If you are reading this, then take it as proof positive of two things. One, the attempt to put an end to my existence that was promised for a certain date did not go ahead or quite as planned. Exactly what happened is irrelevant. The important point is that I was not found dead. Continue Reading
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Until its recent demise and incorporation into the folds of its parent company (Warner Brothers), New Line Cinema could be considered the most successful of the upstarts that got into the motion picture business during the deregulation frenzy of the 1980s. Granted, it started a bit earlier than that, but it was not until one particular success that New Line moved beyond its origins of buying independent productions and exhibiting them on circuits consisting of things like university campuses. Continue Reading
As I have been writing other pieces of fiction about one of my proxy characters, the proxy character of a woman he is in love with, and so forth, I have been doing what all good science fiction authors do. That is, I have been thinking about the message of the stories and how it relates to the world that inspired that message. Continue Reading
Well, I just got my hands on a trial version of MarsEdit for my MacBook, to see whether it is worth investing the forty dollars to procure a licensed version. I already have been trying out a later version on my new desktop computer, but my MacBook is still stuck on version 10.5.whatever of OS X, so a previous version (2.4.4) of MarsEdit was needed to use it on my MacBook. Now that I have that out of the way, I am going to return to the previous track of my thoughts. Specifically, that all forms of our media, electronic and otherwise, need changes in both organisation and law if they are to benefit us all in the coming future. Continue Reading
Well, after writing about A Nightmare On Elm Street Part 2 and trying to build a credible case for its uniqueness making it a lot less awful than is made out, I thought perhaps I should write another little article. Just like with societies, it is hard to know what is good or even average without having something bad to compare it to. This is where the sixth film in the series, Freddy’s Dead: The Final Nightmare, comes in handy. I think in order to understand what a piece of shit it really is, one needs to understand the full meaning of the description given in the Wikipedia. In the presently-available Wikipedia entry, Freddy’s Dead is described as “a 1991 American slasher comedy horror film”. Although it is up for debate whether this is really two or three distinct genres that the film is unsuccessfully trying to blend, a big part of the problem is that the people responsible for making the film do not understand how to do any of these genres well, leave alone all three at once.
If you have seen An American Werewolf In London, then you have already seen an example of a combination of comedy and horror done well. And the reason the combination worked there is because (get this) the horror element was taken perfectly seriously. The four actors that can be considered principals are quite clearly taking an absurd situation as seriously as they can, even when they are acting out scenes intended to induce laughter. Griffin Dunne, the gentleman playing the character of Jack, performs the thankless task of explaining the plot and the conflict the central character, David, is facing. But the manner in which lycanthropy is treated seriously by the story, and the conflict between survival instinct and doing the right thing is treated seriously by the characters, means that jokes such as David’s conference with the departed spirits of those he has dined on whilst in wolf form are all the more hilarious in an inobvious way. Put simply, An American Werewolf In London is a good film because it respects the intelligence of the audience.