The elegant nihilism of the preceding versions—and their predecessors like Ringu/The Ring—is replaced here with something more visceral and grimier. But while those films made the viewer complicit in the spread of their curse, this one just pulls us down in the undertow of its rottenness and leaves us filthy and exhausted—but not haunted.
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While we were recording what[…]
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Making a list like this[…]
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n trying to describe Berberian Sound Studio—which was the only Peter Strickland film I had seen prior to sitting down to watch this one—I said that I loved it, but still couldn’t tell you what happened in it. The same goes for In Fabric, pretty much.
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There’s also a lot of salty language in this book—sometimes literally, as it spends an inordinate amount of time discussing Totino’s pizza products and chicken McNuggets.
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This not only lets us appreciate things like the lovely chiaroscuro lighting of Nakata’s installments—one of the essays in the booklet that accompanies the box set compares Ringu 2 to a Val Lewton film, and I wouldn’t necessarily disagree—it also lets us look at the films as a vibrant, living tableaux, rather than our own faded memories of a VHS tape we watched years ago. For fans of the form, like myself, what could be better than that?
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I’ve got a few of Grady Hendrix’s books on my shelf, though I haven’t gotten a chance to read most of them yet, and I support—at least conceptually—the work he’s doing with Valancourt Books and Paperbacks from Hell. But I didn’t care for Mohawk, his last collaboration with Ted Geoghegan, so I went into Satanic Panic, which I caught with a great crowd at the Screenland Armour as part of Middle of the Map Fest, with some reservations.
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ou’ve probably already seen An American Werewolf in London, and you’ve probably already made up your mind about it—and about Landis—long before you started reading this, let alone by the time that you got to the end. I’m not here to try to change your mind, one way or the other.
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