13 Days of First-Time Frights: Misery

13 Days of First-Time Frights is a series of reviews for October 2019 where Douglas Laman, in the spirit of Halloween, watches and writes about thirteen horror movies he's never seen before. These reviews will be posted each Tuesday and Thursday as well as the last three Wednesdays of October 2019.

Entry #1: Misery


Like I said in my piece on The Spool for Stand by Me, the best Stephen King movie adaptations tend to be the ones adapting smaller-scale material. When these films try to adapt expansive Stephen King tomes like The Dark Tower or lean heavily on convoluted scares rather than actual people like the new Pet Sematary, these films stumble badly. But when Stephen King film adaptations just focus on easily-explainable scenarios and grounded intense human dynamics, you get gold. The latter case informs Misery, which has a basic premise that could easily happen in reality and turns small tasks, like getting to a door, into monumental obstacles. If you ever needed proof how the more restrained King works make for the best movies, Misery is it.

Outstanding Sets And Visuals Are The Real Heroes of Dick Tracy

In the wake of 1989's Batman becoming such a massive box office success, Hollywood suddenly turned to film adaptations of comic books (though technically Dick Tracy was originally a comic strip) in hopes of replicating the box office success of that Tim Burton directed feature. One of the first post-Batman comic book movies was Dick Tracy, which had actually already been greenlit by Disney a year prior to Batman being released. Starring and directed by Warren Beatty, the project carried a $47 million budget and, despite becoming only the sixth film released by Disney at the time to score over $100 million domestically, ended up performing below Disney's box office expectations.

The Godfather Doesn't Just Live Up To 45 Years Worth Of Hype, It Exceeds It

Sight & Sound Voyage Entry #37
Placement On Sight & Sound Top 50 Movies List: #21 (Tied with L'Avventura and Contempt)   

In 1979, director Francis Ford Coppola would unleash a realistic drama called Apocalypse Now that emphasized the realistic emotional and mental turmoil experienced by soldiers dropped into Vietnam. Coppola dove right into a war that had grown bigger than any human being could imagine and dared to imagine what it must be like to live, to breathe, to exist in the midst of all that carnage. Seven years prior, this same guy was responsible for a minuscule indie you may have heard of entitled The Godfather that applied the same thought process of pondering what it's really like to live a life of pervasive violence to the world of mobsters.

Bottle Rocket Review (Classic Write-Up)

Recent years have been kind to American auteur filmmaker/genius Wes Anderson. Merging his unique visual aesthetic with introspective themes and emotional content has made his last three films among the best of the still young century. My adoration of the man's work meant I carried a large amount of interest in watching his very first feature film, Bottle Rocket. This 1996 feature film debut for Anderson was an expansion on an earlier short film subject of the same name that also starred the two leading men of this film, Luke Wilson and Owen Wilson, two actors (most notably Owen, who, along with Jason Schwartzman and Bill Murray, ended up becoming the Leonardo DiCaprio to Wes Anderson's Martin Scorsese) who would become staples of Andersons future work.

Elf Finds The Joy In Both Christmas And Humanity

Welcome to 25 Days Of Christmas Pop Culture! From now until Christmas Eve, I'll be tackling one piece of Christmas pop culture! It could be a book, movie, TV special, song....so long as it's festive for this time of the year, it'll be checked out in this daily column!

Elf is a prime example of a movie that shouldn't, under any circumstances, work. A comedian mugging it in a family movie? That always works out well. A sequence where the main character spies on a woman in the ladies locker room? Creep central. A lead character so optimistic and spunky should be aggravating. Instead, it's a treat of film, one of the very best features centered around the holiday of Christmas.