Friday, October 31, 2014

Happy Halloween!

"Put the frozen bananas in the cargo hold."
A few months back, I participated in ThinkGeek's Timmy Costume Volunteer Corps project, and (like last year) put together a costume for their stuffed monkey mascot, Timmy.

This year, I made a Boba Fett costume, which turned out pretty great.  While making it, I took some photos of the process to make things clearer than last year's, and I've now put them together into a little video to save time.  Since it's costume time today, I thought it might be fun to share.  Enjoy!


(Of course, Timmy the monkey is the intellectual property of ThinkGeek, Boba Fett is copyright Lucas Film, 20th Century Fox, and/or Disney, and the music is copyright Sony Computer Entertainment America.  All rights are reserved and no commercial use is intended.)

Story: The Glass of Water (part two)


(link to part one)


The whole house, the big living room, the kitchen, the bathroom under the stairs, and the dining room leading out back -- it all seemed to open in Kevin’s imagination like a dark flower or a paper unfolding.  Was there someone inside?  Was it the Dough man?  He was seized by an impulse to run blindly back up the stairs and dive into the safety of his bed -- but that seemed just as bad as staying put.  So for the moment he froze, and stood still, and listened.

There was nothing to hear, nothing but his own too-loud breathing.  He opened his mouth and tried to shape it in that way that every child knows from hiding under covers, to breath as quietly as possible.  Still he could hear nothing.  Only the solid, weighty tock of the old clock on the wall to his left, which he had forgotten to notice when he’d frozen up.  Then he realized there were things he wasn’t hearing, he just had to wait and listen for them.

He could still feel the breeze from the window on his cheek and the side of his neck, and soon he realized he could hear it, too.  There were some creaking insects outside singing their echoes out into the night also, but that seemed faint and far away, a peaceful noise that had nothing to do with this frightening darkness.  Something clicked or settled in the basement, the water heater or the furnace or something turning on, but it made him jump and he didn’t recognize the sound until it steadied and hummed into familiarity.  Then silence.

Then finally he heard it; a squeak, a shuffle that might have been a step.  Someone holding just as still as he had been.  Had he heard it?  He realized he was trembling, and he felt cold.  He wondered how much longer he could stand there in the dark without bolting, or falling straight down in a heap.  Then he heard it again, sharper and clearer than before.  It had come from the kitchen.

What should he do?

He knew at once, in a burst of strange intuition, that he couldn’t retreat back up the stairs.  To do so, even if he made it all the way up without getting snatched from behind by the hands, would be to invite a night full of unguessed terrors from the darkness below in the house.  He would lie awake until morning imagining impossibly horrible things happening below him, and lacking the courage to venture out for a second time and prove to himself that they were not real.

Some part of him decided, and he felt the rest of him reluctantly agree, that there was nothing for it but to go to the kitchen as quietly and calmly as he could, prove to himself that there was nothing there, and then he could go safely back to bed.  He had quite forgotten, in his effort to be as still as he possibly could, to feel thirsty.  Without a sound that he could hear, and concentrating mostly on the air around him, which was drifting easily in from the open window, but seemed full of violent gusts just waiting to burst into life, he lifted one foot slowly from the paneled floor, planted it again in the direction of the kitchen doorway, and shifted his weight to it without daring to breathe.  He waited, hearing nothing.  No lights, no movement anywhere, except the dim glow coming around the corner ahead, the light kept on over the kitchen sink.  He took another step, and then another.

It was maybe twenty steps down the corridor to the kitchen doorway.  Halfway there, after what seemed like hours of careful movement, he thought he heard the sound again; a definite step-shuffle, and then a clink, a bright sound almost like glass breaking.  He wondered if they were being burgled, if the Dough man would shatter all the windows on the way out.  Or maybe he just wanted one sharpened piece of glass to keep with him…

At this Kevin froze in his place, unable to take another step forward.  A terrible vision of the dark stranger, eyeless and with an abnormal mouth hanging black and open and hissing, rose up behind him in the dark hall, glass shard dripping gore as he reached for him.  He nearly flinched and fell over, though it was all only in his imagination, so vivid and intensely real feeling it was when it came upon him.  He steadied himself and didn’t flinch, or swing around in place as he felt inclined, though this was less from bravery than from not trusting himself to be brave enough to look.  He waited until he could hear the still house over the beating blood in his ears, and forced himself again towards the kitchen to see the thing through.

As he eased his feet forward one agonizing step at a time, he found his thoughts wondering who the Dough man could be.  One idea, which had occurred to him almost at once when he’d first heard that there was a stranger searching for houses to get into, occurred to him again then, and for the tenth time or so he told himself that it was silly.  But it was an irresistible comfort in a way, and it came back to him with the same force and clearness as the nightmare lurker had done only moments since.

There were definitely noises of some kind coming from the kitchen, now, but it didn’t bother Kevin for some reason, and he didn’t stop again, or slow his already too-slow soundless pace, but he kept listening.  It sounded as if someone were shifting from one foot to the other restlessly, and the small clinking sounds were coming more or less steadily, and though they didn’t sound quite like breaking glass anymore, Kevin couldn’t place what they could be.   He steeled himself and kept walking.

The year before his older brother Derek has left the house after having an argument with their parents, and hadn’t been back since.  Kevin didn’t know where he’d went; at first he’d assumed he’d gone to stay with his friends (with whom their parents didn’t agree on his spending so much time in the first place), but there was no news for a long time, and every time he asked where Derek was it only seemed to make Mother unhappy, and at last he’d stopped asking.

Now in the night it came back upon him again that the Dough man was his brother Derek come home, that somehow he’d gotten the house wrong the first few times.  To his midnight brain the idea that he would force his way in didn’t seem strange at all, in fact it seemed like a kind of tribute, “see Mother and Father what I will do to get back to the house I love,” or something like that.  He would later on of course realize that this was bizarre, and more or less backwards: of course it was worse than just asking to be let back in to force or break windows, but on his way to the kitchen, hearing the shuffles and the squeaking going on with glassy clinks accompanying,   Kevin was able to easily imagine it was his brother he’d meet up ahead and no one else.

He was only a few steps away, and the sounds were clear; he recognized them at almost the same instant that he turned the corner and the kitchen came into view.  As soon as he saw what was making the sound, he realized the obviousness and wondered how he could have been so dense as to not place the sound before, like the feeling one gets after hearing the answer to a riddle.  He took his last two steps in one bold dart, like a jump except he didn’t leave the ground, unable to bear the suspense any longer, and when he saw into the kitchen at last he did freeze.

It was a stranger in the kitchen, but this wasn’t the part that caught Kevin’s attention first: the stranger was washing dishes in the sink.

It wasn’t Derek.  It was an old man, downright elderly, who didn’t seem to have noticed Kevin’s appearance in the doorway at all.  He calmly and cooly moved his arms, up nearly to the elbows in sudsy water with his shirt sleeves pushed up, and lifted the next plate out of the water and set it on the drying rack.  When he reached back into the sink there was a small clink.  Kevin edged along the wall, staring the whole time, but trying to pretend as if he weren’t there.

The old man was short, and sort of shriveled-looking in the only light from the fluorescent bulb over the sink, with a hooked nose and a long beard.  He had round silver-rimmed spectacles that had fallen about halfway down his nose.  He was dressed, Kevin thought strangely, like a young person, in a hooded sweatshirt and blue jeans.  From where he edged along the wall Kevin couldn’t see his feet, because they were blocked from view by the center island in the middle of the room, but he assumed given the rest that the man was probably wearing sneakers, and Kevin thought this was odd too.

When Kevin reached the edge of the refrigerator, he realized he had reached an impasse.  He could move no further along the wall without stepping out into the room, because the side of the fridge jutted out farther than the wall of cabinets he’d been moving along up to this point.  He had a feeling that it was only his sneaky and smooth momentum that had kept him from being spotted, and if he stood still for too long the jig would be up.  At the same time he was confusedly convinced that if he stepped out into the room in order to clear the fridge he’d be spotted instantly that way, too.  So he stood and kept his mouth open to make no sound breathing and waited for a solution to present itself.

Eventually one did, in that the old man finished the dishes and pulled the stopper with a gurgling little rush, and when he did he took up a towel, dried his hands, and turned and faced Kevin and said, “How do you do.”

Kevin was silent.

“It’s a little late for you to be up, isn’t it?” asked the old man, not unkindly.

Kevin did not move a muscle.

“I am sorry to have disturbed you,” said the old man a little meekly, “I saw that the dishes had been left, and I do try to do a good turn like this when I can.”

Kevin stared at the old man without a word.

“May I ask,” said the old man after a moment, “how you knew I was in the house?”

Kevin was sure he would not answer.

“I won’t harm you,” said the old man, “I think you know that.”

Kevin swallowed, and realized he’d forgotten that he’d been thirsty.

“Did you come in through the window?” he asked at last, and his voice sounded strange.

“It’s a young person’s trick,” said the old man, looking pained, “but it was the best I could manage.  I’m glad I didn’t throw my back out entirely, but I don’t relish going back out.”

“Are you the Dough man?” asked Kevin then, his capacity for reason beginning slowly to thaw.

“The who?” asked the old man.  

“The Dough man,” said Kevin.

“I thought that was dough boy,” said the old man.  “And aren’t I a little too tall?”

“The man taking food from people,” said Kevin.  “He was on TV, only they said his name was Dough.”

“Ah,” said the old man. “I’m afraid I might be.”

“Will you leave please,” said Kevin, “without hurting anybody?”

“I was actually about to leave when you spotted me,” said the old man, “but since you were so good as to refrain from raising the alarm, as it were, I thought I would just finish my business before getting on my way.”

“I will let you out the front door if you like,” said Kevin hesitatingly, “if you promise to go and not to come back.  I will have to tell my parents about this, but I won’t tell them until the morning if you leave right away.”

This was not altogether sound thinking on Kevin’s part, but in his defense he was a very young boy, and the old man had taken him completely by surprise, first by not doing anything horrible to him, and second by being polite.  He didn’t want to cause the old man grief if he could help it, but he certainly would have been within his rights to do so.  It’s just that he’d never had a conversation with a home invader before, and had no idea what one is supposed to say or do in such a situation if the person seems to make themselves agreeable.

The truth was the idea that it could have been Derek returning had got planted too deeply in his expectation to be let easily go of, and now he felt like if he acted towards this intruder like it really was his brother, and not a strange old man, the disappointment was lessened a little.  He now essentially just wanted the whole interview to be over with as soon as possible, and, if he had only known it, his feelings matched the old man’s exactly.

“That would be fine,” said the old man, “thank you very much.”

He picked up a ratty-looking backpack from the floor where it had been concealed from view by the center island and eased it wearily over his shoulders.

“Do you have some of our food in there?” asked Kevin.

The old man looked rather embarrassed.

“Do you have enough?” asked Kevin after a moment’s pause.

“Quite,” said the old man, seeming more unhappy and embarrassed than ever at this.  Kevin did not realize that he was humiliating the old man, and wouldn’t have done so if he’d known better.

“Would you like some of my pop tarts?” Kevin asked then, in another strange burst of feeling.  “They’re s’mores flavor, it’s my favorite.”

“That would be very kind of you,” said the old man, sensible of the courtesy.

Kevin went to the cupboard, took down the box, took out the last foil packet of the dried pastry, and put it on the center island where the old man could get to it.  He instinctively didn’t get within arm’s reach of the old man, partially because he half suspected he was dreaming (except for the odd smell the old man emanated) and partially because he had wound his body too tight to take any real chances in case it decided to let go the tension, in which case he would surely just fly into pieces.

The old man took the foil packet and tucked it into his backpack.

“I will take my leave of you if you don’t mind,” he said then, not looking at Kevin’s face.

Kevin didn’t say anything else, but walked carefully around the opposite side of the island, around the fridge again, and towards the open doorway leading back to the front hall and the door.  He wished he could turn on a few lights, but he was sure that would wake the household, and then he’d be in trouble.  He was sure that he wouldn’t tell Mother after all.

The old man shuffled out after him, and there were a few horrible moments when Kevin realized he was alone in the dark with this stranger walking up behind him.  He forced the mouthless hideous imaginings from his mind, unlocked the front door and pulled it open, standing as far to one side and out of the way as he could.

Without another word, but with a solemn nod to the small boy that was seen only by the light of the streetlight outside, the old man shuffled over the threshold and disappeared into the darkness.  Kevin shut the heavy front door as quietly as he could and locked it carefully, and then as quickly as he could, before he lost his nerve, he dashed into the living room and shut and locked the window there, too.

The next morning he would realize he should have gone around and made sure no other windows or doors in the house were open, but the thought simply didn’t occur to him then.  He was suddenly overwhelmingly tired, and still as thirsty as ever, and he felt the darkness like chill air around him, although the house was quite climate-controlled even with the window having stood open for a while.

No longer moving as quietly as he could, but still fairly quietly for fear of being caught out of bed and having to give an explanation (he was sure he’d probably burst into tears and declare all, and then things would probably go badly for the old man, and surely worse for him), he went back to the kitchen, got a plastic cup out of the dish rack (he had forgotten already whom had washed them), filled it with cold water from the tap, and tip-toed carefully back to bed.


It wasn’t until he woke the next morning that he realized that the dark in his room hadn’t bothered him anymore, and that after his drink he had fallen asleep as soundly as a stone falling into deep water, settling on the bottom without dreaming or feeling a thing, wrapped up in the quiet work of his own rest and hidden from sight even from himself.

Thursday, October 30, 2014

13 Movies to Watch with the Lights Off

image courtesy of imdb.com

It’s that time again, the nights are getting longer, the first winter’s chill is in the air, and all the old ghosts come about us, and they speak to some. Whether you’d like to spend the rest of the night climbing the walls in anxiety until sunrise, or if you’d just like to kick back with a drink and some friends and watch the world burn, here’s a list of great movies, some available for streaming and others worth the splurge if you care to rent them, that are sure to get you in the spirit of things. So go get a bowl of popcorn, put your feet up (for comfort and possibly for safety), and remember to switch off all the lights.

Let the Right One In (2008) (Netflix)
image courtesy of imdb.com

Sometimes finding a real connection with another person seems impossible. It’s a story that’s been told quite often, too often many would argue, especially in the last ten years. Two young people, both solitary and withdrawn by their natures, find comfort and a sense of belonging in one another’s company. It just so happens that one of them is a malevolent supernatural creature that must secretly feed on the blood of the innocent in order to survive. But this is by no means your standard love story involving creatures of the night. What sets Let the Right One In apart are the little things. For starters, its two eleven year-old-leads, the result of a casting search that scoured the length and breadth of Sweden, are remarkably well-suited and live their roles beautifully. Excellent cinematography and a minimal and naturalistic approach to the violent subject matter give it the haunting feel of a simple childhood drama that happens to have horrific elements, but which grows more and more complicated and sinister as it progresses. The result is chilling and surprisingly tender-hearted, a well-crafted collision of the everyday and the otherworldly. In style it’s long on atmosphere and characterization, very short on gore, but it knows just when to use the latter for extreme emphasis. Directed by Tomas Alfredson (Tinker Tailor Soldier Spy) and adapted from John Ajvide Lindqvist’s 2004 novel of the same name by Lindgvist himself, it was also adapted in 2010 into a US version, but do yourself a favor and watch the one with subtitles, these performances alone are worth the price of admission.

Cronos (1993)
image copyright Lions Gate Films Home Entertainment


What would you do if you thought you could live forever? What price would be too high to pay?

Before there was Hellboy, or Pan’s Labyrinth or Pacific Rim, there was Cronos. When an antiques store owner discovers an odd-looking gadget, and feels its mysterious bite, at first things seem great: he feels younger, has more energy, and things generally are picking up. But the device’s purpose and its effect on him awaken dark appetites that he isn’t well inclined to feed. His life takes an irrevocable turn for the strange, and unbeknownst to him, a race among ruthless and powerful people had begun capture this horrific secret of eternal life. The approach to the material is thoughtful and heartfelt, and undeniably hair-raising, and there is even something like a message here, for anyone interested. Things soon go from good to bad to worse to awful, but we are compelled to keep following this earnest, well-rounded and sympathetic character through to his journey’s end. The directorial debut of director and screenwriter Guillermo Del Toro, and loaded with the lush and surreal imagery, creepy twists, and odd details he’s since become famous for, Mexico’s then-most expensive film ever made remains a classic of simple yet powerful storytelling at its best. Plus, Ron Perlman, to whom you should always say yes.

Absentia (2011) (Netflix)
image copyright Phase 4 Films


What could be worse than knowing the people who mean the most to us could someday vanish, leaving no trace, never to be seen again?

Tricia is finally taking steps to move forward with her life. When her sister Callie arrives for a prolonged visit of support, she has begun the necessary paperwork to have her husband Danny, missing now for over seven years, declared legally dead. But when she finally starts getting answers to the questions she’s asked for so long, no one is prepared to accept or cope with what those answers might mean. Deceptively mundane and down-to-earth in its opening and most of its delivery, but eerily haunting in its premise and its points of stress, this open question of an indie film is likely to crawl into your head and nest there for days. The film’s strengths are in its performances, its nearly flawlessly naturalistic dialogue, the reality of the emotional weight the story has on its characters, and in the simple, clever and chilling terrors it brings out when the lights go off. Seeking to explore what is perhaps the ultimate “adult” fear, being utterly abandoned without warning or explanation by the people we’re connected to, the film ultimately goes after the often invisible line between a reality we can’t accept and the rationalizations we use to shield ourselves from it, and reaches further and cuts deeper than one initially expects from its easygoing and simplistic style. Written and directed by Mike Flanagan (Oculus), at times it does seem hampered by its Kickstarter budget, and its emphasis on story over action may not appeal as strongly to die hard horror fans, but if you want to be scared of tunnels for life, in a good way, go watch it.

Shaun of the Dead (2006)
image courtesy of imdb.com


Is there a better way to say “I love you” than surviving the zombie apocalypse together?

I’ve said it before and I’ll say it again: Simon Pegg, Nick Frost, and Edgar Wright are the best thing to happen to comedy since the bygone golden days of the nineties faded. Here, the trio brings to life Shaun (Pegg) and Ed (Frost), an underachieving retail clerk and his even underachieving-er flatmate, respectively. When Shaun’s lady love Liz leaves him for being a layabout, he realizes he has to turn his life around if he’s going to win her back. Fortunately for him, and for us, it is at just this point that the dead rise from the grave to overtake the earth in a slow wave of mindlessly unstoppable carnage, so he’ll have lots of chances to prove himself worthy if he just wants to stay alive. The solution? Grab Liz and her family and friends, go to the Winchester, grab a pint, and wait for this to all blow over. If only it were that easy. Slick editing, unmatched wit, imminently quotable, your new best friend on a disc. There is no aspect of the classic undead thriller film formula that this gem of an action-comedy doesn’t celebrate with affection and at the same time tear to pieces. The first of director Wright and co-writer Pegg’s “Cornetto Trilogy” (named for the ice cream consumed in each entry) and followed by the stylistic successors Hot Fuzz and The World’s End, this screamingly hilarious, irrepressibly warmhearted romp is in general a landmark in 21st century film; if you haven’t seen it yet, just go buy it. You can thank us later.

Invasion of the Body Snatchers (1978) (Netflix)
image copyright MGM Home Entertainment


How do you know the people around you really are who they seem to be? What’s going on in their heads? How can you ever be sure?

There is something wrong with people today. Everyone seems detached, cold, yet weirdly efficient and even-tempered. Everywhere you go, people seem to be staring at you. Your parents/spouse/SO/roommate treat you politely but like a stranger at the bus stop, they already have all the chores done for once without being asked, and you see them go and empty a dust bin of ash into a garbage truck waiting outside. You meet a friend out for lunch, and try to tell them that the people at home are acting oddly, but you soon realize your friend is acting the same way. And they have this weird little flower pod they’d like to to wear. You look tired, they suggest, maybe if you’re so worried about all this you should lay down for a short nap? Often hailed as the greatest remake ever remade (based on the 1956 original film and the 1954 novel The Body Snatchers by Jack Finney), this thriller’s edgy handheld camera work, eerie and unnerving sound design, and constantly upward-ratcheting tension go a long way towards bridging the culture gap of 36 years since its release. Performances feature from an almost impossibly young Donald Sutherland and Leonard friggin’ Nemoy of all people, not to mention an apparently infant Jeff Goldblum and countless easter-egg cameos. When you think about it, it’s also one of the most chilling, calmly executed, and effective disaster films. Watch it with someone you care about if you can; if nothing else, you can agree on secret code words in case one of you wakes up different tomorrow...

The Fly (1986)
image courtesy of imdb.com


Probably one of the most distressing realizations that can grip us from time to time is that our bodies are just tissue, flesh and bone, a complex of chemical structures interacting entirely by the dictates of our genetic code, and having nothing at all to do with who we are as people. To intrude on that sense of self, to violate it, to change it in a way that it essentially no longer survives, is to call into question our identity: we become organisms first and persons second after all.

Seth Brundle (Jeff Goldblum) is optimistic that he’s first on the threshold of the greatest technological revolution since the car or the atom bomb. It’s a sci-fi premise you’ve seen in the first five minutes of any episode of Star Trek: people get into a transporter, “teleportation pod” here. Powerful computers record their body’s complete molecular structure, break the body down, then convey the information to the destination where the person, or at least their body, is re-constructed on the spot. Brundle has taken the prototype teleportation pods back to his place for further work, and while experimenting finds he needs a human test subject. He gets in, it scans his DNA. And a little fly gets in, too... He seems to come out fine, but soon things go wrong. Horribly horribly wrong. Featuring some of the best special make-up effects and prosthetics work ever captured on screen and a performance from Goldblum so heartbreakingly convincing that it singlehandedly confirms the invalidity of Academy Awards by his not having even been nominated.  Directed by David Cronenberg (Crash (1996), History of Violence), from a script by Cronenberg and Charles Edward Pogue based on the 1957 short story by George Langelaan.  Come for the creepy tone, the subtle changes to watch for and the sarcastic banter, stay for the eye-melting effects and philosophical implications. But maybe watch it while the sun’s up.

Se7en (1995)
image courtesy of imdb.com


When we say that a human being is evil, are we describing their behavior or their character? What’s the difference?

It almost always rains in the city. Detective Somerset (Morgan Freeman) won’t miss it much when he retires in a few days. He just has to train up this cocky young pup who’s new to the city, Detective Mills (Brad Pitt), and clear this last strange homicide they’ve found. The only problem is it’s suddenly not the only homicide of this kind. And then there’s another, and another... Now it seems the two detectives are more than matched against someone seeking to reflect the world’s own wicked nature back at itself, one deadly sin at a time. The movie that practically invented the grungy look in modern filmmaking, there are stories from production of the studio executives complaining about the quality of the sets, because it wasn’t clear that they were hand-crafted to be exactly as scratched, dismal, and decaying as the director and designers wanted. And the work is effective: the melancholy setting and chilling, disgusting atmosphere of the city and its unhappy citizens permeates the melodramatic and grotesque twists of the plot, giving the story at the same time both a fairy tale weirdness and a torn-from-the-headlines feel of disheartening realism. Arguably the film that dragged the creative spirit (and the reputation) of a then-young David Fincher (Fight Club, The Game, The Social Network) back from his disastrous debut on Alien3, Seven is an irresistibly fascinating expedition into the furthest logical reaches of the awful and the distressing. A marvelous dark engine of hideous contortions. Try and keep it out of your dreams.

The Cabin in the Woods (2012) (Netflix)
image courtesy of imdb.com



There are movies that succeed by obeying a straightforward formula. There are movies, like Shaun of the Dead, that seem to know that they are following a formula, and swerve to avoid it while pointing the formula out. Then there are movies written by Joss Whedon.

Five conventional-seeming college kids head out of to the woods for a weekend away. Curt (Chris Hemsworth) has a cousin who has a cabin they can use. Does it look familiarly creepy when they pull up? A more appropriate question may be: how many bodies are under the foundation (it’s even more than you think). When they go down in the basement (why? there’s actually an answer!) and summon an unstoppable evil, things soon start to get bloody. But then one of them finds a camera, and things start to get confusing, except for us in the audience, who have seen the workers in the secret high-tech installation nearby: for us, things finally start to make a strange sort of sense...

If you hate horror films, if they never made sense to you or if they all seemed to be the same, or if you can’t see what the appeal is at all, please watch this movie. Let it be a crash course in what makes the genre excellent. It equips you with the experience to tool apart and enjoy pretty much any other (good) horror movie ever made. And it gets so much better than it seems like it can get so many times you’ll probably want to start it over again as soon as it’s finished. Directed by Drew Goddard and written by Goddard and Joss Whedon. For fans of Dollhouse, the works of H.P. Lovecraft, or The West Wing, attendance is mandatory. Let’s get this party started.

The Silence of the Lambs (1991) (Netflix)
image copyright MGM Home Entertainment


In Under Western Eyes (1911), Joseph Conrad remarks, “The belief in a supernatural source of evil is not necessary; men alone are quite capable of every wickedness.” I can conjure from my memory no clearer, more compelling, or more awfully mesmerizing an illustration of how far down reaches the human capacity for depravity than this film.

By now we all know Hannibal Lecter (if you don’t know him, stop reading this article and watch the movie now). He’s suave, sophisticated, after a few moment’s conversation he knows us better than we know ourselves. He can sketch from memory the Duomo in Florence as seen from the Belvedere, and if you’re alone with him without his restraints he might remove your face with his teeth. Lecter aside though, have you seen this movie recently enough to remember the little details? The way the camera switches to a first-person point of view just when we feel like something is expected of us that we don’t expect ourselves? How creepy good Ted Levine (Monk, American Gangster) is at playing the proper villain Jamie Gumm? The lighting and the way the camera cuts between Starling’s face and that of her impromptu mentor when she’s talking about her time living on a farm, and when it cuts, and why? Screenplay by Ted Tally, adapted from the novel of the same name by Thomas Harris, directed by Jonathan Demme. The only horror film ever to receive the Academy Award (if it matters) for best film, not to mention also those for best actor, best actress, best director, and best screenplay. You may never hear “American Girl” the same way again.

(Nota bene: For those who can’t get enough of the Thomas Harris mythos, the first-ever adaptation of his novels, Manhunter (1986), based on the since re-adapted Red Dragon, is also available on Netflix at the moment; Brian Cox (The Bourne Identity, Red, uncle Argyle from Braveheart) plays Lecter here, only it’s spelled Lektor, a perfectly adequate if somewhat less enthralling performance.)

The Thing (1982)
image copyright Universal Studios Home Video


Who goes there?

At an American base camp in Antarctica, winter is setting in, and a lone dog flees from out of the snowy wastes towards the front door. Close on its heels comes a low-flying helicopter, with a seemingly deranged Norwegian hanging out the window, discharging firearms and grenades at the poor dog as if his life depended on stopping it. The men of the American base (lead by Kurt Russell, a sensibly badass Wilford Brimley, and Keith David, among others) save the dog from this crazy man, and he is stopped by gunfire before they can understand what he was doing or why. If they had only known then what they were bringing across their threshold, they would have leapt at the chance to side with the Norwegian. If Invasion of the Body Snatchers is a disaster movie, this would be a locked-house murder mystery. Combining what essentially makes that film terrifying, and the central theme of The Fly explored above, together with enough incredibly well-turned gore and intense action to fill three movies, The Thing is possibly the best example of a fascinating little science fiction problem brought painstakingly and horrifyingly to life. Aficionados of the days before movie magic relied on computer graphic imagery will feel their eyes glue themselves to the screen over the practical visual effects alone, which have held up over time almost across the board with chilling realism and with absolute believability. Rob Bottin, the man in charge of the effects, put himself in the hospital overworking the job. Directed by John Carpenter (Halloween, Escape from New York) and adapted by Bill Lancaster from a story by John W. Campbell, The Thing is less a remake of the 1951 adaptation (The Thing from Another World) as it is a different take on the source material. It is an excellent film. And it will get to you, one way or another.

Evil Dead II (1987) (Netflix)
image copyright Anchor Bay Entertainment


Sometimes, and not nearly often enough, a movie comes along that makes the viewer feel simultaneously giddy with childlike glee and profoundly grateful that they’re a grown-up.

Although it is a sequel, Evil Dead II is more than capable of standing on its own merit. In fact it commences with a more or less a ten-minute synopsis of the events of the first film, in case there’s anyone in the audience who’d like to know the premise. What is amazing about the movie is that after it’s done racing through 90 minutes of material in just the first 10, it never really slows its pace back down again. Instead it rushes headlong from one insanely entertaining scenario of grisly problems and brutal solutions to another, until you don’t really know anymore if you’re laughing (or crying from laughing) or if you want to go put boards over the windows to keep the darkness safely outside. It never lets you think it’s the most important film ever made, in fact most of the time it seems to almost be tripping over itself just to get you to like it, but its shameless marathon of pulling zero punches and leaving no gag untried makes it all the more delightful for that. More than half of the running length is essentially a one-man show from the unquenchably audacious Bruce Campbell; written by its director and his then-roommate Scott Spiegel, this movie is the reason why you know who Sam Raimi is (Spider-Man, Drag Me to Hell, Oz the Great and Powerful). If you have a friend who’s been talking about how great this movie is for years, do yourself a favor and watch it with them. If not, this is your chance to become that person for your friends. By the time the movie’s over, that is a person you will want to be.

Ghostbusters (1984)
image courtesy of imdb.com


What more needs to be said? Who you gonna call?

To be fair, I would recommend this movie to watch with the lights off or on, in winter or summer, on a plane or in the rain. I would probably recommend this movie to people who are pathologically frightened by ghosts, proton guns, electric shocks, and/or Bill Murray himself, just to see if it could cure them. But who can blame me.

The dead are rising in New York, and for these three paranormal psychologist cum entrepreneurs business is booming. Trouble is, these ethereal ghouls and spirits may be bringing much alibg worse with them. Dan Ackroyd and the late great genius Harold Ramis worked up the screenplay from experiences and conversations Ackroyd had with his father about actual paranormal activity, investigation, and the possibility of elimination. From a zany story lead by John Belushi (then still living) about crusaders through time and space zapping spirits left and right, it was eventually grounded by Ramis into real life and changed into the seemingly accidentally perfect mixture we know and love today. Featuring the ad-libbing immortal Bill Murray as Doctor Peter Venkman and Harold Ramis as Doctor Egon Spengler, not to mention the intrepid Rick Moranis as Louis “Keymaster” Tully and Sigourney Weaver as Dana “Gatekeeper” Barret, thrills that legitimately make the skin crawl and the heart pound, visual effects and sound design that do better than hold up today, and an unforgettable music score (and the pop song of course, but who needs to mention that). By any measure, it set a standard of entertainment that the 21st century is still striving to catch up to.

The Nightmare Before Christmas (1993) (Netflix)
image courtesy of imdb.com


If you’re anything like me, it is possible to get a little weary of all the shrieks and screams and tension of a long night of having your senses lovingly flayed by light of the TV screen. Fortunately there’s a movie for times like these, too. So if you’re feeling like you’ve started to see the limits of the good that scary can do for one evening, go grab another drink, or maybe a hot chocolate, get another bowl of popcorn (and maybe throw some nonpareils on top ooh boy!), and treat yourself to the ultra-surreal imaginary playground of The Nightmare Before Christmas. Although Mr. Burton’s morbid style can sometimes be too much of a good thing, here all the spider’s webs and moody lighting is pointed at a definite end. What seems at first like a romp for kids through an abstract mash-up of holidays turns out to be a funny, thoughtful, and moving work pursuing meaning in the balance of life and art and personal identity. Directed by Henry Selick, with a screenplay by Caroline Thompson & Michael McDowell from a story by Tim Burton & Joe Ranft. Wonderful music by long-time Burton collaborator Danny Elfman, who also provides the singing voice of our hero Jack, the Pumpkin King. From a technical point of view the stop-motion modeling and work itself is a beautiful towering achievement that may never be surpassed. For many, this movie is practically a member of the family; if you haven’t seen it, go find out why.

(Honorable Mention: Netflix Round-Up)
image copyright Magnolia Home Entertainment

Still need more? Online you can also find The Host (2006), a mostly-action South Korean flick with a lot of wit and heart and an amazing movie monster (**+); Rosemary’s Baby (1968), creepy enough and scary mostly as a tale of paranoid isolation among one’s closest friends and family (***); and George Romero’s immortal Night of the Living Dead (1968), the movie that probably gave us the modern zombie, along with inventing the “it’s-so-violent-but-they’re-not-cutting-away-from-the-violence-why” shot. Finally, as we go to press, it is noted that The Adams Family (1991) is also now available on Netflix, in case a little more not-so-scary variety is more where you're at.  Happy Halloween, and Happy viewing.

also published on Literally, Darling