Whenever it gets super snowy and chilly as it has recently I think of DREAMCATCHER, the unreasonably maligned gonzo sci fi disaster-masterpiece from the minds of Stephen King, William 'Adventures in the Screen Trade' Goldman and Lawrence 'Big Chill' Kasdan. Sure it's not great, maybe it's not even very good, but it's got a gonzo self-determination that transcends so many traditional horror and science fiction annoyances I can forgive it near about anything. Right now for example I'm watching half-watching THE GIVER, a hungerer after the teen dystopia market that may as well have been written by a computer. I wanted to see it to continue my teen dystopia thread from a few months ago and see what kind of magic Jeff Bridges could whip up, but it was so glaringly simplistic I felt cheap just for having it on. And so I exhumed this piece from my drafts folder instead, for there's no doubt that DREAMCATCHER is written by humans.... who freely aim not for the teens, or the adults, not the elderly but... ex-stoners in the middle of their fourth midlife crises? Wherever and why ever, I salute its far out gonzo glory. It may miss the ball a few times, but at least its swinging for the parking lot instead of the LCD dugout.
1. ESP altruism as children - The boys get their talents by first rescuing the 'special needs' human Duddy, and then using his and their powers to locate a missing girl. The dreamcatcher is visualized as a web that connects them and each develops a psychic special power - and remain connected by the threads of their psychic energy, which gives them a collective courage. I felt my heart soar when the littlest kid picks up a rock and says hell yeah I want to fight, even if the the guys way bigger than all of them torturing poor Duddy behind the woodshed. He picks up two rocks and is ready to go down swinging because he's sickened by the sight of their sadism and how it reflects on these guys - they even say no doubt the fastest one in their group is going to run home and tell his gossipy mom. No hesitation about ratting them out, never considering making it a playground thing rather than a genuine offense. I subscribe to the adage in Over the Edge that a kid who tells on another a kid is a dead kid, but assault of big on small kids is a different matter entirely.
Most these sorts of film, the Stand by Me and so forth are totally about growing up "normal" oddball kids, the one fat dork, the thin little nerd who be good on computers, the older hunk with a drunk single dad, the token black kid with no real personality other than being black, etc. - but these four dudes who we see in flashbacks to their formative elementary collective ESP Dead Zone moments, are a believable group of friends, genuine badasses who give each other extra strength, and they stick up for the little guy, even if they're even littler. This one little kid just picks up a rock to even things out, and is totally ready to jump in and fight guys twice his size. It's how sticking up for someone else can give you lion courage unavailable for ordinary self-defense, and it's world's away from most of the rote bullying we see in childhood movies. These scenes of childhood aren't rushed or slowed, not given DP-craftsmanship autumnal glows, et al. they don't need that shit because they're legitimately well done. I don't mind if the film is exploring very familiar Stephen King territory (the ESP or psychokinesis of The Shining, Carrie, Firestarter, The Dead Zone etc.), Howard Hawks did the same thing! Keep riffing on what works, keep exploring but using what you know how to do as a base.
2. Donnie Wahlberg as The magical mentally challenged-psychically savant Duddy - Unlike so many magic mentally challenged kids, this one is never seen as somehow backwards so much as 'sidewards,' i.e. once you 'speak' his language you realize he's a genius. And I know how these kids can trigger psychic awakenings because one happened to me with this kid, Victor. Learning how he thought, what he was trying to say, while I was still way out on a psychedelic acid awakening. I got what he was trying to say and he got all excited because most strangers couldn't understand his garbled syntaxes, but I could in my state. I would delight him by acting all normal and straight when other people were around but when it was just us too I'd play music and dance on the couch like a five year-old maniac. He'd be in paroxysms of happiness, and in return he cast some weird mystic spell on me - where I knew as long as I avoided negative thoughts and my first thought each morning was positive I would exist in this state of transcendent gratitude. Plus, Donnie W. really disappears into the role giving Duddy a comprehensiveness as a character that's worlds away from "Gotta watch Wopner" or "Life's a box of chocolates."
3. Gonzo goofball Resolve - the whole thing with Lewis inside his inner filing room shouting out the window as the alien who possessed him sets about eating people - some people might call that a way too literalistic drawback but I say hey, this film is going for distance (1), and it doesn't care if you think it's dumb. A lot of horror movies work better in an audience, but I can imagine seeing Dreamcatcher with the wrong crowd being a pretty miserable experience as all the exasperated sighs and confusion take hold. But without critics in the room, and no cash or drive time outlay, it's weirdness can stretch its legs.
4. Starts in the middle of a covert alien war, sparing us all the doubt on the part of the military's willingness to accept what's going on. And I dig the alien invasion in the snow motif, which recalls Hitler's big Battle of the Bulge campaign, i.e. wait until it's super snowy to catch them all unawares.
5. It's like reading a real Stephen King novel: With twists and turns and each character doing their thing, and encountering a military presence in the midst of another skirmish, lots of snow and New England charm, all very Kingly. And rather than constant crosscutting it plays little mini-chapters between characters. It takes it's time and spreads itself over two hours and fifteen minutes, which since it's on streaming is just fine as it can be watched like a Stephen King novel... in chunks where you occasionally put it down, but it keeps you reading because you have no idea where it's going except deep into the blood-strewn snow of King's New England. Like most of his fiction it might be a little overdone and not have a strong ending, but more than any of his other filmed works, DREAMCATCHER really captures the internal monologue conversations, pop culture situated references, prosaic four letter New England cut-the-crap-itude, and pressure cooker fear generators so intrinsic to his enduring popularity.
6. The aliens can do just about anything and look like Audrey from Little Shop of Horrors on crystal meth when they're not in The Thing x Invasion of the Body Snatchers disguise. Plus they are not without a self-aware sense of humor: they can come right up your ass or down your throat like a combination tape worm / moray eel / ALIEN face hugger, and plant not just one little monster egg, but a writhing legion.
7. Lawrence Kasdan bringing wily, witty profane 'Big Chill'-ish dialogue and black humor to a zippy script.
8. Duddy's mom: Rosemary Dunsmore creates a nice aura of loving gravity and courage around her son in her one big scene. Knowing her son is dying and that he might die by the end of the weekend, but she's aware that he's called upon in service of something higher even if she can't quite understand what that is."Okay, go save the world," she says as they mount their stolen military black Humvee. How rare is it that a mom can be so chill about sending her critically ill mentally challenged son off into the freezing cold to battle some abstract alien menace on what will certainly be a one way trip? Kasdan and King are fans of horror and know just when to have characters step up to the Hawksian heroics plate even if it flies in the face of Hollywood's treasured 'logic of the heart' and all its tedious inside-the-box moral inevitability. Mrs. Duddy knows this is a boy's movie, so don't bother trying for a BSAO, stand the fuck back and let the kids play through. It's the most heroic gesture in a movie full of them.
9. The great cast also includes: Jason MALLRATS Lee; Timothy THE CRAZIES Olyphant, Thomas "I just want my kids back" Jane; Donnie SIXTH SENSE Wahlberg; Damian HOMELAND Lewis; Tom THE RELIC Sizemore and frickin....
Zu Warrior eyebrows of Morgan "Passin' Water" Freeman: There's usually a sense that either the military is good or bad depending on the political orientation of a film but here they are both good and bad and the natural likable gravitas of Morgan Freeman is cast against type as a man who's been dealing with these aliens for the last 25 years and is thinking globally to the detriment of the infected locals, all of whom he wants to kill off to be sure the disease doesn't spread. A less draconian superior is called in and so there's two military factions one good and one dubious, or too harsh for most. There's a great moment when the aliens are acting all childlike and innocent and Freeman's like doooon't trust them. He might be wrong but he's so very right, just like DREAMCATCHER itself!
Last but not least is the groovy snow blanket creating just the right mood of preternatural stillness and you have a flawed gonzo classic I enjoy a lot more than the critically acclaimed 'kids together experiencing weird small town events' King adaptations like STAND BY ME. It's got the loopy flashback-laden middle-of-the-action, slow built-to-nowhere structure of one of King's novels, weird and wondrous cast and a plot that, like other 'Ten Reason' entries THE THING (2011), GHOSTS OF MARS (2000), and DOOMSDAY (2008) ping-pong pinballs past so many classic genre film bumpers it becomes a whole new kind of beast/s
1. "Going for Distance": a common drunken Syracuse treehouse expression from 1987-91, i.e. to puke as far away from oneself as possible, while standing, head held high, rather than bent over a toilet like some common scrubwoman - but then also extending to mean not holding back in genral, burning up all your stashes and telling your old lady to go home and go to bed because you're staying up all night, all the next day, and forever, until -'poof' magically you wake up on some floor or couch somewhere. An example of going for distance might be Lennon and Nilsson's "Lost Weekend"