Last night, on Halloween

returnMost film bloggers, for obvious reasons, spend October devoted to watching horror films- its inevitable really; timely at best, tiresome at worst, and I’ve done it myself in years past, to some extent. Not this year, though during the month I did watch one decidedly sub-par horror film (The Curse of la Llorana) that rather proved that there’s nothing quite as boring as a bad horror film, and that, God Knows, there are far too many of them. Besides, there is enough horror on the news every day without adding to it by watching horror movies. 

I’m finding -indeed, I just commented as much on someone else’s blog- that Covid is changing how I’m looking at things, that I’m suddenly looking through some strange prism, like how the world seems to change when reading a good Philip K Dick story, or H P Lovecraft. Its like watching a colour movie gradually fading into black and white.

So anyway, last night was Halloween, so it would have been rude not too finally succumb to the season by watching a horror film. Actually, I watched two, picking two of my favourites: John Carpenter’s classic The Thing, from 1982 -a very good year for movies-and for a change of pace (real-life schedulers please note) Dan O’Bannon’s delightfully irreverent zombie flick Return of the Living Dead, the unofficial sequel to George Romero’s seminal Night of the Living Dead

thing3The weird thing is that Covid is changing how we look at certain movies, because Carpenter’s The Thing, in the past accepted as a reflection of the Aids epidemic, inevitably now reflects the paranoia and unseen menace of  the Covid Pandemic. The enemy within, the spreading alien contagion, the betrayal of our own bodies. I won’t labour the point, but it did make watching the film this time around a different experience. Part of that is so much bullshit- its what we are seeing, not what the film was originally  intending, and the important thing is that its still a great film, but its a reminder that films never change, but we do, and the world around us. Naturally I was watching Arrows Blu-ray edition from a few years back and it looks quite beautiful (I actually thought it had come out last year, but was horrified to learn it came out back in 2017, yet again me being baffled by the passage of time) – I understand a 4K UHD edition is likely coming out next year, and have to wonder just how much it can improve upon Arrow’s disc, and wonder if I will be suckered into buying this damn film again. Its clearly Carpenter’s best film, and one of the best End of the World movies ever made. I understand they are making a remake/reboot, somehow with Carpenters blessing  (probably the cheque he gets handed to him, he loves easy money, bless him).

Return of the Living Dead, from 1984… crikey, I can still remember seeing this in the fleapit ABC cinema in town back in the day.  Its a cheap and nasty b-movie that revels in being silly, which is an angle even more brilliant now than back when it came out, mainly because of all the zombie stuff we’ve seen since, particularly The Walking Dead (Return should be aired immediately after every season finale of The Walking Dead, if only for a Reality Check). Zombies are a stupid idea; the central premise overwhelmingly daft, its amazing that people get suckered into taking it so seriously, when you really think about the ‘logic’ of it.

There’s a lovely moment in Return when the rain, infected by the ghastly chemicals that reanimate the dead, soaks into the soil of a cemetery (the ‘Resurrection Cemetery’, ‘natch) and the dead start to rise, and a skeleton promptly thrusts itself out of the wet earth, its jaw drops, and the soundtrack breaks into song “Do you wanna PARTY?!!” Its daft, irreverent, silly, hilarious. These zombies know how to rock, and they know how to party . “Send more Paramedics!” one of them gasps into a radio handset, and once that meat has been exhausted, another calls in “Send more Cops!” Its all about the brains, stupid. Considering its humour, the film is also surprisingly dark, its ending inevitable, rather echoing the dark inevitability of the conclusion of The Thing

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