Seeing Cormac McCarthy’s The Road at the top of the list for Entertainment Weekly’s The New Classics: The 100 Best Reads from 1983 to 2008 fascinates me. The 2006 book deserves all of the praise and attention it’s received since publication. Even Oprah Winfrey got it right for once when she ordered her minions to read The Road for her book club.

The Road tells the story of a father and son as they wander through an ash covered, post-apocalyptic America. McCarthy’s 2005 book No Country for Old Men – known better as a Coen brothers movie than a McCarthy novel – reads in hindsight like an appetizer for The Road. In the former book, McCarthy slowly dissects the American Dream and reveals the unpleasant possibility that it’s coming to an end, whereas in the latter book, he destroys America and shows us the possibility of what comes next. And what does come next? Well, a lot of despair, darkness and pain. Make no mistake about it, The Road is bleak; which is just fine for McCarthy, a writer who is notorious for never quite giving readers what they expect and want. For instance, outside of a “long shear of light and then a series of low concussions”, it is not clear in the book what caused the devastation. But really, it isn’t important what really happened – this is a journey story, one of survival.

More importantly, The Road is part of an interesting 21st century trend towards end of the world stories. (more…)

I always had a soft spot for John Carpenter. As a kid, he was the first director whose name meant something to me. Seeing his name flash across the screen for the commercials for The Fog when I was a child left an impression that I’m still trying to shake off today. More than any other director, Carpenter appeared to be making movies just for me. Halloween and The Fog were there when I was first discovering horror movies. Escape from New York, The Thing and Starman arrived when I was exploring other genres. When I discovered Stephen King, Christine arrived at the video store. When I stumbled on martial arts movies, he gave me Big Trouble in Little China. When I became interested in science, Carpenter churned out the underrated Prince of Darkness (a pessimistic and claustrophobic End of Days story offset by the optimism of quantum physics). And when I started to question authority, along came They Live (a movie remembered more for its excess than its restraint). Looking at Carpenter’s work from The Fog (1980) to They Live (1988), not only is it an impressive resume, but it is a body of work that perfectly reflects the paranoia, glut and cynicism that was the Eighties.

Sadly, the Nineties would not be a good time for Carpenter, and this, like many of us, is when I started to lose interest in his work. Memoirs of an Invisible Man, while inventive at times, is painful and never quite understands what kind of movie it wants to be; all of this is made worse by the fact that many scenes practically scream studio intervention.

So when I saw the trailer for 1995’s In the Mouth of Madness, I tried not to get my hopes too high. The good news was the movie ended up being pretty good, and the bad news was that it would be Carpenter’s last good movie. (more…)

I’ve only met Matt once in my life. It was four years ago at a bar in Florida. Though I’m not legally allowed to discuss the details of that ill-fated evening, I can disclose that there was a lot of beer, awkward silences and a giraffe (that poor creature never had a chance). I must have made quite an impression on him, however, as Matt has asked me to write a column here at Where the Long Tail Ends.

Though this is my third contribution, I suppose now is as good as any time to explain what TOO SOON will be about. For those of you who’ve asked what the title means, I really can’t say; it just amuses me for some reason, and it’s vague enough of a title to represent a column that will inevitably be many things.

As of now, TOO SOON will focus on my re-watching horror movies I haven’t seen in years to see if they still hold up (like Alone in the Dark), as well as watching movies I’ve always wanted to see but never got around to (such as Blast of Silence). Plus, since my love of movies is often eclipsed by my love of books, I’d like to go through my library and share not only what I feel the best books are, but the books that altered my DNA and completely changed who I was as a person – you know, those books. In fact, I’m finishing up a piece on Mark Z. Danielewski’s House of Leaves to get us started. (more…)

Blast of Silence is a 1961 noir film starring Allen Baron, who also wrote and directed. Baron plays Frankie Bono, a professional hitman, who arrives in New York City to kill a mobster during the Christmas holiday. Solitary and meticulous, Frankie patiently waits for the opportune moment to fulfill his contract; however, a random encounter with an old friend leads him to consider the possibility of a normal life and ends up jeopardizing everything Frankie has achieved.

To call Blast of Silence a crime film would be a disservice to the story. This is a 77 minute existential crisis, a psychologically claustrophobic nightmare, as fatalistic as they come, and the best you can hope for as the viewer who might side with Frankie Bono is that when the hammer falls, it’s quick and painless. And make no mistake about it, the hammer is going to fall on Frankie; only what makes Blast of Silence so interesting is that he isn’t being punished for being a killer, but for allowing himself to feel human. This is, after all, the beginning of the Sixties when the American post-war high was finally crashing down hard, and the idea of the American dream was losing some of its appeal. So when Frankie comes around and decides he finally wants his cut of the dream, it’s no wonder he gets what he gets. Sorry, Frankie, wrong decade, wrong genre. (more…)

Living in the Tampa Bay area as a kid, I had three possibilities to watch horror movies on Saturday afternoons: Shock Theater, Creature Feature, and Commander USA’s Groovie Movies. Shock Theater was on the ABC affiliate and started with some psychedelic graphics accompanied by an ominous voice over. It was pretty simple and to the point, and a great introductory show for little kids like me who wanted desperately to watch horror movies without losing sleep later. While it wasn’t the most exciting way to spend the afternoon, I credit Shock Theater for educating me with what seemed like the entire Universal Pictures library.

After a couple of years watching Shock Theater, I finally managed to change the channel to start watching Creature Feature. This local show was hosted by Dr Paul Bearer – as played by the affable Dick Bennick – a crazy-eyed pall bearer who drove a hearse and had a creepy laugh. Before and after commercial breaks, Dr Paul Bearer would have short skits and discuss the movie – sometimes mocking, sometimes pointing out the good stuff. The movies shown were usually Hammer and Godzilla movies. While these movies weren’t exactly the most frightening movies ever seen, they were in color and appeared far more contemporary than the movies I was used to over at Shock Theater. Even better, unlike Shock Theater, Creature Feature usually showed two movies instead of one. And while that was great and all, eventually I didn’t find Dr Paul Bearer’s movies to be scary enough.

And this is how I discovered Commander USA’s Groovie Movies on USA.

(more…)