Dead Pulse Zombies Return! The 2nd edition

Dead Pulse ranked in the top 40 horror eBook chart and went out of print Halloween just past. Those who have been keeping tabs my zombie novel I thank you, especially those who have read it.

With the publishing industry in its roller-coaster evolving state it makes sense for me not to go with a publishing house for the second edition of Dead Pulse. Jumping through the book markets/convention hoops has lost its fun and appeal. Also given the offers so far it would mean the novel’s 2nd edition would not be published until (at the earliest) February 2016. Going independent possibly means a Spring- Summer 2015 release and having the control and perks I have with The Final Version. It avoids the publishing house pitfalls and issues that I’ve encounter with a smaller independent publishers.

Dead Pulse is having a minor re-edit (with the help of a top individual) correcting some issues sadly missed with the 1st edition (it happens to the best) and adding some beats so that the entire book meshes seamlessly. You see, when the first publishing option ended, I realised that I am not the same writer I was ten years ago when I first sat down at my word processor and put my faith in other editors and indie horror publishers for Dead Pulse. After Blood Hunger, The Final Version and my film work I am now a more seasoned author. I’m looking forward to offering Dead Pulse reinvigorated and refined.

In addition, I hope to add new original cover artwork which I’m currently on the hunt for (artists get in touch you may have something great and suitable in a draw). The result hopefully will be a different reading experience.

Dead Pulse will be initially sold at first as an early bird numbered, personalised and signed copy via myself direct. Only 500 copies are being printed at first and each book will be hand numbered in sequential order, personalised with a message of your choice and signed. Once the books are sold out, that is it. If you would like purchase a copy keep following on twitter @amesmonde or follow the blog as I’ll be posting details on how to reserve a copy next year.

That’s all folks

A. M.

Autómata more emotion than easy action

An insurance agent at a robotics company makes a discovery that has profound consequences for his family, A.I and the human race.

Director Gabe Ibañez offers a mix of high concept and subtle thought provoking science fiction. Autómata while having a sprinkling of explosions and shootout moves away from the Terminator-esque killer Robots, inevitably comparison can be drawn to the likes of The Machine, Hardware, Blade Runner, Silent Running and I-Robot to name a few but Ibañez offering has its own atmosphere. It’s underlining slow burning tension drives it, refreshingly the clunky robots feel more real than today’s saturated CGI driven movies and works in the films favour.

It leaves the impression of being a small and personal tale. It’s superbly filmed with sweeping wasteland locations in contrast to the holographic adverts and crowded city streets that Jacq (Antonio Banderas’ character) walks with trepidation. The old soundtrack tunes are fitting, harking back to a time long forgotten which compliments the score and sound design.

The casting is as diverse as the scifi elements, Tim McInnerny plays against typecast as the corporate villain. Banderas delivers a perfect washed up Jacq, with Dylan McDermott, Melanie Griffith and Robert Forester putting in fitting extended cameo performances. The stars of the show are the elusive robots themselves that tug at the heart strings as Jacq comes to terms with that these Robots may be more than just parts.

Overall, an interesting, atmospheric scifi drama with heart.

Jessabelle (2014)

Returning to her childhood home to recuperate from a horrific car accident, Jessabelle after finding some VHS tapes made by her deceased mother comes face to face with a mysterious spirit seeking vengeance.

Director Kevin Greutert offers an interesting deep south Louisiana chiller, in the vein of Angel Heart and the Skeleton Key to name a few. The slow burning mystery’s special effects are excellently executed and there are plenty of jump scares. Notable are Mark Webber and Sarah Snook as Jessabelle. Chris Ellis gives a strong cameo as Sheriff Pruitt and David Andrews (Terminator 3: Rise of the Machines) gives a solid performance as Jessabelle’s Dad Leon.

Even with some surprise deaths those familiar with the genre will have guessed writer Ben Garant’s twist by the third act. But the novel idea of a mother making video tapes for her unborn child Jessabelle, then Jessabelle now a grown up watching them with her mother (who has since passed away) giving her daughter information via the tapes is a creepy and emotional idea.

With an abrupt tagged on closing the meat of Jessabelle has been seen before and it loses its originality and scare factor by the ends reveal. That said, Greutert’s film is great looking with an eerie atmosphere that is lacking in so many horrors of late.

The Equalizer busy equalizing

Helpful gentleman Robert McCall is a retired black ops government operative who after befriending a young woman goes head to head with the Russian Mafia.

Antoine Fuqua’s The Equalizer is stylishly violent with both Denzel Washington as Robert McCall and Marton Csokas putting in tense and excellent performances. Harry Gregson-Williams score complements the dreary mood but lacks Stewart Copeland’s signature theme Busy Equalizing.

Mirroring the recent Sherlock Holmes (2009) in terms of fighting logic this offering is more reminiscent of the Get Cater (2000) than The Equalizer 80s TV series. Writer Richard Wenk and Fuqua’s drop nods to Woodward’s McCall a silhouette, his ingenuity and stone cold shootings but it’s comparable to Ridley Scotts Robin Hood (2010) being an almost The Equalizer prequel, in terms of how/why he becomes The Equalizer.

Overall, put against Fuqua’s own Training Day (2001) written by David Ayer or in terms of being a film based on 1985-89 The Equalizer it falls short. That said, as an atmospheric revenge action it’s wonderfully filmed highly entertaining and worth watching for Csokas performance alone.