The House with a Clock in Its Walls
Black, more than anyone else, should have been the one to wind up The House with a Clock in Its Walls. Too bad he doesn't…
Simon Abrams is a native New Yorker and freelance film critic whose work has been featured Esquire, the Village Voice and elsewhere.
Simon started his career as an arts critic writing comics reviews for the Comics Journal. He conducted the cover interview with writer Robert Kirkman in issue #289. After writing film reviews for the New York Press and Slant Magazine, Simon wrote film reviews for the Village Voice, an outlet that he now regularly contributes feature interviews and capsule reviews to. This past November, Simon wrote the cover interview with the Wachowski siblings.
Simon has also spoken at a number of panel discussions in New York. This past December, Simon helped to organize and participated in a panel discussion at 92YTribeca on Jean-Luc Godard's King Lear, and in January, Simon spoke at the Museum of Modern Art during a panel discussion on Pier Paolo Pasolini's Trilogy of Life. Simon's currently writing a book on the exploitation of blood and gore on film.
"Blood Feast" is a terrible film, and a historically important one, too. On the fiftieth anniversary of its release, Simon Abrams revisits this gore-fest.
Simon Abrams looks at humanism in zombie films of George Romero, and how they're carried forward in the novel "World War Z."
Superman always seems to need to be revamped, revived, and recycled. He is, to use comics critic Tom Crippen's keen phrase, the mainstream comics' industry's "hood ornament." In this extensively annotated list, Simon Abrams picks the 10 most influential and astonishing visions of the Man of Steel.
For better and worse, "Stoker," South Korean director Chan-wook Park's first film with an all English-speaking cast, is very much Park's baby. Park ("Sympathy for Mr. Vengeance," "Thirst") is most well-known for directing "Oldboy." In that now-famously bloody, operatic revenge drama, and most of his other films, Park takes great pains to steep viewers in his protagonists' subjective worlds. Perspective is accordingly a prison in "Stoker," a soapy Southern Gothic-style coming of age story with an Alice in Wonderland fetish.