The most fascinatingly wacky movie I think I’ve ever seen — who would have thought it so interesting to listen to a bunch of stupid theories for two hours about a movie I love? And yet, it was.
Honestly, though, I think the movie might’ve been more disturbing than The Shining itself. Because the music in horror movies is usually what does it for me — if you’re itching to see me turn a little lily-livered, play Tubular Bells around me and it just might happen — the music used in this doc gave me the eerie, creeping feeling throughout. And all that without considering how the blend of classic horror and holocaust-film footage worked on me.
As much as I loved the wackiness and audacity of some of the theories, the real triumph is in the editing. If ever I’ve seen a movie where I can say the editing deserves an Oscar over all others, it’s this one.
BTW, since this didn’t make it to an actual theater in my town, I gotta give some love to the Amazon Instant App on my Blu-Ray player — I might wear that thing out with all the VOD movies I’m itching to see.
As great a movie as Misery is, it’s overall quality seems to flow from two things:
- William Goldman’s adaptation of Stephen King’s novel; and,
- The performances.
The one thing it’s overall quality doesn’t flow from:
- Rob Reiner’s completely bland and uninteresting direction.
I mourn the loss of the movie this would have made had somebody with a flair for the material – i.e. Brian Depalma – directed it instead of wasting his time on crap like The Bonfire of the Vanities.
As fabulously tense and imaginatively directed as The Texas Chainsaw Massacre was, what with all it’s grungy charm, you’d think Tobe Hooper would’ve done a better job with this – especially since he had probably ten time the budget. It’s almost like he used up all his talent on the first film and after that spent the rest of his career sleepwalking.
Really made me wonder if vampirism is just a metaphor for homosexuality? Or outsider-ness in general.
(Incidentally, the copy of this book above is not my first copy, it’s my second. I actually picked this up at a salvation army for a buck and would you believe it but this is actually a first printing paperback. What’s curious is that because it’s a first printing paperback it not only pre-dates one of King’s children, but also pre-dates his super-stardom. After all, in later years the ‘Stephen King’ name would go prominently on the cover of all his work. Clearly, with this printing, he hadn’t yet achieved that ubiquity.)
Recently, my wife and I took our kids to a drive-in theater about an hour from my house. As I kid I remember going to the drive-in several times, seeing such classics as Jaws 3:D and Kenny Rogers/Diane Lane/Erin Gray vehicle Six Pack, but my kids had never had the experience. We saw Brave, which was substandard Pixar, and The Avengers, which was slightly better than all right. Anyway, in honor of the event it seemed like a fun idea to look back at the ten most memorable Drive-In scenes in the movies – at least memorable to me. Continue reading
Children of the Corn (Divimax Edition)
There was a time when a Stephen King movie wasn’t instantly thought of as junk. In fact, the first three adaptations of his first three novels, Carrie, ‘Salem’s Lot and The Shining, were mostly stellar. Since then, though, it’s been a real hit or miss affair. The highs have been incredibly high: Stand By Me, Shawshank Redemption and The ave Mile all achieved a measure of mainstream and critical success, but the lows…well, did they really make a move of Graveyard Shift? Continue reading
For many, Stephen King is simply a writer that they read once or twice a year, on the same level that they read Grisham novels, or Clancy novels, or whatever. But for me, Stephen King goes beyond simply being an author author whose work I appreciate. Rather, he’s something like a close family relation, in a way, because his books have sort of formed a through-line for much of my life and anything I write about him should start with two stories. Continue reading