Tag Archives: 2022

HOBO EGGS!

Multiple people in my life have informed me (with no small amount of gravity) that I need to learn how to cook.  So I am at least trying something new and super easy.

These are what I’ve heard referred to as “hobo eggs” — eggs fried right within a hole in the bread.  (You can add cheese as they cook.)  I only learned their name recently — a child character asks for them on incredibly underrated (and inscrutably named) horror show, “From” (2022).  (Seriously, this series will scare the hell out of you.)

Believe it or not, this simple dish goes back at least as far as colonial America.  I worked as a character interpreter/tour guide for The Rising Sun Tavern in Fredericksburg, Virginia, as a college student just about … 29 years ago.  (Sigh.)  And the recipe was in a “Colonial American Cookbook” that we sold in the gift shop.  (No, I have no idea why I remember the strange things that I do.)

But there it was named “toad-in-the-hole” — which was kind of an odd choice, if you wanted to make something sound appetizing.



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Cover to James Fields’ “The Art of The Batman,” 2022

Harry N. Abrams (Abrams Books).  I cannot determine the artist here — my best guess would be that it is Glyn Dillon, concept artist for the film.

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Variant cover to “Batman & The Joker: The Deadly Duo” #2, Kelley Jones, 2022

DC Comics.

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Variant cover to “Future State: Gotham” #11, Simone Di Meo, 2022

DC Comics.

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Variant cover to “Future State: Gotham,” Simone Di Meo, 2022

DC Comics.

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Cover to “Batman: One Bad Day: Two-Face,” Javier Fernandez, 2022

DC Comics.

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Thank you, Veterans.

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Wrapping up the Halloween watchlist!

So I capped off my Halloween watch season with two final movies — last year’s disappointing Japanese remake of “Cube” and this year’s truly unnerving “Smile.”

The new “Cube” wasn’t terrible — it was better than the glut of lackluster low-budget horror films that we fans endlessly contend with.   But it’s still a watered-down, somewhat milquetoast facsimile of the devilish 1997 Canadian original.  The makers of the new film seem to have consciously traded booby-trap horror for some belabored personal drama.  (If you see this movie, you might note that the plot-driving booby traps in the titular futuristic prison get surprisingly little screen time.)

This decision doesn’t pay off too well … the melodrama slows the film down without making the characters any more engaging.  And the overused flashbacks disrupt the claustrophobic setting that is supposed to be essential here.  Maybe this script was written to better anticipate the expectations of Japanese audiences?  Or maybe the movie simply had a limited special effects budget — the deadly traps that we do get to see in action are depicted by CGI that is a little unconvincing.

“Smile,” on the other hand, was scary as hell.  Yes, it bears a striking resemblance to another well known horror film (which I won’t name, as that might be a general spoiler).  And some of the twists and jump scares are easy to predict (or were spoiled by the trailer).

But … goddam.  This movie worked.  I can’t knock a horror film that had me genuinely scared.  The supernatural plot device is undeniably creepy, and writer-director Parker Finn wisely employs methodical pacing to gradually ratchet up the tension.   Sosie Bacon (daughter of Kevin Bacon!) was also convincing as the protagonist, and created a sympathetic character to root for.

“Smile” is strong stuff.  I’d definitely recommend it.



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Cover to “Batman: Haunted Knight” Deluxe Edition, Tim Sale, 2022

DC Comics.

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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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