Have a Happy New Year’s Eve!!!

Have fun!  Be safe!  Enjoy!

Make sure you have a designated driver!  Or, better yet … why not be the designated driver?  What better way to spend the first hours of 2019 than as a hero to the people around you (maybe not the hero that Gotham deserves, but the hero it needs right now)?

I’m not sure how I’ve gotten to become such a mother hen in my old age …  Maybe it’s because, in my younger days, I was the one who needed mother henning.

Whatever, just don’t wind up like Gatsby, floating face down in the pool at the end of the night.  (But go ahead and totally be him up until that point.)

Postscript — the quote below, which I rather like, doesn’t appear in F. Scott Fitzgerald’s “The Great Gatsby” or its 2013 film treatment with Leonardo DiCaprio.  I’m told that the line actually originates from “Sex and the City” (1998 – 2004).

 

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A review of Season 1 of “The Haunting of Hill House” (2018)

Ghosts seldom scare me, because I’m never 100 percent clear on what sort of threat they present to the protagonists of a horror film or TV show.  They’re not like zombies, vampires, werewolves or serial killers, all of which will do predictably horrible things to their victims.

Can ghosts … kill you?  Injure you?  That usually doesn’t make sense, given their non-corporeal nature.  Can they … scare you to death?  How would that work?  Would they cause a heart attack?  Or drive you mad?  That’s fine, I suppose, but here they’ve taken a back seat to the demons of horror films since 1973’s “The Exorcist” spawned a sub-genre with far more frightening supernatural baddies.  Are ghosts supposed to inspire existential dread, by reminding the viewers of their own mortality?  For me, that backfires — their existence would strongly suggest the existence of an afterlife, which would be paradoxically reassuring.

It’s therefore a testament to the quality of Netflix’ “The Haunting of Hill House” (2018) that it’s frequently so scary, even to me.  We find out in the first episode that its ghosts indeed do more than frighten the story’s protagonists, but it’s the show’s writing, directing and acting that make it so memorable.  It’s an a superb viewing experience, and I’d rate it a 10 out of 10.

The cast roundly shines — but especially Carla Gugino and Timothy Hutton (even if his performance was a little understated).  Catherine Parker is deliciously evil in a supporting role as the house’s most outwardly vicious spirit.  The best performance, for me, however, was the young Victoria Pedretti as the traumatized Nell — she was goddam amazing, and deserves an Emmy nomination.

Mike Flanagan’s directing was perfect — his use of long angles and colors to make lavish interiors disorienting reminded me of Stanley Kubrick’s similar sensory trickery in “The Shining” (1980).  Michael Fimognari’s cinematography was beautiful.  Even the makeup effects were damned good.  (Nothing beats Greg Nicotero’s work in “The Walking Dead” universe, but the work here is sometimes horrifying.)

I’m not the only one who loved this show either.  It is broadly praised in online horror fan circles (though I’d recommend avoiding most of those for spoilers).  I haven’t read Shirley Jackson’s 1959 novel that is its source material, but a bibliophile who I trust assured me that the show is even better.

Sure, there were some things that didn’t work for me.  “The Haunting of Hill House” actually does take a while to get where it’s going; it favors in-depth, flashback-heavy character development over advancing its plot, in much the same manner as “Lost” (2004 – 2010) once did.  And some viewers might feel the same frustration here as they would for that show.

Its story and supernatural adversaries are also distinctly Gothic.  (Your mileage may vary as to what’s a comfortably familiar trope and what’s an archaic cliche.  I myself was more interested the more modern and three-dimensional interpretation of ghost characters seen in 1999’s “The Sixth Sense.”)  I’d even go so far as the say that the first ghost that we see in any detail is actually disappointing — the otherworldly figure connected with the bowler hat felt too cartoonish for me, like something we’d see on Walt Disney World’s “The Haunted Mansion” ride.  (Trust me, they get more intimidating after that.)

Give this show a chance — and stay with it if you think it’s too slow, or if you find its characters a little unlikable at first.  You’ll be glad you did.

Weird world: if the diffident, sometimes off-putting character of Steven looks familiar to you, it might be because that’s none other than Michiel Huisman, who plays the charismatic Daario on “Game of Thrones.”

 

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George A. Romero’s “Night of the Living Dead” (1968)

So I raised a few eyebrows a while back when I praised the 2004 colorized version of the late George A. Romero’s “Night of the Living Dead” (1968).  A couple of horror fans gave me flack for it — I hope people realize that I was talking about the last (and best) colorization, adapted by Legend Films.  (There were several prior color versions, and the 1986 attempt by Hal Roach Studios was broadly and justifiably condemned.)

I also hope that people realize that my preferred version will always be Romero’s black-and-white original.  And it just so happens that I found an unusually good copy of it online, over at the Timeless Classic Movie Youtube channel.  (There are actually some really clean copies of a few great classics there, including 1964’s “The Last Man on Earth”).

 

Last night I watched a colorized version of “Night of the Living Dead.”

There are actually several colorized versions of George A. Romero’s 1968 classic floating around out there — the one I watched was the quite decent 2004 revision by Legend Films.  (I believe it’s the truly crude 1986 Hal Roach colorized version that is so widely reviled by fans — and with good reason.  Those green-skinned zombies looked awful in that one clip I watched.)

I had a blast with the Legend Films outing.  I cheerfully recommend it.  The colorization isn’t perfect, and it’s a little strange seeing the start of the zombie apocalypse rendered in occasionally pastel hues.  But this was a fun way to revisit a beloved film I’ve seen so often before, but only in black and white.  You can also finally fully appreciate how beautiful Judith O’Dea was.  (And, in my opinion, she and Duane Jones were damned terrific in this movie.)

Check out the clip below.

 

Throwback Thursday: Monogram’s “Battlestar Galactica” models (1978)

These “Battlestar Galacatica” models were released by Monogram in 1978, the same year the TV show debuted.  My older brother had all four of them hanging from the ceiling of our room.  (I was a first grader in 1978, and still a few years away from model building.)

I definitely had watched the show, but I wasn’t quite as into it as the other boys in my class.  (And that’s probably ironic, considering my sheer fanaticism as an adult for Ron Moore’s remake series between 2004 and 2010.)

The other boys were constantly screaming about it.  (Maybe I was just a quiet kid — it seemed to me at the time that they were endlessly hollering about whatever it was that they liked.)  I’m not sure why I was less enthusiastic — I certainly loved my “Star Wars.”   And a year after “Battlestar Galactica” hit the small screen, my best friend Shawn and I went nuts for a show that is now remembered by few — “Buck Rogers in the 25th Century.”

 

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