The Melancholy Death of Oyster Boy

Here is the trump card which all horror movies hold. But they do not hold this card as a veteran bridge-player would hold it, understanding all its implications and possibilities for gain; they hold it, rather, as a child would hold the card which will make the winning pair in a game of Old Maid. In that fact lies both the limiting factor of the horror movie as art and its endless, morbidly captivating charm. "Death," the boy Mark Petrie thinks at one point in 'Salem's Lot, "is when the monsters get you." And if I had to restrict everything I have ever said or written about the horror genre to one statement (and many critics will say I should have done, ha-ha), it would be that one. It is not the way adults look at death; it is a crude metaphor which leaves little room for the possibility of heaven, hell, Nirvana, or that old wheeze about how the great wheel of Karma turns and we'll get 'em next life, gang. It is a view which-like most horror movies-addresses itself not to any philosophical speculation about "the afterlife" but which speaks only of the moment when we finally have to shine off this mortal coil ...»