The career of British horror writer James Herbert, who died earlier this year, somewhat parallels that of Stephen King. Both published their first novels in 1974 – Herbert’s The Rats, King’s Carrie. Although Herbert was never as prolific as King, he continued to write and publish until shortly before his death, having sold more than […]
When Stanley Kubrick’s movies were released on Blu-ray back in 2011, I decided it was time to watch them all again in chronological order. In part to remind myself of just why he’d been important to my sense of film for over forty years, and in part to see what patterns I could discern in […]
I’ve been a fan of Don Coscarelli’s work since the first time I saw Phantasm in 1979. Made when he was just 24, that film followed two “family” features – Jim, The World’s Greatest (1976, co-directed with Craig Mitchell), about a boy dealing with his alcoholic father; and Kenny & Company (1976), about a week […]
While his stories have remained popular for 80 years, H.P. Lovecraft’s work presents difficulties to filmmakers who try to translate his work into movies.
The first time I saw Stanley Kubrick’s adaptation of Stephen King’s third novel, The Shining, when it was released in 1980, I lined up for an hour to get into the Colony Theatre on opening night. Just as my friend and I were reaching the door, an usher came out counting heads; she dropped her […]
My project of revisiting all of Stanley Kubrick’s movies in chronological order has, once again, been stalled for some time, although the delay in looking at Barry Lyndon again has nothing to do with the kind of reluctance I felt with Spartacus. Rather, it’s just been difficult to find a clear window of three-plus hours […]
After the experience of directing Spartacus, Stanley Kubrick got as far away from Hollywood as he could. He moved to England, where he stayed for the rest of his life and made his eight subsequent features. Interestingly, the first two of those films were both set in the United States, as if despite making the […]
Given the vast differences between the written word and the moving image, it’s not surprising that the translation from text to screen can sometimes produce strange results. David Selznick treated source text as gospel, using Margaret Mitchell’s novel as a virtual script for his massive and very popular 1939 adaptation of Gone With the Wind […]