Tag Archives: Eric Robert Nolan

Throwback Thursday: The Johnson Smith Company Catalog!

Ah, The Johnson Smith Company Catalog — the Holy Bible for little boy pranksters, magicians, spies, collectors and monster lovers everywhere.  The goofy novelties I’ve written about here at the blog could all be found among its fabled pages — even if they frequently lay outside the limits of what my boyhood allowance could buy.  (Note the “Greedy Fingers Bank” top left in the third picture below, for example.  This is the same wind-up toy that was occasionally advertised as the “Novelty Coffin Bank.”)

As the pages below show, you could buy anything from “X-Rays Specs” to smoke grenades to itching powder to Halloween masks to “Whoopee Cushions” to “Joy Buzzers.”   There were dozens of dubious “how-to” books as well, for would-be practitioners of such arcane pursuits as Kung-Fu or hypnosis.  And there were some risque items aimed clearly at adults — primarily decals and clothing.  (Does anyone under 40 remember “iron-ons” for t-shirts?  That was actually more of a 1970’s thing than a 1980’s thing.)  The Halloween masks, especially, were the stuff of legend among me and my friends.  But the “deluxe” masks cost $25, if memory serves, which was well outside my grade-school price range.

Goddam, but this catalog stimulated a kid’s imagination.  When it arrived in my mailbox, it seemed like a magical, exotic tome from some parallel universe where everything was made up exclusively of monsters and ninjas and gadgets.  Adding to its mystique was the fact that I never actually sent away for it — I wound up on the company’s mailing list around 1979 after buying something from the back of a comic book.  I forget what that fateful inaugural purchase was.  It might have been the “Sea Monkeys” that I wrote about two weeks ago, but I have a feeling it might have been stamps.  (I fetishized stamp collecting for a lengthy period of my early childhood, and was elated by those 500-stamps-for-$5-type offers that you sometimes found in comics.)

The scans below were downloaded from Pinterest; it looks like the first two are from the 70’s and the third one is from the 80’s.  But they’re both representative of any catalog that I received from 1979 through the early part of the next decade.  The small pages were crowded with random ads, mostly in little black-and-white boxes.  The pictures of the products were frequently just drawings, and often did not convey the real value of what you were buying.  (Remember, this was a vendor that sold “X Ray Specs.”)

The Johnson Smith Company is still around, too.  (They’ve been a thing since 1914 … I have no idea how the modern Internet marketplace either helps or hurts a company like this.)  But you can find them online right here.  I just ordered a catalog.

 

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A short review of “The Silence” (2019)

“The Silence” may be dreck, but it’s good dreck.

If you’ve read anything about this new Netflix movie, than you know it’s regarded as a lower-budget ripoff of the immensely well received “A Quiet Place” (2018).  (Both follow a family surviving an apocalyptic invasion by monsters who hunt by sound.)  And I suppose it is, with a bit of saccharine teen drama and a neglected cult subplot shoehorned into it.

But I’d be lying if I told you I didn’t enjoy it at all.  I’d rate it a 7 out of 10 for being a fairly entertaining creature feature.

Stanley Tucci and Miranda Otto are always great to watch, and the young Kiernan Shipka is a cute kid with a lot of charisma.  (Am I the only guy in the world who thinks that Tucci is extremely talented?  To appreciate his range, compare his milquetoast suburban dad here with his growling, menacing super-zombie in last year’s “Patient Zero.”)

The monsters were suitably revolting and well rendered, and the action sequences were mostly engaging.  (The scene involving a well was well executed — no pun intended.)  Maybe I’m just a kid at heart and want more creepy crawlies in my horror films, as opposed to endless demons and shrieking wraiths.

Here’s the key to enjoying it — think of it as a throwback to cheesy 70’s monster movies like “Kingdom of the Spiders” or “Damnation Alley” (1977).  We had fun with those when we were kids, didn’t we?

 

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A short review of Season 1 of “Black Summer” (2019)

I don’t understand how “Black Summer” can be as good as it is.  It’s produced by The Asylum, the makers of low budget, direct-to-video ripoff films like “Atlantic Rim” (2013) and “Triassic World” (2018).  It’s a prequel to the horror-comedy “Z Nation” (2014-2018) — a show that was so bad I couldn’t make it through its first episode.  Yet “Black Summer” is inexplicably a great, albeit imperfect, TV show.  I’d rate it a 9 out 10.

I might be in the minority here; a lot of people are severely panning this show online.  And I do recognize its weaknesses — there is very little detail in its plot or character development … there is often even very little dialogue at all.  And even I recognized some plot holes.  (I’m typically a little slow on the uptake where these are concerned.)

But this bare-bones zombie story still manages to screen some likable characters, and then put them through a thrilling succession of hyper-kinetic chases and melees.  I was on the edge of my seat, and I consequently didn’t miss the methodical, detailed plotting of shows like “The Walking Dead.”  The season’s finale is crowned by an extended, eye-level, real-time action set-piece that ought to be considered a classic in the  zombie-horror subgenre.  It was mind-blowing. I just can’t dislike a horror property that genuinely scared me.

I could simply be out of step with everyone else; I often have different tastes in zombie fare.  I love Zack Snyder’s 2008 remake of “Dawn of the Dead,” which this series reminds me of.  And I also love similar overseas productions like Spain’s “[REC]” films (2007 – 2014) and Britain’s “Dead Set” miniseries (2008), while those amazing entries are hardly known among my friends.  I also cannot understand why many people who love George A. Romero’s and Robert Kirkman’s productions must always compare other films and TV shows unfavorably to them.  We can love both.  Why not?

Hey, if you don’t want to make my word for it, here is what Stephen King tweeted: “No long, fraught discussions. No endless flashbacks, because there’s no back story. No grouchy teens. Dialogue is spare. Much shot with a single handheld camera, very fluid.”

I obviously recommend this.

 

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Tonight’s reading.

Down in the Dirt, Volume 163

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A few quick words on the Season 8 premiere of “Game of Thrones”

I’ll keep this brief, because it’s unlikely by now that I can write an unbiased review of a “Game of Thrones” episode anyway.  The show is so close to my heart that simply seeing the characters again for Season 8 is like being reunited with old friends.  I’d rate the first episode a 10 out of 10 if only for the characters and dialogue.

And that’s mostly what we get in the premiere.  If you’ve been waiting for this universe’s apocalyptic war to escalate, then you’ll be disappointed.  The episode focused almost entirely character reunions, relationships and conflicts, laying out the stakes for what will be a bloody final season.  Nearly all of it was great stuff.  (Like a lot of viewers, I loved the closing seconds of the show.)  There was only one key exchange of dialogue that didn’t play the way the writers intended — an interaction among Sam, Danerys and Jorah that was blackly and unintentionally hilarious.

I read comments from a couple of fans online who were nonplussed by the episode’s lack of action.  I think we needed this character-focused groundwork to lend emotional weight to the war when it arrives at Winterfell.  (I think we can assume it will fall; I can’t imagine the good guys defeating the Night King in their first major battle.)

I loved it.

 

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The dessert you’ve GoT to try tonight.

I’m calling it the Iron Throne.  (I’ve been scheming like Littlefinger to make it perfect.)

The base is a Brownie-Fudge Swirl Klondike Bar, the back consists of stacked Swiss Cake Rolls.  What you see seated there is an official “Game of Thrones” Oreo.  Scattered about its base are Espresso M&M’s, because you’re going to be up late chatting online about the episode.

I actually lined up a couple of yellow Peanut Butter M&M’s to symbolize the heads of Lannisters, but the picture didn’t turn out.  Because leave it the Lannisters to screw up a good thing.

WHO’S YOUR FAVORITE NERD, BABY?

If the undead attack while you’re enjoying this, tell them to CHECK THEIR WIGHT PRIVILEGE.

 

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Episode 1 of “Black Summer” (2019) looks quite promising.

The hectic first episode of “Black Summer,” Netflix’ new zombie series, looks like ambitious stuff — it plays like a hybrid of “28 Days Later” (2002), “Pulp Fiction” (1994) and “24” (2001-2014).  While it seems unlikely that this show can emulate the greatness of those classics, “Black Summer” still gets off to a damned good start.  I’d rate the first episode an 8 out of 10 for being a pretty lean and mean start to a decent zombie series.

Part of the episode’s appeal is its frantic vibe and format — something that seems like a deliberate contrast to “The Walking Dead’s” slowly placed, methodical epic.  The viewer is plopped down into the middle of a heartland neighborhood evacuation effort, three weeks into a zombie epidemic.  With a series of lengthy, real-time tracking shots, we race beside a collection of unconnected characters who are desperately trying to reach United States Army pickup point.

The zombies are few in number.  But they are the “high-speed zombies” that most modern horror viewers associate with Danny Boyle’s film, so the arrival of even one imperils the fleeing families.  The makeup effects are good, the transformation process is effectively rendered, and the show is satisfyingly scary.  The show makes this even more interesting by filming each character’s dash individually, and then showing them as discrete vignettes that are out of chronological order.  

The story is weakest when it slows down enough to allow its characters to talk.  The dialogue is truly bad, even if the quick action sequences make up for it.  (Has there ever been a more generic bribery offer, for example, then the one we see here?)  But this weakness doesn’t much affect the overall quality of an episode that follows so much action.

I was even more surprised that the episode works when I googled “Black Summer.”  The Netflix series is produced The Asylum, the film company notorious for “mockbusters” like “Dead Men Walking” (2005), “Snakes on a Train” (2006) and … sigh … “Transmorphers” (2007).  What’s more, “Black Summer” is intended as a prequel series to  The Asylum’s “Z Nation,” the lamentable horror-comedy zombie series that ran for three seasons on SyFy.  (It was so bad I couldn’t get through a single episode.)

It’s a weird world.

 

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A short review of “Predestination” (2014)

Blog Correspondent Pete Harrison has been recommending “Predestination” to me for a couple of years now.  It took me the longest time to get around to it — I knew that the Spierig brothers’ mindbending science fiction film would be challenging, and I wanted to wait until I was in just the right mood to take it in.

It turns out Pete’s recommendation was a damned good one.  (Followers of this blog know he is our resident horror expert; turns out he knows his sci-fi too.)  “Predestination” is a grim, moody, well directed time travel movie, beautifully performed by Sarah Snook, Ethan Hawke and Noah Taylor.  The storytelling style reminded me so much of Christopher Nolan’s work that I had to check the credits again to make sure he wasn’t at the helm.  (Coming from me, that’s high praise.)  I’d rate “Predestination” a 9 out of 10.

I don’t think this movie is for everyone.  It’s hard-core sci-fi, adapted from a short story by Robert Heinlein called “– All You Zombies –,” and its stranger story elements will challenge the viewer instead of of pleasing them emotionally.  (This would be a very confusing choice for a date movie, for example.)

And there is a major plot element here that requires so much suspension of disbelief that I think many viewers will be put off by it.  (It doesn’t involve the plot-enabling time travel tehcnology.)  I truly enjoyed this film, and even I struggled with this element’s plausibility.  I feel certain it was easier for Heinlein to get across on the page than for any filmmaker to show on screen.  (Would any of us react the way these characters do if we were in the same situation?  I don’t think the human heart works quite the way the story suggests it does.)

Still, this was a very good movie for a science fiction fan.  If you are in the mood for something dark, different and demanding, then give it a chance.

 

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I bugged this lady for a picture.

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People just say things differently in Virginia.

I stopped by the Arby’s in Vinton and ordered at the counter, and the girl asked me, “Is there a name for your order?”

Except I didn’t I didn’t understand what she meant, and I got flustered about being from out-of-town, so I stammered something along the lines of, “I dunno, let’s call it Ted,” and now the people at Arby’s think I’m some kind of maniac.

 

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