Families can be funny things. It’s no surprise when you think about it: we chose our friends and our lovers, but not our parents or our siblings. Why should we be expected to get on with them when all we share is genetics and a house? Don’t read anything into this intro, by the way, I’m not about to give you the potted history of the family Moody. ivermectin tab# I’m actually just going to recommend a cracking little film to you: AWAIT FURTHER INSTRUCTIONS.
A family’s tense reunion turns terrifying when they get trapped in their home by an unknown force, and sinister commands begin appearing on their TV.
You’ve no doubt noticed the absence of much real news on this site recently. I’ve teased a few things (which will be announced very soon, I promise), but I’ve tried to make a point of adding more movie recommendations to help you remember I’m still here and still alive.
The classic horror movie education of my youngest kids continued last night with a screening of one of my favourite movies of all time – David Cronenberg’s 1986 remake or THE FLY.
Now I know I rant against remakes frequently, but I’m also the first to admit there’s a time and a place for film ideas to be revisited (or reimagined, or rebooted, or whatever the trendy term of the day is). I talked about one a few weeks back – Philip Kaufman’s 1979 remake of INVASION OF THE BODY SNATCHERS, and no doubt I’ll cover others here too.
Cronenberg’s THE FLY is a masterful reworking of the 1958 B movie starring David Hedison and Vincent Price which was, in turn, an adaptation of a George Langelaan short story which had been published in PLAYBOY a year earlier. Here’s a brief summary of the Cronenberg version, followed by a trailer. My thoughts are after the cut.
By the way – the movie features a wonderful soundtrack from composer Howard Shore. The trailer below does not. Very little cheesy 1980’s synth pop appears in the finished film.
Seth Brundle, a brilliant but eccentric scientist, offers investigative journalist Veronica Quaife a scoop on his latest research in the field of matter transportation, which against all the expectations of the scientific establishment has proved successful. To a point. The machinery cannot yet transport organic matter. Brundle and Quaife’s burgeoning relationship helps him rethink the problem of ‘the flesh’. After successfully transporting a living creature, Brundle attempts to teleport himself, not realising a fly has enters the transmission booth with him. Brundle emerges a changed man.
Regular readers will know that I’m usually one of the first to moan about the film industry’s habit of remaking old movies. I stand by most of my previous comments, in that remakes are often a lame excuse to capitalise on the goodwill an older version of a movie has garnered (case in point, pretty much every remake of 1970’s and 1980’s horror – Nightmare on Elm Street, Friday the 13th, The Hills Have Eyes, Texas Chainsaw, and so on). Occasionally the original film-makers will be involved, and a remake will make sense (such as the 2013 Evil Dead… you could also argue that Evil Dead II was a remake of sorts of the 1981 original). There remains another category of remakes, and it just so happens that three of these updated versions of classic films rank in my top ten horror movies of all time. This is where new film-makers put a present day spin on horror tales which, quite often, were well made but were limited in some way – perhaps by the technology of the day, or maybe the social landscape has changed to give a story increased relevance. Two of three films I’m referring to here are David Cronenberg’s stunning The Fly, and John Carpenter’s ground-breaking The Thing.
Today’s movie recommendation, however, is a 1979 remake of a 1956 original which, although perhaps not quite scaling the heights of the Cronenberg and Carpenter movies I’ve just mentioned, is still an excellent example of a remake done right. I’m talking about Philip Kaufman’s 1978 INVASION OF THE BODY SNATCHERS.
I have a habit (and I can’t decide whether it’s a good or bad habit) of neglecting everything else when I start writing a new book. I’ve been neck-deep in the first novel in the SPACES BETWEEN series for the last few weeks and haven’t been posting here as often as I’d planned. I’ll try and put that right.
I’ve just re-watched a classic. A real blast from the past for this Post-Apocalyptic Movie Club selection, and for good reason. I’ll be referencing this film, and the film I’m going to talk about next, in a new ‘What Works For Me’ article, coming up shortly.
There are three directors I regularly cite as having had a huge impact on me during my formative years. In no particular order they are George Romero, David Cronenberg, and John Carpenter. Romero is self-explanatory: without him there’d be no Autumn. Cronenberg – well, he’s responsible for some of my very favourite horror movies… The Fly, Shivers, Rabid – need I go on? I was once told that he’d been passed a copy of Hater. Just the thought that Cronenberg’s held one of my books is something I still find hard to believe.
John Carpenter completes this weird holy trinity. His films are, I think, more accessible than those of Cronenberg and Romero, but not less influential. I’m a particular admirer of his golden period: from Assault on Precinct 13 in 1976, through to The Thing in 1982, and pretty much everything in between. During this time he made a series of consistently strong, often ground-breaking horror films.
Escape from New York (1981) is a cracking movie, one which I’m sure you’ve probably seen. If you haven’t, you’re in for a treat. Here’s the synopsis, followed by a trailer. Click the link below for my thoughts.
In the future (well, 1997 was the future back then!), crime in America has spiralled out of control. Surrounded by impenetrable defences, New York City is now a maximum security prison: once you go in, you don’t come out. When the President of the USA crash lands in Manhattan, Snake Plissken, a disgraced special ops soldier, is sent in. Plissken has twenty-four hours to find the president and get him out.
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