1980s horror films had two consistent threads; Anthologies and Stephen King adaptations. These threads sometimes intertwined, most famously with the Creepshow movies in 1982 and 1987. Slap-bang in the middle of these films came Cat’s Eye in 1985. For this film, King himself wrote the screenplay, mining his short story collection Night Shift for two of the tales, and inventing a new story for the grand finale.
Video Essay version, if you prefer: https://youtu.be/4q8ogFDJFLA
All three segments are loosely connected by the exploits of a cute little cat. He travels the United States by paw, by train and by hitchhiking in the back of trucks, all in search of a little girl in distress, whose voice inexplicably calls to the cat. Unfortunately for both the helpless child and our heroic kitty, the animal keeps getting waylaid and thrust into other adventures, to observe and sometimes act on the sidelines.
The first segment is Quitter’s Inc, which follows James Woods as a man so desperate to quit smoking that he signs up for a special program. Unbeknownst to him, Quitter’s Inc is essentially a criminal organisation that goes to extreme lengths. The man is put under constant creepy surveillance and is informed that even a single puff of a cigarette will result in terrible consequences for his closest loved ones. Segment #2 is adapted from the short story The Ledge, It sees a gambler who is blackmailed by his nemesis and forced to walk around the very tight ledge of a high-rise building. Finally, the third tale unites the cat with the distressed child, played by Drew Barrymore, who is convinced that a troll lives inside her bedroom wall and wants to suck out her breath.
Cat’s Eye is not close to being one of my favourite instances of Stephen King onscreen, but I do think it is a solid example of the writer’s style as a whole. If there was someone out there who somehow knew absolutely fuck-all about King, maybe they live under a rock, maybe they live in Drew Barrymore’s walls, Cat’s Eye would be a decent starting point. I believe King’s greatest strength is in his concepts. All three stories here prey on universal fears, whether that is the threat of being forever watched, fear of heights, relatable childish night terrors, and the folklore trope of monsters that climb on your sleeping chest. King is adept at tapping into these sort of things.
However, whether it is on the page or on the screen, King is also goofier than Goofy
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I know Ladyhawke was filmed in Italy, but is it meant to portray England, or Italy, or possibly France? I haven't been able to find a definitive answer. I just found this film on Prime and am so happy to be able to watch it again. I'm just confused on which medieval location it is meant to be portraying, it could be any of the countries I listed.
I kind of knew what to expect with Come and See but didn’t realize Mike Leigh was going to really dig that deep and bring out those inner demons with the film Naked. I shouldn’t be shocked though. Both movies were amazing but I’m feeling quite hopeless after watching these two back to back.
I hope you understand. Can you please recommend an uplifting film that’ll bring me back to surface after these two? Even cartoons are fine.
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It's still a pretty kick ass action film but it's a lot sillier to than I remembered it being. Loved it when I was young but it seemed a lot larger than life than what it is. It's also kind of funny. During the end of the movie he's supposed to be looking for his kidnapped daughter but he just starts blowing buildings up with C4. The guy that owns this island has like a huge military presence there's like 200 armed soldiers on this island. Arnold is just mowing down people left and right these soldiers must not be trained well because no one can hit a guy who is just standing out in the open a number of times, they have worse aim than a storm trooper. Arnold is playing with all the cheats turned on in this movie, his guns never empty and he never gets hurt, gets hit by a speeding car and gets back up. He gets into a fist fight with the guy and the villain he's fighting gets electrocuted and the villain still doesn't go down just kinda shrugs it off.
Arnold plays a character named John Matrix, that's like the coolest 80s name ever right? probably beats Ace Hunter from Mega Force, if you haven;t watched Megaforce go check that one out right now. The action is pretty well done overall still, the movie is just loads of fun to watch it never really runs out of steam. A highlight is when John Matrix goes bonkers in a mall and beats up numerous minimum wage mall security, this scene has to be watched I hope that mall has good insurance, it's glorious.
1980s horror films had two consistent threads; Anthologies and Stephen King adaptations. These threads sometimes intertwined, most famously with the Creepshow movies in 1982 and 1987. Slap-bang in the middle of these films came Cat’s Eye in 1985. For this film, King himself wrote the screenplay, mining his short story collection Night Shift for two of the tales, and inventing a new story for the grand finale. All three segments are loosely connected by the exploits of a cute little cat. He travels the United States by paw, by train and by hitchhiking in the back of trucks, all in search of a little girl in distress, whose voice inexplicably calls to the cat. Unfortunately for both the helpless child and our heroic kitty, the animal keeps getting waylaid and thrust into other adventures, to observe and sometimes act on the sidelines.
Footage from the film can be seen here: https://youtu.be/4q8ogFDJFLA
The first segment is Quitter’s Inc, which follows James Woods as a man so desperate to quit smoking that he signs up for a special program. Unbeknownst to him, Quitter’s Inc is essentially a criminal organisation that goes to extreme lengths. The man is put under constant creepy surveillance and is informed that even a single puff of a cigarette will result in terrible consequences for his closest loved ones. Segment #2 is adapted from the short story The Ledge, It sees a gambler who is blackmailed by his nemesis and forced to walk around the very tight ledge of a high-rise building. Finally, the third tale unites the cat with the distressed child, played by Drew Barrymore, who is convinced that a troll lives inside her bedroom wall and wants to suck out her breath.
Cat’s Eye is not close to being one of my favourite instances of Stephen King onscreen, but I do think it is a solid example of the writer’s style as a whole. If there was someone out there who somehow knew absolutely fuck-all about King, maybe they live under a rock, maybe they live in Drew Barrymore’s walls, Cat’s Eye would be a decent starting point. I believe King’s greatest strength is in his concepts. All three stories here prey on universal fears, whether that is the threat of being forever watched, fear of heights, relatable childish night terrors, and the folklore trope of monsters that climb on your sleeping chest. King is adept at tapping into these sort of things.
However, whether it is on the page or on the screen, King is also goofier than Goof
... keep reading on reddit ➡)