Tag Archives: 2019

Throwback Thursday: “Dark City” (1998)!

“Dark City” (1998) maybe wasn’t quite as perfect as its most ardent fans make it out to be, but it was still a damned good film — creative, original and caliginously artistic.  (It occasionally suffers somewhat in comparison with its spiritual cousin, “The Matrix,” which changed the very medium of movies only a year later.)  And what a cast — William Hurt, Jennifer Connelly, Kiefer Sutherland and Rufus Sewell!

I saw this movie on VHS around … 2001, I think.  I remember being eager at the time to see the inimitable Hurt — I’d grown up with films like “Gorky Park” (1983) and “The Accidental Tourist” (1988).  It was only later in life that I really became a fan of Sewell — after his tour-de-force performance as the Nazi villain in “The Man in the High Castle” (2015-2019).

And how can you beat Connelly as a nightclub crooner?  My girlfriend sent me a gem that she found on Youtube — Connelly singing an alternate version of her musical number in the movie, Giovanni Polimeni’s “Sway.”  (It’s the second video below.)

By the way, I am linking tonight to Media Graveyard and Polimeni’s Youtube channel.



Album cover to Life On Venus’ “Odes To The Void” (2019)

Shelflife Records.

Cover to “Kingdom Come,” Alex Ross, 2019

DC Comics.

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Poster for “Love, Death & Robots” Season 1 (2019)

Episode 14: “Zima Blue.”

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Knives Out.

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Poster for “For All Mankind” Season 1, 2019

Apple TV+.

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Poster for “Doctor Sleep” (2019)

Warner Bros. Entertainment.

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More from the spooky season watchlist!

I saw three terrific movies during my annual effort to set the tone for Halloween.  All three were book adaptations.

First up was this year’s “Mr. Harrigan’s Phone,” adapted from Stephen King’s 2020 novella (which I have not read).  It deftly follows the right formula for a successful King adaptation (or any successful horror movie, really) — it methodically portrays characters that viewers can truly like and care about, and then imperils them.  For me, it wasn’t just Jaeden Martell’s personable young protagonist — it was also the great Donald Sutherland’s titular Mr. Harrigan, whose ghost is the story’s putative (?) antagonist.  (I like how the movie leaves that just a little open ended; I’ll bet the novella has a lot more to say there.)

Still, some seasoned horror fans might feel that the film just isn’t scary enough.   By the time its thoughtful denouement rolls around, it feels more like a dark drama with horror movie elements than it feels like a “scary movie.”  (The term “post-horror” was gaining currency a few years ago, and I don’t know if that’s still a thing.)  After all, the ostensible ghost here appears to actually want to aid the protagonist.  The movie might even feel like it is missing a third act — I counted only two victims of the vindictive entity, whose deaths occurred offscreen.  The ending was well written and poignant, right down to its closing line, but it will still feel like an anti-climax to some.

Next up was the new adaptation of Clive Barker’s “Hellraiser.”  This was pretty damn scary.  It should be seen by only more intense horror hounds — it’s a predictably violent gorefest about sadomasochistic demons that literally torture their summoners, along with any innocents who are unfortunate enough to be nearby.  I know it isn’t high art, but it was well executed, with capable acting and some really creative direction.  (Odessa A’zion was quite good in her role, and the van scene was an especially nice touch.)  If you can stomach its ultraviolence, then you might really enjoy this movie.

Finally, I revisited another King adaptation — 2019’s “Doctor Sleep.”  You guys already now how zealously I love this movie,  so I want burden you yet again with my fanboy adulation of it.



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Variant Cover to “Justice League” #23, Jerome Opena, 2019

DC Comics.

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Variant Cover to “Grendel: Devil’s Odyssey” #1, Fabio Moon, 2019

Dark Horse Comics.

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