Word: horror
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Back at Hot Zone, Redford, Foster and Scott were all hoping to make a good picture. But they could never agree on what that picture was. Scott wanted a thriller, a true-life version of Alien, his 1979 sci-fi horror epic, that was strong on hardware and icky special effects, with maybe an ecological message. Redford, who signed on for $8 million and who had script approval, wanted an ecological message movie about a heroic virologist from the Centers for Disease Control -- his role. Foster ($6 million and script approval) wanted an ecological thriller about a heroic Army pathologist...
Nuclear weapons in the hands of extremists willing to use them would produce terrorism of a wholly new magnitude. The central logic of terrorism is to maximize horror and shock, producing a blaze of publicity and attention for the cause it represents. By that measure, the crudest of fission bombs set off in a modern city, vaporizing entire blocks, would make the crimes of Carlos and his ilk rank as little more than pinpricks...
...queasy feeling began during the film's key Vietnam scene. There is an ambush: Forrest saves some of his platoon; others die; his lieutenant loses his legs. A certain horror attends the explosions and deaths but so does a strong feeling that things here are happening by the book. As indeed they are. The grunts have not died in vain: they have died as a plot device, to facilitate Gump's upward float -- and the film's apparent message: act decent, stay positive (brains optional), and everything will be fine...
...everybody gone nuts? Is violence the way we resolve every domestic grievance, or is it just the quickest way to get on TV? With the Bobbitts, the Jacksons, the Menendez clan and that favorite new horror sitcom, The (O.J.) Simpsons, the American family has entered its postnuclear stage. Talk shows offer quack catharsis from every form of spousal and parental abuse. We're shouting at each other in National Enquirer headlines and have promoted tabloid newspapers and TV programs, once on the fringe of journalism, up to its hot center. It's Armageddon with commercial breaks. Why, the whole bloody...
...have little new to say about those demons, but it has plenty to show, in images that mix beauty and horror, atrocity and comedy. Angels and red horses glide across the night sky. Mallory's family life is played as a grotesque sitcom that ends when her awful father (Rodney Dangerfield) is beaten to death and her weak mother is set ablaze. When Mickey and Mallory visit an Indian shaman (Russell Means), the words demon and too much tv are superimposed on their torsos. Flashes of Hitler and Stalin, insects and rhinos, The Wild Bunch and Midnight Express (the film...