Adam-Troy Castro

Writer of Science Fiction, Fantasy, Horror, and Stories About Yams.

 

DAVE MADE A MAZE (2017)

Posted on December 22nd, 2017 by Adam-Troy Castro

Last night’s exercise in divine strangeness on Netflix Disk: DAVE MADE A MAZE (2017), about a 30-year-old dude without much in the way of accomplishment who, when his girlfriend leaves him alone for a weekend, fills the living room with a cardboard maze made out of old boxes. The problem is: by the time she returns, he is trapped inside. The maze is much bigger inside than on the outside, is filled with deadly booby traps, and is patrolled by a minotaur.

A bunch of his skeptical friends, including three guys who think it’s a great idea to film a documentary, crawl in to rescue him.

What is great about this:

a) the production design inside the maze. It is all cardboard, but the practical effects are all eye-popping, and some of them are quite beautiful.

b) the movie fully embraces the absurdity of the premise. (One thing that happens, in particular, will set you to roaring.)

c) though it functions as a horror movie of sorts, as some of his friend succumb to the booby traps, the movie has absolutely nailed the problem of how to treat the inevitable gore without completely ruining the spell. To wit — and I give you this spoiler only to make sure the fear of gore won’t scare away the wusses among you — all bloody carnage is depicted with silly string and crepe paper, and that is treated as one of the strange magical effects of this realm they’re all trapped in. It works beautifully.

and d) the protagonist’s girlfriend, played by one Meera Rohit Kumbhani, has eyes that work profoundly well with astonished comic takes.

What doesn’t work:

Some of the broad characterizations go a little too far, and the movie strains, near the end, to fill its eighty minutes.

Still, a terrific demonstration of the kind of thing that can be done on a limited budget, if you’re clever enough.

Rex Reed Is Not The Worst Movie Reviewer on the Whole Damn Planet

Posted on December 21st, 2017 by Adam-Troy Castro

Look, I know this may be as surprising to you as it is to me.

But Rex Reed does not quite scrape the bottom of the barrel.

Not since the creation of the internet, at least.

Since then, every yutz who has ever been within fifty meters of a movie can start a review blog, and, let’s face it, a few of them, not many, but a few, are so bad at the job that they ennoble him by establishing that he is not quite as terrible as it’s possible to be.

You have folks who rate movies by the size of the lead actress’s boobs, who get so excited when they are sufficient volume that they will exclaim, BOOBIES!, all in capitals.

You have folks so upset at the appearance of a non-white character as anything but a porter that they will accuse the filmmakers of fighting a jihad against white people.

You have folks creating listicles of the most (adjective) movies of all time who imply by example that no movies were made before, oh, 1995.

Rex Reed is guilty of none of those things.

It may astonish you to contemplate that there are movie reviewing sins Rex Reed is not guilty of, but no, he is not guilty of any of those.

So he does not scrape the bottom of the barrel.

He is just very near the bottom of the planet, still part of the sediment, not any of the stuff you’ll need steel wool to scrape off, if you’re into cleaning barrels.

He is not the worst movie reviewer on the planet.

Merely the worst among the prominent.

And let us say something else.

A movie reviewer does not “suck” merely by loving movies you hate and hating movies you love.

It is not a reviewer’s job, it cannot be a reviewer’s job, to duplicate and anticipate the exact reaction of every member of the theatre audience. That is not only an impossible goal, it is also likely an unworthy goal. It is the critic’s job to write entertainingly, and informatively, with wit and perception. Roger Ebert hated The Godfather Part II.  He had his head up his ass on that one and on many others, and so what? He wrote entertainingly, and informatively, with wit and perception. There are likely any number of times when his verdict on a given movie was identical to Rex Reed’s, when they were likely shouting in unison, and it just as inevitable that on those occasions Ebert wrote entertainingly, and informatively, with wit and perception, and Rex Reed, saying the same things, was just a contemptible jackass.

These thoughts are prompted by a brouhaha over Reed’s review for Guillermo del Toro’s The Shape of Water. It is a negative review, of course, a given because Reed does not understand and does not like any films with fantastic elements, ever. But those are minor sins compared to reporting that the unrelated Benicio del Toro was the director, and that the character played by Sally Yates is mentally disabled, when in fact she’s just mute.

Let us forgive the del Toro confusion as a simple brain fart.

Of course, if you excused every error of fact in a Rex Reed review as a brain fart you would have to assume that he thought about nothing but baked beans all day.

But let us be kind and assume that. That could have been predictive typing.

The fact of the matter is this would be a minor sin in Rex Reed’s catalogue.

The man has been known to hallucinate plot points that never take place in the movies he’s written about.

He attacks lead actresses for being fat, even if, like Melissa McCarthy, who he did it to, the actresses know damn well that they’re fat and have incorporated that feature into their art.

He doesn’t understand anything not written down to him.

He doesn’t understand anything out of formula.

He said of Barfly, a film about skid-row alcoholics, “Nobody could possibly care about these people!”

He further whined about that film that movies are supposed to be about glamour, which to me says that he had difficulty processing a story with characters who did not look like they’d just gotten off a sound-stage.

But these things don’t make him the worst movie reviewer on the planet.

These are things that make him the enemy of art, in general.

As a movie reviewer, he would make a good pumper of septic tanks, but that doesn’t literally make him the worst on the planet. Certainly not while the internet exists.

Even the single stupidest thing he’s ever said about any movie,  which is a difficult and remarkable distinction given how many stupid and objectionable things he’s written, doesn’t do that.

That was when, giving a TV review, he said of David Lynch’s Dune, a movie that it is indeed very possible for an intelligent and perceptive person to loathe, that he had never read the “drugged-out sci-fi novel” it was based on, but after seeing the movie, snort, chuckle, snort, wouldn’t read it on a bet! Ha, ha!

Frank Herbert’s Dune is of course a novel that has garnered mixed critical reactions since its publication more than fifty years ago, and it is indeed very possible for an intelligent and perceptive person to loathe it.

Rex Reed’s sin in that case was of course somehow managing to have been a paid movie critic for many years at that point without ever encountering the premise that a bad movie can be made of a good book, or that it’s ignorant to warn people off a book he hadn’t read simply because he hated the movie made from it.

That was a pretty spectacular demonstration of recklessness and bone-stupid idiocy, and though it stuck in this writer’s memory, one must be fair: it is nowhere near uncharacteristic of the recklessness and bone-stupid idiocy he is known for.

So, yeah, one of the worst movie reviewers on the planet, yes.

Maybe the worst who has ever consistently earned money — and fame! — from that profession.

The very worst?

For that you have to read all the way through the work of unpaid assholes, including your cousin’s blog, Freddie’s Fractured Flickers, the one that he writes all in caps, with multiple exclamation points at the end of every sentence, excoriating every movie that isn’t Die Hard.

Freddie might be worse.

Or that might be being unfair to Freddie.

Fiction Writers: You Don’t Want To Be Safe

Posted on December 20th, 2017 by Adam-Troy Castro

Originally Published on Facebook 20 December 2016.

A quarter of a century ago, one of the first editors to buy my fiction noted that my recent submissions had been feeling awfully “safe” — more professional, but timid, in a way my earliest stories had not been.

The question: “When you wrote those first stories, were you surprising yourself? Were you a little appalled that they were coming out of you? With these recent stories, were you feeling more secure?”

I said, “Yes.”

“Well, that’s the problem.”

It was the best writing advice I had ever received.

Because I was focusing almost exclusively on horror in those days, something that fortunately changed as more than half my output then branched out into other areas, I misinterpreted this and produced the most demented and perverted story I had written up to that point, “Scars: A Romance In Seven Acts.” It was eventually published in an issue of something called BIZARRE BAZAAR, and will likely never be reprinted.

But what that editor told me was not a complaint that I wasn’t being sick enough. It was the observation that I wasn’t being heartfelt enough.

When you’re writing, funny moments should make you giggle where you sit. Tense moments should ignite a burning pit in your stomach. Sad moments should make you hate yourself for what you’re doing to the fictional people you love. You should always wonder, “Really? Is this what I want to do?” Your job is to stun yourself with the emotion you invoke, amaze yourself with the wonders you concoct, excite the living crap out of yourself with the action you describe.

As I wrote a seemingly defeated Gustav Gloom rising off his knees and telling Lord Obsidian what he’s been up to, all this time, when he said the words, “That’s not the point of the poem,” I was grinning ear to ear. I was fifty-five in body, ten years old in spirit. I knew the moment worked because it worked on me. Was it too much of a DOCTOR WHO moment? Damn it, I knew it worked exactly as intended, because what I heard in my ears as I wrote Gustav saying, “That’s not the point of the poem,” was indeed the Doctor’s “Basically, Run,” anthem, and I honestly don’t care who knows it.

Take what you’re doing as just a technical exercise in getting your characters from pre-planned Point A to Point B, and readers will be just as academic about the whole thing. I promise you.

Amaze yourself. It’s the very first of your priorities.

 
 
 

Copyright © 2011 Adam-Troy Castro Designed by Brandy Hauman