tag:blogger.com,1999:blog-47361567943484370822024-03-18T04:00:08.320-05:00The Paradise of HorrorMr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.comBlogger549125tag:blogger.com,1999:blog-4736156794348437082.post-40196103947730678962014-06-18T09:25:00.001-05:002014-06-18T09:25:25.616-05:00Review: Almost Human (2013)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijWjdyWaltWAfdD49B8GXwir7LBJnVGs3vL0ocZFeUxfOZKbN6JsmcnvY41VoZrvw3YuiW2vmBzeW0g5QDfPk7Cv_DVgWx9_9zkr6pF2JV-4w3BdxeBSXlGkF3KRpz0w9t_08h1uKNIs4/s1600/Almost.Human-2013.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijWjdyWaltWAfdD49B8GXwir7LBJnVGs3vL0ocZFeUxfOZKbN6JsmcnvY41VoZrvw3YuiW2vmBzeW0g5QDfPk7Cv_DVgWx9_9zkr6pF2JV-4w3BdxeBSXlGkF3KRpz0w9t_08h1uKNIs4/s1600/Almost.Human-2013.jpg" height="400" width="268" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i><br /></i></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i style="mso-bidi-font-style: normal;">Almost Human</i> is a weird movie. It’s not the best, but
certainly not the worst. When it premiered, it seemed as though the horror
community adored it, and why wouldn’t they? A good 3/4<sup>th</sup> of it is an
homage to other horror films that director Joe Begos was clearly influenced by.
The story concerns itself with Seth Hampton, who witnessed the abduction of his
friend, Mark Fisher, by aliens. Two years later, Mark returns, and Seth begins
having psychic visions of his brutal massacre across the Main countryside, only
to realize that he has a more nefarious agenda. Ultimately, <i style="mso-bidi-font-style: normal;">Almost Human </i>is not strange or
terrifying enough to be lasting, but not entirely generic to pass up on. I can
understand why a lot of people enjoyed it. It’s a rare species of horror that
should be observed and enjoyed at a distance. Any attempt at finding a deeper
meaning will only result in profound bewilderment. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">As
aforementioned, <i style="mso-bidi-font-style: normal;">Almost Human</i> seems
like a what’s-what of homage. Almost every other scene is a reference to
previous works of horror. That’s not a bad thing. One can make a game out of
spotting these subtle or no-so-subtle references. Some citations are so faint;
you might not even notice them on the first viewing. Here are some of the most
obvious. I will not spoil all of them, and please be aware that they <i style="mso-bidi-font-style: normal;">may </i><b style="mso-bidi-font-weight: normal;">spoil</b>
the movie:</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i style="mso-bidi-font-style: normal;">THE X-FILES</i>, perhaps on imagery alone. Am I grasping for straws, here?<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i style="mso-bidi-font-style: normal;">THE THING</i>, not just in the manner of which our
killer “screams” in, but the soundtrack shares the same pulse-pounding beat as
the classic Ennio Morricone score. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i style="mso-bidi-font-style: normal;">XTRO</i>. Both films share the same story of a man coming back from
an alien abduction to rebuild his former relationship. Both main characters
share a psychic bond with the abducted, and some scenes are directly lifted
from those in <i style="mso-bidi-font-style: normal;">Xtro</i>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i style="mso-bidi-font-style: normal;">THE MOTHMAN PROPHECIES</i>. You’ll understand when you hear it.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i style="mso-bidi-font-style: normal;">INVASION OF THE BODY SNATCHERS</i>. I mean, really! <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">THE SHINING.<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">SLITHER.<o:p></o:p></span></i></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">And
Cronenbergian body horror. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLGqzA-G1NEHbnPzz8Dm-dNDWjEBukRGPf-A9_T8gJAkscMganoV2eFdGuktTHzXDUCOb5QYermjpM3IRWYYr3p4rR_K1iI89WtjXxcuct7jzLb-qPQpLwUw6dXYRNNjESnnC06EZQ8Ps/s1600/the-fly-1986--05-630-75.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLGqzA-G1NEHbnPzz8Dm-dNDWjEBukRGPf-A9_T8gJAkscMganoV2eFdGuktTHzXDUCOb5QYermjpM3IRWYYr3p4rR_K1iI89WtjXxcuct7jzLb-qPQpLwUw6dXYRNNjESnnC06EZQ8Ps/s1600/the-fly-1986--05-630-75.jpg" height="177" width="400" /></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Some reviewers
have cited nods to <i style="mso-bidi-font-style: normal;">The Terminator</i>, <i style="mso-bidi-font-style: normal;">Halloween</i>, <i style="mso-bidi-font-style: normal;">Re-Animator</i>, <i style="mso-bidi-font-style: normal;">Videodrome</i>, <i style="mso-bidi-font-style: normal;">Jeepers Creepers</i>, <i style="mso-bidi-font-style: normal;">American Werewolf in London</i>, and <i style="mso-bidi-font-style: normal;">Fire in the Sky</i> to name a few. Indeed, all these references are <i style="mso-bidi-font-style: normal;">in</i> the movie. Perhaps this may be the
biggest contributing factor to <i style="mso-bidi-font-style: normal;">Almost
Human</i>’s replay value. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i style="mso-bidi-font-style: normal;">Almost Human</i> is a film that, as I learned the further
along I got, is structured so that the characters, and their relationships with
one another, don’t necessarily matter.<span style="mso-spacerun: yes;">
</span>Nevertheless, every film needs to have a “main character,” and
unfortunately our main character, Seth, isn’t all that interesting or engaging.
Nor is Mark’s ex, for that matter. This would be fine if the focus was on Mark.
As an audience, we identify more with Seth, and the story seems empathetic to
this plight. But as it was executed, the film is more concerned with Mark’s
mission to find his ex, rather than Seth. Mark, despite being cold and
stone-faced, displays more character than the rest of the cast. It’s okay to
have a very prominent villain, as was the case in <i style="mso-bidi-font-style: normal;">Xtro </i>and <i style="mso-bidi-font-style: normal;">The Terminator</i>,
but our hero should be at least somewhat developed (<i style="mso-bidi-font-style: normal;">Xtro</i>) or relatable (<i style="mso-bidi-font-style: normal;">The
Terminator</i>).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Perhaps I’m
wrong. Maybe Mark is our “main character.” If that’s the case, why, then, do we
spend so much time with Seth and Jen (Mark’s ex), and their pointless
relationships with each other, and their co-workers? You know what could have
made this a smidge bit better? What if we show Seth and Jen’s relationship grow
as the result of being ruthlessly pursued by Mark? They don’t have to fall in
love, but it’s established that, as the result of Mark’s abduction, they
distanced each other quite a bit. Maybe after being forced together through
tragedy, they begin to rekindle that friendship they once had. Horror shouldn’t
be completely mindless. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP_nXkUwlgeUEppdhbsXeUn3zwzMi3s7P6QykcwruQdUUA4XCemt5SU6iumQVOmjNebnSchedtKkZtEEUOI5gqb9mRk6yCufX6VZ2LF7GAjBxFkCKOaoUckTzM9KJKrctRG3hlY5lqN_M/s1600/Almost+Human+10.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP_nXkUwlgeUEppdhbsXeUn3zwzMi3s7P6QykcwruQdUUA4XCemt5SU6iumQVOmjNebnSchedtKkZtEEUOI5gqb9mRk6yCufX6VZ2LF7GAjBxFkCKOaoUckTzM9KJKrctRG3hlY5lqN_M/s1600/Almost+Human+10.png" height="165" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The strangest
aspect of this film, and what produces its bizarre quality, is the acting. Once
more, Josh Ethier (Mark) seems to be the only person trying to deliver a real
performance while the rest of the cast act as though they were in a Corman
movie. There are line deliveries that are laughably bad, terribly forced swearing,
all the while feeling as though the actors were aware of their schlocky
performances. Maybe they genuinely thought they were in a campy lackluster. It’s
so odd because the rest of the film is played very straightforward. Every time
Seth had a melt down over his psychic visions, I kept waiting for him to break
the fourth wall by winking to the camera. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">With all this
bitching aside, it should be reiterated that the film is <i style="mso-bidi-font-style: normal;">not</i> bad. To carefully explain the film’s problems requires
clarification. Fortunately, the best assets <i style="mso-bidi-font-style: normal;">Almost
Human</i> has to offer are quite prominent. Aside from the homage, the film is
utterly relentless in its violence. Mark can be a contender for the best
slasher in the past ten years. Like the Terminator, he kills without remorse.
Though, unlike a machine, he doesn’t kill efficiently or ‘clean;’ he grabs an
axe and swings it at someone’s head, or repetitively jabs someone’s neck with a
hunting knife! Considering this is part alien movie, there are some truly
disgusting moments involving pod-people, dismemberment, nudity, and grisly
alien impregnations. The best part of all this? It would appear that everything
was created with splendid practical effects. Though the gore is minimal, there
is just enough to wet any gorehound’s whistle. Gore and gruesome effects should
be savored; just enough to give us a taste, but not substantial enough to
quench our hunger for more. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXFxGhZDbKVC1k_qqyp2L8jdUKd0YMArMfQyaTOroiYMolj01uYhhAneu_InkKMK9BS2VcL-i9xFwLkOG13YtRt59pnDu5B1gm7a9_71XEMjgBnZM7xnIJ4hTQo7g3ixE34UUjh3DT00Q/s1600/Almost+Human+11.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXFxGhZDbKVC1k_qqyp2L8jdUKd0YMArMfQyaTOroiYMolj01uYhhAneu_InkKMK9BS2VcL-i9xFwLkOG13YtRt59pnDu5B1gm7a9_71XEMjgBnZM7xnIJ4hTQo7g3ixE34UUjh3DT00Q/s1600/Almost+Human+11.png" height="165" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">This is not a
typical sci-fi/horror flick, and for that it does deserve some merit. The
effects are wonderful, at least one actor was giving 110%, and I’m sure
writer/producer Joe Begos understands and loves horror movies. This was a noble
attempt. It’s not perfect. Sadly, the film’s fate lies within the realm of
other forgotten titles. I recommend it only because it’s a rare breed, and it’s
certainly unique for its kind. If you are looking for a very similar story, I
suggest <i>Xtro</i> instead. Still, I
believe Begos has potential, and we should keep an eye out for future projects. </span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><o:p></o:p></span></div>
<!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com5tag:blogger.com,1999:blog-4736156794348437082.post-40761066266108084202014-04-02T17:43:00.000-05:002014-04-02T17:43:21.859-05:00Review: Frankenstein's Army (2013)
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Ever since its
trailer debuted, <i style="mso-bidi-font-style: normal;">Frankenstein’s Army</i>
always enticed me because it teased the idea of a World War II-era Victor
Frankenstein, and a plethora of steampunk/dieselpunk monsters. This period of
world history has always interested me, and with underwhelming films like <i style="mso-bidi-font-style: normal;">War of the Dead</i> or <i style="mso-bidi-font-style: normal;">The Keep</i>, it was nice to see a fresh, hard-hitting look at a secret
Nazi experiment gone horribly out of control. The possibilities were endless.
The monsters (based solely off the trailer) were on par with the creatures of
the <u>Resident Evil</u>, <u>BioShock</u> and <u>Silent Hill</u> video games.
Who wouldn’t be lured? Well, after finally seeing it, it turned out that it
wasn’t a bad film, but I would have loved it had it done a few things right. I
did not hate it. My feelings are what you’d call bittersweet. So lets dive in. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">First off, what
is this movie about? In the final days of World War II, a group of Russian
soldiers stumble upon a near-abandoned village, ravaged by some unseen force,
only to discover a church that was used as a laboratory for something. Right
off the bat we know something is wrong; we even see a cross fitted with
electrical wiring, tantalizing the callback to when Victor harnessed lightning
to breathe life into his monster. As the Russians dwell deeper and deeper into
the underground tunnels, they come face to face with a horde of soldiers
horrifically deformed by mechanical equipment. They soon discover that the
deranged grandson of Victor Frankenstein is behind the carnage, and that their
trusty documentarian (who follows them around filming everything) has a hidden
agenda. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">From here on
out, there are <b><u>SPOILERS</u></b>. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The whole film
plays out like a sales pitch for a video game. Because it’s told with found
footage, we are given a ‘first person shooter’ perspective, and the various
Frankenstein monsters are similar to either the demons or the mutants one would
face in <u>Doom</u> or <u>Resident Evil</u>. This is the film’s best asset. The
level of imagination displayed in some of these ‘monsters’ is impeccable, and makes
for a truly memorable and horrific experience. To think, these things were once
people (in one case a child). Each ‘monster’ has its own method of attacking.
They sometimes have claws, blades, hammers, drills, and in one bizarre
instance, an airplane turbine. Further research will yield some very
interesting stories about what each ‘monster’ was prior to their “surgery.” In
fact, they even have names. Doesn’t this sound like something that would be in
a video game? Here are some of my favorite ‘monsters:’<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipkaxvEHiVOSVZFwpnVjMTIGEr43O4bQvadTaK821nXOPXsUWSUJBL9OXLjOVLcz0KosN3CCamCtOXkE0Wzt4UkUo5oIK8GfqJHDo20qLI5rv4hia9rJEZ3cEoxak3NRsJ4LRs9F_Kw9Q/s1600/Frankenstein's+Army+9.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipkaxvEHiVOSVZFwpnVjMTIGEr43O4bQvadTaK821nXOPXsUWSUJBL9OXLjOVLcz0KosN3CCamCtOXkE0Wzt4UkUo5oIK8GfqJHDo20qLI5rv4hia9rJEZ3cEoxak3NRsJ4LRs9F_Kw9Q/s1600/Frankenstein's+Army+9.png" height="225" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Conceptually,
the film is strong and unique. The writers take an old story, one that’s been
redone countless of other times, and spins it into something new. Setting it in
World War II lends an assortment of primitive and unusual machinery for
Frankenstein to play around with. I admit that I am a sucker for period pieces.
Instead of following around a German or American battalion, we follow Russian
Communists, which I liked because they’re not the usual American heroes. One of
the common criticisms of <i style="mso-bidi-font-style: normal;">Frankenstein’s
Army</i> is the lack of character development, and sympathy towards these
characters. While I cannot disapprove of someone not showing any sympathy, I
can offer an argument against character development. Unless we follow these men
from training, throughout the war, and up until this moment, this is story that
doesn’t need character arcs. This is not <i style="mso-bidi-font-style: normal;">Full
Metal Jacket</i>. This is the end of World War II; the characters should have
completed their arc, if they had one. I enjoyed our Russian heroes, except for
one but I suppose he was meant to be the film’s asshole. Even our
documentarian, a bastard at first; we learn that he is so insistent on
persevering because his family will be killed if he doesn’t capture Dr.
Frankenstein. There is no development but it adds a sense of humanity to an
otherwise generic scumbag. Even Dr. Frankenstein, a man who spent the early
days of the war locked up in a concentration camp, isn’t just a generic evil
doctor. You can tell that he a man who has witnessed (and consequently warped)
by the viciousness of humanity. He has a set belief and a goal.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">There is a lot
of gore and dismemberment, and a brain-picking scene that Hannibal Lector would
approve of. Karel Roden (Rasputin from <i style="mso-bidi-font-style: normal;">Hellboy</i>),
who plays Frankenstein, brings an air of ambiguity and elegance to his deranged
character. Unbelievably, there is even moments of pitch-black comedy: a legless
Frankenstein creation aimlessly crawls on the floor with nobody batting an eye,
and a severed head stitched onto a teddy bear to name a few. All of these
aspects nearly compensate for the only major downside to this film. I believe
if it weren’t for this criticism, I would consider <i style="mso-bidi-font-style: normal;">Frankenstein’s Army</i> to be the best horror movie of 2013, slightly
above <i style="mso-bidi-font-style: normal;">Maniac</i>. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4t1Ind7_P_NjkraVqaaExoCxtpvUwU-mjkK-hxbVYSY3X1yWKnzvPBQiFcHk0JRdKK5bgjmm1AlNUMcb-yvKsGepM3Dgu-Hj65rZtDS6SsBn-_Fnvd2H6ncWNXwAu7urIH8YrgXM3EUA/s1600/Frankenstein's+Army+10.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4t1Ind7_P_NjkraVqaaExoCxtpvUwU-mjkK-hxbVYSY3X1yWKnzvPBQiFcHk0JRdKK5bgjmm1AlNUMcb-yvKsGepM3Dgu-Hj65rZtDS6SsBn-_Fnvd2H6ncWNXwAu7urIH8YrgXM3EUA/s1600/Frankenstein's+Army+10.png" height="223" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">I could nit-pick
this film but I won’t because it would be irrelevant and pointless. The biggest
problem I have with <i style="mso-bidi-font-style: normal;">Frankenstein’s Army</i>
is how it was told: through found footage. Before I continue, I must explain the
purpose of found footage. It is a storytelling method that is meant to give the
impression that the events depicted actually happen through video/film
documentation. This does not mean that the footage cannot portray something
supernatural, it means that the supernatural activity occurs in our reality
(ex: <i style="mso-bidi-font-style: normal;">Chronicle</i>, <i style="mso-bidi-font-style: normal;">Cloverfield</i>, <i style="mso-bidi-font-style: normal;">Paranormal
Activity</i>, ect.). There needs to be some level of realism to fully convince us
that the footage is legitimate. <i style="mso-bidi-font-style: normal;">Frankenstein’s
Army </i>lacks this. I’ll explain:<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The camera that
our documentarian/main character handles is a Bolex or Super 8 of some kind. To
suggest that such an ill-equipped Russian outfit has access to color film
stock, and an on board microphone that captures perfectly crisp audio, would be
ridiculous. In fact, if this was shot in black and white with poor audio, it
could have been much better. The high contrast film stock would give the movie
an eerie, unnerving tone, such as the case with <i style="mso-bidi-font-style: normal;">Blair Witch Project</i>. It would make the film scarier. While
ultimately a minor complaint, the fact that the filmmakers missed the
opportunity to play around with this style is the biggest tragedy. It could
have played out like <i style="mso-bidi-font-style: normal;">Planet Terror</i>,
with film grain and scratches, wobbly footage, light exposure, and perhaps a
missing reel or two. Not only would it be more convincing (and fun), it would
also be a clever way to disguise jump cuts, or to move from one scene to
another. However, <i style="mso-bidi-font-style: normal;">Frankenstein’s Army</i>
should not have been a found footage film, and here’s why:<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The film is not
shot or edited like a fount footage movie. What do I mean by this? If you ever
worked with a Bolex, or any camera the involves changing film reels, uses a
winding key, or having to consistently press a button to move the film across
the shutter, you’ll realize just how hard and uncomfortable it is to handle. I
do not believe for a second that our amateur documentarian has camera
stabilizing experience, or is quick enough to film key interactions at
precisely the right moment and angle. Each scene/shot is so perfectly edited
that it feels like a traditionally produced film. In fact, if it weren’t for
the beginning, where our hero explains the purpose of this documentary, I would
have thought this was regular movie. Even when our hero switches from a
wide-angle lens to a telephoto lens, it comes off as an edit rather than the
actual camera turret spinning. This prompts me to ask the question: if the
whole film is played out traditionally, why did it have to be found footage? I
offer a film that is shot conventionally but whose tone is gritty and
realistic, similar to a found footage film: Tobe Hooper’s <i style="mso-bidi-font-style: normal;">Texas Chainsaw Massacre</i>. The colors are natural, though somewhat
de-saturated, the film is grainy, and the whole thing comes off as a
voyeuristic experience. Then, there are moments that actually contradict the
whole found footage aspect.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCf2S7peeIVBfW4A1OzKzHF4RpEJpZzIPNzuWVI_kLbLgNlD5dv-VB9LlK2QY_dLyZCYfT2O0EGDcgNSGk59dRhUfaJtv2ax_lwuwRJoBwwdruMgDN_mLdrARr4L2iJmvJxrQm3FslfjY/s1600/Frankenstein's+Army+11.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCf2S7peeIVBfW4A1OzKzHF4RpEJpZzIPNzuWVI_kLbLgNlD5dv-VB9LlK2QY_dLyZCYfT2O0EGDcgNSGk59dRhUfaJtv2ax_lwuwRJoBwwdruMgDN_mLdrARr4L2iJmvJxrQm3FslfjY/s1600/Frankenstein's+Army+11.png" height="223" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">1) Going back to
the aforementioned purpose of found footage, and how it’s meant to convince us that
the events really happened, why, are the Russian troops speaking in perfect
English? Why are the Germans speaking English, except for one? I could buy this
if the film wasn’t found footage. In normal films, the camera is sort like God:
it moves around each space fluidly and without restrictions, and translates the
dialogue into a language we can understand. <i style="mso-bidi-font-style: normal;">Valkyrie
</i>is an example of this. In actuality, Russians and Germans would not be
speaking English. This shatters the reality. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">2) There are
moments where our documentarian is attacked, beaten and possibly stabbed by
Frankenstein’s monsters, all while he maintains camera stability and crisp
audio. This is not possible, especially with a heavy Bolex-esque camera.
However, there are bizarre instances where stylization is implemented to give
the monsters supernatural abilities; as one of the monsters lumbers towards our
hero, the film cuts into this stuttering, fast-moving sequence that could never
be attained by a film camera. If you accidentally change the speed of a camera,
it won’t stutter. Even if the film isn’t laced properly across the quick-release
plate, it will wobble, not stutter. The sequence is clearly edited. Not only are
moments like this overplayed in horror movies, it, again, breaks the reality. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1PuGQcSOKsAgduVX3UMxxJRkksJM85y-ebmC7ON7_vBT2-ZcvCq-slXOA_HbAMKZrH8UmTv-O5zFxVR4IU0pnU67MLU451Cd5X8i3HvY3HzLSaBXWgNdCO2kFUYTHQVO55gnCb3JjcO0/s1600/Frankenstein's+Army+12.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1PuGQcSOKsAgduVX3UMxxJRkksJM85y-ebmC7ON7_vBT2-ZcvCq-slXOA_HbAMKZrH8UmTv-O5zFxVR4IU0pnU67MLU451Cd5X8i3HvY3HzLSaBXWgNdCO2kFUYTHQVO55gnCb3JjcO0/s1600/Frankenstein's+Army+12.png" height="223" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">All of these
contradictions would be acceptable if the film was just shot like a traditional
movie. I feel as if the filmmakers wanted found footage because it’s in style,
but without fully grasping how it works. This was a story that did not need to
be told in a found footage approach. However, with all this venting, it may
appear that I hate the film, but that’s not true. I really like it; I did not
love it. These found footage qualms, though distracting and jarring at they
were, did not hamper the otherwise psychotic, entertaining story. There is
enough original material presented for the casual viewer to dismiss these
reservations, just as I have. If you can ignore them, what you are left with is
a truly memorable and enjoyable film. I highly recommend it. </span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><o:p></o:p></span></div>
<!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com2tag:blogger.com,1999:blog-4736156794348437082.post-10499918346965186542014-03-26T15:57:00.000-05:002014-03-26T15:57:49.010-05:00Video Treasures - The Supernaturals (1985)<!--[if gte mso 9]><xml>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Back in the days
of Blockbuster and Hollywood Video, choosing a movie was a bit like Russian
roulette: you based your judgments and expectations on how awesome the cover
art was, then you watch it, only to be pleased or disappointed. More often than
not, you were let down. The box usually depicted a phenomenal work of art that
tantalizes the unsuspecting customer; it either exaggerates the film’s premise,
portrays a specific scene from the film, or sometimes it flat out lies to you.
In the case of <i style="mso-bidi-font-style: normal;">The Supernaturals</i>, it
vaguely lays out the film’s general premise. However, it does so with what
could only be described as one of the best pieces of VHS artwork I’ve ever come
across but we will get to that soon. In fact, the only reason why I bought this
is because of the artwork. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHJCgY-G-DY1sKJlkV6-OqC27Lqed5Ri5eFxpfgDD6U0knhiY3S8I4XOopUOL13SaLolVgn7GYPIEMGJZGjfsXOgb-s_VNShAOwTwRUj79KCzXJyfuxJCCSaHuicolk7VqTnJQAF5B9rQ/s1600/The+Supernaturals+1985+01.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHJCgY-G-DY1sKJlkV6-OqC27Lqed5Ri5eFxpfgDD6U0knhiY3S8I4XOopUOL13SaLolVgn7GYPIEMGJZGjfsXOgb-s_VNShAOwTwRUj79KCzXJyfuxJCCSaHuicolk7VqTnJQAF5B9rQ/s1600/The+Supernaturals+1985+01.png" height="292" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">So what’s <i style="mso-bidi-font-style: normal;">The Supernaturals</i> all about? Sometime
during the Civil War, a unit of Union soldiers known as the 44th Division
captures a small Confederate division. Within this division we are introduced
to Jeremy, a young boy who we are told possess a special gift. When the 44<sup>th</sup>
Division orders their Confederate POW’s to march across the minefield they
setup, only Jeremy makes it across in one piece. When he is ordered to walk
across it again, we see a blue light emit from his fist; smash cut to the
present day (in this case 1985). The modern 44<sup>th</sup> Division is a small
group of novice soldiers who are on a training exercise, overseen by Sergeant
Hawkins (<i style="mso-bidi-font-style: normal;">Star Trek</i>’s Nichelle
Nichols). Their camp is coincidently situated on the same site of the former
Confederate minefield. Strange things begin to happen: our hero, Private Ellis
(Maxwell Caufield, who looks like a young Brad Pitt), hears voices calling his name;
the wind blows <i style="mso-bidi-font-style: normal;">away</i> from the field,
and a woman named Melanie mysteriously appears. Eventually, one of the group
members, Private Cort, tries to drunkenly rape Private Lejune, the only other
female in the unit. After getting a knife pulled on his balls, Cort angrily
stumbles and falls into an underground bunker that he previously fell into the
day before. Bad luck, I suppose. Inside, he is attacked and killed by a
Confederate zombie. When his body is found the next day, Hawkins launches an
investigation to find who’s responsible. They find a small cabin where Melanie,
and a mute old man, presumably lives. Hawkins suspects Melanie of the murder,
and detains her at the camp. From this point on, the entire Division falls
under attack by the newly risen Confederate zombie horde. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The film is…
okay. It’s slow but it has its moments. The biggest problem I have is the
explanation for the zombies, and the ending. I suppose I should warn of <b style="mso-bidi-font-weight: normal;"><u>SPOILERS</u></b>. We find out that the
old man in the cabin is actually Jeremy, and Melanie is his mother. In a
flashback, we are told that just before Jeremy walks across the minefield for
the second time, his mother runs out <i style="mso-bidi-font-style: normal;">into</i>
the field to save him, only to be blow up. In turn, and stricken with horror,
Jeremy uses his gift to resurrect her from the dead. We are never told why
Jeremy is old but his mother remains as young as she was when she died. Maybe
Jeremy’s gift retains youth, but if that’s the case, what about all the zombie
soldiers? Did Jeremy bring them back from the dead to seek revenge on the 44<sup>th</sup>
Division? Did his mother resurrect them? How did she resurrect them? How did
she know that the modern day 44<sup>th</sup> Division would use the site as a
training field? Is this movie even about revenge? We are never told how or why
the dead are suddenly brought back to life, and whether this was the work of
Jeremy or Melanie. We assume it’s Jeremy but the zombies, in a later scene,
seem to be working for his mother. In fact, we are never given any explanation
for why Jeremy has this gift to begin with. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2gXMr87zWv4SxIxVwM453n4Zn98-Ck3zrzaBCg5qXL2aHC0Iebx-PvSYUmgzgYo7gB8EFrkfcXlE2XgvChwPtjSgUHOZKDBKtCffNwi0L_0_Y7S2FqjV_ctAp6xRFdWWrJjKNv5t0UP8/s1600/The+Supernaturals+1985+02.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2gXMr87zWv4SxIxVwM453n4Zn98-Ck3zrzaBCg5qXL2aHC0Iebx-PvSYUmgzgYo7gB8EFrkfcXlE2XgvChwPtjSgUHOZKDBKtCffNwi0L_0_Y7S2FqjV_ctAp6xRFdWWrJjKNv5t0UP8/s1600/The+Supernaturals+1985+02.png" height="290" width="400" /></a></div>
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<br /></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">But here’s the
kicker: Private Ellis, our lovesick hero (yeah, he has a crush on Private
Lejune <i style="mso-bidi-font-style: normal;">and </i>Melanie), is actually
Jeremy’s father and consequently Melanie’s husband! What?! Apparently, in the
scene prior to the old man’s introduction, Ellis reads a journal (purportedly
Melanie’s) that explains that her husband was shipped off to war and never
returned. She assumes he’s dead. Now I have even more questions: When was Ellis
resurrected? How was he resurrected? He was alive before he even arrived to the
campsite. Did old man Jeremy resurrect him? How? When? Did Melanie mistake
Ellis for her husband because of his uncanny resemblance? What is happening in
this film? There is no explanation for any of this, unfortunately. The twist,
if you can call it a twist, is dropped on us like a bombshell, then immediately
dismissed and never clarified. For this review, I watched this film a second
time, and I still don’t understand it. I think these are the biggest problems
the film suffers from, and they’re big. In spite of this, there are some
wonderful moments. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Dhz979KIxeyirhyphenhyphenimmxLg4R4y4RooQNRspHL1VC54Hl4-GJUsOiAm-_1IWreuI6e_rAWUMQYJgFOc8_Mqi_TkoVyDcEwRf4Onq_zTxWLhFhvosVbvp0I1jHsLxi5d5Xpcs2ZlIj7OiM/s1600/The+Supernaturals+1985+03.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Dhz979KIxeyirhyphenhyphenimmxLg4R4y4RooQNRspHL1VC54Hl4-GJUsOiAm-_1IWreuI6e_rAWUMQYJgFOc8_Mqi_TkoVyDcEwRf4Onq_zTxWLhFhvosVbvp0I1jHsLxi5d5Xpcs2ZlIj7OiM/s1600/The+Supernaturals+1985+03.png" height="292" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">I really like
the characters, except for Private Cort, but he gets his comeuppance. Ellis,
for the most part, is dry but it’s fun to watch him figure out what a latrine
is, and how to build it. He seems to be the one everyone jokes around with. At
the beginning, his friends dare him to jump off a moving truck and try to get
back on it by running. He’s not terribly interesting, but his banter between
Lejune isn’t schmaltzy or the least bit cheesy; it comes off as real, candid
small talk with subtle suggestions of affection. The unit, as a whole, feels
like a group of real young men who just want to have fun, and joke around. They
aren’t written as blatant stereotypes, and they aren’t dull-minded jocks.
During the dry spells, and there are a lot of them, it’s the characters that
keep the interest moving. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-top: 12.0pt;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">I
enjoyed the zombie makeup. You barely get to see it because it’s concealed by
shadows, but that may be because it wasn’t that good to begin with. I think
it’s a clever method of accomplishing two things: 1) you maintain suspense and
2) you don’t show the limitations in your makeup budget. There are some
beautifully lit nighttime scenes, specifically during the zombie battle that
reminds me of Bazelli’s work on <i style="mso-bidi-font-style: normal;">Pumpkinhead</i>.
One of the best action sequences is when Private Mendez (Scott Jacoby)
accidentally kills Private Osgood (soon-to-be <i style="mso-bidi-font-style: normal;">Stark Trek </i>star LeVar Burton) thinking he was a zombie. He storms
off into the woods where, as we were made privy to at the beginning of the
film, there are large wooden spikes sticking out from the ground. The whole
sequence is so tense because we know what will happen, but we’re waiting for
it. He just barely misses them, he falls over some, and we are treated to a
reverse P.O.V. making the sequence all the more engaging.</span></div>
<div class="MsoNormal" style="margin-top: 12.0pt;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="mso-spacerun: yes;"> </span>However, the real star of the film is
the score. The main theme is high energy, fun, exhilarating, and sort of comes
off as the title anthem to an old TV show. I would even argue that it could be
compared to any Mike Post or John Williams composition, while the rest of the
score could be compared to Michael Hoenig’s best work (composer for films such
as <i style="mso-bidi-font-style: normal;">The Blob </i>’88, <i style="mso-bidi-font-style: normal;">The Gate</i>, and <i style="mso-bidi-font-style: normal;">Class of 1999</i>).
It is for this reason that I wish we would get a soundtrack release to
accompany the film’s inevitable DVD release. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk_-_Y2t4lNvDlfTZ0Ev_dKsduLz0Nd086NDei6q1X5MJl33xBlgz9JSa3HtAIlegPdu9aIMuPofnzrEPUDOJv4G39n2Xu_ipto92aoswIP7lMzf2tMYetGgF14PdzjPRWJ03O6cm2xrI/s1600/The+Supernaturals+1985+04.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk_-_Y2t4lNvDlfTZ0Ev_dKsduLz0Nd086NDei6q1X5MJl33xBlgz9JSa3HtAIlegPdu9aIMuPofnzrEPUDOJv4G39n2Xu_ipto92aoswIP7lMzf2tMYetGgF14PdzjPRWJ03O6cm2xrI/s1600/The+Supernaturals+1985+04.png" height="291" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Z0e2Hegao79fKbRPVmqyA0tCSoVMNRHua8mNnXSEq3plSCHqcDLwYNRaPFfQJzJk4pxPEeRvx5CvggOvmcsJRBpxQ2Zfec9cKFwzi-56d9SKGht9rCGpUvowQpwtg1e2HLgS-OiKdtU/s1600/Picture.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Z0e2Hegao79fKbRPVmqyA0tCSoVMNRHua8mNnXSEq3plSCHqcDLwYNRaPFfQJzJk4pxPEeRvx5CvggOvmcsJRBpxQ2Zfec9cKFwzi-56d9SKGht9rCGpUvowQpwtg1e2HLgS-OiKdtU/s1600/Picture.png" height="321" width="400" /></a></div>
<div class="MsoNormal" style="margin-top: 12pt; text-align: center;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: x-small;"><i>VHS scan courtesy of <a href="http://www.ghoulbasement.com/2011/01/supernaturals-1986-1986-embassy-home.html">Basement of Ghoulish Decadence</a></i></span></div>
<div class="MsoNormal" style="margin-top: 12.0pt;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Now,
lets talk about the box art. It goes without saying that I am infatuated with
it, but I also consider it to be one of the best and most detailed pieces of
artwork I’ve seen on a VHS box. Aside from the Confederate cap and eye, the
scene depicted is lifted directly from a moment in the movie where Private Cort
puts sunglasses on a recently exhumed skull, and shoots at a beer can hidden
within it. I think I have a fascination with skulls; I love the detail in the
teeth, the shading along the jaw, and the murky, almost sepia tone palette in
which the entire piece is drawn in. The cover doesn’t lie; it tells us exactly
what the movie is about: Confederate zombies. Perhaps the most baffling aspect
of the cover is the sunglasses, which is a modern accessory. It attempts to
bridge the modern with the old, and it comes off as intriguing if not strange,
however, somewhat awkward in the actual film itself. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-top: 12.0pt;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">I
am not praising <i style="mso-bidi-font-style: normal;">The Supernaturals</i> nor
am I disregarding it. The general consensus seems to be middle-of-the-road
territory, and that’s fortunately true. The film had the opportunity to be very
forgettable or poorly made, and thankfully it never amounts to either of those.
As the <a href="http://www.ghoulbasement.com/">blogger</a> who provided me with the high-definition scan said, “This one is
actually suitable for young horror fans first getting into the obsession with
no nudity and very little blood as the slow raising Confederates dispatch the
soldiers mostly off-screen.” The biggest element that works against the film is
the lack of any clear explanation for the supernatural occurrences. I
understand that less explanation can add a sense of unease and creepiness, but
in this case, something for us to grasp onto would have been appreciated. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-top: 12.0pt;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Available
from Embassy Home Entertainment. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-top: 12.0pt;">
<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Video Treasures is a
continuing series of horror films only available on home video, and is in no
way affiliated with the distribution label of the same name or <a href="http://popshifter.com/category/vhs-visions/">VHS Visions</a>. ;)</span><span class="Apple-style-span" style="font-family: 'Times New Roman';"> <o:p></o:p></span></i></div>
<!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com2tag:blogger.com,1999:blog-4736156794348437082.post-76601793920893391812014-03-04T00:05:00.000-06:002014-03-04T00:07:02.936-06:00REVIEW: Devil's Advocates - The Thing <!--[if gte mso 9]><xml>
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</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHQMr9y6_ltGH923kADt9hV9gKvol6-3FdU_ISYC7-KkmirglfzL3mlLyjgPQCh38YxTaw9zZtHBdIcdACrn9iyV1RJomwpbksHTnbJgygYJXl9_3J6ntr0RKFgnxg2bur18yMtN35hIs/s1600/Conolly's+The+Thing.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHQMr9y6_ltGH923kADt9hV9gKvol6-3FdU_ISYC7-KkmirglfzL3mlLyjgPQCh38YxTaw9zZtHBdIcdACrn9iyV1RJomwpbksHTnbJgygYJXl9_3J6ntr0RKFgnxg2bur18yMtN35hIs/s1600/Conolly's+The+Thing.png" height="400" width="281" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Anyone who has
read this blog or knows of its history knows that I am a huge fan of John
Carpenter’s <i>The Thing</i>. It is my
favorite horror movie of all time; I have written essays about it for class and,
in this blog’s most recent history, I’ve dedicated entire weeks to it. It
seemed only natural for me to hop on Amazon and search for the Dark Horse
comics that served as prequels to the ’82 film. In addition to finding them, I
stumbled across a book simply titled: <u><a href="http://www.amazon.com/The-Thing-Devils-Advocates-Conolly/dp/1906733775">Devil’s Advocates: The Thing</a></u>. The
author is <a href="https://twitter.com/jezconolly">Jez Conolly</a> (I mispronounced his name as cannoli). Having interacted
with him on Twitter, I decided to order the book and give it a spin. What lay
before me was an eye-opener. I thought I read all the critical analyses there
were on the film. As a student of filmmaking, I thought I understood all the
camera schematics and character placement. I thought I understood its themes,
both as a Cold War cautionary tale and as commentary for the AIDS epidemic. I <i>thought</i> I knew all this. Jez Conolly’s
book, suffice it to say, has wholly revised my opinion, and the way I will look
at my beloved film for the better. There is nothing to critique. I have no
protests. I have nothing to supplement it with, and I have no disagreements.
Instead, I will explain how it was to read this book, chapter by chapter. I
will do my best not to spoil the book. <o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Chapter 1: “Now I’ll Show You What I
Already Know”<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">This chapter primarily
serves as a brief layout for what’s to come, a sort of tantalizer, so to speak.
However, it does concern itself with the author’s first-time experience with <i style="mso-bidi-font-style: normal;">The Thing</i>, not in theaters in beautiful
35mm or in its video rental run, but on a BBC news broadcast about the so
called ‘video nasties.’ For any horror aficionado, the ‘video nasties’ are
quite infamous. It marks a crucial point in the history of horror cinema as
well as censorship. Perhaps the most enthralling aspect of this segment, aside
from Conolly’s own experiences, are the lesser-known stories associated with
the film: tales of killers and rapists who claim that they were influenced by
it, and a brief scuffle with the Obscene Publications Act.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Chapter 2: “I Know How This One Ends” <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">I will let
Conolly describe this section: “Just in case you’ve decided to buy and read
this book, and happen to have spent at least the last 100,000 years encased in
a block of ice, it might prove useful at this early juncture to offer a brief
outline of the film’s plot before we proceed.” I couldn’t have said it better. Conolly’s
synopsis of the film feels like a familiar road trip to us horror fans,
however, he offers a few unfamiliar pit stops along the way; trivial but
nevertheless interesting side points such as the font in which the first piece
of on-screen texts appears in. Conolly even provides us with a map of understanding
when he references certain incarnations of the Thing monster (i.e.
‘Kennel-Thing’ or ‘Split-Face Thing). As a <i style="mso-bidi-font-style: normal;">Thing
</i>fan, some of the side-points were refreshing. Even if you’ve seen the film
fifty times, it’s still fun to read the plot.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi128MwCl_9AcobtPVMa6GUBQbuSaHuRyIk1XWqTzyIAH8i-v1B3tOWg5ve9crSXYMhF83HnqfNQUqDQPR5D0MeIxTQh7c4Ztlh-3bkAF_E1posPAV2IfZc1NUyBtjPs9kxw4eSopA9YQQ/s1600/The+Thing+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi128MwCl_9AcobtPVMa6GUBQbuSaHuRyIk1XWqTzyIAH8i-v1B3tOWg5ve9crSXYMhF83HnqfNQUqDQPR5D0MeIxTQh7c4Ztlh-3bkAF_E1posPAV2IfZc1NUyBtjPs9kxw4eSopA9YQQ/s1600/The+Thing+1.jpg" height="170" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Chapter 3: “First Goddamn Week Of Winter”<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Now, we get into
the bulk of <i style="mso-bidi-font-style: normal;">things</i> (har har har!).
This chapter indulges on many aspects, and it’s easy to become overwhelmed by
the amount of material presented here. I found myself pausing midway to take a
breather. I advise everybody to absorb this chapter slowly for it is the start
of a whole new perspective of the film. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>For
the most part, the chapter is appropriately titled; the general theme is winter
and thus snow. Conolly treats us to a quick little detour about <i style="mso-bidi-font-style: normal;">photokeratitis</i>, which is essentially
snow blindness, and while you may scratch your heads wondering what this has to
do with <i style="mso-bidi-font-style: normal;">The Thing</i>, I promise you that
it correlates to the film’s production and central character. While it may not
add anything as far as a critical analysis is concerned, it does lend itself as
an interesting character/setting detail to the film’s cold, white backdrop.
Besides, it is a fascinating condition. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>We
are then led to snow. Snow plays a pivotal role in <i style="mso-bidi-font-style: normal;">The Thing</i> especially as a juxtaposing device to contrast the
confines of Outpost 31, however, Conolly makes the bold move in comparing this
element to highly revered cinematic classics such as <i style="mso-bidi-font-style: normal;">Gold Rush, Citizen Kane</i>, and <i style="mso-bidi-font-style: normal;">Doctor
Zhivago.</i> Conolly explains that there is a “near-monochromatic bleakness”
that isn’t all that different from “<i style="mso-bidi-font-style: normal;">The
Thing From Another World</i>, which was shot in black and white.” Once more, I
never drew the parallels in terms of color. I admire Conolly for comparing <i style="mso-bidi-font-style: normal;">The Thing </i>to much more ‘sophisticated’
films because I believe Carpenter’s interpretation is much more important to
the history of American cinema (perhaps even world cinema) than most film
historians would give it credit for. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>Possibly
the most interesting topic that Conolly discusses has to do with <u>Who Goes
There</u>, the novella by John Campbell in which both the Hawks/Nyby and
Carpenter films were based off. The novella was published in 1938 in Astounding
Science Fiction magazine. It may come as a surprise to you… but I have not read
the novella. I understand that it’s available online for free, but being a rare
book collector, I feel as though I must read the actual first-edition. I
digress, however. Conolly begins this discussion with the “Heroic Age of
Antarctic Exploration” that began in the late nineteenth century continuing
into the early twentieth century, up until to novella’s publication. As history
buff, I found this whole segment enthralling. Conolly proceeds to discuss Lovecraft,
and his most infamous book <u>At the Mountains of Madness</u>. You may be
thinking that none of this has anything to do with Carpenter, Hawks/Nyby or
Campbell, but you’d be wrong. In fact, as Conolly precisely details, it may be
more directly influential on Campbell than we be think. I will not go into
details<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>The
next segment deals with what may be a very overlooked, if not known, motif in
the Carpenter film as well as the 2011 prequel of the same name. Conolly
mentions magnets, and thus a magnet’s influence on metal. Campbell’s novella
subtly references this in description and in location (ex: the base is not
referred to as Outpost 31 but rather Big Magnet, situated at the very center of
the South Pole), but also as a means to establish a central character that is
an individual when compared to the rest. Furthermore, strictly speaking of
Carpenter’s film, Conolly presents various examples that acknowledge Campbell’s
theme of magnetism and its affects of his characters. I will not go into great
detail but I will mention two examples: <o:p></o:p></span></div>
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<br /></div>
<blockquote class="tr_bq">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i style="mso-bidi-font-style: normal;">“The couch in the rec room twice serves
as place of restraint, first when Copper, Garry and Clark are the prime
suspects and later when MacReady conducts his hot needle blood test, and in
each case several of the men are tied together in close physical contact with
MacReady at a distance.”</i></span></blockquote>
<div class="MsoNormal">
<o:p><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> </span></o:p><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">They
are magnets coming together with MacReady possessing no magnetic field.</span></div>
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<br /></div>
<blockquote class="tr_bq">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i style="mso-bidi-font-style: normal;">“The Palmer-Thing’s blood jumps up and
out of the Petri dish in its attempt to escape the hot needle, and then
proceeds to run off along the floor of the rec room in a direction of its own
choosing, almost as though attracted to a magnetic source.”</i></span></blockquote>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Chapter 4: “What Is That… Is That A Man
In There… Or Something?” <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The beginning of
this chapter concerns itself with plant-based horror films of the 50’s and
60’s. Indeed, <i style="mso-bidi-font-style: normal;">The Thing From Another
World</i> can be honored in the great pantheon of plant-horror like <i style="mso-bidi-font-style: normal;">Day of the Triffids</i>, <i style="mso-bidi-font-style: normal;">Invasion of the Body Snatchers</i>, and <i style="mso-bidi-font-style: normal;">Attack of the Killer Tomatoes</i>, given
that our antagonist is pissed off vegetable. However, Carpenter’s <i style="mso-bidi-font-style: normal;">Thing</i> might also be honored here as
well. Conolly’s assessment of the creature design, and how there is a presence
of plant-based motifs, is rather intriguing. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>But
the majority of this chapter dips into Cold War era politics. As Conolly
explains, “The 1951 and 1982 <i style="mso-bidi-font-style: normal;">Thing </i>films,
however, provide especially intriguing bookends to the Cold War.” Those of us
who studied film should be familiar with this segment as it deals with
Hawks/Nyby’s idea of a unified America, coming together to combat a foreign
enemy (Communism in realty). Some would argue that it was a propaganda film to
encourage patriotism, as was the case with Hawks’ <i style="mso-bidi-font-style: normal;">Rio Bravo</i>. Conversely, and not unknown, Carpenter’s film proceeds Vietnam,
the Watergate scandal, and was released in the wake of Reaganomics. It is understood
that Carpenter’s <i style="mso-bidi-font-style: normal;">Thing</i> was a
deconstruction of what Hawks/Nyby sought to portray in the 50’s.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>This
is where the book, once again, becomes overwhelming. Conolly takes the
aforementioned political assessment of both films and expands on them by citing
wardrobe choices, dialogue quotes, Western motifs (my favorite involving Gerry
and his gun), prop usage and scene compositions. Some of these citations may be
more known than others, however, some come off as revelations. To explain, I
will present two examples that correlate with Vietnam. 1) The imagery of
flamethrowers, which were employed by U.S. troops. In the film, they are either
malfunctioning or they are partially successful at preventing the Thing from
assimilation. There is a deeper meaning here: the U.S. stopped using them in
1978 because of their questionable effectiveness in combat, and the PR
surrounding the horrific death they caused. 2) Body horror. I will let Conolly
explain this, “The flame-flayed Split-Face Thing found at the Norwegian base,
with its fused contortion of appendages and twisted, frozen expression of
horrific pain, is shot from angles that make it look remarkably similar to
those causalities of the war.” While you may know most of the political
ideology of both films, I guarantee there is much more at play than just
obvious plot points. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>The
chapter elaborates on MacReady’s chauvinistic character, which leads into a
critique of the film’s biology, so to speak. Specifically, it uses Barbara
Creed’s book <u>The Monstrous Feminine</u> (one that I should read) to compare <i style="mso-bidi-font-style: normal;">The Thing </i>with feminine imagery, similar
to Ridley Scott’s <i style="mso-bidi-font-style: normal;">Alien</i>. While this
may appear to be trivial, or perhaps further baffling, there is a looming
presence of female imagery that plagues Carpenter’s all-male film. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Chapter 5: “What The Hell Are You Looking
At Me Like That For?” <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">While the title
is somewhat amusing, the chapter acknowledges the true language of film, and
cites key aspects of <i style="mso-bidi-font-style: normal;">The Thing</i> to
further the notion that there is an art to filmmaking. Conolly’s interpretation
of <i style="mso-bidi-font-style: normal;">The Thing</i>’s visual theme is
probably the most enlightening, if not indulging, chapter of his book. I have
always said that <i style="mso-bidi-font-style: normal;">The </i>Thing has some
of the best cinematography and production design I had ever seen, and this
chapter is a testament to that statement. I will briefly touch upon my personal
favorite points of interest, but I will do my best not to spoil anything. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>Firstly,
in the beginning of the chapter, Conolly briefs us on the history of the
‘Killer POV’ shot, which, unknown to most, is quite apparent in both Kubrick’s
film and Carpenter’s. We are then treated to a comparison between <i style="mso-bidi-font-style: normal;">The Thing </i>and <i style="mso-bidi-font-style: normal;">The Shining</i>, and while they both seclude their characters in a
hostile, wintery environment, they both employ the use of the “probing corridor
prowl.”<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The Shining </i>infamously uses this tactic when following Danny on his
Big Wheel, while <i style="mso-bidi-font-style: normal;">The Thing </i>meanders
around the confines of Outpost 31, suggesting, in both films, that something
not quite human is stalking our characters. While this may not be thematically
analytical, it serves as an acknowledgment of Carpenter’s understanding of filmmaking
and how he is able to draw the audience into the film’s unnerving corridors. I
never thought of visually comparing <i style="mso-bidi-font-style: normal;">The
Thing </i>with <i style="mso-bidi-font-style: normal;">The Shining</i>, however,
in retrospect, it seems so obvious. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>Secondly,
character placement in relation to the camera. There is a strategic placement
of characters that may subtly reference the theme of magnets from Campbell’s
novella. I never thought I would say this but one could consider <i style="mso-bidi-font-style: normal;">The Thing</i> to be an extraterrestrial
Poker match. In fact, the core concept of Poker is prevalent in this film.
Furthermore, Conolly relates a concept made famous by Hitchcock to the
residency of MacReady within the frame of the camera. I sincerely wish I can
elaborate on this but alas I cannot. I will permit myself to say is this: there
is a definite comprehension of greater filmic ideas than one would assume would
be in a horror movie of this caliber. Carpenter had a firm grasp on what he was
accomplishing. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3EsjQT8aGKx1q3pGNyfVMkxc2uB1_AgJC22uFMFQEJn-1sbAFhXBdDUIUGnNjHUrcuTPVVMm4tyKqG1Hr3oB5SbQFk5WqFxmxeYNhB6nBQA9pRzJXfWBbdg2b8UlzfKoJhgt6CDxz4tI/s1600/The+Thing+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3EsjQT8aGKx1q3pGNyfVMkxc2uB1_AgJC22uFMFQEJn-1sbAFhXBdDUIUGnNjHUrcuTPVVMm4tyKqG1Hr3oB5SbQFk5WqFxmxeYNhB6nBQA9pRzJXfWBbdg2b8UlzfKoJhgt6CDxz4tI/s1600/The+Thing+2.jpg" height="170" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Chapter 6: “Weird And Pissed Off Whatever
It Is” <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">This is one of
my favorite quotes, by the way. This chapter is interesting because it begins
with body-horror, which can almost be considered a sub-genre of horror. Conolly
gives us a brief rundown of some familiar titles, but then (curve ball)
explains the history of bodily horror, which can be rooted in the mythology of
our ancestors. Examples could be found in Greek, Mesopotamian and Babylonian
mythology. I will quote Conolly here: “For all this high-minded comparative
conjecture, it seems highly unlikely that the Special Make-up Effects Unit and
production illustrators that worked on <i style="mso-bidi-font-style: normal;">The
Thing </i>were terribly familiar with ancient Mesopotamian poetry, and went
looking for stone tablet depictions when researching the creature designs.” While
this is true, I did, however, find it to be ‘food for thought.’<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>The
bulk of this chapter deals with the make-up and special effects of <i style="mso-bidi-font-style: normal;">The Thing</i>, and the scathing criticism it
garnered upon the film’s release. We start with some context; Conolly
introduces EC Comics and their former CEO William M. Gaines who took over the
company and began publishing classic horror anthology titles such as <u>The
Vault of Horror</u><i style="mso-bidi-font-style: normal;"> </i>and <u>Tales from
the Crypt</u>. It is an interesting slice of history that pertains to American censorship,
and how Gaines actively petitioned his defense for the comic’s graphic nature.
Jump ahead a few years, Conolly elaborates on <i style="mso-bidi-font-style: normal;">The Thing</i>’s production difficulties. Now, to us <i style="mso-bidi-font-style: normal;">Thing </i>enthusiasts, we’re privy to the
issues Carpenter and his team had to face but I suppose it does need some
mentioning; the film was burdened by ambitious practical effects, it went over
its budget, Rob Bottin was hospitalized due to his work, and it ruffled the feathers
of various unions. Again, I have not spoiled anything as Conolly elaborates on
all these details, providing interesting side-stories that are informative,
especially to us film enthusiasts. The chapter concludes with the lashes the
film received by critics who were repulsed by the gory special effects wizardry
of Rob Bottin’s team. One being Roger Ebert’s famous line: “It’s a great
barf-bag of a movie.” <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>This
chapter isn’t analysis or critique, but I urge all filmmakers to delve into <i style="mso-bidi-font-style: normal;">The Thing</i>’s production history as it
makes not just for an interesting read, but provides insight into the realm of
filmmaking. In the world of CGI, we will never see ambitious effects like those
seen in Carpenter’s film. As Conolly sincerely puts it, “Some marvel at how
well they stand up and contend that their manifest surreality and palpable,
physical on-set presence compared to today’s CGI phantoms lend the film an
unnerving other-worldly quality. […] Just as they brought life to the
assemblage of inanimate materials to achieve the ground-breaking effects so
they help breathe life into the film’s reputation and reception.”<span style="mso-spacerun: yes;"> </span>I could not have said it better. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Chapter 7: “It’s Not Dead Yet”<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Perhaps the
greatest testament to <i style="mso-bidi-font-style: normal;">The Thing</i>’s
legacy is the aftermath. As Conolly vividly describes it, <i style="mso-bidi-font-style: normal;">The Thing </i>is much like the Thing itself, laying dormant beneath the
surface of film history, only to be unearthed (via home video) so that it could
prevail in a post 80’s market. The fans have kept this film alive, and this
chapter pays tribute to those fan-made and fan-inspired works of <i style="mso-bidi-font-style: normal;">The Thing</i>. These include the “Ice”
episode from The X-Files, and the South Park episode in which Cartman uses a
blood test to see who has Lice that is directly ripped from infamous
blood-testing scene in Carpenter’s film. I genuinely surprised to find that there exists a
stage-production of the film, a <a href="http://www.youtube.com/watch?v=BG33zECv8dc">claymation short</a>, and a
<a href="http://www.youtube.com/watch?v=8faq5amdK30">Sinatra-style musical skit</a>. Perhaps the most interesting story is of Quentin
Tarantino and how he cites <i style="mso-bidi-font-style: normal;">The Thing </i>as
his primary influence when writing <i style="mso-bidi-font-style: normal;">Reservoir
Dogs</i>.<span style="mso-spacerun: yes;"> </span>For more information, I
suggest that you read the book. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>This
chapter contains Conolly’s defense against condemning <i style="mso-bidi-font-style: normal;">The Thing</i> as a cult film, of which I fully support. Following
shortly after is a brief rundown of various formats in which <i style="mso-bidi-font-style: normal;">The Thing </i>was release under, one of
which is the televised where they censored out all the graphic transformations
scenes and profanity. Conolly includes some of the best lines that were
re-edited, two of which are “You buy any of this bull<i style="mso-bidi-font-style: normal;">stuff</i>?” and “Yeah, <i style="mso-bidi-font-style: normal;">blast </i>you
too!” <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>Perhaps
the best aspect of this chapter is Conolly’s mention of <a href="http://www.outpost31.com/">Outpost 31</a>, a
fan-site that harbors the largest online community of <i style="mso-bidi-font-style: normal;">Thing </i>enthusiasts in which the site’s founders launched an
expedition to locate the film’s shooting location. They found it, and they brought back with them a salvaged blade from when they blew
up the Norwegian helicopter. Conolly merely scrapes the surface of this site, and so I urge any enthusiast to check it out for his or herself. They have everything concerning <i>The Thing</i>, from floor plans of the Outpost, to essays, to <i>Thing </i>related media coverage. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>Capping
off this chapter, Conolly states his feelings toward the 2011 prequel entitled <i style="mso-bidi-font-style: normal;">The Thing</i>. While it is true that the
prequel seems to deconstruct Carpenter’s unique horror formula by, as Conolly
explains, “routine plotting, lacked recognizable diversity among its characters
and fallen back on the scenario of sexual tension and the near-inevitable Final
Girl resolution,” it is true that the film took great measures to set up
Carpenter’s film but also to recreate what was only briefly seen when MacReady
traversed through the remains of the Norwegian camp. My thoughts on the prequel
are this: while it was fun it was a needless prequel that I already forgot
about. <o:p></o:p></span></div>
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<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Chapter 8: “Why Don’t We Just… Wait Here
For A Little While… See What Happens…”<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Just as this is
the last chapter of the book, and the quote is from the end of the movie,
Conolly explains the significance of <i style="mso-bidi-font-style: normal;">The
Thing</i>’s famous downbeat, cold, cynical ending, which was very bold for its
time. Carpenter’s film came out in the 80’s where the market was saturated with
cash-cow sequels and optimistic family films such as <i style="mso-bidi-font-style: normal;">E.T.</i>, which infamously led to <i style="mso-bidi-font-style: normal;">The
Thing</i>’s poor box office intake. However, as Conolly expresses, <i style="mso-bidi-font-style: normal;">The Thing</i> isn’t all that unique in its
abysmal ending. The 70’s had <i style="mso-bidi-font-style: normal;">One Flew
Over the Cuckoo’s Nest</i>, the 90’s gave way towards <i style="mso-bidi-font-style: normal;">Unforgiven </i>and <i style="mso-bidi-font-style: normal;">Se7en</i>, and
even in the post-Clinton/millennial era we have <i style="mso-bidi-font-style: normal;">The Mist</i>, which, like <i style="mso-bidi-font-style: normal;">The
Thing</i>, is a product of its political era. Conolly brilliantly explains,
“ordinary people thrown into turmoil by unexpected events, running away from or
stumbling into oblivious to face an indiscriminate fate that spares them little
or no pity. The occluding and enveloping death-white fog and smoke captured in
these films drew heavily on the ashen clouds of destruction that all Americans
saw on their television screens in 2001. There ‘s a resonance to these clouds
of disarray to be found in <i style="mso-bidi-font-style: normal;">The Thing’</i>s
obliterating blanket of white snow, isolating conditions that pay no respect to
human social order and rob people of their identity.” Perhaps even more
revealing is Conolly’s side not involving breath and Child’s earring. While I
won’t spoil it for you, I have to admit, I am rather awe-stricken that I never
noticed or considered either of these instances. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2SivJAjY6uZRtRFpgNKfWn3kliCbP-PYmyr_bkd-FOEGOI0FSZUlYfav8qUe9Ge-kVvFIK7B_dVapBJvTvJ31iHYDrbhXAJEkR2g7tXJCpFG6OL6DoGyR0zOjEE2bXZTW7ktWuKJfpfU/s1600/JandB+full.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2SivJAjY6uZRtRFpgNKfWn3kliCbP-PYmyr_bkd-FOEGOI0FSZUlYfav8qUe9Ge-kVvFIK7B_dVapBJvTvJ31iHYDrbhXAJEkR2g7tXJCpFG6OL6DoGyR0zOjEE2bXZTW7ktWuKJfpfU/s1600/JandB+full.jpg" height="266" width="400" /></a></div>
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<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">So ended my experience with Conolly’s book, and so ends this review. If
you have not noticed it now, then I will tell you; I love this book. I have
been searching for a good full-length critique of the film, just as Conolly
once did, and I am very fortunate that I stumbled across this on Amazon. Be
aware that what I have written only caresses the tip of the iceberg. I have
intentionally left out some of the best topics, like how the characters are
bookended by how they’re introduced and how they ultimately meet their fates. While
it’s very overwhelming at first, and some of the concepts may seem farfetched,
it’s nevertheless written with a degree of passion and respect that I have
never seen before. It will certainly warrant multiples readings to fully grasp
each concept and idea. I will admit that I will never be able to watch </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i>The
Thing</i></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> the same way again. When I finished the book, I closed it slowly,
placed it on my nightstand and quietly sat alone to ponder what I had just
read. As it was then, just as it is now, I think Jez Conolly owes me a shot of
J&B.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.amazon.com/The-Thing-Devils-Advocates-Conolly/dp/1906733775">Please support the book. Give it a read. You will not be disappointed.</a> </span></div>
Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com1tag:blogger.com,1999:blog-4736156794348437082.post-68557895604680484252014-02-18T10:30:00.000-06:002014-02-18T10:30:10.271-06:00All In The Family: Mending Texas Chainsaw 3D
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">I want to start off with a quote from the end of the film.
In this piece of dialogue, and throughout the story, we are told the main
theme.</span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">“Farnsworth has instructed to give you a set
of keys to the manor. The largest key opens the fortified door to the wine
cellar. There, you will discover a metal door. Behind it lives your cousin:
Jedediah Sawyer, your only remaining blood relative. He is family-bound, and
will protect you. He simply requires your care in return. Edith, you are the
last of my line of Sawyer. My blood runs through you. The decision to stay is
yours. Just remember: you are a Sawyer… and this is home.”</span></i></blockquote>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i style="mso-bidi-font-style: normal;">Texas Chainsaw 3D</i>
wants you to believe that it’s a movie about family, and while I’m completely
on board with that, it not only throws this wonderful idea out the window, it
substitutes it for meaningless plot devices and uninspired characters that
could have furthered the story’s integrity. This is not going to be a review
but rather a breakdown of its problems and my attempt at fixing them. I will
not include any criticism of the bland acting, the appalling CGI or its
cliché-ridden script.</span><span style="mso-spacerun: yes;"> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhApTFHD-uQC9BZORAnGc2Omh7OrJjR5bg4OFDdSBLUfrT1Xhx0_9twG9KPkdr5aGeUTw5mGd7rJoZyFtSunjOrIFxyzeD555VTTLy5FYmn5vjIWWq_eWzt1qqXaj-afmXayg1JKVemVhY/s1600/Rockwell-freedom+from+want.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhApTFHD-uQC9BZORAnGc2Omh7OrJjR5bg4OFDdSBLUfrT1Xhx0_9twG9KPkdr5aGeUTw5mGd7rJoZyFtSunjOrIFxyzeD555VTTLy5FYmn5vjIWWq_eWzt1qqXaj-afmXayg1JKVemVhY/s1600/Rockwell-freedom+from+want.jpg" height="400" width="312" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Before I get into the bulk of this article, I must explain
the idea of family throughout all the <i style="mso-bidi-font-style: normal;">Texas
Chainsaw </i>incarcerations except for <i style="mso-bidi-font-style: normal;">Next
Generation </i>because I refuse to watch it a second time. In the 1974 film, <i style="mso-bidi-font-style: normal;">The Texas Chainsaw Massacre</i>, I always
felt like the Sawyers (their surname was not introduced until the second film) were
a bastardization of the humble Midwest family, and thus a grim, ugly satire of
the American Dream. In the film’s final moments, we are introduced to the
relatives in full. Like a distortion of the infamous ‘Thanksgiving” by Norman
Rockwell, the Sawyers are seated together at the table, laughing, mocking and
ready to kill our heroine. However, the element of family is present. Just like
Rockwell’s vision of an ideal 1950’s household coming together for a grand
feast, the Sawyers have gathered together to kill their last victim. It’s ugly,
twisted and darkly comedic. <span style="mso-spacerun: yes;"> </span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">In 1986, with <i style="mso-bidi-font-style: normal;">The
Texas Chainsaw Massacre Part II</i>, we are introduced to Lieutenant Boude
“Lefty” Enright whose sole mission in the entirely of the film is to seek
vengeance on the Sawyer family for killing his niece and nephew. Already, there
is the concept of family rivalry and retribution. (Think of a Hatfield and
McCoy type rivalry). In the last third of the film, when Lefty invades ‘Nam
Land, the Sawyers are seated together at their table, echoing the final moments
of the first film. I will even argue that the dynamic between Drayton Sawyer
and his two sons, Chop Top and Leatherface, is much more expressed. Their
squabbling banter and slapstick antics seem inspired by those dysfunctional
family reunions that we all experience. Drayton also seems adamant with
preserving the family name by winning the local chili contest, and mentions the
family skill of knowing good meat. There, we are introduced to hereditary
pride. </span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Finally, we have <i style="mso-bidi-font-style: normal;">Leatherface:
The Texas Chainsaw Massacre III</i>. Here, we are introduced to a whole new
family but if anything we get a more intimate understanding of how they
function and interact peacefully despite their cannibalistic nature. Some of
the best moments are when our heroine, Michelle, is tied in the kitchen where the
family prepares to cook her friend. Tex, one of the older brothers, hangs
Michelle’s friend upside down while his kid sister kills him with a
hammer-swimming device that her other older brother made.<span style="mso-spacerun: yes;"> </span>This entire sequence serves as a
furthering of previously established themes from the first movie, albeit
cartoony and ham-fisted. There is a beautiful moment, as pictured above, where
Leatherface embraces his kid sister. Norman Rockwell would be rolling his
grave. Even the chainsaw has <i style="mso-bidi-font-style: normal;">The Saw Is
Family </i>engraved on it, furthering the notion that family is all the Sawyers
have. <span style="mso-spacerun: yes;"> </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7S_ORmag4PwZflcEnCeE92MO97jC1kEsqn7ysV1khPQ62OyAcgAckjDxkGx5a494N9_QSYnlbSpmqVMRZnq3irrjvAYDotKjm-dX4KlkND3tDEGGXVX_2_a3KFVu8yghjwIlRE0Qvf3I/s1600/the-texas-chainsaw-massacre-2003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7S_ORmag4PwZflcEnCeE92MO97jC1kEsqn7ysV1khPQ62OyAcgAckjDxkGx5a494N9_QSYnlbSpmqVMRZnq3irrjvAYDotKjm-dX4KlkND3tDEGGXVX_2_a3KFVu8yghjwIlRE0Qvf3I/s1600/the-texas-chainsaw-massacre-2003.jpg" height="258" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">As for the 2003 remake and the 2006 prequel, I will not
touch on them too heavily. With that said, the family in these incarnations are
extended to aunts, uncles and a nephew. Like the ’86 film, though not as loony,
there are squabbles between Sheriff Hoyt, the patriarch, and Leatherface. In
fact, it seems like we are treated to a whole community of Hewitts that live
within walking distance of each other. If anything, this franchise is built on
family relations, so it seems only natural for <i style="mso-bidi-font-style: normal;">Texas Chainsaw 3D</i> to take this notion and run with it. I was all
for it, too. I wanted this film to explore the family dynamic further, but I
suppose it was all wishful thinking. </span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i style="mso-bidi-font-style: normal;">Texas Chainsaw 3D </i>picks
up right after the events following the 1974 film, where the sheriff and a
posse attempt to arrest and enact vigilante justice one the Sawyers. However,
the posse ends up shooting everyone, and then burns the house down. One of the
posse members finds a young Sawyer woman with a newborn, kills her, and steals
the baby to raise it with his wife. Decades later, the baby is now our heroine,
Heather. We come to our first problem. We are never given enough time to
understand Heather’s character or motivation! All we know is this: she has a
boyfriend, and two other friends. She works as a supermarket butcher, and her
relationship with her ‘parents’ is cold. We never get to see her feel isolated,
lonely or detached. She seems relatively happy, but maybe if we extended some
shots or added a few scenes, we could see that it was all a put-on to conceal
her loneliness. She never has that “I feel like I am missing something”
discussion with her boyfriend, and we hardly get any insight into her
relationship with her seemingly unsupportive parents. If we spent just a little
more time understanding her interactions with them, it would accomplish A)
Heather’s feeling that she doesn’t belong with <i style="mso-bidi-font-style: normal;">this </i>family, providing leeway into the adoption conversation, B) it
would portray her parents as crucial plot elements to juxtapose with her
relationship with Leatherface later in the film, as opposed to stock clichéd
rednecks, and C) a more extensive argument in which her parents prohibit her endeavor
to Texas would make us understand Heather’s plight and little more clearly. If
the writers took their time in fleshing out their character, rather than giving
her jet-black hair and eyeliner, then perhaps we would have felt some sympathy
towards her. What we get instead is a broad, uninspired final-girl. </span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Let’s get into the two pointless sub-plots. Our first plot-device
is presented as a handsome drifter who, after charming his way into our heroes’
adventure, proceeds to pillage the house that Heather’s real grandmother willed
her. Of course, Heather and her friends are blissfully unaware as they are in
town gathering food for a barbeque. The idea of a robber could have worked and
here’s how: as our thief makes his way throughout the house, pocketing jewelry
and stashing silverware in his duffle bags, we follow him with the point of
view of Leatherface (the killer’s POV). This adds voyeuristic tension. Seeing a
stranger steal the possessions of his departed Aunt angers him, thus he kills
him before he could reach the basement. This accomplishes two things: 1) it
uses the robber as a means to convey Leatherface’s motivation rather than a
cheap ploy to reveal our villain and provide a first victim, and 2) it sets up,
early on, the concept that Leatherface is the protector of the Sawyer family
lineage, and thus a guardian for our main heroine. None of these concepts would
be realized until the very end. Instead, we get a dull sequence of the burglar
pocketing valuables only to get his head shattered when he opens the door to
Leatherface’s basement den, rendering his entire character pointless. We
sacrificed thrill and character for dull, by-the-numbers storytelling. </span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Our final sub-plot: Heather’s boyfriend Ryan is having an
affair with her best friend Nikki. In the film, this plot-point leads nowhere;
Heather never finds out about the affair. It’s added to the story as an excuse
for nudity and implied sexual conduct. Since the writers killed off Nikki’s
boyfriend early on, they needed to find a way to get her naked. Thus, we get
detoured away from time that could have been spent furthering Heather’s
character. Here is what could have happened if the writers needed this
plot-point: Perhaps Leatherface knew all along that Heather was his lost
relative (her grandmother, his aunt, told him). He would then feel the need to
protect her. When he witnesses the affair, he understands that Ryan, through
his dishonesty, is hurting Heather, which prompts him to attack the couple but
only kills Nikki. Chronologically, it must happen before Heather discovers
Leatherface for the first time. Then, the film plays out normally where Heather
is brought down to his lair. In this gruesome but possibly touching moment, we
discover that Leatherface actually cares for her. Maybe he shows her his masks.
As per the film, Heather escapes and hides in the graveyard. Leatherface finds
her, she meets up with Ryan, they attempt to escape, Ryan dies, Heather is
chased through the carnival, etc. Once more, this useless plot-point could have
furthered Leatherface’s intentions of protecting his only relative, and may have
possibly yield a devastating final moment between Ryan, the adulterer, and
Heather our victim.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Finally, we have two moments near the end that could have
been hauntingly symbolic. As I said before, if we provided a little more
hostile interactions between Heather and her parents, it would juxtapose the
scene where Leatherface finds her tied up by the town deputy. In that evocative
and eerie moment, he lowers his chainsaw (possibly symbolic of a hostile life
now passed) we see the love and affection he has for her, and conversely we see
Heather feel as though she’s “at home.” When he cuts her down from the ropes,
it serves as an allegory for Leatherface releasing her from her wrongful
inherited bonds. It’s a shame because this scene comes so close to fruition but
is tarnished by the <i style="mso-bidi-font-style: normal;">deus ex machina</i>
birthmark element. Leatherface, just seconds before sawing Heather in half,
sees her birthmark in the shape of the Sawyer family crest. Was this concept
ever mentioned or alluded to in the film? If so, it was much more subtle then
it needed to be. </span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The scene just before the final montage in which Heather’s grandmother
posthumously narrates her letter, we find Heather and Leatherface together in
the kitchen. This scene is played out as one final setup to a cheap jump-scare
when it should have been the heart of the entire story. Heather, a little
scared and slowly overcoming her shock, should embrace Leatherface as he is the
only remaining relative of her true family. Also, this is supposed to be same
Leatherface from the original 1974 film. He was already somewhat childish in
his actions, despite wielding a chainsaw and a skin mask, and to see him
embrace Heather as if she was his mother would have been an eerily touching
moment. It would be bold but memorable. Leatherface, now in his fifties or
sixties, should be tired and showing signs of age, making him much more
sympathetic. He is no longer his youthful self anymore. Maybe, much like
Heather, he too feels lonely and detached. That would mean that their unity is
even greater as they fill each other’s voids. The film would have ended on an
ambitiously high note. </span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">Family is the main theme in
the entire </span><i>Texas Chainsaw </i><span class="Apple-style-span" style="font-size: small;">oeuvre. It
may be portrayed subtly or blatantly, but it’s always there. I wanted </span><i>Texas Chainsaw 3D</i><span class="Apple-style-span" style="font-size: small;"> to set new grounds and
turn our beloved horror movie icon into an anti-hero. I wanted it to take that
bold new step in a completely wild direction. Sadly, what is given to us is a
bland, inferior sequel to an iconic masterpiece. </span><i>Texas Chainsaw 3D </i>did not need to live up to its predecessor’s
reputation, but it should have taken the franchise to its inevitable
destination. When you have characters spout off lines like, “family is family,”
or “no one loves you like your family,” it serves as a grim reminder of what
could have been. The entire story was one enormous block of marble waiting to
be sculpted into a striking figure. All it needed was careful molding, precise
engraving, and delicate smoothing. Instead, the writers and producers fired up
their chainsaws and reduced it to a haphazard abominable mess. I guess I
shouldn’t be surprised.</span><!--EndFragment-->
Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com4tag:blogger.com,1999:blog-4736156794348437082.post-83476539772880477522014-02-09T18:36:00.002-06:002014-02-09T18:36:50.663-06:00Review: Standards of Living (2014)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFwDyLdne-6uqx6h2johEhtPKPRxZBDAElMLL8f6KDQH1XDjIFDepnT5koiwcwQa6BCMFvet8C7WIrNrMJF41AY8bGUXtF2QxuLoeLs_47UDt1ActqF2_0FYM-KKQ-d7vNRHXJSqS00AQ/s1600/SOL-POSTER.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFwDyLdne-6uqx6h2johEhtPKPRxZBDAElMLL8f6KDQH1XDjIFDepnT5koiwcwQa6BCMFvet8C7WIrNrMJF41AY8bGUXtF2QxuLoeLs_47UDt1ActqF2_0FYM-KKQ-d7vNRHXJSqS00AQ/s1600/SOL-POSTER.jpg" height="400" width="300" /></a></div>
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<span style="font-family: "Times New Roman";">I love watching
independent films, especially those that lie within the horror genre because it
seems they are more ambitious, risky and creative as opposed to their
big-budget counterparts (zombie flicks being my favorite). It seems fitting
that my first review in three years is an indie flick called <i style="mso-bidi-font-style: normal;">Standards of Living</i> by <a href="https://twitter.com/AaronMento">Aaron Mento</a>, who I have the pleasure of
talking to every now and then on Twitter. The movie is a mixed bag, not
exclusively yielding to one genre. It has elements of horror, science fiction,
fantasy and thriller. I can’t help but speculate that Mento is trying to appeal
to the fans of all the genres he admires, and I would say that he succeeds in
doing so. For a first film (shot on iPad 2, of all things!), it’s a damn fine
production. At the very least, to you naysayers, he made a feature film. So,
what’s the movie about? Well, before I lay out the details, I must admit that
this is where the film gets a little convoluted, which may be the biggest
setback it has. Not to say that it’s glaring or jarring but if you were to sit
down and ponder it, it does make you scratch your head (perhaps that’s what
it’s suppose to do).</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic5fqHoMPxZu74vwSiwuv-TlsQSek6uFIf2MQSW4e2TobteU34BoOmVuFA3Za2VYY4AvH-cvCmRYTvoErN5uuRuhbY7EVbAA77sFx4jGUTxw121lzAgwFhsJ30AqpNOnnUPOHWFzzMNyg/s1600/SOL+-+TRIO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic5fqHoMPxZu74vwSiwuv-TlsQSek6uFIf2MQSW4e2TobteU34BoOmVuFA3Za2VYY4AvH-cvCmRYTvoErN5uuRuhbY7EVbAA77sFx4jGUTxw121lzAgwFhsJ30AqpNOnnUPOHWFzzMNyg/s1600/SOL+-+TRIO.jpg" height="225" width="400" /></a></div>
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<span style="font-family: "Times New Roman";">NOTE: I may or
may to be coming up with “fan theories,” here. Also, slight spoilers. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">The plot in its
most basic sense is this: Peter (Scott Yarborough) is a stand-up comedian who
isn’t all that funny. Nobody seems to like him. Then, one night, he receives a
phone call by a man known as Mr. Randall (played stupendously by Bill Ferris),
who offers him a unique opportunity including double his pay. Peter takes the
offer, arrives at his home and discovers that Mr. Randall has the ability to
make objects disappear, than reappear with improvement. Example: he makes
Peter’s scruffy silver peanut disappear only for it to reappear as a gold
peanut. Well, Mr. Randall wants to send Peter to the place where the objects
disappear to so that he could retrieve his daughter. Some time ago, a
mysterious man with black teeth arrives to bestow this magical gift onto Mr.
Randall but he also seems to have enchanted his wife and unborn daughter. That
same night, she kills herself (it’s implied that the stranger warped her mind,
somehow) and Mr. Randall attempts to use his gift to save his unborn daughter. Sadly,
he ultimately makes her disappear entirely from the womb. Peter crosses over
into the alternative dimension and finds his now-grown-up daughter living with
Alternative Mr. Randall and his alternative servant Stu (played by Derek
Houck). They believe he is an angel from God sent to deliver salvation.
However, Peter soon discovers that the man with black teeth isn’t who he
appears to be, and that Mr. Randall my have… dare I say it… alternative
motives. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">Now, to go back
to my one complaint: I don’t think everything was completely fleshed out, which
is why it was a little hard to keep up with the story. Let’s start off with the
stranger with black teeth. Some may ask: who is he or where did he come from?
That’s irrelevant. My question is, what’s his motive? Why is he doing this? We
don’t need him to explicitly state why, but maybe the answer lies somewhere
within the reality of the alternative dimension. This dimension is inverted
from ours: non-Christians are firm-believers, and the Union seems to be the
Confederacy, as there are still slaves. However, our black-toothed stranger
claims that Mr. Randall’s daughter is the second savior and that he brought her
there to save them. That’s some understanding into his motives but why does
that dimension need saving? If we understood the alternative dimension a little
more, we will understand why it needs saving, and thus the motives of the
stranger. Fan theory alert and SPOILERS: I gather that this stranger is some
inter-dimensional being, perhaps a police officer of sorts that regulates different
dimensions. It would explain why he is so invested in everything. I understand why he gives
Mr. Randall the ability (so that he could ultimately use it to benefit the other
dimension) but why doesn’t he take it away right after?<span style="mso-spacerun: yes;"> What would be the benefit of leaving him with that ability? </span>I wish we knew a little more about the
character or perhaps about the alternative dimension. Mento gave us pinch of
sugar when, maybe, we needed a teaspoon.</span></div>
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<span style="font-family: "Times New Roman";">Onto the main characters!
I loved all of them. First lets talk about Peter. Living in Chicago and going
to an art school, I know tons of people who yearn to be successful stand-up
comedians. It’s a tough gig to get into and if you’re not funny, you’ll fall
hard. Immediately I understand Peter and his plight. He is our
‘fish-out-of-water’ character who is an everyday guy caught in a supernatural
situation. When he’s confused, we’re confused. When we need some clarification,
he asks for clarification. I enjoyed him quite a lot. He’s funny too! The
audience just sucks. Now, lets get to Stu, my favorite character. He’s like
Dave Thomas in <i style="mso-bidi-font-style: normal;">Rat Race</i>: monotone,
not very expressive, devoid of personality on the outside but inside… he’s
exploding. He gets impatient but he’s passive about it. He has a constant frown
or grimace that adds just a little more depth to his character, and he genuinely cares for
his employer (and possibly only friend). The striped Polo shirts and suspenders
are fantastic touch, and he has some of the best lines. “It’s about a stormy
interracial romance in an intolerable small town,” he says after defending his
boss’ work. The context is lost, I know, but it’s presented completely
straightforward. The genius of it is that it foreshadows what’s to come. As for
Mr. Randall, he is a character who is shockingly complex. He is a loving
husband and father. He makes an honest living, and he seems levelheaded.
Underneath this mask he is an extremely determined man who will stop and
nothing to save his daughter, however, when conflicts arise, he seems to
question the morality of what he’s doing. It’s not explicit but you gather it based
on his body language. I don’t want to discuss any other characters because it
may reveal major plot details and spoilers. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjybMd1MovUYv4VubPanrVVF2JkFDE_AT8q2iXgFPwLfa7nE90VLuxMNpTK4pJknGvrRdZiyM5G3GivTq6Gt1PTLqjPxiuosiNKunKyuojFmVjVzTuWe1mw5vBWXcZcvLYcmP7srzAxTz4/s1600/009wcm_stephen_mchattie_0011.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjybMd1MovUYv4VubPanrVVF2JkFDE_AT8q2iXgFPwLfa7nE90VLuxMNpTK4pJknGvrRdZiyM5G3GivTq6Gt1PTLqjPxiuosiNKunKyuojFmVjVzTuWe1mw5vBWXcZcvLYcmP7srzAxTz4/s1600/009wcm_stephen_mchattie_0011.jpg" height="225" width="400" /></a></div>
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<span style="font-family: "Times New Roman";">Also, Bill
Ferris looks an awful like a young Stephen McHattie.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">The whole film
plays out like an X-Files episode. The plot is essentially a missing persons
report with a supernatural twist. From a horror perspective, I see influences
of Raimi (visually exclusive), body disfigurement reminiscent of early
Cronenberg or Gordon, and biblical themes as previously explored by Bergman or
King. I may be far-fetched in those comparisons but it’s what I see. I believe
there is something to be said about shooting on an iPad. The independent scene
is rapidly adapting to the consumer market. Now, anybody can pick up their
iPone or Galaxy Touches and make a movie. You’ll have hollow audio (thankfully
all the dialogue in this movie is recorded separately and synched later) but
you’ll have a movie. The future for the micro-budget filmmaker lies within
these devices. They may not be widely accepted, now, but soon we’ll be seeing
movies at Sundance or Cannes that were shot on phones or tablets. It’s the
future folks! <i style="mso-bidi-font-style: normal;">Standards of Living </i>is
a great kick-starter to this new style of filmmaking. Needless to say, I look forward to what Mento has in store for us. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">If you are curious, you can catch the movie <b><a href="http://t.co/dT110pAklB">here</a></b>. </span></div>
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<!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com1tag:blogger.com,1999:blog-4736156794348437082.post-84923002591732620642014-02-07T17:29:00.001-06:002014-02-07T17:30:07.436-06:00For All Mankind: A Look At Apollo 18<!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman";"><o:p> </o:p></span><span class="Apple-style-span" style="font-family: 'Times New Roman';">Let me first
start off by saying that I was initially turned off by the trailers for <i style="mso-bidi-font-style: normal;">Apollo 18</i>. While they were spectacular,
they suggested that the film would be just another run-of-the-mill found
footage experience. Perhaps, on the surface, they were right. Critics panned
the film, comparing it to <i style="mso-bidi-font-style: normal;">Paranormal
Activity,</i> and complained that it was tedious and devoid of any charisma. Naturally,
when it came to Netflix, I had to see it. This, of course, was following my
extensive examination of the entire Criterion library. What I discovered was
that I enjoyed <i style="mso-bidi-font-style: normal;">Apollo 18</i> for all the
reasons the critics hated it for. Then came the comparison between it and <i style="mso-bidi-font-style: normal;">For All Mankind</i>.<span style="mso-spacerun: yes;"> </span>Now, comparing the two seems almost
disrespectful to Al Reinert. However, the two films share tone, presentation
and theme, with the obvious similarity in filmmaking style. It is for this
reason that I should suspect that Gonzalo Lopez-Gallego was, in some way,
inspired by Reinert’s documentary.</span></div>
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<span style="font-family: "Times New Roman";">Before diving
into this, I should explain why I found the film to be enjoyable. It’s not
perfect by any means, it did not exceed my expectations (they were very low),
and it’s not a film that has a large replay value. With that said, save for a
few weird instances, <i style="mso-bidi-font-style: normal;">Apollo 18</i> nearly
knocks the found footage genre out of the park. With tiring movies like <i style="mso-bidi-font-style: normal;">V/H/S</i>, <i style="mso-bidi-font-style: normal;">Devil Inside, Frankenstein Theory</i>, and the most closely related <i style="mso-bidi-font-style: normal;">Europa Report</i>, it’s nice to finally see
a film that feels like a found footage documentary. It’s presented in 4:3 and not
16:9 (this is crucial because a lot of VHS-based films are all in widescreen
and clearly shot on digital cameras), the film has grain, there are moments
where the film is over-exposed, and, above all, there is actually a reason for
why they are documenting everything. The characters aren’t moronic teenagers or
hack filmmakers, rather intelligent young men having fun on such a captivating
odyssey through space. I never hated any of the astronauts, and they all seem
to evoke a sense of playful awe similar to their real-life counterparts as
presented by <i style="mso-bidi-font-style: normal;">For All Mankind</i>. I’ll
dive into detail as I continue. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";"><o:p> </o:p></span><span class="Apple-style-span" style="font-family: 'Times New Roman';">Now, for what I
didn’t like. I may be scrutinizing this film a little too in depth but I
digress. The fictional story behind <i style="mso-bidi-font-style: normal;">Apollo
18</i> is that somebody obtained classified footage of the mission, cut it into
a documentary and released it to the public. There are sound effects that are
clearly non-diegetic but as I understand it, it’s as if the documentarian is
putting us into the world of the film. Fine. <i style="mso-bidi-font-style: normal;">For All Mankind </i>does the same. Then, we come across the instance
when we first see a dead Russian cosmonaut. As one of our characters ventures
into a crater, he uses the flicker of his camera to illuminate his path. When
the body flashes on screen, we hear a sudden spike in the soundtrack (a
jump-scare) as if we were watching a regular horror movie. On a documentary
aspect, this doesn’t make sense, as it seems to trivialize the death of the
cosmonaut. It would have been scarier and far more effective if there were no
sound, or perhaps just the non-diegetic sound of the camera bulb flickering.
Next, there are one or two scenes where the film deliberately points out weird
movement in the background as if we couldn’t see it before. I hated this.
Background disturbances should not be zoomed in on or isolated via a video
filter. Then again, I suppose it does make sense. The last instance is the
strangest. One of the astronauts becomes infected by an alien life form. He
pulls a cliché by taking the camera to record our main character sleeping, and
then turns the camera to himself. What follows is… out of place. He begins
violently shaking his head back and forth, which is clearly edited, while the
film splices in frames with a negative filter over them. Aside from the scene
being a glaring cliché, why would our documentarian do this? It serves no
purpose. I think if they took out the filters, sound effects and kept it raw,
it would have been a lot creepier. These are all nitpicks but they do take me
out of story.</span></div>
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<span style="font-family: "Times New Roman";"><o:p> </o:p></span><span class="Apple-style-span" style="font-family: 'Times New Roman';">On to the basis
of all this nonsense! Let’s talk about tone, which will inevitably bleed into
presentation. <i style="mso-bidi-font-style: normal;">For All Mankind</i> starts
off introducing some of our colorful soon-to-be astronauts in training and
mission preparation. It focuses a lot on their expectations, who they are, and
the journey from training to actual flying. While <i style="mso-bidi-font-style: normal;">Apollo 18</i> skips the journey aspect, it manages to present our cast in
the same fashion: as all-American men with happy families, high expectations
and an eagerness to embark on their assignment. What I love about <i style="mso-bidi-font-style: normal;">For All Mankind </i>is that it presents the
lead-in to the moon landings as an eerie, inspiring, albeit desolate odyssey
into the unknown. The whole mission of Apollo 18 is too different. However, we
get to see our casts (both in <i style="mso-bidi-font-style: normal;">Apollo 18 </i>and
<i style="mso-bidi-font-style: normal;">For All Mankind</i>) as playful, often
fiddling around with gravity-defying tricks, playing pre-recorded memories on
tape, and engaging in manly behavior. In both films, Houston is represented as a
warm, friendly, reassuring voice that comforts them as they make their perilous
journey. But, this is only a brief few minutes for <i style="mso-bidi-font-style: normal;">Apollo 18</i>. The real similarities occur when we finally land on the
moon. <span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman";">Here is where we
really get into things. When Apollo 18 lands on the moon, it’s business as
usual. Our characters play around, they set up their equipment and collect rock
samples, which will soon prove to be their greatest mistake. The same happens
in <i style="mso-bidi-font-style: normal;">For All Mankind</i>, naturally. But
how is the moon represented both aesthetically and character wise? For
starters, in each film, the moon is shown as a bleak, uninhabited landscape
with an eerie black backdrop to the infinite space that surrounds it. The hills
and crater edges are monumental. The ground seems sun washed, and we get a real
sense of total isolation for both our characters and our real astronauts. The
character of the moon is… characterless. Our sense of wonderment isn’t so much
as the moon itself but rather that we are truly on an alien landscape far away
from our blue home. Both films capture this. Only difference: one is the real
thing and the other is in a studio. Or for some of you, the latter may serve
both cases. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">In terms of
actual documentary style, there is a lot to be said. Aside from some bizarre
instances (as aforementioned), layered beneath <i style="mso-bidi-font-style: normal;">Apollo 18 </i>and <i style="mso-bidi-font-style: normal;">For All Mankind
</i>there is an unsettling ambient score. While <i style="mso-bidi-font-style: normal;">For All Mankind </i>may actually have a theme and a real composition, <i style="mso-bidi-font-style: normal;">Apollo 18 </i>has a low-resonating ambient
track that seems to suggest that a jump-scare is in the near future but, in
fact, only adds to the film’s creepy atmosphere. This is what I was shocked
about when I first set eyes on the film: it’s a slow burn movie, sure, but I
was not expecting a mood-piece. The jump-scares are minimal and it focuses on
character relations and tone rather than just the typical monster-movie
formulas. And, for a movie that has aliens, it’s really tame in it’s
presentation of the material. Similarly, <i style="mso-bidi-font-style: normal;">For
All Mankind </i>is not so much about the wonderment, inspiration and thrill of
the moon landings (ala <i style="mso-bidi-font-style: normal;">Apollo 13 </i>or <i style="mso-bidi-font-style: normal;">The Right Stuff</i>) but more about the
strange, tranquil beauty of it (ala <i style="mso-bidi-font-style: normal;">Moon</i>).
This brings me to the core story of <i style="mso-bidi-font-style: normal;">Apollo
18</i>, which may be been influenced by a specific piece of dialogue in <i style="mso-bidi-font-style: normal;">From All Mankind</i>.</span></div>
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<br />
<blockquote class="tr_bq">
<span style="font-family: "Times New Roman";">I had one dream
was very vivid. In my dream we were driving a rover up to the north. It was
untouched. The serenity of it had a pristine purity about it. We crossed a
hill. I felt ‘gosh we’ve been here before.’ And there was a set of tracks out
in front of us. So we asked Houston if we could follow the tracks, and they
said yes. And we turned and followed the tracks. Within an hour or so we found
this vehicle. It looked just like the rover. Two people in it– they looked like
me and John—had been there for thousands of years.</span> </blockquote>
<blockquote class="tr_bq">
<span style="font-family: "Times New Roman";">– Charles Duke. </span></blockquote>
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<span style="font-family: "Times New Roman";">I suspect that
Gonzalo Lopez-Gallego must have been watching <i style="mso-bidi-font-style: normal;">For All Mankind</i>, came across this scene and it’s imagery, and
thought it would be terrifying if the description was real. In <i style="mso-bidi-font-style: normal;">Apollo 18</i>, our heroes come across a set
of additional footprints that lead to a discarded Russian module. The instance
is uncanny to Duke’s description. Perhaps this was the basis for the whole
plot. The astronauts find a dead cosmonaut. They discover that something
otherworldly killed him. Enter aliens. It only seems natural. The closer we
examine the two scenes, the more we uncover the heart and theme that each film
shares. From my perspective, <i style="mso-bidi-font-style: normal;">Apollo 18 </i>and
<i style="mso-bidi-font-style: normal;">For All Mankind </i>is about man’s
inquiry into the abyss of the unknown and the consequences that may arouse or
disturb our senses. <o:p></o:p></span></div>
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<!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com0tag:blogger.com,1999:blog-4736156794348437082.post-76043156629370746022011-12-22T09:02:00.005-06:002011-12-22T09:10:15.266-06:00Freddy vs. Jason: One More Time<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaqBiblYcdLQeH_4XRhQ8TniGV3cn3rsX6p9iTmkAcMF7ZIPxRWFfUFv1NHObC6zVn6hIy0hOnIEbGlFVPqUiHkrDhgUyj6Jq67LOqb7REPb9AB_X9TL_4xcWXwDfuaq5ajFprwHbJ4bU/s1600/Freddy+vs+Jason+2003+1.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 169px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaqBiblYcdLQeH_4XRhQ8TniGV3cn3rsX6p9iTmkAcMF7ZIPxRWFfUFv1NHObC6zVn6hIy0hOnIEbGlFVPqUiHkrDhgUyj6Jq67LOqb7REPb9AB_X9TL_4xcWXwDfuaq5ajFprwHbJ4bU/s400/Freddy+vs+Jason+2003+1.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5688969843630567410" /></a><p class="MsoNormal">As a kid I had always been obsessed with Freddy Krueger and to me he was the definitive serial killer because he had a face and he wasn’t just an unstoppable physical force but rather a “demon” that kills you when you at your most vulnerable. Jason, on the other hand, was nothing special but I enjoyed the first three of his movies. Later, I would see his movie again and I came to the conclusion that I was never a big Jason or<i> Friday the 13</i><sup><i>th</i></sup> fan because it was all about body count and not the characters. Surprisingly, I saw more character development in the <i>Nightmare on Elm Street</i> movies then any other slasher. Perhaps I am missing the point but that’s one of my main arguments as to why I love the <i>Elm Street </i>movies.</p> <p class="MsoNormal">When I first saw the previews for <i>Freddy vs. Jason</i>, I loved every minute of it because my favorite horror movie villain was going to be up against my least favorite horror movie villain. I was on Team Freddy from the very get go. I never saw it in theaters so I had to wait for it to come out on DVD and so I rented it from the library when it was released to home video. Upon my first viewing of <i>Freddy vs. Jason</i>, I hated it. There were only a few things that I liked but that didn’t outweigh the bad and so since 2003 I had never picked it up again. When asked by my friends why I hated it, I gave a number of reasons why and I feel as though I should try to summarize them and restrain myself from ranting and breaking off into a tangent.</p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmtS4YnAa751F9-Tjy6v31-SXRRxRgq4jQR59VrswrREFAWvT5lemeVSyVvy5NuC6nAHIpVdFcPJs0VX7OfJozCjLUr6jZqoIZ576C1GVQn5pBdf4IYjZnwybTH2_dFfk-3Gf-YKhhM3A/s400/Freddy+vs+Jason+2003+2.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5688969753610453346" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 169px; " /></span></p> <p class="MsoNormal">The biggest problem I had was that I didn’t like any of the “human” characters. They were dry, stale, cardboard cutouts of typical Hollywood teenagers, they were nothing but slasher fodder and very expendable. I didn’t care about their problems and I wanted to see all of them dead because they were pests. I always commended <i>Nightmare on Elm Street</i> for giving me characters that I can relate to or characters that I feel sorry for but to see unlikeable characters on Elm Street seemed out of place and stupid. They felt like they would be more at home in Crystal Lake then Elm Street. I didn’t like the stoner and I didn’t like seeing Freddy take the form of a pot-smoking caterpillar. I felt like it was insulting him and I felt the same way when he became a witch or a comic book villain. I especially hated the fact that Freddy was afraid of fire and Jason was afraid of the water because if I remember correctly, Freddy used fire in many of his nightmares and never was afraid of it then. Also, I remember Jason being fine with water and never shying away from it. Additionally, I felt like the ending was a cop out because I thought they would end both franchises simultaneously but instead they show Jason walking away with a winking dismembered Freddy head. I felt like it was the last corny nail on the cheese coffin. </p> <p class="MsoNormal">With all that said, I decided to see the movie again because most people I talk to say it wasn’t bad and for a “versus” movie, it’s pretty decent. I thought about it for a while and I realized that it’s going back to the old “meets” movies that Universal would produce. The movie <i>Frankenstein meets the Wolf Man</i> came up as being the first mainstream movie that pits two horror icons together. So, I buckled down and decided to give <i>Freddy vs. Jason</i> another go… this time looking at it from a fresh new standpoint since I hardly remember what happens. Now, after analyzing horror movies and broadening my horror taste, I felt like I was prepared for this movie. I’m older and not nearly as bias as I once was. My general consensus of<i> Freddy vs. Jason</i> after seeing it for the first time: I liked it. It wasn’t bad, pretty decent, and it has some charms that nod the original franchises.</p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDMyoY5ebqJmQ7O8-3fLDAWMCErlOrU02j3bkHnc3pOCBiB_WU72PD7Fj_hI-wavrHUgFSrzQLnYoubfJUnno_LaLVlAz7WAowuWQFuqKZKcR-GrcU7pqqartCBG3oGV8WhJIx0eK6zGA/s400/Freddy+vs+Jason+2003+4.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5688969633079321906" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 170px; " /></span></p> <p class="MsoNormal">Since I’m not a big fan of the <i>Friday the 13</i><sup><i>th</i></sup> movies and since there isn’t really anything to them other than a body count and Jason, I think I should talk about the <i>Nightmare on Street</i> portion of the movie as there is more to them. One of the biggest things I was dreading was that they wouldn’t properly transition from the real world to the dream world; the original Elm Street movie seamlessly brought you into the dream without you knowing. As for this movie, specifically the scene where the group was thinking about sacrificing the main heroine, half the time I couldn’t differentiate between the real world and the dream world. The dreams, although surreal like they should be, doesn’t offer booby traps within the “real” home. What I mean is this: in the first movie Nancy is running up the stairs when suddenly the stairs turn into goopy liquid or when the basement slowly turns into the boiler room. Much of that is missing but that does not mean it’s bad. I’m real glad they kept the boiler room.</p> <p class="MsoNormal">What I liked more than anything, and this is what made me hate the film originally, was that the movie dived into the characters of Jason and Freddy. I understand why Freddy is afraid of fire because he was burned from it and Jason drowned so he’s afraid of water. I like this aspect despite the fact that both villains encountered each element before in their own respectable franchises. I feel like giving the villains a fear of something de-mystifies them and brings them down to a mortal level; it makes them more human, which is something that really turns the tables on things but it goes deeper into that. When Freddy encircles Jason with water we see Jason backing up, Freddy smiles, then we see a trembling, half-naked boy on the floor with a hokey mask. It’s such a good yet sad scene because it shows us that inside the undead, hulking exterior of Jason lays a frightened little boy who was emotionally and mentally scarred. Freddy, in almost a childish bully sort of way, goes on to mock Jason saying that his face is something only a mother could love. Then, we flash back to Camp Crystal Lake where Jason was picked on. It shows you that Jason was once a normal person and could have led a somewhat normal life despite his deformity, but it’s because of the severe bullying that he becomes the murderous psycho that he is. But this also shows just how merciless and cruel Freddy is and that he was born a monster, whereas Jason was made into a monster.</p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixswczwiMcOdUmp-ZSN3rXiVu1_E0wynrs6eh-YyC2lYSIWVonXQNw_4jjVmkalUSnvH-pBfCQn9SMx76IZf3WYQQmT9BrjDUmk_KBCQ4LFYd09S5eLZZ8XBOptlrMzlpPPJZqlS3rFS8/s400/Freddy+vs+Jason+2003+3.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5688969228745189170" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 169px; " /></span></p><div>Then there are the battles between Freddy and Jason, which were pretty damn good. There are some wonderful massacre scenes, particularly Jason breaking somebody’s back by squishing them in half by the bed. There’s also a fantastic scene where Freddy controls one of the characters by making him doze off from smoking pot. It’s a fantastic scene because, for one, I thought it was pretty cool seeing somebody attack Jason wielding two syringes of sedatives. Also, for me at least, it was the most memorable scene where Freddy controls somebody since <i>Nightmare on Elm Street 2</i>. I don’t really count <i>Dream Warriors</i> because it was too campy, whereas Elm Street 2 was sort of playing on a “duel personality” level.</div> <p class="MsoNormal">I should start wrapping this up before I trial off like I so often do. I’ll admit that for a while I was acting stubborn but I think <i>Freddy vs. Jason</i> is growing on me because it’s not a bad slasher and I really like the ‘versus’ plot. I’m glad that Robert Englund was in it and that earned it extra points in my book, it was gory, it had some great dream sequences and Freddy seemed to be a badass. I know I am really fixated on the <i>Nightmare on Elm Street</i> portions but that’s because those were the scenes I was worried about the most. It was fun seeing Jason hack and slash again and it was fun seeing Freddy take advantage of his traumatizing childhood because it added personality to Jason. Seeing Freddy, and Jason, afraid of fire and water elements brought them down to our mortal level and that’s something that was risky but played off perfectly. I think now I have a new take on this movie and it holds up. Then again, this wasn’t the first time I hated a movie at first but grew to like it. Hell, just ask <i>Jack Frost</i> or <i>Uncle Sam</i>. They’ll tell you. </p> <!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com5tag:blogger.com,1999:blog-4736156794348437082.post-53695512475367466392011-10-23T11:44:00.005-05:002011-10-23T11:52:10.349-05:00Preserving the Thing<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW-6c81_bmhoFNMu6gMaGLS5gpxJbEmVz69K3xRvIacme0vxe0zn997QEWBQ_7laMK-DRtOdn2XUJVSL3t9-zUfg0KLnfzFUI0uHulR83aiboZDATJ__O0WEbNKJ8WH1gIzFYNd-bOS2U/s1600/thing-1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 227px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW-6c81_bmhoFNMu6gMaGLS5gpxJbEmVz69K3xRvIacme0vxe0zn997QEWBQ_7laMK-DRtOdn2XUJVSL3t9-zUfg0KLnfzFUI0uHulR83aiboZDATJ__O0WEbNKJ8WH1gIzFYNd-bOS2U/s400/thing-1.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5666730802107672626" /></a></div><p class="MsoNormal"><i>About a week or so ago I received an email by one of my Twitter buddies concerning The Thing prequel. Apparently the comment he wanted to leave on my review was too long, thus forcing him to email me it instead. He commented on why he doesn’t want to see the prequel and why the prequel might ruin the magic and mysteriousness of the Carpenter movie. While I liked the prequel and while it doesn’t ruin the magic for me, I thought this was a very interesting piece that I could not help but share.</i></p> <p class="MsoNormal"><span style="font-family:";"><span class="Apple-style-span" style="font-size:medium;">I'm actually quite surprised you liked this at all, based on reading your review and knowing your love for the '82 film. I would say the ''82 film is in my top five favorite movies of all time, maybe the number 1 spot.</span></span></p> <p class="MsoNormal"><span style="font-family:";"><span class="Apple-style-span" style="font-size:medium;">I have not seen this prequel and never will. Let me get that out of the way now, because I get heat from people saying I can't complain about something I haven't seen. I however say I CAN and WILL. </span></span><span class="Apple-style-span" style="font-size:medium;"> </span></p> <p class="MsoNormal"><span style="font-family:";"><span class="Apple-style-span" style="font-size:medium;">MacReady: </span></span><i><span class="Apple-style-span" style="font-size:medium;">"Now I'm gonna show you what I already know."</span></i></p> <p class="MsoNormal"><span style="font-family:";"><span class="Apple-style-span" style="font-size:medium;">The idea of showing what happened at the Norwegian camp seems utter ridiculous to me now, as it was when I heard the film was going into production. The filmmakers stance of "we'll show you what happened, why the axe is in the door" cracked me up. Was there a huge number of '82 Thing fans looking for those answers, I have to believe that is not the case and I'll tell you why. When you watch Carpenter's movie the American's discovery at the Norwegian camp/station is foreshadowing of what they will soon encounter. We are offered small glimpses of information regarding the thing, how people reacted to it and where it came from. Seeing the burnt out camp, dead people, yes axes in doors (sweet Satan!) and the burned remains of a Thing mid-transform. This info also provides elements of mystery that are crucial to the story and tone of the film. </span></span><span class="Apple-style-span" style="font-size:medium;"> </span></p><p class="MsoNormal"><span style="font-family:";"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGInSy_aab2Su59DjUgA7ujpEKgDG8Md9l9FpEbMP8eVYtyLpuyIuX60o1NTfBVgs0CMjm15PE6yy0Fyi7ITMKRi9wJbmrMKxLjZ9-b6QiKqqFrgTOu6jNC1JAiFDQzD5ryrDmW94qeWY/s400/thing-2.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5666731067647968530" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 222px; " /></span></span></span></p> <p class="MsoNormal"><span style="font-family:";"><span class="Apple-style-span" style="font-size:medium;">As the '82 film progresses, the Thing begins it's attack and paranoia set in and eventual battle up until the closing scene with MacReady and Childs. We can infer that what we just saw the Americans go through is essentially what the Norwegians went through without the requirement of a prequel film to fill in the blanks. Your own creative mind can fill in those blanks and I'd imagine do it in a much better fashion than this prequel does. Carpenter could have just as easily done the film from the stand point that the Americans discovered the alien, but he didn't and I don't think that was to lay any kind of groundwork for a prequel. All the information is there, all that is needed is in the '82 film.</span></span></p> <p class="MsoNormal"><span style="font-family:";"><span class="Apple-style-span" style="font-size:medium;">Now, let me ask this. How can there be even a shred, a sliver of mystery or suspense to this prequel, when '82 fans know all the people from the Norwegian camp die and the Thing escapes? I can't get my head around that huge problem with this prequel. </span></span></p> <p class="MsoNormal"><span style="font-family:";"><span class="Apple-style-span" style="font-size:medium;">Another huge issue I have with the prequel is what limited CGI I saw in the trailer. It looked atrocious, I laughed when I saw the thing come out of the block of ice. You said there are some practical effects in there, which is great, it sounds like the CGI is way overused and fake looking. That cast sounds utterly forgettable from what you said and that is a very very weak leg to this film I'd imagine. The '82 film had a fantastic cast that I know you love. If you didn't love the cast and their performances, this wouldn't be your favorite movie, bottom line. Your section about nitpicking the movie is also of grave interest to me and another warning sign to stay away from this film. If they are intent on showing every detail (because people wanted it for some ungodly reason) then why didn't it hone EXACTLY to the '82 film? It should be dead on.</span></span></p><p class="MsoNormal"><span style="font-family:";"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWqXAKDUWjs45bLe6OJgtoCwwlxc0OquYzF51ltpXKIIJf1UAquv4sqlswpY4BGlo5vw1kw6l-j_4-FsVxd6W5Cwf8xidn7nZMmZCeA7ZTy1zlcdv-MbbrEZlt9AQNYjUQzx5_SiB0JRA/s400/thing-3.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5666731211485048114" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 224px; " /></span></span></span></p> <p class="MsoNormal"><span style="font-family:";"><span class="Apple-style-span" style="font-size:medium;">I found the final minutes of the 2011 film on YouTube to see how the transitioned their film into the '82 film. Nice from the standpoint that they led right up to that films beginning, but I must ask. If someone is new to the Thing and watches this film first and then the '82 film after what many magical and fantastic things are killed for a moviegoer. For those people I feel truly sad. This prequel tries to bill itself with providing answers to questions it's actually killing for those new to The Thing…</span></span></p> <p class="MsoNormal"><span style="font-family:";"><span class="Apple-style-span" style="font-size:medium;">This bit of dialogue is from one of my favorite scenes from the '82 film and the reason for me adding it to the end here is because this conversation for me kills an reason for the prequel. </span></span></p> <p class="MsoNormal"><span style="font-family:";"><span class="Apple-style-span" style="font-size:medium;">MacReady: </span></span><i><span class="Apple-style-span" style="font-size:medium;">"I don't know, thousands of years ago it crashes, and this thing, gets thrown out or crawls out and it ends up freezing in the ice."</span></i></p> <p class="MsoNormal"><span style="font-family:";"><span class="Apple-style-span" style="font-size:medium;">Garry: </span></span><i><span class="Apple-style-span" style="font-size:medium;">"The Norwegians get a hold of this, and they dig it out of the ice…"</span></i><span style="font-family:";"><span class="Apple-style-span" style="font-size:medium;"> </span></span></p> <p class="MsoNormal"><span style="font-family:";"><span class="Apple-style-span" style="font-size:medium;">MacReady: </span></span><i><span class="Apple-style-span" style="font-size:medium;">"Yes, Garry. They dig it up. They cart it back. It gets thawed out, it wakes up, probably not the best of moods. I don't know, I wasn't there!"</span></i></p> <p class="MsoNormal"><span style="font-family:";"><span class="Apple-style-span" style="font-size:medium;">Childs: </span></span><i><span class="Apple-style-span" style="font-size:medium;">"How could this motherf@*ker wake up after thousands of years in the ice?"</span></i></p> <p class="MsoNormal"><span style="font-family:";"><span class="Apple-style-span" style="font-size: medium;">George Bennings: </span></span><i><span class="Apple-style-span" style="font-size: medium;">"And how can it look like a dog?"</span></i></p><p class="MsoNormal"><span class="Apple-style-span" style="font-size: medium;"><i></i></span><span style="font-family:";"><span class="Apple-style-span" style="font-size: medium;">MacReady:</span></span><span style="font-family:";"><span class="Apple-style-span" style="font-size: medium;"> </span></span><i><span class="Apple-style-span" style="font-size: medium;">"I don't know </span>how. Because it's different then us, see. Because it's from outer space. What do you want from me? Ask him!"</i></p> <!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com3tag:blogger.com,1999:blog-4736156794348437082.post-34647594370283291942011-10-19T11:56:00.013-05:002011-10-19T12:09:39.425-05:00Music Box Massacre 7<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6A9M6o2brDwlsOLW27qQrzAAcrV1PZe5Ak87CelHSaUlozq2pNM8BOJhV8yEqJg5dtx2iB36q7Jr2HfI7TXEwtB_NZiYICx3LEKnmblSMxGAI65zRtyqgXLo7ihVOME4ovlYt13XXMSY/s1600/300935_273318432701029_100000686222055_870087_738257317_n.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 298px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6A9M6o2brDwlsOLW27qQrzAAcrV1PZe5Ak87CelHSaUlozq2pNM8BOJhV8yEqJg5dtx2iB36q7Jr2HfI7TXEwtB_NZiYICx3LEKnmblSMxGAI65zRtyqgXLo7ihVOME4ovlYt13XXMSY/s400/300935_273318432701029_100000686222055_870087_738257317_n.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5665249716241074978" /></a></div><p class="MsoNormal">I’m rather late on reporting this but this past weekend (October 15 till the 16<sup>th</sup>) was the yearly Music Box Massacre at Chicago’s own Music Box Theater. This year, unlike the past two years that I went, was different for me because I slept through half of the 24-hour marathon. I have no idea why I was suddenly tired all of a sudden but I missed out on some movies that I’ve wanted to see for a long time. Regardless, I was fortunate to experience three films on 35mm print one of which is a must for the Halloween season. So, without further ado, I’ll give you a short rundown and musings of the films I was able to catch.</p> <p class="MsoNormal">The marathon started off with the silent film…</p> <p class="MsoNormal" style="text-align: center;"><b><span class="Apple-style-span" style="color:#FF9900;">Waxworks (1924)</span></b></p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw2_6UpLeechX0_dd2Orlqg00c_anbJyyhldUNtlYrQ9tTWj5IUYf6nk2-csa8bnRu0B6rGGKJNMWfkroK0JLZuH_sCIRmaMVLkUT-mpC7sy9F5X95u-6AQP0yVPqbirXKIvy-ypZ3StU/s400/waxworks.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5665249810739345714" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 294px; " /></span></p> <p class="MsoNormal" style="text-align: center;">This fantasy film is considered horror but I’m not sure why. I feel it’s more action adventure than anything although I guess it’s because there are some elements of horror that must have been shocking for people back when it was first released. Personally, I felt it was a little boring but what I have to applaud was the live organ player who had to sit there the entire time.</p> <p class="MsoNormal" style="text-align: center;"><b><span class="Apple-style-span" style="color:#FF9900;">Burn Witch Burn (1962)</span></b></p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU2PQeevDR3aTENkXU3DZGadDKwOIIA8jHCjY77txTs9jX-PiW0OgminHMYXOayMncQrriKVEI5MSw1yPTC0gHjz3PRcAm2O9DGxOS9Ew8FpNIcBeOzaIbbDGsq97tH9awkiXYsH5q2DY/s400/burn1962witch1.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5665249906968359106" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 253px; " /></span></p> <p class="MsoNormal" style="text-align: center;">After his wife confesses to being a witch, a college professor must find out whether or not she was telling the truth but time is running out because dark forces are descending upon him and the only way to stop them is by sacrifice. Also known as Night of the Eagle for some reason. This was a fun movie and a perfect candidate for MST3K or any other type of Riffing. Hammy acting, sexist dialogue and some really cheap but strangely effective special effects laden this film. I personally loved the part when you hear something howling, screaming and bellowing outside the door but never end up seeing it. </p> <p class="MsoNormal" style="text-align: center;"><b><span class="Apple-style-span" style="color:#FF9900;">Hour of the Wolf (1968)</span></b></p> <p class="MsoNormal" style="text-align: center;">I slept through this movie.</p> <p class="MsoNormal" style="text-align: center;"><b><span class="Apple-style-span" style="color:#FF9900;">The Abominable Dr. Phibes (1971)</span></b></p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCjqohBtcvXkKp3aphRzeyAY5DpRCTg9mK8rxOQjnBu4nmvkhoyuxZN5TaoZDFgOjznMz4VbxSLAzKrYNHzELv_zdd9AnHeTmR0-L7Z8-eOWqg1gyT4OscdKo7-dSblnLcqRinHRHHNS0/s400/dr.phibes30.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5665250024622869778" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 216px; " /></span></p> <p class="MsoNormal" style="text-align: center;">I loved this movie but calling it horror is a bit much even if the final revealing of Phibes is shocking, then again I guess it could be considered a Slasher movie. Oh whatever, either way I liked it a lot. Price plays yet another interesting, stylish and charismatic killer that sort of reminded me of Theater of Blood. This time he plays Dr. Phibes, a doctor of music, who seeks murderous revenge on all the doctors who were unable to save his wife from a tragic accident. Dark British humor and the 12 plagues of Egypt make this movie work seeing and it’s even funnier watching it with a live audience. </p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color:#FF9900;"><b>Wizard of Gore</b></span></p> <p class="MsoNormal" style="text-align: center;">With special guest Herschell Gordon Lewis </p> <p class="MsoNormal" style="text-align: center;">I broke away for dinner. </p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color:#FF9900;"><b>Halloween (1978)</b></span></p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj16IOBhgzscFj4mORjGnJMBwj37_ZGDpe11wxOU64VFMxpwLOs8sRqYLWuWvg18JDXFPVRKO-3ax8h05BXyzih3fB89OhO8p2lagyc7BqJO5zA_fFpEXgPdvEu4vrozu9m8hATxkPzVZY/s400/halloween-1978.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5665250112449591602" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 202px; " /></span></span></p> <p class="MsoNormal" style="text-align: center;">No party that takes place during October is complete without a 35mm screening of Carpenter’s infamous slasher movie. The print we saw was reddening, scratch and dust filled with horrendous jump cuts… everything I wanted to see to give me that authentic “grindhouse” feel. This time around, because I saw the movie so damn much, I began to notice the small things that gave away the film’s actual location of California. Not just the ridiculous foothills but also the palm trees in the background and the cactus looking plants in some people’s yard. If only Illinois had palm trees.</p> <p class="MsoNormal" style="text-align: center;"><b><span class="Apple-style-span" style="color:#FF9900;">Poltergeist (1982)</span></b></p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKVySUVN2UNoPejeaITa8WbQyn0b-exJ08HBJdviEObPLaNE_fzmiw0X3pxH7A0nBvk3EjZrJv22HLEgvRy9-lAoZJjXl4aT_yYD6VSqzFhQqZia6TsyB0aMUyj6bGow2kctRa49Bq-dc/s400/poltergeist-demon.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5665250212316590866" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 172px; " /></span></p> <p class="MsoNormal" style="text-align: center;">Upon watching this for the first time in years, I was suddenly reminded just how much I love this film. It’s such a touching and sad story of how the parents of a little girl are willing to travel to another plane of existence to save their daughter. Unfortunately, in reality, Heather O’Rourke died young and went towards the bright light anyway. The subtle humor, the nods to childhood fears and the chilling yet uplifting score by the famous Jerry Goldsmith gave me this warm feeling as I sat in those uncomfortable chairs. </p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color:#FF9900;"><b>Pumpkinhead (1988)</b></span></p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsGDhR7gz3QExqSx2fHoGOeTVRSl0v4MhNCTeOLT3IDzDtKCG88hddqG5q_l15dsqGqpxqxSMswIMay5wda9qfF9RcAq845_gM1cuC51x5VldazRaFpCztKl96T4yHtevpCiJ_fh_7reA/s400/11318078_gal.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5665250419632626018" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 300px; " /></span></p> <p class="MsoNormal" style="text-align: center;">After releasing an ancient demon to seek revenge on the youths that accidentally killed his little boy, a farmer must stop what he unleashed before it ends up killing him as well. I saw this movie only once before and I hated it. Upon watching it again, I enjoyed it and I loved the special effects (of course I would because it was directed by Stan Winston) but I feel that it was a little unjustified to release such a horrid monster after the teens apologized for the fatal accident. The climax is anticlimactic but then again we are talking about the 80’s.</p> <p class="MsoNormal" style="text-align: center;"><b><span class="Apple-style-span" style="color:#FF9900;">Gates of Hell</span></b></p> <p class="MsoNormal" style="text-align: center;">I broke away to grab a quick snack.</p> <p class="MsoNormal" style="text-align: center;"><b><span class="Apple-style-span" style="color:#FF9900;">The Vampire Lovers </span></b></p> <p class="MsoNormal" style="text-align: center;">I fell asleep to.</p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color:#FF9900;"><b>Children Shouldn’t Play With Dead Things</b></span></p> <p class="MsoNormal" style="text-align: center;">I drifted in and out of sleep to. I was awoken by the excruciatingly loud ending.</p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color:#FF9900;"><b>The Sentinel (1977)</b></span></p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9sEfpCR6m9ty8MACBVup0zA_g29PcO5vAX9wJZiXlubQ6hD1siPV-4ZYqGKZJf08H6rDe05LHjkzbr7ikxfI1nq4z4uBPgtdrq1AqSkmaYnjVeKAwiQNYcV6L35vtiBEi9dDk_9MNfn8/s400/sentinel+john+carradine.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5665250540702723634" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 267px; " /></span></p> <p class="MsoNormal" style="text-align: center;">“What do you do for a living?” “We fondle each other.” Indeed, The Sentinel is one of those 70’s movies too fucked up to describe but very simple when you get right down to it. Basically it’s about a haunted apartment complex that’s being investigated by one of the new tenants who claims to have been invited to an birthday party by the tenants. However, there are no tenants in the apartment except for a reclusive priest. Now the young woman must find out why the apartment is being haunted, why is she being plagued with unsettling visions and what is the priest guarding on the third floor. Naked fat women eating people’s brains, a cat in a hat, loud noises, non sequitur scenes and an ending that’s reminiscent of Browning’s Freaks makes this film a worthwhile acid trip.</p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color:#FF9900;"><b>From Dusk Till Dawn (1996)</b></span></p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir0OVNuPuxO7_8V1Eq8sH4lv9iTAh07MPboxA-h8Tv6GbopPOFDrhA-Uni4IEGk6bTIzasKdgS5sEptOwdRpR56DQLJ1NiGRPHLh3cF3c1DtnWA41UrCjnN16vtTL3yHpUz9qHL8Xex6o/s400/large+from+dusk+till+dawn9.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5665250697325237170" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 225px; " /></span></p> <p class="MsoNormal" style="text-align: center;">What a perfect movie to end a noon-to-noon, 24-hour horror marathon. I’ve always loved this movie and it’s a roller-coaster ride to see it with sleep deprived horror fanatics. Whoever thought that vampires would evolve from charismatic, caped villains (Lugosi) to ancient Mexican strippers (Hayek)?</p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3vebzKboa0vysPXTCPngPxsYj-Ws4vrx2e9TzmKVf3OoA5xgtxhjOJ6WGIovMwm0NDDb6RhN-w4OIjGf_T3YlzO11-23maYeOj6i2Cl2PMyxCoGQcraOv1MOBl7l2BoIb5ye6YkHuDf0/s400/300341_273812282651644_100000686222055_872033_57316438_n.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5665250817630542562" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 298px; " /></span></p><p class="MsoNormal" style="text-align: center;"><i>The Massacre survivors (12:00pm)</i></p> <p class="MsoNormal" style="text-align: center;">Try and spot me in this picture. Here’s a clue: I’m the one who is holding the brown pillow. Also, I was smart to bring a pillow and blanket to this.</p> <p class="MsoNormal" style="text-align: left;">Thus concludes yet another Music Box Massacre and although I didn’t meet anybody there like I would have, probably because this year seemed more packed then usual, I had a blast with all the films. I will close out this piece with one of my favorite quotes of the night (aside from Sentinel).</p> <p class="MsoNormal">“Psychos do not explode when sunlight hits them! I don’t give a fuck how crazy they are!” </p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="font-size: small;"><i>Pictures courtesy of </i></span><a href="http://www.google.com/url?sa=t&source=web&cd=1&ved=0CB0QFjAA&url=http%3A%2F%2Fwgonhelicopter.blogspot.com%2F&ei=GAKfTtugKafKiAKameXfCQ&usg=AFQjCNGAnGPSyXlrfNr-xN-A55DctB2PdA&sig2=xeapPqfR01uGEkg1pt_mhQ"><span class="Apple-style-span" style="font-size: small;"><i>WGON Helicopter</i></span></a><span class="Apple-style-span" style="font-size: small;"><i>, </i></span><a href="http://www.google.com/url?sa=t&source=web&cd=1&ved=0CBwQFjAA&url=http%3A%2F%2Fwww.kindertrauma.com%2F&ei=NQKfTp2HBqaaiALYvK3rCQ&usg=AFQjCNE8Xx-H68ngoEWIqIVWimnkQ3xBjw&sig2=RxEY0uUnqbLLGbS_wFDQvQ"><span class="Apple-style-span" style="font-size: small;"><i>Kindertrauma</i></span></a><span class="Apple-style-span" style="font-size: small;"><i>, </i></span><a href="http://www.google.com/url?sa=t&source=web&cd=1&sqi=2&ved=0CCYQFjAA&url=http%3A%2F%2Fthevaultofhorror.blogspot.com%2F&ei=QwKfTuXWIubIsQKhwozoCQ&usg=AFQjCNGKZ_KTF8vJl-aB94BlR8qHXgSYBA&sig2=88MJVGrowITLXpDvB95pbA"><span class="Apple-style-span" style="font-size: small;"><i>The Vault of Horror</i></span></a><span class="Apple-style-span" style="font-size: small;"><i> and </i></span><a href="http://www.heylookbehindyou.com/"><span class="Apple-style-span" style="font-size: small;"><i>Hey! Look Behind You</i></span></a><span class="Apple-style-span" style="font-size: small;"><i>. </i></span></p> <!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com3tag:blogger.com,1999:blog-4736156794348437082.post-53872652465020734792011-10-18T15:49:00.005-05:002011-10-18T15:57:46.517-05:00Review - The Thing (2011)<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcLrQQE0PHY-xyrCR98lg9ry5wsSKIoU5YsnlZUjGzjYCDi91TDNzEm859eteScB85Wtdi7TDfOZd9OYmUZX-Tmdscbwu86J0CvQdoYdpsUDNNraizHGsLGMRGBz-J_CeO_R6UJYFDfIo/s1600/The-Thing-2011-poster.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 270px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcLrQQE0PHY-xyrCR98lg9ry5wsSKIoU5YsnlZUjGzjYCDi91TDNzEm859eteScB85Wtdi7TDfOZd9OYmUZX-Tmdscbwu86J0CvQdoYdpsUDNNraizHGsLGMRGBz-J_CeO_R6UJYFDfIo/s400/The-Thing-2011-poster.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5664938704302570738" /></a></div><p class="MsoNormal">Many of you know because of my Thing Week that <i>The Thing</i> (1982) is my favorite horror movie of all time for many reasons including one that trails back to my childhood. It was best home video experience I ever had and <i>The Thing</i> became a part of my life like no other horror movie. When I heard that <i>The Thing</i> was going to be remade, I shuttered to think how the CGI would replace the brilliant practical effects that Bottin had worked on. Then, it was released that it would be a prequel rather then a remake but even that made me cringe because I never wanted to know what happened to the Norwegian outpost. Most of the ominous mood and fright comes from not knowing what happened, leaving only your imagination to fill in the blanks. I isolated myself from this movie and when I saw the trailer I had a lot of doubts but it also made me curious to see what they could do. So, I patiently waited for it’s release and I sat in the middle of the theater waiting to be wowed by an unnecessary “premake.” So, what is my verdict on a prequel to a personally beloved horror movie… well, after I mulled over it that night I came to the conclusion that I enjoyed it. Yeah, I really liked it but I feel as though I must nitpick it here and there.</p> <p class="MsoNormal">The story is much like Carpenter’s film. A group of Norwegians locate a crashed alien saucer that has been buried under the ice for thousands of years. They enlist the help of two American scientists to help them figure out what crawled out of the ship and froze beneath all the ice. In the midst of their celebration, the alien entity thaws out of the ice and begins killing and replicated anybody that comes in its way. Now, the outpost residents must find a way to stop the alien before it reaches a populated area but how do they know who is human and who is a thing? Paranoia settles in and the storm outside is getting worse and worse.</p><p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp-z2gLVMBZ94pkony55GDFzhGvk9RhA9wYsUYDXH3qEURHRKE73BMJF_yWWTFriPfhkB7yY_bLVk3n_HXHRFcdmLhjF1FBaIIjuMOeU9kaetmxnGN7F_vMfiTB8YgmswmB1NuHhBAzKA/s400/the-thing-2011-trailer-2.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5664938847349447010" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 170px; " /></span></p> <p class="MsoNormal">So what exactly did Matthijs van Heiningen, the director, do that made me like this movie. Well, understand that I am not praising this movie and although I liked it… I don’t think it was flawless or brilliantly directed. However, what I really loved was all the little nods to Carpenter’s film that were scattered throughout the movie. These are little things that would go overlooked in some people’s book and would provoke some people to say that this film was more of a remake then a prequel. They explain why there was an axe stuck in the door, they explain what that two-headed thing was and what it was like when it was alive and in that respect there was a wonderful tribute to Norris’ death (think spider legs, upside down heads and open chests). There is a wonderful nod to the cinematography from the Carpenter film; the scene where the camera trucks forward to reveal the big block of ice that held the alien. This shot was so small and minute that not many people would even realize it was from Carpenter’s film.<span style="mso-spacerun: yes"> </span>There’s many more throughout the film that made me pleased.</p> <p class="MsoNormal">Now, what about the characters? Are they as good as Carpenter’s cast and does our new heroine resemble MacReady and his sarcastic and tired frame of attitude? The cast is great but I feel as though they are mostly forgettable except for one person who I think was the best character. As for our heroine, Kate Lloyd, although she does have that survivor woman persona she doesn’t really stand out to me as being unique. MacReady, to me, was unique because he was sort of an anti-hero; he drank, he had a temper, he was tired, worn out and on the edge of going crazy. Lloyd is any typical survivor girl from any given horror movie but I still liked her. She took things into her own hands and understood what the thing was. There are two Americans that look and occasionally act like Childs and MacReady and the person who lives to the end (and where the Carpenter movie begins), he was a badass and it’s tragic to see what would inevitably happen to him.</p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFMJbLRVFVjsKwXuSTRkYnrUSfrSUIb7dvipp34QDMXHt03PT96uyhaSg2ihWI0noXuaSQBdwMyCsbur8oCnYhgpn4Pk7kPDnisEXTgqapajUG11mZpAG75_yRz4XeB7VqplytSB965_4/s400/The-Thing-2011-Movie-Image-2-600x254.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5664938947432216146" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 169px; " /></span></p><p class="MsoNormal">And now for the meat of the movie: the special effects and how the creature looks. As much as I wanted it to have practical effects I had to abandon that hope a while ago and I accepted that this movie would heavily use CGI. The film does use CGI but it also uses a good variety of practical effects but before I get into that I want to comment on my love/hate relationship with the CGI of this film. I hate the CGI because, like in most horror movies that use it, it looks a little unpolished and cheesy at times. It felt like a video game, ironically because the director stated that he never based anything off the video game adaptation. Some of the CGI made me laugh and say, “Oh man, really?” However, I love the CGI because for the first time I saw the Thing almost exactly how I wanted to see it for a long time. I saw somebody’s chest open up with red tendrils wrapping around somebody. I saw the two-headed thing crab-walking and attacking people and I saw a one-on-one battle with somebody and the Thing. It was a pleasure but too bad it was done with some iffy CGI. As for the practical effects, they were good and they looked painful and slimy just as they did back in ’82. I feel as though, at times, they used CGI when it involved the Thing attacking and running around but for the most part they used practical effects as much as they could. I respect that.</p> <p class="MsoNormal">So now lets get into some fan nitpicking here. One of the biggest errors or problems that I found, choose your poison, was the discovery of the alien craft. In Carpenter’s film, the Americans were looking over the tapes they took from the Norwegian camp. The tape clearly shows the Norwegians forming a circle around the craft and then blowing open the layers of ice that buried it. Similarly, this was done in the Howard Hawks adaptation in the 50’s. However, in the prequel, we never see the Norwegians forming the circle and it isn’t until the end where they finally blow open the ice encasing and it wasn’t even by dynamite. When the ship was activated, the engines blew open the ice above it as if they tired to create their own version of how the ship was exposed. Another thing, maybe I didn’t see it the right way or maybe I’m right, but in Carpenter’s film… they find a body with a slit throat. The person obviously cuts his throat with a straight razor but in this prequel the man cuts himself (I think) with a hacksaw. It’s really nitpicky of me to bring this up but as a fan of the original it’s my duty to do so. Personally, for me, the biggest problem was seeing them discover the shape of the craft and blowing it up… it’s like a staple scene in the entire franchise and it was never committed to the final version. </p> <p class="MsoNormal"><!--StartFragment--> </p><p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX0ECbSopTBt4ULyLw9YHQheMQEQqF53EQH_XiUvoP64gk73ZTLMGrdm7Rcim3ogthEIeW_2h9jFFcU58v9lC8atOZR37gCpqgLqBjl_HImGLoG7At3gYhMuh46WHll8SbpR9pDy3oJ1g/s400/the-thing-2011-20110714022250157.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5664939061958175426" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 170px; " /></span></p><p class="MsoNormal">The other big problem that I had with this film that the Carpenter film had was the mood. In Carpenter’s film, the colors were ranging on heavy blues and oranges in order to simulate hot and cold temperatures. By doing this he made me feel like I was trapped in a cold and dark place where my only salvation was gravitating to somewhere warm and… orange. Plus, the entire film is a dark piece, not just figuratively but it’s a very dark place with a lot of shadows and some dim lights. While the prequel gives me that cold feeling with it’s use of blues and light blue coloring, it doesn’t at all give me a sense of darkness and seclusion. This problem was expected and it’s very difficult to replicate so I won’t knock the movie for it but it’s something that I would have like to have seen done. </p> <!--EndFragment--> <p></p><p class="MsoNormal">I need to cut this review short but as I stated before, I liked this movie and I thought it was a fantastic prequel to Carpenter’s film as well as a tribute to Campbell’s novella and Hawks’ film. The ending, which trails into to where Carpenter’s film picks up, was one of the very few moments where I got chills of nostalgia. The score, the cinematography and the “cut to black” ending made me smile like never before. It’s even more tragic when you find out what character ends up making it through till the end only to know that he eventually gets shot and killed. With all this being said, I still won’t consider this to be as perfect as the ’82 classic and when I refer to The Thing, I will always be referring to Carpenter’s film. If I ever expose people to The Thing, I’ll only expose them to the Carpenter’s film unless they are really interested. I feel as though this movie is like the black sheep but a black sheep that I have some respect towards. It was an unnecessary prequel that still diminishes the horror and imagination that was in Carpenter’s film but at least they did a fine job of adapting it. If anything, it gives me even more respect to Carpenter’s <i>Thing</i>. </p> <!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com7tag:blogger.com,1999:blog-4736156794348437082.post-17301261611013800622011-10-14T11:16:00.005-05:002011-10-14T11:23:00.258-05:00Cowboys & Mutants<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhANdm4mxo13_3xZeTjlxFTSlzqL5tJjJBtpCDPZEzEKqYn_f5ee8yZn2C-_HS9gM_knuwz-azXjb4ZD-yebZ3SoSgzHPBKH6oKaRlGoUD5wqWpgr2NeOYtbr2ZsUI_7F2h2hfl6gmb4aM/s1600/Hills+Have+Eyes+2006+1.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 172px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhANdm4mxo13_3xZeTjlxFTSlzqL5tJjJBtpCDPZEzEKqYn_f5ee8yZn2C-_HS9gM_knuwz-azXjb4ZD-yebZ3SoSgzHPBKH6oKaRlGoUD5wqWpgr2NeOYtbr2ZsUI_7F2h2hfl6gmb4aM/s400/Hills+Have+Eyes+2006+1.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5663383549496960882" /></a></div><!--StartFragment--><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhANdm4mxo13_3xZeTjlxFTSlzqL5tJjJBtpCDPZEzEKqYn_f5ee8yZn2C-_HS9gM_knuwz-azXjb4ZD-yebZ3SoSgzHPBKH6oKaRlGoUD5wqWpgr2NeOYtbr2ZsUI_7F2h2hfl6gmb4aM/s1600/Hills+Have+Eyes+2006+1.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"> </a><p class="MsoNormal"> </p> <p class="MsoNormal">When you think of Westerns you might think of films like <i>High Noon</i>, <i>Once Upon A Time in the West</i>, The <i>Dollars</i> Trilogy or perhaps <i>Unforgiven</i>. I’m sure most people would never consider a remake like <i>The Hills Have Eyes</i> to be a Western and for good reason… it’s not. However, upon closer look at the color and the cinematography of when Doug enters the test village, I couldn’t help but get feelings to when I watched<i> High Noon </i>for the first time. It’s strange how many Western tributes there are in this film but at the same time it feels right.</p> <p class="MsoNormal">All the scenes that take place in that test village strike an eerie chord with the American Dream; a broken down dream corrupted by the government and/or the criminals that had taken over. Many of these ideas have been put forth into Westerns. The coloring is saturated with yellows and browns that only enhance the sweltering heat of the desert, as our lone hero walks down the middle of the town. I mentioned <i>High Noon</i> and this is exactly what this scene resembles; when Doug first enters the town he realizes that nobody is there must like Gary Cooper’s character walking down the road stunned to find nobody is at his side. <i><span class="Apple-style-span" style="font-style: normal;">In</span> The Hills Have Eyes</i>, the only companion that Doug has is his dog Beauty. </p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><i>Tombstone</i> established that Wyatt Earp would be the Lone Rider (or Pale Rider) in which Death followed behind him that The Cowboys were warned about. After the murder of his youngest brother, the injury of his older brother and the attempted assassination of himself he pursued The Cowboys in a relentless and violent manner.<span style="mso-spacerun: yes"> </span>I can’t help but think that this bears striking resemblance to Doug and his bloody justified revenge. The clan of mutants raped his sister-in-law, burned his father-in-law, murdered his mother-in-law, killed his wife and stole his baby. You can argue that Doug literally became the Lone/Pale Rider that Death followed as he not only recovered his baby but he brutally murdered almost every mutant he saw. I think it’s also interesting that Doug wore a white “pale” shirt.</p><p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisjxtRZrjxn5yQYroXqAO-8dvUIc7ZpZwRodvx_MsRyRIuVucUlTSPvejMm_YOI3jk7fETiSCDIlGyAp89xZy43FvpF6wRqSgMicygqNRCnDWnFZ4AB1kvwemxVPnDBPnzAcjc5gQSmjg/s400/Hills+Have+Eyes+2006+2.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5663383870474896002" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 172px; " /></span></p> <p class="MsoNormal">In probably one of the best confrontations in a modern horror movie, Doug, after getting beaten nearly to death, thrown, kicked, punched and dragged, grabs a screwdriver and holds it up to Pluto who is wielding an axe. There is silence. The shot shows a weak and scared hero holding a peashooter pistol to the ugly homicidal criminal who is aiming a shotgun directly into his face. They both stand their ground and look at each other for a minute while the mutant outlaw laughs at our hero’s ill-fated attempt at defending himself. It’s a standoff and the odds are not in favor for the good. Our hero begs for the outlaw not to kill him and the outlaw merely laughs at his pain and insignificance, but our hero is smart and uses this as a distraction to drive the screwdriver into his foot rendering him defenseless. Like the American hero that is the Cowboy or local sheriff, our hero grabs an American flag and drives it into the throat of the outlaw. Seeing as how he was responsible for the death of his soon-to-be family, he takes the very weapon he used to hurt him (the axe) and thrusts it directly into his skull, killing him.</p> <p class="MsoNormal">Thus ends one of the grittiest and bloodiest Westerns of recent time.</p> <p class="MsoNormal">Even though that scene wasn’t the end or the final confrontation, it still bears the most resemblance to any Western standoff. Going off tangent, it’s not just the cinematography, coloring or the way things are played out that remind me of a Western but also the costuming. Lizard resembles a Mexican bandito, wearing a brown vest, torn cotton pants and a spike-strip that looks like a full metal jacket. Goggle, though he is mostly in shadow or silhouette, wears a bowler hat. Papa Jupiter, aside from not having the typical cowboy hat, already looks like a bandit. He dresses in all black and has a long down-filled coat. The only person who doesn’t resemble an outlaw is Pluto because he seems to be dressed in a black suit minus the tie. He may, however, be more akin to the elegant outlaw rather than the rugged dirty outlaw.</p><p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2L7I9ZC-eUsrxT_hDXKwc2mu0K4q12-E7eVEvQj4C3hHXqZVJg-lUionB5MgdmrcrfSQvebReXY4UdMNTioQqE6Q3egyOCdiEEh17GS8tdIbQoQgmWQMg3x2wd0rEnwJ8x_cG6iHTXak/s400/Hills+Have+Eyes+2006+3.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5663384008260619618" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 172px; " /></span></p> <span style="font-family:Cambria;mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria;mso-fareast-theme-font:minor-latin;mso-hansi-theme-font: minor-latin;mso-bidi-Times New Roman";mso-bidi-theme-font:minor-bidi; mso-ansi-language:EN-US;mso-fareast-language:EN-USfont-family:";font-size:12.0pt;">There is still so much to talk about comparing <i>Hills Have Eyes</i> with Westerns and I’m sure the original has even more similarities but since I haven’t seen it in a long time, I can’t contrast the two films. I haven’t even talked about the relationship between the mutants the gas station attendant. I never really noticed the similarities till I began watching a string of Westerns recently. Although, now I wonder how the movie would play out if somebody like John Wayne, Cline Eastwood or Tom Mix were in Doug’s shoes… as if the film wasn’t already surreal and messed up. </span><!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com1tag:blogger.com,1999:blog-4736156794348437082.post-32061954906803870122011-10-06T08:45:00.013-05:002011-10-06T09:01:56.371-05:00Top 10 Scenes from Fright Night<div style="text-align: left;">One of my favorite vampire movies of all time is <i>Fright Night</i> because it was edgy, funny and pretty gory. There are so many memorable scenes in the film from when Peter burns a cross into Evil’s head or Charlie sees Jerry for the first time. However, for my taste there are a few scenes and key moments within the film that have always stood out to me. These moments are my favorite because they’re either well written, visually stunning or expand on the vampire mythology but no matter what… they’ll always be memorable. Now, before I get to the list it must be stated that these scenes, if on a scale of 1 to 10, are within mere decimals from each other. My second favorite scene is ranked at 9.99 instead of a perfect 10. My third favorite scene is ranked at 9.98 and so on. Essentially, they’re all winners in my book.</div><p class="MsoNormal">CAUTION: There are spoilers here. </p><!--StartFragment--> <p class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight:normal">10) </b><b><span class="Apple-style-span" style="color:#FF9900;">Jerry dances with Amy</span><o:p></o:p></b></p><p class="MsoNormal"><b><span class="Apple-style-span" style="color:#FF9900;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-weight: normal; -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim6ThNzrBdZu8rE2QjX6qLwJbP7i2Mkfza8crEtH1dy2L2BfXTR9c8NXYy_71OWNlTyvp7-iSfjRm6IPr5BoPg1W45QJjvQ3yyuHpfsX3ZNI0TerKq3Yutp7Na37cAI519D30tiiUKO74/s400/Fright+Night+1985+10.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5660377134108778962" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 170px; " /></span></span></b></p> <p class="MsoNormal">As a kid, I always thought this scene was a little out of place but that’s probably because at the time I was more preoccupied with the vampires than with dancing. As time moved on I grew to like this scene because it reminded me of a more modern interpretation of a masquerade ball; the smooth ballroom dancing and the look on Amy’s face when she realizes that Jerry doesn’t cast a reflection in the mirror. Besides, I’ve come to really enjoy “Give It Up” by Evelyn King. </p> <!--EndFragment--> <!--StartFragment--> <p class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight:normal">9) </b><b><span class="Apple-style-span" style="color:#FF9900;">Amy and Evil Ed visit Charley</span><o:p></o:p></b></p><p class="MsoNormal"><b><span class="Apple-style-span" style="color:#FF9900;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-weight: normal; -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEtus2AWDTsIv0_CXi9JC4GKmPee7dLyJmV_NEkWKY6y3XlK1Y0ibct3f6vFve7xjMAf6Ak7rVJVA3wZmYazqjwEHkpSk-KKaNI7wenmdiwAygw-g6eIuFJnphqx7KY1fbMO2JqOVWHEY/s400/Fright+Night+1985+9.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5660377471171286466" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 169px; " /></span></span></b></p> <p class="MsoNormal">There is no real profound reason why I love this scene. It’s just a quirky yet sad scene where Charley, with a frightened but determined look on his face, is sitting on his bed sharpening a stake. The way Ragsdale handles the role makes me believe that he is hell-bent on defeating Jerry even if it means killing himself and looks on Amy and Evil Ed’s faces are priceless. It’s clear that they think Charley has completely gone overboard but it’s one of those moments where, as the audience, we know what’s really happening and we feel sympathetic for Charley. </p> <!--EndFragment--> <!--StartFragment--> <p class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight:normal">8) </b><b><span class="Apple-style-span" style="color:#FF9900;">Billy Cole melts</span><o:p></o:p></b></p><p class="MsoNormal"><b><span class="Apple-style-span" style="color:#FF9900;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-weight: normal; -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAKmsRiMZxx9CdBVeuEcW2m7froHXy68mgx-SLpzm2ryvfDi1ZuYV7z99b94W5-xm9bwF1V0i1zLx8yzpJRSsrfSGmopNVFdvw9Pr8MTiy8qaNn-kai7y4P1svAArKYK2OzfWRxwK-W80/s400/Fright+Night+1985+8.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5660377603385846754" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 171px; " /></span></span></b></p> <p class="MsoNormal">This is sort of on par with the previous scene but as a kid, and even now, I always admired the special effects <i>Fright Night</i> had, particularly this exceptionally gory melting sequence. Fresh from seeing <i>The Blob</i> (1988), seeing somebody’s skin melt and peel down their bones was one of the most satisfying things I could ever hope for in a horror movie. There’s green goop, sand and slimy bones and it begs the question: what in the hell was Billy Cole and why did he melt? </p> <!--EndFragment--> <!--StartFragment--> <p class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight:normal">7) </b><b><span class="Apple-style-span" style="color:#FF9900;">Jerry dies</span><o:p></o:p></b></p><p class="MsoNormal"><b><span class="Apple-style-span" style="color:#FF9900;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-weight: normal; -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKdkqHD7sCjgmrLmPKQLhsF6bfw1ywFu80PGLM7SmSSFvf-hfH7bvqOFAQwS0vPm_NxGSMkl-xqwWtS7rEnNVBwDB-Jjc3S5oVCyZUKrEDP_-Gv2z-ChXOqGk8ho-EUsFJ8hJFfeX2HUM/s400/Fright+Night+1985+7.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5660377740829039538" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 170px; " /></span></span></b></p> <p class="MsoNormal">There was a gap between the ages of 13 and 17 where I didn’t watch <i>Fright Night</i> so when I saw it for the first time in 4 years, I thought the scene where Jerry’s “skeleton” bursts into flames at the end was digitally enhanced with computers. It wasn’t until later I found out that<i> Fright Night</i> was made in ’85 meaning that was all practical effects. I couldn’t believe how amazing it looked and it will forever stand out to me as being one of the best examples of practical effects done right. Additionally, I love this scene because of that painful/remorseful “AMY!” that Jerry lets out as he’s being fried. It’s such a sad moment because you can tell, in his last dying moments, that Jerry really loved her. </p> <!--EndFragment--> <!--StartFragment--> <p class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight:normal">6) </b><b><span class="Apple-style-span" style="color:#FF9900;">Amy shows her teeth</span><o:p></o:p></b></p><p class="MsoNormal"><b><span class="Apple-style-span" style="color:#FF9900;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-weight: normal; -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4zWEczAkGpnkyq2ufe562hjJNG6QVns3b76KPncUGryYxbsWHkSnAwFjBURwl_oLO_KCUchTKpaLtQ7AviIMyJdNM6DOCcb0ybmEzw-rV7Gyy8J-KrTZowZ8Qy4PJWvRO_UZwKLmAY-w/s400/Fright+Night+1985+6.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5660377904920809826" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 170px; " /></span></span></b></p> <p class="MsoNormal">For the longest time I was grown up on old-school vampire mythologies; the white fanged teeth, the pale face and the hypnotizing eyes. You can understand that when I saw Jerry for the first time, it was a shock but that moment when Amy looks up towards the camera to reveal her monstrous form… it was “what the fuck!” moment for me. I loved that scene because it showed just how far vampires have progressed since the Bela Lugosi era; now they are seen as literally demons in human form. The way Amy’s mouth peels back into a harlequin smile, a mouth full of swollen gum and crooked, jagged teeth screamed Joker meets Dracula. I should have known by the poster that it would be coming but you know how posters get sometimes… they lie to sell the movie. In this case, what you see on the poster happens. </p> <!--EndFragment--> <!--StartFragment--> <p class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight:normal">5) </b><b><span class="Apple-style-span" style="color:#FF9900;">“Welcome to Fright Night… for real.” </span><o:p></o:p></b></p><p class="MsoNormal"><b><span class="Apple-style-span" style="color:#FF9900;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-weight: normal; -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGVKeeC8159HPW8gUmo8jeW7Hv8dtXbCJQbUDYSitiEfr_qtJjFiDPq4xwMQt7NsfHnOG29quLidLH_uP8V8-gyBpWK4eZEuGAHFAoCnrZR8Uw4-myxTd8qSBEIZmUPQv_gi9zIGw-de0/s400/Fright+Night+1985+5.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5660378019077733634" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 170px; " /></span></span></b></p> <p class="MsoNormal">Way before I even went to a midnight screening of this film, I use to cheer every time Jerry walked into the screen and mockingly uttered that infamous line. It was at that moment, the second after he leaned up against the banister and crossed his arms, that I Knew that shit was about to get real. I had chills because everything from this point on was real and not TV. It was that ominous mark that would start the epic confrontation between good and evil and it was an indicator to my friends and family that from that point on, I’d be completely transfixed with the movie. </p> <!--EndFragment--> <!--StartFragment--> <p class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight:normal">4) </b><b><span class="Apple-style-span" style="color:#FF9900;">Jerry seduces Amy</span><o:p></o:p></b></p><p class="MsoNormal"><b><span class="Apple-style-span" style="color:#FF9900;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-weight: normal; -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvx07opGOwUbkTiNhX6Jprd6YHNEW5jHn1OBe0DoCu1zJlYSJoa4qNQ15yP56nWGbkeCBLjL-WJm1sLY12NpUM8DQ5xW6rAc8BR6yuPjXJHFLUZpisKQiafvY3qiJ4o4-K1SeBIb4NH_s/s400/Fright+Night+1985+4.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5660378132177489970" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 170px; " /></span></span></b></p> <p class="MsoNormal">I was always fond of this scene, especially now, because it brings back that time-honored tradition of sexuality and vampirism. For a majority of the modern horror era, vampires were scene as emotionless monsters who only kill and drink blood. But this scene stands for something; it shows that a modern vampire movie can still retains that trademark but at the same time compromise to cater to modern generations. Otherwise, the scene is very passionate but yet very ominous. The photography highlights Amy’s curvatious body and Jerry’s soft gentle touch only further proving that he isn’t just drinking her blood for the hell of it but rather because he’s in love with her. Complete with Fiedel’s exotic and electric score, this scene stands out as being one of the more hypnotic scenes in the entire film.<span style="mso-spacerun: yes"> </span></p> <!--EndFragment--> <!--StartFragment--> <p class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight:normal">3) </b><b><span class="Apple-style-span" style="color:#FF9900;">Peter kills Evil Ed</span><o:p></o:p></b></p><p class="MsoNormal"><b><span class="Apple-style-span" style="color:#FF9900;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-weight: normal; -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3znBUZ6-FY2CpxYiX_1ZaV6XrMhe0OrSn462LTmJknr8W4aXGaE5yW2Jr1cjAT8iexOMrHwhOa8rxa5ReS7EPeNUzHtBetO2uv2n4TCX7SBcxwrJTsiraNZsqAhFd0lFiuvOutyVl6jY/s400/Fright+Night+1985+3.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5660378286468982370" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 171px; " /></span></span></b></p> <p class="MsoNormal">For the longest time, and even now, the transformation scene in American Werewolf in London is regarded as being one of the greatest and most painful werewolf scenes in the history of cinema. While there is no doubt that it’s true, I believe the scene where Peter kills Evil Ed (who changed into a wolf) was probably one of the saddest scenes in horror history. I was always plagued by seeing the half wolf half man leaned up against the wall trying in vain to pull the stake out of it’s chest. The way it howls in agony as it stumbles to the ground and Peter’s teary face once he realizes that the wolf is slowly reverting back into a human. The face Ed gives Peter in his final moments is that of a tortured and cursed young man on his dying breaths. When he finally reverts back he’s left naked, exposed, vulnerable but dead. It’s such a sad scenes for such a cheesy movie. </p> <!--EndFragment--> <!--StartFragment--> <p class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight:normal">2) </b><b><span class="Apple-style-span" style="color:#FF9900;">Jerry comforts Evil Ed</span><o:p></o:p></b></p><p class="MsoNormal"><b><span class="Apple-style-span" style="color:#FF9900;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-weight: normal; -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYrG_HD46iqhMCd176ucwel_2rikZMgpYKcvsV9Ef2ahC-t1eCfzjGDczqYcXfYPU_5V7WKtBrPUM-mGvaFhMwKddjHMdlehe1uBMORR1VJ_PuZifDYoQGvudrI6fbgflglAvwi_dG3K4/s400/Fright+Night+1985+2.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5660378412616361394" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 169px; " /></span></span></b></p> <p class="MsoNormal">There was always this eerie sense of comfort that attracted me to this scene and I think I can attribute that to many different things. The way that Jerry’s silhouette walks down smoky ally reminds me of the old black and white noir films of the 40’s. The cold and foreboding tone that accompanies the scene and the inevitable jump presence of Jerry. However, I think I like this scene because it shows a bond between Jerry and Evil Ed, a bond that goes beyond than just blood-sucking. Jerry is considered an outcast and was probably shunned in his time for being a vampire. Evil Ed is considered different from most norms of society so you can also argue that he’s an outcast like Jerry. The dialogue between Jerry and Evil Ed explains a bulk of it but it’s that realization in both of their eyes that they were meant to cross paths with each other. I also like the fact that it shows vampires as just not demons that chase women but also interact between men as well.<span style="mso-spacerun: yes"> </span></p> <p class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight:normal">1)</b><b><span class="Apple-style-span" style="color:#FF9900;"> Jerry confronts Charley</span><o:p></o:p></b></p><p class="MsoNormal"><b><span class="Apple-style-span" style="color:#FF9900;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-weight: normal; -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAyuY5dTxVAUSsNwpcCQEi-awiakm-5utmgotBtXxjxIe7DaOc5T0UjJ9-eN8fiBC5_btc4KSurisaIEm9RZpATzLbdZV4tpSQ_t59tnUU88LVmzn-HtcJuOHwy-iDqGH3s1Db-gacZ1E/s400/Fright+Night+1985+1.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5660378548171563010" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 171px; " /></span></span></b></p> <p class="MsoNormal">This scene is considered my favorite of all the scenes because of what happens. Of course it was the first time in my life where a vampire wasn’t just a guy with fake fangs in his mouth and it was one of the scenes that made me jump back in my chair when I first saw it. The real reason why I love it is because Jerry is shown as a sympathetic character and not just an unstoppable monster that wants to kill Charley for discovering his secret. Instead, Jerry tamely asks Charley to leave what he saw at the door and just forget about the whole thing. He does this peacefully but when Charley gets stubborn, he grabs him by the throat and tells him that he’s giving him a choice, which was something he never had. This scene feels like a continuation of where Stoker’s Dracula left off. It further sets up the fact that Jerry is a tortured person who lived a cursed life and doesn’t want any trouble. It’s one of the more unique twists on the vampire mythology that I never saw before and I love it for that.</p> <!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com6tag:blogger.com,1999:blog-4736156794348437082.post-87391299975026541362011-09-08T13:39:00.006-05:002011-09-08T13:49:28.603-05:00Hollywood Video Memories: Uncle Sam (1997)<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7CZ24DUIkzTJju5THprn9h_XkwgXqugUtnr8PGc6WIyf3rMeFUrEIQ6bLJI_xjS2rbAO4TMGrO1pR1l4zWOXqarv54X7MuNyD9Au3jS87yKajlevV_7j25IlqSsk1O6VGWFjbpNQdFtw/s1600/unclesam.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 278px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7CZ24DUIkzTJju5THprn9h_XkwgXqugUtnr8PGc6WIyf3rMeFUrEIQ6bLJI_xjS2rbAO4TMGrO1pR1l4zWOXqarv54X7MuNyD9Au3jS87yKajlevV_7j25IlqSsk1O6VGWFjbpNQdFtw/s400/unclesam.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5650061300209082770" /></a></div><p class="MsoNormal">One of the biggest things that influenced me when it came to choosing what horror movie I would watch next was the box covers. There were two movies in particular that had cover art that immediately grabbed my attention. <i>Uncle Sam</i> and <i>Jack Frost </i>were different than most because they were the only two horror movies that had holographic covers, more specifically I was drawn to <i>Uncle Sam</i> because it had a menacing face of a decaying dead Uncle Sam on the cover. To me, <i>Jack Frost</i> would be saved for another time. At the time, I was about 12 years old and I could hardly care less about what the plot of the movie was. All I cared about were the kills, how much it scared me and whether it lived up to its awesome VHS cover art and from what I remember… I was displeased. To me it was boring and the kills, aside from one, were pretty generic. I thought the mask the “killer” wore was silly looking and I didn’t understand what Kuwait was. The only thing memorable to me was the scene where somebody gets strapped to a wooden display and dies after erupted into a gorgeous array of red, white and blue fireworks. This was my impression of the film for years and until recently I came across it on Netflix and decided to give it another watch.</p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJJKLNtMkjymnzbtZPbk0Qu0AAbYLcvpvNi64p6SEhevA6MdajWy2Yd89YJPofYNOcrSYWX6OHnhwGTDXSVIiz54Ddm0Xei4CxR7pFz_rUhflpg0mHh9-OhTec5OIOHm21lu-p0Lg7yg4/s400/Uncle+Sam+1997+1.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5650061402841112146" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 169px; " /></span></p> <p class="MsoNormal">When I was younger, I always thought the film was about some kind of demonic force that takes the identity of Uncle Sam and I wasn’t that far from what the movie truly is about. Sam Harper, a decorated soldier and Purple Heart winner, was shot down in Kuwait from friendly fire. His young Nephew, Jody (yes, he’s a boy), becomes distraught over his uncle’s death. However, through some mysterious connection between nephew and uncle, Sam is brought back to life on the eve of July 4<sup>th</sup>. Now, as the entire town celebrates the birth of America, Sam dawns the outfit of Uncle Sam and goes on a killing spree to those who dare disrespect the U.S. of A. But there is more to Sam’s past then just being soldier who enlisted purely for the fun of killing. The only real notable actor in the movie is Isaac Hayes who plays Sam’s former army buddy Jed Crowley and he gives a hammy performance as always. William Lustig, the brain behind <i>Maniac</i> and <i>Maniac Cop</i>, directs this wonderful gem of direct-to-video goodness.</p> <p class="MsoNormal">As I already stated, the reason why I didn’t like this movie is because it was slow, boring and drawn out. I didn’t care for any of this “exposition” when I was younger but as I grew older I began to look at things through a different light. <i>Uncle Sam </i>is horror but half of the movie is a drama and the other half is a slasher so it felt lopsided and that’s what turned me away from it in the first place. The first half of the film is a young boy’s struggle to cope with his uncle’s death; an uncle who, in his eyes, set out to accomplish something and died for the good of our country. The second half has that very same uncle rise from his coffin and go on a murderous rampage of draft-dodgers and corrupt politicians. But as I look closer at the first half, it’s not that bad of a story and like myself, this half turned a lot of horror fans away from the movie but I’ve come to accept it. It’s actually a very ominous drama that keeps alluding to Sam’s horrible past but we never know it because we’re meant to see the story through Jody’s eyes.</p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEBv8B84nRKIMrt4a9iHm6ZprWqKJ7Q7-r9V1gyzPXhAtct0SBSSlJJi82e6pHPD9lHN_8CuzPasJKuN9g4GxrfMxDlQkibaQ8BTnnp1I6hAR73DhdxtK5l39a4vze19puKinTuLACwSY/s400/Uncle+Sam+1997+4.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5650061765698819682" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 168px; " /></span></p> <p class="MsoNormal">The movie tackles some pretty interesting topics involving patriotism, what defines and hero and the quandary of war. One of the issues that are brought into the light is the dilemma soldiers have to face in war. Jody’s teacher, a draft-dodger, questioned the reason why we ever got into Vietnam and whether it was right to fight into a war they didn’t believe in. If the U.S. says you must fight for our country despite what you believe in, do you answer the call or do you avoid it? In a very unsettling scene, the movie also asks the question: in war, what defines a hero? Jeb (Isaac Hayes) believes there are no heroes in war, only people crazy enough to try something stupid and get lucky. He believes that those willing to take out an entire company with their bare hands are sick-minded but they’re decorated as heroes. Those willing to throw themselves on a bomb are crazy too but they’re viewed as heroes. For a movie that’s about a zombie soldier dressed like Uncle Sam and seeking his revenge from friendly fire, there are a lot of deep questions that it tries to provoke.</p> <p class="MsoNormal">As much as it seems like I’m praising this movie, I’m not because it’s not a great movie but rather an okay movie. It’s not a B-movie because there are a lot of great special effects, explosions and fireworks that invoke a very dark and cynical July 4<sup>th</sup>. There are still problems the movie suffers, problems that I never really paid attention to when I was younger, problems that I just now noticed as an adult. Just to name a few: Sam’s motivations are quite clear in the beginning; he kills those who do not live by the perceived American ideals, therefore he kills people who defile or deface what America is all about. However, near the end of movie he simply kills just for the pleasure of killing (then again, that’s apparently what he did before he became a zombie). This unique motivation keeps flip-flopping back and forth. The kid in the wheelchair at the end of the movie literally comes out of nowhere and almost acts like a second main character. Who is he? Where did he come from? Why wasn’t he referenced before the very end and most importantly, why is he suddenly telepathic? I also think it’s funny that Jeb, a full grown adult, casually takes orders from him. There are also a lot of small things that are wrong with it but I won’t dive into those because I don’t want to nitpick.</p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhco1tVw5iCp7lP0F2VZlMk3tH0lJkQdrGZAIMnsxcXiejNMuZi0GVqJj7YPV8BdgSn4iS87SsDa29u_xGHzOkJeVmOM0gkRW9irDhyphenhyphenjVWhtJHVA61-PBGsgLo_NCZY9MvM_KcJ0n1mbU4/s400/Uncle+Sam+1997+2.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5650061581987277218" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 169px; " /></span></p> <p class="MsoNormal"><i>Uncle Sam</i> is a strange one out of the holiday-themed slasher movies because it’s part serial killer and part zombie flick but in the overall plot, it’s part drama and part horror. It’s certainly not an awful movie but it’s also not great… it’s just okay. I’ve gotten past some of the minor things and saw what appeared to be a movie trying real hard to be solemn and political. Part of me is still in 12-year-old mode where I just want to see somebody dressed as Uncle Sam fillet somebody on an American Flag staff. The way I see it, if somebody ever asks me about it (not like they would), I can give them an honest opinion instead of saying something like, “It’s a shitty movie with shitty acting and it’s too boring!” Now I can say, “It’s an okay movie with okay acting but it drags on in the first half.” </p><p class="MsoNormal">Side note: Every time I saw Robert Forster in a movie I would say, "Oh my god it's Max Cherry!" obviously from Jackie Brown. Now when I see him I'll probably laugh and say that I got to see him explode in a celebration of fireworks. </p><p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwU6ymjXJVYwCbsDQ2IRGD9aI1nExbTEbf4GDIcCT7BVqI8j8QcNLCCmm4_Uhlpd1szJpETmB0HuZY8gqWLdGDu7Rr1vgzk3xf0ZcBr66YnOKOOzxQWCdqns30f5mC-jLlvWzIezT-lUo/s400/Uncle+Sam+1997+3.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5650062513463520050" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 170px; " /></span></p> <!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com0tag:blogger.com,1999:blog-4736156794348437082.post-16937843697769209962011-09-02T13:18:00.006-05:002011-09-02T13:30:39.860-05:00Review - Fright Night (2011)<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKCpPD3Lls1ndDQzeuSw8D3LWRsggue9zYgJOJnFf7aa2OGwEKtBlCxDOu-gHmGEqMXOYeDa5ms-vkW8pB2pg-HJHQXr-tuxzR-KQehv7d-uWBzcTDq7sb9IOzm34RyMGyFjZQDutHAsA/s1600/Fright-Night-2011.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 270px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKCpPD3Lls1ndDQzeuSw8D3LWRsggue9zYgJOJnFf7aa2OGwEKtBlCxDOu-gHmGEqMXOYeDa5ms-vkW8pB2pg-HJHQXr-tuxzR-KQehv7d-uWBzcTDq7sb9IOzm34RyMGyFjZQDutHAsA/s400/Fright-Night-2011.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5647830726575171106" /></a></div><p class="MsoNormal">I have always adored the original <i>Fright Night</i> because of how it combines traditional vampire elements with modern interpretations. I don’t consider it a childhood movie because when I saw it, I was about 13 and rented it in conjunction with <i>Waxwork</i> and<i> Head of the Family</i>. When I heard there was a remake, I couldn’t believe it because I knew they would make it flashy and action-packed so that modern audiences wouldn’t be bored by it. The trailer only reassured me of this. So, I went to see it and I wasn’t wowed by it but I didn’t think it was terrible either. The story, this time around, is different from the original storyline. When Charlie’s friend disappears, his other buddy Ed tries to convince him that his neighbor, who happens to be a vampire, killed him. Charlie, at first, doesn’t believe him but soon discovers that he is right and that he now must protect his girlfriend and his mother from a bloodsucking monster who has survived for 400 years. He can’t do it alone, so he enlists the help of a famed Las Vegas entertainer Peter Vincent, who claims to have encountered a vampire in his childhood. I partially enjoyed the remake because it kept in the small things that made the original so good but it ignored some of the fundamentals of what made the original Fright Night a “compromise” flick.</p> <p class="MsoNormal">I’m going to dive right into the small things that I liked about this remake. I always liked that smirk that the original Jerry Dandrige gives Charlie when he realizes that he just embarrassed himself in front of Peter Vincent. Colin Farrell is the perfect modern day candidate to deliver that snarky smirk followed by him taking a big bite out of a green apple. I loved it. It was one of my favorite moments in the original Fright Night and they kept it. I’m glad they kept in the famous lines, “you’re so cool Brewster” and “Welcome to Fright Night,” and although I hated the delivery of the first line, I think Colin did a great job delivering the second line. Although it was partially ruined by CGI, just like the blood in this movie, I am still glad they gave Charlie’s girlfriend a crooked, harlequin like smile when she becomes a vampire. It was something I was dreading from the moment I saw the trailer. They improved on something that the original barely touched base with and that’s the notion that a vampire needs to be invited into your house. I loved it because it’s going back to the old school rules of vampire mythology, something that modern day vampire movies always seem to forget. There is even a small almost unrecognizable cameo from the original Jerry Dandrige that I enjoyed. I think I was the only person to have clapped when I saw him on the screen.</p><p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq6AiTsoyTwhyphenhyphenbTKUWhGpq8a8kCQI22yYSCs-KJE0HU3VcXhMwrFT63DmLACMbmWuEKoS_cJ5R4XQnaemX8wOf9v6I59X-VFmIjhC65FU_YbxKO8C7hdLh4Sm0TafqKNlvIZLtvN7h5UQ/s400/fright-night-2011-movie_500_295_100-4e5568c12720f.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5647830906994842850" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 224px; " /></span></p> <p class="MsoNormal">One of the major concerns I had about the remake was the casting decisions and surprisingly, none of them applied to Peter Vincent or Jerry but rather Charlie and Evil Ed. I liked Colin Farrell as Jerry because he has a sort of modern charisma and snarky looks that can really be creepy. I have never seen one Dr. Who episode let along the ones with David Tennant but outside of the Dr. Who franchise, I’m a big fan of his work. I think he was a great cast for Peter Vincent and although, at first, I hated what they did to Peter Vincent I slowly warmed up to him as this cocky stage performer. However, for the first half of the movie, he was annoying and I had flashbacks to Dr. Loomis in the remake of <i>Halloween 2</i>. When he finally got his shit together and assisted Charlie in trying to take down Jerry, that’s when I smiled and said, “This will be good.” Anton Yelchin was actually pretty good as the nerdy Charlie Brewster and had that nervous stutter the original actor had but some scenes were really showing Anton’s age. Not that it matters but you could tell he is definitely too old to be in high school. As for Christopher Mintz-Plasse as Evil Ed, like with Peter Vincent, he was really annoying and not sympathetic as the original character was. I was okay with the casting but it was the way they played Evil Ed off. When he becomes a vampire, he looks more like a werewolf than a vampire, which is good… I guess, but I don’t think it was their intention.</p> <p class="MsoNormal">There were lots of fundamentals that they decided to skip out on and in return they enhanced the action to keep modern day audiences more attentive. The original <i>Fright Night</i> is a slow movie and I liked that, in this remake, they get right to the point and they pepper it with house explosions, car chases and a gun & stake fight in Peter Vincent’s apartment. One major fundamental that they got rid of was the uncanny resemblance the original <i>Fright Night</i> had with <i>Rear Window</i> in that there are several scenes where Charlie is spying on his neighbor with binoculars. It was a wonderful aspect that they hardly even touched base upon with this remake. Another fundamental was the romance. I’m all for the cold-emotionless vampires of today but I always prefer my vampire to be romantic, and the original had a very complicated romance between Jerry and Amy. In Jerry’s long past, he was a romancer helplessly in love with a girl but because of his curse, he ended up leaving her. In the climax, when Amy is held down by Charlie, Jerry, as he’s being burned alive, screams out, “AMY!” It was really sad because I believe Jerry really loved her as she reminded him of when he was younger and not cursed. None of this romance and forgotten love is even in the remake. I hated it. It was the perfect chance to infuse traditional vampire mythology with modern day vampire mythos.</p><p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTjfNm2FEXfTOkthay6ME0bjLib9sUFsbdgNp4Yike2OW_s3BMMLfiaLloRd58Icq2GGLOot_gBIl3aUOU-O9FNjXlfZGB3_BTDVBhE3UIRcv8RJkkXiAJDhFrXmmpytrgHrFIxuhuioo/s400/fright-night-2011-1.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5647831028517675330" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 225px; " /></span></p> <p class="MsoNormal">Speaking of relationships, there is no relationship between Jerry Dandrige and Charlie Brewster aside from Charlie being frightened by him. The original had such a great confrontation in Charlie’s bedroom and that scene wasn’t even put in the remake. The way I see Jerry, he’s supposed to be sympathetic and not a cold heartless bastard that the remake makes him out to be. In the bedroom, Jerry gives Charlie “a choice,” which is something he never had. This idea of Jerry protecting Charlie was always something that I loved because maybe Jerry sees Charlie as a young him. Jerry is missing a father figure and Jerry, or even Peter Vincent, is that father figure protecting him from something he can’t fully understand. This fundamental is completely absent from the remake and it looses any emotional impact they were going with. Also, there is so confrontation between Peter Vincent and Evil Ed, which I really loved from the remake. The agonizing pain that Ed goes through as he transforms from wolf to teenager was something that not only made Peter Vincent cry but it made me sad as well. Instead, they try to differ it up with the remake and it doesn’t have the impact that the original had; partially because they didn’t use practical and sound effects to create a truly agonizing scene on par with <i>American Werewolf in London</i>.<span style="mso-spacerun: yes"> </span></p><p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq7vgEb5LRHdYSC-4padhvLqpzFZYl2LCdJhRMDJTBPHcbfWD-99FoI2IRzKYl4s-F5KIc-4E3RlRRdpsO9eM3uj4jAC-ZJ3MagvkLhM1DjqDZnQEIH1MLCHcVAMFxym4YNnvNQ5J3HGs/s400/fright-night-2011-12.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5647831137148426546" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 320px; height: 400px; " /></span></p> <p class="MsoNormal">I try not to be nitpicky but these were fundamentals that I loved from the original. It’s so hard to compare the two films and the characters because the remake is so different from the original but because it bares the same name and basic plot, I feel as though I must compare the two. This is my entire argument, really. Things have been omitted, changed and flopped around to the point where if they changed a few more things, it could have been a great original story that pays tribute to <i>Fright Night</i>. Look at films like <i>Disturbia</i>. <i>Disturbia</i>, at it’s basic premise is exactly like <i>Rear Window</i> but they changed it up a bit, slapped another name on it and I loved it. Look at the movie <i>Rat Race</i>; same basic premise as <i>It’s A Mad Mad Mad Mad World</i>, but different execution and name. This movie didn’t need to be a remake but rather it’s own thing and I think if they did it that way, I would have loved it a lot more. Since it bares the name <i>Fright Night</i>, my mind will always be in conflict trying to compare an apple to an orange when it reality, they aren’t comparable. <i>Fright Night</i>, though I didn’t hate it, could have been something more original but instead they had to bank off of the name and make a remake. In the end, it makes me want to watch the original even more.</p> <!--EndFragment--> Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com6tag:blogger.com,1999:blog-4736156794348437082.post-45843732559604510512011-08-26T14:14:00.004-05:002011-08-26T14:20:58.828-05:00Review - Don't Be Afraid of the Dark (2011)<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMy60VqXgjfF28cZTFTGWRn8qN1dOXpkPx2KoqogQw-IQnoytY2CxqrQwCruvKlmzMkynAdF8jmfKq04kuX6ryAfxzcqpoPeNwQyaqRUSNuQK3dts7NJz4ea_AJvAHPv7uk5Vj15rEcPg/s1600/don-t-be-afraid-of-the-dark03.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 176px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMy60VqXgjfF28cZTFTGWRn8qN1dOXpkPx2KoqogQw-IQnoytY2CxqrQwCruvKlmzMkynAdF8jmfKq04kuX6ryAfxzcqpoPeNwQyaqRUSNuQK3dts7NJz4ea_AJvAHPv7uk5Vj15rEcPg/s320/don-t-be-afraid-of-the-dark03.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5645246382573983042" /></a></div><p class="MsoNormal">I was never really excited for <i>Don’t Be Afraid of the Dark</i> but I was curious to see how they would be able to improve on an already cheesy 70’s TV show. When I saw the trailer for it, I thought it looked amazing but at the time I didn’t know it was a remake. As time passed I forgot about the movie until my friend watched the original TV show and said it was really cheesy. So, on the eve of its premiere, I was beginning to show a little excitement. This was a chance for the filmmaker and Guillermo (as the producer) to construct an homage to 70’s horror where the music and the mood are the scariest pieces. In the end, I walked out of the theater with a feeling of “eh.” It certainly isn’t bad but it wasn’t great either. It was okay. The film centers on a father, his young daughter and a stepmother who is NOT evil like any other horror movie. The young daughter, Sally, begin hearing voices coming from an old gated up hole in the basement. The voices say they want to be her friend but she quickly learns they want to attack her. Thinking that his daughter is crazy, the dad believes all the attacks are staged by Sally to get attention. Sally’s dislike for his new wife may have been the cause of that, however, the “no so evil” stepmother does a little sleuthing and finds out that little creatures that eat the teeth of young children inhabit the house.</p> <p class="MsoNormal">One of the biggest problems that I had with the film, and it doesn’t tarnish the entire movie, was the willingness to show the creatures in extreme detail. Don’t get me wrong, I’m okay with a movie that feels like a demonic version of <i>The Borrowers</i> but I didn’t need to see all the details. By doing a Google search on<i> Don’t Be Afraid of the Dark</i>, it seems as though the original did the same thing. The beginning of the movie has a man, named Blackwood, who chiseled his teeth and his maid’s teeth out and offered them to the creatures in exchange for his son. While in the process of sticking his head through that hole in the wall, something grabs him, we hear screams and then his entire body gets sucked into it. That was creepier than anything else in the movie. By showing your monster too much, you lessen the scare value and it reveals just how funny the creature or creatures are. I think if we saw small movement, or even a silhouette running in the shadows, it would have built up a better mood. If they had to show you what the creatures looked like, I think the best part to do so would be when Sally is lifting up her bed sheets and one of them pops out. It’s fast, it shows you it’s face and it’s a great teaser.</p><p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizusnuuGLO5mq6UbgI64QSZe-Aa3gZSLOnAw0evTkxF_-qSCvgX3sFZYAGODy6GCfKnxIrWXuByHLOIaIl0S-zqLBC9gJ_X4UuakMR9ECLBLnqhjKofMPKIJkUIgJDmFb-rHK6buxKR2s/s400/Dont+be+afraid+of+the+dark.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5645246675624072338" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 266px; " /></span></p> <p class="MsoNormal">Perhaps <i>Don’t Be Afraid of the Dark </i>was marketed for horror fans that are within the R-rating. I can’t help but think of <i>Insidious</i> when I talk about it because they both seem to rely heavily on the same scare techniques of the 70’s, loud abrupt orchestral pieces and a very definitive mood. As a side note, I wonder why Insidious got a PG-13 and <i>Don’t Be Afraid of the Dark</i> got an R? There wasn’t any swearing any either of them from what I remember. However, in the case of <i>Don’t Be Afraid of the Dark</i>, it wasn’t so much moody as it was loud noises. I’m fine with that because a lot of horror flicks use the loud noises to scare it’s audience but what made Insidious so good was the mood and it’s willingness to use silence as a means of scaring the audience. For younger horror fans, loud noises and foreboding music works and it’s a staple in the horror genre, I just wish they did something a little more different.</p> <p class="MsoNormal">With all that said, and this goes for Insidious too, I love that <i>Don’t Be Afraid of the Dark</i> isn’t just your typical haunted house movie but rather something much more with a creature that is very reminiscent of old world demonology. The tooth-snagging creatures could be interpreted as teeth fairies seeing as how they steal your teeth and leave a piece of silver in it’s place. They almost seem like they drew inspiration from Medieval and Colonial takes on fairies where they were seen as monsters or demons that attacked children. I love that idea that there are things that live within the walls of my home, which is why that line, “Are you feeding that thing that lives in the wall again?” from <i>People Under the Stairs </i>freaked me out. I know this is a remake and I’m sure all this more appropriately applies to the original but I haven’t seen it yet, so I am basing all my assumption on the remake. </p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr3_ztFOBIxslgYJ-rApT6QUPMsrBX2Q0onWfc5MAGjS7w3pgqHmgnCHivfE88mR6wyft5ltyO_ar7_r7_purQLVE_sqkou5nGRks_8q8ix7ozggBjv_Mvci0-JHTC6TD27WalqT-AG20/s400/500x_picture_334.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5645246475519529202" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 232px; " /></span></p><p class="MsoNormal">All in all, it wasn’t a near-flawless movie but it was still entertaining at times. I guess what separates me from a majority of the new horror fans is that I like it when the monster is left to your imagination. On the way back from the theater, my friend leaned over to me and told me that it would have been far creepier if they only revealed the creatures in the forms of the drawings. I couldn’t agree more. Otherwise, the acting is what you’d expect from a horror movie but the little girl was fantastic. It always seems to be the case. The mansion was creepy and I felt like it owned something to <i>The Haunting</i> remake. I also really enjoyed the bitter ending; I didn’t expect it and it was pretty cold. I won’t spoil it but it’s pretty sad. I wouldn’t rush out to see it but it’s a good movie to watch if you have surround sound and have nothing better to do on a dark stormy night. </p> <!--EndFragment--> Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com21tag:blogger.com,1999:blog-4736156794348437082.post-77103316524942907652011-08-01T09:46:00.007-05:002011-08-01T09:59:52.451-05:00Children of the… Grendel?<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqYMWPkCVFN2AExsO6uMSpFLaJrzMLLILqz3UkRFjR4n42Dp3VyPFCNRpIi5BCIepya-eYWR_i6yE848MUosf37uzFcY77sLkOQ6iAtF7cc6QnoX55kn-AwUydKzTq9chHt46bF5naxLs/s1600/Beware%2521+Children+at+Play+1.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 306px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqYMWPkCVFN2AExsO6uMSpFLaJrzMLLILqz3UkRFjR4n42Dp3VyPFCNRpIi5BCIepya-eYWR_i6yE848MUosf37uzFcY77sLkOQ6iAtF7cc6QnoX55kn-AwUydKzTq9chHt46bF5naxLs/s400/Beware%2521+Children+at+Play+1.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5635900243788462578" /></a></div><p class="MsoNormal">It’s not very often that you get a chance to see a horror flick where the children are the enemy. It’s not very often you get a chance to see the children being possessed by a renegade kid who speaks of some mystical deity. It’s also not very often that you see children worshiping a false god while living in a secluded section of their town contemplating on killing their parents. I am of course not talking about <i>Children of the Corn</i>, but rather a cult classic from Troma Entertainment called <i>Beware! Children at Play</i>. It would be easy to get the two confused since their premise is pretty similar although if anything, Troma’s movie acts as sort of a prequel to what would be <i>Children of the Corn</i>. Renegade children being led by somebody who is clearly out of his mind, although there doesn’t seem to be any real hint of supernaturalism in Troma’s movie. But the similarities between the two movies are uncanny and I think that Troma did a somewhat good job of parodying King’s story.</p> <p class="MsoNormal"><i>Children of the Corn</i> takes place somewhere in Nebraska and <i>Beware! Children at Play</i> takes place somewhere in the rural South. People who have a strong belief in Christianity apparently populate both towns but it’s never directly seen in <i>Children of the Corn</i>… only stated. Each town is secluded from any type of large populated area and people that stumble into it have that city quality to them. In <i>Children of the Corn</i>, the couple that ends up getting involved with everything seems to have that city quality to them considering they are on their way to Seattle. In <i>Beware! Children at Play</i>, though I don’t think the protagonist family ever states where they are from I think they scream “suburbia” in just the way they dress. While most of the town’s men dress in plaid flannel shirts, t-shirts, overalls or work coats, the father of the family is wearing a nice blue polo shirt. I think these are all just really over-analyzed observations that I am making, but the real similarities are when comparing the two groups of brainwashed children. </p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6-0X3A84iN4n2QEBVKQ2KM80tUGA8lQ7C9wzLyKTyDfHUO3ZuLDsqMb6uA210scU65IeEVmvX10vQO499xYWZTG07zYLhp2Y4JgVauPrGmIDj-569XYhsrcdVMucnmSG9uaae1PoSJ6g/s400/Beware%2521+Children+at+Play+2.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5635900453494354850" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 306px; " /></span></p><p class="MsoNormal">See, both groups of kids are seriously screwed up and believe in their leaders insane rambling, however it makes more sense in <i>Children of the Corn</i> because there is actually a supernatural creature that lives in the corn. Further investigation states that the monster is actually one of King’s great villains known as Randall Flagg who appears as the main antagonist in The Stand. In <i>Beware! Children at Play</i>, there doesn’t really appear to be any type of supernatural force. Some kid, 10 years prior to the film’s current setting, decides to become a cannibal after eating his literature-teaching father who was caught in a bear trap for survival. Now that somehow gave this kid incentive to kidnap the rest of the town’s kids to brainwash them by reciting Beowulf lines. It makes no sense but I guess in this world, young rural children are easily persuaded into killing and eating their parents by simply reading Beowulf. Their base of operations looks like a kid-friendly reenactment of a Native American village with teepees and bonfire pits. I get it, it probably looks makeshift because the movie is very indie and honestly I can’t complain about it. </p> <p class="MsoNormal">But what about the leaders of both groups? Well, before I get into that lets talk about their “martyr” so to speak. The children in the corn worship a god named “He Who Walks Behind the Rows,” and their sub-god (I guess) is the Blue Man who happens to be the rotting corpse of a mailman. It’s creepy and very disturbing. Now, the children of Grendel worship their leader named Glen Randall (bad pun) and their “sub-god” appears to be the rotting corpse of Glen’s dad, the one who got his foot caught in the bear trap. It’s not disturbing so much as it makes you say, “Oh you kids and your crazy fads.” The similarities between The Blue Man and Glen’s dad is pretty uncanny because they are both rotting corpses who are being hunt on crosses that oversee the entire camp. Now the leader of the children of the corn is Isaac, who happens to be one of the creepiest ominous kids in the horror genre. His right-hand man is Malachi, the long red-haired teen who swings his machete around screaming, “Outlander!” The children of Grendel’s leader is also some long-haired teen who doesn’t seem to pose any type of threat and doesn’t, in any way, look scary or ominous. Other than using kids to kidnap women to rape, his motivations aren’t as creepy as Isaac’s or Malachi’s. They even go as far as to shout the same infamous quote, “Outlander!” </p><p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVtMN1JlDZoL_7gOISvIp1Hz5gUL_Awt8hnssMJcJ0X_4uiJvQEAGX95Fd2lu7pbUKaM8qcP2KLIbL3fJnH9iX0wbZJ2aFCS68b80cm_IU9KHvlpNN0s64onOIJSEjZzZ6Stur3QDaasw/s400/Beware%2521+Children+at+Play+4.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5635900740287975106" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 304px; " /></span></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">I don’t think I also mentioned that both cults are set up in a relatively secluded area of the town; a cornfield and the woods. But you know what <i>Children of the Corn</i> was missing that <i>Beware! Children at Play</i> had? That’s right, a montage of pointless child homicide. Yep, the townsfolk are convinced that God has turned their kids against them as a test to see if they will kill them in his name… they are that deluded over the bible. I think they even recite a story in the bible, the story of Abraham who killed his son to prove his allegiance to God. So the townsfolk gather their things, invade the camp and begin shooting, maiming, stabbing and cutting their children in one of the most hilariously bad massacres I’ve ever seen. I’m kidding; <i>Children of the Corn</i> didn’t need that because it was actually good. As much as this movie is really bad, I found myself enjoying it at times because it has that distinct 80’s low-budget feel that makes me feel all nostalgic. </p> <!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com2tag:blogger.com,1999:blog-4736156794348437082.post-46954729208632249252011-07-28T10:48:00.015-05:002011-07-28T11:12:33.086-05:00The Apocalypse Comet<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMtkAw9SNBd3ZRpzT4X3N6xvdtmc-xR8x6KEx0vH1Un27I17ovkDgEwXNbaWoFgb0zh12RH7L598-NIaWbnIdOXRDKcIXQIX2SNWiBxdMJhFWWVcL7T1wYs9w6h1E8O4P52smH6mOOjjg/s1600/Night+of+the+Comet+10.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 216px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMtkAw9SNBd3ZRpzT4X3N6xvdtmc-xR8x6KEx0vH1Un27I17ovkDgEwXNbaWoFgb0zh12RH7L598-NIaWbnIdOXRDKcIXQIX2SNWiBxdMJhFWWVcL7T1wYs9w6h1E8O4P52smH6mOOjjg/s400/Night+of+the+Comet+10.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5634432364132792658" /></a></div><p class="MsoNormal">For the longest time I’ve always wanted to watch <i>Night of the Comet </i>but never got the chance to because our library never had it and I never had the money to buy it on DVD. As time passed I forgot all about it until I saw it on Netflix instant. I was happy. I thought the film was about a comet that passes by and turns everybody into zombies and its up to a group of survivors to fend themselves off from the flesh-eating hoards. I was partially correct. Instead, the film is a cheesy look at two girls who try to cope with the end of the world while fighting for survival against mutated people, a gang of nearly dead hoodlums and a government organization that wants their blood for a cure. Rather than reviewing the film I want to talk about something that scored big points with me concerning the way the movie depicts the apocalypse.</p> <p class="MsoNormal">For the most part, apocalyptic movies took a big leap in terms of visuals over the past few years because of bigger budgets, CGI and pyrotechnic advancements. In the 80s, movies like <i>Night of the Comet</i> wasn’t really a blockbuster nor did it have groundbreaking computer graphics at its disposal. For the makers of the film to truly show a world that’s completely barren, dead and “toxic,” they had to rely on production design and color enhancing techniques… and, man, does it look amazing. While most apocalyptic movies then were usually restricted to small towns or had the military trumping over the city (<i>Night of the Living Dead</i> or <i>Invasion of the Body Snatchers</i>),<i> Night of the Comet</i> takes place in Los Angeles with nobody around. No cars, no people, no signs of life whatsoever. I have to applaud the film for how well they depicted an empty world. The skies have a beautiful, haunting red and orange tint to them as if a bomb had went off in the sky, which is so fitting. Very rarely do you see such an effect used by modern apocalyptic films. Here are some of my favorite shots that are so hauntingly good.</p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIHqMXUTy23UCa_y_smXMDy58g1CxhFd_BM9rl87CxNpP9myHoj9CEiuXsL3JEd7m8-U0ScZAGEXIbOZiSB9bZZrBRTDvVKPgF_sXMw9uG2VhgyO5XT1aFoYjSNzMamxFbsCsx_IjBCRY/s400/Night+of+the+Comet+1.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5634432493829495762" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 216px; " /></span></p><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3IyzlEL8T0GPIowefq2zr4u4ONjX2FWVXop6pvGAUS1Hb2Je-FyqiOUxmUkBpoYOaYIiTc4PAKZQ_Oxjkf0h-wKGCqCslioMMcK5GHO837DfE_ylAwYRstKcgmpt8Ww24VOjrYNx_09Q/s400/Night+of+the+Comet+2.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5634432593212031202" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 216px; " /></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKL8NO4TsLjmmUQe36yKM1D7LdSwJUBHVGrfb2PxvHAbkD_4K09VggDdNRf5gt8lO6LtzfF_fMa8P37_Q-ngFNkjKpVYt1ttULBotRb9yQmNnwX5HHh1TmQk1uTPZX2mE-mARnGSCgLrw/s400/Night+of+the+Comet+3.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5634432692898781666" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 217px; " /></span></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5AYGDzZJ5MU7Ha3vcg5mquBzOxO_stDAPUxPNWKOd3T4foQTsjOBXBC4y1_L2sgQwW-fuiY0ZK4_r-FFZ6hggYfX4_4352M6PHJ6zLoXj7IVj83pIaT-pMFMXCEM-IL2v0W6hjXId9lU/s400/Night+of+the+Comet+4.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5634432791466522130" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 216px; " /></span></span></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7p4MI2R3Sbo7ELqcpJ_4HNha3aaAsBzR2otS-jZhHOjJT8r1cb6zosTLCPmdR7aSLyuUrjbnCc15VVJ70q5oaiTN_5rc07zjB8II51qJUR3WKwiKNcFKn8GRy7AHanL8dsDprofT_yJA/s400/Night+of+the+Comet+5.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5634432901436280306" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 216px; " /></span></span></span></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJcK8w7LfbuXipL-6bA_ntWrUFsaeLtZWrksoh8qGIQdtH0s9bxQdSlgIjPBtGpMnsCpF_DN6BgnzSpnrZ92DBmT7vUdMTsWfel5jXM945SkOQeiB9ZfJGerThs40hWnDWg3nq1lV6bmo/s400/Night+of+the+Comet+6.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5634433012317135826" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 215px; " /></span></span></span></span></span></span></div><div>I think the movie take all previous apocalyptic movies prior to its production and rolls it all into one giant cheesy movie. There is a scene that is so similar to <i>Dawn of the Dead</i> that it comes off as uncanny; in fact, it has more of a similarity to the remake than the original. The two sisters, having realized that the entire city has become their playground, decide to go on a shopping spree inside a mall. So, with the radio blasting ‘Girls Just Wanna Have Fun’ by Cyndi Lauper, they begin to goof around while wearing all the rich people clothes and lipstick. It’s a montage and though it’s not as powerful as Romero’s critique of mindless consumerism, it’s fun and it lovingly tributes the idea that when everybody is gone… we can’t help but do all the things we’ve wanted to do. Like shoot a car with dozens of bullets.</div> <p class="MsoNormal">While we are on the page of <i>Dawn of the Dead</i>, it’s also interesting to note that there is a scene in <i>Night of the Comet </i>where one of the survivors visits his mother, who is unfortunately dead, Well, after hearing a strange knocking at the door the survivor is confronted by a zombie boy who chases him into the bathroom. Then, the zombie boy begins breaking through the door while the survivor escapes to the car through the window. I didn’t notice it until just now but that almost seems like the inspiration for the beginning scenes in the remake of<i> Dawn of the Dead</i>. Both sequences have zombie kids, both sequences end in an enclosed bathroom and both sequences have the hero/heroine escaping through the window. It seems like <i>Night of the Comet</i> is <i>Dawn of the Dead</i>’s younger brother. It’s great because <i>Dawn of the Dead </i>was the first movie where Romero really showed you just how dead and empty the world is after the zombie apocalypse so it’s only fitting that the two films have so much in common.</p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUsZegR-EmARnSyLcTtjDp3ecb1rQtvpi9CNJ-TPB7qk-JA0hPGwHjVOvwwk8DRPqLMXW2LFLkcGK5AnZ2sax0PwZKFxhNwBvZivCf4nMf_TIhOqepXe5h_kjhUOeZ4kxnZRpUY9TgFQA/s400/Night+of+the+Comet+7.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5634433162560896834" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 216px; " /></span></p> <p class="MsoNormal">I have never read I Am Legend (but I have the book) and I never saw <i>Omega Man</i> but I have seen the film adaptation of<i> I Am Legend</i> as well as the Vincent Price film <i>The Last Man On Earth</i>. Seeing our teenage heroine walk among the clothed dust piles on the sidewalks and the empty streets of Los Angeles really rings a bell to Richard Matheson. It’s not as serious and stripped of playfulness but it wouldn’t surprise me if the entire first half of the movie drew inspirations from the book. Both films seem to have the general idea that the blood of the survivors holds the elemental key to stop the infection and possibly cure them. The military in <i>Night of the Comet </i>is like any other military force in these post-apocalyptic movies, they will stop at nothing to find a cure especially if it means saving themselves. In fact, like a lot of the movie the cause of the end of the world is largely due to the government screwing up a project. Though the zombies in this movie aren’t really flesh eaters so much as they are people with decaying skin that want to start fights. I didn’t see any zombies eating people or hardly any zombies for that matter. I don’t even think they are zombies… they’re just mutants. </p><p class="MsoNormal"><!--StartFragment--> </p><p class="MsoNormal">Personally, I like the fact that they aren’t your typical, mindless, flesh-craving zombies because then it would seem like every other zombie flick that came off the assembly line. I think this film takes a somewhat more realistic route to show the infection slowly eating away at the person’s skin, making them more hostile and aggressive. I don’t even think there are any scenes that show the zombies eating people, let alone trying to eat people. I think the absents of the zombies throughout the majority of the film was a good decision mainly because it doesn’t end up being a cliché where the entire film is based around surviving a zombie outbreak. If anything, the real enemies of the movie are the scientists who are scheming of ways to save themselves.</p><p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFXluqLH3xPy91IAKkbr3Jaxspd0eYiwBITRASU0MVsu_TOna2jXhE5ef12ybZFn7q6iyvyVuE0Be8m7ZpNefoodq8cD36o85MXPC9voRABJ2uDLhrSuvE5FSG3-XVzv_qHuIyxUHRI-Y/s400/Night+of+the+Comet+9.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5634435772536539698" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 215px; " /></span></p><p class="MsoNormal"> </p> <!--EndFragment--> <p></p> <p class="MsoNormal">So there are a lot of moments throughout this film that borrow from previous apocalyptic movies such as <i>Dawn of the Dead</i>, <i>The Last Man on Earth </i>and eve<i>n Invasion of the Body Snatchers</i>. It was one of the first movies that really showed the barren wasteland that is Earth after shit hits the fan and it was one of the first films that really utilized vibrant reads and oranges to emphasize the unusual setting. There is so much more I can go into like how the comet is associated with the world ending much like <i>Night of the Living Dead</i> and now that I think of it, this movie is really another love letter to Romero. That’s fine by me. I’m sure that many movies nowadays that deal with the apocalypse, especially zombie flicks, can owe a lot to <i>Night of the Comet</i>. If there is anything that people should try and bring back or homage from films like this, it’s got to be that awesome red sky effect. Because, even <i>Die Hard</i> does it and it looks amazing! That needs to be brought back. Don’t let it turn to dust like the people in this movie.</p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-AgcRRV5sxBePCkuicvfp0cYhzzWaEc5VZqN8-GAtvIAX6djQ27mNA91MalSxMGkxUA9qlUbUEzjHGg1apvCxXtgd-7bVH2HHFgjyfSXEjU6IQDY3fuGuMfApuWBf3ojz5GD5sqroEks/s400/Die+Hard+color+correction.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5634435907495175058" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 171px; " /></span></p> <!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com4tag:blogger.com,1999:blog-4736156794348437082.post-59643821134102539932011-07-15T10:52:00.009-05:002011-07-15T11:02:20.606-05:00My Thoughts on the Thing Prequel<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwkXB6gatgGvCUSRygd8fri-p55QYrasZED_TNcOvZMpLLDFd3Vy8LS-f7G3njVlpWVmTBD6BYzbbqvLpkVO3hiCCnvjxFrz7jas3Pwndn3q_m_Ow-_hy8LdSuhcQ9XCozhviHQdaabz8/s1600/thing-poster-teaser.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 270px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwkXB6gatgGvCUSRygd8fri-p55QYrasZED_TNcOvZMpLLDFd3Vy8LS-f7G3njVlpWVmTBD6BYzbbqvLpkVO3hiCCnvjxFrz7jas3Pwndn3q_m_Ow-_hy8LdSuhcQ9XCozhviHQdaabz8/s400/thing-poster-teaser.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5629607989751221378" /></a></div><p class="MsoNormal" style="text-align: center;"><a href="https://picasaweb.google.com/lh/photo/IDZLrafCKgJA7rzPqT3mNg?feat=embedwebsite"><img src="https://lh4.googleusercontent.com/-I-trX1s0XO8/SoDsqXyK0QI/AAAAAAAAAdI/CXPW8cXBzKo/s400/The%252520Thing%2525208.JPG" height="225" width="400" /></a></p><p class="MsoNormal">As many of you know, especially after Thing Week… I am a hardcore fan of John Carpenter’s <i>The Thing</i>. You already know how I was exposed to it and why it is my favorite horror movie of all time but when I heard they were doing a remake, I couldn’t believe it because the first was so flawless. Then rumors began to surface that it wasn’t a remake but rather a prequel that starred MacReady’s brother, which doesn’t make sense because the first camp that was attacked was Norwegian. So, like a cynic, I decided to not follow the hype or anything about this prequel until I saw a trailer and just yesterday Bloody Disgusting released the trailer for <i>The Thing</i> (Prequel) along with the poster (pictured above). I know some might want to know what I think of it but first I want to express my feelings towards the poster.</p> <p class="MsoNormal">I like the poster. I like it a lot. Is it the best horror poster ever? No but it does seem to be very stylized while still keeping that Carpenter-y feel. The big bold white letters that spells out ‘The Thing’ and inside the letters is “human” on the verge of becoming its full form. If you look at his right hand you’ll notice that it’s full-blown alien and I couldn’t help but think of the scene when the group, from the original, encounter the Bennings Thing running in the snow. He falls to his knees clutching his right hand, which looks like a giant deformed crab claw, tilts his head back and howls at the group before getting torched. That’s what this poster reminded me of. However, the more I look at it the more I can see just how bad (for lack of a better term) this was photoshopped. I’m still happy with it.</p><p class="MsoNormal">Note: As you watch the trailer below, keep an ear out for the Ennio Morricone score they use. I don't know if it's directly from the <i>The Thing</i> or if it's reproduced. </p><p class="MsoNormal" style="text-align: center;"><object width="400" height="350"><param name="movie" value="http://www.youtube.com/v/8g2kASeEXUo?version=3&hl=en_US&rel=0"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/8g2kASeEXUo?version=3&hl=en_US&rel=0" type="application/x-shockwave-flash" width="400" height="350" allowscriptaccess="always" allowfullscreen="true"></embed></object></p> <p class="MsoNormal">As for the trailer itself… it looks exactly like how I thought it would be. It reveals nothing about what the Thing will look like and rightfully so but I couldn’t help but get this feeling of redundancy. To many people, including myself, the original 1951 movie was already sort of a prequel to the John Carpenter film so watching this trailer made me feel like I was watching a remake of <i>The Thing From Another World</i>. It didn’t feel flashy to me, which is good but it did seem to be in favor of more action sequences than building an ominous/paranoid atmosphere. I would still end up seeing the film not because I’m excited but because I would like to know how they think the Norwegian incident went down. Again, it feels very redundant because we already know what will happen in the end… two Norwegians escape trying to shoot a dog that they believe is the Thing but end up getting killed in the process. If that’s not how it ends then I guess it’s not really a prequel but rather a remake of the ’51 film. However, there are some specific things in the trailer that I noticed that I want to briefly discuss </p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsUrrkuNnMaJbRl-NQpPhx7EkbSJLxqbRXtm0JSoLYk4Avl8JGDoH8q_b0kKW2tVvq94KDZMWIF-UsouCEa6_v7bfW7Ge8xzgXmJ9Db0XRCL3vOOk0jcTuygOL1H0VDcQuqCksaa_lHns/s400/The+Thing+2011+trailer+1.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5629608616001508306" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 170px; " /></span></p> <p class="MsoNormal">To me it feels a little out of place to have a female in <i>The Thing</i> if only because the Carpenter film was so cold and “manly.” This makes me believe even further that this film will be more of an adaption of the Howard Hawks film than a prequel to the John Carpenter film. Still, since it seems like she is the main heroine and we’ll have to wait and see if she can be better than MacReady.</p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6drqyAGK8hCfDHy2fGqhJpncMX-m5rrN7yl5oQChOdlqbZRVaqV14J1bh0TgM_T-xPrO5_9dNjYmUrCFojsAxwQMwezxnIsuGDCdsaVU5urimpW1Y041z51KkfKi0CWaJ5CcLePFUOMU/s400/The+Thing+2011+trailer+2.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5629608747747072770" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 172px; " /></span></p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCoJcKcvT3GkYoDYIneTPOqTN7NPx2M7V3Qu7Jg1mR07tA86AJc9QynjCkccrqUT_wxcXhUI-A9EmHoRc4WuDAa1N4mfiVHnwTuk7puqx6-mwrG1C74YkGXySGKYb7YHvqHIFW9vz0zYY/s400/The+Thing+2011+trailer+3.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5629608851797014226" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 170px; " /></span></p> <p class="MsoNormal">There’s that nice big block of CGI ice that has our lovable alien friend in it. In the third picture, if you’ve seen <i>The Thing</i> as much as I have, you’ll notice that the shot that shows the ice block sitting in the dark was directly taken from Carpenter’s film. The camera slowly movies forward along the small balcony that overlooks the encased alien. So I guess they are going for some level of homage here.</p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8xQfp70Pf-_pnffoMYUBj9fmTBNJW6EyWVOjc2FTyosST1st0Ge-B0j5fuU1PGjLNsQqI-uzgVjv3RRckWEE3OWRhYYsp8NUlaRnjjydcw_eGuwet_BlJH-bNvkxnYk8ADUnmae4X67M/s400/The+Thing+2011+trailer+4.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5629608975166631378" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 170px; " /></span></p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz43VARRkcfvhd9QqROyIMGwhukBdAW2BSXIAuM3Ph62hY16BqEV5SHvDGhse5uXyaMmJXYCyZ9TrPnvpotBrTvUToFGUQl2hk28nhRxrbx5M53x-JUq3yp_WJbUoCxz-i2X0fXtej-5E/s400/The+Thing+2011+trailer+5.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5629609071813755970" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 171px; " /></span></p> <p class="MsoNormal">The next couple of scenes are short, almost like flash-frames, but they are of the alien on its back either dead or just barely alive. I don’t like CGI and I’m sure a majority of the film will incorporate CGI monsters and attack scenes but after seeing these two scenes, I might have something to hold on to that they might have some practical effects as well. The practical effects and puppetry was a staple (almost iconic) in Carpenter’s Thing so why not carry on that tradition.</p> <p class="MsoNormal"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimrJ5dpmdxWfMaj-tmVRC6UFQsu6pvydikDQjqK3TuN-OjqrseWmYntMbedfdn7sq1Xn2Lk_Q1VBWcBNqTmJpiQzt3xmkJJ5xlw2d4RknzuGsrbjZtR6engezythErPZra1EN9aR9fvEY/s400/The+Thing+2011+trailer+6.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5629609179318690530" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 170px; color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; " /></p> <p class="MsoNormal">Also, instead of creepy upside-down head spiders, we’re getting crab-like snake things that grab people’s heads. Fine by me.</p> <p class="MsoNormal">Overall, I have faith in Universal because they seem to take care of their horror movies considering the entire company was founded on horror but that still doesn’t mean that the film had to be made. I felt the same way about <i>Wolfman</i> but I still enjoyed it. I can only hope that this film will inspire others to seek out the Carpenter film, and the Hawks film for that matter, to see what true paranoia is. </p> <!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com11tag:blogger.com,1999:blog-4736156794348437082.post-28348370896826278692011-07-03T14:27:00.005-05:002011-07-03T14:31:49.669-05:00The Grindhouse Xenomorph<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_P5C8VC-hi0kRf7iNwOA9XaYnJrmHxkbTh0fpBV2Pjm1ij0eQ5JWuecmmBqLAYjsgqnDfywIefRLLg8r59xvK8ybEidV15Ui1CS0aJkI6Sb0a-xYmYQG0Fo9Gb5GVz1dkCwrb1736I5U/s1600/Dead+Space+1991+2.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 306px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_P5C8VC-hi0kRf7iNwOA9XaYnJrmHxkbTh0fpBV2Pjm1ij0eQ5JWuecmmBqLAYjsgqnDfywIefRLLg8r59xvK8ybEidV15Ui1CS0aJkI6Sb0a-xYmYQG0Fo9Gb5GVz1dkCwrb1736I5U/s400/Dead+Space+1991+2.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5625210619717646546" /></a></div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjgoklIU1jKJAOpHNUcVTf5OyAzGwdI5aKGCrGWiV7XaoCkNwKlQTS9YDZtfVxIYKUP8Y_tdJx02uP52gvCv8QPH8UV39tmt25MhmIG8kHXNVCbngLulkgHEXaHq7VJBdfFjIztWuGe3w/s400/aliens.jpeg" border="0" alt="" id="BLOGGER_PHOTO_ID_5625210694373198082" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 267px; " /></span><div><div style="text-align: left;">What can I say about the b-movie that is <i>Dead Space</i>? This isn’t an adaptation of the video game since it came out in 1990 or 1991 and it isn’t the movie the video game is based off of. This Roger Corman produced flick follows a freelance “space detective,” as I call him, who answers a distress signal from a nearby research facility on an unknown planet. When he gets there he finds out that the distress call was a false alarm, but was it? You see, this facility has been messing around with genetics in order to genetically create a virus that could combat another life-threatening virus that has plagued Earth. When the virus begins to manifest itself into a living creature, the resulting “baby” becomes loose in the facility. Using humans as its main source of food, the freelance detective and his trusty robot sidekick must find a way to stop it before it kills everybody in the station.</div> <p class="MsoNormal">The only thing I can comment is at first I thought this was going to be a semi-humorous buddy cop movie with an alien twist but it turns out that the entire movie is a ripoff of <i>Aliens</i>. I wasn’t pissed about this because it went in a somewhat different direction but the resemblence between the virus and its lifecycle is uncanny to that of the Xenomorphes. In its final form, the virus has manifested itself in to a full-blown monster with giant mandibles, elongated head and body that seems to have its exoskeleton on the outside. I think what’s a dead give away aside from the giant pincers is that its head isn’t just elongated, but it’s flattened and looks like a giant headpiece, which looks just like the Queen in <i>Aliens</i>. Even more so, the virus forms itself into an egg, which was locked into an incubator. When one of the scientists gets too close to it the egg slowly opens up and shoots parasitic slug into her nose… just like <i>Alien</i>. Then, when its finished its larval form, the virus explodes out of the host’s chest and scurries away.</p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgckt41aJFTHhj50FrXpZezchwWBTzmSVbh_uOsXwe5Cm2B6XzQ0Dgd9VqkWn3ZqYVcVFXn_dNwQqUq_YVUkkpHV8dMYcKNQtYM8j6zUWwa-v-cn_T1h2m7ZiNQN_hEMrnPsmpBBTpbR_I/s400/Dead+Space+1991+1.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5625210838342557314" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 305px; " /></span></p><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmBE4ngGTqm4ayXbgMa0IRr7vCI8-3WBEQHBV06Yl24M4Y4wwSg17dO6D2fWJlbvORJaz_Jx0iBzFviq_Qf4m_Y-Qb2pvx0hrbf8w2v0k29-Z_fer6AujCPT4bW1ypRR5VYrLMi4pcoO0/s400/alien_xl_05.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5625210928902147378" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 396px; height: 297px; " /></span></span></div><div>Does any of this mean anything in the long run? Probably not but I like ranting about these things. I quite enjoyed Dead Space if only because it reeks of b-movie goodness. It wasn’t as bad as its grindhouse counterpart <i>The Terror Within</i> but it was nice to see the b-movie equivalent of the Xenomorphs. In fact, many people have cited Alien for being a big budget 50’s b-movie, so I think it feels appropriate to view what it would have been like if it had a tighter budget. Still, when the movie got done I felt like watching <i>Alien</i> or <i>Aliens</i>. For being a film that was made in the 90’s, the practical effects were pretty damn good even though they weren’t as slimy or gory. I find it funny, though, that the poster for the film is set in space but not once during the entire film do any battles take place in space. There is only 10 minutes of total screen time that takes place in space, so it’s <i>Alien</i> in the <i>Aliens 3</i> setting.</div> <!--EndFragment--> </div>Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com1tag:blogger.com,1999:blog-4736156794348437082.post-88545648666185148922011-07-02T12:24:00.013-05:002011-07-02T12:37:46.820-05:00The Beauty of Hill House<div style="text-align: left;"><i>The Haunting</i> has always been a favorite movie of mine, but it’s not the original. It’s actually the Liam Neeson remake that I would watch over and over again on VHS. There were two main reasons why I loved the movie: The special effects for that time and for myself were incredible and looked real, and at the time I was going through an awkward stage in my life where I fell in love with architecture and Hill House had some of the best décor that I’ve ever seen. Around 2002 I found out that the interiors were not part of the actual mansion but rather a set that was built inside a giant warehouse. I wasn’t disappointed but rather awe-inspired at how crafty, precise and imaginative the production designers were. At the time, I could imagine myself being rich and wanting rooms like those in the movie to become a reality for me. I would sit at the table, have the tape paused, and sketch out the rooms onto paper. I would even go as far as to draw out plans of Hill House so I could model my own house after it. Even now, as I watch the movie today, it’s still extremely impressive at how beautiful the set pieces are.</div> <p class="MsoNormal">In an <a href="http://obscurehollow.blogspot.com/">Obscure Hollow</a> inspired post, I want to create a visual memorial to how beautiful and inspiring Hill House is. I am aware that the house isn’t called Hill House but I’m still in movie mode. </p><p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkgY-8ygZde4GeT6zQZ3lcOkymVMxt9wwgGzbZGMbX13CxNHPD1qiuDNZV5xHfMd973wWWzlpeLBEWX0qfK2AqEWa_rQBlQX3eJIbZHWAa8oaSgp-miMNcD6M19RwJG2qFJYiFuN1ldpw/s400/The+Haunting+1999+1.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5624808580439896546" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 170px; " /></span></p><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3HpKorc3w_qyvHhsKys-BQwY2xF_S4mku17RViQOOIcLFkLPgcNYxdbKJu7E3xKiG5w3ODOYnLej1mCSNiJruOOG4LTImESqjTIRhqx-zhpDkavcn5gugHa7QD-rvdRdzRQ4efte3yCg/s400/The+Haunting+1999+2.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5624808829555027970" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 172px; " /></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy7Ej1qQmfcgxE1yKW9f5Qbait-6TMki0pJ639o60I_ZTI8tZtpYW73ICSD20p5ZjZ-w4qnBDI4D74k2T1KNVCwEhyAo9oVH0O2ldCXs4-bQNvKXeHqVy7hM_nnKXGWEjtT_yatWzAEzE/s400/The+Haunting+1999+3.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5624808970344761714" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 172px; " /></span></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIxOVeKPi4qyBYM7B_gcohbo9JZcm1rlgBqATy6v4-1sNHJRNmRxS8-0larSrgwaA5vj2Iqps_U0hj8gsgyCzattQJyMo5tNQ0Fp3HC7IEA_UoAe1PzFwylNT_IWmxPcPO2iata8zBlTc/s400/The+Haunting+1999+4.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5624809076354386050" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 171px; " /></span></span></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdEyjwVkBtlhov2KQtjc6vBWXucvzVPM8jkO73XeCYWZ5cit3mkoBwx_TOI23cmyP1E0boTWZ8-96ymviWeDYNpgJb-5Kb3g2-lfZNAO1sMPVCuLy4r0oPin0a5gCYl2_0a3ZvapEjCtk/s400/The+Haunting+1999+5.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5624809193955901730" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 169px; " /></span></span></span></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-Sra3KZTz1hRf0KAEUUsVKpFh4LNxxKFos5nzGPDi0vGurK9PTNgeybzhv5dkWQxtmEC_aVY06jnpUzJzres1dyS8ZE1cUkagoIds6jVs5yYs4_XMQAR6XB4QgAQtguqU63DAjKL762Q/s400/The+Haunting+1999+6.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5624809310058540514" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 171px; " /></span></span></span></span></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxy6BN8cDOGoCp3EfkNwYSufjvvdL3LNn8glE5P4nbutTyGKddZDhHqMQBt3Fb8TjIGJqKyWBhbfIj8dvfFewmVzS6BYvjvZwh1k7t-R0IporVR3Dbfe12HcwfnGgSZe0IshMaUp_PaGs/s400/The+Haunting+1999+7.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5624810104182810242" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 171px; " /></span></span></span></span></span></span></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "></span><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaykPGM9mhbZumOIsQX4xT7lSTWfP3us13ibArcNXGFhGltXkXF9kiObR_8G1BTgE76C11Yk1Es4tXs7FW0EClZaAQHOVsAAX035fkvD_Q-mk4nReNv472lxWz8flwxO5_ahtOld3RpcY/s400/The+Haunting+1999+8.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5624809449853482610" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 170px; " /></span></span></span></span></span></span></span><br /></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW2uyyctYK7XSuQDgbrOJ-THH7Z9S6M55jj3_r8IXRg9HY9mpl9za0JEE4alZr_vc7Q2E8YUTJsKQsA7O0A95gT0R23FPxiwjsE4ilUs_Y0QUSb6IJDGJssgaUhU_qhuLvAM3ZyM2g5eU/s400/The+Haunting+1999+9.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5624809570091013282" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 170px; " /></span></span></span></span></span></span></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf9BA2o5Y9yPYBhttPWB5C6JmclWmeeyoq7tXFt-qdeSnYtlmscweopeqaWGkod0RDt_ee8xpeYZEw6VKlW3Uzj_laIoumkvDGyO3KA4WPDyGgEInaY3wB6ghsJxIN6Uh4wE01ANEYZbc/s400/The+Haunting+1999+10.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5624809695408530290" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 172px; " /></span></span></span></span></span></span></span></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMUsBieGTMOq9zedMThyMInBBHOkkUdzy_H6w2apQetlF5so8Z6bM24izh0cejIRDD5UPvUFLiSeMRfQkLQ7yr97_rQQmwoF__3qE5x9SGxiCHiaNDlUin2AZJez_U9J9yOAO4Htj5SBs/s400/The+Haunting+1999+11.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5624809791423587298" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 171px; " /></span></span></span></span></span></span></span></span></span></span></div> <!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com5tag:blogger.com,1999:blog-4736156794348437082.post-69112631516901107102011-06-28T10:26:00.005-05:002011-06-28T10:34:44.977-05:00Charlie and the Thing<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQfjupgALJpCNmMmo15SNxCV5lb00y81FxqgVuRLkGyoZks2ij6i3tyY0hFiDpzvhW3qRiRKWl8HZPiEj41T7OYK0_nlPKzHe6iADBHlFdw3wy_0LsIBzZ2GORmlAbzUpHCMghn95cbzY/s1600/Proteus+1995+4.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 305px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQfjupgALJpCNmMmo15SNxCV5lb00y81FxqgVuRLkGyoZks2ij6i3tyY0hFiDpzvhW3qRiRKWl8HZPiEj41T7OYK0_nlPKzHe6iADBHlFdw3wy_0LsIBzZ2GORmlAbzUpHCMghn95cbzY/s400/Proteus+1995+4.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5623293639080191922" /></a></div><div style="text-align: left;">With Thing Week still fresh in my head, I think now is a good time to briefly discuss an indie film that reminded me a lot like <i>The Thing</i>. A few months ago I was fortunate to re-watch a film that I watched all the time as a kid, and that film is called <i><a href="http://www.paradiseofhorror.com/2011/03/blockbuster-memories-proteus-1997.html">Proteus</a></i>. This film is about a group of “pirates” that end up washing aboard an abandoned oilrig after their boat blows up only to discover that the rig was a cover to hide a secret genetically modified creature that was being developed. The creature is somehow set loose, before they even arrive, but what makes this creature unique is that it possesses the ability to replicate whatever it eats but it can only replicate living tissue/things. There are several reasons why I think this film bares a heavy resemblance to <i>The Thing</i> and it wouldn’t be surprising if the director and writer were inspired by Carpenter’s film.</div> <p class="MsoNormal">The biggest resemblance is the ‘life cycle’ of the creature, who’s name is Charlie. No affiliation with The Thing’s characters. The first time we ever see Charlie he looks like a blob of mushy, greasy, veiny skin and organs with no distinct shape or facial features.<span style="mso-spacerun: yes"> </span>Maybe it’s just me but it certainly reminds me of that dog kennel scene where the thing ingests the dogs and forms a goopy, greasy, slimy pile of dog flesh and teeth. Sure, Charlie’s “body” isn’t as complex as the thing but the resemblance in basic physical formation is quite uncanny.<span style="mso-spacerun: yes"> </span>It’s also important to say that Proteus’ special effects are all practical as well, and for an indie movie they were pretty damn good and unintentionally faithful to Carpenter’s movie.</p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKSZDL4-HHvJuxYFjpBnk2S5GGO_MDTes-KO4zdYwWrlaSDfE2h8FYeDzqrrKCunILW5kxL3DVyxUmNEqZlOVL4Jj0HFOBgra5wMV9Gu_z-iryQgIAgdvEr6ZU7s0SW7Inet0AGRAQC3s/s400/Proteus+1995+1.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5623293508035380498" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 304px; " /></span></p> <p class="MsoNormal">When Charlie moves past his mushy larval-like stage he begins eating and replicating those he crosses. Much like the Thing, the replicant is so convincing that the survivors aren’t sure who’s human or who’s a creature. So now you are factoring the paranoia element into everything and the element of trust is now broken; it’s become an “every man for himself” situation. But as Charlie begins to consume and replicate other people, his appearance changes and again we see that it resembles the thing again. In one scene, one of the survivors sees a mysterious woman running away form him so he decides to follow her to see who she is because her face is always hidden. When she turns around and looks at the camera we notice that she is Charlie because her face is swollen and monstrous looking. I couldn’t help but think of that time in <i>The Thing</i> when the team was chasing the Bennings Thing and when it finally revealed it’s massively, deformed claw hand.</p> <p class="MsoNormal">At the end, when we finally get to see Charlie’s “final form,” he’s a towering monster of twisted skin and tentacles with a shark-like head. Yes, our genetically modified monster was actually a shark before anything happened. As it punches through the top of the oilrig howling into the night, I couldn’t help but think of the ending where the Thing punched through the floorboards to reveal itself to MacReady. Each mutation bears a pointed head but the only difference is that one resembles more of a monster and the other a shark. How do you think that our survivors of the oilrig disaster try to kill it? With fire. Lots and lots of fire. They end up blowing up half the rig to send Charlie to his water grave but because I can’t remember the last few minutes of <i>Proteus</i>, I don’t know if there was a cliffhanger ending like <i>The Thing</i>.</p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnCXC1hzK3k2JKkqDXNLB5iyFH2UlKM7NDWdkJRzhzTCOr13mdigMf19sAUl4HMxkuJk7A_DFg5QezYex9cRM-BqkmSTDjSh_jJuVdnNQY4ivyvctZ2ZOV6RiyDwtX28GDofIc7e9zy9w/s400/Proteus+1995+8.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5623293763975966546" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 306px; " /></span></p> <p class="MsoNormal">I’m in no way bashing or trashing the film and if you read my <a href="http://www.paradiseofhorror.com/2011/03/blockbuster-memories-proteus-1997.html">other article</a> on <i>Proteus</i>, you’ll know that I have respect for it. I think it’s obvious that Carpenter and his Thing (sounds dirty) heavily inspired the makers of the movie and I believe they wanted to homage it. Proteus is a good indie flick and it shows you just how far into the obscure wonders of horror <i>The Thing</i> has situated itself. Proteus has great effects, a slight mood and some pretty creepy moments but more importantly… it was probably the maker’s way of letting Carpenter know just how much <i>The Thing</i> impacted their lives. </p><p class="MsoNormal">As a side note: It seems that Charlie it more phallic than Carpenter's Thing, ironically. However, you could compare the scene where the Blair Thing shoves his fingers right through Gerry's cheeks to pull him through the snow to the scene in Proteus where Charlie rams his tentacle down his creator's throat. </p><p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFM1vqaVCnFQ8oNfuBA0E4To3ml46hLJIdx0CUmZDFrEFBArAPlZexO79i-3gvgRkuLb_Ef2Z6AX9k_sRS2BecbqueeKi2GjVlT3tDgRwODoqrxHZgJA8hXc4EJd5vWXXt16NMCHpdCgM/s400/Proteus+1995+7.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5623294374623381442" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 304px; " /></span></p><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><br /></span></div> <!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com0tag:blogger.com,1999:blog-4736156794348437082.post-85609887193270507842011-06-25T13:06:00.006-05:002011-06-25T13:57:08.070-05:00The Thing Week: The Initial Response<div style="text-align: center;"><a href="http://picasaweb.google.com/lh/photo/_JuNnUQEc47_qIzxdCzKgg8kJlGghe_35KhwM0u2OR4?feat=embedwebsite"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt8952N-DK6BVTvD0blpmAAYsNBzTLpyTC9l5BgxqJWG_-iKCGlfBHapMhXUk48gooHGPOBr_S74NraYX3y5XeH5APPHDuaIEhgsV3WmriCwv-tB17c9mttbbqDcDOtdklK6YMaU3V6Rk/s288/The%20Thing%20Logo.jpg" /></a></div><p></p><p class="MsoNormal">Well folks, today, 29 years ago, John Carpenter released The Thing upon the world. And everybody… hated it. Yes, it’s one of the cases where its release was overshadowed by something tamer, namely E.T.<span style="mso-spacerun: yes"> </span>So, I decided to pull out some quotes from top film critics who didn’t like the film on its initial release.</p> <p class="MsoNormal"><i>“But it seems clear that Carpenter made his choice early on to concentrate on the special effects and the technology and to allow the story and people to become secondary -- there is not need to see this version unless you are interested in what the Thing might look like while starting from anonymous greasy organs extruding giant crab legs and transmuting itself into a dog.”</i></p><p class="MsoNormal"><span><span>-<span style="font: normal normal normal 7pt/normal 'Times New Roman'; "> </span></span></span>Roger Ebert</p><p class="MsoNormal">Side note: Ebert enjoyed the movie for the most part but I think he wanted more character and less “barf bag” special effects.</p> <p class="MsoNormal"><i>“John Carpenter’s ‘The Thing’ is a foolish, depressing, overproduced movie that mixes horror with science fiction to make something that is fun as neither one thing or the other. Sometimes it looks as if it aspired to be the quintessential moron movie of the 80’s – a virtually storyless feature composed of lots of laboratory-concocted special effects, with the actors used merely as props to be hacked, slashed, disemboweled and decapitated, finally to be eaten and then regurgitated as – guess what? – more laboratory-concocted special effects."</i></p><p class="MsoNormal">- Vincent Canby of The New York Times (Published June 25, 1982)</p> <p class="MsoNormal"><i>“Designer Rob Bottin’s work is novel and unforgettable, but since it exists in a near vacuum emotionally, it becomes too domineering dramatically and something of an exercise in abstract art. The weird lad down the block, the one who is always fooling around with his chemistry set, will love The Thing. The rest of the neighborhood is likely to find it more of a squeamer than a creamer."</i></p><p class="MsoNormal"> <span><span>-<span style="font: normal normal normal 7pt/normal 'Times New Roman'; "> </span></span></span>Richard Schickel of Time Magazine (Published June 28, 1982) </p> <p class="MsoNormal"><i>“If you want blood, go to the slaughterhouse. All in all, it’s a terrific commercial for J&B Scotch.”</i></p><p class="MsoNormal"> <span><span>-<span style="font: normal normal normal 7pt/normal 'Times New Roman'; "> </span></span></span>Christian Nyby (Director of The Thing From Another World)</p> <img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKO5omIqSf6pmyZnTXQtBTRYWSSka6OLr1UckfOlepAdXa1xHIH5Y0I-JvXuCb5M_6LOm6TMvHFDuCzizE907kqYcM4PNJKUbaTWlIk9RMThhCj5rxgALd0NEkHk9FZaCMbLMKGirJsq4/s200/Screen+shot+2011-06-25+at+1.10.13+PM.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5622222023924527762" style="float: left; margin-top: 0px; margin-right: 10px; margin-bottom: 10px; margin-left: 0px; cursor: pointer; width: 200px; height: 180px; " /><p class="MsoNormal">Now, I’d be lying if I said that they don’t bring up some great points about The Thing. Yes, it’s emotionless and very cold because it was Carpenter’s commentary on the Reagan administration and the moral defeat we had with Vietnam. The biggest problem that most critics had with it was that Carpenter seemed to have substituted great character developing for grossing the movie out, effectively overshadowing the entire movie with special effects. But does that mean it’s a bad movie? No. Really, in perspective, it means that Carpenter was ahead of his time. Then again, who would know that the movies following the mid 90’s would kill actor performances, characters, plot and “originality” to make way for blood, boobs and hot teen models. Comparing Carpenter’s<i> The Thing</i> to gorefests today is easy because Carpenter’s movie, in comparison, has thicker characters and more development. Even as a stand along film, <i>The Thing</i> has great character involvement. He mixed the mood and characters that were seen in horror films of the 70’s with gore and special effects of the early 80’s to make a hybrid the still works today. Talk to anybody who loves the thing and they’ll say that it’s timeless. <span style="mso-spacerun: yes"> </span></p> <!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com4tag:blogger.com,1999:blog-4736156794348437082.post-87714671631215653432011-06-24T13:55:00.014-05:002011-06-24T14:12:27.188-05:00The Thing Week: The Comic Series<div style="text-align: center;"><p></p><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaYMR_UBgifrPO-Ir5RHk9BCodgBBKpAD6WAXHwWDzNbGJJcm3YgdgMUr0Mlnhs5Y2BmK2aM8cTL-AfZG-lfXErgVSTSM8WORUqyev8KeUiEIeeoGhmt6OAH3XrmUGq3ct_Zdn2yVAORQ/s1600/250px-The_Thing.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a><div style="text-align: center;"><a href="http://picasaweb.google.com/lh/photo/_JuNnUQEc47_qIzxdCzKgg8kJlGghe_35KhwM0u2OR4?feat=embedwebsite"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt8952N-DK6BVTvD0blpmAAYsNBzTLpyTC9l5BgxqJWG_-iKCGlfBHapMhXUk48gooHGPOBr_S74NraYX3y5XeH5APPHDuaIEhgsV3WmriCwv-tB17c9mttbbqDcDOtdklK6YMaU3V6Rk/s288/The%20Thing%20Logo.jpg" /></a></div></div><p></p></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW4pCEqdfBCKfOK9B4AIb9C7o4l9FLLuqADMgAtf-w5n_dnUK1aOOaj33rkUz9LL0MtrzBuDnR2sYi-FKDOYvDqwK1Wp34_T4KOJEyUaykVgWhRxiU244wOdaGM2dLFtkFy1XeYJtuHPc/s1600/The_Thing_From_Another_World_01.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a><!--StartFragment--> <p class="MsoNormal">If you’re a horror fan, and more importantly a Thing fanatic, you’ll know that there was a comic book series that was based off of Carpenter’s <i>Thing</i> as well as Campbell’s novella. I haven’t looked too much into these but from what I read, some of the comics follow directly after the events of the Carpenter movie while others seem to take place in another time and place without our hero MacReady. I was unfortunate in having never read the comics and my attempt at locating them was futile. However, the comics are divided into 3 series:<b> The Thing From Another World</b>, <b>The Thing From Another World: Climate of Fear</b> and <b>The Thing from Another World: Eternal Vows </b>and<b> The Thing From Another World: Questionable Research</b>).</p> <p class="MsoNormal">I want to briefly show the wonderful cover art that accompanies the comic books. </p> <p class="MsoNormal" style="text-align: center;">The Thing From Another World</p> <p class="MsoNormal"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW4pCEqdfBCKfOK9B4AIb9C7o4l9FLLuqADMgAtf-w5n_dnUK1aOOaj33rkUz9LL0MtrzBuDnR2sYi-FKDOYvDqwK1Wp34_T4KOJEyUaykVgWhRxiU244wOdaGM2dLFtkFy1XeYJtuHPc/s320/The_Thing_From_Another_World_01.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621862906502199426" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 206px; height: 320px; " /></span></p><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglW29gMYw9ujftwJLajf2EIuR5CPubxtzxWWn2X7JApbNBeRsHOksf7w9Lt9PxPZoxXLn32eSQoIcYwoP7nGA7-w1J5k98U31Kjvbm8K1_lxYX0ySp_aCNLMTHuTWBZtRgnTEJjVzc7jE/s320/Thg2.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621863201850282402" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 208px; height: 320px; " /></span></span></div><div style="text-align: center;"><i>Climate of Fear</i></div><div style="text-align: center;"><i><span class="Apple-style-span" style="font-style: normal; color: rgb(0, 0, 238); "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5z7BG2CSAD3k80g46M_1PKZcxRH6n7XwKnRY78abJlVU1lcdzfJY5-Nj2oaeHelfq-xoXCZLJRYwfVhPykDzcuP9D6N_YlKLf97o1H9O_yCXjiT5v1l3zptARc1DXESNdExaHvP3pSZ0/s320/Tcf1.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621863448429089170" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 209px; height: 320px; " /></span></i></div> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_szwsVfxBYANzIa8uYNSbt57mrDT3oHdDaLI3_JjbjLPOmumNKYZ01UhbSDFgXpDgV2XSK7_oIUeiOv9D6FHkgHzBfExMDXS0vT0dzAhDrpbjoDnQARYGxlAmv0OSKpJgkCNLmZKUxWU/s320/Tcf2.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621863646646230002" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 209px; height: 320px; " /></span></p><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM6kIPMVWWN0ap44mvvkNthT1BULOXhy0a016Q0dWBhz1AJuED7o-T69PFh4jplpNpBmsJ0LtGjEqnjxvHtexZCMG52ZaVt69FeT7Q_TIV_2IAaZ-3L5Zyos25FvmwBuOlq9qYlc4KEs8/s320/Tcf3.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621863815667495490" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 210px; height: 320px; " /></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguxEnSX211NV3Ow3ULUwVgIS5mJS4OkgSbuuuLIYS8UVNNZ_eqIn-kqQaLmqYvStLpK3lt70j4lCvZpTEjJwN768_Pg8SatRY8191j5ezOFkxNOFYevHAKkF9JTUQa62SfplKoQZVvbOU/s320/Tcf4.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621863961819041538" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 207px; height: 320px; " /></span></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZCyO-glbjuG0BvnBLB2z-PZcP6RsjNmJgnj9-jmgYQn8hfn6WrpBhwqEwVhHz3asvLYRGCzOEp6RSk1AyRysdRNe7bvu4FenGIjY0Et03rhAa6a6Pube_f2wrGMAqx7l9a6ByEarC7FM/s320/Tcftpb.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621864036690255250" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 208px; height: 320px; " /></span></span></span></span></div><p class="MsoNormal" style="text-align: center;"><i>Eternal Vows</i></p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqP1aalxnUW2kH3-mtu9m3MxFwBApSTk0IpkranYJHVbe95nVR3Fnjojulgo7-R8RoilhEqaJfyJ9d6KpQ1vLH5vFvsC2F_tARyW3ctw7FA9CpIsRf_Sej6r_VtYzZU6GW9x9gBigiau8/s320/Thgev1.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621864262052109730" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 210px; height: 320px; " /></span></p><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiexytPlFXcv7jnU1tJdBZmoffo-NIV-3v4zHo17KH4wabBnA80nkc4vCo05wHDqqOWRwY4h0RNm_l6DZsTw2rib1fDg6FbRC5yxW91ecW_-TRSuxTLjan4jFORnAOJ25F2ZPnLnGjEQy0/s320/Thgev2.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621864349400537794" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 209px; height: 320px; " /></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnoNNyxwqLumg0JwFm3IU4lWkWPBvRG7p6E7N8DN5vKEZ9dBHyaA2BujgpehJoWZKTCWfkFI652v1blTGJNqA1CKNoVSGzrNW4zpHZJ7VlqaCAAjaH1bWKJgRVdsp2nX8oRBh53nrMLcM/s320/Thgev3.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621864438405087378" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 207px; height: 320px; " /></span></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX_JdwKL9R7uTYKBamH0oN7ZET51En1qxx-jQo3hyphenhyphen-MxY8H5u0tefM3eroNeV8bpjU-92rAn6WZbB6F6b_I0otKMawanjCfJG4HXbtUCUEcik1AEFIJZY9M-itNzi6GHdpWwSiE0tl5No/s320/Thgev4.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621864525274474706" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 208px; height: 320px; " /></span></span></span></span></div><p class="MsoNormal" style="text-align: center;"><i>Questionable Research </i></p> <p class="MsoNormal" style="text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipp8eYDznAcfNZecUulWOJidt8zZJF1Pf3tJNo4SrPh0vtsjh3-25VruUYNSTjKlBgYCgEh2d2pmvp3TsykfOBx0j9YBbvQx5aJDM_v4Lmaoyxcz8G_WRQSXxKTjADa9KThja1_unMLnA/s320/unusedcomicart.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621864625873062818" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 233px; height: 320px; color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; " /></p><div>I was lucky to run into somebody via Twitter who has read some of the comics and was nice enough to give me a little review for them. So, here is Zach Dumas’ review of the partial Thing From Another World comic series:</div> <p class="MsoNormal"><i>“Dark Horse made a series of comic based on The Thing, with the first comic (of four) released in December of 1993. The series, called The Thing From Another World: Eternal Vows, uses the name of the original yet takes place after the story of the John Carpenter remake. The first comic sets the story and location up. It takes place in Stewart Island in New Zealand, and mainly is based around the Wallace Harbour. However, the first comic in the series unfortunately doesn’t feel like The Thing. We have one attack from a “thing,” which thankfully is gruesome just like Carpenter’s remake. The creature definitely looks like the remake’s creature. The writer, David de Vries, for some reason chose to include a sex scene in both 1 and 2 (which is all I currently have, as they’re hard to find), which just doesn’t suit the story and feel of The Thing.</i></p> <p class="MsoNormal"><i>Thankfully, after the mediocre 1</i><sup><i>st</i></sup><i> comic, the 2</i><sup><i>nd</i></sup><i> one gets the “Thing” feeling down. We see MacReady a few pages into the comic, getting out of his chopper, and carrying a bag full of weapons. After a disturbing sex scene with two of the “things” (who are in human form, but have tentacles around them), we get back to MacReady testing the blood from a dead man in an alley. Only we found out that he’s human and the police think he killed the man. It’s only after finally convincing them otherwise that they test the blood on MacReady’s suspect. They test his blood as the suspect freaks out and yells. The blood jumps, just like in the movie, and the suspect instantly turns into a gruesome and ugly Thing abomination. MacReady burns him with his flamethrower and kills the Thing, and that’s where the 2</i><sup><i>nd</i></sup><i> comic ends.</i></p> <p class="MsoNormal"><i>Unfortunately that’s all I have till I find the other two, but from what I’ve been able to read it seems faithful to the movie. Though it does have some flaws. There’s a sex scene in both comics, which was unnecessary and served no purpose (no nudity, mind you). The art also varies. Some pages looks great, while others look bad. Some of the faces are drawn poorly such as how MacReady looks at the end of the 2</i><sup><i>nd</i></sup><i> comic. What I did enjoy is that this takes place after The Thing, and hopefully the other 2 comics explain more about how MacReady got out of Antarctica alive and what happened to his friend. While the first was pretty bad, the second comic had me looking forward to finding out how it all ends. So far, I’d give the first comic a 5 or 6 out of 10 as it just didn’t feel like The Thing. The second comic is a good, solid 8/10 as we see MacReady and we get to see some “thing” fighting and the famous blood test experiment again."</i></p> <p class="MsoNormal">Follow Zach at his <a href="http://twitter.com/ZacharyDumas">Twitter</a>. </p><p class="MsoNormal">It's also important to note that Carpenter himself said that if he were to do a sequel to<i> The Thing</i>, it would be based on the Dark Horse comic books since he was such a fan of them. </p> <!--EndFragment-->Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com0tag:blogger.com,1999:blog-4736156794348437082.post-90364494144201038632011-06-23T12:23:00.006-05:002011-06-23T12:50:59.146-05:00The Thing Week: A Survivor's Tale<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWardIAjqxzNhyphenhyphen7gcyFghsTKJ8fvY_kOhNKka03tcRhrdkM62FYWpywPdir4AlRCdUCJ4zrZuuXWqyuO5EibTb-Tx7Bz7oQXUDWvYVYmCZFTWKkbZbVnx4P0nYqd7k2d2O53WzYSxkui8/s1600/the-thing-1982-McReady.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a><span class="Apple-style-span" style=" border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family:arial;font-size:13px;"><div style="text-align: center;"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;font-size:100%;"><span class="Apple-style-span" style="font-size:13px;"><div style="text-align: center;"><div style="text-align: center;"><a href="http://picasaweb.google.com/lh/photo/_JuNnUQEc47_qIzxdCzKgg8kJlGghe_35KhwM0u2OR4?feat=embedwebsite"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt8952N-DK6BVTvD0blpmAAYsNBzTLpyTC9l5BgxqJWG_-iKCGlfBHapMhXUk48gooHGPOBr_S74NraYX3y5XeH5APPHDuaIEhgsV3WmriCwv-tB17c9mttbbqDcDOtdklK6YMaU3V6Rk/s288/The%20Thing%20Logo.jpg" /></a></div></div></span></span></span></span></div><div><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style=" ;font-size:medium;"><span class="Apple-style-span" style="font-family:arial;font-size:100%;"><span class="Apple-style-span" style="font-size:13px;"><br /></span></span></span></span></div><div><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">Since today I have a lot going on, I think it's an appropriate time to share a survivor's story of The Thing. No, it's not a fake story of someone who survived the events in the movie, though that does sound pretty cool to write. For today, Todd Spence (the co-creater of the webseries </span></span><a href="http://www.dealershiptheseries.com/"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">Dealership</span></span></a><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">) has written up a great piece on his experience with The Thing as well as its impact on him. I'd like to thank him for taking the time in writing this up and I hope you enjoy it. </span></span></div><div><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></span></div><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="border-collapse: separate; line-height: normal; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; font-family:Georgia, serif;font-size:16px;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoEwngXgZABL1InfRmGDgWrTuKq1aV3tesv-qF-ASTfXFKH2_uG0Hf_1a70k3NJuIH0iaiLj73pw9vPvHHwl8evJadoFKENA4SzeGg74qSbH4MSYP6-CQYtRT9xFtFd4psKp6-7_OHcYo/s200/thing-1982-02-g.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621472911947319266" style="float: left; margin-top: 0px; margin-right: 10px; margin-bottom: 10px; margin-left: 0px; cursor: pointer; width: 133px; height: 200px; " /></span>If you're reading this, I know you've seen </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">The Thing</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> and are possibly as big of a fan as myself so I won't waste your time raving about Kurt Russell's easily top 5 performances or how Keith David makes one of the best bad guys/best friends or how the anonymous ending is possibly one of the best...scratch that,</span></span><i style="line-height: 1.2em; outline-style: none; outline-width: initial; outline- color:initial;"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> easily</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> one of the best endings in film history. I could possibly go as far as saying </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">The Thing</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">'s final moments are better than, say, </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">The Godfather</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">. Maybe because The Thing never ruined itself with sequels or prequels or maybe because it's not as heralded of a film so we keep it closer to the vest like a savant child, too brilliant to be with the other kids. Or maybe you're reading this because you're a raving T.K. Carter fan. Who isn't?</span></span></span><div><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></span></div><div><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> John Carpenter's </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">The Thing</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> is one of those films that I remember as far back...as I can remember. I honestly don't recall the first time watching it, much like the other million and five horror films I perused while growing up in </span></span><span class="yshortcuts" id="lw_1308849583_0" style="line-height: 1.2em; outline-style: none; outline-width: initial; outline- color:initial;"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">Farmington, Missouri</span></span></span><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> as a wee lad, hell bent on watching as many horror movies, as not only </span></span><i style="line-height: 1.2em; outline-style: none; outline-width: initial; outline- color:initial;"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">my</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> brain, but my friends' brains could handle. And after all of that viewing, I've come to the conclusion that </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">The Thing </span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">is truly the cadillac of horror movies. In fact, </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">The Thing</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> goes beyond horror. It is literature. And that's not just me trying to being poetic. It is literature, based on a short story by John W. Campbell, Jr., spookily and appropriately titled "Who Goes There?", relying less on scares and moreso on atmosphere, one of my favorite things about horror movies as a whole. </span></span></span></div><div><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="border-collapse: separate; line-height: normal; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; font-family:Georgia, serif;"><br /></span></span></span></span></div><div><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="border-collapse: separate; line-height: normal; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; font-family:Georgia, serif;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWardIAjqxzNhyphenhyphen7gcyFghsTKJ8fvY_kOhNKka03tcRhrdkM62FYWpywPdir4AlRCdUCJ4zrZuuXWqyuO5EibTb-Tx7Bz7oQXUDWvYVYmCZFTWKkbZbVnx4P0nYqd7k2d2O53WzYSxkui8/s320/the-thing-1982-McReady.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621473228712219474" style="float: right; margin-top: 0px; margin-right: 0px; margin-bottom: 10px; margin-left: 10px; cursor: pointer; width: 320px; height: 137px; " /></span></span></span></span></div><div><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> I actually acquired "Who Goes There?" randomly, which is a book compilation</span></span></span></div><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">of Campbell's short stories from the Brand Bookshop in Glendale, CA for only $11.95. Perusing the aisles of anthology fiction, I spotted "Who Goes There?" on the faded green binder and remembered that </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">The Thing</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> was based on that particular title. Without a doubt, I had to buy it and read where the Carpenter story originated. Turns out the Campbell story only lent half of the ingredients which we see in the film today. The rest was Carpenter's genius in story telling, character, direction, cold atmospheres and of course Rob Bottin's iconic creations. The alien, although shapeshifted in the Campbell version, also reveals its true physical form which I think makes the Carpenter's version that much more terrifying, that we don't really know </span></span><i style="line-height: 1.2em; outline-style: none; outline-width: initial; outline- color:initial;"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">what </span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">the alien being looks like flying that spaceship in the opening minute of the film.</span></span></span><div><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></span></div><div><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> I'm not the first person to point any of this out I'm sure. This film has been out for over twenty years of course. So the biggest point I personally would like to make and present to you, a point that I have never heard presented before as to why </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">The Thing</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> is a masterwork in filmmaking - There is no romantic plot at all in </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">The Thing</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">. Think about it. There is no romanticism. No longing looks at a photographed loved one waiting at home as some random unnecessary motivation. How many films can you point out that solely focus' on the story at hand, and doesn't waste our time with romantic sideplots, relying completely on the story's situation? Okay, okay, </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">Alien</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> and maaaaybe </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">Exorcist</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> did that. But </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">Alien</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> and </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">Exorcist</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> sullied itself with terrible sequels! Another point for </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">The Thing</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">.<br /></span></span></span></div><div><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></span></div><div><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> John Carpenter's </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">The Thing</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> will continue to be one of those films that I will show to any friend that has never seen it, whether they like horror films or not. Because The Thing is simply a great movie. Thank you to Campbell and thank you to Carpenter for showing us the best because the best, these days, are really hard to come by.<br /></span></span></span></div><div><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></span></div><div><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> Todd Spence</span></span></span></div><div><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> </span></span><a href="http://www.dealershiptheseries.com/"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">Dealership</span></span></a><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> co-creator</span></span></span></div><div><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></span></div><div><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">If you haven't checked out, check out the </span></span><a href="http://www.dealershiptheseries.com/videos_season1finale.html"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">season one finale</span></span></a><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;"> for more Thingy greatness</span></span></span><span class="Apple-style-span" style=" border-collapse: collapse; line-height: 16px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family:arial;font-size:13px;">. </span></div>Mr. Johnny Sandmanhttp://www.blogger.com/profile/05052255118249746992noreply@blogger.com1