Archive for October 30, 2014

The 20 Scariest Horror Movies You’ve Never Seen

October 30, 2014
RAVENOUS (1999)
Don’t let the snakebit production (two directors came and went before Antonia Bird was brought aboard) or the jarring score put you off. Ravenous is a roaringly good cannibal-horror movie, and one of the finest film examples of the “Weird West” subgenre, which situates supernatural evil amid 19th-century America’s wild frontier. Trainspotting’s Robert Carlyle chews more than just the scenery as the lone survivor of a Donner Party-style expedition, while Guy Pearce, Jeffrey Jones, and Jeremy Davies are among the motley crew of a remote Army outpost who try to find his lost companions — and fall into his trap. Spectacular gore, genuinely funny black comedy, and a surprisingly powerful exploration of cowardice in the face of violence make this one worth sinking your teeth into.

I have a couple of entries in Rolling Stone’s fine list of widely overlooked horror films. Find them…if you dare!

HuffPost Empire

October 27, 2014

I’ll be talking the Boardwalk Empire finale, Homeland, & The Affair on @HuffPostLive today at 4:55pm. Watch it here.

The Deep Ones

October 27, 2014

The Deep Ones

by Sean T. CollinsJulia Gfrörer

Julia and I made a comic about sea monsters, their meaning, and their menace. You can read it at The Nib and buy it in “Deep Trouble,” the latest issue of Symbolia Magazine.

You can also follow the inspiration blog we made for the comic, the-deep-ones.

“Boardwalk Empire” thoughts, Season Five, Episode Eight: “Eldorado”

October 27, 2014

I reviewed the series finale of Boardwalk Empire for Rolling Stone.

Q&A: Terence Winter on the end of “Boardwalk Empire”

October 23, 2014


Nucky started the series as a crooked politician, but as Prohibition continued he became more of the traditional gangster. Was it the law that unleashed the criminal in him?

People were made millionaires overnight by Prohibition. If you were willing to traffic in illegal alcohol and run the risk of getting arrested or hijacked by other gangsters, you had to be prepared to do things you hadn’t done before — like murdering people. That’s what Jimmy was warning Nucky about.

You know, there was no shame about it. People had been drinking beer their whole lives, and suddenly it’s illegal? It was pretty hard to convince anybody other than the temperance movement that alcohol was this bad thing. It was just illegal, not morally wrong. Your average man on the street had no intention of giving up his daily beer or scotch — he just had to figure out how to do it. So these guys weren’t looked down upon. It’s not like they were heroin dealers or murderers. They were providing a service, a commodity, that most people found innocuous.

There was also a collision of historic events that not only made the gangster world possible, but were tailor-made for it. You had a generation of young men coming back from World War I who spent the last two years in trenches killing people for free. Now, suddenly, all you have to do is guard a truck and maybe shoot somebody, and you could make a fortune. Guys lined up all the way around the block to do that, since they’d basically been doing exactly that for nothing. You had all these disenfranchised, disillusioned young men who were perfectly willing and able to get into that business.

There’s a character on the show who says: “The premise of fiction is that people have some sort of connection to each other. But they don’t.” Is that your conclusion as well?

I think it’s a matter of perspective. I’ve always thought that when they say ignorance is bliss, the converse to that is that knowledge is hell. The more you know, the bleaker things can get. Jimmy once said that all you have to worry about is when you’re alone at night. You run out of booze and you run out of company, and [then] you’re really alone with your thoughts.

I interviewed Boardwalk Empire creator Terence Winter about the upcoming finale, and his next project with Martin Scorsese, Mick Jagger, and Bobby Cannavale, for Rolling Stone.

Comics Time: Gast

October 23, 2014

Murder mysteries are defined by their central, structuring absences. A hole occupies the space where a life once lived. That hole can never be filled. But through an investigation of the facts, an uncovering of the truth, and a pursuit and capture of the killer, we can define and discover the shape of the hole to a degree of accuracy sufficient to put a cover on it, so that the still-living may proceed past it once more.

Gast, a graphic novel of exquisite and accomplished empathy and restraint by alternative-comics veteran Carol Swain, tells a story centered on a hole far harder to close up than most. It proceeds with the methods and mechanics of investigation and discovery. The scene of the crime is visited. The victim’s routine is examined. The friends and acquaintances of victim and suspect alike are questioned. Evidence is recovered and cataloged: a discarded make-up bag, a shell casing, a stain on the bedroom wall. Means, motive, and opportunity are all established.

But there is no crime, because killer and victim are one and the same. There is no pursuit, no arrest, no trial, no conviction, because there can’t be. We don’t so much as see the dead person once — not as a corpse, not in a flashback, not in a photograph. All we have is what is learned by a quiet, curious eleven-year-old girl, Helen, a lover of nature and long walks who must piece together even the most basic of facts about the deceased. At first we don’t even know the deceased is a person: Helen is simply told of a “rare bird” who killed himself nearby, and as a Londoner newly arrived in the rural region of Wales where the story is set and unfamiliar with the antiquated expression, she starts her search looking for an actual bird. Like the pages of the ever-present journals, Helen starts with a completely blank slate. Over the course of many long wordless walks and quiet conversations with both her human and, mysteriously, animal neighbors, she slowly fills the tabula rasa with discoveries: suicide, gender dysphoria, the allure and peril of solitude, and the life and death cycle of this farming community and its inhabitants. She learns that most adult of lessons: We each of us have roles we play in the lives of others, shapes we take in their worlds—shapes that can be integral to those lives’ landscape yet still not save us.

I reviewed Gast by Carol Swain for The Comics Journal.

The HuffPost Affair

October 20, 2014

I’ll be talking The Affair, Boardwalk Empire, and Homeland on HuffPost Live’s Spoiler Alert at 5pm today. Turn on tune in!

“Boardwalk Empire” thoughts, Season Five, Episode Seven: “Friendless Child”

October 20, 2014

“You probably don’t even hear it when it happens, right?”—Bobby Bacala, The Sopranos

“You tell yourself it’s quick, but you don’t know. You can’t know, until it’s you, and then you can’t tell anyone.”—Nucky Thompson, Boardwalk Empire

In an echo of the New Jersey gangster masterpiece that spawned it, Boardwalk Empire‘s penultimate episode ever — “Friendless Child” — walked Nucky Thompson right up to the edge of the great unknown. He’s lost everything now, or close enough not to make much of a difference. His unlikely right-hand man Mickey Doyle and ruthless, loyal bodyguard Archie were tossed on the pile of bodies that’s been mounting around him for years — a levee of corpses designed to protect his kingdom by the sea. But that empire, too, has fallen, traded away for the life of a nephew who wants nothing to do with him to a trio of crime lords who couldn’t possibly intend to honor the agreement. When they break it, they’ll break it with a bullet.

But now that Nucky is alone – now that there are no more plans to hatch, deals to make, wars to fight – what does he see in his isolation? A letter from Gillian Darmody, and the sight of her face staring back, begging for help. Her plea and her gaze are an indictment of the terrible crime Nucky committed by bringing her to theCommodore in order to begin his long road to power. (A decision, we learn tonight, he made knowing full well the fate that awaited her.) By having her direct them not just at Nucky but at everyone watching the show, Boardwalk makes this act’s importance clear in no uncertain terms. That final shot puts young Gillian at the center not only of the frame, but by extension the episode. It suggests that the suffering of the series’ greatest female character is no less important than the moves and machinations of the men fighting for control of the empire she eked out an existence within. It shows that that empire would not exist without the suffering of Gillian and countless other people like her. It’s the series’ gutsiest, and most moral, move to date.

I reviewed tonight’s penultimate Boardwalk Empire for Rolling Stone. I cannot stress enough that if this show were the vapid, self-serious shoot ’em up it’s made out to be, Gillian Darmody would not be where she is in this episode.

BLACK FRIDAY: HALLOWEEN MIX 2014

October 17, 2014

i made a mix of scary songs for frightened people // download it here // track list in lyrics field in metadata // listening suggestion: let it all take you by surprise // your childhood is over

HuffPost Dead

October 13, 2014

I’ll be talking Boardwalk Empire, Homeland, and (god help me) The Walking Dead on HuffPost Live’s Spoiler Alert show at 4:40pm today. Click here to tune in!

And if you missed last week’s show, watch it here!

“Boardwalk Empire” thoughts, Season Five, Episode Six: “The Devil You Know”

October 12, 2014

I can’t really excerpt anything from my review of tonight’s Boardwalk Empire without ruining it for someone. If you’ve seen it, though, please read the review.

The 30 Best Twin Peaks Characters

October 10, 2014

1. Laura Palmer

She gave the show its central mystery, and its zeitgeist-conquering catch phrase: Who killed Laura Palmer? But even though her death is literally what made the story possible, it’s her life that made it matter. Unlike the macabre MacGuffins of so many post-Peaks dead-girl mysteries, Laura was not a beautiful cipher, existing solely to inspire the male detectives investigating her murder. She was a vibrant, complicated character in her own right, the person who best embodied the small-town-secrets theme, and who paid the highest price for those secrets. Her life, and the suffering that ended it, were always foregrounded. And our glimpses of her in the series – a videotape, an audio recording, a diary entry, a visitation from Another Place – were all merely a prelude to her starring role in the prequel film Fire Walk With Me, featuring actor Sheryl Lee’s tear-down-the-sky performance of a character coming to grips with the most profound cruelty imaginable. “She’s dead, wrapped in plastic”? Yes. But she’ll live forever.

I ranked the 30 Best Twin Peaks Characters for Rolling Stone. I got so much out of doing all this writing about this show, which I love deeply and think is one of the two or three pinnacles of the entire art form of television. I hope it shows.

Comics Time: Honey #1

October 10, 2014

Honey #1 is an elegantly drawn, exuberantly paced, spectacularly colored workplace dramedy/romance. It’s an action-adventure story set in a fantasy-indebted world with prominent horror elements. It’s a radical reconsideration of anthropomorphism and “funny animal” comics. It’s a serious exploration of how communities shore up certain strengths of the individuals they comprise while also pushing them all toward willful ignorance of wrongs committed in their name. It’s a gedankenexperiment about an all-woman society — imagining it, putting it through its genre-story paces, examining female friendship, romantic relationships, and enmity in the fresh air created by the near-total absence of men and thecompleteabsence of men in positions of power. It’s hugely, admirably, refreshingly ambitious for a twelve-page comic book. If the work cartoonist Céline Loup assembles from these myriad parts is not without flaw, that’s almost beside the point.

I reviewed Honey #1 by Céline Loup for The Comics Journal.

Jumping the Shark: 10 Great TV Shows That Took a Turn for the Worse

October 6, 2014

In the words of Sick Boy, “Had it. Lost it.” I covered Homeland (the pacemaker) and True Blood (“I’m a faerie? How fuckin’ lame!” Indeed, Sookie, indeed) for Rolling Stone’s list of 10 shark-jumping moments from once-good tv shows.

Today on HuffPost Live: Homeland, Boardwalk Empire…and Twin Peaks

October 6, 2014

I’ll be discussing the season premiere of Homeland, the latest episode of Boardwalk Empire, and the news that Twin Peaks is returning for a new season in 2016 (!!!!!!!! more on that anon) on HuffPost Live’s Spoiler Alert show at 4:50pm. I’ll be talking about Homeland, Boardwalk Empire, and Twin Peaks (!!!) on HuffPost Live’s Spoiler Alert show today at 4:50pm. Click here to tune in!

“Boardwalk Empire” thoughts, Season Five, Episode Four: “King of Norway”

October 5, 2014

“You want it to be one way. But it’s the other way.” That’s a quote from The Wire, another great HBO drama of crime and community. But Nucky Thompson – and the Boardwalk Empire viewing audience – would do well to heed the words of the steely-eyed young Baltimore drug lord Marlo Stanfield. When a fictionalized version of a bit player in gangland lore declares war against Lucky Luciano, Johnny Torrio, and Meyer Lansky – the three men who established the most successful organized crime operation in American history – that war can only end one way.

Granted, it may not be as simple as Nucky dying in defeat at the end. Perhaps he’ll find some way to make peace with the kings of New York —”paying Roman tribute,” as he puts it to current crime boss Salvatore Maranzano right before the Luciano/Lansky/Torrio alliance tries to assassinate them both. All we know for sure is that he won’t be sending them to their graves as promised. But with material this varied and rich it hardly matters. The task of tonight’s dynamite episode — “King of Norway” — was simply to show whether a journey to a preordained destination can be worth taking. The answer is yes.

“My life is a fuckin’ shipwreck.” “Well, land ho.” I reviewed tonight’s fine Boardwalk Empire for Rolling Stone.