Coming Out, 1977, Wallace Hamilton
From back in the days of painfully earnest coming out narratives and pleas for tolerance.

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At a faith healing service, charlatan Stewart Fishoff is publicly discredited by a professional skeptic (bear in mind, this was back in the days before that meant “racist misogynist”). While running from the angry mob of, er, people in wheelchairs, Fishoff stumbles across a single white glove in a pile of trash in an alley, and just coincidentally discovers that it has the power to heal anyone he touches with it, though the next person he touches is killed by whatever disease he just cured. An undisclosed amount of time later, at Curious Goods, Micki and Ryan are watching Fishoff on TV, when Jack recognizes the glove he’s wearing as an artifact he recovered for Vendredei. Unable to sneak into Fishoff’s office, Jack enlists his old friend Jerry, the professional skeptic from earlier, to help get the glove from Fishoff. Jerry, though, is dying, and betrays Jack, hoping to use Fishoff’s apparently newfound abilities for himself. In the midst of double-crosses, Fishoff is killed and Jerry succumbs to the glove’s power while trying to kill Jack.

Oh, and did I mention, this episode was directed by David Cronenberg?

This is, unsurprisingly, one of the better episodes of the series so far. It’s extremely well-crafted, moving briskly along and well-paced, with a lean sense of timing and very little exposition or back-and-forthing. Micki and Ryan are almost completely side-lined this episode, giving Chris Wiggins a lot of room to simply do his thing with the guest cast. It’s also one of the more interesting antiques we’ve seen, as it breaks from the usual format. Most antiques we’ve seen so far either require the user to perform an evil act to gain a reward, or require an evil act as payment for some sort of service, with a handful like Vita simply doing bad at the will of the owner. This is the first antique with the potential for altruism. It heals, and then forces the user to decide either to pass on the disease or succumb himself to it. It’s particularly nasty, in that regard, as it corrupts people in the name of doing good.

A Very Robey 80s

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So, before they became an action movie imprint, the Warner Brothers/Universal production studio “Dark Castle” was a churner out of relatively cheap “horror movie as spectacle” films, in the tradition of William Castle. In fact, several of their early films were gored up versions of classic Castle films. Steve Beck’s Ghost Ship was an early effort, when they were still concentrating on doing very gorey horror films with an action movie sensibility, before they started putting Ethan Hawke in Fast and Furious knock-offs. Now, to be sure, the “horror as spectacle” trend wasn’t limited to just this one studio, but nobody hit it quite as hard as Dark Castle, nor with such a distinctive half-assedness.

After a mood-setting opening sequence, that attempts to inter-cut horrific violence with a cheery glam 60s aesthetic, we cut to Gabriel Byrne as Murphey, captain of a salvage crew that includes Final Girl lead Juliana Margulies as first mate epps and Karl Urban before anyone cared who he was. They are approached by Ferriman, a weather pilot who has spotted an abandoned ship in the Bering Sea, and offers to share the location of the ship in exchange for a substantial cut of the salvage profits. The crew agrees, as pickings have been slim and the promise of a luxury liner means good money. When they arrive, they discover that the ship is the Antonia Grazia, a well known lost ship. While patently ignoring plenty of clues that something is wrong, even Epps seeing a ghost, several times, the crew continues to explore the ship, eventually finding the remains of a previous salvage crew and crates full of gold bars. Celebrations are cut short when their ship explodes in a not at all suspicious accident and the crew must now attempt to pilot the sinking and rudderless Grazia home. The crew is picked off by ghosts one-by-one, as a ghost girl gives Epps a visual info-dump, revealing that the gold came from the Lorelei, another lost ship, along with a survivor, who convinced several of the Grazia crew members to kill the passengers and remaining crew and take the gold, before being killed themselves by the survivor. Who is revealed to be Ferriman, an apparently immortal supernatural being with a not at all portentous name. Epps destroys the ship, freeing the souls of the passengers and is rescued, only to learn that the cycle is bound to repeat.

It’s hard to find things to like about Ghost Ship. Big, loud and dumb was the name of the game with the spectacle horror films, and there’s fairly visceral thrills to be had from time to time. But the film confuses gore and special effects with actual terror, which often leads to unintended comedy. Somebody, at some point was paying attention, as there are hint-heavy murals in the background of a number of shots, not to mention the heavy-handed naming convention at work with Ferriman. Rumor has it that the script the cast was shown was almost completely jettisoned by the time filming begun, with a more psychological film turned into a jump-scare film. It’s plausible, and several cast members certainly act as if they’re in a different film than the one they ended up in.

So, in the end, we go back to that old distinction between “good” and “entertaining.” Ghost Ship isn’t good, but there’s enough of something there that was once good to wring a half-way competent “dumb fun” picture out of.

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The 90s, culturally, were not all that great. At best, the high-water mark for a lot of 90s productions is that, down the road, they’re less cringe-inducing than most 70s and 80s media. Horror films were at a particularly low ebb as major productions, and when they did get made, they were often some kind of strange hybrid with another genre. Such as Stephen Sommers’ Deep Rising, which is a very broad, gorey horror film/action film hybrid that really does neither genre much credit. On the plus side, it does have a frequently wet Treat Williams* out-handsoming a bunch of other actors.

Williams is Finnegan, a salvage boat captain who has been hired to escort an ethnically diverse group of mercenaries out to an undisclosed location in the South China Sea. While he very pointedly overlooks that he has hired himself and his crew out to what is clearly an extremely illegal operation, the luxury cruise liner Argonautica is having a culturally non-specific Asian-themed celebration as part of its maiden voyage (seriously, there is a Samoan fire-dancer, Japanese drummers, and a Foo Dog puppet all in the same pan shot at one point). While grifter Trillian (played by Famke Janssen) gets locked in the ship pantry after failing to rob the vault, a mysterious saboteur disables the ship just in time for a mysterious something to collide with the ship from the ocean’s depths. When Finnegan and the mercenaries arrive a few hours later, after being disastrously struck by a speedboat that fell of the cruise ship during the collison, they find the ship deserted but evidence of a massacre. Rounding up a handful of survivors, including ship owner Simon Canton and Trillian, it becomes obvious that Canton’s plan to use the mercenaries to rob the ship and sink it for the insurance money was interrupted by, of all things, giant fanged tentacle monsters. The cast is whittled down one-by-one, until of course we are left with only our handsomely white and flirtatious male and female leads, and then we get to our big denouement, where Treat Williams fights Cthulhu with a gun.

Deep Rising is, to be sure, not a good film. But one of the things one must learn to deal with as a film consumer, especially with certain genres, is that “good” and “entertaining” are not the same thing. Deep Rising is an entertaining film. There’s an effort made to have a certain degree of artistry to the film. Interesting contrasts are made between the use of red and blue as colors, with the warm red marking the world of wealth and decadence and the cool blues marking the deadly forces of the ocean and nature. Some stylistic jabs are made at framing and camera positions, with long narrow shots marking how limited the movement of the characters is, which ties into the notion of the creature “herding” them towards the larder, itself an echo of Trillian’s pantry imprisonment. There are some nice off-center, titled shots intercut with each other which echoes the “bobbing” motion of the boats and the insecurity of the characters. And there’s a big, mostly unexplored central theme of parasites feeding off hosts, with Trillian robbing 1%ers, Canton willing to kill to collect insurance money, and the creature itself doing basically the same, but on a grandly amoral and indifferent scale. But all these nifty little ideas are never developed because the film mostly cares about dumb, inappropriate jokes, comic relief, and big guns being fired at CGI monsters.

Still, Treat Williams fighting what is basically Cthlhu and then escaping while firing a rifle from a speed-boat. That’s kinda cool.

* A late in development replacement for Harrison Ford. And yes, they put iconic Han Solo lines in his mouth.

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The Haunting of Hill House, 1962 ed., Shirley Jackson
Sadly, this version lacks Owen Wilson getting his head bit off by a stone lion.

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