“The House Maid,” William McGregor Paxton, 1910

Oil on canvas.  This painting is at the National Gallery of Art in Washington, D.C.

 

William_McGregor_Paxton,_1910_-_The_house_maid

 

A short review of “Miracle Mile” (1988)

“Miracle Mile” (1988) actually came highly recommended to me.  And that’s perplexing, because this is a pretty bad nuclear war thriller that I’d only grudgingly rate a 4 out of 10.

The script is terrible.  We know that from the film’s opening minutes, when it attempts to establish Anthony Edwards as a likable protagonist by showing him performing impromptu stand-up for schoolchildren on a field trip to a Los Angeles natural history museum.  (He is not a chaperone for the field trip, or connected with these schoolchildren in any way.  He apparently just hangs around alone at museums to inexplicably crack jokes for children he does not know.)

From there, we follow an abortive, cloddishly written romance between two mostly unappealing characters.  (Mare Winningham is the other half of the romance doomed by the impending apocalypse.)  I won’t bore you with the details about the ensuing end-of-the-world thriller, except that an implausible plot device gives the nascent couple and a handful of secondary characters advance knowledge of the nuclear missiles that will hit Los Angles in just more than an hour.

Even the acting was mostly poor.  Surprisingly, this includes the performance by Edwards himself, who has shown nothing but talent in every other role in which I’ve seen him.

The movie comes close to redeeming itself near the end.  Its obligatory chaos-in-the-streets set-piece is surprisingly well done for an otherwise mediocre film, and there are a few good lines when the couple reunites at the movie’s finale.  I suppose you can also have a lot of fun spotting a bevy of other character-actors from the 80’s and 90’s.

I … can’t actually recommend this, though.  I can’t remember the last time I was this disappointed by a film that my friends insisted was great.  Check out 1983’s “Special Bulletin,” instead.  Or, better yet, hunt down Britain’s superb nuclear war mini-series, “Threads” (1984).

 

MV5BMTQ4NDI0OTkyOV5BMl5BanBnXkFtZTcwNzIyODI1NA@@._V1_UY1200_CR84,0,630,1200_AL_

An excerpt from W. H. Auden’s “Hunting Season,” read by Eric Robert Nolan

This is only 20 seconds long; it consists of just one stanza from Auden’s poem.  Despite their brevity, however, I think that these few lines comprise one of the greatest breakup poems ever.

 

Cover of “Amazing Stories,” Frank R. Paul, January 1928

Experimenter Publishing.

Amazing_stories_192801

Cover to “Daredevil” #314, Scott McDaniel, 1993

Marvel Comics.

b15e8acf937742b2878ed0e475d7448d-512

 

“Man’s search for meaning is the primary motivation in his life …”

“Man’s search for meaning is the primary motivation in his life and not a ‘secondary rationalization’ of instinctual drives. This meaning is unique and specific in that it must and can be fulfilled by him alone; only then does it achieve a significance which will satisfy his own will to meaning… Man, however, is able to live and even to die for the sake of his ideals and values!”

— Viktor Frankl

 

Viktor_Frankl2

 

Cover to “Daredevil” #310, Scott McDaniel, 1992

Marvel Comics.

Daredevil_Vol_1_310

Cover of “Amazing Stories,” Leo Morey, August 1936

Teck Publishing.

Amazing_stories_193608

A very short review of the Season 7 premiere of “American Horror Story” (2017)

I finally got around to watching my first episode of “American Horror Story” last night; I started with this season’s critically praised premiere.  (People have been enthusiastically recommending this show to me for years, and “Game of Thrones” taught me that the bandwagon isn’t always a bad thing.)

I can’t say that I was overly impressed.  Season 7’s opening episode, entitled “Election Night,” consists mostly of heavy-handed political commentary with caricaturized portrayals of both Donald Trump and Hillary Clinton supporters.  Nearly none of the characters are likable; not even the one played by the terrific Evan Peters.  (Yes, comics fans, that’s none other than Quicksilver from the latest “X-Men” movies.)

There is a lot of “scary clown” horror here, as anyone who’s seen any marketing for the show at all should know.  Between that and the political elements, I suspect I am not the right audience for this show.  I simply find clowns obnoxious instead of scary, and political commentary in horror usually falls flat with me.  (I’m the rare horror fan who loves George A. Romero’s work only because it’s scary, without caring much about the social statements he’s supposedly making.)

With all of that said, there actually were a couple of creepy moments late in the game.  And there was one (as of yet, minor) character that I liked — the child of the liberal couple who were so devastated by the election results.  He’s cute, and any kid who hides parentally forbidden horror comics under his pillow is one of my tribe.

I’d somewhat grudgingly rate this a 5 out of 10.

Anyway … scary clowns are ubiquitous now, and we already have the zombie shows we need.  I propose that we bring back … body snatchers.  Those can be terrifying in the hands of a talented writer, and they require no special effects.  Or, what about vampires?  Now that “The Strain” has concluded, how about a well written television excursion into Steve Niles’ “30 Days of Night” universe?  Or maybe a “Stakeland” TV show?  Looking at you, AMC.

 

 

4ca784d4bb33b763_ahs

“Pesadilla,” Mauricio García Vega, circa 2013(?)

(“Nightmare.”)  I’m not sure of the date on this one.

 

064Pesadilla

Nurse Your Favorite Heresies in Whispers