Something’s gone wrong in Videoland, and it’s not that Sarah Silverman found a way into it.
I don’t know what to make of Wreck-It Ralph, Disney’s 2012 niche-teaser about a video game villain who just wants to be liked, dammit. Is it a morality tale? Is it an action film? Or is it just empty-headed entertainment that’s about as satisfying as a Sugar Rush?
I’ll summarize it as best I can: there’s this arcade game called Fix-It Felix Jr., in which the player guides the friendly Felix up a building to stop the ape-like Wreck-It Ralph from busting up the place. It’s an obvious send-up of Donkey Kong, but this particular Kong is tired of getting tossed off a roof everyday. So, against the advice of his fellow bad guys, Ralph abandons his post and tries heroic deeds in other arcade games, so he can prove that he’s more than just a terrorizing thug.
Along the way, Ralph is tormented by the violence of modern games, the gooey pitfalls of a saccharine candy-land, and the specter of a former villain who “game-jumped:” the glory hog Turbo, who caused two games to go out of order.
Like Pixar’s Toy Story or the classic Who Framed Roger Rabbit, Wreck-It Ralph presents us with a strangely complex society, with many rules and expectations for its citizens. Like the toons and toys of cartoons past, Wreck-It Ralph’s video game characters exist to please and entertain humans. As such, any individual’s attempt to rise above his or her station is considered disruptive to the community, and is thus met with disapproval. The mantra of Ralph’s support group, Bad-Anon, is, “I’m bad, and that’s good. I’ll never be good, and that’s not bad. There’s no one I’d rather be than me.”
So the message of the film seems to be the stale old platitude of “be happy with whom you are,” but with the tacked-on amendment of, “so long as you remember your place.”
I take issue with this because, in the real world, criminals (or “bad guys”) who reform are to be commended. It takes real effort and work to improve oneself, to recognize the consequences of one’s actions, to learn empathy, to foster positivity. Even if the motivation is self-serving, i.e., to avoid prison or to save money or to raise a family, breaking away from a life of crime is indisputably a good thing, for both the group and the individual.
So is the constant urging for Ralph to stop his pipe dreams of heroism and just get back to breaking things really healthy?
Keep in mind that I only “take issue” with this. I’m not offended by it, and I understand that Ralph’s world has certain requirements in order to function, but the can of worms that this story opens isn’t, and cannot be, fully explored, and that’s frustrating. There are many perspectives and feelings to consider in a topic as complex as this, and a Disney cartoon just isn’t equipped to handle them all. You might say that Ralph’s writers were aiming to raise questions, to encourage its audiences to have lively discussions on the ride home from the theater. When a movie’s height of humor is a sassy little girl spewing doody jokes, however, I highly doubt that it has such lofty artistic goals.
Anyway, that’s my main beef with this film: the story feels slapped together to line up with its “Roger Rabbit in Videoland” premise. And really, that’s what Wreck-It Ralph is: an updated version of Robert Zemeckis’s masterpiece, only more niche. It references the Golden Age of Video Games, when kids actually played 8-bit games in arcades, it’s got cameos from faces such as Q-Bert, M. Bison, Sonic the Hedgehog, and Clyde, and its original characters are amalgamations of existing Disney fixtures, like Mickey Mouse and The Mad Hatter.
I actually like that last part. Fix-It Felix Jr., as played by Jack McBrayer, is basically a human Mickey Mouse. He may have been modeled after Mario, but his movements, attitude, and mannerisms are all Mickey’s. Imagine any one of his lines in Wayne Allwine’s voice and you’ll see it, I promise you. I find this idea of a postmodern update to the Mickey persona fascinating.
Then there’s my favorite character, King Candy, who’s voiced by Ed Wynn…as impersonated by Alan Tudyk. Put a top hat on him and you’re back in Alice’s Wonderland. I actually think the King is more like Judge Doom, in that he’s an ancient, whispered evil in disguise, revealed by accident and assuming a monstrous form.
Turbo is, of course, a device meant to lead Ralph’s quest to a battle to save all of Videoland, but I guess that’s okay. The real antagonist of this film seems to be the insufferable weight of one’s peers, though I suppose that’s open to interpretation. There are things I like about this movie — the performances of John C. Reilly as Ralph and McBrayer as Felix, the occasionally irreverent tone, the fact that it has no songs — but the rest of Wreck-It Ralph is pretty forgettable. As with most Disney productions, it never goes too far in any direction, for fear of upsetting somebody. So instead we get fizzy, fuzzy harmlessness painted in sweets and sugars, to be ingested for a quick high before seeking out something more filling.
A post-script: yes, the animation is excellent, but that’s to be expected from Disney. Besides, computer-generated animation is so prevalent now, even in freaking live-action films, that its spectacle has become numbing. Had Disney been bold enough to depict Wreck-It Ralph in the pixel-art style of the games it was evoking, it might have earned a real high score from me.
Clear the roaches outta the pantry and unpin those voodoo dolls; it’s the best horror film of all time!
Well, okay, that’s not true. The Exorcist is the best horror film of all time,but that doesn’t mean it’s my favorite. To me, Warner Bros.’s Creepshow is, and will always be, the scary movie to top all scary movies. It’s not just freaky, it’s funny. It’s not just scary, it’s silly. It’s not just fantastic, it’s fantabulous. It gushes with blood and shakes with shivers, but it knows it’s all in good fun. You can’t afford to take this movie too seriously, as the trash man at the end of the film — a hilarious cameo from makeup artist Tom Savini — reminds us: “IT’S A COMIC BOOK!”
And as you might have guessed, this is precisely why I love it.
Creepshow stands in the pantheon of great horror anthologies, alongside Trilogy of Terror, Black Sabbath, Tales From the Darkside, and The Twilight Zone: The Movie (though that one only partially qualifies as horror). As the first collaboration between Night of the Living Dead director George A. Romero (R.I.P.) and one Stephen King, Creepshow had a hell of a lot going for it. The creators wanted to make it special, something that would stand out from other horror films. They considered some unique concepts for the movie, such as attempting different visual styles for each story, but they settled on a bright, exaggerated look…a look reminiscent of the classic EC horror comics.
In the early 1950s, William Gaines developed a series of macabre comics that read like Pulp Fiction Illustrated. Some of them were set in the real world, others were completely outlandish, but they were all decidedly adult, and quite graphic for their time. Murder, sex, and monsters spilled across every page, and they often had disturbing, twist endings.
While the material was not intended for children, the EC crew knew that kids would jump at the forbidden fruit anyway, as it dangled so low in comic book stores across the country. To better reach these kids, EC adopted the “host” concept from scary radio shows such as Inner Sanctum or Weird Circle. These gleefully sadistic characters spun terrifying tales, and introduced them with terrifying puns. The most prominent of them was the Cryptkeeper, a slavering old man who was so diddly-darn delighted to scare you that you almost wanted to hug him. He’d later reemerge on the Tales From the Crypt TV series, in a more ghoulish form than before, but with his arsenal of bad puns intact.
These hosts came off as freakish grandparents, who stole spooky little moments with the kiddies when Mom and Dad weren’t around to stop them, and said kiddies ate it up. Surely, the thrill of an EC comic was not only in reading the foul material contained therein, but in hiding it from one’s God-fearing, suburbanite parents.
Without fail, Creepshow maintains this tradition. The movie even uses a frame story about a little boy named Billy who’s been caught with the naughty comic. The boy is played by Stephen King’s son Joe, who’s now a horror writer of some note himself, but I digress.
The wicked father smacks his son across the face and tosses the “horror crap” in the trash as a wild thunderstorm kicks up. The incensed Billy then wishes death on his father and sinks into his horror fantasyland to escape.
That’s when Raoul shows up.
“Raoul” was Tom Savini’s nickname for the skeletal phantom who appears at Billy’s window. The creature was built from an actual human skeleton imported from India, and it looks terrific. Raoul assumes the role of the Creepshow comic’s “host,” the Creepshow Creep, and he guides us — wordlessly — from one scary vignette to another in a nifty animated form. Thank Rick Catizone for the excellent animated segments, which are smooth and effective in capturing the style of the EC greats like Jack Kamen and Bernie Wrightson.
We start off with “Father’s Day,” which is about a wealthy clan called the Granthams, who have made their dough off of the illegal enterprises of their patriarch Nathan. Seven years earlier, Nathan drove his daughter and caretaker Bedelia off the deep end with his demented ramblings, and Bedelia decided to off him with a blow to the head. The weapon: a marble ashtray with a solemn cherub at its head. It’s a prominent prop in this story, but it also appears in all the tales that follow. You’ll need sharp eyes to spot it, but it’s a fun little easter egg for fans.
Anyway, Bedelia has made a tradition out of visiting Dad’s grave on Father’s Day to expunge her guilt and demons, but this year, ol’ Nate strikes back. With a wonderfully rotted and rock-filled throat, he croaks out his unfulfilled desire for the Father’s Day cake he never received, and then he uses his zombie-powers to croak out everyone on his way to get it.
Along Nate’s journey, the film’s comic book style is made apparent. Dramatic scenes are soaked in bright reds and blues, patterned scrims glow behind characters’ screeching faces, and shots are framed with colorful panels. You even see comic book-y banners at screen’s edge, showing phrases like MEANWHILE… and LATER…. More important than that, though, is the appearance of a young Ed Harris, and his spectacular dance moves!
The second, and most divisive, of the stories, is “The Lonesome Death of Jordy Verrill,” which stars Stephen King himself, in what is basically a one-man comedy show. It’s based on King’s short story Weeds,in which a poor Maine hick and his homestead are overgrown by aggressive alien vegetation. The vile weeds even consume Jordy’s body, sucking the moisture out of him and burrowing into his brain. Any opportunity for serious body horror is blown, however, thanks to effects problems and King’s outrageous acting.
King isn’t entirely to blame for this. Turns out Romero encouraged King to play Jordy like Wile E. Coyote, with huge, bug-eyed faces and goofy hick-talk. What’s more, certain plant/body effects that Savini had in mind, like tendrils sprouting from Jordy’s tongue and fingers, and green contact lenses, didn’t work out for various reasons and had to be cut. Thus, the silliness overwhelms the creepy concept, and “Jordy” ends up a real head-shaker for what it could have been.
Now we get to the good stuff. When asked about their favorite of Creepshow’s stories, most viewers choose one of the next two. “Something to Tide You Over” stars funnymen Ted Danson and Leslie Nielsen playing so hard against type you can hear the smack of it. Danson is a playboy who’s been sleeping with Nielsen’s woman, so Nielsen lures the two lovers into a particularly cruel death-trap.
The plot’s nothing new, not even for King, but the performances make it work. Nielsen’s character, a manipulative dandy fittingly named Richard, is a playful monster that you can’t help but hate. Danson, meanwhile, is an emotional firestorm, blazing with rage, tension, deference, distrust, and outright panic. You can almost see his brain-box smoking as he seeks a way out of his ever-worsening situation.
The ending, while appropriate, is a little too vague for its own good, but the story is well-done overall. It’s Nielsen that grabs you: he hurls himself headfirst into this asshole-role, and he gives it every last ounce that he’s got. If all you see when you look at the man is Frank Drebin of Police Squad!, prepare to have your eyebrows raised.
Now, this next one…ooh, I love this next one. “The Crate” is the longest and most complex of the five stories, and it’s vintage King through and through. It’s based off of King’s short story of the same name, but it’s told in a very different manner.
It stars two Tony-winning pros of theater, Hal Holbrook and Fritz Weaver, as university professors and best buds. They also both have lady problems. Weaver’s character, Dexter, is a widower who’s taken to dating his grad students, while Henry, played by Holbrook, is married to a dragon named Wilma — but you can call her “Billie,” everyone does.
Adrienne Barbeau flushes her sexuality down the toilet to create Billie, and her constant, drunken crassness is so acrid that it’s just plain funny. One of her lines was so foul, in fact, that it had to be rewritten and dubbed over before the movie was released. You can hear the change in the recording quality if you pay close attention. I guess that theatergoers of 1982 just weren’t ready for the word “cunt” yet.
Anyway, Dexter stumbles across a strange crate that’s apparently returned from a hundred-year-old Arctic expedition, and decides to open it up. Now, I know I’m not tipping any cards in saying that whatever’s inside isn’t good, but I still won’t go into detail. I’ll just say that the plot travels to intriguing places, and closes with Dex and Henry in a strange sort of standoff.
The Crate stands out to me because it features a wild scenario, and yet it somehow maintains a grip on reality. Holbrook and Weaver behave in ways that are extreme, and yet completely believable. Dex is pushed so far into fright-world that he wheezes, whistles, and breaks down laughing. Henry is meant to be a henpecked milquetoast, but Holbrook adds an unmistakable anger to the role, so his silence looks less like shame and more like wily, patient calm. He’s waiting for something — something that’s coming up fast. Such dips and rises would be impossible for any but the finest actors, and these two men rise to the challenge with supreme confidence. They’re a joy to watch, and I only wish the movie had more scenes of them together.
The final story, “They’re Creeping Up on You!” doesn’t have the length or depth of the two stories that precede it, but God damn, I can’t imagine a better capper for this film. It’s a gross-out episode that plays on that oh-so-common phobia of big, fat, ugly bugs. Cockroaches, to be specific.
Now, I’ve seen a couple of horror films that stab at nasty cockroach scenes, but none of them work so well as this. I think it’s because the setting and characters — er, character — are so effective.
E.G. Marshall plays Upson Pratt, a germaphobic billionaire who’s sequestered himself from humanity in a blinding-white, antiseptic penthouse. His waking life consists of shuffling about, poking at eerie, buzzing devices, and watching his money pile up. His only interactions with other people are over the phone or through a peephole, both of which he handles with gloves. Pratt’s conversations reveal all we need to know about him: he’s misanthropic, he’s unpleasant, he’s a real goat-fucker. The weird thing is — as was the case with Barbeau’s Billie — Pratt’s cruelty is so extreme as to be hilarious. You’d never want to know Mr. Pratt in real life, but on film, he’s enthralling.
Still, a man this evil is bound to get punished, and Creepshow chooses to punish him not with a mere infestation of cockroaches, but with a full-scale invasion of them.
David Brody and Raymond Mendez, credited as the film’s “Roach Wranglers,” delved into the bat caves of Trinidad to gather over a hundred-thousand roaches for this story. The two men got them past U.S. Customs by stating they were for a Stephen King movie. The shots of the roaches are all quite brief, as Romero explained that the little buggers were natural hiders. He said that you could spill a bundle of roaches all over a white table, and within seconds, it’d be as though they were never there. It wouldn’t matter what surrounded them, either; they’d somehow find spaces to squeeze into and disappear.
It makes you wonder just how hard they had to push to get that finale to work, eh? Heh heh. Oh, it’s something you’ll never forget.
With its devilish kills and saucy spirit, Creepshow is generally beloved amongst horror fans. Just say something like “Meteor shit,” “I want my cake,” or “If you can hold your breath,” and any gore-hound worth his salt will know exactly what you’re talking about. Even George Romero had a soft spot for the film, and spoke publicly about his desire to make another one. A hefty legacy of sequels should have been guaranteed. Strangely, this just didn’t pan out — at least, not in the way that fans hoped it would.
In 1987, low-budget churn-house New World Pictures brought us Creepshow 2, but the movie feels watered-down in comparison to the original. Everyone who made the first film what it was seemed to take a few steps away from this one. The stories are still King’s, but there are only three of them this time, and King didn’t adapt them for the film. George Romero actually penned the script, but he didn’t direct, so the playfulness he worked so hard to inject in the first movie is missing. Director Michael Gornick instead plays it straight: you won’t see any extreme colors, scrims, or page/panel effects here. Composer John Harrison is replaced by Rick Wakeman, who makes a passable effort at an eerie, synthesized score, but the non-synth stuff is bland as bacon. Tom Savini appears in the movie as a different — and less appealing — incarnation of the Creepshow Creep, but he didn’t handle any of the major special effects. The frame story is a fully-animated fable about Billy having a run-in with bullies, but the quality is uneven throughout. I’ll grant that the finale is effective, though, what with all the children screaming for their lives.
Then there’s Creepshow III, which is completely divorced from the series’s illustrious creators, and is absolute junk. I don’t know how or why the morons behind this film got the rights to the once-proud Creepshow name, but they did it no favors in attempting to revive it. Hell, I could have written a better Creepshow than these guys…and I did, in fact, try.
I called it Creepshow: Fourth Printing. Three of its stories are originals, while the fourth is an adaptation of King’s The Moving Finger. I shared the screenplay with a few friends, and all of them told me they liked “the finger story” the best, which doesn’t say much for my own storytelling skills. I don’t know if I’ll ever sell the dang thing. I don’t even know if anybody wants it. It was fun to write, though, and I think it stands as a testament to my love for the first movie.
And I do love it. I loved it from the first time I watched it…when I was around three or four years old. My parents either had considerable faith in my discernment between fantasy and reality, or else they found the movie so cartoonish and over-the-top that they didn’t think it would affect me. Well, it turns out that it did affect me, in that it taught me how much fun a horror movie can be, and in that it inspired me to eventually write my own. Maybe, after the obligatory rewrites, you’ll get to see my nauseating novellas in the theaters yourselves! Hey, one can always dream, right, kiddies?
Who would be best to animate a cartoon version of Creepshow? I’m not sure such a project is necessary. The movie’s entire purpose is to be a live-action cartoon/comic book. If it had to be done, however, Romero already found the right man to do it. Rick Catizone is the only one who could ever animate Creepshow. His unique style oozes freaky fear, but it’s appealing enough to enthrall children (like myself). Catizone says he was inspired by Ray Harryhausen, which sounds about right. Harryhausen brought some spooky monsters to life, and instilled wonder in imaginative little kids the world round. Now Catizone has done the same. He’s produced animation for many commercials and even kids’ shows, but he also did stop-motion work for Evil Dead II: Dead by Dawn. The dude’s got range, and we need more productions like his.
There are so many cartoons that have inspired me to become what I am that it’d be impossible for me to expound on all of them fully. In fact, I’ve avoided discussing the five greatest cartoons of them all because they are so huge, and so powerful, that the thought of exhaustively describing their every wonderful aspect scares the hell out of me.
Still, I think it’s worth a shot.
Over the next few weeks, I’m going to blab about the five biggest, boldest, bad-assiest cartoons I know. All of them are feature-length, and all of them are well-known…to the right circles, anyway. The choices themselves might not be surprising, but I think that my reasons for choosing them are, so please look forward to them!
Can you believe they did this shit in 1940? Now, I’m not a big fan of Disney animation, but there’s something about Pinocchio that astounds me. Whenever I see it, I have to stop and sit and watch, and keep watching it through to the end.
I’ll say up front that it’s not the plot that mesmerizes me, as it’s pretty shallow. It’s a series of primary lessons about the dangers of the world and the importance of family, but the threads never entwine or resolve in a satisfying way. Pinocchio only escapes his troubles through luck, and the villains never receive a comeuppance; they simply vanish, to remain as hidden threats forever. The message is actually pretty bleak: beware, children, beware.
The protagonists don’t interest me much, either. Pinocchio is believably innocent, but the saccharine sweetness of Jiminy, Gepetto, and the pets galls me. Of course, I understand that fairy tale characters aren’t known for their depth, but it would’ve been cool to see at least a hint of it somewhere. The closest the movie comes is in Jiminy’s appearance in the opening scenes: he’s obviously had some hard luck despite his good nature. This is why I think Finding Nemo is Pixar’s finest film, and one of the best animated films of all time: the hero Marlin has scars that are never fully defined, but that are recognizable nonetheless.
No no, what amazes me about this movie is the unbelievable skill on display. The backgrounds, the design, the ANIMATION. Good Lord, the animation is amazing. I’m not just talking about the silky smoothness of it, either; I’m talking about the creative expression that went into it. Gepetto’s hands manipulate the marionette handles correctly. Stromboli’s puppets jerk and swing the way one would expect them to. Liquids of all kinds leak and splash and drip with tremendous detail.
There’s no laziness in Pinocchio’s animation, no shortcuts taken to save time or money in production. You can see that every movement was agonized over. Even Pinocchio’s run dazzles me. I could just sit and watch him run for hours, studying and marveling. This movie is seventy-five fucking years old. How the hell did they master these principles with such artistic flourish when feature-length animation was still so young? It makes me feel inadequate as an animator.
Now, I realize that Walt Disney Studios put twenty-two professional animators and eight animation directors to work on this film (one of them the great Preston Blair), so measuring my one-man productions against Pinocchio is completely unfair. Still, I have the advantage of technology on my side, while Disney’s artists had only pencils and paintbrushes. Watching Pinocchio makes me realize just how much I have left to learn, and right now, it looks like a pretty steep mountain.