Sol Yurick fares little better under Disch’s critical eye. The eventual triumph of the patient imitation of approved models finds in Pleasure except the more plodding students of Creative Writing, whose faith in

To the college writers’ workshop what the Model A was to Detroit. “Gardner writes precisely the sort of over-earnest, symbol-laden tome that is Is in acerbic form in this review column as he cuttingly examines four novels.ĭisch first takes his critical knife to Mickelsson’s While taking little time to explain anything. Wilson praises the cast but findsįault with the film’s kitchen-sink approach, throwing everything at the viewer Finally, Wilson tackles the funhouse spook The spacecraft, having attacked and absorbed the lifeform onboard. Fan theories have suggested that the Thing arrived as a stowaway on Sense for the amorphous physiology of the Thing to be able to pilot such a Spaceship upon which the Thing arrives on Earth, feeling that it does not makes Wilson takes issue with the design of the Script from Bill Lancaster, Rob Bottin’s special makeup effects, and the In the July, 1982 issue) is largely positive with particular praise for the Matheson’s adaptation of George Clayton Johnson’s “Kick the Can” for Twilight Thomas and Drew Barrymore, the special effects from Carlo Rimbaldi, Spielberg’sĭirection, and the script by Melissa Mathison, the writer who rewrote Richard Steven Spielberg’s film, especially the performances of child actors Henry

What he terms the “NHL,” or non-human lead, especially as it refers to E.T. and The Thing feature aliens as characters, Wilson expounds upon the pros and cons of Ambitious upon his return to the magazine, Wilson reviews three notable films: E.T.: The Extra Terrestrial (1982), The Thing (1982), and

The Living Dead by Jeffrey Goddin