King's Highway pt. 13: Cujo

I hadn't read or seen Cujo before this past week. (I think after the Firestarter fiasco, my parents shut the door on my checking out anything King-related on VHS.)

"What do you mean, Bryan? Sure, this is Cujo..."

I started reading Harlan Ellison in 1986 or so, and I knew at the time that he thought the book was "just okay." I'm very impressionable, so that meant for study halls at the time, it was pushed down the list and I never got to it. King himself regrets not remembering having written it, as he likes it. Me...

...this is probably my least favorite of the books I've read so far for this project. Not to say it's not enjoyable, but some of the writing seems kind of gimmicky. Not Tom Robbins-gimmicky, but you get a lot of backstory for things that don't necessarily advance the plot or pad it out significantly, and then some capitalization-stuff like "Cujo saw THE MAN and THE BOY" Okay, I get it... that's how Cujo sees the world (more on that below) but come on. And then there's a lot of

(the man... the dream)

stuff between the paragraphs, sometimes

(zab-zooey!)

breaking up the sentences themselves. King's left a lot of this stuff behind over the years, which I like. He stills breaks into italics to approximate inner monologue. But he's hardly alone in that, and that isn't as intrusive. Maybe gimmicky's not the word, and maybe I'm unfairly projecting King's admission he wrote it in more or less of a blackout onto it. It feels like kind of a drunk rambling story, with a lot of stuff to pad it out, but not much there. But I think he's left

(the man... the dream)

behind in his later work.

 

Not that there isn't symbolism that comes through. Is marriage the rabid dog? Or is it the broken-down pinto? (Or is it the lies in a marriage that create the monster/ the broken-down pinto?) Or the Red Raspberry Zingers? (I don't want to get into it) None of the above? Whatever your poison, there's a case to be made of artful construction The book is basically three different threads:

1) Vic and Donna's disintegrating marriage. She's had an affair, and the lover returns to the narrative much as Cujo himself does. Their son, Tad, projects or sublimates his awareness of this the way little boys sometimes can do - the monster in the closet.

2) Brett and Charity Camber's abusive marriage and their son. They're the ones who have Cujo, the St. Bernard who chases a rabbit down a hall, wakes some rabid bats, and gets a bite on the nose.

Quick side-note: I'm not a particular fan of a narrative switching to the p.o.v. of an animal. For me, it's a slippery slope. Once you switch over and have Cujo start describing things, what's to stop you from switching to a squirrel or any animal in the story? Logically, at that point - you've already shown us the mind of a non-human, what's the author's justification for not including the squirrel's narrative, and so on? I don't know, not my thing.

3) Vic's advertising account. I won't get into it. But, sure, preserving the image of something/ giving a failed account an honorable burial - these things definitely reflect on the above.

But I don't think points 2 and 3 tie in to the main point of 1 as successfully as they could. Donna and Tad have their rendezvous with Cujo pretty early on, and it's apparent that struggle is the climax. It seems to go on too long. The end is grim.

Which brings us to the movie, which may be a better take on the same material. Cuckoo for cocoa puffs? Crazy in the coconut? Maybe. It's not a masterpiece but certainly successful enough for what it is. Considering the subsequent work of director Lewis Teague, it's a high water mark for him, anyway.

Yeah, rough day. Dee Wallace is Danny "Who's the Boss" Pintauro's mom, here, and played Henry Thomas's Mom in E.T., and Andy Bernard's mom in The Office. Whole lotta' moms!

I've always enjoyed the animal vs. man sub-genre of films where the attacks bear some Freudian or other-ian deconstruction of human relations.

The Birds is perhaps the best example. Tho...

isn't bad either.

I don't know if Cujo belongs in the same category of films, but a case can be made for it. At any rate, it conveys some horrible things quite effectively - particularly everything that happens to Dee Wallace in the car. I don't recommend this for prospective moms or children under 10.

Cujo in happier times.

Cujo after the rabies.

Tad's Dad by the way is played by Daniel Hugh Kelly, who may not sound familiar but is instantly recognizable to men of a certain age as Skid McCormack from McCormack and Hardcastle, and, for me personally, as what's-his-toes from Star Trek: Insurrection.

That guy, with Donna Murphy and Patrick Stewart,

The biggest differences:

1) The film eliminates most of the cruder or more violent elements of the novel. The character of Gary Pervier, who gets such lines as "I don't give a shit if he was hitting line drives into her catcher's mitt" in the novel, doesn't do too much here except get to be the first victim. And there's no battering the rabid St. Bernard's head into near-unconsciousness with the car door, for example. But the terror of the child screaming/ claustrophobic space comes across even more immediately than in the reading.

2) Both the fate of Tad and the manner in which Cujo is disposed - which, depending on your opinions of the subtext here, mean everything or nothing, take your pick. That's not me equivocating, just saying, there's a big difference, if you're looking for one - are very different.

3) The whole Brett/ Charity plot, which see above and didn't-miss-it-if-you-ask-me.

Terrible, terrible way to end the movie, though, with the frozen image and then the Muzack. All that was missing was Joe Cocker's "You Are So Beautiful." What the what?

This would have been better. Albeit creepier.

A final note: in an intentional perversion of the point of King's confession of not remembering writing this, I thought it would be fun to get blackout drunk for the blogging of this. I failed spectacularly - just remembered to pour a second glass of the bottle of wine I bought. (10:36 pm) Sigh. I feel I've let down my 18-year-old self, who was looking forward to putting the headphones on and listening to the Doors or something.

King's Highway pt. 12: Storm of the Century

This mini-series came out in 1999. About smack-dab in that dead zone of tv memory in my head. I spent a lot of time in the 80s and 90s staring into glowing rectangles, a habit I've all-too-much picked up again in the 21st century, but for a few now-blessed years there in the late 90s and early 00s, I'd limited my ocular input only (mostly; I mean, I kept up with 90210, naturally, and The Simpsons and X-Files) to films and video rentals. Which is all just to say - I have no contemporaneous memories of the original run of this at all.

King's blink and you might miss it cameo, as an advertisement on the tv screen in Martha Clarendon's living room.

The story, more or less:

- The community of Little Tall Island prepare for the "storm of the century," predicted to dump 3 to 5 feet of snow and with near-hurricane winds.

- Mr. Linoge, a mysterious and malevolent stranger in the Randall Flagg tradition, arrives on the eve of this storm singularity. He murders a woman and is arrested. He demonstrates supernatural insight into the dark secrets of the townsfolk.

- During his captivity, people begin to die, and, somewhat disturbingly, the message Give Me What I Want and I Will Go Away begins to appear everywhere.

- He busts out, and everyone shares the same disturbed dream. All the townsfolk march off a pier and into the ocean, apologizing in turn to Mr. Linoge for not delivering unto him what he desired. Each has "Croatoan" scrawled on his or her forehead.

- Shortly after, 7 children see a vision of Mr. Linoge's talisman-cane (which the adults cannot see.) Each of the children touches it and fall asleep. Later we learn they are "flying with Mr. Linoge" ... creepy.

Very Freudian? Why start noticing now...

- He tells them, at last, (this is a 4-hour-plus production, and there's quite a bit of "I'll tell you later" going on when it comes to...) what it is he wants.

- They debate giving it to him and come to a decision.

- He goes away?

It is this last question that I think informs the framing narrative (the same voiceover accompanies the beginning and end of this) and the subtext in general. Once you make certain "deals with the devil," do they ever go away?

Julianne Nicholson, also star of the worst movies this side of Joshua, examines this particular part of the subtext early on, but it only becomes really evident in the third hour and beyond.

There are some fun connections to other King works. Little Tall Island, where this takes place, is the setting for Dolores Claiborne, and is separated from the Maine-land by "The Reach," the title of a story from Skeleton Crew. (Also, I guess, just a Maine / coast term in general, but whatever) Ms. Nicholson, aforementioned, references a particular trip to Derry, setting for It and a few others. And the first victim is a woman named Martha Clarendon. Related to "The Beav" Clarendon from Dreamcatcher? I asked the folks on the SK Forum but no answer at presstime.

Ordinary people in extraordinary circumstances.

All in all, this is an intriguing story. Perhaps a tad too long, but who cares? King works pretty well in the mini-series format. Usually. The most distancing aspects of the production are the accents. What is it about the New England accent that invites such wild projections from actors?

Not that there's one New England accent. A Woonsocket, Rhode Island accent is very different than a South Boston accent, and JFK didn't sound like either of them. Nor does much of what you hear once you get up into the areas of Maine King usually writes about. But, as with any regional accent, there's one broad Hollywood shortcut; Storm of the Century only randomly lands there, either.

There's a whole lot of Bible talk in this movie. Some of it is very effective, such as Mike Anderson's rebuttal to his passenger as they drive through the storm re: Job

"...'Why me?' he asked God. And God answered: 'Job, I guess there's just something about you that pisses me off.' (beat. Winds howl. Snow blinds.) 'Does that help you?'

'No.'

'Me, neither.'"

And is it a coincidence that the plot involves the sacrifice of an innocent child to a cold and vengeful omniscient god? The character of Mike Anderson in particular seems to represent the shift in tone from the Old to the New Testament. Which, so far as the story is concerned, seems hopeful - i.e. what's done is done, but new life is possible. I do not proselytize, just story analysis, fella...

At other times, some of the Biblical back-and-forth seems a little forced, or at least not necessary, such as in Mike's interactions with the Priest. During such moments, I always remember a tidbit from some King trivia site I came across, that he won a prize for scripture memorization as a kid. (Or something like that.) Lots to draw from, there, so no wonder it pads out some of these 4-hour or 1000 page epics.

I was intrigued by the comparisons made by Mr. Linoge (have I mentioned this yet? Like Tim Daly points outs in the film, this name is an anagram of "Legion," a nod to the demons cast out by Jesus in the Gospel.) to "Croatoan."

I was greatly amused when this image with that-cad-Jude-Law came up in my Google search results for 'Croatoan' so, I figure, why argue with Google algorithms, here it is.

The actor who plays Lingoe is Colm Feore, who delivers the standout performance. Tim Daly does a great job, as well, but Colm's accomplishments here are considerable and perhaps unsung. (I've certainly never heard anyone mention them to me, at least.) So, chapeau, Monsieur. Feore.

The hilarious title menu, sadly no video preview available. Anyway, don't judge him just from this; he does a remarkable job.

p.s. Casting-wise, besides that, I appreciate that the production has a "real person" feel and sound; if this is ever remade, I imagine it'll be in the True Blood fashion, where even the schoolteachers spend three hours in the gym everyday. (Except the obvious freaks or victims, i.e. those who die in a furious rebuke of previous eras's tropes and memes.) But this means some of the performances are a little amateurish or, in the case of the Town Manager, inconsistent.

King has spoke and written often of his great admiration for Shirley Jackson. I think we can see a bit of that on display in the third act, here.

Overall - I'll give it 7 out of 10.

King's Highway pt. 11: On Writing and the SK Companion

I got The Stephen King Companion as a Christmas gift in 1988 or 1989. Maybe 87? I can't recall.

This goes for some wild prices on eBay, but keep searching, there are some $.99 first editions out there.

I got rid of all my books when I left Dayton in 1998, and this was one of them. I re-acquired it for the sake of this project. How does it hold up? Kind of flimsy, I guess, but for me, it was a treasure trove of memories. I found this site while gathering materials for this blog, and especially when set aside some of these other overviews, it comes off as a bit fan-club-ish. Not that that's a bad thing, just, if you're looking for King analysis, the best thing in here is the reprinted Playboy interview (more on that at the end of this blog) and the text for An Evening with Stephen King from Virginia Beach, VA.

As for On Writing, this can be read in two ways. One of which I will concentrate on here, and the other, which is probably more along the lines of why it was written, i.e. tactile lessons from one of the most successful writers of our age, which I will not.

This book came across my radar on 2000, when I was a tutor at The Writing Center at Rhode Island College:

Craig-Lee, my oft-Base-of-Operations 2000-2003.

At the time, I flipped through it enough to get the gist (I thought) of it, which seemed more or less like the same advice Mrs. Wimms gave me in 10th grade from The Lively Art of Writing. Or later, from A Moveable Feast or Papa Hemingway or just from reading Salinger. That was my reaction to it at the time, you understand. (After this - neither here nor there - the only person I wanted to listen to on fiction was Fitzgerald from The Crack-Up.) This time around, I found it full of very practical advice, not the least of which is:

Put your desk in the corner and remind yourself why it isn't in the middle of the room... Life is not a support-system for art; it's the other way around. 

Which led me to an interesting 4 hour adventure yesterday afternoon re-arranging my room, which involved two-prong adapters, extension cords, some creative problem-solving, and lots of hands-and-knees scrubbing and annihilation of germs heretofore unrealized. 

But, as alluded to above, I connected much more with the biographical material and perhaps projected a bit upon it. King's work has been a part of my life for as long as anything else. Thinking about it - doing these blogs - can't help but bring some other things to mind, certain signposts along the way.

Nice Corgi. (It was a rescue.)

The sections on his accident and recovery were chilling. Real-life horror recounted faithfully. In a lot of ways, King's trained himself so well as a writer of horror (as he says in the Playboy interview, 'I'm not above thrusting your hand in the maggot-infested innards of a long-dead woodchuck") that when he discusses the rational horrors of mortality, it comes across like Khan's effortlessly chilling sudden appearance in Wrath of Khan.

Okay, so Star Trek 2 is on, here, during my Sunday night blogging. So it goes!

Couple things:

- The Playboy interview from the 80s is interesting for many reasons. He speaks of knowing some tragedy awaits him in the near future (easy enough to chalk it up to his paranoid/ besotted state of mind at the time, but still, rather chilling, especially given his ongoing preoccupation with pre-cogs, etc.) and of his writing deconstructing himself/ his own therapy. He talks in On Writing how he knew he was an alcoholic as early as 1975 when he wrote The Shining - that his muse, as it were, cried for help the only way it could.

Danny isn't here right now, Mr.s Torrance... He's shot-gunning beers in the garage with tissues up his nose to stem the coke-induced beating with his heart going 130 beats a minute.

And he gives us some other insight into The Tommyknockers and Misery and Cujo, all very interesting, as well. But it is this passage that really resonated with me:

The last thing I want to tell you in this part is about my desk. For years I dreamed of having the sort of desk that would dominate a room... In 1981 got the one I wanted and placed it in the middle of a spacious, sky-lighted study (it's a converted stable loft at the rear of the house). For six years I sat behind that desk either drunk or wrecked out of my mind, like a ship's captain in charge of a voyage to nowhere.

First, it is weird to imagine all the output of this period (good God, just look it up) as the result of someone who describes himself that way. Second, I can relate in some stupid ways, except moving the timetable a few decades later. (And, you know, subtracting the monetary and creative success of the relative six years in question.) And third, just... what an image. I almost see it as a signpost on the edge of true alcoholism/ addiction. Turn back here. 

Not King, but the first alcoholic I ever met was Tony Stark. My brother had to explain what an alcoholic was to me.

On Writing is a humbling book to read. If you are a writer or aspire to be one, this is a great kick in the ass. If you're an admirer of the memoir genre, it's a fun read. It fits all the criteria of any book-blurb you ever read... Inspiring, a tour-de-force, 'King writes with an honesty and energy unsurpassed,'... Blah blah yadda yadda. And, it lives up to it.

- It's wild to read these recollections of authors Joe Hill and Owen King as children. Re: Joe, "The delivery was easy; nothing else with him was." (Said with affection.) I can see that; Joe Hill seems to be a rather ornery dude, quick to deride/ project on Twitter. But, maybe that's how come he writes so good, to paraphrase Vonnegut.

FINAL VERDICT: Shelf-worthy. Amazingly readable, helpful, illuminating. It is not an exaggeration to say this may be the best book of its kind to come out in the past few decades. I hope it remains in the stacks of the Writing Center at Craig-Lee for several generations.

King's Highway pt. 10: Rose Red

We Say haunted, but what we mean is, the house has gone insane.

Tonight, we address what SK refers to in the preface of Everything's Eventual as one of his "visual novels," the 2002 TV mini-series Rose Red.

I don't really remember this being on the air, but that's par for the course those years in my life. I didn't watch a lot of contemporary tv from 2000-2003 or so. (Except for Dawson's, which is far afield of this particular blog series, but an interesting horror tale of its own...)

Going in blind, I was pleasantly surprised by some of the familiar faces... David Dukes, Jack's Dad from the aforementioned Creek, who died during filming of a heart attack; Sawyer's Dad from Lost who had one of my favorite lines but I didn't write it down, but it's what he says directly after his precognitive powers are displayed at the bar in episode 1; Emily Deschanel from Bones; Liam McPoyle from It's Always Sunny in Philadelphia; and what's-his-name from The Aviator and Big Love... (I figure why write a blog containing nothing but google-able information.)

Matt Ross is his name.

His performance is a bit haywire, actually, going from malevolent in the SK-tradition of Harold from The Stand to goofy and broad to more restrained.

It's not his performance that undoes some of the pleasure of this story. (It clocks in at 254 minutes, by the way, so when I say it's a pleasure, it must be, if I wanted to watch it all.) But it's mainly the lead, Nancy Travis. I have to agree with this from the Rose Red wiki:

It's hard to say whether or not Travis is simply the wrong choice for Reardon or if she just took the wrong approach. For the entire mini, the actress grimaces like a rabid dog; her character frothing at the idea of recording psychic anomalies at the expense of everyone around her. Most important, however, she never convincingly demonstrates the kind of power of persuasion it takes to win over strangers to do her character's bidding.

^-Fries, Laura. "Stephen King's Rose Red." Daily Variety. January 24, 2002.

I can only add that she seems to play the part whimsically at odd times, and strangely-intense at others. A lot hinges on her as the bedrock of the proceedings, and I found myself constantly wondering at her motivations. I get that the house acted as a catalyst for her psychological unhinging, but ultimately, I was unconvinced. Her "break" as the house accumulates on her might've been a bit cooler had I had a bond with her of some kind.

Help us or die.

The rest of the cast is believable enough, with extra props going to Julian Sands. Not a brilliant performance, but one with the ol' gravitas. Always helpful for a suspension-of-disbelief tale.

Really, most of the cast, plot, and design are not incredibly original, but neither do they come off as particularly stale. Far from it, I'd say - it's one of those things you can always refer to as "fun to watch." There will always be Saturday afternoons or three-am-sleepless-nights where you'll be happy to have it at the ready. Like SK mentioned in his 1980s Playboy interview, "...new wine from old decanters." Fair enough.

Tsidii Le Loka (standing)'s the maid/mistress/ghost, part and parcel to a haunted house tale, as well as...

"this chick," played by Yvonne Sciò. There always seems to be a ghostly brunette in these things. I don't know why. Theories are welcome. (the dark hair/ ghostly skin contrast maybe?)

Some things I liked:

- The set was cool. The interiors were fantastic. A good-perhaps-excessive amount of time panning over the house and the set, but I can see that as part of the "visual novel" aspect. Something separate from novel, separate from tv.

- The sound design, while perfunctory, was pleasant enough. I took a nap during episode 2 (don't worry I went back and watched it) and there were long stretches where I couldn't quite get to sleep due to the haunted-whispering or tone-poems going on.

- The Glenn Miller and other tune are always used for these things, but I never get sick of them. I wonder when that'll trail off, as the 21st century goes on. I mean, Glenn Miller was 74 years ago, now.

- This was inspired by the tale of the Winchester Mystery House. A couple of fun photos:

The Door to Nowhere!

- I like this:

Houses... are alive. This is something we know. News from our nerve endings. If we're quiet, if we listen, ...it's as if they were having bad dreams. A good house cradles and comforts, a base one fills us with instinctive unease. Bad houses hate our warmth and our human-ness. That blind hate of our humanity is what we mean when we use the word 'haunted'.

In my experience, this is 100% true. Don't need a poltergeist putting maggots in the fried chicken to know when a place is just plain haunted.

- A book tie-in to this, The Diary of Ellen Rimbauer, came out and is still in print, I think, but I haven't read it. I like when shows do that, though. Anyone remember Bad Twin, the lost tie-in? I still think Paul Artisan is a great name and/or character for an ongoing series.

- And finally, the man himself has a brief appearance as the pizza guy:

Looks like an Investigation Discovery re-creation, doesn't it? "But he came armed with more than pizza..."

Filmed only a couple of years after the near-fatal encounter with Bryan Smith. I imagine it was a welcome public appearance, after something like that.

NEXT: The "something like that," On Writing and The Stephen King Companion.

King's Highway pt. 6: Way Too Damn Much about Maximum Overdrive

This is the theatrical trailer, which is better than the tv one I remember seeing a hundred times in 1986.

But I only ever saw the movie itself on video. My friend Chris brought it over. His grandmother would call him up on Monday and ask him what movies he wanted, and he'd call me and we'd discuss. Then he'd give her the list, and she'd go rent the movies from Victor Video and tape them. The following weekend or whenever we hung out next, we'd have three movies to watch. This was one of them. All we ever wanted to watch was stuff like From Beyond, The Shining, or, Evil Dead 2. 

This was right before the age of video-guards. I'm probably opening my family (not to mention Chris's) to FBI investigation, but yes, folks, there was a time when video and audio terrorists ran amok... where tapes were borrowed and taped, and mix tapes were made.

Quality? Well... different story. But as I recall a different friend saying when I mentioned getting the Dead Kennedys on CD, Just got to have that low-fi punk production digitally mastered, huh? I kind of think the same here, with Maximum Overdrive. Context is everything.

With that said, why is this film so reviled? King himself has never had a kind word to say about it. I've always wondered if that had more to do with bad memories of its production, or if he felt perhaps not out of his element but discovered he'd rather employ his considerable talents back on his home turf. (If that was the case, considering the amount of material he's done in its wake, he should take these detours to cinema more often, if only to unleash the writing-Kraken.)

It's aged unkindly in spots, sure. But the top-grossing films in 1986 - Top Gun, The Golden Child, Star Trek IV, Ferris Bueller's... hell, even Platoon - all have aged unkindly in one aspect or another. Granted, no one would compare Maximum Overdrive to any of those, but its real genre/trope competition is more Police Academy 3: Back in Training or Friday the 13th pt VI, so judge it by that. Or by Night of the Comet, which while not released in 1986, is perhaps its truest mirror. Sit it side by side to any of these, and I'm much more forgiving.

Now that I've talked myself into loving it enough to watch the rest of it...

I thought the story this is based on, "Trucks," didn't need much fleshing out, although I was curious at its end where things would go. Would it go and on? Were humans doomed only to pump gas and replace transistors and tighten screws for a malevolent machine race until they couldn't do it anymore? (This idea was explored with equivalent lunacy in The Matrix sequels. Bring that up the next time someone starts banging on about The Matrix. Actually, take my word on this - bring up Maximum Overdrive, stubbornly, whenever horror films are brought up, and never waver.)

I liked how "Trucks" ended - kind of staring off into a bleak future. I like fiction like that carries an unspoken but urgent message of WE might be screwed, but this is a message from an alternate world... It's not too late to save yourselves. Like the end of the original Invasion of the Body Snatchers.

The film adaptation goes a different route and places the narrative in a bust-out-of-Dodge then survive the 8 days til the comet passes sort of deal. We don't see the end part of that, but it is alluded to in the odd and hilarious coda, with the AC/DC blaring, which, to me, is what separates this flick from the others - I mean, the whole cranking AC/DC intermittently is a sound template for a movie, if you ask me. More films should do this, and with KISS, too. You'll know you've woken up in a world suddenly run by me if this starts to happen everywhere you look.

Anyway, let's not make too much of the trucks-gone-wild movie. Here are my bullet-point observations from my notebook.

- The game room sequence goes for a bit of a blaxpolitation feel, but it comes across a bit awkwardly. Perhaps even offensively. Par for the 80s course, alas. (I'm alone in this, but I levy the same charge at Tarantino. Future generations will agree with me here.) But, that aside, that Star Castle game looks so awesome, doesn't it? What I wouldn't give...

- 16 minutes in: Jack Chick tracts??! Seriously? Awesome.

- Around 44 minutes in, we see a truck full of toilet paper explode. The camera pans over a field of burning rolls. I don't know... a cry for help? A wry smirk? A fun image? What are we to make of the gratuitous destruction in general? 

- Elsewhere, the soda machine, the ice cream machine: I mean, in 2012, we know high fructose corn syrup is trying to kill us; isn't the soda machine a bit of a wink-wink from the past? (Probably not, but it is kind of funny.)

- I always get such a kick when movies reference the title of the film in the dialogue. "At least that's where I was going before all the machines kicked into Maximum Overdrive..." If I ever write a script - which is one of those things that sounds sometimes like "If I ever perform brain surgery" - I will do this at least once a half hour. Until someone edits those lines out of the movie.

- I'm not a huge fan of Pat Hingle. I think I bear him (and Tim Burton) a lifelong grudge for his being cast as Commissioner Gordon.

Yeardley Smith from The Simpsons provides the girl-screaming-at-everything part.

- Gratuitous explosions and demolition and car smash-ups of the slow-motion variety et. al are a fun hallmark of 70s and 80s films. No wonder why CGI is so goddamn cost-effective. The production design of something like this (or a more polished production like Midnight Run) to something nowadays like Sucker Punch is worth considering. Anyway, back to the 80s - no montage here, but the end credits play out to "You Shook Me All Night Long," which is a total (and fist-pumpingly appreciated) 80s move.

- 'Hell's Bells' during the endless gas pump made me think about Peak Oil and Michael Ruppert.

- I don't quite get why the rocket launchers and guns don't gain sentience if things like the electric-cutting-knife do, but hey! LOOK IT'S BARNEY FROM THE SILENCE OF THE LAMBS!

I really regret the lack of commentary track. I had to buy this from Amazon as no Netflix disc available. $.99, by the way! That's only one dollar more than what I paid watching my friend Chris's grandma's copy back in 1986, which was, of course, free. Not to be morbid, but this was the 80s and she was ancient, then... I wonder if she has passed, which seems likely. If so, what did her relatives made of the trunk-full of VCR tapes? Did my friend Chris awkwardly shuffle between his feet? I picture them looking them all over and puzzling over the three titles scrawled in faded blue ink on the text strip along the side. Reading them aloud. Every tape with two or three schlocky horror films. Every word a mystery...)

Anyway, re: the commentary, given King's account of his state of mind alluded to in On Writing, during the time-frame of production, I imagine it might bring up some bad memories, so too bad. I imagine a King-family commentary track might get heated in spots. Good thing people from Maine have (usually - I'll die inside when they start doing "Maine Shore" or "New Hampshire Hillbillies" shows) more common sense than airing their dirty laundry for public consumption.

Air your linens in your backyard, not the media, is the lesson of Maximum Overdrive. RIGHT? RIGHT? Oh...

If I were an eccentric gazillionaire, I'd offer obscene amounts of money to anyone willing to make a sequel that details how the gang's weathers the rest of the storm. Maybe I'd sub in KISS for AC/DC. Perhaps someone out there in blog-land will read these words and plant a flag on this golden shore.