Existing Stance

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You know, I’ve referenced eXistenZ several times on this blog without really writing about it.  How rude of me!  Well, the fact is eXistenZ is one of my “old movies”—those that I knew from the days before I started this blog.  I have watched it since 2009, but early on I didn’t review movies unless they had religious elements.  Having recently referenced eXistenZ yet again, I figured it was time to look directly at it.  When I first watched this movie I had no idea who David Cronenberg was.  The film was recommended to me by one of my students at Nashotah House.  In those days there was no streaming so I had to purchase the DVD.  The movie is a science fiction horror film, primarily body horror, which is kind of Cronenberg’s shtick.  It’s also about gaming and I’m not a video gamer at all.  Still, I really like this film.

Perhaps presciently, Cronenberg set the movie in 2030.  Computer gaming has become biological with organic ports that have to be punctured into players’ spines so they can use an “UmbiCord” to connect to the pod.  Rewatching it, this seems almost too plausible.  In any case, as the movie goes on it becomes less and less clear what is real and what is part of the game.  Reality becomes distorted.  eXistenZ came out about the same time as The Matrix (probably why my student suggested it to me).  Given the very high profile of the latter film, eXistenZ never really broke out.  Cronenberg seldom breaks through to the mainstream, but I know a lot of people were talking about his remake of The Fly in 1986.  I even saw that one in the theater with some seminary friends.  In those days I didn’t know enough about horror to know what to expect from a Cronenberg film, which may be why it had such an impact on me.

In any case, eXistenZ remains underrated.  I see more recent films that appear to nod to it.  The horror aspects tend to be the slimy, gooey aspects of the game world which—spoiler alert—is, diegetically, the one in which the viewer resides.  There are indeed a few parallels to The Matrix, but eXistenZ has creatures and horror themes.  Sci-fi horror is a sub-genre that often works.  Critics tend to refer to such things by the older category of “science fiction,” but it is close kin to horror, a genre only separated out in the early 1930s.  Now as AI takes over the world, it might be a good opportunity to watch eXistenZ and ponder just how far you want to let it go.

Boston’s Poe

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Among my parasocial relationships, the strangest are those with people long dead.  Poe is among them, and, I suspect, this is probably a common thing.  As I age and find it difficult to muster the energy to attend large meetings with lots of people, the one factor that excited me about this year’s AAR/SBL, apart from being in New England again, was meeting Poe.  Now, I know that “Poe Returning to Boston” isn’t actually Poe himself.  But I do believe that places retain something of the essence of what happens in them.  Poe was born in Boston, on Carver Street.  The building itself was demolished some time ago.  I set out to see the site yesterday morning before the conference began, only to find that it is now fenced off, having been acquired by MassDOT.  As I stood there, wondering, fearing, it occurred to me just how much of a role pilgrimages play in our lives.

I’ve written about my SBL experiences before on this blog—look at my November posts for many of the years I’ve been doing this—but Boston is by far the most personal.  Part of it is certainly the fact that I lived here for about three years, but Poe is definitely part of it too.  As I went to do an uncrowded photo essay of Stefanie Rocknak’s statue, although it was quite early on a Sunday morning, and also quite chilly, I wasn’t the only one there.  A couple came along to pose with Poe.  When I took my initial photo (on my Saturday morning post) I had to await a different couple consorting with Poe.  I know this isn’t Poe, but it has come to represent his presence is my favorite city.  The mingling of emotions was strong.  

The sign designating this as Edgar Allan Poe Square is faded and weather-beaten.  I can imagine that local politicians have headier issues with which to wrestle, beyond replacing an aging sign for aging tourists.  And having read J. W. Ocker’s Poe-Land, I know there’s a bust of Poe in the Public Library now.  I walk by it each morning and evening, but the conference schedule keeps me out.  Poe himself was no great fan of Boston but this is where the world first met him.  I know that I should get my head in the game of academic conferencing, but I’m a little distracted by the presence of a friend I never met.  And breathing the rarified air of New England.

Revisiting

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It’s funny returning to a city you once felt you knew well.  Cities are constantly evolving creatures and even though I got around Boston as a student and then as an employee of Ritz Camera, there were places I simply never found.  There was no internet in those days so we relied a lot on word of mouth.  If others weren’t talking about it, I’d never hear.  I first realized Boston had a Chinatown when attending my first AAR/SBL here.  That was in the day when you had to mail or fax hotel registrations in, if I recall, and I do remember staying up to midnight to try to get first choice after that.  Ironically, this year I again ended up in that neighborhood, south of the modestly-sized Chinatown.  I really didn’t mind, though, since the hotel isn’t too far from Edgar Allan Poe.

I first learned about “Poe Returning to Boston” from my daughter.  She saw it while visiting Boston with a friend.  I learned more about it by reading J. W. Ocker’s Poe-Land.  When I lived here, from 1985 through 1988, I knew of no public markers of Poe’s presence.  None of the more prominent ones were here then.  On a trip to Boston for Routledge I sought out the Poe birthplace plaque—the actual house had been torn down—and found it.  It’s still here as I saw last night.  But the place that was formerly marked only by a painted electrical box now has a statue.  Poe, preceded by his raven, walks across the area named for him with a suitcase in hand.  Behind him, pages from his manuscripts lie on the ground.

It’s long been known that Boston and Poe had an ambivalent relationship.  Poe was born here and lived here for a time, but never felt that the city accepted him.  He lived in New York City, Philadelphia, and Baltimore for some time, but mostly considered Richmond, Virginia home.  That’s where the Allans lived and where his mother is buried.  Poe himself famously and mysteriously died in Baltimore.  He had some measure of fame at the time but still lived in poverty.  The feeling seems to be that Poe would’ve liked to have liked Boston—it has been my favorite major US city ever since I first moved here four decades ago.  Now, of course, I only get back on occasion, mostly when AAR/SBL comes to town.  Although Poe wasn’t here the last time I was, I always find something new when I return.

Sleeping Below

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I’m not sure how I missed What Sleeps Beneath.  I suppose it’s a matter of being time-starved in a world with so many websites.  That, and I’m only now starting to get integrated into the horror community.  A comment on this blog brought What Sleeps Beneath to my awareness.  A horror review site—they feature both books and movies—it’s based in that epicenter of weird (at least in my experience) of Pittsburgh.  I lived in the city for a couple of summers and grew up between it and Erie.  And, of course, Pittsburgh is George Romero territory, the birthplace of the modern zombie.  I often reflect on it.  Growing up in a small town north of there, I was fascinated by large cities.  When I was in high school, Pittsburgh was the 16th largest city in the country, now it’s down in the 200s somewhere.  That’s what happens when a big industry packs its bags.

Photo by Vidar Nordli-Mathisen on Unsplash

In any case, I haven’t been able to keep up with all the horror websites.  Again, it’s a matter of time. One reason is reasonable precaution.  I believe in vaccines.  I hate being sick in any way, and I’m of an age that I’d probably have been long dead without the many sticks I’ve had in my life.  However, time is precious and I’ve lost two weekends this year just to vaccine recovery.  Keenly aware that I no longer have all the time in the world—this dawns on you with a kind of horror fierceness as you read obituaries of friends who seemed so much better adjusted than you—the loss of a weekend is a kind of major deficit.  It’s sort of a sloppy reboot.  You enter a weekend with anticipation of how much you can get accomplished without the 9-2-5, but instead you have a day or two as groggy as your computer is when you first turn it on.

I say all this because I’d been planning to explore What Sleeps Beneath then I lost this past weekend to recovery.  Pittsburgh, like most places, has an identity to it.  And like most places that identity evolves over time.  Tomorrow I head to Boston, a city I used to know, for the American Academy of Religion and Society of Biblical Literature conference.  I’ll also be visiting, I hope, the Poe Returning to Boston statue in Edgar Allan Poe Square.  What with Boston making a belated overture to Poe and Pittsburgh embracing its zombies, maybe horror is starting to become mainstream after all.  Now I just need to get the time to explore What Sleeps Beneath.

Not Personal

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I’ve read that horror and dark academia go together.  You might almost say like peanut butter and chocolate.  One example of this is Confessions, a novel by Kanae Minato.  There are no monsters in it, but two people driven by revenge.  The difficulty with such a book would be to describe it without giving too much away.  So I’ll start by placing it in the category of dark academia.  It is a middle-school story with a distinct darkness and dread to it.  As a kind of epistolary novel, it’s told in several voices, beginning with a teacher in Japan and her final lecture to her students.  The lecture is final because her four-year-old daughter had died on the school grounds.  More than that, she was murdered by a couple of the students.  The novel explores the motivations and actions of the students involved, and sometimes their parents.  The school setting makes it dark academia.

The horror part comes through the slow building of the ruined lives that follow in the wake of the murder.  Believing that one form of revenge is at play, the reader finds subtle shifts as characters become monstrous.  One is clearly a sociopath.  Another is becoming one.  The idea of people harming one another because of their grievances is real enough.  We are emotional beings and sometimes our pain for those we love reaches a point of striking out.  Most of us learn to refrain, accepting that suffering comes into every life.  A minority insist on bringing others into their personal hell.  This novel explores people like that.  This makes it a horror story.

Originally written in Japanese, it has a kind of gentleness to it.  A decorum.  Underneath, however, trouble is brewing.  It accumulates over the novel as additional perspectives join the narrative of what happened.  Stories like this take a bit of rethinking for those of us who like to believe our narrators.  Most events have more than one outlook and Confessions ably guides us through several, reaching a conclusion that is both satisfying and chilling.  This is one of those novels that underscores what a fraught time middle school is.  Powerful emotions are at play and even though they may be sublimated for adults in society, they still exist.  We learn when we can and can’t act upon them, and how we may do so.  That’s a large part of education, beyond simply learning from books.  As reading becomes more and more electronic, I do wonder if we’re ushering in a new darkness that hasn’t been fully considered.

Woodwork

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It’s not often that I get to see a new horror movie on opening day, but I managed to swing The Carpenter’s Son with a screener, courtesy of Horror Homeroom.  I’m not going to say much about the movie here, because you should go there to read my response—I’ll let you know when it appears.  But I should try to whet your appetite a bit.  Among those of us who read and write about horror and religion this was a much anticipated movie.  A horror movie about Jesus.  Such things have been done before, but this one is played straight with an interesting premise.  It’s based, loosely, on the Infancy Gospel of Thomas.  This isn’t to be confused with the Gospel of Thomas.  Early Christians, it seems, favored the doubter’s point of view.  The Infancy Gospel is the story of Jesus’ miracles between the ages of five and twelve.  Even among early Christians these accounts weren’t taken as gospel truth.  They make for an interesting movie, however.

I think about horror and religion quite a lot.  Since the late sixties the two appear together frequently and, according to many surveys, make for the scariest movies.  Religion deals with, not to sound too Tillichian, ultimate concerns.  In the human psyche you can’t get much larger than death and eternity.  These are the home turf of religion.  Of course, death can be handled in an entirely secular way, but there’s a reasons hospitals almost always have chapels in them.  Eternity may be slotted in cosmology, but what it means comes from religion.  Forever seems pretty ultimate to me.

One thing I didn’t give in my Horror Homeroom piece about The Carpenter’s Son is my thoughts as to whether it’s a good movie or not.  Did I like it?  To a certain degree, yes.  Although I’ve been impressed with Nicolas Cage in horror movies lately—he can really rise to the occasion—sometimes, as in The Wicker Man, he just becomes, well, Cagey.  This happens once in a while in The Carpenter’s Son too.  When he’s questioning Mary about where “the boy” came from, his voice gets the wheedling, whining, kind of mocking tone that doesn’t set him as his best.  Likewise, when he tries to instruct young Jesus in various ways, it seems far too modern to fit the palette of a period drama.  I watched it a couple of times to write the article and I have my doubts that I’ll watch it again.  I did think the portrayal of Satan was good, and appreciated some of the dialogue about evil.  It wasn’t my favorite horror movie in recent weeks, however, even though I saw it before it opened.

Visiting Poe

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J. W. Ocker’s Poe-Land is a book I read too late.  That’s not to denigrate its status as the best book I’ve read this year—no, not at all.  It’s just that, unaware of Ocker’s book, I’d visited many of the Poe sites in America without the advantage of the full story.  Since my daughter also appreciates Poe, we’d gone to the Poe house in Philadelphia and the Free Library where Dickens’ stuff raven lives (sort of).  We’d gone to see Poe’s grave in Baltimore and his reputed dorm room at the University of Virginia while she was on college campus tours.  We attended the Poe exhibit at the Morgan Library in Manhattan.  We’d even gone to Fort Moultrie in South Carolina, stopping at the Poe Tavern on a family reunion trip to Charleston.  On my own, I’d sought out Poe’s birthplace on a business trip to Boston.  (The plaque was not there when I lived in the city.). Poe-Land is Ocker’s travel log of an intentional visit to all of these places.  (I should mention that we also went to Richmond to see the southern family but I arrived with a migraine and we had to put off the tourist stuff for another trip.  And I was distracted by Lovecraft on my two trips to Providence.)

To a Poe fan, and I can count myself as no other, this book is itself a treasure trove.  Ocker took a year to visit the Poe sites, north to south and even to England.  He writes about what he found and the people he met.  These people are likely my tribe, but I tend to work alone and know people primarily virtually.  I’ve tried to get museum people to let me behind locked doors, but I don’t have the clout.  (When I was a professor I had a bit more pull.)  I enjoyed every page of Poe-Land.  It was a book I didn’t want to rush through since it made me smile knowing that for reading time the next day I’d still have more to go.  And I learned a ton about Poe.

I’ve read several books about Poe, of course.  As an ignorant kid, I bought a used copy, in five volumes, of his collected works and biography.  I bought it at Goodwill and treasured it.  Until as an ignorant (and poor) college student, I resold it along with many of my childhood reading treasures.  I read biographies in the school library.  And I’ve read (and bought for good) some as an adult.  I even mention Poe in most of my books, including Sleepy Hollow as American Myth, because he’s part of my story too.  Poe-Land was easily my favorite book of 2025.  Now I want to read more about Poe.  But in the end I face a dilemma.  Do I read more about Poe, or do I go back for another of J. W. Ocker’s books?

Witching Season

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Tis the season for movies about witches.  The cult classic The Craft is another one of my old movies—I don’t think I’ve written a blog post about it before.  In any case, this autumn felt like good timing for a movie about female empowerment.  Rewatching it, it was difficult to miss how religion and horror are tied together.  Indeed, the Bible appears in the film as well.  This makes sense since the girls attend a Catholic school.  So what is this one about?  Teenage Sarah has moved to Los Angeles and is having trouble fitting in at school.  She is a “natural” witch who catches the attention of the small coven consisting of Nancy, Bonnie, and Rochelle.  They invite her to complete their coven so that they can invoke Manon, a deity larger than God.  Once they attain their powers, they begin redressing personal wrongs, but begin to hurt others as they do so.

Sarah is the daughter of a witch and her mother died in childbirth.  Sarah has difficulties with using powers to hurt others.  She was primarily interested in a love spell, but it too has consequences.  The coven experiments with even more powerful spells, giving the girls very obvious powers.  Especially Nancy.  Nancy is angry and enamored of power.  Sarah decides she wants out of the coven, but they’ve become too powerful.  Since Sarah tried to take her own life before, Nancy tries to force her to do so, only to succeed this time.  She’s backed up by Bonnie and Rochelle, both enjoying their powers.  Their attack, however, brings out the natural power of Sarah’s witch nature.  In the end, all of them lose their powers except Sarah.  

There’s a strong moral streak through the movie.  Unrestrained power leads naturally enough to abuses—something we’re living through daily in real life.  This is played off against a largely ineffectual Catholic Church.  A street preacher, who doesn’t seem very Catholic, also tries to warn Sarah but his method of using snakes is off-putting, to say the least.  He dies off pretty early in the film.  Religious structures of the monotheistic world have historically closed doors to women.  Some still do.  The power of nature encompasses both women and men, and the power that women have often frightens men.  Again, we see the fear of losing power played out.  This is comically addressed in another witch movie, The Witches of Eastwick.  Indeed, it is directly addressed there.  That’s yet another of my old movies, unless I’ve written about it here before but have lost my powers of memory.

The Prom

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I had always assumed Prom Night was a knock-off of Carrie, and in some ways it is.  The story is significantly different, however, and the impetus to watch it came from Scream, where it’s referenced a few times.  In case you’re under the same delusion I was, here’s how it unfolds.  Jamie Lee Curtis, after starring in Halloween and The Fog, takes the role of Kim Hammond, older sister of a girl (Robin) accidentally killed at the start of the film.  A kids’ game at an abandoned building leads to the death, in which four children participated.  Six years later, it’s prom night.  The kids present at Robin’s death all receive mysterious phone warnings that they dismiss as crank calls.  Meanwhile, a Carrie-inspired sub-plot is introduced as Wendy, the leader of the killer kids, is outvoted as prom queen by Kim.  She gets a local thug, Lou, and his buddies, to plan a disruption to the crowning of the king and queen.  No pig’s blood, but this isn’t Stephen King.

Meanwhile, yet another subplot is introduced, riffing on Halloween, of an escaped psychopath as suspect.  The police are fearful after finding the body of a nurse he kidnapped at the site of Robin’s death.  He was falsely accused of Robin’s murder and was disfigured in a fire.  They fear he may be targeting the kids there that fateful day.  Nobody except the four kids know what really happened.  There’s a hint that someone saw the accident, however.  If you’re getting confused, apart from my faulty summary, it may be because the movie goes to great lengths to misdirect your suspicions of who the murderer may be.  Since the movie is over 45, there will be a spoiler in the next paragraph.  You are warned!

The killer is Robin’s twin brother, who is also Kim’s younger brother.  He witnessed Robin’s death and tries to murder those he holds responsible on prom night.  He succeeds in killing three of the four.  I’ll leave it at that.  This is one of those teen movies and a fairly early slasher.  The plot is too complex to hold up, however, with characters simply dropping out because the action shifts focus.  Too many false lead-ons and too much disco music make it less than stellar.  Of course, as a very religious kid shy around girls, I never attended my high school prom.  I guess I may have missed out on what was, by then, becoming a night of horror.  At least in the eyes of those exploring the emerging slasher genre.  

More Morons

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There’s an aesthetic to bad movies.  Some are so bad that they’re good.  Others are just plain bad.  Many years ago, during some Amazon movie sale or other, I purchased a DVD of Morons from Outer Space.  Now, horror comedy is a recognized genre, but sci-fi comedy is a bit harder nut to crack, even though horror and sci-fi are siblings.  Morons sat on the shelf for at least a decade, in case of need.  Having been scammed out of our life’s savings, a Friday evening when my wife said “Pick whatever you want, I’m likely to fall asleep anyway,” scanning the shelves my eye landed on it.  The movie had been distributed by MGM, how bad could it be?  Worse than anticipated, it turns out.  I don’t recall ever seeing an intentional comedy where the entire laugh potential was so misaligned.  There were one or two spoofs that worked, but mostly it dragged and begged to be put out of its misery.

Three aliens, anatomically human, crash land on earth after leaving a crew-mate behind on their deep-space vehicle.  The extended scene of their spaceship tooling down the highway might’ve been funny had it lasted maybe a tenth of the time.  The knock-off of Close Encounters’ use of music to communicate was a little funny.  The alien interrogation missed several potentially humorous opportunities.  The aliens eventually become celebrities while an American commander insists that they be killed because of their threat to life on earth.  Ironically, I’ve often wondered how it would be if aliens who came to earth were badly behaved members of their species.  I can honestly say that that would be better than the way this movie played out.

Meanwhile, the abandoned alien gets a lift with a spooky-looking alien.  In perhaps the funniest scene, the spooky alien asks the human alien his sex.  That part was funny on a couple of levels and showed the potential that the movie might’ve had.  He ends up on Earth and tries to connect with his three shipmates, who are now, literally, rock stars.  When they finally meet up, they summarily dismiss him again, only to be hauled off back to space by a closing Close Encounters parody.  I confess that I am still trying to appreciate bad movies on their own aesthetics.  I’ve seen so many that I added a “Bad movies” category to this blog.  Bad movies are often unintentionally funny.  It’s a different beast when a comedy is unfunny.  Particularly when there was potential there, if it’d only been effectively used.

Louder

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Scream is one of my old movies.  I saw it several years ago but the details had grown hazy so I dusted off the DVD to give it another go round.  I’m glad I did.  This Wes Craven classic was one of the first horror movies to rock the critics because it parodies so many other horror films while remaining a scary plot line.  And it’s intelligent.  I liked it so much that I’d watched Scream 2 as well, and the two had jumbled up in my mind.  In case you’re still in a Halloween mood, here’s the basic premise (I won’t spoil the ending): the opening sequence is so well-known that I’m tempted to skip it, but it sets the scene remarkably well.  A teenage girl home alone answers the phone to find a stranger on the line.  This stranger is watching her as he calls, eventually breaking into her house.  Using horror movie clichés, the ghost-faced intruder catches and kills her.

After that, Sidney Prescott is having trouble getting over her mother’s murder the previous year.  The recent murder triggers her.  When her father has to leave town on business, she decides to stay with a friend.  Ghostface attacks her, leading to the arrest of her boyfriend, who shows up after the slasher attack.  Along with her friends, of which the guys are all horror movie fans, she plays out various scenarios of who the killer might, or “should” be, according to the rules of the genre.  This is very effectively done, keeping the first-time viewer guessing who the killer might be.  When school is suspended because of the killings, the kids have a massive party (of course).  The killer’s there, however, for the most part following the rules.  But the instructions are subverted, making for a wild ride.

Clever and satirical, the movie strikes the right tone.  One thing I noticed the first time was that Ghostface is a little too fast for a psychotic killer.  He runs.  He’s also quite vulnerable, but then again, he’s not a supernatural villain.  After seeing Scream again, I realized that there are still some classics that I’ve missed.  One reason is that I’m not really a slasher fan.  Throughout the movie they avoid using the word “horror,” preferring “scary movie”—the original title for the film.  Scary Movie was picked up by a horror parody that I watched shortly after seeing Scream for the first time.  In many ways Scary Movie is a parody of a parody.  Horror is endlessly self-referential, of course.  And sometime an old movie is just what you need.

Old Horror

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One of the early horror movies not in the Universal lineup was Doctor X.  It deals with themes that are perhaps surprising to modern viewers of old movies since the Motion Picture Production Code had not yet taken effect.  The story itself is slow paced, as is typical for the time, and not very scary according to modern standards.  Police are investigating a series of full moon killings and have traced them near to Dr. Xavier’s institution, the Academy of Surgical Research.  There he, along with four other scientists, are conducting advanced, but unorthodox medicine.  Dr. X convinces the police that he will investigate thoroughly and if the killer is among his colleagues, which he does not believe he is, he’ll learn which one.  There’s quite a bit of screwball humor introduced by the investigative reporter and even the butler and maid.  Hooking everyone up to a machine that indicates excitement, Dr. X has the murder reenacted to determine guilt among the watching scientists.  This is an early form of polygraph, apparently.

One of the colleagues, Dr. Wells, is excused because he is missing a hand and the murderer clearly used two.  The lights go out during the experiment and the “guilty” doctor is found murdered.  The solution Dr. X proposes is to do the experiment again, using his daughter (with whom the reporter has fallen in love) as the “victim.”  In order to prevent anyone from moving around, all but Wells are handcuffed to their chairs that are bolted to the floor.  Wells is then shown transforming himself into a monster by using “synthetic flesh” that he’s developed, allowing himself to animate a second hand and also, to disguise his face, freeing him from being identified.  He attacks Dr. X’s daughter, but the scientists are all handcuffed to their chairs.  The comic reporter saves the day by destroying the monster.

These early horror films blazed trails for later monster movies.  The science is a mix of plausible sounding theory and mumbo-jumbo.  I wasn’t sure what to expect since I knew the movie by name only.  Dr. X is a kind of mad scientist, but he’s not evil.  There’s a theme of cannibalism that runs through the story as well, since this is where Wells gets the material for his synthetic flesh.  The themes are scarier than what’s shown on the screen, of course.  These were the days when Boris Karloff in Frankenstein monster makeup could cause viewers to faint.  Doctor X was never as popular as the Universal lineup and although Wells is grotesque enough, he’s no Frankenstein creature.  He is, however, part of cinematic monster history.

Little Girl

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It might be inferred from the fact that I’ve mentioned it once or twice that I’ve seen The Little Girl Who Lives down the Lane before.  On a rainy autumnal afternoon it’s the horror movie that most often comes to mind.  While some find the “horror” designation overkill, it is the genre under which I bought the DVD many years ago.   Besides, it won a Saturn Award for best horror film.  I picked it up at a two-for-one sale not knowing what it was about but I was immediately taken by the atmospheric setting and weather.  A proper New England fall, after the leaves have come down.  It opens on Halloween with one of the most cringy openings ever.  Charlie Sheen plays a pedophile asking 13-year old Jodie Foster (Rynn) probing questions of where her father is when he finds her alone at home.

There will be a spoiler later in this paragraph.  Rynn lives on her own after her father dies by suicide and she murdered her mother and put her body in the basement.  Frank Hallet (Sheen), and his insufferable mother, own the Maine town where Rynn lives.  Befriended by Mario, a high school student who discovers her trying to drive, she eventually confides that Hallet’s mother was killed going down to the basement.  Meanwhile her son Frank keeps trying to insinuate himself into Rynn’s life, and, strongly implied, bed.  The story has some improbable plot elements and a few surprising moments, but not any jump startles.  It’s a slow burn, building to where Rynn attempts to poison herself, but Frank, not trusting her, drinks her tea instead.  Moody, rainy, and played out on a carpet of dead leaves, this is one of those horror movies that gets the season right.

Ironically for October nights, there aren’t a ton of horror films I know of that manage to capture this feeling.  I suppose that’s why I’ve seen this one a few times before.  I’ve gone through many lists of “October movies” and come out thinking that few people must think about this season the way that I do.  Or at least I haven’t found many horror movies that allow the season to pull its own weight.  Little Girl wasn’t welcomed with open arms when first released, but it has become a kind of cult classic.  Foster’s acting is pretty amazing considering her age at the time the film was shot.  But the autumnal weather does it for me, every time, even as we slip into November.

Halloween, Disney Style

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I really don’t spend much time on social media.  It’s literally just a few minutes a day, half an hour at most.  I’m too busy to spend more.  I tend not to join groups because, well, I don’t spend time there.  One group I did join on Facebook is for Halloween fans.  I believe that’s where I heard about the movie Halloweentown.  I was surprised that, as a fan of Halloween for pretty much all of my life, I’d not known about this 1998 movie.  Watching it, it became clear why not.  It is a Disney television movie.  In the nineties we didn’t have television (a few channels from a snowy aerial at Nashotah House) and certainly didn’t subscribe to the Disney channel.  While the movie failed to penetrate my consciousness, it went on to start a franchise.  Once I heard of it, I decided I should see it because I’m interested in the darker side of Disney.

Television movies, with their comparatively small budgets and limited viewerships, don’t have the finished feel that theatrical films possess.  This is the story of a family of witches, three kids and a mother, living in the human world.  The children don’t know they’re witches.  Then when their grandmother visits on Halloween, they sneak into the eponymous Halloweentown with her.  This is where witches and other monsters live because humans fear them.  The “monsters” mostly consist of obvious humans wearing masks and makeup.  There are a few mildly frightening moments as the evil Kalabar tries to take over the human world by persuading his fellow monsters to join him.  But this is Disney where threats are gentle and good fairly easily defeats evil.  While the movie isn’t even as scary as Hocus Pocus, some people watch it to get in the Halloween mood.

One thing that I’ve noticed about many movies that try to capture the autumnal feeling while being shot in California, is that they miss the more dramatic temperate shift in seasons.  This annual outdoors Götterdämmerung resulting in the colorful dying of leaves and the surrender of summer to the inevitable chill to follow is integral to my experience of Halloween.  In fact, one of the few criticisms I’d make to John Carpenter’s Halloween is that Haddonfield, Illinois was shot in Southern California.  Other movies make a similar gaff.  I’m always on the lookout for movies that manage to emulate that Halloween feel.  The film that perhaps does this best, in my experience, is The Little Girl Who Lives Down the Lane, shot in Canada and Maine.  I’m still searching, however, for my own Halloweentown.

Don’t Stop Moving

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Stopmotion is a strangely affecting horror movie.  Body horror as well as Euro-horror, it follows the dream-like world of Ella, a stop motion animator.  She learned the trade from her mother who, suffering from arthritis, has Ella do the work for her.  After her mother has a stroke, Ella continues working on her final film but in a new location.  Tom, her boyfriend, gets her an apartment in a run-down building where Ella meets a precocious and odd little girl who tells her she should film a different movie and proceeds to tell Ella how it should go.  To her chagrin, Ella has to admit that the little girl’s story is better than her mother’s.  With the girl’s help, Ella animates a monster, the Ash Man, who is pursuing a girl lost in the woods.  Then Ella starts receiving visits from the Ash Man, or at least she believes so.  She ends up in the hospital. Spoilers follow.

Tom, who visits her there, is worried that Ella has let this go too far.  He threatens to delete the film while she’s immobile in the hospital.  Ella’s mother dies and with the little girl’s help, Ella gets back to her apartment to finish the film.  When Tom, and his plagiarizing sister, come to return Ella to the hospital, she kills them both.  She then, with the girl’s help, finishes the film.  The film results in her own death, or at least that’s the way she sees it.  The film features quite a lot of stop motion animation although the movie itself is live action.  It’s a very artful, if gross, film.  The little girl is never seen by anyone else, nor explained, suggesting that she’s a younger Ella following her own creativity.  And paying the price for it.

I can’t claim to understand everything that happens in this movie.  That doesn’t make it bad, but worth pondering.  Those of us who live creative lives experience dry patches, and often, self-doubt.  I know that when I compare my writing to that of others, I suffer in the very comparison.  When Stopmotion first ended, I felt both confused and intrigued.  Euro-horror of recent years, to generalize, emphasizes the art of the craft.  There was a lot of symbolism in this movie, some of which I couldn’t connect to the action.  I suspect repeated viewing might bring some of this to light.  My family has often told me that with my focus and interests, I would’ve been a good stop motion animator.  I certainly have the creating monsters part down pat.  It’s just a matter of deciding which narrative to follow.