Shocktober Day 7: The Innocents

The Innocents

It’s by some coincidence that the first two films I’m reviewing are both about a young brother and sister combo, pitted against an older, seemingly more responsible adult. Granted, the use of children in horror movies is not uncommon, I’m guessing because the things we’re most scared of we were most scared of when we were kids. Also, The Innocents (ironically) isn’t about kids that are necessarily naive and innocent, but instead the adult is the one getting spooked out of their gourd. Continue reading

Shocktober Day 6: Jigoku

Jigoku (1960)

If there’s any country that produces films that make me feel like utter shit, it’s Japan. You always hear about Japan being a “Shame society” where social order is kept by the reinforcement of guilt. If I’ve learned anything from watching Japanese horror films, I’ve learned this is 100% true. I don’t know how many Japanese ghost stories I’ve read or watched where the events of the film are thrust into motion after a horrible accident or regrettable decision is hidden by the film’s central character(s). These people usually learn their lesson by way of paranormal haunting or a supernatural curse. Or in the extreme case of Jigoku, GO TO HELL! *cue your favorite rock song containing the word “Hell”.

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Shocktober Day 5: The Blob

The Blob (1958)

It’s 1958 and a red menace is threatening small town America! No, I’m not talking about the Soviets, I’m talking about the molten meteor from outer space! 1958’s The Blob has a reputation for being a campy joke of a movie, but I think that’s maybe too harsh for a mostly competent film. I’d go as far to say it’s a perfectly fine film, but that may be because it’s structure is one I’m already pretty into: the Star Trek formula.

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Shocktober Day 4: The Night Of The Hunter

The Night Of The Hunter

Thinking back to the original Criterion month we did back in July, there was one recurring theme that seemed to emerge when sifting through all these classic films that the good folks at Criterion Collection have taken it upon themselves to preserve. And that’s that no matter how old a film is, if it actually is a worthwhile piece of art, whatever it has to say will be timeless. Take for instance, The Night of The Hunter, a film that I originally saw my first year of college, and watching it this week, I was able to watch through the lense of the moment in time we’re living through right now. Continue reading

Shocktober Day 3: The Uninvited

The Uninvited (1944)

It was kind of nice to start this month of ghastly art house terrors and pulpy hilarity with something quaint. That wasn’t my plan and it wasn’t exactly what I was expecting from The Uninvited, given its reputation as one of the scariest films ever (at least according to directors Martin Scorsese and Guillermo Del Toro) but in retrospect it wasn’t realistic to expect something truly horrifying from a Hollywood film made in the forties. After all, outside of those two guys, The Uninvited is remembered for being one of the first Hollywood movies to depict a haunting seriously, not necessarily for being one of the scariest.
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C.A.T.: Wildflowers

Tom Petty – Wildflowers (1994)

In memory of Tom Petty, I have chosen Wildflowers as this week’s Classic Album Tuesday. Although it’s an album I haven’t been familiar with for long, it may already be my favorite of Petty’s prestigious catalog

Two weeks ago, I was watching a 2015 ELO concert on some descendant of MTV. MTV3? MTV 1/2? Where I watched it wasn’t important, rather it’s what followed the concert. Because in between regularly scheduled programming, the channel shows music videos. One of which, for whatever reason, was the music video for Tom Petty’s 1994 hit “You Don’t Know What it’s Like”. I couldn’t remember the last time I’d heard that song. It could have been ten years ago, it could have been twenty, but it opened my eyes and my ears to Tom Petty’s 1994 album Wildflowers.

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RIP Tom Petty

The great American rock star is a rare breed. Anyone can strum on a six string and sing a song about a girl. Or pose for pictures in tight pants with hair over their face. It takes a special person to rise above the superficial glitz and glamour of rock and roll. It takes a special person with the gift to share stories about love and loss and connect with people all over the world. A special person who in one moment can pen a lighter burning rock anthem and in another, a drunken ass-shaking sing-a-long. Losing Tom Petty isn’t losing a great musician, it’s losing a slice of Americana. There will be other rock stars, other rock songs, but there will only ever be one Tom Petty, and that’s heartbreaking.

Tom Petty and the Heartbreakers broke through at an odd time for music. Disco was on the rise as was punk. New Wave was still a few years out and Tom Petty didn’t fit in with the current crop of stadium rock darlings like Journey or Styx. Tom Petty’s music was simpler, shorter, more in tune with the rock and roll of yesteryear. He loved The Birds and The Beatles and sang with a nasally Southern twang, courtesy of his upbringing in Gainesville Florida. Petty didn’t look like your stereotypical rocker either. He was gangly with straw-blond hair and big teeth, like a scarecrow who had come to life, picked up a sunburst Rickenbacker and slipped on a leather jacket. He wasn’t caught up in whirlwind love affairs or on the covers of tabloids for drug-addled debauchery. He was a quiet, unassuming soul, but most importantly a master songsmith.

You could fill a whole radio station with Petty songs and never run out of quality material. His songs could be upbeat and inspiring, but also rebellious and dark like “Breakdown” or “Refugee”. He was a great collaborator, working with artists like Stevie Nicks on the classic “Stop Draggin’ My Heart Around” or with the late ‘80s supergroup The Traveling Wilburys. In the 90s he transitioned into a folk-rock troubadour, blowing his harmonica on hit songs like “You Don’t Know What It’s Like” and “Mary Jane’s Last Dance”. He was one of the first artists I remember liking for their words. I didn’t care for lyrics as a child but when I heard “All the vampires, walkin’ through the valley move west down Ventura Blvd.” I was engaged.

Tom Petty is one of those artists you never imagine passing away. Whether you discovered him as a fist-pumping teenager or in the back of your mom and dad’s car, you can’t deny he was an essential part of our modern musical landscape. It’s sad to lose him, but at least we have the classics to remember him by. RIP.