It’s been a bit overpraised, though you can sure understand why reviewers would be grateful for a horror movie that wasn’t screaming in your ear and slapping you in the face relentlessly. Nevertheless, Get Out or Arrival it is not.
I say it would make a dandy Saturday matinee at my Dad’s old movie theaters. First-rate Creature Feature. What most bugged me the initial watch is that I detected no clue where these superpredators came from. Can’t just come out of the Monster Hole. And because they’re beasts with no technology, it’s impossible to imagine them invading from UFOs.
Second time through I noticed a headline I had missed in the Dad’s War Room: “METEORITE HITS MEXICO.” The idea being that these monstrosities could be hibernating inside a smallish Asteroid, which would explain why there are not so many of them.
the opening sequence, which is perfectly paced, terrifying, believable and unforgettable.
the scenes with the grain silo, which center on one of my favorite little-known deadly dangers of the things and reveal that the predators are hard and strong enough to rip right through metal.
the clever climax which showers posthumous honor on Dad and shows Mom has unlimited courage. Once again, I believe it was A.E. Van Vogt who came up with the idea that a particularly deadly quality of an alien being would be its ability to remain perfectly silent and still and then attack with supernatural speed.
Millicent Simmonds is going to be a superstar. I was in her power after the first five minutes.
I agree with the nay-sayers about Cuckoo’s Nest in that Nicholson is terrible in the top-hero role (unfortunately, James Dean was dead) and agree with the plus-note people that Louise Fletcher redeems the foul, dated sexism of the concept of Nurse Rached. (Kidz, it was this: stuffy, norm-obsessed, perfectly domesticated women were holding freed spirits and wild men back. Like they had that power.)
A bit of spooky-sci-fi entertainment for Friday night. This story is a landmark: not only is the writing almost eerie-flawless and the tale an even-more-brilliant extension of the author’s groundbreaking “Black Destroyer,” but it’s the clear originator of the “alien monster on a spaceship” concept that would become Alien decades later.
PS: I should clarify: certainly “Black Destroyer” is the first “alien monster on a spaceship” fiction. But the problem is that the Black Destroyer looks like a deadly monster and no matter how sweet-puddy-tat he acted, it seems dubious that the crew would get such a creature on board with them. Xtl is a hidden agent, undetectable until he’s on the ship, and therefore much, much more dangerous.
Aw. c’mon — menace is over the top innit? I donno — when we visited Anaheim recently I thought it had the weirdest company-town vibe imaginable. Felt like you had to wear a Mouseketeer hat to live there. Non-Disney places felt like escape havens. Now it turns out Disney is doing something really, really shitty — banning LA Times critics from advance screenings because the paper is reporting on the freaky conquest of the town by the company. The only pleasure I take from any of this is that the shivery feeling I had out there was based in reality.
Cinema magazine (May, 1971), featuring La Salamandre by Alain Tanner (not least because I can never have enough pictures of Bulle Ogier).
Cinema magazine (June, 1981), featuring Les Annees Lumiere by Alain Tanner (Light Years Away in the US) (not least because I saw this strange flick and loved that it did not even try to make linear sense)
Les Gens de Justice by Daumier (1974). Of course the jokes are lost in the French text, but the reproductions are so superior to any American volume I have run across that … less than a penny a page seems like the bargain of a lifetime.
Amour – Erotisme en Cinema, by Ado Kyrou, edited by Eric Losfeld (not sure what this means) (1966). Treasure of new to me film stills, from the heyday of hedonism-on-the-rise in movie houses. The historic stuff is also incredible. Has a bookmark. Looks the most-used of the books I got. Donated to the Cultural Center in 1969. (PS: the cover features a stylized image of Louise Brooks, confirming the country’s obsession with her erotisme.)
Various, La Chanson de L’Annee 2016 (MCA/Universal). Four-CD set! A bit less MOR than I expected, and way, way more fun than 25 cents a disc.