I should point out, though, that in keeping with the time of year, there are some eerie and fantastical elements to THE DEVIL’S KNIGHT, so it’s not entirely inappropriate including this promo on a blogsite that normally deals exclusively with dark fiction.
In addition to all that, and just for larks, I thought we might look a little closer at the Prince of Darkness himself, focussing on 20 of the most effective movies I’ve seen to date wherein Hell itself it literally raised. You’ll find that further down.
Before then, very quickly, I’d like to apologise for taking so long to post again. I can only say what I seem to be saying an awful lot in this most testing year of my life, but I’ve simply been too busy. Another blogpost, which you’ll hopefully see before the end of 2025, will explain why.
And now, onto ...
This is the first part of a an all new two-book adventure series set between the years 1189 and 1194, which completely encompasses the Third Crusade. You may remember that was the one led primarily by Richard the Lionheart, and during which an attempt was made to recapture the Holy Land after it had been seized from the Christian Kingdom of Jerusalem by the sultan of Egypt known to the West as Saladin.
The dangers posed by this task will grow exponentially as the journey commences, every conceivable enemy pursuing the intrepid band: from the Knights Templar, who consider themselves the ideal guardian for this living saint, to soldiers loyal to the Pope, who feel the same way, to the Assassins, a ruthless and dedicated band of Muslim irregulars, and most menacing of all, to the Order of Siegfried, a private but lawless mercenary army in the sole pay of the German Emperor.
If this isn’t enough, the heroes are plagued by uncertainty about their own positions. Melinda doesn’t know if she is a saint or not. Her prayers do seem to have affected miracle cures, but she has no control over this. It’s something that just happens, or so it seems. Thurstan meanwhile, seemingly invincible in battle, has a deep dread that this has only come about through his encounter in a fever dream with a terrifying demon, Belphagor, the Bishop of Hell, who in trade for his soul, has gifted the knight with extraordinary fighting skills. Wildblood never knows whether this was a genuine incident or not, but with sword in hand he is virtually indomitable.
Will the small band make it to England facing such incredible odds? And do they even want to get there? What kind of England awaits them, because in Richard’s absence, his scheming brother, Prince John, and a host of rebel barons have launched a brutal civil war. And what will it cost them to achieve this? Whose side is Thurstan even fighting on, God’s or Lucifer’s?
Sorry, I can’t say any more. But don’t worry. THE DEVIL’S KNIGHT is published on October 9. All you've got to do to pre-order, is follow this LINK.
And now, as promised...
THE DEVIL IN CELLULOID
Twenty of the best horror movies about the Devil and his minions, in chronological order. Only my opinion of course. Just a bit of fun. if you disagree or have additional suggestions, feel free to post them in the comments below or in response to whichever Facebook or Twitter post you followed to get here. Happy bone-chilling.1 BLACK SUNDAY (1960)
In 17th century Moldavia, an aristocratic witch and her lover are inadequately put to death by her brother, and so return 200 years later to wreck fearsome revenge on their family’s descendants.
The movie that finally brought director Mario Bava to the attention of British and American horror fans, made an international star out of Barbara Steele and set the tone for the Italian Gothic cinema tradition, though for all its extravagant visuals and wild histrionics, this very traditionally themed chiller is still a stylish cut above many of those that would follow. Adapted from Nikolai Gogol’s 1935 novella, Viy.
2 THE MASQUE OF THE RED DEATH (1964)
As plague ravages medieval Italy, a Satan-worshipping nobleman gathers his followers in his Gothic castle for a night of feasting, torture and madness, and to await the arrival of the Prince of Darkness.
Vincent Price’s darkest role, the horror maestro radiating sadistic cruelty at every turn, yet adding layers of character too, while director Roger Corman enjoys himself immensely as he explores the varied forms of evil that open up in a world where virtue is non-existent. Adapted from Edgar Allan Poe’s 1842 short story of the same name.
3 ROSEMARY’S BABY (1968)
A couple of New York newly-weds move into a new apartment building, and are befriended by their strange but seemingly inoffensive neighbours, unaware that they already figure in an apocalyptic scheme to bring the Antichrist into our world.
Roman Polanski’s artful and meticulous direction creates a thoroughly satisfying horror experience, even though, with the exception of one famous scene, there isn’t too much horror in it. Persuasive performances and naturalistic dialogue only add to the air of realism. So effective was the overall package that it kickstarted a whole new cycle of Satanic chillers. Adapted from Ira Levin’s 1967 novel of the same name.
4 THE DEVIL RIDES OUT (1968)
In 1929, intellectual adventurer, the Duc de Richleau, becomes concerned about the behaviour of a young friend, only to learn that he is now affiliated to a devil-worshipping cult so powerful that they’re capable of summoning Lucifer himself.
Though surprisingly conservative in its approach to the subject matter, director Terence Fisher’s 17th Hammer outing is widely considered a masterwork in the genre. Mostly dispensing with the new-fangled sex and violence, it is spiritual terror that concerns us here, the period setting exquisitely conjured and Christopher Lee, for once a good guy, facing off marvellously against Charles Gray’s evil warlock. Adapted from Dennis Wheatley’s 1934 novel of the same name.
5 BLOOD ON SATAN’S CLAW (1971)
In rural England of the 17th century, fragments of an abhorrent creature are uncovered in the West Country furrows, a scourge of evil slowly spreading through the local villages, particularly among the children.
Realistically bleak portrayal of Restoration England, complete with credulous peasants and rampant inappropriateness when it comes to pagan ritual. Linda Hayden steals the show as a sultry anti-heroine, Patrick Wymark adding weight as the local hanging-judge. It meanders at times, but director Piers Haggard shoots it beautifully and creates an effective doom-laden atmosphere. Made from Robert Wynne-Simmons’ original screenplay.
6 THE DEVILS (1971)
When the nuns in a 17th century French convent demonstrate signs of possession, the local priest, who’s been a prominent defender of the town’s ancient liberties, is brought up on charges of diabolism.
The Devil is definitely present in this horrific reimagining of real-life events, but only inasmuch as so many characters willingly insist that he’s there even when he isn’t. Director Ken Russell indulges himself as only he can, wallowing in sex, violence and depravity to the point where this, his most graphic chunk of Grand Guignol, becomes a difficult watch even for horror hounds. For all that, it remains an extraordinarily vivid piece of work. Adapted from Aldous Huxley’s 1952 novel, The Devils of Loudon, and John Whiting’s 1960 play, The Devils.
7 THE MEPHISTO WALTZ (1971)
A failed musician is befriended by a famous concert pianist who is now dying and plans to use a Satanic ceremony to transfer his soul into the body of a younger man.
Far from everyone’s favourite, but the sole Quinn Martin production ever to hit the big screen surely deserves some kind of mention. Paul Wendkos directs, and while it perhaps takes the whole concept of devilish magic a little too lightly (TV habits are hard to break, I guess), it was a novel(ish) idea at the time, and fully in line with the zeitgeist as it again followed the new fashion of bringing ancient sorcery into the contemporary realm. Adapted from Fred Mustard Stewart’s 1969 novel of the same name.
8 THE EXORCIST (1973)
In hip college town, Georgetown, the possession of a young girl by a demonic spirit seems vanishingly unlikely. Even local churchmen are sceptical. But such are the appalling circumstances that in due course, two exorcists are chosen to do battle with the malignant entity.
The horror movie that sent shockwaves around the world, and probably plumbed darker depths than horror ever had before. There was much exaggeration from the publicity machine, but director William Friedkin presents his lurid drama in such hard-headed and factual, semi-documentary style (having even acquired Vatican cooperation) that in the 2020s it still remains one of cinema’s most authentic chillers. Adapted from William Peter Blatty’s 1971 novel of the same name.
9 FROM BEYOND THE GRAVE (1974)
In a Highgate side-street, an unobtrusive knick-knack shop called Temptations Ltd makes its customers offers they can’t refuse and guarantees a big novelty surprise with each one.
Peter Cushing hams it up wonderfully as the devilish shopkeeper in Kevin Connor's top-drawer horror compendium, each segment developed from a classy short story, and thus living long in the memory. The emphasis is less on Satan, and more on the nasty fate you’ll invite if you are lured into his web. Adapted from four short works by R. Chetwynd-Hayes.
10 THE OMEN (1976)
The new American ambassador to London struggles to deal with bizarre and horrific happenings, and persistent warnings that his new baby son may well be the Antichrist.
Despite a thorough panning by the critics, director Richard Donner’s big contribution to the ‘70s Satan cycle’ was a box office smash that defied all expectations. The usual glut of ‘true’ spook stories accompanied its production, but Gregory Peck’s dignified central performance (among several others) plus plenty of eye-popping set-piece moments elevate it well above the general horror mish-mash of that era. Made from an original screenplay by David Seltzer.
11 THE SENTINEL (1977)
A neurotic fashion model moves into a New York apartment but is increasingly troubled by her eccentric and even menacing neighbours, unaware that they are reincarnations of serial killers seeping out of Hell because the guardian of the gateway, who lives upstairs, is close to death.
Controversial now because director Michael Winner used real life disabled actors to play devils, though this thick slice of mid-70s horror schlock still has the power to scare, especially in the less grisly first half, where the eerie mystery is slowly unravelled. Another mid-70s horror that benefits hugely from a starry cast. Adapted from Jeffrey Konvitz’s 1974 novel of the same name.
12 SUSPIRIA (1977)
A young American woman graduates to an elite German dance academy, only to find a coven of witches hiding there and using it as cover for all kinds of demonic wickedness.
Typically phantasmagoric horror from Dario Argento: sparse dialogue, kaleidoscopic use of primary colours, a plethora of bloodcurdling set-piece deaths, and relentless ‘big shock’ moments. Horror eye-candy rather than a seriously-minded film, but still superior to the sober soullessness of the 2018 remake. Adapted from Thomas de Quincey’s 1845 essay, Suspiria de Profundis.
13 THE AMITYVILLE HORROR (1979)
A cash-strapped family move into a luxury Long Island home, which they’ve acquired for a knock-down price, only to find themselves assailed by apparent demonic forces.
Allegedly based on a true story, though it’s been much debunked since, the intensity of Stuart Rosenberg’s relatively low budget production has been widely praised. The suburban terror builds right from the start, aided and abetted by a film score that would go down in horror movie history. Adapted from Jay Anson’s 1977 novel of the same name.
14 ANGEL HEART (1987)
In the mid 1950s, a traumatised war vet, now turned PI, investigates the disappearance of a popular singer, taking a winding road through the backstreets of New York to the hoodoo-haunted swamps of Louisiana, encountering murder after murder en route.
Director, Alan Parker, successfully blends film noir with devilish horror in this gruesome but compelling mystery thriller. Explicit sex and violence created a wave of controversy, but it remains intelligent scare-fare, and rises to some true crescendos of darkness. Adapted from William Hjortsberg’s 1978 novel, Falling Angel.
15 HELLRAISER (1987)
After an amoral hedonist is torn apart by sadomasochistic demons he summoned while hoping to experience the ultimate pleasures, he escapes from Hell by persuading his sister-in-law to commit brutal murders so that he can rebuild his shattered form.
Clive Barker’s directorial debut, and a gory, gaudy exercise in 80s horror, with lashings of blood and torn flesh and endless mind-bending imagery. The trans-Atlantic setting confused some audiences, but the fact it takes its horror seriously, and utilises Hell’s denizens for quite different purposes from the norm, makes it a stand-out movie of that era. Adapted from Clive Barker’s own 1986 novella, The Hellbound Heart.
16 THE EXORCIST III (1990)
When an ageing Georgetown cop investigates a series of ritual decapitations, he gradually uncovers links to the multi-fatality exorcism of a young child some twenty years earlier.
Exorcist author, William Peter Blatty, took the director’s helm himself to create this hugely effective and engrossing sequel to the original masterpiece. He’d already written both books of course, so he could hardly go wrong, except that interference by studio execs left him personally dissatisfied with the final product. Adapted from William Peter Blatty’s 1983 novel, Legion.
17 EVENT HORIZON (1997)
A deep space salvage mission to recover the wreck of an experimental ship that went missing years earlier runs into trouble when the salvage crew discover that, wherever their objective has been all this time, it may quite literally have opened a portal to Hell.
Rare but incredibly effective blend of sci-fi and occult horror, director Paul Anderson laying on the extreme psycho-disturbances (and the extreme gore), melding the subgenres perfectly to create a unique and genuinely terrifying atmosphere, the stellar cast happily playing second fiddle to the nightmarish concept. Made from an original screenplay by Philip Eisner.
18 THE EXORCISM OF EMILY ROSE (2005)
When a studious college girl dies during the course of a brutal exorcism, the priest responsible faces trial for murder. His atheist defence attorney dismisses any possibility that demons did it, though events soon conspire to change her mind.
Another true(ish) story, and another blend of subgenres, occult horror this time slamming headlong into courtroom drama. Sharp work by all involved elevates Scott Derrickson’s nifty little chiller way above the God v Satan melodrama you might expect from such a concept. Religious in tone, but relentlessly frightening. Inspired by the genuine case of Anneleise Michel.
19 THE WITCH (2015)
When a poor Puritan family come to settle in what will eventually become New England, they initially think they have landed in paradise, only to start suspecting that the witchcraft they so feared in the old country has followed them here.
This astonishing piece of work from debut director Robert Eggers raised the game of the occult horror genre several notches overnight. He utilises plenty of old tropes, but hits his audience in the gut with them rather than going through the age-old motions. One of those grittily dark and disturbing horror movies that you don’t want to watch more than once. Made from an original screenplay by Eggers himself.
20 THE DEVIL'S DOORWAY (2018)
In the early 1960s, two Irish priests are appalled by the goings-on they uncover in one of the Magdalene laundries, and even more so when their investigation leads them into a subterranean world of human sacrifice and Luciferian ritual.
Probably the one movie on this list that quite a few readers won’t have seen, and it’s their loss. Lalor Roddy is remarkable as the ageing priest struggling to keep his faith in the face of intense evil (as much from his own side as the other), but it’s director Aislinn Clarke who does the most immense job, grittifying her discomforting tale to the point where you can hardly bear to watch - oh, and scaring the pants off you in the process. Made from an original screenplay by Aislinn Clarke, Martin Brennan and Michael B Jackson.
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