Thursday, June 27, 2013
The title, as with the similar Insidious, has no specific relevance to the movie. It's a generic horror title, so don't start watching with the expectation that the monster's left-handed or anything.
Ethan Hawke plays a formerly best-selling true-crime writer who needs a bestseller to pay the mortgage. Juliet Rylance plays his wife, who's never in the house during the day but doesn't seem to have a job, either. Their older boy suffers from a combination of Night Terrors and sleep-walking, which seems a bit odd to me given that Night Terrors generally involve sleep paralysis, but I'll go with it. Their younger daughter likes painting on walls.
Hawke's character cleverly moves the family into a house where a brutal multiple murder took place about a year earlier. Ah ha, but he doesn't tell his wife! And as his wife apparently neither speaks to anyone in town or is in any way curious as to why they moved where they moved, she doesn't find out the truth until fairly late in the movie.
Anyway, the supernatural forces in this movie really enjoy recording everything on Super 8 film. Then they stick the Super 8 projector and carefully labelled film canisters in the attic for the next family to find. Yes, there are a series of serial murders taking place across America. As one of the murders involved setting fire to a car inside a garage in the dead of night, I'm a little unclear as to how the house in that case survived for someone else to move into. I assume they had really good fire suppression installed. But not monster suppression, more fools they!
Sinister is nicely photographed. Much of the horror comes from the voyeurism of watching (fictional) snuff films along with Ethan Hawke. But boy, is everybody in this movie dumb except for Sheriff Fred Dalton Thompson and Vincent D'onofrio in a cameo as an expert in occult mythology and iconography. There's probably a pretty good movie to be made about D'Onofrio and his trusty coffee-dispensing sidekick Jessica, but I'm not sure these filmmakers could make a movie about what happens when smart people deal with occult forces, and do so by actually going to a library instead of relying solely on the Internet for potentially life-saving information. Lightly recommended.
World War One is the major intertext here, as Hall lost her fiance and several of the teachers fought in the conflict and came home with both physical and mental wounds. Hall's character also has a somewhat bizarre past, as she was adopted after her parents were killed and she was mauled by lions.
Debunking and debunkers are again portrayed as sad bastards screwing it up for everyone else, which seems to be the default setting of every fictional movie that ever dealt with debunkers. Given the real-world cost that awful, awful 'psychics' such as Sylvia Browne exact when they insert themselves into police investigations (which Browne has never once actually helped solve) and the lives of the bereaved (whom Browne has put through the wringer on numerous occasions by describing horrible modes of death for victims who in fact did not actually die the way she described), it would be nice if a movie dealt with this fairly important aspect of debunking: namely, that it keeps 'psychics' from doing terrible things to innocent people in the name of publicity.
In any case, once you realize that Hall's character is indeed another sad orphan who really wants to believe, you know where the movie is going. Well, sort of. The final major plot twist verges on O. Henry Playhouse territory, though it is somewhat foreshadowed. Enjoyable and atmospheric. Lightly recommended.
Trouble with the Curve: written by Randy Brown; directed by Robert Lorenz; starring Clint Eastwood (Gus), Amy Adams (Mickey), John Goodman (Pete) and Justin Timberlake (Johnny) (2012): Once you get through the hilarious scene of octogenerian Eastwood talking to his bladder, this is a slight, pleasant movie about an old baseball scout, father-daughter issues, and how wily old baseball scouts are way better than computers at locating baseball talent, even though in the real world they actually aren't. Lightly recommended.
While there are two ghosts, two psychics, and one serial killer in the novel, these elements often take a back-seat to King's depiction of his protagonist's struggles with love, loss, and a giant dog costume. It's an enjoyable, low-key affair in line with other relatively recent King efforts that include Blockade Billy and The Colorado Kid, in which the genre elements often fade away behind the more realistic concerns of the text.
Indeed, the ghosts and psychics make me think of the Yeats poem "The Circus Animals' Desertion" in the sense that King might be better off abandoning such elements entirely when he writes novels that are so much concerned with other things: the supernatural and the suspense tropes herein feel like props, taking up the space that might be better expended on straight-ahead, non-genre world and character creation instead. Recommended.
The novel began life as a script for a first-season episode of Star Trek: The Next Generation, for which Gerrold was contracted to work upon during its development and first season. The bloodworms were meant by Gerrold to be a metaphor for AIDS, with the episode exploring the stigma of the disease allegorically (as many Star Trek episodes did with many topics).
However, Gene Roddenberry ultimately turned it down (or perhaps his infamous late-life attorney did -- the introduction and conclusion go into some detail on the behind-the-scenes shenanigans on TNG's first season that ultimately led Paramount to essentially freeze Gene out of all decision-making for the Trek franchise). The AIDS story, and a brief dialogue exchange that would have established that there were actually gay people in the 24th century and that they were serving on the Enterprise, were both scrapped (these two bits were separate -- gayness had nothing to do with contracting Regulan bloodworms!).
As the Star Wolf series is Gerrold's attempt to show how Star Trek could have been done much, much better, he reworked the rejected episode into this novel. And it's a doozy, especially if you like technically specific science fiction that doesn't skimp on characterization and social theorizing. Highly recommended.
The Arrow Book of Horror Stories: edited by Elizabeth Lee (Collected 1965): Enjoyable, very much traditional horror anthology of stories from the 19th and early 20th century. Classics include F. Marion Crawford's "The Upper Berth", H.P. Lovecraft's "The Dunwich Horror", and Bram Stoker's "The Squaw." For some reason, Lee includes two stories by several authors, making the anthology more idiosyncratic than representative. Recommended.
Saturday, June 22, 2013
The Golden-Age Atom had been a short guy who was pretty good in a fight. The Silver-Age Atom was a scientist who figured out how to shrink himself while also controlling his mass.
This latter ability -- which allowed the Atom to be light as a feather or to weigh his full 180 pounds when he was six inches tall -- really could have been dangerous, as he could conceivably have been the first superhero to be constantly in peril of collapsing into a black hole. But apparently the Atom kept good track of his mass-to-size ratio and avoided this terrible fate.
This new Atom allowed for Gardner Fox and Schwartz to play with size and perspective within a quasi-scientific framework. The explanation for how the Atom could travel down phonelines required a half-page of text, and actually explained to me how the sound of a voice or what-have-you supplied power to analog phone lines. Science!
The elegant and dynamic Gil Kane and the detailed Murphy Anderson made a really nice art team on these early adventures. As with most Silver Age reboots, the Atom eschews a cape. And Kane makes the little fellow quite balletic and acrobatic, just as he did the Silver Age Green Lantern. A lot more fun and engaging than I expected. Recommended.
Enjoyable Christmas musical from Laurel and Hardy, set in the world of Mother Goose. The slapstick is fun, the romantic leads forgettable, and the musical numbers occasionally puzzling: why doesn't Hardy, who showcased a nice singing voice in other movies, get a number here?
A monkey dressed up to look like Mickey Mouse is really quite disturbing, especially when it's flying around in a toy zeppelin throwing bombs at the Bogeymen who have invaded Toyland. Recommended.
Yes, the studio re-edited the film without the input of Welles, chopping it down to 88 minutes and filming a newer, happier ending. Legend has it that the lost footage was quickly destroyed by RKO Pictures to prevent Welles from editing it back in.
While Welles was already notorious for going over budget, the fault really lay with RKO. They knew that The Magnificent Ambersons, a Booth Tarkington novel Welles and his Mercury Theatre had previously adapted for radio, was a tragic downer when they greenlighted it with an unheard-of-for-RKO million-dollar budget. But Welles would get the blame, and never really have full control over a decently budgeted studio film again.
What's left here is a magnicent, truncated Gothic tale with more than a hint of Great Expectations about it, though it's Great Expectations as seen in a funhouse mirror. Welles' brilliant use of shadows and textures, and his uncommonly fine understanding of how to achieve depth of field with the camera technology of the early 1940's, is on display here. The movie looks great as the camera flows through the chiarascuro rooms of the Amberson mansion.
The other fascinating intertext for this film would be The Great Gatsby, again in a funhouse mirror as the pseudo-Gatsby character, played by Joseph Cotten, becomes a true (and benevolent) success while the old-money family of the woman who rejected his love in a fit of pique, played by Dolores Costello, disintegrates under the onslaught of Time and the 20th Century. Tim Holt is suitably un-formed and callow as the spoiled rich kid, and Anne Baxter is radiant as Cotten's daughter Lucy. Highly recommended.
One of the earliest recurring paranormal investigators in horror literature, Carnacki remains a delight today, a century after the stories were first written. William Hope Hodgson made him fallible and capable of fear, thus making him a much more interesting protagonist than Algernon Blackwood's nigh-omniscient John Silence or Seabury Quinn's hyper-competent Jules de Grandin.
Science, or at least the appearance of science, plays a big role in Carnacki's investigations. Behold the Electric Pentacle, proof against supernatural powers. Carnacki's theories on what certain supernatural entities actually are give the reader glimpses of the weird world Hodgson has created: the malign, eponymous monster of "The Hog" may look and sound like a giant hog when it manifests on Earth, but it's actually some sort of massive, gaseous enemy from space that's trying to force its way into our world. The cosmic gulfs are haunted by things much worse than ghosts.
There's much quoting from fictional magical texts, and references to the codified and catalogued powers with which Carnacki contends. It all seems about twenty years ahead of its time, Lovecraft before Lovecraft, but with happier outcomes and a more interventionary race of Good Cosmic Beings.
Carnacki tells these tales to a small circle of friends. He refers throughout to his own fears and mistakes, and to his own fallibility. Several of the stories deal with fake hauntings or with explicable events of the natural world which only seem like the supernatural. Throughout, Carnacki marshals science and magic to do his job. Really a fine series of stories. Highly recommended.
Set hundreds of years in the future, The Middle of Nowhere tells us Gerrold's second story of the Star Wolf, a military 'liberty ship' of humanity's space fleet. Considered a 'Jonah' because of her inadvertant role in the devastating (for humanity) Battle of Marathon, the ship and her crew now race frantically to find a saboteur on-board so that they can join the fleet in its latest battle with the Morthan Authority.
The Morthans (More-than, get it?) are a genetically, biologically, and technologically engineered off-shoot of humanity that no longer consider themselves human. And they've decided to eradicate humanity. Not all Morthans are down with this plan -- the Star Wolf's security officer is a Morthan 'Tyger' named Brik. But enough are. Humanity may be doomed.
One of Gerrold's points in this and other Star Wolf novels is one that he also made in his non-fiction books on Star Trek. The probable distances involved in space combat should make the whole enterprise resemble submarine warfare. This makes for some tense combat scenes.
Portions of the book don't read like a novel so much as they read like technical sections from a 'Bible' for a TV show that never existed -- we learn an awful lot about the technology of the world of Star Wolf. I enjoyed these sections, but they may be tough, technobabble sledding for some. Recommended.
Sunday, June 16, 2013
Hodgson spent years as a sailor before turning to writing, so the tone of the stories rings true even when the events become improbable. Two of the stories deal with the debris and seaweed-choked Sargasso Sea, a location Hodgson would often use for his tales of horror. His fine horror novel The Boats of the 'Glen Carrig' also spends some time there among crabs the size of houses; giant, man-eating octopi; hordes of rats; and an assortment of other awful animals, plants, and dire weather and oceanic conditions.
One of the great lessons learned from these stories and other Hodgson work is that if you're not sure what it is, don't poke it with a stick. And if a 100-ton carnivorous sea-monster invades the deck of your ship, stop running around on the deck.
Besides their dialogic verisimilitude, Hodgson's stories excel in their depiction of the weird and sublime creatures and events on Hodgson's wide and fear-haunted ocean. The finest and most-anthologized stories herein are "The Voice in the Night", a seminal story about a particular type of oopy goopy monster, and "The Derelict", a nice bit of science-fictional horror. Hodgson's major horror stories and novels are well worth seeking out in newer editions than these, or older. Highly recommended.
The Day of the Dragon by Guy Endore (1937); Mrs. Amworth (1922) by E. F. Benson; Daniel Webster and the Sea Serpent (1937) by Stephen Vincent Benét; Creature of the Snows by William Sambrot; Aepyornis Island (1894) by H. G. Wells; Fire in the Galley Stove (1937) by William Outerson; The Mannikin (1937) by Robert Bloch; The Wendigo (1910) by Algernon Blackwood; The Derelict (1912) by William Hope Hodgson; O Ugly Bird! (1951) by Manly Wade Wellman; Mimic (1942) by Donald A. Wollheim; The Hoard of the Gibbelins (1911) by Lord Dunsany; and Footsteps Invisible (1940) by Robert Arthur (Collected 1968):
Fun Young Adult-directed horror anthology edited by the prolific writer and editor Robert Arthur, who ghost-wrote a lot of the early Alfred Hitchcock and the Three Investigators novels and ghost-edited a lot of Hitchcock-brand short-story anthologies.
And yes, "Mimic" by Donald A. Wollheim was adapted into the movie of the same name, though the movie has a much different take on the whole affair. Guy Endore, prose source of the 1930's Wolfman movies, could probably have sued the makers of Reign of Fire over his dragon story here. Or his estate could have, anyway.
The monsters in this anthology aren't all bad (the Benet story is comedy, not horror), though most of them are. Algernon Blackwood's "The Wendigo" is one of his two undeniably pivotal novellas (the other being the even-better "The Willows"). While Blackwood wasn't Canadian, many of his horror stories were set in Northern Quebec. It's interesting to see how he reconfigures the Native-American legend of the Wendigo to fit his own fears about the dangerously Sublime wild country of Canada. In its original, the Wendigo story is a cautionary legend about the dangers of greed and gluttony, not about getting spiritually overwhelmed by the wilderness.
Arthur's own story, "Footsteps Invisible," is one of my favourite short stories about Egyptian curses: I'd actually forgotten who'd written it until I read it again here for the first time in thirty years. Recommended.
Russell was a stylistic iconoclast in even his most pedestrian films, but never moreso than in The Devils, which adapted a non-fiction-based Aldous Huxley book about a possession frenzy in a 17th-century French nunnery into a metaphysical and carnal horror story about faith and politics.
Widely reviled by critics and moral pillars alike when first released in 1971, The Devils was cut and recut by the studio afterwards. Today, I'm pretty sure it's still impossible to get a non-bootleg director's cut of the film. Puritanical Warner Brothers has spent 40 years trying to pretend the film doesn't exist. Nonetheless, it's a cult film among viewers and film-people alike, as testimonials in this book to its greatness from Alex Cox, Guillermo del Toro, Joe Dante, David Cronenberg, David Lynch, and many others show.
Crouse also does a solid job of demonstrating how studios have changed since 1971, and not for the better in an artistic sense: no major studio would even think about making or releasing an expensive, controversial 'Art' film like The Devils today. The blockbuster mentality has pushed most movies that aspire to do something more than sell action figures to the fringes, while 'serious' studio movies must be dignified or feel-good in their quasi-artistic pretensions. Because as we all know, mental illness can be cured by ballroom dancing. David Cronenberg taught us that in Spider. Oh, wait a minute, no he didn't.
If there is such a thing as an auteur, Russell was one, though Crouse does a fine job of laying out the necessity of Russell's collaborators, most especially the protean wild-man actor Oliver Reed and set designer (and later director) Derek Jarman. Man, I really want to see The Devils now. Highly recommended.
Mom, Dad, two daughters. Virtually all characterization in the movie is as follows: Mom and Dad are divorced because Mom is a shrew and Dad is always away coaching his college basketball team. Daughters are mad at Mom and Dad. One daughter dances with her high-school dance team. One likes funny hats. The latter daughter gets Dad to buy her a wooden box at a yard-sale. Now you know as much about these characters as the film-makers seem to.
Oh-ho! That isn't just any curiously alluring, seemingly unopenable wooden box. It's a box with a Dybbuk -- a Jewish demon or spirit of malevolent intent -- imprisoned inside!
Hijinks ensue. Many of them seem to involve the belief that moths are really scary when in fact they really aren't, or at least the moths chosen for this movie aren't. Unless you're made of upholstery, I guess. This may be the first movie possession that could have been solved with a $2 box of moth balls.
As no one involved with this movie sat down and came up with a reasonable list of powers for the Dybbuk, it's one of those supernatural beings whose powers are exactly configured to the requirements of the plot. And it seems to be just as dangerous inside the box as it is outside. This is what Republican cutbacks on governmental oversight for Dybbuk-box construction have brought us to.
About the only thing the Dybbuk can't do when it's in the box is move its own box. You'd think this would make it really easy to get rid of. You'd be wrong. In place of interesting, intellectual explanation and exposition of matters supernatural, the movie simply has the father read about Dybbuks and possession on the Internet. Probably on Wikipedia. He learns it all in one night.
Of course, one thing may occur to you very early in the film. If we don't want the Dybbuk out of the box, why put a secret latch on the box? And if the thing is so dangerous even in the box, why does the woman at the beginning have the box sitting in her living room? Is this some sort of Free Will for Dummies thing? In any case, Fyvush Fynkel was much scarier as a possible Dybbuk in the Coen Brothers movie A Serious Man. If his face showed up on an MRI of your stomach, then you'd be a-scared. Based on a true story in much the same way, I expect, as Shrek was based on Charles Darwin's On the Origin of Species. Not recommended.
Sunday, June 9, 2013
And by 'understandable,' I mean, 'What the hell was Nolan thinking with the godawful sound-mixing on this movie?
Either Christopher Nolan is deaf or the sound mixing on The Dark Knight Rises was designed for some ideal, 100-channel speaker system that most homes and theatres don't have or Christopher Nolan was trying to make the action-movie equivalent of Robert Altman's McCabe and Mrs. Miller, with its purposefully muffled dialogue. Whatever. Add in the periodically incomprehensible electronically altered voice of Tom Hardy's Bane and the periodically self-parodic growl of Christian Bale as Batman and you've got a movie that should be sub-titled.
I suppose the other funny thing is that the Nolans lifted a bunch of stuff from Batman comic books for the TV show Person of Interest, and Person of Interest is a better take on Batman than any Batman movie. So it goes. I mean Jesus, Fusco IS Harvey Bullock! Recommended.
This is the 1942 re-edited version, with narration by Chaplin replacing the title cards. Chaplin's re-edit trimmed about ten minutes from the original. Eliminating title cards eliminated another ten minutes! So you get a 72-minute, trimmed-to-the-bone piece of Chaplin. Unfortunately, Chaplin's tendency to the maudlin and the over-stated overpowers some of the narration. He also has a tendency to tell you basic things that you can already see on the screen.
But the monumental nature of the comic set-pieces here still charms and amazes and amuses. Chaplin wasn't great at exploiting the filmic aspects of film as Buster Keaton was: editing and camera movement are not his stock in trade. But he knew how to fill a shot and stage a scene. His command of motion and of mise-en-scene was top-notch. I also always get a kick out of the cabin perched on the edge of an abyss. Easily one of the hundred finest English-language movies ever made. Highest recommendation.
The top-billed star, though, is Cobourg, Ontario's own Marie Dressler. Dressler was already 46 when this movie was released, and her career would decline up until the introduction of sound into film. Then she would undergo an amazing renaissance while in her sixties, winning a Best Actress Oscar and being named the top female box-office draw for three straight years before dying of cancer at the age of 66 in 1934. Her girl-hood home is a historical site in Cobourg.
There's lots of fairly basic slapstick here, much of it literally involving slapping, hitting, punching, and kicking. The rudimentary plot involves Chaplin's stranger eloping with rural naif Dressler in order to steal her money. Hijinks ensue, and the Keystone Cops make a late-movie appearance.
Sennett was not the man to discover any of the possibilities of the camera. Most shots are static, proscenium-arch set-ups from roughly the same vantage point in relation to the characters in the shot. Editing is rudimentary, and in-shot camera movement non-existent. There are a few close-ups, if you're counting, but not many.
The static camera will begin to wear on one after awhile, as will the haphazard relation of the locations of one shot to the next. The rules of Classic Hollywood shot-to-shot geography and geometry were just at the start of being formulated; get ready for characters to seemingly run the wrong way out of one shot and into the next. Trust me, you'll know it when you see it.
Chaplin is as good as possible with what he has to work with, as is Dressler -- they're both gifted physical comedians. If you're going to watch this, you may want to do so in two or three sittings. At 70 minutes, it feels awfully long. Recommended.
Friday, June 7, 2013
Stylistically, Bailey is a much wittier and more poetic prose writer than many of his contemporaries. Also somewhat unusually, House of Bones tackles the issue of race in America, something horror novels aren't traditionally known for. Thematically, the supernatural element has risen organically from the excluded and terrorized population of the housing project over years and decades.
Now, with the housing project closed and all but one of the apartment towers demolished, a billionaire has brought four seemingly unrelated people to Dreamland (the so-nicknamed last tower and center or decades of horror) for a two-week stay to attempt to delve into whether or not Something exists in Dreamland.
The team-investigates-haunted-house sub-genre of horror is a venerable one, with at least two towering (ahem) examples, Shirley Jackson's The Haunting of Hill House and Richard Matheson's Hell House. Bailey's novel doesn't quite reach those heights. It is, nonetheless, a thoughtful and occasionally harrowing read, with more on its mind than simply scaring the reader, and with solidly and believably rendered protagonists. Recommended.
All of these stories were published before the Comics Code Authority, so they're plenty violent and often quite grim. In somewhat bizarre fashion, one of the stories anticipates the ending of the Frank Miller/Walt Simonson miniseries Robocop vs. Terminator.
I'd have left out the misogynistic "What Next Then" in favour of something involving a monster and not a serial killer. The introduction gives a nice overview of Powell's career; I would be willing to sacrifice the over-sized tabloid-scale reproduction in favour of more, smaller pages, though. Recommended.
Along with the usual appearances by the never-named Doc Savage (creator of the Rocketeer's rocket pack) and his comrades Monk and Ham, this miniseries gives us (also-never-named) takes on the high-society detection team of Nick and Nora Charles from The Thin Man movie series of the 1930's and 1940's.
Continuity for IDW's ongoing series of Rocketeer miniseries by different creative teams continues (and the next one apparently teams the Rocketeer and Will Eisner's The Spirit, with art by 80's X-Men artist Paul Smith) does move along a bit, as the ownership issue of the Rocketeer pack is finally resolved in a logical fashion.
The Howard Hughes joke (which the Disney movie turned into an actuality because of not having the rights to Doc Savage et al. and not having the leeway the comic book did to show the characters without naming them) gets riffed on again, as does H.P. Lovecraft's Cthulhu Mythos. Recommended.
Wednesday, June 5, 2013
n one scene, crime boss Jeff Daniels tells protagonist Joseph Gordon-Levitt that the clothes he chooses to wear have simply been adopted from movies, not real life. We hear writer-director Rian Johnson talking to himself.
Important intertexts? Shane, Pale Rider (itself tied back to Shane), Casablanca, Get Carter (right down to the drugged eye-drops), Blade Runner, and the Back to the Future trilogy(!), the latter for its Electra complex as much as for its time-travel. Oh, and The Twilight Zone episode entitled "It's a Good Life," with its super-powered child who sends bad people to "the cornfield." Though here it's a canefield. It's a dandy movie. Clouds are also important. Highly recommended.
In the post-apocalyptic urban sprawl of MegaCity One (population 800 million), which occupies much of America's East Coast and stands above a countryside devastated by war and pollution (The Cursed Earth), police officers are judges, juries, and executioners if need be. Judge Dredd is the best of them.
With a new drug on the streets and Lena Headey's psychotic crime boss in control of an entire residential block/building, Judge Dredd and trainee Judge Anderson (Olivia Thirlby) walk into a killing zone. And for about 70 minutes, they try to fight their way out of it.
Karl Urban is solid as Dredd, a character who never removes his helmet. Thirlby is also good as the psychic Anderson, who gets some great on-the-job training here as everyone tries to kill the two Judges. The movie does a nice job of capturing the odd action-satire of its original: Dredd is both a Dirty-Harry-style badass and a pointed commentary on Dirty-Harry-style badasses.
It's too bad this bombed, as I'd have liked to see the film-makers' take on the whole Judge Death saga. But at least this helped wash the memory of the horrible, horrible, horrible 1990's Judge Dredd, starring Sylvester Stallone and Rob Schneider, out of my head, though obviously not completely. Easy the Ferg! Recommended.
Jodie Foster, fresh off Taxi Driver, plays main character Rynn, a 13-year-old girl who rents a secluded house in a small town with her reclusive poet father. She's befriended by town cop Miglioriti and his amateur magician nephew Mario, and befiended by the owner of her house and the owner's pedophiliac son, played by a young and intensely creepy Martin Sheen.
Apparently, Foster hated making this movie and has implied that she mailed in her performance. It doesn't show -- Rynn has been written as an emotionally distant character, and Foster's enunciation, facila expressions, and body language convey this quite smartly. As noted, Sheen is creepy, and the other actors are also effective in their roles. Mostly low-key but weirdly affecting and even haunting. Recommended.
Monday, June 3, 2013
I don't know if Little has taken the conversation about what real absolute evil would look like in Arthur Machen's pivotal century-old story "The White People" as his model (real absolute evil would be a complete violation or inversion of accepted natural law: roses singing, or stones walking, for example), but the effect is sometimes the same. Though there's lot of more normal supernatural and natural horrors in The House as well.
We begin with four bizarre, seemingly supernatural and seemingly fatal occurences. Then we meet five seemingly disparate people from across the United States who turn out to have very similar memories of their weird and scary childhood homes, even though none of them lived in the same house. For the most part, they've repressed those childhood memories, and never gone home again. But now they have to go home again. Supernatural events have started to occur across America, and those childhood experiences somehow explain why.
Little is a dab hand at sympathetic characterization, even with characters who turn out to be increasingly unsympathetic as a novel progresses. It's that characterization that holds the novel together through its oddities and idiosyncrasies. The absolute weirdness of many of the supernatural events goes too far for scares at times (a rose in a block of cheese being the least scarifying of these things), a problem shared with another Little novel, The Return. But there are also many effectively horrifying bits, along with an adversary who really does make one squeamish whenever it appears.
Little's skill at plotting is also at work throughout -- the narrative rockets along, and while one may be underwhelmed by certain inventions, one won't stop reading. There's no poetry here, just muscular prose and invention that sometimes gets a bit out of control.
Little's tendency to two word titles can make it difficult to remember what novel is what -- this plain-style stuff can go too far, though calling a collection of short stories The Collection is pretty funny, given the number of The [Something] novels that preceded the publication of The Collection. Oh, well. Recommended.
Saturday, June 1, 2013
Savage Dragon follows the adventures of a green-skinned, amnesiac, super-powered fellow with a foot-tall fin on his head. Recruited to help Chicago police deal with an overabundance of super-powered criminals, Officer Dragon soon becomes sought after across the U.S. as a reliable bulwark against super-criminals.
It's fun to watch Larsen grow as a writer and an artist over the first two years of the book collected here. The black-and-white reprint format makes an early tendency towards over-rendering quite clear -- a number of early one- and two-page splashes are nearly incomprehensible in black-and-white thanks to a plethora of lines.
Larsen has already self-corrected by the end of the run, though, as his art gets pleasingly more cartoony (Dragon looks less and less over-muscledly realistic and more and more like something out of a Warner Brothers cartoon). The influences of artists like Frank Miller, Steve Ditko, Jack Kirby, and perhaps Alex Toth start to show in an art style that more effectively uses fewer lines, suggestiveness, and solid blacks.
The writing develops as well, the story becoming twistier and more capable of surprise the further along one goes. There are some nice plot twists, some effective characterization, and an increasingly effective ability to make fights scenes seem necessary to the storyline, and not simply de rigeur. A good time. Recommended.