![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
Please help! I need the name of an unmade horror movie that Dean Winchester would kill to see: the horror version of The Magnificent Ambersons or the Nic Cage Superman. That is, it should be an actual missed opportunity in the annals of moviemaking. Help me out and I’ll write you a drabble of your choosing.
Joe Hill, 20th Century Ghosts: Hill’s short story collection is highly impressive, better than his novel Heart-Shaped Box and showing a similar love for the horror genre. I took short notes on all the stories. Best New Horror: Horror editor receives the manuscript of a lifetime, enough to revitalize his interest in horror. What happens next is utterly predictable and perhaps, therefore, fresh, though I didn’t find the story as impressive as others have. 20th Century Ghost: Ghost love story in a haunted theater. Pop Art: An amazing story about a boy and his childhood friend, a kid with an often-deadly birth defect: he’s inflatable. He’s a blow-up doll, but he’s also a real kid born to real parents. It’s bold and it works, and here I began to think that Hill is in many ways fannish in his sensibility: he respects the classic tropes for the work they do. You Will Hear the Locust Sing: And you know Hill is willing to take risks when you see a story about a boy who wakes up having been turned into a giant bug. (One might psychologize the challenge to his forebears; Hill is the son of Stephen King.) Here, the transformation proceeds by way of nuclear testing, and there’s plenty of physical horror to go around.
Abraham's Boys: What would happen if Van Helsing had kids and moved to America, where the vampires did not follow? The kids might grow up terrified of their father’s obsessions. Creepy and brutal; think Winchesters gone even wronger than usual. Better Than Home: Horror style, but no horror elements: the story is about a disturbed young boy and his father, a famous baseball coach whose oddities are more accepted because he’s adult and famous. The Black Phone: Another awesome old-school, or how old-school should have been, tale about a kidnapped boy and his fight against his kidnapper. Dean Koontz without all the moralizing. In the Rundown: The most disturbing of the stories to me; another troubled narrator, typical for Hill, has a bad day, ending with a terrifying encounter with death that is both senseless and understandable—and you’re left uncertain at the end whether anyone will ever believe the truth. The Cape: Nasty narrator discovers he can fly. It doesn’t help. He’s no Nathan Petrelli, that’s for sure. Last Breath: Creepy, straight-down-the-middle horror about a museum of silence, where people’s last breaths are stored. Dead-Wood: Mini-piece about the ghosts of trees (and others). The Widow's Breakfast: A Depression-era hobo finds kindness from a widow, then glimpses a deeper cruelty; another horror-style story without horror elements. Bobby Conroy Comes Back from the Dead: Hopeful story (at least from some angles) about a washed-up comic with a role as a zombie in Romero’s Night of the Living Dead, who runs into his high school sweetheart. All horror and all light. My Father's Mask: Owes a lot to The Masque of the Red Death in tone. An awesome story about a 13-year-old boy whose parents’ irresponsibility goes deeper than he knows; the lyrical/hallucinatory tone is perfect for the story.
Voluntary Committal: This novella features Hill’s default troubled teen narrator, one who does more damage than he really means to and fails to take responsibility for it. Here, the narrator has a younger brother who is not quite of this world, and a dangerously delinquent friend. The question is who will suffer more for the interactions between them.
Overall, I'm quite impressed and will buy whatever he does next.
Joe Hill, 20th Century Ghosts: Hill’s short story collection is highly impressive, better than his novel Heart-Shaped Box and showing a similar love for the horror genre. I took short notes on all the stories. Best New Horror: Horror editor receives the manuscript of a lifetime, enough to revitalize his interest in horror. What happens next is utterly predictable and perhaps, therefore, fresh, though I didn’t find the story as impressive as others have. 20th Century Ghost: Ghost love story in a haunted theater. Pop Art: An amazing story about a boy and his childhood friend, a kid with an often-deadly birth defect: he’s inflatable. He’s a blow-up doll, but he’s also a real kid born to real parents. It’s bold and it works, and here I began to think that Hill is in many ways fannish in his sensibility: he respects the classic tropes for the work they do. You Will Hear the Locust Sing: And you know Hill is willing to take risks when you see a story about a boy who wakes up having been turned into a giant bug. (One might psychologize the challenge to his forebears; Hill is the son of Stephen King.) Here, the transformation proceeds by way of nuclear testing, and there’s plenty of physical horror to go around.
Abraham's Boys: What would happen if Van Helsing had kids and moved to America, where the vampires did not follow? The kids might grow up terrified of their father’s obsessions. Creepy and brutal; think Winchesters gone even wronger than usual. Better Than Home: Horror style, but no horror elements: the story is about a disturbed young boy and his father, a famous baseball coach whose oddities are more accepted because he’s adult and famous. The Black Phone: Another awesome old-school, or how old-school should have been, tale about a kidnapped boy and his fight against his kidnapper. Dean Koontz without all the moralizing. In the Rundown: The most disturbing of the stories to me; another troubled narrator, typical for Hill, has a bad day, ending with a terrifying encounter with death that is both senseless and understandable—and you’re left uncertain at the end whether anyone will ever believe the truth. The Cape: Nasty narrator discovers he can fly. It doesn’t help. He’s no Nathan Petrelli, that’s for sure. Last Breath: Creepy, straight-down-the-middle horror about a museum of silence, where people’s last breaths are stored. Dead-Wood: Mini-piece about the ghosts of trees (and others). The Widow's Breakfast: A Depression-era hobo finds kindness from a widow, then glimpses a deeper cruelty; another horror-style story without horror elements. Bobby Conroy Comes Back from the Dead: Hopeful story (at least from some angles) about a washed-up comic with a role as a zombie in Romero’s Night of the Living Dead, who runs into his high school sweetheart. All horror and all light. My Father's Mask: Owes a lot to The Masque of the Red Death in tone. An awesome story about a 13-year-old boy whose parents’ irresponsibility goes deeper than he knows; the lyrical/hallucinatory tone is perfect for the story.
Voluntary Committal: This novella features Hill’s default troubled teen narrator, one who does more damage than he really means to and fails to take responsibility for it. Here, the narrator has a younger brother who is not quite of this world, and a dangerously delinquent friend. The question is who will suffer more for the interactions between them.
Overall, I'm quite impressed and will buy whatever he does next.
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
From:
no subject
http://en.wikipedia.org/wiki/Algernon_Blackwood
From:
no subject
From:
no subject
From:
no subject
From:
no subject
From:
no subject
I pick SPN! (You're so surprised, I know. ::g::) Deeeean.
From:
no subject
From:
no subject
But honest to God, I'm so freaking easy. Anything that inspires you will make me happy. ::g::
From:
Um, probably not what you wanted.
Sam stands in the garden, drenched. The once-red roses are black with rain, petals heavy and sagging, cold and wet, slip-slimy where they cling against his skin.
Dean’s body steams on the ground.
Sam’s feet squelch through new-churned mud as he approaches. It doesn’t seem right, that water and soil should continue to mix when Dean is dead. But then he’s used to the stubborn refusal of the world to stop turning when Dean is dead.
This death is as beautiful as they get: most foul, as in the best it is.
Sam is only mad north-northwest. He has the wind at his back, raindrops slamming into him like little glass beads, as he kneels in the blood-warm mud, his knees brushing against his brother’s jacket. Dean’s lips are parted. The water streaking down his face looks nothing like tears.
The scratches on Sam’s hands sting. He hadn’t paid any attention when he was running towards Dean, before. Before.
He understands now. This is never going to stop. Dean will go down and he will rise up and Sam will flay himself open every time, forever and ever, amen: decade after decade, except that they will never be allowed any but the sorrowful mysteries.
Dean’s body jerks and shudders. He chokes and spits and he is back, as if he never left. Sam didn’t have to wait three days or four months this time.
Gently, Sam reaches behind his back and pulls out Ruby’s knife. It’s taken him a while, cost him a price he didn’t want to pay, but Ruby (that is not her name) finally showed him how to alter the knife so that it serves the same function as the Colt. She believes that he plans to use it on Castiel. But there is an angel for every Pater Noster ever said, a million dancing on the tip of every bullet; he never meant to use the knife so fruitlessly.
He’s thought this through. He believes in the resurrection of the body and the life everlasting; he believes in the forgiveness of sins.
He believes that there is only one final answer here, and he will not make Dean give it.
Dean’s eyes are blinking away the rain now, his lips forming the only prayer he knows.
Sam smiles down at him, loving him enough at last, and delivers Dean from evil.
From:
Re: Um, probably not what you wanted.
From:
Re: Um, probably not what you wanted.
From:
Re: Um, probably not what you wanted.
my...
what desperation drove sam to that...what love, what pain...
oh dean...
oh, sam...
From:
no subject
The Hollywood Reporter confirmed that New Line Cinema is in talks with director-producer Sam Raimi for Freddy vs. Jason vs. Ash, a franchise-melding movie that would throw together the hero from Raimi's Evil Dead films with villains from A Nightmare on Elm Street and Friday the 13th. Such a project has been the subject of rumors since Freddy vs. Jason hit movie theaters in August 2003.
In the proposed sequel, Nightmare's Freddy Krueger and Friday's Jason Voorhees would go up against Ash, the cynical antihero survivor of Raimi's Evil Dead films. Bruce Campbell played the character in the trilogy and would play him again if the deal were to close, the trade paper reported.
Raimi would not direct, but he holds rights to the Evil Dead franchise. Freddy vs. Jason grossed more than $74 million, so even if a deal with Raimi can't be reached, New Line is determined to find a way to extend the franchise by introducing a new character or just pitting Freddy and Jason against each other one more time, the trade paper reported.
This never happened, of course, but if Dean goes in for schlock-horror, he'd love this kind of thing. Every guy I went to college with worshipped Evil Dead and Sam Raimi.
From:
no subject
I'm not that huge a Steven King fan, but I can't think of one...
From:
no subject
From:
no subject
A sequel to The Thing would be awesome. I loved the fact that it would have started with the two characters just sitting on the ice after the end of the first one.
I bet that would have been great.
Although, there's talk they're remaking that film. Unlike Carpenter's inferior film The Fog, there is absolutely no reason to remake The Thing.
None at all.
Aside from the somewhat cheesy computer graphics and the sometimes too obviously stop-motion photography of some of the gorier moments, the film stands up pretty well...