100 Days of Horror Day Sixty-Three - "The Shining!"

Good morning and rise and shine!

I'm off work today so I figured I'd get the jump on today's post. But the fact is, I was so eager to discuss this film that I started writing it last night as I watched "Thinner." Which, i am sorry to say, was better than I remembered. That is why I should actually blog AFTER the film. Which I am doing next time.

Anyway, today's post is already long because I couldn't wait to talk about it! Read on Ravers and thank you again for playing along!

The Shining (1980): Directed by Stanley Kubrick. Starring Jack Nicholson, Shelly Duvall, Scatman Crothers, Philip Stone and Danny Lloyd

The Skinny: Perhaps the most well-known of the Stephen King movies, "The Shining" concerns the Torrance Family and the horror they experience at the menacing Overlook Hotel. The problems there are only made worse by the strange psychic powers possessed by their son, Danny.

What's Good: This film was made by perhaps my favorite director of all time, Stanley Kubrick. Never one to be tied down to any one kind of film, Kubrick found his voice in a wide variety of subjects, from sci-fi to period drama to war films. And this was his take on the horror movie. But rather than make a straightforward adaptation of what is perhaps King's defining work in the genre, Kubrick instead crafted a psychological thriller where blood gushes from elevators, a father breaks down and succumbs to invisible temptations, and the party in the ballroom never seems to end. True, he robbed King's story of many of the elements that made it scary; the supernatural element of the hotel itself is played down at best, whereas in the novel, the hotel was as much a character as the rest of the living cast. But by doing that, Kubrick also stripped the story down to a core theme of the book - the idea of a father who can no longer control himself and by turns, can no longer fulfill his role as a provider. The film is anchored around the performance of Jack Nicholson, in one of his greatest roles. It's hard to image the strict Kubrick - notorious for retakes, long shots and for making incredible demands of his actors - allowing Nicholson to do what he does best, which is unhinged maniacal ranting. But we get it, and in spades, and Nicholson is both terrifying and hilarious, sometimes in the same instant. The rest of the cast is just as solid, from Scatman Crothers to regular Kubrick cast member Philip Stone as the former caretaker, Delbert Grady, who hacked his family to pieces years before.

What's Bad: It's long, just like every Kubrick film. And by the end, when things become insane and disjointed, it's difficult to stick with the film because it seems as if Kubrick loses control right along with his characters. Also, while I love Shelly Duvall, she (and Kubrick) turn wife Wendy into a screeching harridan that leaves you thinking it might be okay for her husband to smack her with that baseball bat. If only once. Just to shut her up, you know? I kid, but the truth is Kubrick and Duvall fought constantly on the set and if you watch the special edition DVD with a documentary by Kubrick's daughter, you get to see Duvall breaking down into tears on more than one occasion. And as is also typical for Kubrick's films, there is a bit of a pacing problem. Kubrick's best films play like a fever dream, where the actors almost seem hypnotized (perhaps best seen in his final film, the sexually charged "Eyes Wide Shut), and there are scenes in "The Shining" where you wonder if maybe everyone is on valium. Then Nicholson gets to cut loose, and all is well. He also shifts the main character from psychic Danny to father Jack, who is driven slowly insane, but for what reason, we're not exactly sure. In the novel, the hotel winds up using the father to get to the son, so absorb his psychic powers into itself and its spectral denizens. By turns, Danny's power is instead used as a link to Crothers' character and as a foreshadowing element to he horrors to come. Kubrick doesn't even bother to explain to us that Tony is Danny's future self ("Anthony" is his middle name, not revealed until the final moments of the novel). It's widely known that King strongly disliked the film, but he's also said he doesn't care about any of his film adaptations. Which is bullshit, buddy, but whatever ...

Why We Like It: Like nearly every one of his films, this movie was at first reviled by the critics who now celebrate it as a classic of the horror genre. It's Kubrick, plain and simple. And by that I mean it's packed with all the things I love about his movies - the long takes, the perfectly balanced shots, the hypnotic pacing (yes, I love that part, too). And in the middle of all that is a fantastic nuanced performance by Nicholson and an eerie score from longtime Kubrick collaborator Wendy Carlos. But the point of this blog is to answer the questions: do I like it? And is it scary? And the answer to both of those questions is a resounding yes. When I first read the book, it scared me shitless. And so too with the film. Kubrick manages to summon some very disconcerting images - the aforementioned river of blood, the evil little dead girls (not twins - Ullman says they were "8 and 10" at the beginning of the movie), and of course the final scenes of Nicholson grunting and screaming like and animal as he tracks his son through the snowy hedge maze, his former status as a man of language completely removed in his final madness. These things evoke real terror in me, and are disturbing on many levels. No, it isn't the epic tale of a haunted hotel (that was fully explored in the 90s remake, which King himself said he loved), but it is still an effective chiller and one for the history books.

Memorable Stuff: Where. To. Start. Most of my favorite scenes are the ones where Nicholson is in full-on psycho mode, ranting and raving at his wife as she meekly swings a baseball at him. The dialogue is so damn good I could sit here all day writing line after line from memory - "Wendy, darling, light of my life ... I'm not going to kill you! You didn't let me finish my sentence! I said, I'm not going to hurt you. I'm just going to bash your brains in! I'm going to bash them right the fuck in!" - but I will spare you of that. The other great scene is when Nicholson meets with Stone's character in the bathroom after a spilled drink. I won't quote that evocative dialogue here - no sir, I won't - but it is a lively and hilarious exchange once again bolstered by Nicholson's incredible performance. Some people reduce his performance to the ranting scenes on the stairs, but it is a much deeper characterization than that. Give Nicholson credit here, because he is far more than just a screaming lunatic. Look deep into his eyes and there is something cold and detached there - and that's just fucking terrifying.

100 Days of Horror Day Sixty-Two - "Thinner!"

Hey hey! How is everyone tonight? Sorry it's a late entry again, but I had a busy day today and also had a wonderful dinner with my lovely wife at a local establishment called the Mendenhall Inn. It's kinda swank, which just makes us a big fucking deal.

No, no, I kid, I kid ... we DID go there as guests of an organization here in Chester County called "Good Neighbors Home Repair Ministry." I met them through covering their summer youth camp, and since then I've covered several of their events, including this fund raiser. And while I am not a man of faith myself, these people move me with their efforts to help homeowners down on their luck to keep their homes safer, dryer and warmer - for no charge.

I know this has nothing to do with horror movies, but I just wanted to pass their name along, and this is my place to blab, so ... there it is.

NOW! TO THE MEAT OF THE MEAL!

Today's feature - while reasonably enjoyable - is the opposite of yesterday's finely crafted tale of suspense. This is Stephen King at his lowest. And the movie is as mixed a bag of tricks as the novella is. Watch and try to enjoy ... "THINNER!"

Thinner (1996): Directed by Tom Holland. Starring Robert John Burke, Joe Mantenga, Lucida Jenney, Michael Constantine and Kari Wuher.

The Skinny: Based on a Stephen King book published under his pseudonym Richard Bachman, "Thinner" find s selfish, overweight lawyer who uses his influence to get out of killing an old gypsy woman in a hit-and-run now at the mercy of a vengeful gypsy curse.

What's Good: Frankly, this is one of the most faithful King adaptations, but at the same time, it's definitely no "The Shinning" or "The Dead Zone." It's not even the mildly unscary "Pet Semetary." It's a bad misstep by director Tom Holland, who gave us the incredible "Fright Night." That said ... there is a certain enjoyable charm to the film, if only because it wallows in it crapulence. King used Bachman to tell the stories too silly or too provocative for him to tell directly. The book isn't meant to change lives or inspire - it's meant to be pulpy and jerky and commit literary homicide. And the movie pretty much does the same. It's offensive to fat people, gypsies, lawyers, Italian Americans and the entire white race in general. It's also very funny and quite disturbing in places, so I am definitely torn.

What's Bad: The above litany of offenses stands. I mean, it's so goddamn Old World racist - the filthy gypsy clan who comes to town and spreads chaos and handing out curses like they're bible tracts. It's something I'm sure the Roma people loathe. But that said, I love that gypsy curse shit. Without the gypsy curse, there'd be no "Angel," no "The Wolfman." So this is a movie you can take or leave, but should maybe see once. Maybe. Also, Kari Wuhur? As a gypsy girl? With a slingshot? No. Please god, no.

WHy We LIke It: It's trashy and I like trashy. There are no redeemable performances, the script is so-so, and the direction is almost absent. But it's King, so ... I guess it's okay?

Memorable Stuff: Like the best King stories, the end is always a killer. So the final five minutes of the movie are actually the best, but in case you haven't seen it, I will spare you that spoiler. It is quite memorable, however, and classic King. Or Bachman. Whichever.

100 Days of Horror Day Sixty-One - "The Dead Zone!"

Yes, it's true there was no blog yesterday and no movie either. And let me tell you why on both counts.

First, yesterday's movie was "The Signal," from 2007. I have never seen this film but a close friend has recommended that I watch it several times - in fact, he provided me with the copy I intended to watch. Now, I have been thinking about the format of this blog and what I plan to do with it next year (when I will undertake the challenge again). And it seems pointless to write a blog about a film I know nothing about when the point of the blog is to give my opinion on what is scary. So, for next year and from now on, I will not blog in advance about a film I've never seen - I will instead view the film and then blog about it. If that means two entries in a day for this first run through, then so be it. Next year's blog will be comprised entirely of films I have never seen and the blog will take the form of a recommendation. I will watch "The Signal" at one point and blog about it, but at this point I am unable to say when.

Second, there just wasn't time to watch a movie yesterday anyway, so ... god forbid I have a life.

Okay, now on to today's flick, yet another of director David Cronenberg's classics - 1983's "The Dead Zone!" It kicks off a three-day marathon of Stephen King movies and they're all good! So if you have this one, I sure hope you can watch it, because I think it's rather fucking great! Thanks again for reading!

The Dead Zone (1983): Directed by David Cronenberg. Starring Christopher Walken, Brooke Adams, Tom Skerrit and Martin Sheen.

The Skinny: Based on Stephen King's 1979 novel of the same name, "The Dead Zone" follows teacher Johnny Smith after he wakes from a five year coma with the power to see into people's past and their future. With that knowledge, he also finds he can change the present to affect how the future will unfold. When he encounters an ambitious politician who will one day "press the button" and initiate nuclear war, he must decide what to do to prevent a world-wide disaster.

What's Good: Got to give it to David Cronenberg - he knows how to scare and instill fear without the assistance of gibbering assassins springing from the shadows or buckets of blood and gore (something else he is good at). No, Cronenberg knows how to seize on our fears of the unknown and of the dread many experience when their lives are laid bare before a stranger. John Smith's power is absolutely terrifying - he can touch us and see our petty desires, can know more about us than we know ourselves. That's true, existential fear. And the more he uses his power, the more physically debilitated he becomes - the limp is more pronounced, his shoulders become slumped and his gait is long and loping. The power is killing him by inches, and Walken plays it beautifully, his face a mask of pain and fear as he struggles with the knowledge that's been forced on him. It's a great performance in a great film that stands the test of time, even if it plays on those 1980's fears of thermo-nuclear war. Madmen still have bombs today, don't they?

What's Bad: Not much. I am not Brooke Adam's biggest fan, but she does a fine job here as both Walken's romantic foil and as the source of his later obsession at recapturing his previous life. My only problem is the score at times - written by Michael Kamen and not by long-time Cronenberg composer Howard Shore. It's a little jarring at times, relying on a sudden string surge that is dimly reminiscent of the strings from "Psycho," and other times Kamen relies on a full orchestral score when sparse instrumentation would have sufficed.

Why We Like It: I think I could watch Walken have a bowel movement and find it entertaining. It's refreshing to see a performance of such depth in a film that sells itself as a horror/ suspense/drama. And the rest of the cast is also pitch perfect, including the always steady Tom Skerritt and the insane Martin Sheen as would-be button pusher Greg Stilson. It would be difficult not to enjoy this work.

Memorable Stuff: Although Walken is great fun to watch just about every second he's onscreen, the best scene in the film is when he finally meets Sheen's character at a political rally and gets to shake his hand (contact is a must for Smith's power to work). The ensuing vision where Sheen is ranting at his cabinet to allow him to initiate the attack ("Now you put your goddamn hand on that scanning screen or I will hack it off and do it for you!") is just intense. Some of Stilson's elaborate background is lost in translation from the novel, but Sheen lets us see just what we're dealing with - an abject madman bent on destruction.

100 Days of Horror Day Fifty-Nine - "Plan 9 From Outer Space!"

Greetings from Mars on this ghoulish Monday afternoon. A late one today because as usual, Monday is hellishly awful - filled with work, caffeine, naps and meetings out the wazoo.

But today's film is a doozy and one I love deeply. Enjoy the worst film of all time tonight and thanks for playing!

Plan 9 From Outer Space (1959): Directed by Edward D. Wood, Jr. Starring Tor Johnson, Mailia Numi, John "Bunny" Breckinridge, Tom Keene and Bela Lugosi.

The Skinny: Voted the worst movie ever made by the worst director ever, "Plan 9" is a campy romp into the mind of a maniac with a love of filmmaking. The plot - what there is of it - centers on an impending invasion from outer space that includes resurrecting the bodies of the recently dead as a means to take over the planet. There are some cops, some weird space people, and a rocket ship. And a guy that looks like a vampire. And Vampira.

What's Good: Oy vey, what a loaded question! Seriously, there isn't much "good" about the film. Director Ed Wood - the centerpiece of the Tim Burton film of the same name - was infamous for casting shitty actors, using shitty sets with shitty lighting and using shitty first takes without even bothering with a second take. So, I mean when you roll like that, your results wind up ... well, shitty. But there is the proverbial gold in them thar turds, folks. You have to tough it out if you want to reap the rewards - such as Bunny Breckenridge's saucy alien overlord, or the inane dialogue rendered unintelligible by the monstrous Tor Johnson - but it is seriously worth it. Don't expect to be scared, no sir - the graves are cardboard and the "monster" isn't exactly monstrous. It's camp - pure yucks the whole way through. Wood would be proud.

What's Bad: Shit, see above. And add the fact that since Lugosi died before the actual filming began, his part was mostly performed by the director's chiropractor who hid his utter unlikeness of Lugosi behind a cape the entire film. Lugosi's part was filmed without the benefit of sound some months before he died as a reel of "test footage" with no real project in mind.

Why We Like It: See all of the above, we LOVE shitty campy movies! And Woods' version of camp is particularly delicious!

Memorable Stuff: Hm, I wouldn't exactly call it "memorable," but the flying saucers over Washington DC that are actually hub caps and paper plates glued together is just audacious and astounding and awful and wonderful all at the same fucking time. I love this flick. I love it good.

100 Days of Horror Day Fifty-Eight - "The Creature from the Black Lagoon!"

Yes, that's right - we're skipping today's scheduled film for this infinitely better film. I ain't gonna double up or anything because frankly I am ahead of the game since I've been doubling up on Stephen King films off and on, so I think I'm good to go for being on track.

It took awhile for this damn movie to download, but it is worth every second because this is one of the great classics. I hope some of you at home can play along!

The Creature from the Black Lagoon (1954): Directed by Jack Arnold. Starring Richard Carlson, Richard Denning and Julia Adams.

The Skinny: A group of geologists on expedition in the Amazon find proof of a missing link in the evolutional chain - a mix of half man, half amphibian. Things go bad for the group, however, when a living specimen of the long lost species turns out to be not so lost after all!

What's Good: This is one of the greats, folks. One of the Universal Classic Movie Monsters - along with Dracula, Frankenstein, The Mummy and the Wolfman - and it endures to this very day. This was actually one of the first 3-D movies - the second, in fact - so there's a lot of direct at the screen action, like swimming and harpooning. But it doesn't detract from the movie in any way - in fact it enhances its inherent cheesiness. And for the time, the underwater photography (and there is a lot of it) is very well done, with long stretches of Gill Man swimming along the bottom of the river - with no air bubbles streaming out behind him. It was well performed and well executed and that's why people still love it over 50 years later.

What's Bad: The only thing that I don't like about it is the 3-D effects - like I said, it doesn't necessarily detract from the movie, but it's obvious that what you're seeing is an attempt to catch the eye.

Wy We Like It: Like I said, it's a classic. The creature is cool, the cast is great, the "special effects" are also keen for the era, so there is nothing to hate here. Just pure 50s camp film entertainment.

Memorable Stuff: Many things! From the underwater battles to the kidnapping scene to the final shots in the cave, this is a fun, good-time movie, even down to the very "Jaws"-like score (even though this predates the movie by 20 years).

100 Days of Horror Day Fifty-Seven - "The House of Usher!"

Well yesterday was a fuck-up but not by any fault of my own.

I have been trying to download "Creature from the Black Lagoon" for days now and it just keeps stalling out. So I left my computer running yesterday in hopes of capturing it by midnight but it just didn't fucking happen. So no movie, no post yesterday. BUT - the damn thing says it's almost done - 65 percent in fact - so if and when it does, I shall watch it and blog it.

I am, however, in anticipation of today's 50-year-old classic, Roger Corman's "House of Usher!"

Stay tuned for a special update from "100 Days" in the next few days!

House of Usher (1960): Directed by Roger Corman. Starring Vincent Price, Mark Damon and Myrna Fahey.

The Skinny: Based on Edgar Allen Poe's famous story, this film is based on the eponymous mansion where the strange Usher family has resided for ages. Now, however, their reality is crashing down around them as an ancient family curse comes to horrid fruition.

What's Good: One of Corman's earliest films for American International, this classic sees him cutting his teeth and creating what he would soon be well known for - crafting a suitably creepy atmosphere. It doesn't follow the story to the letter of course, but it makes for an interesting study regardless. And frankly, just about anything with Vincent Price in it makes me swoon.

What's Bad: Again, it is not a faithful retelling of the story, so for the Poe Purists (and we are out there, indeed), it falls short of the mark. But for those of us who enjoy a fun romp with silly, overly dramatic acting and shitty sets, then dive right in!

Why We Like It: Like I said, it's got atmosphere if nothing else. You get the sensation that the weirdness at the Usher Mansion has been going on for quite some time, and Price plays up the incestuous nature of his relationship with his sister with subtle, guilt-ridden glances and furtive gestures. It's a great piece that deserves some attention some 50 years later.

Memorable Stuff: The final scenes where the curse comes full circle and the house breaks asunder and sinks into the swamp are arguably the best scenes in the movie, although as previously mentioned, any of Price's screentime is worthy of admission alone.

100 Days of Horror Day Fifty-Five - "Firestarter/1408!"

Hey hey folks, a little change in the lineup today - instead of the planned Creature Feature, "The Creature from the Black Lagoon," we are instead watching another Stephen King drive-in double feature, "Firestarter" and "1408."

The problem is that I thought I had "Creature" but it turns out no. However I am in the process of downloading it as we speak so it should be good to go for tomorrow!

Personally, I like the King double feature bills! I like most of his movies - in fact, there's a three or four day King marathon coming soon.

So thanks as always for reading! We WILL be watching "Creature" tomorrow, so tune in and play along!

Firestarter (1984): Directed by Mark. L Lester. Starring Drew Barrymore, Davod Keith, George C. Scott, Moses Gunn, Art Carney, Freddie Jones and Louise Fletcher.

The Skinny: Based on Stephen King's 1980 book of the same name, the eponymous "firestarter" is 10-year-old Charlie, a young girl with the power of pyrokinesis, who is being pursued by agents of the government whose program spawned hers - and many others' - powers.

What's Good: This is one of the so-so King movies, in my humble opinion. They tried REAL hard, I'll grant them that - they cast George C. Scott, who is always a smash, and Drew Barrymore at the height of her 80s popularity. So what went wrong? Okay, wait this is supposed to be what's good ... well, Scott as I said is always great, even when he's chewing the scenery. So what makes this movie work is the relationship between his assassin, John Rainbird, and Barrymore's Charlie. Once she's been captured, Rainbird insinuates his way into her life by pretending to be a sympathetic housecleaner. It's creepy to watch, because the relationship takes on an odd sheen - almost like he's grooming her, when in fact he plans to kill her (and the line Scott delivers when he tells us about that goal is absolutely fucking chilling).

What's Bad: The movie isn't sure if it's supposed to be a drama or an action thriller, so it kind of fails at both. And it also fails at being a "horror" movie as much of the existential fear the characters experience in the novel are absent in the movie. You can rest assured, however, that this movie is found in the "horror" section of your favorite movie provider. And as usual with movies from the 80s, there's poor lighting in the night and street scenes and not-so-great sound at times, too. But it's still worth a look, if for no reason that to watch Barrymore exercise the chops that one day made her a superstar. It's also funny to note that she was (allegedly) smoking weed, drinking champaign and snorting coke at that age, so you wonder in those scenes where she's sweating if it is indeed the heat of the fires she's starting that's making her perspire or the line she just had in her trailer.

Why We Like It: Like I said, Scott is a powerhouse as the ponytailed assassin Rainbird, one of King's most enigmatic characters of all time.

Memorable Stuff: The best scene in the film is when Charlie and her dad seek refuge at an old couple's farmhouse that quickly erupts into a conflagration when agents from The Shop show up to capture them. When Charlie unleashes her pyrokinetic powers, cars explode and flip upside down and men burst into spontaneous flame. It is one of the movie's most effective stunt scenes.

1408 (2007) Directed by Mikael Halstrom. Starring John Cusack, Samuel L. Jackson and Mary McCormack.

The Skinny: Based on a short story from King's "Everything's Eventual" compilation, "1408" is the number of a room in the Dolphin Hotel in New York that is supposedly the most haunted place one could imagine. Enter Mike Enslin - author, skeptic and haunted house debunker. But what he experiences in the room is far beyond the cold spots and specters he's encountered previously.

What's Good: This is actually an effective thriller with a few moments of true fear. Much of the film - in fact, the majority of it - is just Cusack in a room dealing with horror after horror. And Enslin is one of King's great flawed characters - a writer with a dark past filled with death and tragedy. And it's those very events that come back to haunt him once he's securely locked in Room 1408. Because like the dead tree in the Dagobah bog where Luke encounters his father/Darth Vader, the only horror in Room 1408 is what you take with you.

What's Bad: There is a much dark and more satisfying ending where Cusack's character dies, but instead we get Samuel L. Jackson looking off into the distance, nodding and saying "Well done, Mr. Enslin. Well Done." It is one of the worst pat endings I have EVER seen in my life. And if you haven't seen it, fear not - I haven't ruined the ending for you. No, King has one last horror in store for you at the bitter end, because he likes to stick it in deep and break it off.

Why We Like It: Cusack carries the whole damn picture and he is in fine cocky form for much of it. The movie gets a little tedious at about the 2/3 mark, however, and you can get a little tired of being hit with spooky thing after spooky thing. It's no "The Mist<" and it's no "The Dead Zone," but younger viewers who cut their horror teeth on "Saw" and "Hostel" need some of teh special effects and gritty violence more than a deep character meditation like "Dead Zone" or "The Shining," so they're probably love this movie.

Memorable Stuff: I don't want to give too much away here, but Cusack's run-ins with his deceased daughter are chilling and dark. Much of the rest of the movie is a study on how much one man can take before what he's experiencing changes him at his core.