Tag Archives: Eric Robert Nolan

My day has been a disaster.

Somebody toss some paper towels at me.

That’ll help.

 

 

 

“Full fathom five thy father lies,” read by Eric Robert Nolan.

From William Shakespeare’s “The Tempest.”  For Emily. 🙂

Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes:
Nothing of him that doth fade,
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell:
                                        Ding-dong.
Hark! now I hear them,—ding-dong, bell.

 

A short review of “Miracle Mile” (1988)

“Miracle Mile” (1988) actually came highly recommended to me.  And that’s perplexing, because this is a pretty bad nuclear war thriller that I’d only grudgingly rate a 4 out of 10.

The script is terrible.  We know that from the film’s opening minutes, when it attempts to establish Anthony Edwards as a likable protagonist by showing him performing impromptu stand-up for schoolchildren on a field trip to a Los Angeles natural history museum.  (He is not a chaperone for the field trip, or connected with these schoolchildren in any way.  He apparently just hangs around alone at museums to inexplicably crack jokes for children he does not know.)

From there, we follow an abortive, cloddishly written romance between two mostly unappealing characters.  (Mare Winningham is the other half of the romance doomed by the impending apocalypse.)  I won’t bore you with the details about the ensuing end-of-the-world thriller, except that an implausible plot device gives the nascent couple and a handful of secondary characters advance knowledge of the nuclear missiles that will hit Los Angles in just more than an hour.

Even the acting was mostly poor.  Surprisingly, this includes the performance by Edwards himself, who has shown nothing but talent in every other role in which I’ve seen him.

The movie comes close to redeeming itself near the end.  Its obligatory chaos-in-the-streets set-piece is surprisingly well done for an otherwise mediocre film, and there are a few good lines when the couple reunites at the movie’s finale.  I suppose you can also have a lot of fun spotting a bevy of other character-actors from the 80’s and 90’s.

I … can’t actually recommend this, though.  I can’t remember the last time I was this disappointed by a film that my friends insisted was great.  Check out 1983’s “Special Bulletin,” instead.  Or, better yet, hunt down Britain’s superb nuclear war mini-series, “Threads” (1984).

 

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An excerpt from W. H. Auden’s “Hunting Season,” read by Eric Robert Nolan

This is only 20 seconds long; it consists of just one stanza from Auden’s poem.  Despite their brevity, however, I think that these few lines comprise one of the greatest breakup poems ever.

 

A very short review of the Season 7 premiere of “American Horror Story” (2017)

I finally got around to watching my first episode of “American Horror Story” last night; I started with this season’s critically praised premiere.  (People have been enthusiastically recommending this show to me for years, and “Game of Thrones” taught me that the bandwagon isn’t always a bad thing.)

I can’t say that I was overly impressed.  Season 7’s opening episode, entitled “Election Night,” consists mostly of heavy-handed political commentary with caricaturized portrayals of both Donald Trump and Hillary Clinton supporters.  Nearly none of the characters are likable; not even the one played by the terrific Evan Peters.  (Yes, comics fans, that’s none other than Quicksilver from the latest “X-Men” movies.)

There is a lot of “scary clown” horror here, as anyone who’s seen any marketing for the show at all should know.  Between that and the political elements, I suspect I am not the right audience for this show.  I simply find clowns obnoxious instead of scary, and political commentary in horror usually falls flat with me.  (I’m the rare horror fan who loves George A. Romero’s work only because it’s scary, without caring much about the social statements he’s supposedly making.)

With all of that said, there actually were a couple of creepy moments late in the game.  And there was one (as of yet, minor) character that I liked — the child of the liberal couple who were so devastated by the election results.  He’s cute, and any kid who hides parentally forbidden horror comics under his pillow is one of my tribe.

I’d somewhat grudgingly rate this a 5 out of 10.

Anyway … scary clowns are ubiquitous now, and we already have the zombie shows we need.  I propose that we bring back … body snatchers.  Those can be terrifying in the hands of a talented writer, and they require no special effects.  Or, what about vampires?  Now that “The Strain” has concluded, how about a well written television excursion into Steve Niles’ “30 Days of Night” universe?  Or maybe a “Stakeland” TV show?  Looking at you, AMC.

 

 

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“The Third Temptation,” by W. H. Auden, read by Eric Robert Nolan

Part VIII of W. H. Auden’s “The Quest.”

 

Cover released for Peeking Cat Poetry Anthology 2017

Peeking Cat Poetry Magazine has released the cover for its annual anthology, as well as its release date — October 15th.

The cover, below, looks terrific.  Editor Samantha Rose also announced today that the magazine will be hosting an online book launch on the day of the release.  For more information, visit Peeking Cat’s website here.

 

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Johnny Bee Goode

Today is the first day of Autumn.  Why not stop over at The Bees Are Dead, and mark the encroaching cold with a few dark futuristic visions?

There you’ll find Gary Glauber’s “After the Deluge”, which is a sanguine twist on the usual narrative of the post-apocalyptic poem.  There is also some truly arresting photography — Paul Gerrard’s “Monochromatic Beginnings” is shudder-inducing and delightfully monstrous, and Kathryn Nee’s ““Windows into the End” is a haunting exhibition of abandonment art.

 

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Al Pueblo de México …

El Pueblo de los Estados Unidos le desea paz, seguridad y fortaleza durante esta crisis.

 

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Teotitlán de Valle. Tapestry shop.  Photo credit: By Wolfgang Sauber (Own work) [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

Throwback Thursday: Nena’s “99 Red Balloons” (1984)

The 80’s were a weird time in a lot of ways.  Pop culture’s answer to the threat of global nuclear annihilation was a really cool, really catchy song with an upbeat tempo that topped the charts.  (Full disclosure — I don’t know much about music, and I’m not sure I’m using the term “upbeat tempo” correctly.  If I’m not, you can totally call me on it.)

Nena released “99 Luftballoons” in 1983 in Germany, it was released a year later in America as “99 Red Balloons.”  Wikipedia taught me some interesting trivia this afternoon — the group was actually pretty unhappy with the loose translation of the Americanized lyrics, and all but disowned them.  Nena performed the song only in its original German, even when the band was on tour in England.

Maybe we need a catchy pop song to teach the perils of nuclear brinksmanship to the current president.  Or, better yet, set something to the tune of one of those Looney Tunes cartoons.