Posts Tagged ‘Kathy Bates’

Ezra’s Spooktober 2018 – Year Of The King

Posted 25 Oct 2018 — by Ezra Stead
Category Essay

By Ezra Stead 

As always, I’m far from finished watching scary movies for the month of October, and we won’t be covering everything I’ve watched this month, for the sake of your time and my sanity. In brief, I’ve caught up on some classic franchise entries (Stepfather IIDamien: Omen IIHalloween 4: The Return of Michael Myers), checked out some newer gems like this year’s The Endless and Terrifier, and revisited some old favorites, including five generally less-loved Stephen King adaptations, which is what we’re going to focus on here.

Stephen King’s Children of the Corn (1984) is not exactly a critically beloved film, but it has managed to spawn eight sequels and a 2009 TV-movie, which is pretty impressive considering the original short story that started it all runs about thirty pages in total. Meanwhile, King’s Dark Tower series, a sprawling saga that runs well over 4,000 pages, got a disappointing 90-minute film adaptation last year. As William Goldman (screenwriter of, among many others, Misery and Dreamcatcher) famously said regarding Hollywood decision-making, “Nobody knows anything.” Anyway, in this writer’s opinion, Children of the Corn is a very enjoyable B-movie worth revisiting, especially for all the scenes that really forefront the very creepy kids. Courtney Gains is especially fun to watch as Malachi, he of the most hateful face in all of cinema. Just look at that scowling bastard up there. Awesome.  Read More

Midnight In Paris – Casts A Weak Spell

Posted 01 Jul 2012 — by Ezra Stead
Category Film Reviews, Movies I Didn't Get

By Ezra Stead

Midnight in Paris, Spain / USA, 2011

Written and Directed by Woody Allen

Midnight in Paris is the epitome of a lowbrow-highbrow movie, a film that makes its audience feel smart without ever actually being challenging or unpredictable. Woody Allen’s latest love letter to his favorite European city is the epitome of a lowbrow-highbrow movie, a film that makes its audience feel smart without ever actually being challenging or unpredictable. It starts out promisingly enough, with a gorgeous montage of Paris locales courtesy of the great cinematographer Darius Khondji (The City of Lost Children, Se7en) and a whimsical, mood-setting score by Stephane Wrembel, who previously contributed music to Allen’s Vicky Cristina Barcelona (2008). Then, over the trademark Woody Allen credits on a black screen, the talking begins, and the film’s problems along with it.  Read More