of pain.

How long had this been happening? A week? Two? He’d lost track of time in the dark. Outside he could hear the howl of leaf blowers, the traffic on the street, a jet passing overhead, jetsam from a world of sunlight and normalcy.


He did know how it began and suspected how it would end. It started the night he put on the watch he’d bought on Etsy, a curious model of uncertain make, but so unique it was bound to make a few of his fellow managers jealous. The dreams he experienced that night were horrific, filled with visions of dirty forms locked in a filthy cellar. Their eyes had the same haunted looks he was sure his own now showed. They too had undergone the same suffering at the hands of their shared tormentor. He knew that now.

He crawled across the carpet, keeping close to the wall like a rat. As he did, navigating the filth-encrusted carpet by feel alone, his hand touched his phone. He’d hurled it into the darkness some days ago after his efforts to call for aid were answered by the formless voice of his enslaver. No one will believe you, the voice growled, mockingly.

He knew that now. Even he struggled to believe how quickly the world which was his on a silver platter had tarnished, tainted by the spectral form he now shared his once-opulent home with. He began to weep, tearlessly, his dehydrated body unable to spare a drop of moisture.

From the kitchen, he heard a clatter and the ringing of stainless steel as something knocked the Italian-made knife block off the counter and onto the floor. No one will believe you, so why put off the inevitable? There’s only one way out of here. Come here and see. There are so many options. Filleting knife? Butcher’s knife? A dainty paring knife? The voice fell silent, but he could feel the entity waiting.

Slowly, still crying tearlessly, he started to crawl towards the kitchen.

31 Days of Horror: Abraham’s Boys

Continuing the Dracula theme, I picked this one out of a hat more or less. I expected something along the lines of the TV series Supernatural, figuring this would be about Van Helsing training a new generation of vampire hunters. Was I right? Let’s see.

Abraham’s Boys takes place in 1915 California. Abraham Van Helsing and his wife, Mina, have relocated to the Central Valley with their two boys. The family’s search for peace is threatened, however, as the railroad expands near their isolated farm. But does the railroad bring more than new settlers to the region? Abraham suspects a vampire has hunted them down.

Putting the “Van Helsing’s wife, Mina” elephant in the room aside, the premise of the movie isn’t a bad one. Abraham is played by Titus Welliver, who is no slouch when it comes to acting (Exhibit A: Deadwood). Moving the action from the gothic setting of Victorian England to the dry but beautiful Central Valley immediately informs us we’re not looking at Dracula: Part 2. The film’s focus is mostly on Abraham’s two boys, Max and Rudy, and their relationship with their sometimes-overbearing father. Their mother is still dealing with PTSD from her encounter with Dracula and has become a nervous wreck, a vast difference from the woman who largely ensured the Circle of Light triumphed over the Count.

Abraham’s Boys further moves away from Stoker’s story by suggesting that Van Helsing might not be entirely sane, making his motivations highly suspect. Was he truly hunting down the undead or was he murdering the innocent due to an undiagnosed madness? It’s here where the film really becomes interesting. Once that question begins hanging around the edge of the plot, we know were not in for a typical vampire film.

Based on the novel by Joe Hill, Abraham’s Boys took a beating in the reviews and I can understand why. People, much like myself, assumed they were in for some vampire ass-kicking and were instead confronted with a film similar to the greatly overlooked Frailty. Once I saw what the movie was up to, I changed my expectations accordingly and found this one to be better than IMDB’s rating suggested.

Rating: While not a contender for best film of this year’s marathon, I enjoyed it, earning it a solid 3 skulls out of 5. Audiences familiar with Hill’s novel might feel otherwise, but being unfamiliar with the book, I can’t judge it as an adaptation.

31 Days of Horror: Dracula (2025)

Last night I got current on my Dracula adaptations with Luc Besson’s Dracula (formerly known as Dracula: A Love Story.) How does it compare with those which have preceded it? Let’s take a look.

A Carpathian prince loses the love of his life, denounces God, then spends 400 years looking for his lost love’s reincarnation. Shenanigans ensue.

I heard things about this one so I went into it not expecting much. Which turned out to be the right attitude towards the film. Dracula is ripe for adaptation and new interpretation, so I didn’t slight Besson for moving many of the characters to France and setting the events during the 100-year anniversary of Bastille Day. I’ve seen poorer choices and the French setting didn’t have much of an impact on the story overall. What I do hold against Besson is lifting so much from Francis Ford Coppola. In fact, this film could have been called Luc Besson’s Francis Ford Coppola’s Dracula. When ancient-looking Dracula answers the door of his castle looking like he’s been holding Gary Oldman’s hairdresser and customer prisoner, my eyes did roll and I uttered an audible, “Really?”

I didn’t expect much of a horror film given the movie’s original title. It is, at its un-staked heart, a love story, after all. Leaning towards this genre rather than horror is likely the reason we get an awful subplot where Dracula spends centuries making the most alluring perfume on Earth. No, really. He uses the scent to entrance the female population of Europe in hopes his lost love will be attracted to him. Despite having telekinetic and pyrokinetic powers, I guess vampiric hypnosis was a bridge to far for Besson and a more mundane, yet outlandish, workaround was needed. Oh, and the perfume ends up having nothing to do with his eventual finding of his lost princess, so you be the judge if that part of the movie’s running time was well-spent.

The film is not devoid of pleasure. An inspired scene uses Dracula’s increasing treasury as a means to shorthand the passage of time and—spoilers—when Dracula finally perishes, having all the flames and fires in his castle go out was a nice touch. Christoph Waltz (playing “Priest”) delivers his usual greatness, but I fear he’s in danger of being typecast as the unconventional mentor figure. I had hoped for some excellent costuming and set design given what I assume was the film’s decent budget, and there are, but not enough by far. Oh, and Besson joins the parade of filmmakers guilty of Quincy Morris erasure. Goddamn it! Is it so hard to fit a cowboy into a vampire movie?!

Rating: It’s all been done better by others, meaning Dracula (2025) goes back to the grave with only 2-and-a-half skulls out of 5.

31 Days of Horror: Pale Blood


The late 80s and early 90s saw a boom in low-budget vampire movies featuring lovelorn vampires and the women attracted to them. Films such as To Sleep with a Vampire, Dance of the Damned, Tale of a Vampire, and, my personal favorite, To Die For. Day 6’s film (yes, I’m woefully behind right now) is part of that group—or perhaps, should I say, coven—of films.

Pale Blood is the tale of lonely vampire, Michael Fury (played by George Chakiris of West Side Story and the best “Mayan’s discovered Texas” film ever made, Kings of the Sun), who arrives in Los Angeles following news reports of a string of vampire murders in the city. Having recruited the assistance of private investigator, Lori (Pamela Ludwig), the search for the killer takes them into the orbit of video artist, Van (Wings Hauser) and his models who may be tied into the murders. Will Michael meet another vampire or become the victim of one?

If you’ve seen any of the vampire flicks I mentioned above, your enjoyment of Pale Blood will be dependent on whether you liked any of those. Pale Blood is cut from the same cloth, complete with nighttime L.A., neon lights, late 80s club scenes, and Wings Hauser. The most innovative idea is Michael’s portable coffin, a canvas suitcase that unfolds and is assembled like a tent (I’m going to steal that for a future vampire game!). Chakiris is game, but the role mostly has him being remote form the humans around him, including vampire fan Lori, who is clearly smitten with her employer. Scarily so. I’d have ended business with her on Night #2 if she was working for me. Nevertheless, I enjoyed Ludwig in the role, and I am a little sad she didn’t have more of a career.

There’s not much to see here, but as someone who lived in L.A. in the early 90s, the shots between scenes which are mostly Los Angeles during the day with radio station DJs’ commentary to fill the silence, were a trip down memory lane. And it gets bonus points for an appearance of the punk band Agent Orange as the house band at “Drac’s,” the nightclub featured in the film.

Ratings: Not great, but it has its charms if you lived through this era of low rent vampire romance films. I give it 2-and-a-half skulls out of 5, but deduc7 a ½ skull if you prefer more blood and less saxophones in your vampire films.

Month of Darkness 2026: Day 7

What Keeps You Here?


Hate.

Hate for those who did this to me.

Hate for those who allowed this to happen.

Hate for those who will allow this to happen to others.

Hatred that there’s so few of us willing to draw a line and say, “No further.”

Hatred at the fact the bastards might win in the end.

Hating myself for turning love into hate.

When the last of them burn and dawn breaks, then maybe, maybe, I can love myself for one final, brief moment.

31 Days of Horror: Blood Red Sky

While I try to watch a movie each night, real life does gets in the way. I tend to get caught up on weekends, and the goal is to get through 31 by the end of Halloween, so do not worry if a day or three passes without a new movie review. With that said, let’s look at last night’s film.

Blood Red Sky has an interesting and potentially fun premise: a woman suffering from a baffling blood disorder is on a transatlantic flight to America with her young son when their plane is hijacked. But the hijackers picked the wrong flight to commandeer. It’s with little surprise that we discover the woman is actually a vampire trying to hold onto her humanity for her son’s sake. But you can only push a vampire so far…

Blood Red Sky is a German production with an international cast. I’m unfamiliar with the work of Peri Baumeister who plays Nina, our vampire protagonist, but she does a wonderful job slowly becoming more and more animalistic as all her good intentions about holding on to her human nature start to slip once her son’s in danger. Alexander Scheer portrays our main antagonist, channeling Crispin Glover’s maniacal energy and sharing a not-dissimilar appearance. Dominic Purcell of Prison Break and Legends of Tomorrow fame has a supporting role as one of the hijackers, but feels underused. And speaking of underused, Graham McTavish has a glorified walk-on role that left me wanting more.

The film is more action than horror for most of its run time, but once Nina’s infection begins to spread throughout the passengers on the flight, we start veering into the airline sequence from World War Z, and the balance shifts towards gore and the horrific. By the end of the movie, one feels like this could be the prequel to The Strain.

The film’s biggest flaw is its 2-hour running time. Had it been shaved down to a tense 90 minutes, I feel it would have been a more effective story. Pacing was certainly an issue, but if you’re looking for an action/horror mix with some good physicality in its lead and a plot you could steal for a Night’s Black Agents campaign, you could do a lot worse.

Rating: With no major flaws, but also limited bits of true creativity, Blood Red Sky earns a middle-of-the-road 3 skulls out of 5.

Month of Darkness 2026: Day 6

A Dream Worth Dying For

The police sirens’ screams echoed off the high rises. The red and blue lights competed with the flames of burning impromptu barricades to light the street. A wall of black-uniformed figures with riot shields and clubs walked slowly lockstep towards the mass of angry faces just beyond the burning barricades.


A bottle, then another sailed out of the dark, only to be deflected by riot shields. A whistle sounded, followed by the cough of a tear gas launcher. A smoking canister flew into the crowd, scattering them briefly, until a young woman, her face covered by a soaked scarf, hurled the canister back.

A shout came from the black-unformed wall and it stopped. Riot clubs were replaced by shotguns. The sound of rounds ratcheted into their chambers.

A flaming bottle filled with amber liquid flew from the crowd, pinwheeling through the air, before smashing onto the street before the police wall. A pool of fire and black smoke was born among the chaos.

Guns leapt to shoulders, followed by staccato sounds of gun shots as the police fired at will.

Screams from the crowd as they scattered, hurling invectives in their wake. As they dispersed, bodies lay on the street, bloody wounds visible through buckshot-torn clothing.

This riot was over.

In the years to come, a legend spread. A tale of police officers found dead in their patrol cars, in their homes, even in the precinct parking lot. Each bore horrific wounds like those inflicted by a shotgun at close range. The coroner’s reports for each murder were confiscated by police officials, buried in a dusty records room all but a few had forgotten about.

Nobody wanted to explain the absence of buckshot in the fatal wounds. One medical examiner assistant would later tell their spouse, “Even if the killer had hours to remove each pellet, some evidence of them being there would remain. It’s almost like the victims inflicted these injuries psychosomatically, their minds causing the wounds. But that’s against all known science.”

Not all martyrs let a little thing like death stand in the way of fighting for their dreams.

Month of Darkness 2026: Day 5

Reality is Negotiable

The footage was clear despite the night. A row of streetlamps down the middle of the parking lot threw the concrete plaza into daylight-bright illumination, darkening the shadows beyond it. Even with the back lighting, the figure was clearly visible. And, more importantly as far as Prince Theodosia was concerned, so was its actions.

The digital recording showed a pale form streak across the edge of the parking lot, far faster than any human could run. Its face was a horror show of running sores, mangy patches of hair, and keloid scars. At the end of the lot, it leaped over a parked panel van, clearing it with ease, before vanishing into the shadows.


Prince Theodosia watched as the woman sitting in front of the workstation’s three large monitors rocked the footage backwards and forwards, taking in all the details. She occasionally paused to tap a few keys or move her cursor from one screen to another as she worked one of the apps distributed across them.

“What can you do?” the Prince asked, her eyes not straying from the footage.

“It’s a simple fix. I can run it through so many filters and edits to make the whole thing look like ‘AI slop’ by midnight. By the time I’m done, this will look like something someone cooked up with freeware and too much time on their hands. I’ll post the doctored footage through the normal sock puppet accounts on all the usual socials, and it’ll have 2,000 comments claiming, ‘I could do better f/x on my phone!’ in an hour. It might not fool everyone, but once enough people buy my version as the real one, anyone claiming the original is real will be a laughingstock.”

The Prince nodded. “Excellent. If there’s one thing we can count on the kine for, it’s their predictable tendency to choose their own reality, no matter what the truth is.”

“Archimedes needed a lever. I can move the world with Photoshop,” the woman smiled, tapping a few more keys. “I’ll let you and Kincaid know when it’s live. He should be able to clean up the rest of this Masquerade breach with his usual heavy handed methods.”

The woman paused, still looking at the screens. “I assume the person who recorded this has been silenced?”

“Their new reality is not one they would have chosen. And, barring the Second Coming, permanent”

Prince Theodosia walked out of the room, leaving the woman—one of her more useful ghoul—to finish the job.

Month of Darkness 2026: Day 4

“A Song of Rage” by Man-Eating Witches
[Gutter Vinyl Records ©2002]


[Verse 1]
Born under a bad moon
Came out with teeth and tail
Angry until the tomb
Too pissed to ever fail

[Chorus]
I’m living rage
Relic from a savage age
Can’t be calm
I can only rage

[Verse 2]
My hands tear up the streets
Chewing up the city’s bones
Blood rain pours down in sheets
Night is filled with screams and moans

[Bridge]
You say I’m too emotional
And I need to play it cool
Sounds to me like cowardice
Advice spoken by fools
Your “future” is bullshit
And I’m not going to swallow it
I’m going to burn this fucker down
So you better fuckin’ deal with it

[Chorus]
I’m living rage
Relic from a savage age
Can’t be calm
I can only rage

[Guitar]

[Verse 3]
Light my fuse, I’ll explode
Shrapnel kisses to the crowd
I only know beast mode
And mercy’s not allowed

[Chorus]
I’m living rage
Relic from a savage age
Can’t be calm
I can only rage

I can only Rage

31 Days of Horror: The Tomb

I’m not student of filmmaking. I’ve worked in Hollywood and I’ve seen a lot of movies, many of them bad, but I’ve never taken a course or read a book about the technical aspects of making motion pictures. So when the opening title card on a movie makes me immediately think, “Oh, this is going to be a stinker,” you know it’s bad.

The Tomb (aka La Tomba, if you want to use the original Italian title. Yes folks, this is an Italian cheapie) takes The Mummy and From Dusk Till Dawn and mashes them up with a $1.95 budget. The film concerns a group of American (mostly) archeology students and their professor who head south of the border to embark on a field trip cataloging Mayan sites. When their tour guide goes missing, they’re forced to rely on the local healer to guide them into the jungle. She leads them to a previously undiscovered temple where she secretly hopes to finish a ritual of immortality interrupted centuries ago.

Friends, as I say, I’m not student of move making, but even I know not to use footage from better movies in your stink bomb. Luckily for The Tomb, Italian IP laws being somewhat lax, the films gleefully steals footage from Army of Darkness, Raiders of the Lost Ark, Indiana Jones and the Temple of Tomb, plus several more I couldn’t immediately identify but, judging from the competency of how they were shot, were pilfered from superior productions.

The script is no better. We have an honest-to-goodness “Help, I’ve fallen into quicksand!” moment, a “I’ve fallen and dropped my glasses, and I hope nobody steps on them as I flail around looking for them” scene that would make Velma from Scooby Do ashamed, and a trap where if you break the light a sharp implement impales you (minus Alfred Molina).

31 Days of Horror is always about quantity, not quality, but this one was BAD. I’m hoping I’ve hit the nadir early and everything else this month is Citizen Kane in comparison.

Rating: I’m torn. This one really deserves half-a-skull at best, but since I got my laundry done while I watched this one and didn’t entirely waste 97 minutes, I’ll give it a 1 skull out of 5.