With Halloween right around the corner, and Horrors Weeks in full swing, The A.V. Club is counting down the scariest, creepiest, and most nerve-shredding opening scenes in horror-movie history. Bonus: Karin Slaughter recommends 7 thrilling, disturbing mysteries written by women.
Every day this month, the wacky graphics folks at Baboon Creation (with Motion Designer Simon Lagneau) have posted an animated gif showing an iconic horror character in a 'walk cycle' (or float or bounce, depending on the character). From Frankenstein's Monster on the 1st to Michael Jackson Zombie on the 31st, all in a cartoonish style that's more spoopy than spooky. (Day 17: the Addams Family's Cousin Itt) Still, they call it "31 Horror Days"; I can't disagree or the monsters'll get me.
The closest a film has ever come to adapting King’s internal-horror aesthetic is a film King himself has publicly lambasted: Kubrick’s version of The Shining. It’s the most artful, scary, and beautifully directed of the King adaptations, and even excludes some of the novel’s more overt (and potentially silly) visual elements, such as the hedge animals that come to life and stalk the family in the yard. Yet, the film never tackles the serious human horrors that infect Jack Torrance throughout the novel, specifically his alcoholism, along with the themes of cyclical abuse and mounting financial pressure. King’s criticism of the film is that Torrance, as played by Jack Nicholson, is portrayed as unhinged right from the start, whereas the novel slowly unravels the man’s sanity, the haunted house he occupies pushing him deeper into madness and violence. [more inside]
The Trouble with "Carrie": Strong Female Characters and Onscreen Violence.
Whether she's volunteering to take her sister's place in the arena or grooming her son to lead the resistance; gunning down the gangsters who sell drugs to the kids in her neighborhood or swinging swords to avenge her daughter, the "strong female character" is often stirred by a maternal concern, a quintessential desire to preserve her community, to protect the weak and vulnerable. Her bad-assery must be in the service of a greater good. Even when she's more ethically complex (like the Bride, who begrudgingly admits that all the people she killed to get to her daughter, "felt good"), she never takes a place at the table of Walter White's grand epiphany: "I did it for me."
Carrie does what Beatrix Kiddo and Ellen Ripley and Katniss Everdeen don't: She does it for herself. Her vengeance, her violence, is in service to no one, no noble good. She doesn't kill because her family and friends have been threatened. There are no friends, no fellow outcasts, to protect from the bullies. No little sister to shield from Mama's wrath. Only her. And she is enough. Carrie kills because she was wronged.
It turns out that if you cut together a bunch of scenes from Disney's Cinderella along with the audio track for the trailer of the new Carrie remake, you get something very creepy, disturbing and brilliant.
"What if telekinesis was real? How would you react? Our hidden camera experiment captures the reactions of unsuspecting customers at a New York City coffee shop as they witness a telekinetic event." (SLYT, viral marketing)
Gillian James charts the connections in the Stephen King universe* Meanwhile The Guardian is rereading King begining with Carrie and Salems Lot, CNN has discovered The Gospel of Stephen King, and in further Castle Rock news a new movie version of It is being made.
* Not including The Dark Tower
* Not including The Dark Tower
Princess Leia's dad died l Carrie's tweet l Eddie Fisher RIP l [He] became one of the last great young crooners of the pre-rock and roll period, with 35 of his recordings reaching the Top 40 through the end of the decade l His career as a pop singer was overshadowed by his marriages to Debbie Reynolds and Elizabeth Taylor l When Eddie Fisher was with Debbie Reynolds. [more inside]
Carrie: The Musical, is legendary for closing after 5 performances and being perhaps the biggest instant flop in Broadway history. It has also achieved cult status, with fans demanding the performance rights be released (they've been held back since its Broadway closing). [more inside]
Fifteen years ago, the venerable Royal Shakespeare Company staged a musical adaptation of Stephen King's novel Carrie. Wackiness ensued, to the tune of $5 million.