Category: Repeat Offenders

I wish someone could explain to me why the Bigfoot movie NIGHT OF THE DEMON is not the most celebrated horror movie in the world. I don't get it. I realize that it was banned in the U.K. as a video nasty, and that it's never really been distributed properly uncut in the U.S., but I'm kind of shocked that it's not more notorious.

Should the blame be placed on the generic, misleading title or the fact that, on a technical level, the film is so relentlessly amateurish that it gives one the impression that it may have been assembled by Bigfoot himself? I still don't get it. I mean the big guy actually rips off some poor dude's weenie in this movie and I feel that alone should seal the film's reputation for eternity.

In most movies about the (some say) mythical beast, he is shown as a GARBO-esque, chronically shy recluse. In NIGHT OF THE DEMON, Bigfoot rapes a lady on her front lawn as her religious zealot father watches from the porch. To me, that's like the exact opposite of shy (or the recorded behavior of GARBO). Come to think of it, I can't believe I used to feel sorry for ol' tall dark and hairy, especially after the way he grabs a sad sack in his sleeping bag in this movie, spins him over his head in a circle a couple times and then throws him into a sharp branch, impaling him like a campfire marshmallow on a twig. Let's not even mention the whole bashing two knife holding Girl Scouts together so that they stab each other routine. C'mon Sasquatch, that's just sick…

It's true that the script is borderline Neanderthal and that the acting is all around lame, but I have to confess that when a film looks this much like late seventies porn, I can let stuff like that slide. I'm not saying that there are not scenes here that will bore normal humans to near tears, but seriously IT HAS THE GREATEST ENDING EVER FILMED!!! If the special effects were just a little bit better, it would blow that whole raft scene from THE BURNING right out of the water. Just when you think you've seen it all and are ready to call it a day, ol' Biggy crashes a cabin and literally beats the living daylights out of the entire cast. I'm not kidding; he throttles the stuffing out of them. He rips out one guy's intestines and actually starts beating his friends with it. A lady gets a pitch fork shoved up her backside, another guy gets his face pushed into a burning stove, and it's all done in hilarious slow motion while Bigfoot roars his furry head off. I've never seen anything like it. It's like an ITCHY & SCRATCHY cartoon come to life, and I can't wait to watch it again.

As much as the professionalism of DEMON leaves something to be desired, I have to give credit where credit is due. Even beyond its obvious value as a gore flick, I respect the obvious effort to create something a bit different. The entire tale is basically a flashback story that not only has flashback stories within the flashback story, but also dreams within the flashbacks within the stories or something like that. If that weren't enough, we're also privy to "Bigfoot Vision," that's when you see the woods through a blood red circle. Even if you were to remove the delicious violence, I must thank the makers of this movie for introducing me to the character of "Crazy Wanda" who chomps on candy, looks like the lead singer of THE DIVINYLS and gives birth to the monster's baby. She alone would have made this picture worthwhile. (I should point out that even though Bigfoot raped crazy Wanda, when he's not killing people he brings her presents nearly everyday).

You may read bad reviews of this movie elsewhere, but pay them no mind; those people are lying to you. I don't know why or to what end, but they are lying through their teeth! NIGHT OF THE DEMON is amazing…

…it will break its foot off in your A$$!!!

Beauty BARBARA BACH stars as ace reporter Jennifer Fast, hot on the story of the century, documenting a North California Dutch street fair. (Wait ‘till the big wigs see her footage of the red rider wagons handsomely decorated in aluminum foil!) Although obviously a mover and a shaker, Jennifer is denied a hotel room due to no fault of her own and is left along with two tag along, doomed-from-the-get-go pals to rely on the kindness of strangers to put a roof over her head. Strangers don't come any stranger than pot bellied jittery stutterer Ernest Keller (ONE FLEW OVER THE CUCKOO'S NEST escapee SYDNEY LASSICK), but when you're desperate, you're desperate and who wants to be left on the street when there are crazed Dutch revelers about? Jennifer is unaware that her estranged boyfriend Tony Ross (DOUGLAS BARR of DEADLY BLESSING & THE FALL GUY) has followed her and her friends. Thanks to a football injury, he's about as useful in the events ahead as a screen door on a submarine, but he does make a fine chauffeur.

Once in the Keller home we are introduced to my favorite character in the film, Ernest's wife/spoiler-alert sister Virginia (LELIA GOLDONI), an obvious graduate of the VERONICA CARTWRIGHT school of self-composure. Soon Jennifer's pals are being tugged into (eat your heart out THE BOOGENS!), and bashed in the face with, heating vents and it's gleaned that Virginia's basket case disposition is warranted. As it turns out Flounder from ANIMAL HOUSE (STEPHEN FURST) is trapped in the basement condemned by a local witch's curse to perform RIDING THE BUS WITH MY SISTER to an audience of zero for all of eternity. O.K., that's not true, he's the Keller's incest spawn and I know you're not allowed to say "retard" anymore, so let's just say he's special. In this case special means stopping just short of dropping to the ground like CURLY from the THREE STOOGES and spinning about in a circle screeching a-woo-woo-woo! It also means when you clock a chick in the skull with a metal heating grate she's done.

This is where THE UNSEEN kind of looses me. All of the sudden we are meant to feel sympathy for the monster baby who KILLED TWO PEOPLE and transfer our fear over to his far less threatening Daddy Ernie. What's the point of that? Did they think they would receive an image award from the disability advocacy community? That ship sort of sailed when Flounder shoved a teddy bear down the front of his diaper, went for a joyride on what I think was a vacuum cleaner, and then dived into the nearby pile of garbage that he uses as a bed.

As disappointing as this too-little-too-late I NOW PRONOUNCE YOU CHUCK AND LARRY-type insincere display of a conscience is, I have much love for THE UNSEEN. For a movie with the paltry body count of a mere four (that's including the villain AND a decapitated chicken!), I think it's really special.

The fact that the scene occurs early on before the movie itself has had time to lose the audience's faith in what it's selling only adds to its other worldly power. For COMMUNION is such a bizarre, I should say "experience" rather than film that many viewers certainly WILL be throwing in the towel and jumping off this runaway train before the end credits roll. I myself could never put my glowing E.T. finger on whether the movie is an out-and-out hilarious disaster of epic proportions or a well calculated assault on human consciousness. When you consider that director PHILIPPE MORA is also responsible for THE HOWLING 2: YOUR SISTER IS A WEREWOLF signs point to the former, but yet I'm still undecided. True, MORA does the unthinkable by allowing WALKEN free reign to riff and improvise as he sees fit. As endlessly fascinating as this is, and WALKEN is never more lovable than he is in this picture, the unleashing of the Mad Hatter tends to work as a reality vacuum throughout the film. Was this his intention? MORA must be aware of what he's creating, there is nary a shot in the film that does not have some sort of unsettling malevolent object hiding in the corner and there's a willful use of disjointed angles and discomforting close-ups throughout.

Exposing WALKEN's brilliant lunacy is not difficult, but MORA is somehow able to make the usually dignified LINDSAY CROUSE seem equally certifiable. Are the maddening improvisations between the two stars meant to add realism or abolish it? Trust me, if I started quoting the strange interactions between the two, we'd be here all day. By film's end, they're looking straight at the camera and babbling abstractions like drunk relatives whose car keys need to be taken away. The audience has three choices, dismiss the entire affair as trash, begin jolting down the dialogue and form a ROCKY HORROR type cult complete with sold out midnight showings, or simply succumb to this surreal, dimension-shattering celluloid DMT trip. I do believe if you allow it, this film, like the alien invaders who occupy it, will "break you." (Perhaps COMMUNION is the dreamer and you are the dream). I am prepared to back up that assertion with photographic evidence. Do the below un-doctored pictures look like they came from a film that is NOT capable of pushing sensitive souls over the edge?

Several films have been made about aliens and their abductees, but COMMUNION plows its own private psychological terrain, ultimately owing more to KEN RUSSELL than STEPHEN SPIELBERG. It's nuts, it's eccentric, and it's far too freaky to ever garner mainstream appeal (then again, that was probably once the consensus about WALKEN). Ironically, once you realize it is an internal rather than external journey, the universe it presents you with expands greatly. The aliens may look like strung marionettes and CROUSE's hypnosis session a discarded MAD TV skit, but no matter how hard I'm laughing throughout, I'm always left wonderfully dazed and confused. Another director could have possibly made a more distinguished film out of this material, but really what fun would that be? Besides, if the response on IMDb is any indication, COMMUNION succeeded with flying colors in at least one scene. I may hate myself in the morning, but go ahead, count me in amongst the permanently altered believers.

Personally I have no problem with folks turning into electricity and jumping through television sets and in-and-out of host bodies. Set it to some heavy metal music and you'd really have to be a stick in the mud to gripe. I just have a real problem with helpful ghosts. I'm sorry I just do.

I hate helpful ghosts.

Like in THE HOUSE ON HAUNTED HILL remake where CHRIS KATTAN appears at the end all fluffy to save the day? It really pissed me off. In SHOCKER it's CAMI COOPER our football hero's (PETER BERG) slaughtered girlfriend who returns to set things right.

Now mind you, I don't care if the ghost gives some advice or leaves messages on the bathroom mirror and CAMI does look swell covered head to toe in the red stuff, but delivering magic love necklaces and shooting beams of light from her abdomen is just too much for your poor Unkle Lancifer. I really have to draw the line.

To tell you the truth I'm not a big fan of rule set-up scenes either, and SHOCKER has a doozey where mid-way through the film BERG somehow explains the perimeters of this movie's "logic" to his nonplussed football buddies.

Aside from having an oddly large police force, the arid mountain town of Santa Ynez is home to a murderous muscle car who does not like to share the roads with bicycle riders or French-horn playing hitchhikers. As the police investigate the series of vehicular murders, the killer car accelerates the body count by plowing down the Sheriff (JOHN MARLEY). Handlebar mustachioed and helmet eschewing motorcycle cop Wade Parent (JAMES BROLIN) assumes the role of Sheriff while juggling relationships with his assertive girlfriend Lauren (KATHLEEN LLYOD), and criminally underutilized daughters (Kindertrauma faves KIM & KYLE RICHARDS). When the car disrupts the marching band practice for the annual parade, it is loud mouth Lauren who questions the manhood of the car's unseen driver. Silly Lauren learns soon enough that this car suffers no attempts at emasculation lightly when it comes crashing through the front window of her elegantly appointed bachelorette pad. Rather than grieve the loss of Lauren, Wade gets together a posse, consisting mainly of cops and the town's domestic batterer/explosive expert, and heads out to nearest canyon to trap the car and blast it back to the hell from whence it came.

Imagine if you replaced the great white shark in JAWS with a 1971 Lincoln Continental Mark III, switched out the JOHN WILLIAMS' foreshadowing music with a blaring car horn, and moved the whole production from the beach to a dusty desert. This is the basic construct of THE CAR and, sadly, it ends up stalling halfway through the picture. There's a huge pothole in its plot, like a basic explanation of where the car came from and why it is so damn evil. I would have settled for a used car salesman who set up a dealership on an Indian burial ground. Despite otherwise fine performances from BROLIN, and a supporting turn from WALLY COX as a deputy who falls off the wagon, THE CAR left me running on empty.

• Ominous, and utterly irrelevant, title sequence quote from ANTON LA VEY
• The car makes quick work of co-ed bicycle riders
• Roadblocks are no match for this car
• The orange-red camera gel used for the car's demonic P.O.V. shots
• How great is Lauren's interior décor? Let's count the ways:

1. Macramé hanging planter
2. Wood paneling
3. Lemon rotary phone, matching table lamp and coordinated easy chair
4. Unfinished portrait of JAMES BROLIN

UNKLE LANCIFER SEZ:
O.K. folks, to catch you up to SILVER BULLET speed, here's the dealio: While reviewing the werewolf movie BAD MOON yours ghouly made a statement that sorta suggested that there was only a paw-full of decent werewolf flicks out there and I named the usual suspects. One film I didn't mention was SILVER BULLET because I never really gave the movie much thought. Well, the Kindertrauma Castle was stormed by angry protesters and the hills ran red with the blood of children and animals… well, not exactly… and I kinda stole that "Hills ran red" thing from HALLOWEEN 3, but you get the picture. Anyhow, it was decided to let the fans of SILVER BULLET state their case and what we ended up with were some very convincing testimonials. First up, your dear Aunt John's personal and unbiased opinion followed by the won't-be-silenced, howling voices of the defenders of SILVER BULLET!

Bathed in the eerie glow of the last full moon of spring, the sleepy town of Tarker's Mill is shaken by a string of grizzly murders. The decapitation death of the town's drunken railroad worker is ruled as an accident; however, the bedroom slashing/near disembowelment of a suicidal pregnant woman forces the Sheriff Haller (TERRY O'QUINN) to consider the possibility that there is some sort of lunatic on the loose. Of course, we all know this ain't the handiwork of a psycho killer (qu'est-ce que c'est); Tarker's Mill appears to have a werewolf living in its midst. Enter the Koslows, an unlikely pair of heroic siblings consisting of pre-teen paraplegic Marty (COREY HAIM) and his burdened older sister Jane (MEGAN FOLLOWS). Perpetually plastered Uncle Red (GARY BUSEY) soon shows up to provide Marty with some much-needed donkey jokes and a tricked-out wheelchair dubbed the Silver Bullet. After the town decides to enforce a curfew and cancel its annual fireworks display, young Marty sneaks out after dark to ignite a brown bag bounty of bottle rockets, spinners and Roman Candles provided by Uncle Red. Drawn in by the nocturnal illuminations, the werewolf happens by and Marty welcomes him with bottle rocket to the eye. The next day Marty tells Jane of his big night on the bridge and sends her out on a double-secret mission to spy which townie is missing an eye under the guise of collecting recyclable bottles. Jane pounds the pavements and no empty bottle goes unreturned to the church garage where she finally discovers the only one-eyed person in all of Tarker's Mills is none other than… wait for it…(umm, did anyone else see this one coming?) … Sweet Baby Jesus… it's Reverend Lowe (EVERETT McGILL)!!! Rev. Lowe tries to silence Marty by running him off the road, and then a bridge, and then he turns around and tries again on the same bridge, and then another road; however, a Chevy Impala is really no match for a plucky boy with feathered-hair and the insane horsepower of a custom wheelchair lovingly designed by Uncle Red. Our film climaxes with a house call from the Reverend in full-blown werewolf mode and those resourceful Koslows' are ready to rumble.

Based on his novella Cycle of the Werewolf, Kinder-fave STEPHEN KING also penned the SILVER BULLET screenplay. While the film differs on from the story on numerous plot points, your Aunt John has to commend KING and director DANIEL ATTIAS for rendering a pretty solid monster movie. Granted, the special effects seem dated, and were never really on par with those of AN AMERICAN WEREWOLF IN LONDON, but that insane church nightmare freak-out where all the townies turn into werewolves is still super creepy. The bratty-little-brother/older-sister antagonistic interactions between HAIM and FOLLOWS are as believable as the tender moments they share (e.g. Marty coughs up the cash for her torn stockings) and the two actors keep it from dissolving into an ADVENTURES IN BABYSITTING cheese-fest. Force of nature BUSEY, naturally, owns every scene he's in, which could also explain why the werewolf doesn't look that imposing. My biggest complaint is that opening credits state that the movie is set in 1976, but you'd never know this from looking at the costumes, props and facial hair. Where was the Bicentennial-themed décor, the flared pants, and the awesome sideburns (granted, the gun shop owner did sport some impressive mutton chops, but they were way too cleanly groomed to have come from the seventies)? Also, HAIM should have worn Hush Puppies, not Docksides. Call me a purist, but when it comes to period pieces, your Aunt John demands nothing less than authenticity in the footwear department.

• Drunken railman's head goes flying
• Blood on the smiley face kite
• I spy a werewolf with a bottle rocket in his eye
• The aforementioned werewolf mass nightmare
• The uncomfortably awkward interaction between Jane & the Reverend in the garage
• The Silver Bullet craps out on the covered bridge
• Any and all scenes featuring BUSEY!
• Honestly, if I had a dime for every time I got an anonymous letter in the mail that said, "I know who you are. I know what you are. Why don't you kill yourself?" your Aunt John would be one rich bitch

Irving Wallace:

The first time I watched STEPHEN KING's SILVER BULLET, I think I was about 6 years old. My lasting memory of the film until I saw it later in life was of the Dad screaming about his dead son who was flying a kite and was found mangled with the bloody kite in a gazebo. He goes into the bar where the mob is forming to kill whatever is out there in the woods, he holds up a photo of his son and starts yelling at them. That scene is just amazing, still when I watch it now.

Not to mention the awesome story, thanks to STEPHEN KING with his voiceovers from the future reflecting on the past. The wheelchair is rad. I wanted one so bad when I was a kid.
And a drunk GARY BUSEY supplying fireworks to the kid to fight off the werewolf at the end (who turns out to be the priest, which is ultra cool, he even dons an eye patch after the first run in with the kid and his fireworks). The montage of the making of the silver bullet out of their jewelry is also a really great part. The werewolf looks awesome, very well done makeup job. The first breakthrough the window attack is perfect.

Mr. Canacorn:

Ahhhh, SILVER BULLET. Nowhere near as cool as THE HOWLING or AN AMERICAN WEREWOLF IN LONDON, but it has its charms. First off, it's based on the STEPHEN KING novella, Cycle of the Werewolf…get it, Cycle? As in motorcycle…as in the totally rad-tastic motorcycle-wheelchair hybrid super cool Uncle Red builds for his paraplegic nephew, Marty. I know, I know, it would be cooler if the werewolf was riding the motorcycle, but you can't have your cake and eat it too (Unless you're watching WEREWOLVES ON WHEELS). Second, the werewolf uses a baseball bat to kill a man. Yep, you heard me, ol' furface gets all Baseball Furies on TERRY O'QUINN in an inspired scene of awesomeness. And last but not least, drunken psychopath (and would be SEINFELD-stabber) LAWRENCE TIERNEY is in it…and he's way scarier than any old mangy werewolf any day of the week.

Paul @ FEWDIO:

So I spent my Saturday night watching a little SILVER BULLET.

Over all I like the film because the ‘80s had a lot of werewolf love for most of the decade. Mostly started because of AN AMERICAN WEREWOLF IN LONDON I would venture to guess. I was and still am a huge werewolf fan, but in 1985, the SILVER BULLET film, which was based on the wicked cool novella by STEPHEN KING "Cycle of the Werewolf" was just to good to resist.

I loved "Cycle of the Werewolf." So much so, that when I was at comic-con last, I purchased a SILVER BULLET and "Cycle of the Werewolf" paperback with both screenplay and original story in one book. One of the best parts of the book is the great Berni Wrightson's illustrations of the werewolf and images in the story. They are truly brilliant. I was lucky enough to get Mr. Wrightson to sign it for me as well. BUT the book has little to do with the movie in a lot of ways. The book is more of a skeleton to the film really. This link has a great comparison between the book and the movie.

But we're here to talk about love of the film. I think the casting of EVERETT McGILL is a big part of why this movie works so well for me. He truly scared the living crap of me in this movie with his slow delivery and the madness that seems to be going on behind his eyes. To me they did a great job of building tension with WHO the monster was really well. The Reverend MacGuffin worked well. I always thought it helped keep the viewer off track and the conflict of the character is reveled through action rather then dialog.

Of course the film is given to cult ‘80s status due to COREY HAIM as Marty. He does a fine job in the film, but the sister played by MEGAN FOLLOWS does a great job for me here as the over-protective and over-burdened sister. She plays an angry, frustrated sister who could have been just a device, but comes across as real and three dimensional. It's her struggles with frustration over being her brother's caretaker that ground her for me. Where COREY is sappy, she is sincere.

Of course, the person who you really cheer for and love is the flawed but like-able anti-hero GARY BUSEY as Uncle Red. He is the perfect actor to play the down and out Red who gets involved in a bit more then he expected while staying with his niece and nephew. Even at the end of the film were he finally stops believing in Marty only to be shown the truth, by a werewolf crashing through the wall! (THE WALL! Not the two windows! The wall!) He gets his heroic moment fighting off the Beast to keep it away from Marty and his sister until Marty can get the bullet (from the vent in the floor!) and finish off the monster.

This climactic moment in the film is also a good example of what is wrong with SILVER BULLET. There is a lot of heavy-handed work showing the audience moments that make you ask why someone would do that. Like Uncle Red taking the silver bullet out of the gun at the end of the movie. Or slow shots of people looking at the woods edge with concern, then a shot of the wolf's eyes then the person going back to what they were doing. It gets old quick. Director DANIEL ATTIAS does have to take the heat; he tries to hide the Beast in some of the action shots by just shooting the monster's eyes or actions, however it's done too much.

You have to read a bit between the lines a lot in this film to fill in some of the emotional weight. However, you almost get the sense that the eyes of the monster were part of a choice to humanize the suffering of the wolf. Only the creature effects were never really great at showing the emotions of the wolf. They just feel like "Close up of monsters eyes! Oooo there scary and mean looking! Ooooo! Scary! Mean!"

For me there are a few really great scenes:

The kid getting killed in the park is really well done for never seeing the death. It truly ups the brutality of the killings and that no one is safe. This plot point builds to a great scene were you see the Reverend try and stop the villagers from going out for some vigilant justice. But not so they don't hurt someone else; but so that the Beast won't kill them. I do wish they stuck to the book here and didn't make the villagers so weak and silly. I think it's moments like this that undercut the movie by making the townsfolk dumb or playing clichés for characters. Like the drunk a-hole who dies in his flower house.

Marty meeting with the Beast on the bridge where he hits it in the eye with a rocket. I loved the tension built here. I admit it's hokey and we could have used a shot from afar to see the beast closing in on Marty, but I liked the confrontation for what it was. He is face-to-face with a werewolf and keeps his head just long enough to survive! Granted it has one of the biggest logic leaps, Marty knows that a kid was killed and that the monster is out there in the woods, but the desire to shoot off fireworks is just to great to resist so he still goes out into woods anyways.

Also, I really like some of the transformations in the film; the one in front of the deputy is good. This also points out how great the bludgeoning attacks were. Even the final reverse transformation at the very end. I thought it was great. The slow reveal to the truth and the final scare. Again a bit hokey but the image was great. The Reverend's white body with no eyes, a "see no evil" image laying limp and weak. The film has some good kills in it even if we get a couple of those shots where someone off camera throws the prop head into the air in front of the lens.

Kelly Ann:

Ok, this movie is kinda lame, but when I saw it for the first time at age 12, I had to wonder if there wasn't some kind of subliminal message to kids out there about the dangers of "sinning". For example in the first scene, a chronic drunk gets his head sliced off and sent flying through the air. That was enough to keep me off the sauce (Back then, anyway).

And then the kid who stays out to fly his kite gets turned into foie gras by the werewolf, and you wonder if the director was saying: "This is what happens to kids who break curfew!" (Side note: I've actually talked with JOE WRIGHT, who played Brady via the wonderful world of My Space, he's a very nice guy)

The list goes on and on: an unwed pregnant lady: Sliced. A Marijuana farmer: Diced. A BARNEY FIFE-ish inept sheriff: Julianned. (Thankfully TERRY O'QUINN would be reborn as John Locke 20 years later).

And the biggest lesson of all: That a resourceful handicapped kid and his deadbeat uncle could be the only ones to save a small town from extinction, and they succeed gloriously. So, all though SILVER BULLET was labeled as a horror film, I think it can also be seen as a 90-minute After School Special. All that is missing is a somber COREY HAIM giving the number to an 800-werewolf "crisis help line" at the end.

Mickster:

SILVER BULLET is a fun movie. A werewolf preacher and BUSEY, what more could a person want? COREY HAIM before he became a drugged out loser, need I say more? Okay, how about a disabled pre-teen in a motorized wheelchair kicking werewolf ass. GARY BUSEY playing the drunk, loser Uncle Red to COREY HAIM and MEGAN FOLLOWS is really in his element here (some might argue that BUSEY is actually drunk and not just acting). As I recall, he is the one that built the cool, motorized wheelchair and armed HAIM with the fireworks that saved him from the werewolf. Is it the greatest werewolf film ever? Of course not, but it is a lot of fun. There are some truly creepy moments too. For example, when MEGAN FOLLOWS realizes that the Reverend is the werewolf and when the Reverend traps HAIM on the covered bridge. However, it is definitely the comic relief supplied by dear old Uncle Red that makes SILVER BULLET stand out as a fun werewolf movie for the Mickster.

Professor Von Whiskerson:

Any movie where comic book great Bernie Wrightson designs the creatures is alright by me! Plus it's probably the best implementation of KING's "small-town-vibe" on film so far.

Karswell:

I was a huge fan of the Cycle of the Werewolf novella, the incredible Bernie Wrightson illustrations being of course a major factor, but then they changed the name and made it into a really sub-par movie. Of course I haven't seen it since its initial release in '85 so possibly it's aged better, or not.

UNKLE LANCIFER SEZ:
Well kids, that's it and that's gotta be the finest tribute we've ever posted here and it's all thanks to you guys. To everyone who participated in this experiment, my deepest gratitude. SILVER BULLET is such a Kindertrauma-type movie that your Unkle Lancifer has always felt a bit guilty for his ambivalence toward it. Was I not the right age when I saw it for the first time? Not in the right mood? I gotta admit, there's an underlying sweetness to the film that I probably would have balked at in certain times of my life. I wish I could say that my feelings have not changed toward the movie to, you know, pretend to have some kind of journalistic integrity or something like that, but that would be a laugh-out-loud joke. Sure, I'll never get the inconsistent narration or the less than climactic ending, but trust me; I know I adore lesser films than this. The important thing is that now I do have a very good memory associated with this movie. This whole experience reminded me what Kindertrauma was all about it in the first place. It's not really about critiquing and dissecting movies at all. It's a place where nice folks like yourselves can come together and connect over the films that really had an effect on you while you were growing up. I guess our relationships with the movies in our lives are a lot like our relationships with other people. Sometimes they are unexplainable to others and they are hopefully always immune to popular consensus. In any case, I cannot deny the truth any longer; any movie that can get folks to rally like this is obviously pretty cool. Thanks again for doing what I could never do as well; give SILVER BULLET the tribute it apparently deserves.