I liked how "Hometown Horrible" not only gives us intriguing "fictional" story teases (thus really selling the concept), not only how it reincorporates a classic but sorely missing aspect of horror (well, a lot of fiction, honestly) which is the "regional" tinge, but what I most liked was how it's also something of a cautionary tale for horror fans *about* the persona of H.P. Lovecraft (very slyly name-dropping *around* him but never naming him) and the dangers of blithely incorporating worldviews without consideration. Bey's story seems to me in the same rank of writers like Ligotti. Amazingly good, I hope it wins some awards.
I'm not a big fan of IN THE MOUTH OF MADNESS (I'd easily rate THE THING and HALLOWEEN over it, and probably ASSAULT ON PRECINCT 13, BIG TROUBLE IN LITTLE CHINA, THE FOG, heck, maybe even HALLOWEEN III, as more successful works from Carpenter). I saw it when it came out (can't miss Carpenter's eye for placement on the big screen, unless its dreck like GHOSTS OF MARS) and gave it a second chance on video but it always seemed plagued by the same problems he had with PRINCE OF DARKNESS, ideas over execution (except for that "standing at the edge of abyss" moment from ITMOM, which is pretty damn super!). Now, being a horror movie fan, I pretty much *have* to be all about ideas over execution, but that's only an excuse for when a director has no chops and Carpenter, by then had proven he had chops in spades. So bits like the early "monster cop in the alleyway" and "little boy/old man riding bike" scene just seem like weak, cartoony sub-TALES FROM THE DARKSIDE/TALES FROM THE CRYPT level execution, in a film whose ideas deserved more.
Ironic, because the whole "ideas over execution" angle is brought up in "Hometown Horrible" (and the virus spreads).