Wednesday, January 17, 2018

Beyond the Darkness Blu-Ray

The deranged folks at Severin are at it again.  This time we are talking about Joe D'Amato's morbid classic, Buio Omega, more commonly known in English as Beyond the Darkness or the name I first saw it under on VHS many, many years ago: Buried Alive.


If you have not seen this film, it is a nasty one.  I think at least part of the film's intent was to make its audience sick.  It is gruesome and rather unpleasant in many places, featuring fairly lengthy sequences involving the disposal of a body, the embalming and dressing of another body, plus some good old gory violence.  Add in a classic Goblin score and you have yet another reason that Italian cinema was so wonderful.

I got my copy directly from Severin in the Necro Bundle, which features the Blu-Ray with a CD of Goblin's score, along with a reproduction of the theatrical poster Aquarius Releasing made for its release as Buried Alive, a t-shirt, an air freshener, and a pin.  It is a rather nice package, which is worth picking up if this kind of movie is your thing.

Enamel pin (left) and air freshener- ah, the smell of acidbath (right)

T-shirt design

Reproduction of the U.S theatrical poster

For the extras on the disc, Severin didn't go overboard, but did include some good stuff instead of just cramming the disc full of filler.  There are interviews with cast members, a trailer, plus a lengthy piece about D'Amato.  The extra bit I was happiest about was the inclusion of the Goblin score CD (although this is only for the first batch, about 2,500 I believe).  I always enjoy having the scores for these movies, as they are almost universally great. And why shouldn't they be?  Italy is home to some of the greatest film composers who have ever lived: Riz Ortolani, Fabio Frizzi, Goblin, Nico Fidenco, plus so many others, including the nigh-untouchable Ennio Morricone.

As for the movie itself, this one deals with a man whose wife has just died.  He is a wealthy man whose hobby is taxidermy.  Once his wife has died, he is not able to let her go, so he snatches her body and injects it with chemicals to preserve her as best as possible. By this point, he is rather disturbed and takes up a new hobby: murder, or omicidio, if you prefer your Italian horror in Italian.  He has a housekeeper that assists in his murderous activities.  Things naturally escalate to quite a finish.  Check it out for yourself to see how it all goes down in the end.

 This is certainly a worthy addition to any Italian horror fan's collection and is definitely recommended.


Tuesday, October 31, 2017

A Nightmare on Elm Street Soundtrack Box Set

If you grew up in the '80s as I did, Freddy Krueger is bound to be as recognizable to you as the Trix rabbit, or, more appropriately, Count Chocula.  Most people automatically think of Freddy's glove and his wisecracks, but there was more to the A Nightmare on Elm Street movies.  One major aspect that is memorable, although still somewhat overlooked, is the music.  The scores for these movies were excellent (some more than others, of course).  Varèse Sarabande put together a beautiful package for those of us who love the music as well as the movies.

This is a collection of the scores for each movie, from Wes Craven's classic original film to the misguided Freddy Vs. Jason.  Each CD includes the original soundtrack album, then additional material not included on those original releases.  There is a whole hell of a lot of music included in this box, with the CDs ranging from about 55 minutes to around 75.

Varèse Sarabande really did a wonderful job with the packaging on this one.  The 8 CDs are in cardboard sleeves, but they took the extra step of putting each disc in a plastic inner sleeve that protects it from the various scratches that tend show up when stored in cardboard sleeves.  When laid out, the covers of the cardboard sleeves make a large piece of artwork made for this release.

                                Box cover (left) and the booklet (right)

                                               Miniature Freddy Sweater cover that slips over the box

                                   All eight cardboard sleeves lined up to show the new artwork

This is quite a release, but it is also quite an expensive one.  While I absolutely do recommend it, I only recommend it to Elm Street fans who also like film scores.  If you haven't the patience or interest in listening to the score of any movie, you would do best to skip this.  If you do enjoy film scores, then it isn't cheap, but you do get quite a bit for your money.

Just don't try to get it off of eBay.  It makes the list price seem cheap in comparison.

Exhumed- Death Revenge

2017 has been quite a year for death metal, particularly older death metal bands.  To date, this year has seen new releases from Immolation, Incantation, Obituary, Broken Hope, Origin, Suffocation, and others, with upcoming releases from Cannibal Corpse and Morbid Angel.  And these haven't just been new releases, but good ones, too.  Time will tell for the Cannibal Corpse and Morbid Angel releases, as those are due out in November and December, respectively.

One of the most recent of this batch of death metal is the newest release from one of my favorite death/grind bands, Exhumed, entitled Death Revenge.

      Death Revenge LP with lyric sheet/poster and Death Revenge CD

Exhumed has been around for quite a long time at this point, starting its career with demos and multiple split releases before moving into full-length releases with the now-classic Gore Metal in 1998.  This was followed up by the superb Slaughtercult, then the more mature and melodic Anatomy Is Destiny.  After this, the band went on an extended vacation, right on the heels of a cover album, Garbage Daze Re-Regurgitated in 2005.  The band finally resurfaced with a renewed vigor with 2011's All Guts, No Glory.  

Then, on October 13 of this year (Friday the 13th, in case you're wondering), the newest album hit the shelves.  Death Revenge is a concept album based on the real-life crimes of William Burke and William Hare in 19th century Scotland.  If you are unfamiliar with this pair, they lived during a time in which people often referred to as resurrectionists would dig up recently interred corpses to sell off to doctors for use in anatomy classes.  At the time, allowed for corpses of deceased criminals and the like for use in anatomy courses, but the simple fact was that the demand was greater than the supply.  So, some enterprising folks would dig up the dead and take them to doctors who would pay for their efforts, knowing better than to inquire at to the corpses' origins.

Burke and Hare decided that this one would be a good way to make some money, but I suppose the digging up the corpses was a bit too much work.  They decided it was much more efficient to create the supply through just killing people.  Mind you, this started off somewhat innocently with the death of a lodger at Hare's house.  Burke and Hare pulled the body from the coffin before it went into the ground and sold it.  Things escalated from there, but Burke and Hare were eventually caught.

There is much more to the story, but that is the basic idea and this is what Death Revenge is all about.  Exhumed's main man, Matt Harvey, read about the duo and decided it would be excellent material for a death metal album.  Well, he is certainly correct.

The first thing that struck me with this album was the cover art, which reminds me of a theatrical poster for some '70s Eurohorror flick-- one that probably features numerous exceptionally attractive women who have no qualms showing their boobs every ten minutes or so, for no other reason than the simple fact that it is highly appreciated by the audience.  The cover even has crease marks, like you would find on older posters, when they were shipped out folded, rather than rolled up.

One of the next things that I was rather excited to find out was the fact that this album marks the return of Ross Sewage, who had departed the band after Gore Metal.  His vocals on that album were such a great counterpoint to those of Matt Harvey.  Other people stepped in after to handle the lower, more guttural vocals, which Ross had previously supplied, each doing a commendable job, but it was just never quite the same as those wonderfully low and gurgly growls Ross belted out.  He's back and has apparently not lost his skills, I am happy to say.  In fact, my only real gripe regarding Slaughtercult was the low vocals, which were supplied by Mike Beams, who did quite well, even if it wasn't quite the same as having Ross handling them, but they seemed low in the mix, almost being felt more than heard.

However, even though Ross is back in the fold, this is not Gore Metal Part 2.  The grindy aspects of Exhumed have diminished over the years, as the band grew more melodic.  This is not all that surprising, since this is a band heavily influenced by the legendary Carcass.  Unlike Carcass, though, I think Exhumed has managed to balance the melodic elements without losing too much of the aggressive death metal approach.  Carcass at one point had essentially become hard rock, just performed by a death metal band.

Exhumed has always had a knack for good, strong riffs, and this has not changed any.  This may be a more mature version of Exhumed, but it is still Exhumed, showing that a band can progress without losing its essence.

I am not the biggest fan of melodic death metal, but I don't think Exhumed really falls into that category, being more of a straight-up death metal band with melodic elements.  The band has not forsaken the blast beats that have been a major element of the band since the beginning, there just aren't quite as many as in the days when Exhumed shared space on a release with the likes of the ever-enjoyable Hemdale.

I have already listened to this one more than many other albums I have bought in more recent years.  This is definitely one of my top albums of the year.  

Thursday, April 6, 2017

Grindhouse- 10th Anniversary

It has now been a decade since the Robert Rodriguez/Quentin Tarantino double feature, Grindhouse, hit theaters.  Despite the fact that it did not perform as well as expected at the box office, I still believe, to this day, that this was one of the best movie-going experiences in my lifetime.  For me, personally, most movies don't seem to warrant going to the theater these days.  I think it is a combination of modern home viewing technology and the movies that are made today.  There are plenty of good movies that come out today, but they don't grab my attention quite the way movies used to and are on DVD and Blu-Ray just a few short months later, playing theaters for just a few brief weeks, so there is only a small window to go see them in the theaters now.

With Grindhouse, it was different.  This was something I waited for and looked forward to for some time before the release.  It was one that I knew would be best to see in the theater.  This one actually made me excited to go to the movies again. 

I was not disappointed.

What I got was over 3 hours of bloody, violent, deranged, crazy entertainment and it was more than worth the ticket price.  For the same you would pay to see any other regular movie, you got two feature-length movies, plus several trailers for non-existing movies.  It was a bargain.

Unfortunately, I think many people just did not get it.  I suppose that is to be expected, as not everybody is familiar with exploitation cinema and the grindhouse era.  That lack of familiarity for many people seemed to mean that they were not able to fully enjoy the movies and the trailers sandwiched between them.  Instead, they would wonder why something is the way it is and why the movies look the way they do, etc.

The Movies:

Planet Terror DVD cover

Planet Terror is the first of the two movies and the more rapidly-paced of the two.  I think it was a good idea to put this one first, just to get everything going quickly.  It is bloody, chaotic, and just plain fun.  It is absurd, it is exciting, and it takes you on a great ride.  It doesn't hurt that there are a good few rather attractive women in it, including Robert's nieces (credited here as "the Crazy Babysitter Twins").

Death Proof DVD cover

Death Proof, on the other hand, is more of a slow-burn movie (although it, too, features many very attractive women), which is a bit more in keeping with movies from the exploitation/grindhouse era.  All the crazy violence and action that would fill the trailer was generally from the last 20-30 minutes of the movie.  Many found Death Proof to be mostly boring, which I can understand, but do not agree with.  Of the two movies, this is the one I prefer.  I think both movies are excellent and very enjoyable, but I watch Death Proof way more frequently than I watch Planet Terror.  In fact, going off of how often I watch each of them, Death Proof is my favorite Tarantino movie, period.  I know I am in the minority on this (even the man himself has referred to it as the worst movie he will ever make), but that is my honest opinion.

The Trailers:

The first trailer is shown before Planet Terror, which is for Machete (which was actually made into a movie later).  From the look to some of the dialogue to the violence to the narration, this trailer really captures the feel of those old trailers.

The remaining trailers are shown between the two movies.  There is Rob Zombie's Werewolf Women of the SS, which really sounds like it would be a fun movie.  The mix of ideas in this one is ridiculous, but at the same time just kooky enough that it could really make for one hell of an entertaining movie.  Zombie apparently shot enough for a feature or at least close to it.  If any of the other footage will ever see the light of day, I have no idea.  Obviously, this trailer is bringing out some of the old nazi-exploitation vibe, which is great.  I will say that I think this trailer is the least convincing as far as the old, worn-out look that they all have.  This one looks like a new trailer with digital wear and tear added.  This is not enough, however to ruin the fun of the trailer and I would still dig seeing this as a complete movie.

Don't is a throwback to all the movies that had the word "don't" in their titles, of which there were many: Don't Go in the House, Don't Answer the Phone, Don't Go in the Woods Alone, Don't Look in the Basement-- you get the idea.  Some of these are actually referred to in the trailer's narration.  This is one of the most well-done of the trailers.  It really looks like something from 1977 or so.  There are even some shots that brilliantly-recreated shots from real movies, such as The Legend of Hell House.

Thanksgiving brings back the good old days of the holiday-themed slasher movie.  This one looks grimy and sleazy as hell, filled with blood, severed heads, and boobs.  Eli Roth's narration is priceless and completes the feel of those old slasher trailers.

To top off the trailers, there was also a fake commercial for the Tarantino-universe restaurant, The Acuña Boys.  If you have never seen any of these old commercials for restaurants like this, they really look just like this one looks.

All told, Grindhouse was and is a movie-experience like none other these days.  It takes viewers back to a different time, when you felt like you got a bit more for what you paid and it delivers.  Even though I think this is best experienced in an actual theater, it is still great fun in your own home on your TV in your living room, either alone or with a couple friends.

If you never gave this one a go, you should.  And if you did, but hated it, well it isn't for everybody.

Monday, March 20, 2017

The Punisher Import Blu-Ray

Okay, so this isn't exactly horror, but it certainly has an old exploitation cinema appeal to it, which I love.  I am talking about the 1989 film adaptation of the Marvel Comics character, The Punisher, featuring Dolph Lundgren in the title role.  This movie was made by New World Pictures in Australia, although it still takes place in the U.S.  Due to the financial situation with the studio at the time, it was not released theatrically in the U.S. (although it was in much of the rest of the world), but instead was released straight-to-video in 1991 or so.

I remember reading some pretty negative reactions to this movie in the letters section of some Punisher comics back in those days, which I never really understood.  Sure, it isn't exactly super faithful to the source material, but I think the basic idea is still intact and let's be honest, having Castle running around in the same outfit he wears in the comics would have looked really kooky, although the fact that he does not wear that costume seems to be a big complaint about this movie.  I think the more recent movies have done well with the costume and incorporating the classic skull design into his costume, but by then, the comics had already changed the Punisher's costume to something less superhero-ish and more realistic, so the transition to screen with the newer look was pretty simple.

However, I have always liked the look the character has in this particular movie.  I think they made a good choice in simplifying the look and finding a look that is less flashy and comic bookish.  I suppose that sounds a little weird, since it is a movie based on a comic book, but the fact is that what works on the pages of a comic book does not necessarily work on the screen in a live action movie.

All that aside, if nothing else, I think The Punisher was just a really enjoyable, and pretty damned violent, revenge/action movie.

I was very happy to see that there is a Blu-Ray release of the movie out now, which is actually an import from Australia, but it is, thankfully, region-free.  I was especially glad to see that there are different versions of the movie included in the release.  One is a workprint version from the director, which features a good bit of stuff left out of the final movie, mainly what amounts to an entire reel focusing on Frank's final couple of days before he becomes the Punisher.  You get to see him as a cop, working with his partner, Jake (played by the always-great Louis Gossett Jr.) and even see the heroin bust that is mentioned later on in the movie.  This extra footage establishes more of the characters and their histories with each other.  While I think the film still works without it, I think the loss of this material from the finished movie does impact the way it plays significantly.  In the final version, when you first see Frank, he is the Punisher, but originally, you saw him as Frank Castle, saw him being a father and husband, as well as a cop and a good friend, which also impacts the later scenes between the Punisher and his former partner, Jake.

Also included is a fairly recent interview with Dolph Lundgren, in which he seems to be pretty fond of the movie, although he does state that he feels the removal of the first section of the movie takes away from the character and the movie overall.  I find it difficult to disagree with him there.

Certainly, this is a release worth picking up if you are also a fan of this underappreciated film.

Sunday, November 6, 2016

Count Dracula's Great Love and Burial Ground Blu Ray Releases

My two most recent Blu Ray purchases just arrived in the mail a couple days ago:  from Vinegar Syndrome, there is Count Dracula's Great Love, directed by Javier Aguirre and starring the late-great Paul Naschy.  And then, from Severin, the Italian madness known as Burial Ground, from director Andrea Bianchi.

Paul Naschy is most remembered for his Hombre Lobo movies, playing the ever-doomed Waldemar Daninsky, but he made so many movies in his life that it is doing the man a disservice to overlook his other roles, such as Alaric de Marnac in one of my personal favorite Naschy movies, Horror Rises from the Tomb, Gotho (aka the Hunchback) of Hunchback of the Morgue (which deserves a good Blu Ray release as well), and, of course, Count Dracula himself from Count Dracula's Great Love.

Naschy was heavily influenced by the classics of the golden age of horror and it shows in this movie, from the moody sets and locations to the look of Dracula.  Naschy took these influences and mixed it with some modern sensibilities (such as shooting in color, with plenty of blood, guts, and boobs).

The opening of Count Dracula's Great Love is quite memorable, with two men delivering a crate to a remote old house that was once a sanitarium, then getting the not-so-bright idea of looking around for items of value to steal.   They naturally pay with their lives, leading to the unusual opening credits, which feature one of the would-be thieves falling down a flight of stairs after taking an ax to the head, over and over again, at ever slower speeds.

The story focuses on a group of friends who get stranded in the middle of nowhere and end up taking refuge at the sanitarium, which is, naturally, also in the middle of nowhere.  Their host is Dr. Marlow (Naschy), who is actually the most recent incarnation of Dracula-- I don't think I am spoiling anything by saying that.  This movie establishes the idea that Dracula's physical existence can be destroyed, but he always comes back in a new form.  However, to reach his full power, he needs a woman to fall in love with him and give herself to him freely.  This will also help him resurrect his daughter.  This is similar to the idea in his werewolf movies where it requires a woman who loves Daninsky to kill him, thus freeing his soul from his lycanthropic curse.

As most of the friends succumb to vampire attacks, joining the ranks of the undead themselves, Dr. Marlow and one of the friends, Karen, grow closer and she inevitably falls in love with him.  I will stop there to avoid ruining the movie for anybody who hasn't seen it.  Besides, a full plot summary is easy to find with a quick Google search.

This release features a rather nice-looking transfer of the movie, which is a big upgrade from the DVD copy I have (the Elvira edition from the early '80s run of Movie Macabre).  There is also a trailer, a commentary track with Naschy himself featuring subtitles in English, an interview with actress Mirta Miller, a booklet featuring liner notes by Mirek Lipinski, and a reversible cover.  Not to mention, there is a DVD version included for those who don't have a Blu Ray player.  This is certainly a recommended release for any Naschy fans or fans of old Eurohorror.

Once upon a time, Italy had a really amazing and prolific film industry, giving the world many classic Westerns, action-crime movies, horror movies, amazing giallo flicks (which do often cross over into full-on horror territory, but not always), post-apocalyptic barbarian movies, and so on.  During that wonderful period, there came a movie that I really think only the Italians could have made: Le Notti del terrore, aka Burial Ground.  My first exposure to this movie was the old Vestron VHS edition, which I rented just because the cover artwork was so good (thankfully, Severin preserved this artwork for this release with an alternate cover on the reverse side, in addition to some new art by the great Wes Benscoter on a cardboard sleeve-- more on that later).  I really did not expect the movie that tape contained.

To a large extent, it is a straightforward zombie movie: a group of people in a house try to fend off a horde of zombies.  Despite this, Burial Ground is not just another old zombie flick.  This movie was made pretty cheaply, to be sure, and it does show in many places, but it has charm and it is just plain weird, making it one of the more obscure classics of this era of horror, resting somewhere between Lucio Fulci's iconic Zombi 2 (aka Zombie, Zombie Flesh Eaters, and various other titles) and Bruno Mattei's Virus - l'inferno dei morti viventi (aka Hell of the Living dead,  Zombie Creeping Flesh, and so on).

The setting of Burial Ground is a large mansion, which looks quite amazing, and is located near some old ruins, among which an archaeologist accidentally revives the dead, who then terrorize the people staying in the house.  

One of the main things everybody remembers about this movie is Peter Bark (aka Pietro Barzocchini).  He doesn't seem to have been in many movies and Burial Ground appears to be the only one is actually credited in, so it would appear it is his only substantial role in a movie.  Though in his mid-20s at the time, Bark plays Michael, the young son of one of the women (played by the lovely Maria Angela Giordan, aka Mariangela Giordano) visiting the mansion, and he loves his mother very much.  Very, very much.  I won't go into any more detail for those who haven't seen the movie.

Being a zombie movie, I need to mention the zombie makeup.  As I said before, this was a cheaply-made movie, so some zombies look much better than others.  Some utilize masks, while others are makeup.  Even the cheap ones are still pretty fun though, and there are plenty of worms wriggling about on many of the zombies.

Severin has done a rather nice job with the movie.  It looks quite good and, as I generally prefer older cover art to new art created specifically for a DVD/Blu Ray release, the way Severin handled the artwork is perfect: there is some excellent new artwork, but you don't miss out on the classic artwork (unlike Paramount's multiple re-releases of the first eight Friday the 13th movies, always coming up with some new uniform-style computer-rendered bland artwork, rather than the classic artwork from the old VHS releases).  As mentioned before, the new artwork for the outer sleeve was done by Wes Benscoter, who should be a very familiar name to anybody who is a fan of metal, particularly death metal, as he created so many classic album covers for bands like Deceased, Mortician, Embalmer, Autopsy, Hypocrisy, Sinister, Vader, and others.  His style has a rather distinct look, so you can almost always look at one of his pieces and tell it is his.  I must clarify that I do not mean his work all looks the same, rather that it is the way he shapes objects and people, something in his technique that leaves a unique stamp on each piece.  Put simply, I really like the new artwork, but very happy that classic design is there as well.

The extra features on the disc are mostly interviews, but it also has the trailer and piece about the mansion used in the movie.  This is a really great release of a rather unusual, but extremely enjoyable film.  Another excellent job by the folks at Severin.

Sunday, October 30, 2016

Weird Tales and Other Pulps

Back in the 20th century, primarily the first half, there were various magazines known as pulp magazines.  They were predominately short fiction-based (although there were also some longer stories that would be serialized over multiple issues) and got the pulp name from the cheap, pulpy (and highly acidic) paper they were printed on and more or less replaced the penny dreadful of the 19th century.  These magazines featured fiction in genres that are often snubbed by many: crime, science fiction, fantasy, and, of course, horror.

One of the most important and well-known of the pulp magazines is Weird Tales.  This magazine featured the first publications of numerous now-classic stories by the likes of Robert E. Howard, Clark Ashton Smith, Robert Bloch, and H. P. Lovecraft in addition to some quality material from now-lesser-known writers such as Seabury Quinn, Nictzin Dyalhis, and many others.

Weird Tales originally ran from 1923 until 1954, but has since been revived multiple times to varying levels of success.  So, it is a magazine that has been in print off-and-on for around 90 years, but it is that original run from 1923-1954 that people think of when they hear the name, Weird Tales, which instantly brings to mind Lovecraft's bizarre, monstrous beings from other realms and Howard's sword-wielding barbarians and eerie horror tales.  Each time the magazine was brought back, it could never be quite the same magazine as it was originally, since some of its most legendary writers were dead and, as such, had nothing new to contribute-- not to mention, the newer writers these revived versions would publish were also typically publishing novels, not just focusing on shorter fiction as these earlier writers had.  Whereas Howard, Lovecraft, Seabury Quinn, and their contemporaries were published pretty much exclusively in pulps such as Weird Tales, Astounding Stories, and Avon Fantasy Reader, among others , by the time you get to the second half of the 20th century and the various newer versions of Weird Tales, the world had long since moved on and the newer writers were not pulp writers, rather novelists who would also write some short stories, which would often just be collected together to be published in book form as well, largely negating the purpose of this kind of magazine.  Nowadays, there are numerous collections of Lovecraft's stories and Howard's, as well as some of these other writers, but during their own lives, this was generally not the case.

Issues from various incarnations of Weird Tales, including two modern reproductions of the original run

As for the other writers from the various pulp magazines, some have seen occasional republication in various anthologies, often focusing on republishing tales originally published in one specific magazine, such as Weird Tales or Avon Fantasy Reader.  Unfortunately, even some of these anthologies are from decades ago and no longer in print, not to mention the fact that they only reprint a fraction of the stories that appeared in the original pulps, leaving many wonderful stories in cavernous shadow of the past, unknown to the majority of the world's current population.  To make matters worse, pulp magazines were cheap, much like early comic books, and printed on very cheap materials, which leads to them being rather scarce these days.  The paper tends to discolor and become brittle, making them difficult if not outright impossible to read in many cases.  If you find copies of these old pulps today, they are often taped together or missing pages and/or their covers.  Even copies that were well-cared for are going to have suffered from the passage of time and the low-quality materials of which they were made. The aforementioned anthologies, generally printed as mass-market paperbacks, tend to fare a bit better, partly because they aren't quite as old and the paper, while still cheap, is of a slightly more durable nature, making them easier and less expensive to acquire, while the original pulp magazines tend to be much more expensive, particularly earlier issues of Weird Tales or issues of pretty much any title featuring more well-known writers, such as Lovecraft.

1960s-era paperback collection of stories reprinted from The Avon Fantasy Reader
Today, one can track down many of these stories, if not all, fairly easily in a used bookstore or online, with options ranging from the original magazines (mainly for the collector with deep pockets) to reproduction copies (such as those done by Girasol) to the various collections that have been published over the years, some of which are high-quality hardcover editions.  It just takes some time, patience, and effort.  Some of the longer stories, ones that were originally serialized over a few issues, such as the Seabury Quinn novel, The Devil's Bride, or Lovecraft's The Case of Charles Dexter Ward, have been published in standalone editions.  There is also a recent reprint of A.G. Birch's novella, The Moon Terror, which was originally published in two parts in early issues of Weird Tales, then soon after collected into book form with three other early Weird Tales stories.  This newer edition is basically a reprint of that book version (even retaining the original cover art), although it only includes two of the stories from that earlier edition: the title story and "Ooze" by Anthony M. Rud, which first appeared in the very first issue of Weird Tales.

Collected versions of longer stories originally serialized in Weird Tales

Regardless of what format these stories take today, I believe that there is so much great horror, science fiction, and fantasy to be found among these pulps.  Every time I happen across an old paperback anthology or a collected edition of a serialized story from these magazines, there is a sense of excitement, for me at least, that can never be duplicated by modern horror, fantasy, and science fiction.  These stories are of a breed that is long-since gone and will never be again, but continually wait, overlooked and forgotten by so many, to be discovered by new generations of readers who can appreciate them much as those readers from several decades ago, who were there as each issue of the pulps hit the newsstand.