Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Toronto: Frankenfish Gone Wild! 'THE HOST'

One other comment about BLACK SHEEP: It’s godawful gross and gorey, and I have issues with gore. But this comedy horror movie is so silly that I was laughing rather than cringing during scenes of innards being pulled by fanged sheeps. The silliness of the sheep-teeth distracted me from the realistic, smelly, horrid looking innards and offal, and no human being or animal came close to realistic or well-acted agony.


A similar sensibility was at play in THE HOST, a monster movie from South Korea, which has one of the best opening-scene creature attacks since WAR OF THE WORLDS. First we meet the fractured family who’ll blunder straight into the creature’s path: there’s grandfather, proprietor of a Seoul riverside snack shop, his dunderheaded son, who’s about 40, and an adorable schoolage granddaughter. While the layabout son munches on squid snacks, grandfather and granddaughter watch her aunt, an archery champion, almost–almost–win a gold medal in big televised competition. Then the fish appears–first with a splash under a highway bridge, and then, alarmingly, with a crash on the beach. The thing’s got legs. And it’s hungry.

Despite a panic over a possible virus, the family mobilizes to rescue the little girl, who’s been carried off in the belly of the beast. The tone is wildly uneven–straight ahead action/horror, satire over the SARS scare, and twisted humor. At a public memorial service, the family’s literally rolling around on the floor, bawling, when we hear a voice over the PA system: “Whoever’s parked a Hyundai with the license plate….please move it, you’re in a red zone.” A shamefaced woman dashes toward the exit as someone scolds, “Lady, how could you park there at a time like this.”

THE HOST has parked at Magnolia Pictures for North American distribution.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon