In 1988, a horror anthology was published entitled "Premier Evil: New Masters Stories of Modern Horror", where most of the stories shown were original to the collection. Many stories of capture were part of this anthology, including Peter Strawub's heart attack "The Juniper Tree" and Clive Barker's Introsqueption, introspective "coming to sadness". But the horror anthology at the end of the 80s is incomplete without Steven King, and secure enough, His horror story "Night Flyer" covered the pages of this collection. King's writing in this super short, yet effective story is tad different from its usual style: it is more chaotic without the method to take over, but this ends complimenting the fantastic nature of the story. After all, "Night Flyer" is a vampire story, with King exclusively exploring tropes associated with this sub-genre.

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Vampires do not distinguish so visible in King's work compared to, say, someone like Ann Rice, but A significant number of stories include this fictional astver And the specific connotations the king attaches him. "Lots of Salem", "The Dark Tower" and "Kala Wolves" are just a few examples, but the "night flyer" approaches the trophy in a pretty unconventional way. The story opens with tabloid rapporteur Richard Dis, chasing waters for a column around the night flyer, a serial killer responsible for heinous deaths. While Richard's tabloid relies on an awkward, sensational material, he approaches the case of the idea that the killer thoughts That he is a vampire - a rejection based on the evidence left on the scenes of crime.

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As with most parts of King, "The Night Flier" received the competitive treatment by adapting the film in 1997, with HBO's prime minister of the same name and received a limited theater release shortly afterwards. The film performed poorly (more about this later), occupying only $ 210,426 in 91 theaters in the United States. A continuation is planned, with King being interesting enough to co-blend the script with director Mark Pavia, who rushed and co-wrote the 1997 adaptation. Unfortunately, this has not happened. What happened here?

The reasons for the adaptation of Pavia that perform so poorly can be chalks to several factors. For beginners, the "Night Fair" was an independent funded project that initially attracted interest from a study like Paramount Pictures, but scheduling conflicts and contractual obligations hampered this business agreement. After the premiere of HBO, Cineu Lineu Line Cinema chose and subsequently facilitated the limited theater edition.

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We know what happened: The film went down as it was critically missed due to empty recreation of the original material. However, the film has been reviewed over the years, with the deserved praise aimed at Miguel Ferrer's performance as Richard Dis, and the ability of the film to evoke one -time distribution that compliments her cruel theme. Gradually, the film became (a smaller) cult hit.

Pavia did not give up his adaptation despite his unfortunate fate of the box office as he began to work on a sequel to the script entitled "Fear of Flying" in the mid-2000s. According to Pavia, King had co-written parts of the script, as the author was excited about the possibility of the following story that focused on a different protagonist. Pavia talked about this experience in an interview for 2017 with Blumhouse podcast "Shock Waves"declaring that King asked producer Richard P. Rubinstein can he work with Pavia in the sequel:

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"He (King) has read (the sequel script) and he goes:" This is really good. " He's like, "would you mark the mind if I started working with it?

For the context, "The Night Flier" ended in the death of Richard in 1997, but initial rapporteur Catherine Blair (Jululey Entwisl) plays an important role in hanging crimes on Disk, despite knowing he was not the killer. This dark end aims to cement Catherine as an unethical rapporteur of tabloids, which traded its morality for a viral story, highlighting the malicious industry that progresses in sensationalism. The sequel was supposed to focus on Catherine, and both King and Pavia were thrilled to work on a fresh story exploring parallel topics. Unfortunately, no one wanted to finance $ 10 million for a cult DVD movie that bombed so strongly. If any comfort, This is not Steven King's worst movie that exists.

Both in King's story and in her adaptation, Richard Dis is not a good man. King drives this home by exploring the deepest recesses of this unmobtrate protagonist, which is spoiled and stagnant as the tabloid industry for which he works with pleasure. Richard is capable of manipulation, ready to go in any length to publish a story (consider a less complex or interesting version of Deparved stringer Lu Bloom in "Nightlife"). But King does not paint Richard with a wide brush, because this deep nihilistic and contemptible man is really lost, his humanity buried under the layers of the fastened cynicism. At first, the so -called vampire killings are fuel only for a crazy story, but later events pamper this man, forcing him to do something that hates him: Feel a colleague's empathy.

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Pavia's film does not approach these threads with the hue he deserves, but Richard to Ferrer embodies his colleague's complexity for shortness. Here, Richard separates the graves of a quick photo of the victims and bribes his way to collect excessive accounts to separate his weak reports. But this quickly turns into a disturbing obsession with the killer (who goes away from Renfield), and Richard's title leads him to the inevitable confrontation with the man he performs. The combination of ground horror (mutilated bodies and polluted blood) and supernatural elements (Renfield blood drinking causes intense hallucinations) make an intense, frightening sequence that ends with Richard's death. On the one hand, Richard had it, but on the other hand, Renfield escapes, probably on the way to the next series of victims.

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Although Renfield's vampire appearance seems to be more for an improved person than a supernatural identity, his presence is disturbing enough to inject the film with uncertainty. In the end, our focus remains glued to Richard, the true bloody creature that sucks life from crimes in real life by beautifying them with lies. His death, however, does not interrupt this terrible cycle, as Catherine takes his place as a new face of unscrupulous journalism. The rest is exactly what you would expect to be a DVD -Cultural horror.