“Fred,” I said, “I just got back from seeing
SEIZURE. It’s great!” Fred had also seen the film recently. “ I thought
so, too,” he concurred. “Who is Oliver Stone?” (It was still a bit early for the average guy on the street—or even the average working film critic—to know the answer to that question.) 1 won the assignment to review SEIZURE for
CFQ’s Volume 4 Number 2 issue, in which 1 hailed it as “the most remarkable horror film to emerge since William Friedkin’s THE EXORCIST.” I wasn’t the first critic to recognize Stone’s talent—Kevin Thomas of THE LOS ANGELES TIMES noted that SEIZURE was “made with sufficient skill and imagi­ nation to suggest that Oliver Stone may have more
and better pictures in him”—but 1 was the most enthusiastic. Most reviews were petty and negative, like the one by Ted Gershuny—Mary Woronov’s ex- husband—who used his SOHO WEEKLY NEWS re­ view (March 20, 1975) to berate the film’s “smoky, pot-heavy Deep Thought” and to describe Woronov as a “Superbitch.” Gershuny actually claimed to prefer THE BEAST MUST DIE for its “intentional humor.” Shortly after my review appeared in print, 1
received one of CFQ’s quarterly contributor up­ dates with an envelope attached. At the bottom of the cover sheet, Fred had laconically noted, “Enclosed is some fan mail...”
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