Tag Archives: Eric Robert Nolan

And here is the latest thing that makes me feel old.

What’s with all the people in music videos looking so damn young these days?  Did they change the child labor laws?

There was a time when I was daily viewer of MTV (the sedate stuff on VH-1 was for old people), and I rocked hard, people.  It seemed to me that whenever I watched a video, I saw people who were my own age.

Now these videos are inhabited only by people who look young enough to be my kids. And that makes sense, because … they kinda are young enough.  (Yes, I realize the video below for The Calling’s “Wherever You Will Go” was made 18 years ago, but that’s beside the point.)  If the performers in a video today were in their very early 20’s, then they’d be about the right age, if I’d fathered kids when I was 26.

Furthermore, some astute commentators pointed out online Monday night that 2019 is the year in which the original “Blade Runner” (1982) was set.  The opening title card names “November, 2019” as the time when all things Fordesque turn angsty and existential and killer-androidy.  Am I … older than Harrison Ford’s character? I am six years older than Ford was when he made the film.

Now I just feel weird.  Why do I write these blog posts, anyway?

[Update: Today I am learning that “Akira” (1988) and “The Running Man” (1987) also set their stories in 2019?! That’s ironic, given that the future we’ve come closest to is that of 2006’s “Idiocracy.”

I wonder how people in our parents’ generation felt when 2001 arrived, if they’d happened to see “2001: A Space Odyssey” in theaters in 1968.]

 

My poetry, 2018

Care to peruse some of the poetry I’ve published in 2018?

You can find it here at the blog at the My poetry, 2018 page.

 

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Have a Happy New Year’s Eve!!!

Have fun!  Be safe!  Enjoy!

Make sure you have a designated driver!  Or, better yet … why not be the designated driver?  What better way to spend the first hours of 2019 than as a hero to the people around you (maybe not the hero that Gotham deserves, but the hero it needs right now)?

I’m not sure how I’ve gotten to become such a mother hen in my old age …  Maybe it’s because, in my younger days, I was the one who needed mother henning.

Whatever, just don’t wind up like Gatsby, floating face down in the pool at the end of the night.  (But go ahead and totally be him up until that point.)

Postscript — the quote below, which I rather like, doesn’t appear in F. Scott Fitzgerald’s “The Great Gatsby” or its 2013 film treatment with Leonardo DiCaprio.  I’m told that the line actually originates from “Sex and the City” (1998 – 2004).

 

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(VERY hollow.)

Today’s agenda — help my fellow Greeks breach Troy’s defenses by constructing a vast, hollow wooden replica of my head and having them hide within it.

CALL IT THE TROJAN DORK.

 

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Why did they call it “The Trojan Horse?”

Why not “The Greek Horse?”  The Greeks constructed it.  Suppose you have an artist friend in Greece, and he or she mails a traditional Hellenic sculpture to you here in America (and hopefully with nothing all cunning and stabby and murdery inside of it).   You wouldn’t call it an American sculpture.  It would be a Greek sculpture, right?

“Troy” is a masculine name.  But does it ever occur to guys named “Troy” that they were named for an archetypal conquered city?

Why is “Trojan” a desirable brand name for a condom?  A small group of Greeks penetrated their city’s defenses with regrettable surprise consequences.

This is the $#/+ I think about when I wake up at 2:35 am and can’t get back to sleep.  I swear I can’t turn it off.

Then Credence Clearwater Revival starts playing in my head and things get worse from there.

 

 

 

Throwback Thursday: “Laverne and Shirley” (1976-1983)

Rest in Peace, Penny Marshall.

This is one of only a handful of TV shows that I can remember watching as a tot in the late 1970’s.  “Laverne and Shirley” (1976-1983) was the kind of of thing I’d see in my older sisters’ room.  My Dad and older brother watched war movies, westerns and monster movies, but my two sisters preferred considerably lighter fare.  Two that they watched a lot at the time, if I recall, were this show and “Donnie & Marie” (1976-1979) — about the scariest thing you could find playing on their black-and-white TV was “The Hardy Boys/Nancy Drew Mysteries” (1977-1979). (One of my sisters had a crush on actor Shaun Cassidy; I think there was a poster of him in their room.)

I loved “Laverne and Shirley” when I was that young.  Lenny and Squiggy were my favorite highlight of any episode, even if I was sometimes confused about whether they were meant to be “good guys” or “bad guys.”  I was in kindergarten, and not altogether bright, and I thought that men who wore black leather jackets (Fonzie notwithstanding) were usually “bad guys.”  I also remember thinking that hippies and motorcyclists were the same group of “bad guys” because they disobeyed God or something … my confusion at the time resulted from some vaguely moraled born-again Christian comic books I’d happened across somewhere.

I also remember recognizing “Laverne and Shirley” as being related to another show that a lot of kids back then loved — “Happy Days” (1974-1984), of which it was a spin-off.  This might have been the first time in my life that I was aware of two live-action television properties occupying the same fictional universe; I’d already seen it happen in the movies with the various incarnations of “King Kong” and “Godzilla.”

Here’s what makes me feel old — for both “Laverne and Shirley” and “Happy Days,” I probably watched a lot of the episodes when they were first broadcast, and not just in re-runs (although “Happy Days” was also played in syndication endlessly throughout the 1980’s — it remained a fixture of daytime television).

And I only just realized writing this that Lenny was played by the priceless Michael McKean.  As an adult, I know him primarily from his brilliant turns in “This Is Spinal Tap” (1984) and “The X-Files” (1998-2018).  He’s 71 now.  Wow.

 

 

A short review of “Patient Zero” (2018)

I’d be lying to you if I told you that “Patient Zero” (2018) is an especially good movie.  It isn’t.  It plays a lot like the classic “28 Days Later” (2002) would play if it were produced by the SyFy Channel, and by that I mean it generally is a poorly written, low-budget cheese-fest.  (This is one of those movies where even the score was kinda bad.)  Still, there were some hints of greatness hidden within this lackluster zombie movie — enough to save it from being a complete failure — and I would reluctantly rate it a 5 out of 10.  (Most other reviewers are not even that kind.)

First, it has some fine performers. These include two “Game of Thrones” actors who are always fun to watch — the mesmerizing Natalie Dormer and the consistently likable John Bradley.  (The latter seems to specialize in winning audiences over as the “hero’s-affable-friend” role.)  “Doctor Who” fans will of course recognize Matt Smith in the lead role.  But by far and away, they’re overshadowed by a fantastic performance by Stanley Tucci as the zombies’ surprisingly eloquent leader.  (More on that in a moment.)  Tucci is truly a great actor and he makes a perfectly menacing bad guy; his voice, diction and line delivery are goddam perfect.  His talent for voicing a magnetic, highly intelligent antagonist reminds me of Jeffrey Dean Morgan’s portrayal of Negan on “The Walking Dead,” or one of the better “big bads” seen on “24” (2001 – 2014).

Second, there are some really clever ideas hiding under this thin, hasty script.  (I strongly get the sense that “Patient Zero” was a rush job for screenwriter Mike Le and director Vincent Newman.)  The hyper-kinetic zombies here are afflicted with “super-rabies” and are reminiscent of their ilk from “28 Days Later.”  But there is a truly intriguing plot conceit — their roars and screams are perfectly intelligible to Smith’s protagonist.  He speaks their “language” because he’s infected, but also mysteriously asymptomatic.  When he interrogates the zombies for the military, their interaction is filmed as normal dialogue (creating the opportunity for Tucci’s terrific turn here).  Then things get even more interesting when it’s demonstrated that the ostensibly mindless zombies are quite proficient at planning an attack.

I … might be treating this movie a bit charitably simply because I liked some of its ingredients.  Again, I don’t actually recommend it.  But your mileage may vary.

 

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“A Visit From St. Nicholas,” by Clement Clarke Moore (read by Eric Robert Nolan)

‘Twas the night before Christmas, when all through the house
Not a creature was stirring, not even a mouse;
The stockings were hung by the chimney with care,
In hopes that St. Nicholas soon would be there;
The children were nestled all snug in their beds,
While visions of sugar-plums danced in their heads;
And mamma in her ’kerchief, and I in my cap,
Had just settled our brains for a long winter’s nap,
When out on the lawn there arose such a clatter,
I sprang from the bed to see what was the matter.
Away to the window I flew like a flash,
Tore open the shutters and threw up the sash.
The moon on the breast of the new-fallen snow
Gave the lustre of mid-day to objects below,
When, what to my wondering eyes should appear,
But a miniature sleigh, and eight tiny reindeer,
With a little old driver, so lively and quick,
I knew in a moment it must be St. Nick.
More rapid than eagles his coursers they came,
And he whistled, and shouted, and called them by name;
“Now, Dasher! now, Dancer! now, Prancer and Vixen!
On, Comet! on, Cupid! on, Donder and Blitzen!
To the top of the porch! to the top of the wall!
Now dash away! dash away! dash away all!”
As dry leaves that before the wild hurricane fly,
When they meet with an obstacle, mount to the sky;
So up to the house-top the coursers they flew,
With the sleigh full of Toys, and St. Nicholas too.
And then, in a twinkling, I heard on the roof
The prancing and pawing of each little hoof.
As I drew in my head, and was turning around,
Down the chimney St. Nicholas came with a bound.
He was dressed all in fur, from his head to his foot,
And his clothes were all tarnished with ashes and soot;
A bundle of Toys he had flung on his back,
And he looked like a pedler just opening his pack.
His eyes—how they twinkled! his dimples how merry!
His cheeks were like roses, his nose like a cherry!
His droll little mouth was drawn up like a bow
And the beard of his chin was as white as the snow;
The stump of a pipe he held tight in his teeth,
And the smoke it encircled his head like a wreath;
He had a broad face and a little round belly,
That shook when he laughed, like a bowlful of jelly.
He was chubby and plump, a right jolly old elf,
And I laughed when I saw him, in spite of myself;
A wink of his eye and a twist of his head,
Soon gave me to know I had nothing to dread;
He spoke not a word, but went straight to his work,
And filled all the stockings; then turned with a jerk,
And laying his finger aside of his nose,
And giving a nod, up the chimney he rose;
He sprang to his sleigh, to his team gave a whistle,
And away they all flew like the down of a thistle,
But I heard him exclaim, ere he drove out of sight,
“Happy Christmas to all, and to all a good-night.”

 

Ugliest Christmas ornament ever?

I am inclined to think so.

This was a gag gift for a pal of mine — I got it for three bucks at my local five-and-dime.  Unless Picasso designed this ornament (and I don’t think he did), that misshapen, asymmetrical dog’s head is unintentional.  (Is anyone else reminded of Blair in the autopsy scene of John Carpenter’s “The Thing” saying, “That’s not dog?”  In fact … this could arguably be the coolest Christmas ornament ever …)  Anyway, I can’t tell if that stringy brown fur is supposed to symbolize the dog’s bed or just … dog hair?

Somewhere this holiday season, there is a craftsman who should keep his day job.

Do people in the South say “five-and-dime?”  It occurs to me now that I don’t think I’ve heard the expression since I left New York.

 

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A short review of “Bird Box” (2018)

Netflix’ “Bird Box” generally pleases — I’d rate it an 8 out of 10, and I’d recommend it to anyone looking for a creative and effective apocalyptic horror film.  A few reviewers call it a “high-concept” horror movie because of its MacGuffin — an invasion of otherworldly beings causes anyone who looks at them to hallucinate and become suicidally depressed.  (A handful of survivors escape the chaotic mass suicides because they are lucky enough not to lay eyes on the mysterious, mind-bending creatures which can become images of their victims’ worst fears.)

It’s a hell of a setup — it reminds many people of this year’s “A Quiet Place” and 2008’s unfairly maligned “The Happening.”  (Hey, I really liked that movie.)  For some reason, “Bird Box” reminded me of the 1985 “The Twilight Zone” episode, “Need to Know.”  (It’s a great ep.)  And the plot device pays off — “Bird Box” is genuinely unsettling, and the whole story comes across as a blackly inventive end-of-the-world tale.

Sandra Bullock is good here; supporting actors Sarah Paulson and John Malkovich are even better. (Malkovich is mesmerizing whenever he plays an intense or unpleasant character.)

The film suffers somewhat from puzzling pacing problems — sometimes the story appears to be unfolding too quickly, but by the end of the two-hour movie, it feels too long.  “Bird Box” was adapted from a structured 2014 novel by Josh Malerman; I strongly get the sense that it tries to squeeze too much of its source material into a the running time for a movie.  I honestly think I would have enjoyed it much more if its frightening plot device and interesting, well-played characters were explored in a mini-series.

There’s another disappointment too — we learn very little about the story’s antagonists, beyond one character’s hypothesis that they’re archetypal punishing figures from a number of the world’s religions.  I wanted to know more.

 

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