Tag Archives: Donald Sutherland

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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So I’m introducing a dear friend tonight to “28 Days Later.”

So I’m introducing a dear friend tonight to “28 Days Later” (2002).  It is possibly my favorite horror film of all time, maybe even narrowly beating out “Aliens” (1986), “Alien 3” (1992), John Carpenter’s “The Thing” (1982), the Sutherland-tacular 1978 version of “Invasion of the Body Snatchers,” and George A. Romero’s first three “Dead” films (1968, 1978, 1985).  (Whenever “Star Wars” fans refer to their “Holy Trilogy,” I muse inwardly that those last three are its equivalent for zombie horror fans.)

My friend thinks it’s funny that I refer to “28 Days Later” as “my sacred cow.”  I’ll be crestfallen if she does not like it, and I told her as much.  And that’s weird for me … I usually don’t feel let down when someone doesn’t enjoy the same books, movies or music that I do.  Not everything is for everyone.  Art would lose its mystique if it weren’t subjective.  If all art appealed to all people, it would lose all its appeal altogether.

Part of me feels, unconsciously perhaps, that “28 Days Later” is the kind of film that “redeems” the horror genre (even though no genre needs such redemption — if art is well made or if it affects people, then it’s just fine).

Most comic book fans of my generation can tell you how people can occasionally roll their eyes at their favorite medium.  (Comics have far greater mainstream acceptance today than when I started reading them in the 1990’s.)   For horror fans, it’s sometimes worse.  Horror is a genre that is easily pathologized — and sometimes with good reason, because a portion of what it produces is indeed cheap or exploitative.  I wish I could accurately describe for you the looks I’ve gotten when acquaintances find out that I’m a horror fan.  They aren’t charitable.

“28 Days Later” and movies like it are so good that they elevate horror to a level that demands respect from the uninitiated.  It is an intrinsically excellent film — it just happens to have a sci-f-/horror plot setup and setting.  It’s beautifully directed by Danny Boyle, it’s perfectly scored and it’s masterfully performed by its cast — most notably by Cillian Murphy and Brendan Gleeson.

Moo.

 

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