Hollywood George Romero is not my favorite George Romero, but he’s the most underrated one. With THE DARK HALF (1993, but shot in ’90 and ’91) he’s still filming in Pennsylvania (portraying Stephen King’s Castle Rock, Maine), but funded by Orion, with enough of a budget ($15 million) for Academy Award winning movie star lead Timothy Hutton (CITY OF INDUSTRY), three months of training for 4,000 birds, and some early computer effects. It has more of a slick, Hollywood feel than we associate with Romero, less of his hand-crafted-by-local-artisans vibe, but that’s not the end of the world. It’s cool to see how well he can do a straight-forward adaptation of a book by King (“Hoagie Man,” KNIGHTRIDERS). Better than most, it turns out. (read the rest of this shit…)
Posts Tagged ‘Stephen King’
THE MANGLER (1995) is a potent mix of silly Stephen King short story premise and unhinged Tobe Hooper fever dream. That means it has killer inanimate objects, but with the late Texas horror master’s sweaty, depraved lunatic tormenters stirred in like a salted caramel swirl.
Yes, this is a movie about a possessed industrial laundry press that seems to fold more people than it does sheets. You got a problem with that? I sure did in the ’90s when I saw this on VHS and thought it was the dumbest shit I ever saw. This time I was not so closed-minded. In today’s world we need to have more empathy for everyone, including murderous haunted laundry machines.
You may be wondering how the hell this Mangler (actual tagline: “It has a crush on you!”) manages to rack up a body count since it’s not exactly Christine rolling around town listening to George Thorogood, it’s a big-ass metal machine at least the size of a half-length bus and looking three times the weight, with no wheels. Well, I’m happy to report that there’s a part where (SPOILER) the heroes are hauling ass down a mysterious subterranean staircase squealing “We’re fucked!” as the Mangler chases and snaps at them like an angry pitbull. (read the rest of this shit…)
STAND BY ME vs. THE THING. A group of young nerd friends in the small town of Derry, Maine battle a shape-shifting (usually clown-shaped) thing-from-another-(not-specified) that feeds on the fears of children. Oh, and also feeds on the actual children, apparently as a way to create more of that sweet fear.
Stephen King’s book tells the story of this “Losers’ Club” in 1958, and then reunites them as adults to do It in grown up style. Andy Muschietti (MAMA)’s movie just handles the childhood half of the story, moving it up to the summer of 1989, three years after the book even came out.
I read the book probly 30 years ago and only remember it well enough to be thankful they left out the pre-teen gang bang scene. I still question the part where a bunch of boys and one girl go swimming together in their underwear and then hang out that way. Maybe it was different on the east coast but this seemed like an alien clown’s idea of what the youths do together. Also the graphic blood pact seemed to me from a different time, but I guess God bless those little psychos for being up to that kind of self-mutilation. I couldn’t do it. (read the rest of this shit…)
A RETURN TO SALEM’S LOT is Larry Cohen’s weirdo theatrically-released sort-of-sequel to Tobe Hooper’s TV mini-series of the Stephen King book. But really it just takes the location – the tiny town of Jerusalem’s Lot, Maine – and the idea of doing a vampire story there. It’s not the same vampire or the same type of vampire. It doesn’t connect, from what I remember. But I like that.
Joe Weber (Cohen’s muse Michael Moriarty) is an anthropologist working on a CANNIBAL HOLOCAUST type documentary when he finds he has to come home to look after his troublemaking teenage son Jeremy (one-time actor Ricky Addison Reed, who IMDb claims was cast to play Robin in Tim Burton’s BATMAN in scenes that were never filmed). Joe brings his son to the old, recently-inherited fixer-upper in his birth-town of Salem’s Lot (as some but not all abbreviate it). (read the rest of this shit…)
I know you guys probly already have huge parties planned, but in case you’re in a part of the world that doesn’t celebrate, today is the 25th anniversary of STEPHEN KING’S THE LAWNMOWER MAN. And in March of 1994 we’ll be able to celebrate the anniversary of THE LAWNMOWER MAN, after King’s lawsuit made New Line Cinema remove his name from it.
(Weird detail from an Entertainment Weekly article at the time: King “hired a team of private investigators to check out video-store copies in five cities” to prove they were violating an injunction against using his name. Did he worry if he brought in four tapes from four cities New Line would say “Nah, it’s only the copies in those four cities, the rest of the ones we made don’t say Stephen King”?)
aka FIRESTARTER 2: REKINDLED
After watching FIRESTARTER for the first time since the ’80s I sorta remembered there being some kind of a FIRESTARTER 2 made during this century. I am a completist by nature (see my week of CARRIE movies for evidence) and I thought that might be good for a laugh, so I settled in to watch it real quick. Imagine my surprise when, early in the movie, I checked the running time and saw that it was 2 hours and 48 minutes! What I thought was just a DTV sequel was actually a Sci-Fi Channel mini-series (this is in the old, spelling accurate days before SyFy).
I guess technically this is a sequel to the book, not to the movie, because they have flashbacks to scenes from the movie and they’re reshot with Skye McCole Bartusiak (24) as Charlie, Aaron Radl as her dad and Karrie Combs (BRIDE OF KILLER NERD) as her mom. But mainly we have Charlie played by Marguerite Moreau (the MIGHTY DUCKS trilogy, FREE WILLY 2, WET HOT AMERICAN SUMMER). She’s all grown up and keeps a fire extinguisher under her bed for those nights when bad dreams set her bed ablaze. Living under a fake identity, she works at the Millington College academic archive, where she’s trying to uncover information about her dead parents and the experiment that started her firestarting. (read the rest of this shit…)
FIRESTARTER is a classic tale of ’80s style supernatural paranoia. An innocent father and daughter are on the run from menacing agents of a secret government entity nicknamed “The Shop.” A university experiment with hallucinogens in the ’70s gave dad (David Keith, WHITE OF THE EYE) and now-deceased mom (Heather Locklear, MONEY TALKS) psychic powers, which have passed on to daughter Charlie (Drew Barrymore in her next movie after E.T.). She can sense things, sometimes move things, but her trademark is fire. When she gets angry at people things get hot. Mom and dad had been trying to teach her to keep it under control, with mixed success. You really gotta recognize what a difficult parenting challenge this would be even if The Man wasn’t out to get them.
So now it’s Take Your Daughter On the Lam Day. They’re hitchhiking, scrounging up change, using Jedi mind tricks. She’s already used to lying to people and using fake names. It reminds me of Starman (TV show), or The Golden Years, like this a Stephen King creation and also using The Shop as the antagonists. Through no fault of their own this family are considered dangerous, and the government wants to either use them as weapons or kill them. Neither seems appealing to them.
This kill-them-for-safety-purposes policy is obviously fascist and heartless, but it’s based in a reasonable fear that if this little girl can blow up cars with her mind what will she be able to do if she grows up? And will she do it? (read the rest of this shit…)
THE NIGHT FLIER has a premise that could only really come from a Stephen King short story: a vampire (Michael H. Moss, ROBOCOP 3) – old school, with a Dracula cape and everything – pilots a small plane, and goes around to different small airports drinking people’s blood.
The protagonist is Richard Dees (Miguel Ferrer, ROBOCOP) the star asshole at a shitty tabloid that seems to be a cross between The Weekly World News, TMZ and A Current Affair with a more sick and bloodthirsty edge, as well as an apparent belief in the tall tales they’re selling. He’s introduced checking the new issue, seeing it doesn’t have the photo he wanted, and yelling “WHERE’S MY GOD DAMN DEAD BABY!?” So he’s a purist about his scumbaggery. (read the rest of this shit…)
Like THE RAGE, the 2013 remake of CARRIE is directed by a woman. This one comes courtesy of Kimberly Peirce of BOYS DON’T CRY and STOP-LOSS fame. The screenplay is credited to two men, Lawrence D. Cohen (GHOST STORY) and Robert Aguirre-Sacasa (THE TOWN THAT DREADED SUNDOWN remake). The weird thing is that Cohen wrote the DePalma version, and this is his first credit in 9 years, so I don’t know if that means they started from an old-screenplay base. It kinda seems like it. It doesn’t do its own thing as much as I’d like. It’s not DePalma, but it’s not a drastically different take either, so I’m not sure how much the female perspective was able/allowed to add in this instance.
Part of the fun of a remake or re-adaptation is seeing who they have playing the different roles. There are some familiar actors in the leads here. Chloe Grace Moretz (TODAY YOU DIE) plays Carrie, and she’s the first actual teenager to ever play the character on screen. At 15 I believe she’s actually younger than Carrie was in the book, and there’s something to be said for authentic youthfulness in this role. Julianne Moore (ASSASSINS) is Margaret White, because of course she is. It would have to be her. Judy Greer, known for thankless roles in every major movie of the last few summers, actually gets things to do in the Betty Buckley role as the sympathetic gym teacher.
I was not familiar with the young actors playing the do-gooder couple of Sue and Tommy. Sue is Gabriella Wilde, a tall blond model who was in the Paul W.S. Anderson THREE MUSKETEERS, and Tommy is boyish Ansel Elgort, a rookie actor who has since been in the DIVERGENT series of trailers that seem to come out every few months, was the boy lead in THE FAULT IN OUR STARS and reportedly on the short list to play Young Han Solo in I HAVE A BAD FEELING ABOUT THIS: THE ADVENTURES OF ALL NEW HAN SOLO. Both actors won me over after initial skepticism. Meanie blood-dumper Chris Hargensen is played by Portia Doubleday, who I know from looking like Amanda Sieyfried on that tv show Mr. Robot. (She was also the surrogate date in HER, and her older sister Kaitlin plays Rhonda, the only major white character on Empire.) Chris’s bad boy boyfriend Billy Nolan (Travolta’s character) is Alex Russell, who I guess was in CHRONICLE and later Angelina Jolie’s UNBROKEN. (read the rest of this shit…)
When one of us says “Carrie,” I bet we all think of the same thing: Brian DePalma’s iconic 1976 film, an American classic. It’s the first and still-second-best movie based on a Stephen King book, so of course we could also be talking about that 1974 novel (the fourth that King wrote, but first he got published). Or we could be talking about the 2002 made-for-TV version, or the 2013 remake, or I suppose the 1952 William Wyler movie which in my opinion is not based on King’s book. Anyway this week I’d like to take a look at the different incarnations of King’s story. (Not the failed Broadway musical though. I never saw it.)
I’m assuming I don’t have to tell you the story. And then I’m telling you the story just in case. Carrie White (Sissy Spacek, PRIME CUT) is a shy, awkward girl who already doesn’t fit in at her high school before she has her first ever period in the locker room shower after gym class and thinks she’s bleeding to death, much to the amusement of all her classmates. Yeah, thanks for the heads up on that menstruation stuff, abusive and mentally ill Christian fundamentalist mother (Piper Laurie, RETURN TO OZ, THE FACULTY).
The other girls get in trouble from their gym teacher Miss Collins (Betty Buckley, THE HAPPENING) for pelting Carrie with tampons and chanting at her. One of the girls, Sue Snell (Amy Irving, THE FURY) feels guilty about it and convinces her greatest-American-boyfriend Tommy Ross (William Katt, SUPER) to take Carrie to the prom and show her a good time. Another girl, Chris Hargensen (Nancy Allen, ROBOCOP), goes the other route, she’s not allowed to go to the prom, and plans a cruel prank to avenge Carrie. Meanwhile, womanhood has unlocked in Carrie a freak power to control objects with her mind. So if she gets humiliated again, perhaps on stage at the prom to name one possible scenario, she’s not gonna cower in fear this time. There will be Hell to pay.
(read the rest of this shit…)