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Posted: |
Sep 24, 2020 - 11:52 AM
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By: |
Thor
(Member)
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I wasn't calling "The Dead Zone" a horror film. I was saying that "Creepy and moody without being a gore fest" was a classic definition of horror films for many decades. Not anymore.
That depends on where you look, I suppose. There are many arthouse horror films still being made; or that rely on atmosphere without a bunch of stingers. The Ari Aster movies, for example (HEREDITARY, MIDSOMMAR), although they don't do much for me. Robert Eggers too (THE VVITCH, THE LIGHTHOUSE). Other examples are IT FOLLOWS, RELIC, THE HOUSE THAT JACK BUILT, UNDER THE SHADOW, THE LODGERS, SUSPIRIA, THELMA, THE AUTOPSY OF JANE DOE, UNDER THE SKIN etc. etc.
So the tradition of ROSEMARY'S BABY, THE EXORCIST, REPULSION, THE WICKER MAN, THE BIRDS, THE SHINING, THE HAUNTING and other old, moody horrors is still alive and well. You just need to look outside the mainstream.
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Posted: |
Sep 24, 2020 - 1:27 PM
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By: |
OnyaBirri
(Member)
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I wasn't calling "The Dead Zone" a horror film. I was saying that "Creepy and moody without being a gore fest" was a classic definition of horror films for many decades. Not anymore.
That depends on where you look, I suppose. There are many arthouse horror films still being made; or that rely on atmosphere without a bunch of stingers. The Ari Aster movies, for example (HEREDITARY, MIDSOMMAR), although they don't do much for me. Robert Eggers too (THE VVITCH, THE LIGHTHOUSE). Other examples are IT FOLLOWS, RELIC, THE HOUSE THAT JACK BUILT, UNDER THE SHADOW, THE LODGERS, SUSPIRIA, THELMA, THE AUTOPSY OF JANE DOE, UNDER THE SKIN etc. etc.
So the tradition of ROSEMARY'S BABY, THE EXORCIST, REPULSION, THE WICKER MAN, THE BIRDS, THE SHINING, THE HAUNTING and other old, moody horrors is still alive and well. You just need to look outside the mainstream.
Yeah, I know all that stuff. I am talking about how conversationally the definition of a "horror" film has changed, at least in the US. If you say "horror" film now to a generalist audience, in the US at least, most will assume you are talking about a slasher film. That is why long ago I stopped using the word "horror" to describe old-stool horror, and instead use "gothic/supernatural/macabre," although that takes more syllables. The meaning of "horror" as a genre descriptor has shifted, whether we like it or not.
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THE DEAD ZONE is hands down my favorite score by Michael Kamen. Has ever been since the 1980s. For me, it is the most moving score Michael Kamen ever wrote.
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The Dead Zone is my favorite King adaptation and my favorite Cronenberg film and my favorite Kamen score - and glad someone mentioned the Sibelius. Listen to the Sibelius seventh symphony and I think you'll find that John Williams was an obvious fan 
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Posted: |
Sep 26, 2020 - 2:09 PM
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By: |
Hurdy Gurdy
(Member)
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"...Suspect from 1987..."
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This is interesting.
I played this CD again this week, in the wake of The Dead Zone revival in our house, and although it's basically Dead Zone again, without the Sibelius theme, it never really makes any impact on me the way Dead Zone does.
It's a classic example of how ones connection to the music, via the film, really makes a massive difference to the whole listening experience.
I never cared for, or about the film Suspect, so the low-key, sombre, noodling suspense music leaves me cold, while the similar approach used in the film Dead Zone by Kamen really connects with me.
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One of my all time favorite movies. One of Kamen's best, one of Cronenberg's best, and easily Walken's best lead role ever. He was born for this.
STILL no North American Blu-ray of any kind. -sigh- 
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Posted: |
Sep 27, 2020 - 3:03 PM
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By: |
spook
(Member)
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"...Suspect from 1987..."
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This is interesting.
I played this CD again this week, in the wake of The Dead Zone revival in our house, and although it's basically Dead Zone again, without the Sibelius theme, it never really makes any impact on me the way Dead Zone does.
It's a classic example of how ones connection to the music, via the film, really makes a massive difference to the whole listening experience.
I never cared for, or about the film Suspect, so the low-key, sombre, noodling suspense music leaves me cold, while the similar approach used in the film Dead Zone by Kamen really connects with me.
I know what you mean. Suspect doesn’t seem to have the same tightness of structure DZ has and it seems much more meandering and mostly just ‘suspense’ based music. But...there’s still something about it I always go back to and that one always got more plays from me than much more prominent titles like Last Boy Scout or Die Hard 2.
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The upcoming Shout Factory Blu-ray will apparently have a commentary with isolated score
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The upcoming Shout Factory Blu-ray will apparently have a commentary with isolated score
Sure would be nice if it included the film version of "Snow Days"
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Back in the late 80's, I read a double review in Soundtrack magazine (I'm pretty certain it was Soundtrack) that both reviewed and compared the approaches taken by Micheal Kamen ("The Dead Zone") and "Flowers in the Attic" (Christopher Young). The reviewer went on to praise "Flowers" as the "right" way to score a suspense film as opposed to Kamen's score.
While I was (on the verge, not having yet purchased "Flowers" then) of agreeing with the reviewer with respect to "Flowers in the Attic", I think the reviewer was just plain wrong in his assessment of "The Dead Zone" score. In fact, I don't believe the two films, much less the two scores can be compared (apples and oranges, really) in any meaningful way.
Still, I'd like to read the review again, if available. Can anyone point me in the right direction?
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