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Coauthor - Christian Chilavert

Resume The most important things to remember about back story are that (a) everyone has a history and (b) most of it isn’t very interesting

 

• directed by=Richard Stanley
• Star=Madeleine Arthur
• 14285 Votes
• Movie Info=A story of cosmic terror about The Gardners, a family who moves to a remote farmstead in rural New England to escape the hustle of the 21st century. They are busy adapting to their new life when a meteorite crashes into their front yard. The mysterious aerolite seems to melt into the earth, infecting both the land and the properties of space-time with a strange, otherworldly color. To their horror, the Gardner family discover that this alien force is gradually mutating every life form that it touches...including them
• writed by=Richard Stanley, Scarlett Amaris
• Sci-Fi

Cool list ive watched most of thoses, goin to check UZUMAKI manga.

 

It hints of downfall. No lie they dont make scary movies like they used to 😅all they do is remake old shit instead of making a new horror story or universe.

Probably gay. Why else would the 'color' be pink

It's good, but the best adaptation to me is still the radio play version done by the Atlanta Radio Theater Company. You can find it on YouTube. But this modern take is ok tho. Great review, love the chemistry with you guys. Have to say I'm with AJ on this one. Thought is was very well done. Something I noticed that I thought might be worth mentioning is that the family just became insane parodies of themselves like, the mom went crazy cooking, the daughter went crazy with the witchcraft/goth stuff, the youngest son went crazy with loving animals, the eldest son normally looked after the animals and went crazy trying to get the dog back and of course Cage was already a kooky guy and just went bonkers crazy.

"The Colour Out of Space" Title page of "The Colour Out of Space" as it appeared in Amazing Stories, September, 1927. Illustration by J. M. de Aragon. [1] Author H. P. Lovecraft Country United States Language English Genre(s) Science fiction, horror Published in Amazing Stories Media type Print ( Magazine) Publication date September 1927 " The Colour Out of Space " is a science fiction/horror short story by American author H. Lovecraft, written in March 1927. In the tale, an unnamed narrator pieces together the story of an area known by the locals as the "blasted heath" in the wild hills west of the fictional town of Arkham, Massachusetts. The narrator discovers that many years ago a meteorite crashed there, poisoning every living being nearby; vegetation grows large but foul tasting, animals are driven mad and deformed into grotesque shapes, and the people go insane or die one by one. Lovecraft began writing "The Colour Out of Space" immediately after finishing his previous short novel, The Case of Charles Dexter Ward, and in the midst of final revision on his horror fiction essay " Supernatural Horror in Literature ". Seeking to create a truly alien life form, he drew inspiration from numerous fiction and nonfiction sources. First appearing in the September 1927 edition of Hugo Gernsback 's science fiction magazine Amazing Stories, "The Colour Out of Space" became one of Lovecraft's most popular works, and remained his personal favorite of his short stories. It has been adapted to film several times, as Die, Monster, Die! (1965), The Curse (1987), Colour from the Dark (2008), The Colour Out of Space ( Die Farbe) (2010) and Color Out of Space (2019). Synopsis [ edit] A 2012 illustration by Ludvik Skopalik showing the well on Gardner Farm with the mysterious colour emerging, central to the story An unnamed surveyor from Boston, telling the story in the first-person perspective, attempts to uncover the secrets behind a shunned place referred to by the locals of Arkham as the "blasted heath. " [2] Unable to garner any information from the townspeople, the protagonist seeks out an old and allegedly crazy man by the name of Ammi Pierce, who relates his personal experiences with a farmer who used to live on the cursed property, Nahum Gardner. Pierce claims that the troubles began when a meteorite crashed into Gardner's lands in June 1882. [3] The meteorite shrinks but does not cool, and local scientists cannot discern its origin. As it shrinks, it leaves behind "globules of colour" which are referred to as such only by analogy, [4] as they fall outside the range of anything known in the visible spectrum. The stone is eventually destroyed by six bolts of lightning, and the lab specimens are destroyed when placed in a glass beaker. The following season, Gardner's crops grow unnaturally large and abundant. When he discovers that, despite their appearance, they are inedible, he becomes convinced that the meteorite has poisoned the soil. Over the following year, the problem spreads to the surrounding vegetation and local animals, altering them in unusual ways; the plants around the farmhouse become "slightly luminous in the dark. " [5] Gardner's wife goes mad, and he locks her in the attic. Over time, Gardner isolates his family from the neighboring farmers; Pierce becomes his only contact with the outside world. [3] Shortly after the onset of Mrs. Gardner's madness, the vegetation erodes into a grey powder, and the water from the well becomes tainted. One of Gardner's sons, Thaddeus, also goes mad, and Gardner locks him in a different room of the attic. The livestock turns grey and dies off; like the crops, their meat is tasteless and inedible. Thaddeus dies in the attic. Merwin, another of Gardner's sons, vanishes while retrieving water from the contaminated well. After two weeks with no contact from Gardner, Pierce visits the farmstead and witnesses the tale's eponymous horror in the attic. Gardner's final son, Zenas, has disappeared, and the "colour" has infected Nahum's wife, whom Pierce puts out of her misery. Pierce flees the decaying house as the horror destroys the last surviving resident, Nahum. [3] Pierce returns later that day to the farmstead with six men, including a doctor, who examine Nahum's remains. They discover both Merwin and Zenas' eroding skeletons at the bottom of the well, as well as bones of several other creatures. As they reflect upon their discoveries in the house, a light begins to shine from the well; this becomes the colour, which spreads over everything in the vicinity. The men flee the house and escape as the horror blights the land and then flies into the sky. Pierce alone turns back after the colour has gone; he witnesses a small part of it try to follow the rest, only to fail and return to the well. The knowledge that part of the alien still resides on Earth is sufficient to disturb his mental state. When some of the men return the following day, they find only a dead horse and acres of grey dust. The Gardners' neighbours leave their homes and flee the area. [3] Background [ edit] Lovecraft began writing "The Colour Out of Space" in March 1927, immediately after completing The Case of Charles Dexter Ward. [6] As he wrote the tale, however, he was also typing the final draft of his essay on horror fiction, " Supernatural Horror in Literature ". [7] Although the author himself claimed that his inspiration was the newly constructed Scituate Reservoir in Rhode Island, Lovecraft scholar S. T. Joshi believes that the planned Quabbin Reservoir in Massachusetts must have influenced him as well. American writer and pulp fiction enthusiast Will Murray cites paranormal investigator Charles Fort, and the "thunderstones" (lightning-drawing rocks that may have fallen from the sky) he describes in The Book of the Damned, as possible inspirations for the behavior of the meteorite. [8] Andy Troy argues that the story was an allegory for the coverage of the Radium Girls scandal in The New York Times, with the symptoms of the Gardners matching the newspaper's description of radium necrosis. [9] Lovecraft was dismayed at the all-too human depiction of aliens in other works of fiction, and his goal for "Colour" was to create an entity that was truly alien. [10] In doing so, he drew inspiration from a number of sources describing colors outside of the visible spectrum. Most notably, Joshi points to Hugh Elliott 's Modern Science and Materialism, a 1919 nonfiction book that mentions the "extremely limited" senses of humans, such that of the many "aethereal waves" striking the eyes, "The majority cannot be perceived by the retina at all. " [11] Lovecraft had used this concept previously, in his 1920 short story, " From Beyond ". [11] Completed by the end of March, "The Colour Out of Space" first appeared in Hugo Gernsback 's science fiction magazine, Amazing Stories in September 1927. [12] The story was illustrated by J. de Aragón, an artist who produced occasional artwork for the magazine. [13] Reception and legacy [ edit] "The Colour Out of Space" appeared in the September 1927 edition of Amazing Stories "The Colour Out of Space" became the only work from Amazing Stories to make Edward O'Brien's anthology of The Best American Short Stories, [14] appearing in the 1928 "Roll of Honor". [7] Gernsback paid Lovecraft only $25 [3] (approximately $368 in present-day terms) and was late in doing so, leading Lovecraft to refer to the publisher as "Hugo the Rat". [14] He never again submitted anything to the publication. [12] Lovecraft did not write another major short story until the following year, when he crafted " The Dunwich Horror ", although he did pen " History of the Necronomicon " and " Ibid " as minor works in-between, [10] as well as an account of a Halloween night's dream that he called " The Very Old Folk ". [7] In addition to being Lovecraft's personal favourite of his short stories, [10] [15] critics generally consider "The Colour Out of Space" one of his best works, and the first with his trademark blending of science fiction and horror. [12] Lovecraft scholar Donald R. Burleson referred to the tale as "one of his stylistically and conceptually finest short stories. " [16] Joshi praises the work as one of Lovecraft's best and most frightening, particularly for the vagueness of the description of the story's eponymous horror. He also lauded the work as Lovecraft's most successful attempt to create something entirely outside of the human experience, as the creature's motive (if any) is unknown and it is impossible to discern whether or not the "colour" is emotional, moral, or even conscious. [10] His only criticism is that it is "just a little too long". [17] E. F. Bleiler described "The Colour Out of Space" as "an excellent story, one of Lovecraft's finest works; in my opinion the best original story to appear in Amazing Stories ". [18] The text of "The Colour Out of Space", like many of Lovecraft's works, has fallen into public domain and can be accessed in several compilations of the author's work, as well as on the Internet. [3] It also had a strong influence on Brian Aldiss 's The Saliva Tree, which has been seen as a rewriting of Lovecraft's tale. [19] In 1984, the novel The Color Out of Time by Michael Shea was published as a sequel to the original novelette. [20] Film adaptations [ edit] The 1965 film Die, Monster, Die!, directed by Daniel Haller, is based on "The Colour Out of Space". The film stars Nick Adams, Suzan Farmer, and Boris Karloff. Lovecraft scholar Don G. Smith claims that, of the scenes that are derived from Lovecraft's work, the "blasted heath doesn't live up to Lovecraft's description" [21] [22] and asserts that, overall, the film does not capture Lovecraft's intent to " the idea of an alien life form completely different from anything humans can imagine. " [23] Smith considers Haller's work an imitation of Roger Corman 's Edgar Allan Poe films, rather than a serious attempt to adapt Lovecraft's tale. [21] Another adaptation, The Curse (1987), was directed by David Keith and stars Wil Wheaton, Claude Akins, Cooper Huckabee, and John Schneider. It more closely follows the plot of Lovecraft's work, albeit set in the 1980s. Lovecraft scholar Charles P. Mitchell referred to the film as faithful to the author's original work, but Mitchell claimed that "[t]he last twenty minutes of the film are so disjointed that they virtually ruin the entire film". [24] [25] The 2008 film Colour from the Dark, directed by Ivan Zuccon, is an adaptation set in Italy. The film stars Michael Segal, Debbie Rochon, Marysia Kay, Gerry Shanahan, and Eleanor James. [26] Bloody Disgusting praised the film, stating Zuccon "managed to do the famous writer’s twisted tale of unseen terror a really fair share of justice by capturing the bleak, grotesque and utterly frightening atmosphere of the source material very, very well. " [27] The 2010 film Die Farbe ( The Color), [28] directed by Huan Vu, is an adaptation set in Germany. It is shot mainly in black and white, the exception being the "Colour" itself. S. Joshi described it as "the best Lovecraft film adaptation ever made". [29] The 2018 film Annihilation — itself based on the 2014 novel of the same name by Jeff VanderMeer — contains numerous plot similarities with Lovecraft's story, most prominently a colorful alien entity that crash lands on earth and begins mutating nearby plant and animal life. [30] A new version was adapted by writer/director Richard Stanley [31] and released in 2019 under the title Color Out of Space. This film stars Nicolas Cage, [32] [33] and Joely Richardson, [34] and was produced by Elijah Wood through his production company SpectreVision. [31] It has a contemporary setting but keeps Lovecraft's plot intact. It is intended to be the first film in a trilogy of Lovecraft adaptations set in a shared universe. [35] [36] Stephen King says that his 1987 novel The Tommyknockers, in which residents of a small town in rural Maine are physically and mentally affected by the emanations from an alien ship unearthed in the nearby woods, and a major character is also named Gardner, was strongly influenced by "The Colour Out of Space. " Like many of his works at that time, it was adapted into a TV miniseries, broadcast in 1993; in 2018 it was reportedly to be developed as a feature film. [37] See also [ edit] 1927 in science fiction Impossible colours Weeds (short story), also known as "The Lonesome Death of Jordy Verrill" References [ edit] ^ "The Colour Out of Space". ISFDB.. Retrieved 2020-01-14. ^ Lovecraft, p. 595 ^ a b c d e f Lovecraft, H. (2008). H. Lovecraft: Complete and Unabridged. New York City: Barnes & Noble. p. 1098. ISBN 978-1-4351-0793-9. ^ Lovecraft, p. 598 ^ Lovecraft, p. 601 ^ Burleson, Donald R. (1983). Lovecraft, a critical study. Westport, Connecticut: Greenwood Publishing Group. p. 243. ISBN 0-313-23255-5. ^ a b c Joshi, S. (2001). A dreamer and a visionary: H. Lovecraft in his time. Liverpool University Press. p. 422. ISBN 0-85323-946-0. ^ Murray, Will, "Sources for 'The Colour Out of Space'", Crypt of Cthulhu No. 28 (Yuletide 1984), pp. 3-5; cited in S. Joshi, Annotated Lovecraft, p. 70. ^ Troy, Andy (August 2015), " " A Stalking Monster": The Influence of Radiation Poisoning on H. Lovecraft's "The Colour out of Space " ", Lovecraftian Proceedings No. 1: Papers from Necronomicon Providence 2013, New York: Hippocampus Press, pp. 33–51 ^ a b c d Joshi, S. (1996). A Subtler Magick: The Writings and Philosophy of H. Lovecraft. Rockville, Maryland: Wildside Press. p. 316. ISBN 1-880448-61-0. ^ a b Joshi, S. T., "The Sources for 'From Beyond'", Crypt of Cthulhu No. 38 (Eastertide 1986): 15-19 ^ a b c Joshi, S. ; Schultz, David E. An H. Lovecraft encyclopedia. pp. 43, 294. ISBN 0-313-31578-7. ^ Ashley, Mike; Lowndes, Robert A. W. (2004). The Gernsback Days: A Study of the Evolution of Modern Science Fiction From 1911 to 1936. p. 80. ISBN 0809510553. ^ a b Ashley, Michael (2000). The History of the science fiction magazine. p. 320. ISBN 0-85323-855-3. ^ Burleson, Donald R. (1990). Lovecraft: disturbing the universe. University Press of Kentucky. p. 170. ISBN 0-8131-1728-3. ^ Burleson, "Critical", p. 135 ^ Joshi, "Subtler", p. 137 ^ Bleiler, E. and Bleiler, Richard, Science-fiction: the Gernsback years: a complete coverage of the genre magazines from 1926 through 1936. Kent, Ohio: Kent State University Press, 1998. ISBN 9780873386043 (p. 261-2). ^ Gaiman, Neil (2012). "Short Stories". FAQs » Books, Short Stories, and Films.. Retrieved 2012-12-18. ^ D'Ammassa, Don (2009-01-01). Encyclopedia of Fantasy and Horror Fiction. New York City: Infobase Publishing. p. 315. ISBN 1438109091. ^ a b Smith, Don G. (2006). Lovecraft in popular culture. Jefferson, North Carolina: McFarland & Company. p. 173. ISBN 0-7864-2091-X. ^ Smith, p. 45 ^ Smith, p. 47 ^ Mitchell, Charles P. The complete H. Lovecraft filmography. p. 249. ISBN 0-313-31641-4. ^ Mitchell, p. 115 ^ Colour from the Dark on IMDb ^ Staff (2008-11-30). "MOVIES: Colour From The Dark". Retrieved 2017-10-27. ^ The Color Out of Space on IMDb ^ Joshi, S. (2014-05-16). "May 16, 2014".. Retrieved 2016-03-30. ^ Anderson, Kyle (2018-02-28). "Alex Garland's Annihilation is More Lovecraftian Than You Thought".. Retrieved 2018-03-05. ^ a b Webster, Christopher. "Richard Stanley's H. Lovecraft Flick COLOR OUT OF SPACE Is Happening! ".. Quiet Earth. Retrieved 26 October 2019. ^ "Richard Stanley is back in the saddle again, will direct 'Color out of space, ' starring Nicolas Cage". Screen Comment. 2019-01-23. ^ "Nicolas Cage Nabs Lead in Sci-Fi Thriller 'Color Out of Space ' ". The Hollywood Reporter. 2019-01-25. ^ Miska, Brad (2019-01-23). "Nicolas Cage to Topline Richard Stanley's 'Colour Out of Space'! ". Bloody Disgusting. ^ " ' Color Out of Space' Filmmaker Richard Stanley Is Planning a Lovecraft Trilogy". Retrieved 2020-02-26. ^ "Richard Stanley Is Working on an Entire "Lovecraft Mythos" of Movies, with The Dunwich Horror up Next".. 2020-01-21. Retrieved 2020-02-26. ^ Kaye, Don (2018-04-21). "Stephen King's The Tommyknockers Heads to Universal After Bidding War". SyFyWire. Retrieved 2019-01-31. External links [ edit] The Colour Out of Space at Faded Page (Canada) The Colour Out of Space title listing at the Internet Speculative Fiction Database.

The story about the time Nicolas Cage took mushrooms at a Prince concert. Can't wait for New Mutants, hilarious to see the trailer for Charlies Angels knowing it totally bombed at the box office lol, same as Terminator: Dark Fate. It spreads disease.

Over all the film is solid and I think the cinematography is great with very well-done CGI. Richard focuses on the family as he should but it feels like the movie has been edited down as we have gaps in the appearance of certain characters who only appear in the first and last acts. The most creepy and unnerving scene is with actor Tommy Chong near the end of the film. it is really perfect. The weakest part of the film for me is Nicholas Cage. he is okay but distracts from the film at times. I would have preferred to have seen more of Madeleine Arthur as Lavinia Gardner.

Bloodshot is going to be so coooollll. Wait a Nichols Cage movie that looks good? I'm in, haven't seen anything good in a while with him in it. I personally didn't like it. A lot of horror parts were drawn out for so long that it wasn't scary, or they were kinda just spoon fed to us. There were also just sooooo many really long pauses between people talking that weren't necessary? The original story is about an alien colour infecting the environment, but the movie seemed to make it more like a virus than the colour. Like, things or creatues that were infected didn't turn that colour like I would expect them to. The film was already at a disadvantage since the scary thing about the story is that the colour is one humans have never seen before, and you literally can't do that in a film format.

Thank you for posting these awesome stories

Critics Consensus A welcome return for director Richard Stanley, Color Out of Space mixes tart B-movie pulp with visually alluring Lovecraftian horror and a dash of gonzo Nicolas Cage. 86% TOMATOMETER Total Count: 167 82% Audience Score Verified Ratings: 94 Color Out of Space Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Color Out of Space Videos Photos Movie Info After a meteorite lands in the front yard of their farm, Nathan Gardner (Nicolas Cage) and his family find themselves battling a mutant extraterrestrial organism as it infects their minds and bodies, transforming their quiet rural life into a technicolor nightmare. Rating: NR Genre: Directed By: Written By: In Theaters: Jan 24, 2020 limited On Disc/Streaming: Feb 25, 2020 Runtime: 110 minutes Studio: RLJE Films Cast News & Interviews for Color Out of Space Critic Reviews for Color Out of Space Audience Reviews for Color Out of Space Color Out of Space Quotes Movie & TV guides.

Just Googled the director and he made a super Under-Rated film called Hardware. Worth checking out. Dope Review BTW. The color out of space. I'm here because I just saw the new film with Nicolas Cage that is based on this story and it was extremely well done in my opinion. Thank you for review, Mr H. A huge relief then. I was not sure if Stanley still 'has it' that many years off camera. “Ideas are dangerous things.” As in the idea to make this movie. Just finished watching this. It was okay. I did find the sound and music really well done. Some of the acting was weak in spots. The movie felt. lacking, but I cant quite put my finger on it. Its worth watching, but I was hoping for a bit more due to fans saying how well done it was for “cosmic horror”. So, worth a watch, nothing spectacular but decent, in my opinion.

YouTube. The same color that's in my styrofoam. THIS IS SCARY. Oh Boy! More Nick. Sylvanas stronger than Lich King. Rip wow story. Sign me up for Nic Cage rambling about colors like Mojo Jojo for 2 hours, super down. Color shows why Stanley should do more feature films (hopefully more Lovecraft or weird tale adaptions) as his passion and his knowledge of the source material shines through. much like Lavinia's forehead. It is also a very personal film for Richard as it touches on elements from his own life. Color Out of Space is auteur director Richard Stanley ’s return to filmmaking almost a quarter century after being unjustly fired during the filming of 1996’s The Island of Dr. Moreau and literally running off into the jungle. And we’re lucky to have him back, because Color Out of Space fully rules. Based on the short story “The Colour out of Space” by horror architect H. P. Lovecraft, the film is about a meteor that crashes into the Gardner family farm, emitting an otherworldly light that gradually reveals itself to be a malevolent entity from beyond space and time. The Color corrupts everything around it, mutating plants and animals (and the Gardners themselves) while twisting the very fabric of reality so that nobody can remember the last time the alpacas got fed, let alone what day it is. Image via RLJE Films The movie is a gorgeous piece of surreal psychological horror, with some gen-u-ine gore and body horror thrown in for good measure, just in case you thought the Color was all about mind games. Things hit a fever pitch in the last 20 minutes, when the world goes full-Lovecraft and logic is obliterated into cosmic dust set to a soundtrack of Nicolas Cage doing his voice from Vampire’s Kiss. Stanley does an excellent job of adapting the cacophonous madness that punctuates virtually every Lovecraft story, which consequently means that it’s a bit confusing. So what exactly happened in that ending, after the hapless hydrologist Ward ( Elliot Knight) returns to the Gardner house to try and save the family only to have the shit hit the interdimensional fan? Obviously, SPOILERS are ahead, so if you haven’t watched Color Out of Space you should probably do that before you read any further, and also what the hell are you doing with your life? The concept of shifting time is a major point throughout the movie – Lavinia ( Madeleine Arthur) stands in a trance at the kitchen sink after washing her mother’s blood off of a knife for something like 6 hours, while Benny ( Brendan Meyer) gets lost in their own backyard for an entire day. The genial old hermit Ezra ( Tommy Chong) suggests to Ward that he has been sitting in his shack recording audio evidence of the alien entity for a very, very long time, despite the fact that the meteor only crashed a few days ago. So keep that dynamic in mind as we unpack the film’s bizarre ending. Ward returns to the Gardner farm with Sheriff Pierce ( Josh C. Waller) to see Nathan (Cage) sitting alone on the couch watching an endless stream of static in which the Color can barely be seen making shapes that are just beyond comprehension. When asked where his family is, Nathan bemusedly gestures to the empty room and insists they’re all here with him. At this point, Nathan is fully plugged into the time loop created by the Color, which means as far as he can tell, his family truly is sitting in the living room with him. He’s experiencing past and present events simultaneously, because of how the Color warps time and reality around those it infects. Bookmark this exchange in your head, because it’s going to be the key to understanding what happens in the climax. Ward and Pierce bust into the attic where Nathan has locked Lavinia with the mutated creature that used to be his wife Theresa ( Joely Richardson) and their youngest son Jack ( Julian Hilliard). Ward and Pierce are understandably too stunned to react, but Nathan appears and kills the creature himself, muttering “They’re not my family. ” Because again, as far as he’s concerned, his family is sitting downstairs waiting for him in some past memory that the Color is projecting for him. They all head downstairs, where Nathan sees the Color rising out of the well and aims his gun to fire at it. Pierce, thinking Nathan is pointing the gun at Ward, shoots Nathan, presumably killing him. Ward tries to convince Lavinia to leave, but she refuses, insisting “I live here. ” Lavinia, who earlier wanted nothing more than to escape the farm and abandon her parents, is trapped in the same time loop that absorbed Nathan – her family is alive and intact right here on the farm, so why should she want to leave? Ward and Pierce go to Ezra’s shack to try and evacuate him, but they discover that the hermit has aged to the point of mummification. Ezra’s body is glowing with the infection of the Color, with his reel-to-reel Memorex tape deck playing his dictations about the Color on a loop that is constantly speeding up and slowing down, either from extreme deterioration due to age or because of the fluctuating time continuum. (Or both! ) The Color bursts out of Ezra’s body and warps the area around his shack, bringing a tree to life that snares and crushes Sheriff Pierce to death. When Ward returns to the Gardner farm, he finds Lavinia, fully inhabited by the Color, standing in front of the well as the entity flows out into the air around them and funnels upward into the sky, opening a portal to the Color’s home dimension. She grabs Ward and imbues a vision of the Color’s world, which in true Lovecraft fashion is just sharp angles and insanity. Ward breaks free and we can see that he is glowing slightly from the Color’s influence, but it appears that he severed the connection before getting completely absorbed. Lavinia disintegrates from our reality and is taken up into the cyclone, and Ward runs inside the Gardner farmhouse. Here’s where conventional logic really begins to slip. Ward appears to be constantly sliding into a prism of light, which is the pull of the Color attempting to draw him into its dimension. Everything around him is afflicted with the same visual effect, which represents the Color beginning to rip everything in the farmhouse out of reality. Ward can now hear the voices of the Gardner family as they spoke to each other over dinner in one of the film’s earlier scenes. He can also see Nathan sitting in the living room just as he was before, staring fixedly at the TV. The rash on his body is now even more advanced than it was when he was supposedly killed by Sheriff Pierce, with his face covered in huge boils. Nathan’s continued deterioration suggests that he either wasn’t actually dead when Ward and the Sheriff left for Ezra’s, or that the Color is keeping his body animated on cosmic life support. (Or a third possibility that a future version of Nathan has been created by the Color’s time distortion, similar to what happened to Ezra. ) But there’s clearly enough of Nathan left in that body to compel him to sit and wait in his chair, his designated spot as the Gardner patriarch. Ward can also see the echoes of the Gardner family sitting in the room with Nathan, presumably what Nathan himself was seeing when he insisted earlier that his family was gathered around him. Nathan chases Ward into the basement as reality continues to slide, speaking in memories Ward has of his interactions with the Gardners (most notably, Nathan repeats Lavinia’s playful accusation “Are you looking at my legs? ” in Lavinia’s voice). Ward is experiencing the time loop for himself, surrounded by the echoes of the Gardner family that the Color has programmed into an infinite playlist. Finally, the farmhouse and the surrounding land are torn up into the sky and back into space by the Color, leaving behind a blasted landscape of colorless ash. Ward climbs out of the cellar and presumably spends the next several days drinking heavily. The final scene of the movie is Ward standing on the hydroelectric dam his company sent him out here to survey in the first place. Ward’s closing narration implies that the Gardner’s land was flooded to make the dam, erasing any evidence of what happened. But the very last shot shows the sky above the dam glowing with the Color, suggesting that a trace of the entity remained behind. Drowned cities and forgotten knowledge are a common motif in Lovecraft’s work, so the ending is both thematically satisfying and a bit of an easter egg. Stanley is a Lovecraft fan, so unsurprisingly there are a handful of other easter eggs scattered throughout Color Out of Space for fellow Weird Fiction nerds to find. Ward wears a Miskatonic University shirt, which is a major location in several Lovecraft stories, including “The Dunwich Horror” and “Herbert West – Reanimator” (and the cult classic Stuart Gordon film adaptation Re-Animator). The towns of Arkham, Innsmouth, Kingsport, and Dunwich are all mentioned, which comprise “Lovecraft Country”, the fictional areas of Massachusetts, Vermont and Rhode Island wherein the majority of the author’s stories take place. But the biggest easter egg is Lavinia herself. First of all, Lavinia uses a copy of the Necronomicon to cast a ritualistic spell to protect herself and allow her to escape. If you pay attention, the spell actually works – Nathan throws her to the Theresa creature, but while the monster spends considerable time slobbering menacingly into her face, Lavinia isn’t actually harmed by it (or by anything else, really). And she technically escapes the farm when she is dragged off into space by the Color, although probably not in the manner she was envisioning when she cast the spell. But here’s the biggie – the Necronomicon is a fictional book created by Lovecraft that featured heavily in some of his stories, notably in “The Dunwich Horror”. Lavinia is named after Lavinia Whately, a character in “The Dunwich Horror” who uses the Necronomicon to summon a monstrous extra-dimensional being. And Stanley has stated that he plans to make a trilogy of Lovecraft films, with the second installment being an adaptation of “The Dunwich Horror”. If that’s not the winking of some gigantic cosmic eye, I need to return my copy of Vampire’s Kis s to the Stygian abyss which birthed it. Color Out of Space is now available on Digital HD, Blu-ray, and DVD.

H.P. Lovecraft. Cage. can't wait

| Peter Sobczynski January 23, 2020 According to IMDb, the seemingly inexhaustible Nicolas Cage has no fewer than six additional movies in various stages of production that are currently scheduled for release in 2020, ranging from high-profile studio outings to the kind of demented head-scratchers that he somehow manages to sniff out in the manner of a pig finding truffles. And yet, none of these films may be able to top his latest effort, "Color Out of Space, " in terms of sheer nuttiness. Considering that the film takes its inspiration from one of the most famous short stories by the legendarily weird H. P. Lovecraft, and was directed and co-written by Richard Stanley (making his first stab at narrative filmmaking since being fired from his remake of “The Island of Dr. Moreau” after only a few days of shooting), there was very little chance that it was every going to be just another run-of-the-mill project. However, the addition of Cage to the already heady cinematic brew definitively puts it over the top, making it the kind of cult movie nirvana that was its apparent destiny from the moment the cameras started rolling. Advertisement The film centers on the Gardner family, who have recently left the hustle and bustle of the city for a more bucolic life in a remote house near a lake in the deep woods of Massachusetts. While father Nathan (Cage) is gung-ho about becoming a farmer and raising alpacas (“the animal of the future”) despite no discernible talent for either, wife Theresa ( Joely Richardson) is preoccupied with recovering from a recent mastectomy, eldest son Benny ( Brendan Meyer) is off getting stoned most of the time, teen daughter Lavinia (Madeline Arthur) vents her annoyance at the move by dabbling in the black arts with her paperback copy of “The Necronomicon” and young son Jack ( Julian Hilliard) more often than not simply gets lost in the shuffle. The Gardners are not crazy or hostile in any way, but it also becomes quickly obvious that their isolation has begun to drive them all a bit batty. That weirdness escalates one night when the sky turns an almost indescribable shade of fuchsia, and a meteorite crashes into their front yard. Although the meteorite itself soon crumbles away, strange things begin happening in its wake. A batch of new and heretofore unseen flowers begin blooming while Nathan’s tomato crop comes in weeks ahead of schedule; the family’s phones, computers, and televisions are constantly being distorted by waves of static that render them all but useless. The Gardners themselves begin exhibiting signs of strange behavior as well: Nathan begins acting daffier than usual, flying off into rages at the drop of the hat; a seemingly dazed Theresa chops off the tops of a couple of her fingers while cutting carrots; Jack is constantly staring and whistling at a well that he claims contains a “friend. ” Before long, everything in the area begins mutating in indescribable ways, and while Benny and Lavinia recognize what is happening around them, even they appear to be powerless to escape the grip of whatever is behind everything. The stories of H. Lovecraft have inspired, directly or otherwise, any number of films over the years but with very few exceptions (chiefly Stuart Gordon ’s cult classics “ Re-Animator ” and “ From Beyond ”), most of them have not been especially good. In most cases, the problem is that Lovecraft’s stories tended to focus on indescribable horrors and much of the impact for the reader came from taking the vague hints that he did parcel out and then picturing it in their own minds, where their imaginations had no limitations or budgetary restrictions. To successfully adapt one of his works, a filmmaker needs either an unlimited budget to try to bring his horrors fully to life, or the kind of unlimited imagination that allows them to take Lovecraft’s suggestions and go off in their own unusual directions. When these requirements are missing, the results can be fairly dire, as anyone who saw “The Curse, ” a dire low-budget 1987 adaptation of Color of Outer Space, can attest. In this case, the film works because it is clear that Stanley is not only working on the same wavelength as Lovecraft was when he wrote the original story, but has managed to transform the author’s decidedly purple prose into cinematic terms. Take the titular color, for example. In the original story, it is never properly described to us other than being of a shade never before seen on the typical color spectrum. That sort of non-description description can work on the page but isn’t especially helpful as a guide for someone who has to bring it to life. Stanley proves himself to be up to the challenge, and hits upon a wild color scheme that honors Lovecraft’s intentions by bathing everything in a genuinely otherworldly tinge. Not content to rest there, he builds upon that weirdness with an equally vivid soundscape, including a creepily effective score by Colin Stetson. Stetson's score shifts levels of reality in aural terms and conjure up the kind of terrors that are even harder to shake than the numerous and undeniably eye-popping physical mutations on display. Stanley also manages to work the film’s additional otherworldly element—Cage's performance—organically into the material, without losing any of its total strangeness in the process. For fans of oddball cinema, a Cage-Stanley collaboration is the stuff dreams are made of. In that respect, it does not disappoint. Obviously, once things go crazy in the second half, Cage brings out the weirdness full force (even randomly employing the wheeling vocal tic that he used decades earlier in “Vampire’s Kiss”). But what is interesting is that, instead of making Nathan into a completely normal guy who does an immediate 180 as a result of the strange occurrences, he and Stanley instead see him as a guy who is already a bit off right from the start, albeit in endearingly oddball ways. As a result of his work in these early scenes, there is an unexpected degree of poignance that he brings to the proceedings later on even as things go fully gonzo. The chief problem with “Color Out of Space” is that, at nearly two full hours, it is a little too much of a good thing at times, with some plot elements—chiefly one involving potentially shady dealings by the town’s mayor (Q’orianka Kilcher)—that could have easily been jettisoned. For the most part, however, the film is the kind of audacious and deliriously messed-up work that fans of Stanley, Cage, and cult cinema have been rooting for ever since the existence of the project became known. Both as an effective cinematic translation of Lovecraft’s particular literary skills, and as a freakout of the first order with sights and sounds that will not be easily forgotten, this is one of those films that I suspect is going to grow in significance and popularity in due time. Hopefully it will serve as just the first of many collaborations between Stanley and Cage, two decidedly kindred artistic spirits. Reveal Comments comments powered by.

Damn. when they said Nicolas Cage would play any role. they weren't kidding. Im still waiting for At the Mountains of Madness by Guillermo del Toro. When there's supposed to be an emotional moment but the game glitches: 1:48. Already pre ordered it. We were all excited about this year's H.P. Lovecraft Film Festival (HPLFF) and the Pacific NW premier of Richard Stanley's colourful Color Out of Space adaption of Lovecraft's famous story.