Hmmm. Apparently, Donnie Boo-Boo (aka The Original Orange Julius Caesar, among other not so nice things) didn’t get the memo, but yeah, he’s quite the royal dope when it comes to being “presidential.” Or “professional”, for that matter. Anyway, here’s one thing that can happen when you interact with some Norwegians under the perfectly wrong conditions:
(Thanks, Wennie Wowney!)
All joking aside, I’d take him seriously except even as the self-proclaimed “least racist person” (PROTIP: when one has to point out one is not a racist after saying, doing and promoting racist stuff on a regular basis for decades, it’s a clear sign that one is indeed, a racist), he’s even dumber than you think. I’m betting a nickel he’d choke on his chicken dinner if he found out the fact that Norway’s tax returns for everyone are made public knowledge and are searchable. So there’s that. Perhaps someone from Norway can let him know this as I know he’s sure as hell not going to listen so some brown guy from NY who didn’t vote for him.
Finally, I’m all for anyone at all wanting to come here to America to seek their dreams, but at this point, a transgender Norwegian former Christian turned atheist (who’s not infected by an alien parasite) just popped up to the top of my “Now THAT would be interesting!” list of potential citizens I’d love to meet.
So, it’s John Carpenter’s birthday and once more, I find myself writing about The Thing. The last time it was a dissection of that disappointing 2011 prequel and this time, it’s a little look back at what I think is one of the scariest mainstream sci-fi/horror films of the 80’s that still works today thanks to how well it was put together. The overall tone of relentless, deliberate dread the film sets up from the very beginning is claustrophobic and overpowering as you’re sucked into the story about the doomed men of Outpost #31.
I saw this back in 1982 and the film really pushed the envelope of what could be done with practical effects so much that even today most of Rob Bottin’s (and that brief slice of Stan Winston’s) groundbreaking work holds up as believable. Of course, the story and excellent cast also make this one such a killer film to curl up with that I’d even recommend it to those who hate horror movies just because everything clicks so well…
While last year’s prequel to John Carpenter’s classic 1982 film was well-made and an effectively creepy good time, as a big fan of the original 1951 flick and of course, JC’s fine retelling… I was a tiny bit disappointed. For me, part of great suspense is all in the build up and despite some nice scares, the prequel loses a bit of suspense because it doesn’t build much empathy for its doomed cast (and loses some chances to once the monsters start appearing). Still, I found most the film fine until the entire alien saucer sequence complete with that all-too common “formerly flexible monster who can’t quite reach the heroine!” and “run like hell to escape the big explosion” set pieces we’ve all seen in too many other films. I’ll get to the “leave ’em hanging!” part of the pre-credit ending later, as there’s a great (and I think intentional) workaround there that could actually set up an actual sequel (should someone be crazy enough to make one)…