A week of intensive viewing following surgery provides a mix from classics to trash and everything in between – crime, horror, sci-fi, art and exploitation.
Clive Barker’s distinctive prose style, while it creates vivid and highly visual stories, is difficult to transform into movies because the themes and meanings of the stories are strangely abstract. While Barker himself has been his own most successful adapter, there have been many attempts to capture his vision on film – some better than others. George Pavlou’s Rawhead Rex (1986) misses the mark, but Bernard Rose’s Candyman almost succeeds but is diverted by moving the story from Liverpool to Chicago.
I’m a sucker for sales and recently spent a lot on-line buying stacks of Blu-rays from Arrow Films and Severin at discount prices, adding a lot of titles to my backlog. In recent weeks, I’ve started making my way through the new Arrow titles, which include an assortment of genre offerings, some completely unknown, others old favourites.
Recent viewing has included three pairs of movies – two Anime features from 2016 (In This Corner of the World and Your Name), two thrillers from 1967 and 1972 by English directors (Point Blank and Pulp), and a pair of gritty horror-tinged thrillers from 1979 and 1981 which transcend their exploitation roots (The Driller Killer and Ms. 45).