Tuesday, September 30, 2014

Join the DARK SHADOWS VAMPIRE CLUB!

I missed out on the chance to take part in the original DARK SHADOWS craze of the 1960s, thanks to not having been born yet. But why let a little thing like the absence of corporeal form and temporal desynchronizing get in the way of a good time?

With that in mind, I present to you the DARK SHADOWS VAMPIRE CLUB membership certificate.  This is a high resolution reproduction of the original fanclub document from the 1960s, and should print smoothly. I say "should" because I haven't actually sent it through the printer yet, myself. I like to live dangerously.

But wait! There's more! I've also added a PNG file of the wallet-sized membership card, in case you get hassled by the man when away from home. All this for the low low price of absolutely nothing.

Print them! Sign them! Share them!

Come see how the vampires (and witches) do it on TCM


Turner Classic Movies is getting into the Halloween spirit in October with broadcasts of HOUSE OF DARK SHADOWS and NIGHT OF DARK SHADOWS.

There's no real rhyme or reason to the schedule, though. NIGHT OF DARK SHADOWS is first on the roster, airing Thursday, Oct. 23, at 2 a.m. HOUSE OF DARK SHADOWS is set for the following week on Tuesday, Oct. 28, at 1 p.m.

It will be interesting to see what happens with NIGHT OF DARK SHADOWS, a film that's long since fallen off the television broadcast cycle. For the longest time, TCM was the only place to see HOUSE OF DARK SHADOWS letterboxed. Since the last time either of these films were shown on TCM (is this actually the debut of NIGHT OF DARK SHADOW on TCM?) both movies have been digitally remastered. It seems logical to assume NIGHT will air widescreen; but will these be the films' former transfers, or the shiny new editions available on DVD, Blu-ray and digital download?

(Thanks to Will McKinley for the tip. Go follow him on Twitter!)

Monday, September 29, 2014

SAM HALL, 1921 — 2014

"As a head writer, I didn't really write the scripts ever. I just plotted them. If I didn't like the writing (my staff) did, I could certainly rewrite it. But it became more of a routine: editing and plotting and dealing with networks."

From left, Grayson Hall, Sam Hall and Jonathan Frid.

 In the early hours of Sept. 27, Matt Hall reported on his blog that his father, Sam, had died.

It was a short post, possibly the shortest that's ever appeared on his website, titled "Sam Hall" and accompanied by the text "March 11, 1921 - September 26, 2014." This is one of those occasions where brevity carries more weight than a 4,000-word obituary, and makes a very clear plea for privacy. A writer like his father, I suspect Matt will get around to saying more about his Sam Hall in the near future.

Sam and Grayson, courtesy of SHADOWS OF THE NIGHT.
Hired near the end of 1967, playwright Sam Hall quickly became the default voice of DARK SHADOWS for many fans. Myth has it that Hall was the reason that his wife, Grayson, landed a role on the series, but he was always quick to point out the faulty math inherent in that story: Grayson made her first appearance on the show earlier that year and was actually responsible for getting Sam a job on the series.

With more than 300 episodes of DARK SHADOWS credited to him, it's likely that Hall wrote more of the series than anybody else. But television writing is a lot more complicated than credits might suggest. While a credit implies that a writer is responsible for an entire script, it's common that they're just responsible for a preponderance of the material. Television shows like DARK SHADOWS have a staff of writers working together to keep the machine moving forward; scriptwriters often go uncredited for minor contributions.

Of course, this also means that Hall's contributions to DARK SHADOWS weren't limited to the scripts that just had his name on them. He was eventually promoted to head writer which gave him much more control over the future direction of the series. When Dan Curtis decided to translate DARK SHADOWS to the big screen with HOUSE OF DARK SHADOWS, he recruited Hall and Gordon Russell to write the screenplay. As an example of how complicated the show's DNA can be, the film's screenplay distilled the television show's first "Barnabas Collins" story ... which had been written by guys like Malcolm Marmorstein and Ron Sproat.

Grayson Hall and David Selby in NIGHT OF DARK SHADOWS.
The following year, Curtis brought Hall and Russell back to write the sequel. The film was simply known as DARK SHADOWS 2 during the writing stage before changing to CURSE OF DARK SHADOWS, then NIGHT OF DARK SHADOWS. It was a (mostly) original story that also provided a meaty role for Grayson. Much of her performance would wind up lost in the vaults for decades, though, thanks to a last-minute decision by distributor MGM to mutilate the film in an effort to reduce its running time.

"It just wasn't my work they butchered, but my wife Grayon's, as well," Sam Hall recounted in THE DARK SHADOWS MOVIE BOOK. "That affected me more. I didn't want to have to tell her."

When DARK SHADOWS was cancelled in 1971, TV Guide turned to Sam Hall was details about where the series might have gone had it remained on the air. While Hall points out that these plot points are not definitive, fans were so grateful that that many quickly elevated his concepts to the level of canon. You can read the entire thing for yourself HERE.

Hall would work again with Curtis on the adaption of FRANKENSTEIN for "The Wide World of Mystery" in 1973. Two years later, the series would reunite him with DARK SHADOWS director Lela Swift and former castmembers Diana Davila, Bernhard Hughes and wife Grayson for THE TWO DEATHS OF SEAN DOOLITTLE.

While it's a mere blip on his career, Hall also worked on a TV movie in 1969 titled DEAD OF NIGHT: A DARKNESS AT BLAISEDON. Produced by Dan Curtis and directed by Lela Swift, the short film (it clocks in at less than an hour) was meant to serve as a pilot for a primetime variation of DARK SHADOWS. It also featured two other Collinwood stalwarts, Louis Edmonds and Thayer David. It was not picked up as a series, though. In 1991, a second (and more legitimate) attempt was made to bring DARK SHADOWS to primetime. Again, Curtis recruited Hall, as well as his son, Matt, to write for the series. The show's pilot was based less on the original series, and more on 1970's HOUSE OF DARK SHADOWS.

Hall would later write for GENERAL HOSPITAL, SANTA BARBARA and ONE LIFE TO LIVE. Earlier this year, he filed a lawsuit against ABC for royalties he believed were owed to him when the latter was made available on Hulu and iTunes.

"I'll probably be remembered for DARK SHADOWS instead of the things I really cared about," Hall said in Jeff Thompson's THE TELEVISION HORRORS OF DAN CURTIS. "DARK SHADOWS will be the thing that's on my gravestone but I love DARK SHADOWS. I guess it's terrific to have somehow created something that will live forever. It will live forever.)

More actors join cast of DARK SHADOWS: BLOODLUST

Alexandra Donnachie and Walles Hamonde.
Daisy Tormé and Jeff Harding will be making their Big Finish debuts as newlywed couple Melody and Michael Devereux in the upcoming serial, DARK SHADOWS: BLOODLUST.
Daisy Tormé.

“We wanted to make BLOODLUST easily accessible for new listeners,” says co-producer Joseph Lidster, “so we created the Devereux family to be our eyes and ears. They’re not from Collinsport, and they don’t know anything about its history. I don’t think it’s a spoiler to say that they’re going to discover that it’s maybe not the ideal place to have their honeymoon - especially after the killer strikes...”

“Melody and Michael are very sweet,” says co-producer David Darlington. “She lives life to the full but is hopelessly disorganized. He’s an intelligent, thoughtful man - but a bit uptight, and shut-off from the world. They’re polar opposites who found what they need in each other when love struck...”

“Daisy’s a voiceover specialist,” Lidster continues, “whose vocal talents have featured in many computer games, such as the Final Fantasy series, and feature films including RAMBO, SYRIANA and AN AMERICAN VAMPIRE STORY. She was recommended to us by original DARK SHADOWS star Kathryn Leigh Scott, and is perfect for Melody. Jeff is another voice artist of renown – he is heard on dozens of new audiobooks every year – as well as having had an impressive  career in British film and television, with credits including HOWARDS WAY and TOMORROW NEVER DIES. Genre fans probably know him best for playing General Damon in the '90s run of THE TOMORROW PEOPLE on TV – or maybe for his recurring role as Ed Winchester in THE FAST SHOW!”

Jeff Harding as Michael Devereux.
 Also joining the cast are Alexandra Donnachie and Walles Hamonde as Collinsport teenagers Jacqueline Tate and Cody Hill.

“Jackie is the daughter of the local Sheriff but is a bit of a rebel really. She’s best friends with the doctor’s son, Cody who’s a real science geek,” continues David Darlington. “They soon join forces with Harry Cunningham (Scott Haran) and, well, they're three adventurous teens in a horror series. Anything might happen...”

DARK SHADOWS: BLOODLUST is a 13-part miniseres set to begin in early January, with two MP3 installments in the series scheduled to be released weekly on Tuedays and Fridays. The series will later be collected in two compact disc collections.  It's available to pre-order HERE.

Big Finish has an official Soundcloud page that includes dozens of teasers and behind-the-scenes recordings from their various DARK SHADOWS productions. The site includes introductions from the nine cast members that have been announced. Listen to them HERE.

Monster Serial: ROSEMARY’S BABY, 1968


By WILL McKINLEY

You can learn a lot from ROSEMARY’S BABY, Roman Polanski’s 1968 film adaptation of Ira Levin’s best-selling horror novel. But here’s the most important lesson: never date an actor.

If only someone had warned poor Rosemary Reilly when she got off the bus from Omaha in 1962. She would never have married frustrated Another World day player Guy Woodhouse, they would never have moved into the apartment next door to that kooky old couple, and Guy would never have bartered Rosemary’s reproductive system to a coven of geriatric devil worshippers in return for his big break in showbiz.

Oh, well. As my mother would say, “Life is a learning experience.”

Here’s another thing mom used to tell me: “You can’t sleep in our bed every time you watch a scary movie!” And ROSEMARY’S BABY has been a favorite of mine, ever since my parents’ ill-advised decision to let me watch it on TV back in the late ‘70s. I became obsessed with the concept of evil living amongst us, like in that mysterious old lady’s house down the block, the one where none of us would dare trick-or-treat. ROSEMARY’S BABY did for senior citizens what JAWS did for beach-going; I haven’t trusted the elderly since.


And, nearly half a century later, it still holds up, like so many films from the American New Wave of (roughly) 1967 through 1977. Freed from the self-censorship of the Taliban-esque Motion Picture Production Code (first enforced in 1934 and abandoned 34 years later in favor of the MPAA rating system), and desperate to offer a competitive alternative to increasingly provocative broadcast television, the major Hollywood studios produced a trove of startlingly original, often highly pessimistic films that still resonate today. Nearly a quarter of the AFI’s 100 Greatest American Movies of All Time come from that decade, and the total jumps to one-third if you extend the era through 1982, as many film scholars do. I like to think of those years as “The Era of the Unhappy Ending” and, in that regard, ROSEMARY certainly doesn’t disappoint. Unless you’re a Satanist.

In fact, ROSEMARY’S BABY serves as a perverse bridge from Old Hollywood to the New, with familiar faces from the Golden Age re-imagined as figures of secret menace: screwball comedy sap Ralph Bellamy as Rosemary’s evil obstetrician; wisecracking short-subject comedienne Patsy Kelly as cradle-rocker Laura-Louise; former matinee idol Sidney Blackmer, who played Teddy Roosevelt on screen more than a dozen times, as anagrammatic warlock Roman Castevet; and actress/screenwriter Ruth Gordon, co-writer (with husband Garson Kanin) of ADAM’S RIB (1949) and PAT AND MIKE (1952), as the malevolent Minnie — a bravura performance rewarded with a well-deserved Oscar.


Waifish and freckle-nosed Mia Farrow, fresh from her lead in the primetime soap opera Peyton Place and looking barely out of her teens, plays Rosemary as a dreamy Mid-Western girl a few years behind the feminism curve. And that leads us to the second lesson of ROSEMARY’S BABY: a young housewife should always keep cash on hand, just in case she needs to escape from a husband who has lent her womb to Lucifer in return for a plum role in a television pilot. (See above.)

As the duplicitous thespian, Method master John Cassavetes gives the most motivationally consistent performance in the film, grounding it with vital believability. We meet Guy as a charmingly macho 1960s chauvinist, banging his much-younger wife on the floor of an apartment financed by a single appearance in an aspirin commercial. Soon he devolves into a glassy-eyed con-conspirator, chain-smoking his way through every interaction with Rosemary, un-able to look at her, haunted by the supernatural depth of his betrayal. But he fools her because he is an actor. (See above, again.)


Though ROSEMARY’S BABY was the first Hollywood production for the Polish filmmaker, Polanski directs the film with the assurance of an industry veteran. From his frequent use of intimate, handheld camerawork, to his artful juxtapositions of silence and ambient sound, Polanski exhibits remarkable restraint with a story that, in less-confidant hands, might have crossed the imaginary line of camp. In fact, the delightfully pulpy novel, to which Polanski’s Academy Award-winning screenplay is slavishly faithful, offers a detailed description of the baby (claws, tail and “the buds of his horns,”) yet the director chooses to leave the li’l devil to the audience’s imagination. It’s a creatively courageous decision that seems prescient. Nothing dates a horror film more irrevocably than no-longer-special effects.

Polanski does make one creative big misstep, and it happens at a key moment. During the brilliantly surrealistic sequence in which Rosemary and Beelzebub give new meaning to the term “beast with two backs,” the director employs shots of an actor wearing what is supposed to be, I assume, a devil costume. Although the images are fleeting, it appears that Mia Farrow is hooking up with the Gill-Man from THE CREATURE FROM THE BLACK LAGOON. The scene is already the most disturbing in the picture; adding a dopey costume only makes it less so.
This column is among those featured in
 BRIDE OF MONSTER SERIAL, a collection of 
horror essays written by contributors to 
THE COLLINSPORT HISTORICAL SOCIETY. 
Buy it today on Amazon!

Maybe this was the trade-off Polanski made to win the battle of not showing the baby. Or perhaps it was the influence of producer William Castle, who made his bones directing B-grade horror quickies with Barnum-like marketing hooks, such as tingling seats, inflatable ghosts, and costumed “nurses” in the lobby to treat frightened patrons. Whoever’s decision it was, it was the wrong one.

And that is the final thing we are taught by this film: there is nothing more chilling than betrayal by those you trust. That’s the true horror of ROSEMARY’S BABY, not a guy in a rubber suit. And that’s why you should never date an actor – because they are trained to deceive you.

You should, however, get your claws on the beautifully restored new transfer recently released by the Criterion Collection. There’s nothing better than watching this creepy classic late at night, with all the lights out, preferably in a New York City apartment building where you don’t really know your neighbors. It’s an experience that can’t be duplicated in a crowded theater, with people gleefully chomping on popcorn all around you. But if you do a get a chance to see it on the big screen, I have one request: please don’t shout “He has his father’s eyes!” in unison with the soundtrack during the climax, as the guy sitting behind me did the last time I saw the movie at Film Forum in Lower Manhattan. Ecstatic yelling may be appropriate at demonic rituals, but it’s still frowned upon at the cinema.

For modern moviegoers, that may be the most important lesson of all.


 WILL McKINLEY is a New York City-based writer, producer and classic film obsessive. He’s been a guest on Turner Classic Movies, Sirius Satellite Radio and the TCM podcast. Will has written for PBS and his byline has appeared more than 100 times in the pages of NYC alt weeklies like The Villager. He watched his first episode of DARK SHADOWS on April 12, 1982 and hasn’t been the same since. He writes about classic film at CINEMATICALLY INSANE.

Friday, September 26, 2014

DARK SHADOWS prop ring goes up for auction


A prop ring worn by Ben Cross in the 1991 DARK SHADOWS revival series is up for auction on Ebay. Like many prop collectibles, this item is prices well out of my reach, even though I'd say the four-figure starting bid is reasonable.

I actually like the design of this ring quite a bit. While the character's design for the original television series is iconic, Jonathan Frid said on more than one occasion that not much effort (or money) was invested in dressing Barnabas Collins. The cane was purchased at a local NYC store, and Frid often remarked that he thought the rings offered as a premium with the 1960's trading cards were better made than the one he wore on the show. The ring worn by Cross in 1991 appears to have been made of sterner stuff and is much more ornate.

The auction listing notes that the current owner purchased the ring at a charity auction conducted during the 1997 Dark Shadows Convention. The auction ends Oct. 2.

View the auction HERE.

Monday, September 22, 2014

Barnabas, Angelique and Maggie Evans return for BLOODLUST

Lara Parker, Andrew Collins and Kathryn Leigh Scott.
Kathryn Leigh Scott, Lara Parker and Andrew Collins are returning to the roles of Maggie Evans, Angelique Bouchard and Barnabas Collins for the upcoming Big Finish serial DARK SHADOWS: BLOODLUST.

“Like any soap opera, DARK SHADOWS often involves a love triangle,” says co-producer Joseph Lidster. “But unlike other shows, the central love triangle in Dark Shadows is between a vampire, the witch who turned him, and the manager of the local motel.”

Kathryn Leigh Scott and Lara Parker were stars of the original DARK SHADOWS television series as well as appearing in the spin-off films, and are now Big Finish veterans. “Maggie and Angelique have a long history,” says co-producer David Darlington, “but there’s still so much more of their story to tell. Both characters are heavily-involved in Bloodlust’s central murder mystery. Angelique has killed many times before  - could she be the murderer? Maggie has always been an innocent but she’s been through so much. Has she finally lost her sanity?”

Barnabas, the ancient vampire, left Collinsport at the end of "Kingdom of the Dead" – banished by Maggie Evans as she finally learnt of his true nature. Has he come back to get revenge on her? Or does he return for other reasons?”

“It's been a while since we last met him, but we couldn’t not have Andrew back as Barnabas,” says Joseph Lidster. “His portrayal of the tortured vampire is just fantastic. Finding a way to bring him back to the town was one of the real challenges of writing Bloodlust. One thing I will say is that the dynamics and relationship between Maggie, Barnabas and Angelique are going to be changed forever ..."

Parker, Scott and Collins joins the already announced cast that includes Matthew Waterhouse, Alec Newman, Roger Carvalho, Asta Parry, Scott Haran and Stephanie Ellyne.

DARK SHADOWS: BLOODLUST is a 13-part miniseres set to begin in early January, with two MP3 installments in the series scheduled to be released weekly on Tuedays and Fridays. The series will later be collected in two compact disc collections.  It's available to pre-order HERE.


Big Finish has an official Soundcloud page that includes dozens of teasers and behind-the-scenes recordings from their various DARK SHADOWS productions. The site includes introductions from the nine cast members that have been announced. Listen to them HERE.

Monster Serial: RE-ANIMATOR, 1985



By WALLACE McBRIDE

RE-ANIMATOR is a lot like crack cocaine: Nobody’s wasted much time or money trying to promote either of them, yet both have been insanely popular in selective social circles since the 1980s.

If you’re the kind of person who’ll read a blog like this, you’ve probably seen RE-ANIMATOR more than once. I don’t know if that makes my job as a writer easier or more difficult, though. On one hand, I don’t have to work very hard to win you over because you’re already hooked. There’s nothing in this world more passionate than a junky, and you’re probably hoping to hit the rock hard with this feature. Insert NEW JACK CITY reference here.

On the other hand, we’ve both been getting loaded on RE-ANIMATOR for so long that it takes a lot to get us off these days. So I’d better come up with some dazzling shit if I’m going to make any kind of impression on you.

“Herbert West is an asshole.”

That was my wife’s summation of H.P. Lovecraft’s original story, “Herbert West: Re-Animator,” by the end of its third chapter. It seems weird writing about her as though she’s not here, because you’ll find her bylines on other pieces elsewhere on this website. But, she didn’t mind when I posted photos of her childhood diary on Twitter, so she probably won’t get upset about a slight breach of manners here.


Yes, Herbert West is indeed an asshole of the highest order. But, I can’t exactly make any great claims to virtue: I’ve spent the last few weeks reading Lovecraft’s original 1920s story to my son in hopes that he’ll learn to recognize the sound of my voice. At the time I was writing this, the boydid not yet have a name and was still many months away from being born. Technically speaking, I’ve been reading Lovecraft to my wife’s belly and acting as though this was reasonable behavior.

If all of this seems a little premature, keep in mind I’m in fierce competition with one of our cats, who’s lately decided that my wife’s baby bump is his new favorite place to sleep. The cat has some kind of freakish mutation that amplifies the sound of his purr to Monster Truck decibel levels, and there’s been some concern that the baby is going to be born believing he’s a cat. So, in order to remain competitive with the household’s other potential father figures, I’ve decided to read to him.


I began with GREEN EGGS AND HAM, which took all of about 30 seconds to read. This prompted me to look for something a little more elaborate, so I turned to Lovecraft. It’s not like the baby understands what I’m saying, after all. I could be reading the letters pages from Penthouse Forum for all it matters at this stage. Every few years, though, I get in the mood to read Lovecraft’s nebulous prose. You might say the stars aligned.

And those stars are a lot more mean spirited than I remembered. That’s not to say I’ve ever forgotten Lovecraft’s penchant for bigotry. He was, after all, a man of his time, and that “time” was one of segregation, violence and wickedness. But, this was the first time I’ve seen his work through eyes other than my own. In some ways, becoming a father makes your own worldview increasingly obsolete. You’re living in someone else’s story, demoted from leading man to supporting player. And Lovecraft’s sprawling, occasionally racist tale of Herbert West and his quest to cheat death is just the first of many confrontations with outdated philosophies that I’ll have to ward off in the coming years. How does someone explain racism to a child? What about murder? Death? Gods? I imagine I’ll find some kind of puppet-based solution to explain these concepts in the coming years, but at the moment I’m at a loss.

Stuart Gordon’s 1985 movie adaptation, simply titled RE-ANIMATOR, abandons all of Lovecraft’s sprawl and racism, and ramps up the violence, humor and sexuality. The last proves to be a surprisingly good fit considering Lovecraft’s own troubles with the subject. It’s a safe bet that he would not have embraced Gordon’s take on the material, especially the climactic scene involving a reanimated severed head trying to perform cunnilingus on woman bound spread-eagle on an autopsy table. (I suspect the author would have secretly enjoyed the scene, even while publicly damning it. Hand lotion, tissues and a supersized tub of hypocrisy would have been involved.)


Conceptually, Lovecraft’s serialized novella and Gordon’s grand guignol are the same. Both tell the story of egomaniacal creeps who prefer the company of the dead, do some terribly dreadful things and receive their comeuppance in the end. Where the original author’s tone is one of a campfire horror story, though, the film’s director plays it for high camp. The movie is hilarious, audacious and thoroughly worthy of its “grindhouse classic” status. It seems unlikely that we’ll ever see its like again.

Despite the film’s title, it’s not really West’s story. Instead, the plot circles around medical student Dan Cain, played by Bruce Abbott. It’s a role just slightly less thankful than that of Bruce Wayne in a BATMAN film. As the movie’s (weakening) moral center, Cain gets little to do except rant at West for his bad behavior while simultaneously enabling it. West is technically a supporting character, but Jeffrey Combs steals the picture with his dry, condescending portrayal of the character, and comes across as that kid in class who really wants everyone to know how smart he is. It’s hard to undersell Combs in this film. Much like Anthony Hopkins in THE SILENCE OF THE LAMBS, his physical presence in the film is surprisingly limited. Had another actor been cast in the part, it’s possible we wouldn’t be talking about the film today, even taking its many other charms into account.

This column is among those featured in
 BRIDE OF MONSTER SERIAL, a collection of 
horror essays written by contributors to 
THE COLLINSPORT HISTORICAL SOCIETY. 
Buy it today on Amazon!
It doesn’t take long to figure out that West isn’t interested in receiving a formal education, and is enrolled at Miskatonic University with a very specific goal in mind: To continue his illegal research into resurrecting the dead. He’s also incredibly reckless, and his misadventures with the town’s abundance of corpses eventually lead to murder.

As is typical of horror movies, the dead don’t return with sunny dispositions. Mostly they just slobber green goo and try to kill anyone within reach, making West’s otherwise brilliant discovery (a nameless, phosphorescent green serum) totally worthless. A devout believer in the Pretorian Oath (which is like the Hippocratic Oath, only evil), West continues on his quest to preserve human life by taking as much of it as possible. Members of the faculty die and are brought back to “life,” among them West’s chief rival, Dr. Carl Hill, played by David Gale. The movie crescendos with an extremely nude Barbara Crampton tied to an autopsy table, Hill’s corpse lowering his severed head between her legs.

The problems with West’s plan seems obvious from the start. In his search for “fresher” corpses on which to test his magical serum, its significance becomes less and less. What’s the point of re-animating someone if your formula has to be used within seconds of their death? There are certainly cases where such a compound would be important, but reviving someone who’s been dead less than a minute is hardly miraculous. It happens in hospitals every day. So, why do Cain and West seem so intent on exploring their findings?

The movie answers this question by omission. The root of their immorality is not that these men hope their discovery will genuinely aid humanity (though such a discovery would certainly ease whatever criminal charges await them.) They’re true interest is a lot less wholesome: They just want to see what happens next.


Cain and West are surrogates for the audience in this regard, because we didn’t buy a ticket to watch a film about cautious, responsible scientists in search of accredited, peer-evaluated discoveries. We just want to see heads explode. And, if we’re lucky, see those heads thrown against a wall with a wet splat (which we get in RE-ANIMATOR.)

Childish? Yes. Stupid? Maybe a little. But it can also be cathartic in its own, twisted way. We spend so much time quivering in anticipation of death’s impending arrival, so it’s nice to be able to laugh at that callous motherfucker every once in a while.

(When he's not reading inappropriate selections of pulp fiction to fetuses, Wallace McBride runs The Collinsport Historical Society.)
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