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Based on V. C. Andrews’ 1979 novel of the same name, Jeffrey Bloom’s Flowers in the Attic is a little better than some critics suggest. That’s not to say you’ll love it, but let me go through a few details here and make a light defense of the film. To begin with, plenty of horror fans will come forward and suggest it’s not a horror film. While I understand the sentiment, my initial response is usually, “Who cares?” However, I do think there are plenty of horror elements here. In fact, it doesn’t hurt that Wes Craven was originally considered to direct it. Obviously, if you’ve read the title, I think this movie has themes similar to those found in The People Under the Stairs, and I’ll elaborate more on that in a bit.

The second predictable critique of Flowers in the Attic will be of the acting. Yet again, I understand the criticism. Victoria Tennant, Kristy Swanson, and Jeb Stuart Adams don’t offer the most commanding performances committed to film. However, let’s not forget about Louise Fletcher, who definitely takes control of this film, giving a performance similar to what she accomplished in One Flew Over the Cuckoo’s Nest. As you watch, you may be enraged by her, as she puts everyone through hell due to sins of the past.

The result should make us ask: Should one’s perceived morality justify unrelenting cruelty? Might that urge exist beforehand, with the sadistic impulse requiring righteous justification? In fact, could it be that justification itself adds to the depravity of our actions, by masking punishment as a virtue? All of these disturbing (and, let’s face it, semi-kinky) questions unfold in Flowers in the Attic.

A Strange Tale

So, what specifically happens in this story? (Obviously, one might wish to avoid reading further if they don’t want any kinds of “spoilers.”) After the death of her husband (Marshall Colt), Tennant’s character, Corrine, moves into the mansion of her estranged father, Malcolm (Nathan Davis). She hopes her father will forgive her, then rewrite his will to hand over his estate after his death. However, Corrine’s mother, played by Fletcher, is perpetually going to punish Corrine and her children, Chris (Adams) and Cathy (Swanson) and 5-year-old twins Cory (Ben Ganger) and Carrie (Lindsay Parker).

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Basically, these kids are, well, “kidnapped” for years by their grandmother’s estate as their mom tries to gain her father’s love (and fortune). At the same time, they are all ostensibly waiting for his funeral to escape the grandmother’s sadism. The siblings are imprisoned, only getting a sense of freedom when she’s out. Things get desperate when their mother gradually abandons them, with no plans to sneak the children out of the house. Basically, her greed ends up trumping their need.

Symbolism and the Comparison You Came Here For

Aside from flowers and an attic, Flowers in the Attic has some symbolism built into the plot. Obviously, these children live where their mother lives, yet they might as well be separated by thousands and thousands of miles. They first arrive in town as strangers to their grandmother, even though they’re related. It’s not like they have no place to stay, but end up feeling like they’d be better off lost. These are all themes of abandonment. Also, even though their grandmother considers herself well-raised and moralistic, she’s no better than the proverbial slob raised in a barn.

Again, people sometimes question if this is horror, but some of these family members are no better than deranged killers. In fact, considering that Wes Craven was considered to direct, I can’t help but wonder if this story partly influenced Craven’s later film, The People Under the Stairs. Both feature characters too psychologically damaged to defend themselves against their wealthy captors. Noticeably, they are basically disarmed (none of the victims carry a gun). Both stories feature perverted mother and father roles.

Then, of course, you have imagery like the attic door or, in The People Under the Stairs, kidnapped children locked away in a basement. In Flowers in the Attic, when the kids see their grandfather for the first time, it’s not like the old man simply refuses to accept them — he attacks them and seems like a monster.

Really, the main difference is that, in Flowers, the grandmother has hired some henchmen who prevent the kids from escaping. In People, the Mommy (Wendy Robie) and Daddy (Everett McGill) characters compel kids (Brandon Adams, A. J. Langer) into hiding, too. As perhaps the ultimate thematic crossover, kids also end up spying through walls in Flowers in the Attic. Though it lacks the bloody scenes prominent in The People Under the Stairs, the adults in Flowers in the Attic seem perfectly capable of burying young bodies in the woods.

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One Last Bit of Trivia

The final scene of Flowers was filmed at Greystone Mansion in Beverly Hills, California. The 2007 film There Will Be Blood also filmed parts at Greystone Mansion, as well as films like Austin Powers in Goldmember, The Big Lebowski, Cabin Boy, Death Becomes Her, Eraserhead, Ghostbusters II, The Golden Child, The Muppets (film) (Kermit’s mansion), Sam Raimi’s Spider-Man franchise, Stripes, and The Witches of Eastwick. Also, soap operas like The Young and the Restless and The Bold and the Beautiful have used the location, and even the music video to “I’d Do Anything for Love (But I Won’t Do That)” by Meatloaf features Greystone.

What are your thoughts on Flowers in the Attic? Is it similar at all to The People Under the Stairs or does this idea belong locked away in a basement or attic?

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Movies n TV

Fallout, The Target

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Episode two of Amazon Prime’s Fallout was equal parts funny and bloody. This almost always leads to a good time.

The story

We begin this episode with the birth of some puppies that look like they’ve had a rough start to life. Each one is weighed, with the ones who fall short being incinerated.

One pup who is just below the correct weight gets a bit of a thumb on their scale. The scientist weighing them, Wilzig, writes down the proper weight. He later takes the puppy home to raise instead of putting them into what looks like an unforgiving training program.

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Eventually, we see Wilzig put some blue glowing thing into his neck. When a soldier comes for him, Dog attacks the soldier, and the two escape.

Ella Purnell in Fallout.

We go from there to the wilderness, where Lucy is recovering from the last episode and enjoying a campfire at night. Wilzig and Dog come out of the shadows, saving Lucy from a bug monster. Wilzig tells Lucy she should go home. And if she’s not going to go home, she needs to evolve.

The next day Lucy finds her way to a town called Filly. As a Pennsylvanian, it hurts me to spell it that way. Lucy is entranced by this town, though clearly put off by the fact that no one is very nice here.

She eventually finds her way to a shop run by a delightful woman named Ma June. Ma doesn’t seem particularly interested in helping Lucy. Or, frankly, having Lucy in her shop.

Or in her town.

Eventually, Wilzig is tracked to this same shop, being tracked by The Ghoul. This is our final primary character. Lucy defends Wilzig, being aided at the last moment by Maximus.

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Maximus, by the way, has been having a terrible time. After finally becoming a squire he’s disappointed to find that his knight, Knight Titus, is a terrible person.

Fortunately, Maximus doesn’t have to put up with Titus for long. After Titus gets the bright idea to go hunting, he’s attacked by a mutated bear. Maximus freezes, unable to save him. Then, well, he decides not to save him.

It was Titus’s idea to go hunt the bear, after all.

What worked

Walton Goggins in Fallout.

The first thing I want to draw attention to is the shootout scene at Filly. This scene checked every box a fight scene should check. It was fun to watch, with great effects. But it also gave us insight into the characters. Lucy is a decent fighter and has a strong moral compass. The Ghoul is callus and desensitized to death. And Maximus continues to be, well, sort of bad at this whole fighting thing. But with enough moral fortitude that we have a hard time blaming him.

Of course, I would be remiss if I didn’t mention the dog. Who’s name, as far as I’ve been able to ascertain, is just Dog. Which is fine. He doesn’t need to have a name to be a very good boy. He’s sweet, loyal, and fearless.

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Also, puppies. Puppies are always great.

Finally, I’d like to shine a spotlight on Lucy’s reaction to the world at large. She is both amazed and terrified by everything. And while she certainly doesn’t want to be rude, she also doesn’t want to be taken advantage of. The best example of this is when she stops to ask for directions with a bright smile and a gun.

Once again, I don’t have anything bad to say about this episode. It was funny, dark, and fun to watch. I’m very much looking forward to the rest of the season. 4 out of 5 stars (4 / 5)

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Movies n TV

Fallout, The End

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Launching with worldwide excitement, Fallout is based on the extremely popular game series of the same name. Fans of the series have waited with anticipation and trepidation to see if the Prime series would live up to the game.

Having now watched the first episode I can say that, so far, it’s successful.

The story

Our story begins with a children’s birthday party. A performer is there with his daughter, giving horse rides and taking pictures with the kids.

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As much as the adults try to focus on the party and the kids, it’s impossible to ignore the looming threat of war that’s on everyone’s mind.

Of course, it’s during this party that war comes, and the bombs drop.

We then cut to after the war and into one of the vaults established to protect humankind and the American Way. For future reference, this is Vault 33. We meet Lucy, our first main character, who’s petitioning to be married to a man from Vault 32 to ensure DNA diversity.

On the wedding night, though, Lucy and the rest of Vault 33 are met with a horrible surprise. The group they let in is not in fact from Vault 32, but is instead a team of raiders from the surface. The raiders kill a lot of the vault dwellers and kidnap Lucy’s father.

We are then introduced to our second main character, Maximus. He is in training to become a Knight in the Brotherhood of Steel. And, well, he’s not doing great.

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Things get worse when his best friend Dane becomes a squire before him. But when Dane is hurt, Maximus gets their spot.

Aaron Moten in Fallout.

We then go back to Lucy, who has decided to leave the vault and find her dad. Of course, the council of her vault doesn’t want her to go. So she is aided by her brother Norm and cousin Chet in a wild escape.

What worked

The first thing that deserves attention is the exceptional character work. Our three main characters are fleshed out and relatable right away. We feel sympathetic for The Ghoul before he’s even introduced as such. We love Lucy’s nativity and selflessness. And we love Maximus for his honesty and passion for his cause.

While these characters are their own people, they also exhibit the three responses we might expect to see in a post-apocalyptic world. We have the hopeful optimist who doesn’t understand how bad things are. We have the aspiring hero who wants to make the world better by force. And we have the self-serving individual who’s given up on the rest of humanity and is only focused on surviving.

Another thing I enjoyed about this episode was the balance of humor and gore. Because there was certainly enough blood and guts for even the most hardcore horror lover. We had a violent sabotage, a brawl with raiders, and even several nuclear bombs.

But there were a lot of funny moments as well. Usually from Lucy. Her overall goodwill and fearless gumption are absolutely hilarious, especially given the horrors she’s facing. It never ceases to amuse me.

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Ella Purnell in Fallout

Both of these aspects are done perfectly. The jokes land and the bloody scenes pull no punches. It was delightful.

All in all, this was an exciting start to a much-anticipated series. Here’s hoping they’re able to stick the landing.

For more tv shows based on video games, check out my review of Witcher. 4 out of 5 stars (4 / 5)

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Movies n TV

American Horror Story Delicate, Ave Hestia

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Episode seven of American Horror Story Delicate was a classic AHS flashback episode. If you were excited to see what Preecher had to say to Anna at the end of the last episode, I’m sorry to say that you will not get that satisfaction. However, we did learn all sorts of other fascinating things about the strange coven hunting Anna. And, we learned all sorts of things we didn’t know about Dex’s first wife, Adeline.

The story

We begin our story with a woman giving birth alone in a barn. When it becomes clear that she’s not going to be able to deliver vaginally, she pulls out a knife and cuts her stomach open to pull out her children.

For whatever reason, this is when the coven of witches decides to make themselves known.

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Ashlie Atkinson in American Horror Story.

We then cut to 2013, when Dex was still married to Adeline. In true Dex fashion, he’s surprised her with a puppy.

While that sounds great in theory, dogs are something a couple should talk about, not gift each other with as a surprise. An adult would know that. A trust fund boy like Dex does not.

Adeline owns a vegan restaurant called Ave Hestia. Love that name. She seems to be living a great life. She has a career she’s passionate about, friends who love her, and a husband she seems kind of fond of.

Maybe that’s why she didn’t want a puppy. She already had one.

Of course, things aren’t as good as they appear. We soon find out that Adeline was one of those babies we saw at the start of the episode. The other baby was Sonia, the painter.

Annabelle Dexter-Jones in American Horror Story.

And yes, both of these characters are played by Annabelle Dexter-Jones.

Adeline has stepped away from their family, and whatever dark things they do. But the family isn’t happy with her decision. And if she isn’t going to come back willingly, they’re going to make her.

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What worked

To start with, I loved the character, Adeline. She is fierce, she is fearless, and relentless. I feel like this would have been a far different story if Adeline had been our main character. It was astounding to see her interact with the same people Anna has, and get a completely different response. It’s clear now, how much everyone around Anna resents her for simply not being Adeline.

I also appreciated that there was just a shocking amount of blood in this episode. From the start when Adeline and Sonia are born, to the climactic end of Adeline, this episode is just drenched in blood.

Finally, I’m fascinated by the changes in this season from the book it’s based on. Because absolutely none of this was in the book. Compared to this, the book is heartwarming.

The book is kind of heartwarming even without the comparison.

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But I love the fact that, even with just two episodes left in the season, I have no idea what’s going to happen. I do not know what Anna is carrying. I do not know if she’s going to survive this. I do not know what these people want with her.

But I can’t wait to find out.

What didn’t work

All that being said, it is a bit frustrating to have no forward momentum in this episode. This was all backstory, and it felt like there wasn’t enough backstory to fill a full forty minutes. Because of that, it dragged. There were a lot of scenes that just didn’t need to be as long as they were. It felt like they could have cut that down considerably, and had some time to check in with our main characters at either the start or the end of the episode.

There are only two episodes left in the season, and I can honestly say I have no idea what’s going to happen. But so far the story has been dark, bloody, and provocative. So I hope they can manage to end it on a high note.

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4 out of 5 stars (4 / 5)

If you’re a fan of my work, please check out my latest story, Nova, on Paper Beats World. New chapters launch every Monday, Wednesday, and Friday.

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