My Root (essay)

When I am asked why horror movies are appealing to me, I think of the (non-horror) movie But I’m a Cheerleader. It’s about a group of gay teenagers sent to a conversion camp. Part of their “therapy” is wracking their brains to find their root—the trauma that made them gay. Their answers are  ridiculous—for example, one reports being a lesbian because her mother got married while wearing pants. I feel similarly subversive for my passion for the horror genre; I must have a root somewhere.

I’ve struggled with writing this piece for over a  year, and ultimately I decided the best way to approach it is to blatantly steal my structure from David Sedaris’s essay “12 Moments in the Life of the Artist.” You could call this “12 Moments in the Life of a Horror Fan.”

One: When I was small, I was watching MTV with my mother’s boyfriend. Michael Jackson’s “Thriller” music video was on, and I was freaked out. I was looking out the window, and asked him to tell me when I could look. He told me I could look before the video was over, to purposely scare me. It worked. As I got a little older, my parents would watch Indiana Jones, and I would be horrified but interested when a man’s heart is ripped out. I had gone from afraid to fascinated.

Two: My mother worked a lot when I was a kid, and often my sister Leslie and I were left in the care of our uncle, Earl. It was a relationship I treasured; he was fun and interesting and funny, and I definitely inherited my love of trivia and pop culture from him. He was one of the few stable adults—men in particular—in my life at the time. He introduced us to many things, including our first horror movies. We watched a variety of genres, but I’ll always remember the glorious afternoon he brought over all three Poltergeist movies. I don’t remember being scared—I felt safe.

Three: My oldest sister, Suzy (a half-sister who mainly lived with her own mother), became a bigger part of Leslie’s and my life, and often she would babysit. We had a regular rotation of kids’ movies (one memorable day we watched Fern Gully three times in a row), but we also got curious about the many drawers of VHS tapes containing movies my mother and oldest brother Jeremy had recorded off of HBO. Jeremy was a fan of martial arts movies, and one such was called Ninja III; it involved a woman possessed by the ghost of a ninja taking revenge on the police squad who killed him. We also discovered an ’80s gem called Witchboard, which I still enjoy to this day.

Four: My sisters and I were best friends with our neighbors, also three sisters, named Hope, Jillian, and Amanda. We used to gather together and read from Alvin Schwartz’s Scary Stories to Tell in the Dark series. The terrifying stories were accompanied by terrific gory, goopy-looking pictures. We also used to make up our own scary stories, Jillian being the best at this. She could tell an epic scary story that stayed with me. It was disturbing but fun.

Five: Another of our favorite activities was to record ourselves. We made haunted house tapes similar to Halloween sound effects tapes, and we also acted out skits. As teenagers, Hope and I made new recordings, lampooning our earlier efforts to hilarious effect. We also recorded original songs, such as our Poltergeist song. I don’t remember the whole thing, but the chorus went, “You son of a bitch, you only moved the headstones!” And the last line was, “Damn ghost followed me home.” We thought we were so funny. And we totally were.

Six: As our sisters paired off, Suzy with Jillian and Leslie with Amanda, Hope and I, the youngest, were thrust together and became closer friends. We spent less time playing outside and became movie buddies. Hope acquired a copy of The Silence of the Lambs and brought it over. We tried to watch it, but we were so bored that we turned it off before Starling even leaves Quantico. We had a similar experience with The Exorcist, only we fell asleep. Carrie we liked. To this day, we don’t get together often, but we keep each other updated on which horror movies are good and which ones should be stayed away from.

Seven: I’ve been a voracious reader since I learned how. One day Leslie was going to the library, and I asked her to get me some R.L. Stine books. She instead brought me Stephen King’s Christine. What’s a ten-year-old to do? I needed something to read! After getting over the shock of the salty language, I settled in and enjoyed it. And then I devoured everything else he’d ever written. The last time an adult read to me was when I had a migraine and I asked my father to read The Tommyknockers. He was uncomfortable, but complied. Love ya, Dad.

Eight: Our father, who was in and out of our life, used to take Leslie and I and sometimes Suzy to the movies. We generally insisted on horror movies. I remember regaling my mother with the tale of how in Leprechaun II the titular character made a pot of gold fly out of a guy’s stomach. My father has since passed away, but I have fond memories of seeing movies like Wolf with him, and as an adult the re-release of The Exorcist.

Nine: When I was in sixth grade, I was given an assignment to write a story, bind it into a book, and decorate the book. I wrote my first piece of horror fiction, a gory tale of a Howdy Doody style ventriloquist who ate children for some reason. The booklets were meant to be showcased for our parents and read to kids from younger grades. Mine did not make it to the display. I went on to write many more books and even a couple of novels before I hit puberty. They were terrible, but I got a lot of encouragement from Leslie, Suzy, and Hope.

Ten: As teenagers, my sisters, Hope, and Amanda fell in with an older crowd of friends. I often stayed home while they went to the park. While they were drinking wine coolers and trading shirts (somehow Suzy and Hope began a tradition of trading t-shirts every Friday), I was reading Clive Barker and finally appreciating The Silence of the Lambs. I never did try cigarettes or drugs or underage drinking. The Books of Blood and dyeing my hair blue was inflammatory enough for me.*2020 edit: Leslie gave me so much shit about this section of the essay, claiming that I made them sound like hoodlums. I was trying to say that they were normal teens and that I was boring, so there!

Eleven: In college, I had a cool professor who let me write term papers about horror movies as long as she had seen the movie in question. I wrote a paper on the absent presence in The Shining and a psychoanalysis of Carrie. I had another professor, not nearly as liberal, whom I shocked by writing a poem about the link between sex and death in slasher movies.

Twelve: I made the acquaintance of Matt Molgaard, editor of both Addicted to Horror Movies and Horror Novel Reviews. I began receiving praise and attention for my writing that I haven’t seen since college. I have a wise mentor and a direction and reason to write.*2020 edit: Matt has since passed away at a shockingly young age, and we are poorer for having lost him.

I can wax nostalgic about how fun and wonderful those times described were; I can go all Ray Bradbury in Something Wicked This Way Comes about how when I was telling stories with my sisters and friends, the golden, endless summer days seemed infinite and the future was full of anticipation of good times. It’s true, I look back on those times as an integral part of my youth. So my short answer is that my root lies in nostalgia. That and parents who stopped censoring what I read, listened to, and watched at a young age. But I don’t need to explain my love of horror movies. At the end of But I’m a Cheerleader, the main characters learn that time spent with people who don’t love and accept them for who they are is time wasted. Yes, I love horror movies. I’m married to a gaming nerd who tolerates the genre and loves me. I don’t need a root. Sometimes you just like shit.

‘The Tommyknockers’: Hostile Aliens, Corny Gadgets, and Gratuitous Sex Scenes

Bobbi (Marg Helgenberger) is a writer living out in the Maine woods who (literally) stumbles onto a spaceship. Deciding it would be a good idea to dig it up, she and soon the whole town feel the effects of the aliens inside: they “become,” which involves having a ton of energy and being inspired to invent things. Everybody’s blissed out except Bobbi’s boyfriend Gard (Jimmy Smits), who has a metal plate in his head that makes him impervious to the aliens’ influence. It’s up to him to stop his fellow townspeople from “being eaten up”.

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Who let early ’80s David Bowie in here?

It’s made for TV, so one can expect bad special effects and barely passable acting from a C-list cast. There’s also the occasional bit of cheesy dialogue: “Just because she was your partner’s wife and a damn fine constable besides is no reason not to speak your heart.” In addition, there are continuity errors (which I normally don’t notice, but these are extremely obvious), for example blood disappearing and reappearing on Gard’s face. Also rather silly are Nancy (Traci Lords) and her laser gun (most of the inventions these people cobble together out of batteries make sense, but how does anyone make a weapon from a tube of lipstick?) and a guy getting killed by a soda machine (that’s how I wanna go).

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No caption necessary–this pic makes fun of itself

I did find a few things to like. It’s not unbearably dated for the early ’90s, though Bobbi has a giant cordless phone and printer paper with perforated sides. Though it’s more sci-fi in style, there’s an eerie scene or two, like Sheriff Ruth’s (Joanna Cassidy) already unsettling dolls that come to life. It’s also entertaining—despite the four-hour running time, I wasn’t sitting there waiting for it to be over.

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‘Only a year until NYPD Blue, only a year until NYPD Blue…’

Stephen King has said that The Tommyknockers is an allegory for drug abuse. Critics and fans tend to revile the book for not being up to King’s generally stellar standards (ya know, like the meatballs who eat planes or the sentient grass). The metaphor is firmly in place here; becoming is described as “an incredible high.” The users lose their teeth and become manic with their newfound ideas and drive. Similarly, the transformation is taking an unhealthy toll on their bodies—their masters are gradually killing them.

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How’d she get her teeth back?

According to IMDB, James Wan has optioned the rights to remake it. If anyone can make this mess into something cool, it’s him. As for this one, give it a look if you’re in the mood for something silly but occasionally creepy.

‘Twilight Zone: The Movie’: Worth Watching, Even if You’re Not a Fan of the Show

Remakes of episodes of The Twilight Zone, organized into four stories. Segment 1 involves angry, racist white man Bill (Vic Morrow) being suddenly transported back in time, finding himself in the shoes of oppressed members of society. Segment 2 takes place at a rest home, where Mr. Bloom (Scatman Crothers) shows the elderly residents that a game of Kick the Can will restore them to their childhood—though not without consequences. Segment 3 revisits one of the show’s most famous episodes, with Helen (Kathleen Quinlan) meeting a young boy named Anthony (Jeremy Licht), who manipulates his family with his ability to wish for (and receive) often horrible things. Segment 4, also based on a famous episode, has John (John Lithgow), an airplane passenger deathly afraid of flying, battling with a monster on the wing of the plane.

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Look, it’s Cherie Currie!

Fans of the show may be either disappointed or delighted with this film. Segment 3 especially changes a lot of its source material; I feel the changes are interesting, but on the other hand the notion of one child controlling an entire town is scarier than just controlling his family. But I think overall the film, after all made twenty-some years after the show premiered, keeps the spirit of The Twilight Zone, at least in the sense of characters experiencing weird situations with a wacky twist at the end.

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Look, it’s Kevin McCarthy (far left) and Nancy Cartwright (far right)!

I could do without Segment 2; I enjoy Scatman Crothers, and the child actors playing elderly people suddenly regaining their youth are charming, but the cutesy-poo, lighthearted tone throws off the whole movie, which is darker and somewhat more cynical. Not that the movie is overly scary. There are some eerie moments, like Anthony’s sister being punished by having her mouth removed from her face, but on the whole it’s ironic that the film, made in 1983, tries to modernize the show, but is ridiculously dated and corny itself.

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There’s altogether too much damn smilin in this segment!

However, what bothers me most about the film is the scene in Segment 4 when John shatters his window with a gun to get at the monster—does airplane glass break that easily? One would think the courts would be inundated by lawsuits of passengers being continually sucked out of airplane windows.

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The face of a man who can break airplane glass?

The film can at least boast that it’s written in part by Richard Matheson (Segments 3 and 4), who wrote for the original show, including the episode remade in Segment 4. It’s also directed by masters of the horror genre, including John Landis (Segment 1), Steven Spielberg (Segment 2), and Joe Dante (Segment 3). Maybe it’s adolescent nostalgia talking, but despite my complaints I have a great deal of affection for the movie, from its serious and effective scenes to its goofy cornball parts. Give it a look if you’re in the mood for something campy but creepy.

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‘Pathology’: Restrained and Thought-Provoking, But the Characters Suck

Ted (Milo Ventimiglia) is the newest pathology resident at the county morgue. His group of peers there are arrogant jerks, from leader Jake (Michael Weston), interchangeable white guy number 1 Griffin (Johnny Whitworth), interchangeable white guy number 2 Chip (Dan Callahan), unremarkable Catherine (Meiling Melançon), and sex kitten Juliette (Lauren Lee Smith), who’s sort of Jake’s girlfriend but sleeps with Ted and regularly makes out with Catherine. Ted soon discovers that his classmates not only goof around with the dead bodies for laughs, but also have a game wherein one commits a murder and the rest have to figure out how it was done. Ted initially decides to play, but the group loses its charm when he realizes the game has gone too far, and he must take them out.

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Take them out, before they take him out…to the sex room, because they are a handsy bunch

Pathology is fairly philosophical for a horror movie; the filmmakers seem to ponder “what it means to be human.” Are people worthless, as Ted’s friends think? Are we like animals, and is it “in our nature to kill?” Ted would agree with all of the above, to an extent. Though he makes sure his prey are unsavory types, he’s a less than sympathetic protagonist, particularly after he starts doing heavy drugs and cheats on his fiancée (Alyssa Milano). Actually, none of the characters are particularly likable; Ted’s fellow pathologists are egotistical misanthropes, and even his one kindly classmate, Ben (Keir O’Donnell) (an outcast who doesn’t play) is so simpering and meek that he’s pretty annoying too, though he does prove himself later. The character development is a little one-sided, with most of the cast being barely distinguishable throwaway characters.

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At least they get to join in the slow-motion cool walk

My husband and I, avid Heroes fans, rented this (back in 2008) because Ventimiglia starred in it. Our fervor for the show has died down (on my 2022 edit of this post, it’s been canceled for 12 years), but upon my second viewing I still enjoyed it, to an extent. Check it out if you want something moody but gory.

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Look, it’s Larry Drake!

William Malone’s ‘Parasomnia’: GhoulieJoe Angry!

Danny (Dylan M. McKnight) is a sad sack who’s moping over his girlfriend leaving him. He cheers up in a hurry when, while visiting a friend in drug rehab, he spies Laura (Cherilyn Wilson), a traditionally attractive girl with Sleeping Beauty Syndrome. This is characterized by her sleeping most of the time and having nightmares, though nothing is physically wrong with her. Danny is also introduced to Byron Volpe (Patrick Kilpatrick), an evil genius who can hypnotize people with his eyes—and who has claimed Laura for his own. Danny breaks Laura out and takes her home with him, but Volpe won’t let her go that easily.

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Like with any William Malone movie, the visuals are marvelous, but I have multiple gripes. Most of them concern Laura. She’s supposedly “perfect” and “pure,” but seeing as she spends a good deal of time asleep, what’s so great about her? When she does wake up, she has less personality and mental capacity than a Cocker Spaniel–you know what, I’m just insulting dogs here–she’s dumb, is what I’m saying. Danny is driving her home from the hospital, and she demands “Out!” of the car. She rubs her face in the grass and (I kid you not) chews on a squeaky toy. She later progresses (regresses?) to baby status; Danny has to bathe and dress her and feed her by hand. He seems to have no motivation to be involved with her other than that he’s lonely and physically attracted to her. Possessed by Volpe, he tells Laura, “You were just a stupid doll that I could dress up.” Volpe’s words, but true nonetheless.

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Look, it’s Jeffrey Combs!

I feel an animosity towards Parasomnia that I don’t have for Feardotcom or House on Haunted Hill. My notes about Danny read: “I wanna smash his stupid face.” Maybe it’s because normally I can blame script issues on someone else, but Malone actually has writing credit on this one. He also uses less seasoned actors than usual, and Dylan M. McKnight as Danny leaves something to be desired, particularly when Danny is supposed to look scared and instead looks mildly surprised. My other big pet peeve is the predatory lesbian character who gets hacked up by a possessed Laura, presumably because she requested that Danny share her.

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Smashy smashy

At least there are less plot holes than usual for a Malone film, the major one being the remarkably incompetent security guard at the hospital, who lets Danny take Laura without checking whether he’s actually a doctor. There is also a somewhat eerie scene when Volpe lets loose a series of weird clockwork creations, accompanied musically by two goggled cello players. The film is meant to be surreal and odd like a dream, but that can only stretch so far. Though the movie is occasionally creepy and somewhat original, it’s not even as good as FeardotCom. If you’re in the mood for something hallucinatory and infuriating, give this one a look.

‘Paranormal Activity’: Love it or Hate it, It’s a Seminal Film

Katie (Katie Featherston) and her boyfriend Micah (Micah Sloat) are experiencing odd events in their home, like hearing footsteps and voices they can’t identify. Katie suspects that the demonic presence that’s been following her since she was eight has something to do with it. So she and Micah film themselves during the day and set up a camera in their bedroom at night to catch the spectral happenings. What they find is disturbing: their door closing by itself, eerie voices, and worst of all, a possessed Katie.

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The lifelong demonic presence seems like a no-brainer to me

It’s all done on hand-held camera, like The Blair Witch Project, and similarly the actors use their real names. This method contributes to the creepiness of the movie, which claims to be actual found footage (though the end credits state, “The characters and events depicted in this photoplay are fictitious”). Whether or not it’s true, the dialogue sounds natural and the actors look like real people. Unlike The Haunting in Connecticut, also supposedly a true story, this film doesn’t feel Hollywood-ish, from the budget to the plot.

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The pacing is a bit slow, and it can be dull at times (my unflappable sister Suzy was bored the entire movie), but that only contributes to the authentic feel—real life is comprised of lots of boring moments.

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Watching your bf sleep…

The nighttime scenes are cleverly filmed, showing the entire night on time-lapse video, so we have to watch carefully so as not to miss something. Then we’re rewarded by eerie things like Katie standing over Micah and watching him sleep for hours. Speaking of which, Micah is a rather frustrating presence in the movie; he’s determined that since it’s his home, he will save Katie (rather than an exorcist or psychic professional). He tends to challenge the demon by shouting, “Show yourself!” or trying to communicate with it (as he was expressly told not to do, as it will only give the demon a stronger foothold—or hoof-hold, as the case may be). Indeed, he almost seems to enjoy the goings-on, making statements like, “We haven’t had anything interesting happen in a while.” He’s a walking horror movie no-no.

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Put it down, Micah! Bad boy!

I had heard multiple reviews of the film—most that it was scary—before actually getting to watch it. I was not disappointed. Give it a look if you want a movie with a creepy, genuine feel.

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I said creepy, not terrifying! Who ARE these people?

Guillermo del Toro’s ‘Pan’s Labyrinth’: The Master Outdoes Himself!

Spain, 1944, during the Spanish Revolution. Young Ofelia’s (Ivana Baquero) pregnant mother Carmen (Ariadna Gil) has just married the leader of the effort to suppress the resistance, Captain Vidal (Sergi López). Ofelia, obsessed with fantasy stories, finds herself in a real-life fairy tale when a faun (Doug Jones), recognizing her as the reincarnation of the king of the underworld’s daughter, gives her three tasks to complete before the full moon so she can reclaim her kingdom.

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My sister Leslie, an avid horror fan, refused to watch the movie for years, thinking it was a children’s movie. (My response: who cares, it’s Guillermo del Toro!) I set her straight and made her watch it. Though the main character is a child, and the structure and plot of the film borrows heavily from mythology and fairy tales, it’s far from being for kids. It’s rated R, and fairly violent. Though many of the brutalities take place off-screen, like a man getting his gangrenous leg cut off with no anesthetic, it’s still pretty disturbing. There are still plenty of gory on-screen scenes, like when Vidal bashes in a man’s face with a bottle, as well as a scene when he has to sew up a gash in his own face with a needle and thread. Besides the violence, the scene with the Pale Man (also Doug Jones)is darn unnerving:

On the other hand, while it’s never sappy, there is a wondrous element. There are also sweet moments, like when Ofelia hugs the faun. The visual effects are amazing. It’s also compelling, moving, and masterfully told. I saw it first in the theatre, and I left feeling so energized I wanted to jump up and down. Check it out if you like a little blood with your fantasy.

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‘Pandorum’: Dense and Kinda Boring, but Overall it Delivers

It’s 2174, and Earth, being vastly overpopulated, sends a Noah’s Arc-type spaceship to planet Tanis, which is compatible for living on. Unfortunately, the captain got a case of Pandorum, which causes paranoia and erratic behavior, and he sabotaged the mission. Eight years later, crew members Bower (Ben Foster) and Payton (Dennis Quaid) wake up, confused but ready to save the ship. They have to find and reset the ship’s reactor and get it going before the preserved life forms die. Not a simple task, given that Bower has no idea where he’s going, and there’s a boatload of aliens aboard who like to eat people. Meanwhile, they have to contend with other unpredictable crew members while fighting Pandorum.

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And whatever this thing is

Though there are plenty of horror-ish moments, Pandorum is far too science-fiction-y for me. It’s extremely technical and complex. I found it hard to follow the first time I watched it, and only slightly less so on the second viewing (my sister and her friend, who had never seen it, wandered in during the last half hour, so I had my work cut out for me trying to explain it to them). In fact, my apologies if I get some of the plot details wrong.

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And then Bane was there…

Aside from being potentially boring for hardcore horror fans, the film has characters popping up and disappearing (and reappearing) for no reason. As Bower protests, “A little fucking solidarity goes a long way.”

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Yeah, Blondie’s the only one you need to remember here

It’s also a very dark film, not just in terms of the lighting, but in tone. The throwaway characters have occasional unfunny one-liners, but overall it’s a very depressing movie. Not to mention the plot hole that when Bower wakes up in his space pod, he yells, and the audience can’t hear him. But later, when Payton imprisons Pandorum-ridden Gallo (Cam Gigandet) in a similar pod, we can hear him quite plainly.

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Pew, pew pew!

But there are things to recommend it. I’m intrigued by the allusions to Greek mythology, Pandora, for example, and the ship being named the Elysium, a reference to the Elysian Fields, the afterlife, or, as it is put in the movie, “heaven for heroes.” And while the twist is predictable, it’s still pretty cool. On the whole, it’s worth a once-over. If you’re like me and are not a science person, don‘t give up before the first 20 minutes are over; it gets less difficult. Give it a look if you’re in the mood for something that makes your brain work—sometimes.

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Look, it’s Norman Reedus!

Jaume Collet-Serra’s ‘Orphan’: The Director of ‘The Shallows’ Explores Other Predatory Animals

Kate (Vera Farmiga) and John (Peter Sarsgaard) are a married couple with two children, and are about to adopt a third. Too bad they pick Esther, a nine-year-old sociopath (Isabelle Fuhrman), who does stuff like push girls off playground equipment, kill a nun, and terrorize her adopted siblings (Jimmy Bennett, Aryana Engineer). Kate sees through her act fairly quickly, but faces contention from John at every turn. When even Kate’s therapist (Margo Martindale) is on Esther’s side, Kate has to prove she’s not delusional and give Esther a time-out.

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Evil children are not a new movie topic, but this one has a neat twist that turns the sub-genre on its head. Furthermore, the performances are great, from the adults to the children, particularly Fuhrman as Esther. (Though I have to admit at times I have trouble taking seriously her fake Russian accent; she does it well, but her lightly scratchy voice makes her sound exactly like Dexter from the cartoon Dexter’s Laboratory, especially when she says “seester”–see below.) Generally the dialogue is pleasing as well; my only complaint is Kate’s cry of “I’m not your fucking mommy!” It was a godawful line in The Ring II, and it’s not any better here. But overall it’s good watchin‘.

I saw this in the theatre when I was two and a half months pregnant, and while I was fine I don’t necessarily recommend it to any prospective parents. It opens with a miscarriage and makes adoption look unpalatable too. Check it out either if you really love kids (and thus won’t be affected) or don’t like them at all.

‘Once Bitten’: Racist, Homophobic, AND Corny AF

Mark (Jim Carrey) is a typical teenage boy who is dissatisfied by his long-time girlfriend Robin’s (Karen Kopins) refusal to have sex. While trolling for some strange with his buddies, he meets the mysterious Countess (Lauren Hutton). Unfortunately, Countess is a vampire who needs his virgin blood three times before Halloween or she loses her youth. She seduces Mark and bites him, starting the process of turning him into a vampire. Thus, Mark soon begins to exhibit strange behavior like sleeping in a trunk and eating raw meat. Robin refuses to give up on Mark, and with his friends sets out to free him from Countess’s spell.

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The second-most glorious sideboob of 1985

I first saw this film at age twelve, when I had a massive crush on Jim Carrey. I haven’t seen it in almost twenty years. One thing that struck me was how selfish Mark is. After his girlfriend declines having sex with him in an ice cream truck, he decides he’s entitled to go catting around with his single friends and pick up a woman. He justifies his actions with the statement, “I was drunk […] I’m a teenager, I’m supposed to make stupid mistakes.” Robin goes back to him, blaming herself for his sexual frustration. Later, when Countess stalks him, Mark tries to hide her. He even blasts ice cream truck music in the wee hours of the morning after he thinks he and the Countess had sex and is triumphant. The whole thing leaves me wondering what the appeal is to Robin. The only time I enjoy her goodie-two-shoes wishy-washy ass is when she yells at Mark, “I can’t believe you’re willing to throw away our relationship on a one-night stand with a chauffeur and a butler and a slut who eats buttons!”

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Other grating aspects of the film include the dance-off between Robin and Countess, who fight over Mark choreographically (see below). Then there’s Sebastian, Countess’s Black butler/chauffeur (Cleavon Little). He’s in a cringe-worthy subservient position through the whole film. Not to mention the dream sequence when Mark eats dinner with Countess while Sebastian skates by playing an accordion, and yet another Black servant shows up. Also, Sebastian is gay. While his character is less offensive than some ‘80s depictions of gay guys, he does have a nasty habit of hiding in Countess’s closet and stealing her clothes. Also really offensive are Mark’s two obnoxious sex-crazed pals, who after an incident in the school shower (while looking for a vampire bite on Mark’s penis) are horrified to be called “fags.” Later one of them obsesses over the incident, in the process using the phrases “homos” and “rump rangers.”

Upon my recent viewing, I enjoyed the film a lot less than when I was an odd tween. Back then I didn’t bother with questions like: since Countess and her minions are vulnerable to fire, why is her entire house covered with lit candles and torches? She has electricity! But if you’re in the mood for a super-‘80s (complete with a montage of wacky L.A street people) vampire comedy, or are just interested in seeing a young Jim Carrey, give this one a look.

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