Good morning, gentle readers, and welcome to Wedneday, the hump day of the week if ever there were one!
How is everyone doing this morning? Me? Ohh, thanks for asking. I'm dealing with some of life's frustrations today as it would appear that our bank has totally dropped the ball. Again. (No, I won't tell you which one.) It's incredible how even with all of the current top-notch technology we have out there in the world that one institution can still manage to muck up just about every possible means of commerce, you know. Why, you'd think an industry leader would actually act and think and behave like an industry leader, but I guess that's too much to ask some days. Sigh.
Ah, well ... off to better pursuits, am I right?!
Yesterday, I managed to squeeze in two viewings: 1986's Alien Outlaw and 1991's Neon City. Both were a bit ... erm ... what's the word ... curious? Watching low-budget independent fare paired up against what was likely a slightly larger budget independent fare always makes for a wondrous experience. As a critic, I find myself wondering why the storytellers went a certain way when perhaps going a different way might've been cheaper and easier; but "to each his own," as they say. Still, the great B-Movie steward Michael Ironside did some fabulous work back in the 1980's and 1990's; and I'll go to my grave singing this guy's praises whenever I can. I'll be getting reviews up on both of these releases over the next few days.
What else can I sound off about this morning?
Well, I did manage to get up a solid review (if I do say so myself) yesterday: 1983's Cujo (right here) was a bit of a sensation for me. In my piece, I talk about the fact that I actually passed on seeing it in theaters back in the day because of a rather influential critique I'd read, so it was very interesting to finally visit the Stephen King adaptation in its glory and learn that one critic's politics were more than a bit displaced (in my humble opinion). Though the feature is far from perfect, it's easily jumped to near the top of my list of favorite King adaptations ever, and that's saying something. I think The Dead Zone with Christopher Walken is still a bit better. It just resonates stronger with me. Walken did a masterful job in it, and his work holds up even today.
But otherwise? I think that's all I have for now.
In the meantime, might I offer the following link ...
How is everyone doing this morning? Me? Ohh, thanks for asking. I'm dealing with some of life's frustrations today as it would appear that our bank has totally dropped the ball. Again. (No, I won't tell you which one.) It's incredible how even with all of the current top-notch technology we have out there in the world that one institution can still manage to muck up just about every possible means of commerce, you know. Why, you'd think an industry leader would actually act and think and behave like an industry leader, but I guess that's too much to ask some days. Sigh.
Ah, well ... off to better pursuits, am I right?!
Yesterday, I managed to squeeze in two viewings: 1986's Alien Outlaw and 1991's Neon City. Both were a bit ... erm ... what's the word ... curious? Watching low-budget independent fare paired up against what was likely a slightly larger budget independent fare always makes for a wondrous experience. As a critic, I find myself wondering why the storytellers went a certain way when perhaps going a different way might've been cheaper and easier; but "to each his own," as they say. Still, the great B-Movie steward Michael Ironside did some fabulous work back in the 1980's and 1990's; and I'll go to my grave singing this guy's praises whenever I can. I'll be getting reviews up on both of these releases over the next few days.
What else can I sound off about this morning?
Well, I did manage to get up a solid review (if I do say so myself) yesterday: 1983's Cujo (right here) was a bit of a sensation for me. In my piece, I talk about the fact that I actually passed on seeing it in theaters back in the day because of a rather influential critique I'd read, so it was very interesting to finally visit the Stephen King adaptation in its glory and learn that one critic's politics were more than a bit displaced (in my humble opinion). Though the feature is far from perfect, it's easily jumped to near the top of my list of favorite King adaptations ever, and that's saying something. I think The Dead Zone with Christopher Walken is still a bit better. It just resonates stronger with me. Walken did a masterful job in it, and his work holds up even today.
But otherwise? I think that's all I have for now.
In the meantime, might I offer the following link ...
As always, thanks for reading ... thanks even more for sharing ... thanks even even even more for being a fan ... and live long and prosper!
-- EZ
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