The Legend of Bill Buckner

 Bill Buckner died 5 years ago.  Years after he had that World Series game 6 ball go through his ankles, years after he had his final at bat, back with the Red Sox, years after he threw the opening pitch before a Fenway game in 2008.  

The city of Boston forgave him, as they should have, (but there was nothing to forgive) maybe because his friend Dewey Evans was there at his back, and no one in Boston steps to Dewey,  no one.

But these were my thoughts after that game 6 anyway.

A swing that looked like it belonged

in the time of a Glenn Miller Song

His glove owned that first bag corner

pitchers feared the bat's owner

and he failed less than most

but no one's raising a toast

because of one singular ball

found its way between his ankle bones

Just because I haven't done it

Doesn't mean I haven't seen it

How can you burn down 

Someone you’ve never even known

He has 2,715 more than you

and a hundred more than Teddy Baseball

He's ahead of Ernie Banks

300 more than Mark Grace

But he's still not in the hall

So people with clothes soaked with beer

would slander his name and jeer

because the gods of the World Series

picked him to be the guy to smear

If the ball hadn't skipped when it was supposed to jump

then his knees would've needed to race Mookie 

and he probably would have lost

and Stanley never would have made it for the toss

Just because I haven't done it

Doesn't mean I haven't seen it

Some of your corrupted minds

seem to think that he'd mean it

when the ball went through his knees

during the goddamn World Series

Samhain Project '24: George A Romero's Martin

1977's Martin is quite an interesting foray into horror cinema.  From the director of Night of the Living Dead, it almost feels more like a drama if not for the ghastly acts of its titular character.  Martin is a young man, under 20, moving from Indianapolis to Pittsburgh to work for his cousin and live in his house with his daughter.  

On the train ride to the Pennsylvania city of three rivers, he decides to commit a murder for the purpose of drinking the blood of his victim.  From his methodology, you can tell he's done this before.  It's pretty ghastly.  Shot well by Romero and long-time partner, cinematographer Michael Gornick, it's cringe-inducing and uncomfortable, but it seems like there's multiple reasons why.  You just can't put your finger on what all of them are. 

When Martin's elderly cousin brings him home, the first thing he says to him is "Nosferatu!!" before going on a spiel about how he's going to save his soul before destroying him.  This is powerful stuff as his cousins description of the family history, and Martin's declaration that he's 84 years old create enough head-scratching to make you wonder if Martin (played wonderfully by first-time John Amplas) is more than just a serial killer with a really distinct M.O.

Martin's cousin says he's been told Martin's an imbecile, and tells him he's not to take any victims from the area.  You watch Martin go about his horrible hobby, or a need to feed that gives him the shakes that he confides in a local shock radio host.  His methodology and calmness during a crisis, show him as far from stupid.  It isn't hard to tell that Martin will find victims in the local area, so quietly a clash is coming. 

Now, this sounds like an off-beat horror film, but judging by Martin's movements, his flashbacks to a distant past that may or may not be real, and the fact that neither his dull gray/green eyes or lips ever come close to a smile, it is more an exploration of complete loneliness.  

And it's not just Martin.  Every other character in this dying town outside Pittsburgh is miserable.  Unhappy in their relationships, desolate in their isolation, awkward in their exchanges with other people. The film is far beyond horror, even though Martin's actions are gruesomely violent; he's battling a complete loss of who he is, or may have ever been.  It's shocking denouement will grab you as it not only seems to come from nowhere, but seems necessary.

Martin is the kind of movie one can watch with a group and spend hours discussing not only it's merits, but it's multiple degrees of subtext.  It's not a fun horror film, nor a gorefest, but it is engrossing and comes highly recommended.

Apparently a black and white 3 hour long version that is preferred by Romero himself was unearthed not too long ago, and appears to have been at an auction house at one point.  Where it went to from there, and what the current rights-holders are planning, if anything, is a mystery. 

Samhain Project '24: Trick Or Treat (1986)

And there it is!

The movie I've been wanting to see since October 24, 1986, when I lived in Waco, Texas. 

I got to see a nice print of it with the curse words dropped out, but seemingly otherwise intact on the cable channel known as Comet.  Not perfect, but there's not a lot of options.  The Anchor Bay version, which has no subtitles and has been out of print since the Korean War, and I believe being of less than perfect image quality, and a German boutique are the only options.  Neither cost-effective.  Theres also a Region 2 titled Ragman, but I'm uncertain of its quality. 

Anyway. 

The first half is actually pretty striking.  Our lead, Eddie, played by Marc Price (whom many would know as Skippy from TV's Family Ties) is bullied by a bunch of defectives inspired by Ralph Macchio's oppressors in The Karate Kid and led by a young Doug Savant.  I mean this poor kid really takes a beating and some embarrassing pranks to boot.  Price is very effective in the role as our young high school metalhead; you really feel for him.  Charles Martin Smith's direction is strong, and the pacing is really perfect. 

Then the second half.  It kind of gets a little, um..... overblown.  Eddie's rock and roll hero, Sammi Curr had died in a hotel fire leaving Eddie in a funk.  That is until Eddie gets a single pressing of Curr's final album gifted to him by his local DJ buddy. 

Now this is the eye-opener.  Gene Simmons plays this character, Nuke, and in a short period, displays a somewhat sympathetic, beleaguered soul with more depth than can be expected for just a few minutes of screen time.  I've always felt Simmons was a better actor than a musician.  This proves it. 

The record is the source of the second half's weakness. It holds Curr's evil presence.  The resurrection of Curr is kind of over-the-top, and if it weren't for Tony Fields double duty demonic force/rock star posturer, would really make the  latter portion weak.  Pretty cool to listen to one of my favorite 80's bands, Fastway, ringing throughout the film, and almost all of the supporting performances are strong. 

As the film takes place during the lead in to a high school Halloween dance, it's perfect for this time of year.  Even with the lagging that may occur during the latter portions, this is well worth the watch, and I'm glad I finally, after 38 years, got a chance to view it. 

Samhain Project '24: Salem's Lot (2023)

Now as many of you may know, the 1979 Tobe Hooper-helmed mini Series of Stephen King's Salem's Lot aired on CBS is near and dear to my heart.  That's all spelled out here.  So here we are with this new Warner Brothers updating.  I skipped the 2004 mini-series because as much as I love Rutger Hauer (who played Barlow), the idea of Rob Lowe as Ben Mears makes me feel nauseous. 

So I went into this with massive reservations.  Due to my love of Tobe Hooper's film, I thought there was no way I'd enjoy this.  

Fuckin' A, was I wrong. 

This version of Salem's Lot is downright scary.  It hits all the right notes.  The casting is wonderful.  I was really impressed with the casting of Lewis Pullman as Ben Mears, I really like our new Matt Burke and Mark Petrie.  They all carried the weight of this movie that has top flight special effects, but the chill-inducing moments are really more organic through the entire film.  Like when Matt Burke puts two and two together and realizes that Mike Ryerson may in effect be a vampire crashed out in his upstairs bedroom.  That realization on his face is sold with major pathos, and is chill-inducing.

This one has an eerier score that puts pressure on the viewer as much as what's happening in the plot.  I would have liked to have seen Pullman deliver his take on David Soul's Marsten House monologue, but the film is just a couple moments shy of 2 hours as it stands.  I've seen critics complain about the lack of development in the case of Salem's Lot's residents, but they seem to forget the first two takes on the story were 2 night mini-series.  This was meant to be screened theatrically in wide release.  Time is a factor.  Also, why it sat on a shelf for damn near 2 years is beyond me. 

I couldn't have been more impressed with how this turned out.  And really when you look at the folks who were involved, they just happened to be James Wan as producer, and talents who were behind Andy Muschietti's IT, it should come as a surprise to no one the quality that winds up on display here. 

And I'm not the only one who thinks so, as this person below is far more qualified to pass judgment than me.

Samhain Project '24: Cat's Eye

Stephen King has had many adaptations of his work, but only a handful have been done by multiple directors.  In this case, it's Lewis Teague (who also did Cujo).  In this case, we have a Creepshow Lite of sorts.  3 vignettes who have an adorable cat and Drew Barrymore (at about age 9) as the connective tissue.  

2 of the 3 segments are based off of short stories from King's first short story compilation Night Shift. They are Quitters Inc. led by a terrific James Woods and Alan King, and The Ledge, starring early 80's stalwart Robert Hays (Airplane, Take This Job and Shove it, TV's Angie).   

I always have to do the disclaimer that Woods is a better actor than he is a human being.   He's not Jim Caviezel or Kevin Sorbo, because he's been known to give credit where credit's due, but he's still a wingnut.

The final segment of the 3 pieces scripted by Stephen King deal with a troll who's goal is to suck the breath out of our young Drew Barrymore.  But our cat, despite numerous attempts of Drew's bitch-ass mom to remove him from the home, (by this point named General), may have better ideas. 

Cat's Eye is light fare for King, but superbly directed and acted, with tons of King Easter eggs, and a lot of laughs in all 3 segments. I remember seing this one on Cinemax back in 1984, and enjoyed it then, and as of last night's watching, it still holds up as a charming, lightly ghoulish group of stories that are all super enjoyable this time of year. 

Recommended. 

Samhain Project '24: Oddity

                                             

Oddity is a European flick with chills galore.  I mean it's soaked in them.  Unfortunately I can't go into a great deal of detail without playing spoiler.  Damn my eyes.

I will say that the first few minutes of the film are a chest-grabber.   You're stuck to it.  Several moments are legitimately terrifying, and that's before the title card appears on the screen.  You have a young married couple remodeling a giant old estate out in the middle of nowhere.  The wife encounters more than a person should in those first few moments. 

The film takes place in only two locations in fact.  A ratty old hospital where the husband works, and the aforementioned estate.  Very simple. 

The sister of the young wife works her way into the plot. She is a twin, blind, and has the ability to divine information from objects, especially if they've touched someone.  She makes a visit a year after the film starts, and I don't want to ruin what she brings with her.  But that night, the amount of twists and turns that take place, many of which will catch you completely off guard, are numerous but not over the top. 

Creepiness is embedded in every frame, questions float through the air.  There are jump scares, but they're not remotely cheap.  The movie is so tightly wound, it seems to fly by leaving you wanting more. 

Oddity, is a true oddity.  A modern horror film, that feels gothic, with the capability of making you crawl backwards up your chair. 

That's not rhetoric.  I did that shit. 

I'm sorry I can't give you more.  I just don't feel right ruining this one for you.

Watch with a group.  Leave the lights off at your own peril. 

Samhain Project '24 : Saw X

Saw X may be the best film of the series since James Wan's original.  Why would that be?  It's immersed in emotion missing from most of the episodes in this wonderful bloody soap opera. 

It takes place between Saw II and III, as John Kramer is grooming his young sous chef of torture, Amanda.  So he's already put some folks through his engineering terrors of decision making at this point.  Here, however, John has discovered something missing from the previous two films.  

Hope. 

At a group therapy session, he encounters a man on the brink.  A short few months later, he re-encounters him at the peak of health.  He tells Kramer of a foreign treatment method, illegal here in the states, that works wonders in the curing of cancer.  He appears to have proof and a website that connects John to a woman who promises the impossible and John accepts. 

It's all an act designed to take Kramer's money while performing a sham procedure.

John Kramer is the wrong guy to fuck with; after all, the man is Jigsaw.

Tobin Bell is at his peak here.  The obvious pain he goes through upon realization that it's all a crock of shit really hits home.  The performance is on par with the previous movies, but you see a side of him that you haven't before and it's heartbreaking. Especially to those of us who have lost people to the monster known as Cancer. 

Of all the horror/slasher franchises, John may be the monster with the most, or possibly "only" heart.  You've seen flashes of it before, but not like it is here.  And that sadness and disappointment is carried with Kramer throughout the film.  It doesn't bury his rage, but partially obscures it as he and Amanda go to work drawing their pound of flesh.  No pun intended. 

No one he targets is a good person.  Do these thieving folks deserve the degree of retribution Kramer inflicts?  That's doubtful.  However, the horrible crimes perpetrated by those lying to and robbing from the dying by introducing them to false hope before emptying their wallets is all too disgusting, and all too realistic in this world.  

What they do may be just as vicious as what John does.  It just doesn’t come with traps capable of dismembering and crushing and piercing. But it comes with no motivation other than monetary gain.  

Somehow that is just as sick. 

And in spite of myself, and the empathic person I can be, I found myself cheering (before catching myself) for a mass murderer.  

But hey, there's evil in all corners of the world.  Who's to say what evil is more vile than a different evil?  Which one has more moral ground?

That's what makes Saw X a brilliant film.  Not just a sequel, but film. Those questions.

Samhain Project '24 : The Night of the Hunter

The Night of the Hunter is a film where the concept is of a twisted preacher chasing two children up the Ohio River.  He's chasing them for money stolen by their now-dead father, after said preacher has already murdered their mother. 

A simple concept indeed.

But Night has so much else to offer:

• Faith and its useage.  Our evil preacher, played with malicious vigor by Robert Mitchum uses faith to manipulate and blind all those he crosses the path of.  This includes our two heroes, John and Pearl (in great performances by children in an era not known for them).  A woman with a quasi-orphanage has a monologue that opens Night and is the savior of our two youngsters.  Her faith is used to teach, inspire, and even calm and entertain. 
• The strength of children in the depression.  John and Pearl's father is imprisoned and hung for murder and robbery early in the film (but not before crossing paths with our evil preacher, and passing him knowledge of the money's existence while in the pen) and his reason was to give his kids a better future during the depression.  For he believes the kids have no hope in this era, and is tired of seeing what seems to him all children struggling.  Another woman during John and Pearl's run, hands out potatoes to wandering and abandoned kids before telling them to pound sand, despite her generosity, for she can't stand the sight of their battles.  But our lady of saving grace, who gives a beautiful soliloquy about how "it's the little things that suffer", still believes all children abide and even find a way to flourish thanks to their resiliency.
• A gorgeous film.  This was the only directorial effort of veteran actor Charles Laughton.  And in all its black and white glory, he tells a beautiful visual story to coincide with the plight of John and Pearl.  In all the horrors and ugliness of the depression and the preacher's intent, the beauty of nature stands in the foregrounds as John and Pearl ride their father's battered skiff down the Ohio River.  The sky is speckled with black and white stars that give the night a haunting beauty.  Laughton has ugliness and beauty going toe to toe in this film and because of it, it is one of the most striking movies of its era.  The haunting shot of Shelley Winters body in her sunken car, with her hair flowing among the seaweed, will always stick with me and most filmgoers share the sentiment.  The Night of the Hunter is a film swimming in visual splendor, both wonderful and awful. 

I can't say enough about the greatness and unique quality of this film. Does it qualify as straight horror?  Most certainly, but there's so much here that makes it rise above, that more than one viewing is necessary.