Tag Archives: 2020

Poster for “Westworld” Season 3 (2020)

HBO.

Variant Cover to “Doom 2099” #1, Ron Lim, 2020

Marvel Comics.

Poster for “Westworld” Season 3 (2020)

HBO.

Cover to Phoebe Bridgers’ “Copycat Killer” EP, 2020

Dead Oceans.

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DVD cover for “Sloborn” Season 1, 2020

Also known as “The Island.”  Germany.  HBO Nordic.

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You need to watch “The Fall of the House of Usher” (2023).

“The Fall of the House of Usher” (2023) is goddam terrific.  I have never thanked a college buddy as enthusiastically for inviting me to watch his Netflix with him.

It’s unflinching and unfailingly loving of its Edgar Allan Poe source material.  (The eight-episode miniseries actually draws from a number of Poe’s works — not just the eponymous 1839 short story.)  The acting is top-notch — particularly from leads Carla Gugino, Bruce Greenwood and
Mary McDonnell.  The dialogue is priceless.  And it is genuinely scary!  (Yes, a lot of us really love Poe, but you must admit that it is challenging to make his works fresh and truly frightening to a modern audience.)

I almost said that I loved it more than “The Haunting of Hill House” (2018), another superb horror miniseries by director Mike Flanagan that employs much of the same cast.  “The Fall of the House of Usher” can be considered an unofficial sequel to both the 2018 miniseries and 2020’s “The Haunting of Bly Manor.”

My heart still belongs to Hill House, though — although “The Fall of the House of Usher” is Flanagan’s best, in some ways, I think “Hill House” tells more a human story, with redeeming, realistic characters that we genuinely worry over.

“The Fall of the House of Usher” is a close second, though.



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Poster for “Westworld” Season 3 (2020)

HBO.

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They shoulda called him “Wilford Grimly.”

Yeah, I challenge you to name ONE person who was actually persuaded to eat Quaker Oats because of those weird appeals by Wilford Brimley.  This was the weirdest ad campaign ever.

“It’s the right thing to do.”

Was it a f***ing moral dilemma?

Postscript: no disrespect to the actor himself; Brimley was a sublime thespian.  He was a key part of what is arguably the greatest science-fiction horror film of all time — John Carpenter’s 1982 masterpiece, “The Thing.”  (I was actually unaware until writing this that he passed away back in 2020. )  THAT AIN’T FUCHS.



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USPS “Holiday Delights” stamps by illustrator Kirsten Ulve, 2020

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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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