Been trying to figure out what scenes/images from horror movies have become so indelibly imprinted on pop-culture that even people who don’t watch horror kind of have to know them, or at least of them. Which is to say I can’t just pick the coolest or best horror clips–the ones that imprinted me once upon a time. I mean, that’d be Freddy’s long arms from A NIGHTMARE ON ELM STREET, kid-Jason at the end of FRIDAY THE 13th, Gage cutting grandpa’s Achille’s in PET SEMETERY, John Carpenter’s spider-head thing in THE THING, how Michael was just suddenly gone at the end of HALLOWEEN, the girl in SIXTH SENSE’s tent, the floating nurse-nun in EXORCIST III, the scuttler in THE GRUDGE’s attic, the kill scene in IRREVERSIBLE, the end of DARKNESS, etc. But the whole movie audience isn’t cued into those so much, I don’t think. And no, I’m not doing best kill-scenes here either, or best gore or fight scenes or a top horror list (here, here and everywhere). Just the stuff that changed us. Or that I think might have:
First, as this is just all about the end of THE DESCENT, then, yep, it’s just chock full of spoilers. So stop here if:
- you’ve not seen it
- you’re going to see it
- and you don’t like to know how a thing’s going to end
Not meaning to say THE DESCENT has a gimmick-ending or anything — we don’t change perspective and slowly become aware that these are just action figures in a toy bin. But the two endings it does have, in being at odds with each other, are also kind of polarizing the horror audience one way or the other, it seems.
Well, I mean, yeah, because he’s got titles like THE LUST LIZARD OF MELANCHOLY COVE and PRACTICAL DEMONKEEPING. These are what originally got me peeling his books up from the shelves back whenever ago. Years already, I guess. Too, though, I’ve yet to read a CMoore book that hasn’t made me smile, and then impressed me too, somehow. Like this, from A DIRTY JOB, which I just finished ten minutes ago:
In today’s trend-oriented publishing climate, you need to either be the celebrity-of-the-moment or you need to have a bulletproof plan to plug into what’s hot, what’s guaranteed, what there’s already an audience for. And, sir/madam/etc., that you don’t already know my name from the tabloids should suggest that, while not infamous for killing or raping or stalking somebody, which is pretty much the standard for literary potential, I know, I have nevertheless, through a thorough though necessarily shallow study, come up with a story idea that’s less of a gamble than 99% of the publishing opportunities you probably have sitting on your desk right now.