tag:blogger.com,1999:blog-30874666928263103262024-03-14T02:19:00.600-07:0031 Days of HorrorJWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.comBlogger29125tag:blogger.com,1999:blog-3087466692826310326.post-56505746946541792392011-11-01T16:11:00.000-07:002011-11-01T16:11:41.651-07:00October 29th: The Mummy's Shroud (1967)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOO6er2oCApcx52SOU4s7XTaIGQ2zGKnKBxTQDerhyq_6XdTjUjfb0vVGDSM3DV5dOkwvLRtisHlUMxkodTFfJjG7hwjiJCQ5wj2p3GFaU9dM24H19tMLuaKBPzYfv8NlkbsEm8Y87ljE/s1600/204381_1020_A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOO6er2oCApcx52SOU4s7XTaIGQ2zGKnKBxTQDerhyq_6XdTjUjfb0vVGDSM3DV5dOkwvLRtisHlUMxkodTFfJjG7hwjiJCQ5wj2p3GFaU9dM24H19tMLuaKBPzYfv8NlkbsEm8Y87ljE/s320/204381_1020_A.jpg" width="212" /></a></div><strong>PLOT</strong><br />
In the year 2000 B.C., reigning Pharaoh Men-Ta (Bruno Barnabe) rejoices the birth of his first son, Kah-To-Bey (Toolsie Persaud), unaware that his younger brother Amen-Ta, losing his right to the throne with Kah-To-Bey's birth, plots to kill his brother and nephew. Though Amen-Ta successfully overthrows Men-Ta, Kah-To-Bey is taken to safety by his loyal manservant Prem (Dickie Owen), only to die in the desert shortly afterwards.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZxtQw_6OiLlBgf1CGU74SmoRfFLfUDWcsT0Ub4u3JBN3oIUZSBw-WWNAPnYqk2yX0YUwunEPaz4Tk6h-KB0s6OkRWoF5kTprIOYZb1FQ3u9SU85U1IrmP14iBki6mwcQ1szab0GCDqx8/s1600/mshroud_shot1l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZxtQw_6OiLlBgf1CGU74SmoRfFLfUDWcsT0Ub4u3JBN3oIUZSBw-WWNAPnYqk2yX0YUwunEPaz4Tk6h-KB0s6OkRWoF5kTprIOYZb1FQ3u9SU85U1IrmP14iBki6mwcQ1szab0GCDqx8/s320/mshroud_shot1l.jpg" width="320" /></a></div>In the year 1920, an archaeological team consisting of Sir Basil Walden (Andre Morell), Paul Preston (David Buck), Claire De Sangre (Maggie Kimberly), and Harry Newton (Tim Barrett) return to Egypt to discover the tomb of Kah-To-Bey, two months after finding the mummified remains of Prem. Ignoring the warnings of the tomb's guardian, Hasmid Ali (Roger Delgado), Walden and his team find the tomb and its contents, which the team's financial backer and Paul's father Stanley Preston (John Phillips) proudly puts on display in the Cairo Museum.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhrjUB3MZGQHzI_VA1BT1dNS-6ATz4BIpTIWzQambzcbYb_SMECkQjv-HspwKNn2O8V8E46EGLQL1Ck8MTq4UGdDKIwB67uQf45QayKq2Y2kcxc_wD-7qxJZilU5N3sntc0pmWts66fNI/s1600/shroud000002wh.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhrjUB3MZGQHzI_VA1BT1dNS-6ATz4BIpTIWzQambzcbYb_SMECkQjv-HspwKNn2O8V8E46EGLQL1Ck8MTq4UGdDKIwB67uQf45QayKq2Y2kcxc_wD-7qxJZilU5N3sntc0pmWts66fNI/s320/shroud000002wh.jpg" width="320" /></a></div>Following the unveiling of Kah-To-Bey's tomb, Sir Walden is found dead nearby, lending truth to Hasmid's warnings that all who disturb Kah-To-Bey's tomb will die. With Stanley and his long-suffering assistant Longbarrow (Michael Ripper) plot to flee Cairo and Inspector Barrani (Richard Warner) perplexed by the lack of evidence, Paul, Claire and Harry come to fear that someone has resurrected the mummified Prem (Eddie Powell) to carry out the curse.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnynjyS4GR7QMoj0XoEVwkdzxMIfVpbJcJ8tL6aETgZXxBL-FAgzRMZqfQ6gWOad0q7-TZ200bn5uzcYfoodSWNqMWt1ICX0ovq45o8elwTQwDViNZbws_31HKrx1RTtkBWijnwk77bJk/s1600/vlcsnap-00004.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnynjyS4GR7QMoj0XoEVwkdzxMIfVpbJcJ8tL6aETgZXxBL-FAgzRMZqfQ6gWOad0q7-TZ200bn5uzcYfoodSWNqMWt1ICX0ovq45o8elwTQwDViNZbws_31HKrx1RTtkBWijnwk77bJk/s320/vlcsnap-00004.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
In that wonderfully gothic world of Hammer Horror, there are two general classes of films; the films from the mid '50s to the mid '60s and the films from the late '60s to the mid '70s. In the first class, you find such greats as <em>The Curse of Frankenstein</em>,<em> Horror of Dracula</em>, <em>The Evil of Frankenstein</em>, <em>The Brides of Dracula, The Mummy</em>, and <em>The Phantom of The Opera</em>. These films were gorgeous productions; with stellar visuals, iconic performances and bloodletting deemed highly controversial at the time, it's no wonder Hammer became the new House of Horrors.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKab1dXxZdFXQfO1RFPe8zvv8P4a2ZmJnp7KAnz4V6f2WLXx7gTnXstJsK6P-iGkK1S7CWeUFTuLaPpXdN_PVAljzvPZ617rIQJp0GjvPvbcjB65Yd2hVb1f6Ec7kbJjN6EA6x5AQwbwo/s1600/mshroud_shot4l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKab1dXxZdFXQfO1RFPe8zvv8P4a2ZmJnp7KAnz4V6f2WLXx7gTnXstJsK6P-iGkK1S7CWeUFTuLaPpXdN_PVAljzvPZ617rIQJp0GjvPvbcjB65Yd2hVb1f6Ec7kbJjN6EA6x5AQwbwo/s320/mshroud_shot4l.jpg" width="320" /></a></div>The second class, on the other hand, includes such movies as <em>Taste The Blood of Dracula</em>, <em>The Horror of Frankenstein</em>, <em>The Legend of The Seven Golden Vampires</em>, <em>Scars of Dracula</em>, <em>To The Devil A Daughter</em>, and <em>The Satanic Rites of Dracula</em>. In contrast to their predecessors, these films relied more on gore and nudity, lacking the style, class and production values of those classic films. Going as far as to abandon gothic settings in favor of modern-day ones and rebooting their classic series over and over again, it's no wonder Hammer was bankrupt by 1979.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOPIWhmt0AARx_3QwBKdZWqG65EicDi93uBIDiGe7_VPE2s4joddSH9p3LgG67TsNuf6ebqpQyeRsoHD5lwRc1uurr8zkkXyKYcpAeAsA-Z7a2TWGIdE8f6iM8Zd-gGqISp7O3P_9WJXA/s1600/The+Mummy%2527s+Shroud+-+Crush+Head.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOPIWhmt0AARx_3QwBKdZWqG65EicDi93uBIDiGe7_VPE2s4joddSH9p3LgG67TsNuf6ebqpQyeRsoHD5lwRc1uurr8zkkXyKYcpAeAsA-Z7a2TWGIdE8f6iM8Zd-gGqISp7O3P_9WJXA/s320/The+Mummy%2527s+Shroud+-+Crush+Head.jpg" width="320" /></a></div>Released in 1967, <em>The Mummy's Shroud </em>fits into the latter category; it's basically the same story as <em>The Curse of The Mummy's Tomb</em>; archaeologists find the tomb, ignore a local's warnings, put the Mummy on display, the Mummy comes to life and kills the desecrators, etc, etc. The budget is obviously lower, the cast is largely comprised of Hammer newbies and there's a distinct been there, done that feel to the whole thing. Any movie with the tagline "Beware the beat of the cloth-wrapped feet!" doesn't exactly sound like a rollicking good time to me.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8xHWYhOww9AZGHlH5QXTgvgX6U48iJiP0cQBEhxzdTt2Jt-ho1aRt2E1dGOxGwhRJGbwq3r7nbfZJ9N5e4VqukuQwX8T_3wuisOUVyKhrCNpbxMhvPe1GM12axRHmi22czlBimlPzRIY/s1600/vlcsnap-00005.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8xHWYhOww9AZGHlH5QXTgvgX6U48iJiP0cQBEhxzdTt2Jt-ho1aRt2E1dGOxGwhRJGbwq3r7nbfZJ9N5e4VqukuQwX8T_3wuisOUVyKhrCNpbxMhvPe1GM12axRHmi22czlBimlPzRIY/s320/vlcsnap-00005.jpg" width="320" /></a></div>Right away, <em>The Mummy's Shroud</em> suffers from lacking anything distinctive or unique. The formula is near identical to <em>The Curse of The Mummy's Tomb</em>; both films have the archaeologist suffer some sort of nervous breakdown, the businessman funding the expedition is hateful (even more so here), the legend of Prem and Kah-To-Bey isn't much different from Ra-Antef's story and as before, there's an inept police inspector leading the investigation. It's all too much deja vu for me and proves why the Mummy hasn't been as prolific on film as Dracula and Frankenstein's Monster; filmmakers have just been recycling the same story over and over again.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg02-MM7Z3CtGyfZ4C9DYNHXDUlbcnCAZeiu-44-bX4law7RKi5s6MmWkZPFkbJ3C4ciBkR3nP5828CQCiJ45F_7BTSHMJU-BGFcDvykxcjz1Yvepo_n266aX4_Fd-tAHBe0JYYqaGpquw/s1600/vlcsnap-00007.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg02-MM7Z3CtGyfZ4C9DYNHXDUlbcnCAZeiu-44-bX4law7RKi5s6MmWkZPFkbJ3C4ciBkR3nP5828CQCiJ45F_7BTSHMJU-BGFcDvykxcjz1Yvepo_n266aX4_Fd-tAHBe0JYYqaGpquw/s320/vlcsnap-00007.jpg" width="320" /></a></div>No one ever said there can't be exceptions to rules and while not classic by any means, <em>The Mummy's Shroud </em>is relatively satisfying and easily one of the better films to come from this not-so-impressive era of Hammer Horror. Much of this can be credited to the cast; whereas <em>The Curse of The Mummy's Tomb </em>featured a lot of forgettable performances, the acting is much improved this time around. David Buck is genuinely likeable as the heroic lead, Maggie Kimberly is attractive and intriguing as Claire, John Phillips throws himself into his role as the hateful Stanley Preston, and Hammer regular Michael Ripper gets his chance to shine in a supporting role. Look for Andre Morell, who played Dr. Watson opposite Peter Cushing's Sherlock Holmes in Hammer's production of <em>The Hound of The Baskervilles</em>, as the tragic Sir Walden.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPC_DGzf-_AF5uVqIm2Fy2hBfx1puaPkyLwAUZaPEbae-DJ7F0SrsCloMVVC8suYalbQvppB1bb7bhuPusEcwg_QSX7MZyMSXmr_HV90pqV3R2tI1_ZZ3pvhlkwSfTh8uBuhYColHpBZc/s1600/The+Mummy%2527s+Shroud+-+Delgado.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPC_DGzf-_AF5uVqIm2Fy2hBfx1puaPkyLwAUZaPEbae-DJ7F0SrsCloMVVC8suYalbQvppB1bb7bhuPusEcwg_QSX7MZyMSXmr_HV90pqV3R2tI1_ZZ3pvhlkwSfTh8uBuhYColHpBZc/s320/The+Mummy%2527s+Shroud+-+Delgado.jpg" width="320" /></a></div>One performance that gets special mention is Roger Delgado, taking George Pastell's place as the Mummy's wild-eyed guardian. In contrast to the more stoic Pastell, Delgado's Hasmid Ali is a crazy, sinister presence; his intense, creepy expressions give the film a true villain for the first time in the series. Several years after this, Delgado would become iconic as The First Master in <em>Doctor Who</em>, a show I am a huge fan of, and I'm delighted to see Delgado showcase his talents in a Hammer film.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgheuFpiqa_nFgh18u_tBVi_G3R66X_Ex7by2-l5GcuixzURlcreEanl4e1MhdeUd8GWkhgtOAiTIkvxcQczP-pgf4B9BI7Kwr86OCMtV0GRfoQ1vnYg6vBF1QbsZB9oBPnjBONGlW-PDA/s1600/MummyShroud_Ripper.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgheuFpiqa_nFgh18u_tBVi_G3R66X_Ex7by2-l5GcuixzURlcreEanl4e1MhdeUd8GWkhgtOAiTIkvxcQczP-pgf4B9BI7Kwr86OCMtV0GRfoQ1vnYg6vBF1QbsZB9oBPnjBONGlW-PDA/s1600/MummyShroud_Ripper.jpg" /></a></div>I also want to give credit to John Gilling. As a director, Gilling classes up this film with stylish visuals, thanks in part to impressive lighting by Arthur Grant, one of Hammer's top cinematographers. It's obvious that Gilling is working with a limited budget; the cast list is short for a Mummy movie and the opening scene (incorrectly assumed to be narrated by Peter Cushing) is primarily comprised of hieroglyphics and drawings. It's to Gilling's credit that he manages to move the story along in a brisk manner.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLYnG8LLMi8TAAn-xiVB4tKN6no3p4eW27QBBmoTy6fFZoUgJiUzPNjnGwc8UcMcfavkvj6v8o9eYYlHlE-P4aUWVbUKk1QVKB00X2l0Z9S8JVIBbfklolVzOcoy-YKDaajjD7kXPF5Bg/s1600/vlcsnap-00006.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLYnG8LLMi8TAAn-xiVB4tKN6no3p4eW27QBBmoTy6fFZoUgJiUzPNjnGwc8UcMcfavkvj6v8o9eYYlHlE-P4aUWVbUKk1QVKB00X2l0Z9S8JVIBbfklolVzOcoy-YKDaajjD7kXPF5Bg/s320/vlcsnap-00006.jpg" width="320" /></a></div>As screenwriter, Gilling lets his characters take center stage; as someone who prefers my horror films to be character-oriented, I find it fun to watch these characters. Whether it be Stanley's self-promoting, Longbarrow's constant suffering or Ali's plotting, the characters are definitely what makes <em>The Mummy's Shroud </em>effective. Yes, it's nothing new and it's obvious from the word go who's going to die and when, but Gilling keeps it interesting because of the character dynamics he utilizes.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioWZkFfcEyTGjakxfw0Xkr_yAjkFB_4im-lrSjnuirvgCkA8O7o-HtQl0tJ9vKYNKcqhKm2mVG4a_cckLRQM37om6dyLVP5-hzHbVObHVHUSI6jI_9p3B0RTUfDTYCMGNna4sBTiOrLSw/s1600/vlcsnap-2011-06-16-12h51m39s18.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioWZkFfcEyTGjakxfw0Xkr_yAjkFB_4im-lrSjnuirvgCkA8O7o-HtQl0tJ9vKYNKcqhKm2mVG4a_cckLRQM37om6dyLVP5-hzHbVObHVHUSI6jI_9p3B0RTUfDTYCMGNna4sBTiOrLSw/s320/vlcsnap-2011-06-16-12h51m39s18.png" width="320" /></a></div>Furthermore, Gilling has added a different twist to the Mummy mythology; this time around, the Mummy is no longer Egyptian royalty, but rather a slave. In human form, Prem is played by Dickie Owen, the actor who played the mummified version of Ra-Antef in <em>The Curse of The Mummy's Tomb</em>; the Mummy version is now Eddie Powell, who made his career as Christopher Lee's frequent stunt double. In contrast to the more plump Owen, Powell is more physically imposing and menacing as the Mummy, though his costume is obviously a suit rather than bandages.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZsZxB5tpH0AQ3q8GbtmGLRv47dEhnSuolKrJefdoKzqdfawxSuA926Sg1CyZICA4gNa8RiWGbqRd_mrIFF2Ea9jbqun20kP9Ep3tWTdtZbhuQe1ql3QPZ-00SqoAUhN9C8nc669xjdnE/s1600/vlcsnap-2011-06-16-12h56m56s122.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZsZxB5tpH0AQ3q8GbtmGLRv47dEhnSuolKrJefdoKzqdfawxSuA926Sg1CyZICA4gNa8RiWGbqRd_mrIFF2Ea9jbqun20kP9Ep3tWTdtZbhuQe1ql3QPZ-00SqoAUhN9C8nc669xjdnE/s320/vlcsnap-2011-06-16-12h56m56s122.png" width="320" /></a></div>In keeping with Hammer tradition, <em>The Mummy's Shroud </em>features some impressive scenes of horror. In particular, the kill scenes are particularly brutal; people are doused in acid, thrown out windows and have their faces smashed against walls. The most effective death, however, is that of the Mummy himself. As the Mummy comes at them wielding an axe, Claire reads the words of death and in a scene similar to Christopher Lee's demise in <em>Horror of Dracula</em>, the Mummy disintegrates into a pile of ash. It's an impressive finale and arguably the best death for any of the Hammer Mummies.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvGA2J0CCsjt698tm4c0-MCcNxYWK25S0YXhu4tLAFSUQgLnBlsAJ1eX_YkMmYej4iMfKfZaanqCZjfY530DLEKJTA3iVR9AUymE6oQeuAyVhSIznVr0moJuQGo_p6Exb0PM_3k6K2rXo/s1600/ms2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvGA2J0CCsjt698tm4c0-MCcNxYWK25S0YXhu4tLAFSUQgLnBlsAJ1eX_YkMmYej4iMfKfZaanqCZjfY530DLEKJTA3iVR9AUymE6oQeuAyVhSIznVr0moJuQGo_p6Exb0PM_3k6K2rXo/s320/ms2.png" width="320" /></a></div>There's no point in sugarcoating this; <em>The Mummy's Shroud </em>is what it is, a retread of its predecessor, which in and of itself was inferior to Terence Fisher's <em>The Mummy</em>. The finished product is clearly affected by its meek budget and there's nothing particularly unique or different about it. That being said, not every film has to be revolutionary and when it comes down to it, the key question is this; did I regret watching it? No. It's a fairly enjoyable, classy film with strong performances, sinister villains and great visuals courtesy of John Gilling and Arthur Grant. Fans of <em>The Mummy</em> will definitely want to give this one a shot. <strong>3.5 out of 5 Stars</strong>.<br />
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Next Up: October 30th: Blood From The Mummy's Tomb (1971)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-53271709944112335092011-10-30T19:22:00.000-07:002011-10-30T19:37:06.290-07:00October 28th: Howling V: The Rebirth (1989)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhDmYsFS05ayxe0oEN4btwmf3EldNH0gKBIHgPDFzelMZeZbMgLEKWhT4K4f-VWiih7lg9Xc1zzKmMc-vikcbnghXJka4NNUewnIoo6Li1ns_3bRQy8Kw7FBfTkp3G8BY3UcNH8OG1Xs8/s1600/l_97534_3d21dcd9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhDmYsFS05ayxe0oEN4btwmf3EldNH0gKBIHgPDFzelMZeZbMgLEKWhT4K4f-VWiih7lg9Xc1zzKmMc-vikcbnghXJka4NNUewnIoo6Li1ns_3bRQy8Kw7FBfTkp3G8BY3UcNH8OG1Xs8/s320/l_97534_3d21dcd9.jpg" width="203" /></a></div><strong>PLOT</strong><br />
It's 1489 in Budapest, Hungary, and in a secluded castle, three generations of families have committed mass suicide, leaving the Prince and his wife, who informs the Prince that the baby is dead. The Prince kills his wife and then himself; but as he dies, the Prince hears the cries of the baby and screams out that they have all died in vain.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhylHwsLrHb11fAzd8jtUuZ4mJOrWSSwgKV5075jIY3mmgmI_0DIz-ohPuK198UC7QsADM-R6eF-sO6oGxHKb6dYFRp9IHG55N26qQZU76XPWQ9PKRxRUA5pSXPG_uS3eS3Inn8_zNaRKI/s1600/screenshot_41.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhylHwsLrHb11fAzd8jtUuZ4mJOrWSSwgKV5075jIY3mmgmI_0DIz-ohPuK198UC7QsADM-R6eF-sO6oGxHKb6dYFRp9IHG55N26qQZU76XPWQ9PKRxRUA5pSXPG_uS3eS3Inn8_zNaRKI/s320/screenshot_41.jpeg" width="320" /></a></div>500 years later in 1989, Count Istvan (Philip Davis), attempting to attract tourist business to Hungary, invites nine strangers to attend the re-opening of the castle: model Gail Cameron (Stephanie Faulkner), photographer David Gillespie (Ben Cole), tennis player Jonathan Lane (Mark Sivertsen), bimbo actress Mary Lou Summers (Elizabeth She), author Ray Price (Clive Turner), Dr. Catherine Peake (Victoria Catlin), millionaire Richard Hamilton (William Shockley), beloved European actress Anna Spencer (Mary Stavin), and Professor Dorsen (Nigel Triffitt).<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgumyobb6Km2nJy4lf8AX7A-PbhiCqxJm0wNLIxPgtf7F1Br5U4j-UrvP3KCJ39i6d0_484u-v9Q0LJ-4zyWhbOReagwko1PenFpYnr8eK2I9uiW-rT5-gBpKjr1Brz5kKuXCeePm3TkVQ/s1600/screenshot_42.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgumyobb6Km2nJy4lf8AX7A-PbhiCqxJm0wNLIxPgtf7F1Br5U4j-UrvP3KCJ39i6d0_484u-v9Q0LJ-4zyWhbOReagwko1PenFpYnr8eK2I9uiW-rT5-gBpKjr1Brz5kKuXCeePm3TkVQ/s320/screenshot_42.jpeg" width="320" /></a></div>Once at the castle, the Count informs his guests that an unexpected blizzard has hit, meaning that they'll have to stay for the night; Gail, well aware that a blizzard was expected, grows suspicious of the Count's motives. When the Professor, convinced there's a reason the castle's been closed for 500 years, disappears while exploring, Gail fears someone else is in the castle and when the other guests start disappearing, the Count reveals why he's brought them all together; one of them is a Werewolf.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmQ7S6U_Y6X_6u5q20b7OO5oMXEVFLDxDLunWYrh9c3DjLOd8ut6zJ-oVWsFS9E8GnDx6XSOX6B9nzJHhDWKsUBTlVgm_RnvVA-stpnr_OICHXsQrYXgjWSIZh6zTexdznJqJX75MkImE/s1600/2w4ma8j.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmQ7S6U_Y6X_6u5q20b7OO5oMXEVFLDxDLunWYrh9c3DjLOd8ut6zJ-oVWsFS9E8GnDx6XSOX6B9nzJHhDWKsUBTlVgm_RnvVA-stpnr_OICHXsQrYXgjWSIZh6zTexdznJqJX75MkImE/s320/2w4ma8j.png" width="320" /></a></div><strong>REVIEW</strong><br />
I love <em>The Howling</em>, but I must say I can't think of another great movie to spawn so many terrible sequels; <em>Howling II: Your Sister Is A Werewolf </em>is unbelievably awful, <em>Howling III: The Marsupials </em>is downright unwatchable and <em>Howling IV: The Original Nightmare</em>, though slightly easier to endure, was dreadful on its own. And there's still FOUR MORE sequels to go!!<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh29O-Pi5cUUAwDmd77-PrkQKSZUx_WbuCJSsPQyTUqxk1pgzpSkNlrBIArhPPMQa5khFJML0rjgNpaeeeFrlDqh3nmeJfooBrjGJP_iSbMRMGPYWG0SiCn50pDYflIAX2LJ2HmBS7BGCc/s1600/2q99kc5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh29O-Pi5cUUAwDmd77-PrkQKSZUx_WbuCJSsPQyTUqxk1pgzpSkNlrBIArhPPMQa5khFJML0rjgNpaeeeFrlDqh3nmeJfooBrjGJP_iSbMRMGPYWG0SiCn50pDYflIAX2LJ2HmBS7BGCc/s320/2q99kc5.png" width="320" /></a></div>Let's start the latter half of the series with <em>Howling V: The Rebirth</em>. Suffice it to say, things aren't looking good from the onset. Clive Turner and Freddie Rowe, the men who ruined the previous film, are handling screenwriting duties once again. As with <em>Howling IV</em>, Turner and Rowe branch away from the original film in favor of another standalone entry. Worse yet, the director is Neal Sundstrom, the co-director of <em>Space Mutiny</em>, featured on <em>Mystery Science Theatre 3000 </em>and starring <em>Howling II</em>'s Reb Brown and <em>Howling IV</em>'s Norman Anstey. May I remind you Clive Turner is involved?<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKGmFOctoG6Nopxs6xVAqRv_tyM_YBrNzsAjVqT6BzFw5NfUtMSioIWDlP7toil1hMJBWpVrBQ1NfHuAdtAhTR9mMYwtIJeh4izr26Vo6CPPUcURwazM65GGufNf_KmGSMQiWbk387DBI/s1600/Howling1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKGmFOctoG6Nopxs6xVAqRv_tyM_YBrNzsAjVqT6BzFw5NfUtMSioIWDlP7toil1hMJBWpVrBQ1NfHuAdtAhTR9mMYwtIJeh4izr26Vo6CPPUcURwazM65GGufNf_KmGSMQiWbk387DBI/s320/Howling1.jpg" width="320" /></a></div>What. The. Fuck. I'm in shock. As I sit here and write this, I can't believe what I'm typing. It's not possible; it's scientific fact this can't happen. Hold on to your asses, because what I'm about to say makes no sense, but is surprisingly true; <em>Howling V </em>isn't terrible. There, I said it. This fifth <em>Howling </em>is not a bad movie. In fact, I'd go as far as to say that believe it or not, this is actually a well made, mildly entertaining sequel that was relatively easy to sit through. How did this happen?<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu4_0YPVnY8zWvWci5ye9OVvP3hifPzraYRsFXrpMJzDFpmQbwmJJR-23HTbDWUPNFKKajQIsa7jzctjH8FmN9Y2oj1JIFvCJ-WYjq4sMxIKrIFluyZDIkHguev64k6u4Ip4u8dSZqwUQ/s1600/vlcsnap-1307271.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu4_0YPVnY8zWvWci5ye9OVvP3hifPzraYRsFXrpMJzDFpmQbwmJJR-23HTbDWUPNFKKajQIsa7jzctjH8FmN9Y2oj1JIFvCJ-WYjq4sMxIKrIFluyZDIkHguev64k6u4Ip4u8dSZqwUQ/s320/vlcsnap-1307271.png" width="320" /></a></div>For starters, it was nice to see a <em>Howling </em>sequel with good production values; It helps that <em>Howling IV </em>was shot on location in Budapest. In his first and only time as a Production Designer, Nigel Triffitt has done his job quite well, producing an appropriately creepy castle, which reminds me of the gothic castles I love seeing in the Hammer Horror films of the '50s and '60s. Cinematographer Arledge Armenaki bathes the film in gorgeous blue lighting, giving it a cold, steely look that works well with the dark, somber tone of the story.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-MWZO_PSl88ykxQJPKoEmWaGaetKkcVq0ipsm8r6U7TNnvYXn6gZeR65cGvjac8lxyCkt0POD5uDOHUBKn-BTwCDRy7yZOiiJFJdyY2BmGXDzkKiwmNmVsRCwMH8yChZ0HxBj_GoBgaU/s1600/Howling4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-MWZO_PSl88ykxQJPKoEmWaGaetKkcVq0ipsm8r6U7TNnvYXn6gZeR65cGvjac8lxyCkt0POD5uDOHUBKn-BTwCDRy7yZOiiJFJdyY2BmGXDzkKiwmNmVsRCwMH8yChZ0HxBj_GoBgaU/s320/Howling4.jpg" width="320" /></a></div>I also want to give credit to Sundstrom; his resume didn't inspire much confidence, but he does a very respectable job here. It's nothing groundbreaking, but the man knows how to make a horror movie. There's some very good use of shadows and lighting to create some atmosphere and though it's overused, he's in the right mindset to prefer ambiguity and suspense rather than overabundant blood spilling. One wonders what this guy could've done with more money and a better script.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjekSNLvvJhreo6k1tCwsvpi_PcQtkYB0rqmEEK15h8PVA1tUB7KedonkvcKQ3xJlvHFPb00Iqd0DCs87rp-a8yaj5pFPBdrZeQiF10HCNz5tZFO1pQNVhRwVvaeHks1Mej9rJL7vezIxM/s1600/screenshot_65.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjekSNLvvJhreo6k1tCwsvpi_PcQtkYB0rqmEEK15h8PVA1tUB7KedonkvcKQ3xJlvHFPb00Iqd0DCs87rp-a8yaj5pFPBdrZeQiF10HCNz5tZFO1pQNVhRwVvaeHks1Mej9rJL7vezIxM/s320/screenshot_65.jpeg" width="320" /></a></div>Speaking of which, Clive Turner and Freddie Rowe did nothing with <em>Howling IV </em>but make me curse whoever gave them careers. In <em>Howling V</em>, they've made some improvements, primarily with the setup; I love a good murder mystery, so this plot kept me intrigued throughout the film. Furthermore, I found it refreshing to see some twists on the typical character stereotypes of horror films; the creepy old guy turns out to be an anti-hero, the obvious final girl bites it early on and the people you expect to drop dead first are the last standing.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYnSai9Un5ECd2ckokW6HkVfQuxb8JYwvtK8VchTBuNECYxd1MMdDmrEhfxMqZZIOnUiliq0IY8wnZbD8MfzA1JgIh51OcbwkoizwA5YNJ9hR6p6re3d5VZLkF6GYmkP4r-gaY7VyXedU/s1600/Howling2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYnSai9Un5ECd2ckokW6HkVfQuxb8JYwvtK8VchTBuNECYxd1MMdDmrEhfxMqZZIOnUiliq0IY8wnZbD8MfzA1JgIh51OcbwkoizwA5YNJ9hR6p6re3d5VZLkF6GYmkP4r-gaY7VyXedU/s320/Howling2.jpg" width="320" /></a></div>It's too bad the actors fail miserably to make these decent characters work. As the illustrious Count, Philip Davis is dull rather than menacing and while I think he was aiming for aloofness, he comes off as bored. Elizabeth She's cheerful bimbo Mary Lou is right up there with <em>Halloween 5</em>'s Tina in terms of inspiring intense hatred from me. Cliver Turner's performance as Ray Price gives me another reason to despise this man, while Nigel Triffitt steps in front of the camera for the brief role of the Professor. Victoria Caitlin (Bruce Campbell's wife in <em>Maniac Cop</em>) and Ben Cole are nothing more than adequate in the lead roles, while the rest of the cast is best forgotten.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJRzDO9LTOSAot9sZ9sMm-vJXwghzBricatLqRIf6VIVK9uohsFK9qcUfPbM3e7xdZ_mMlV0WqhZJIP2gLNxJLAQCcn932wXYTN_4l8bH1WEAW3VyWdvttraBn7B6B6lmnCid0HUyr1kI/s1600/2laereo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJRzDO9LTOSAot9sZ9sMm-vJXwghzBricatLqRIf6VIVK9uohsFK9qcUfPbM3e7xdZ_mMlV0WqhZJIP2gLNxJLAQCcn932wXYTN_4l8bH1WEAW3VyWdvttraBn7B6B6lmnCid0HUyr1kI/s320/2laereo.png" width="320" /></a></div>While I'll admit their script is better, Turner and Rowe have not yet redeemed themselves for the horrors of <em>Howling IV</em>. The 1489 opening scene is rather perplexing and what information we learn later on doesn't do much to clear it up. This cast of characters is overstuffed; we got two preppy guys with medium-length blond hair and two actresses, not to mention it's awfully convenient some of the characters know each other. Furthermore, I'd like to know exactly how Count Istvan knew these were the right people to pick; am I wrong to assume Visa applications don't require you to list all birth marks?<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzLRkgUaevIX41v1m07XUIc-zigUA_l8LHLod6CfbzU3lws4Mn0DFqS_Ry0xcNxfPAO6we1idoGa8S-jNz6IzEg6eyPi7duHiBeM0KNXLSupOPNZA_jHLYylGW36pLSW_ing16thXN4qo/s1600/screen_image_350726.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzLRkgUaevIX41v1m07XUIc-zigUA_l8LHLod6CfbzU3lws4Mn0DFqS_Ry0xcNxfPAO6we1idoGa8S-jNz6IzEg6eyPi7duHiBeM0KNXLSupOPNZA_jHLYylGW36pLSW_ing16thXN4qo/s320/screen_image_350726.jpg" width="320" /></a></div>In addition, I feel these guys missed an opportunity when crafting the character dynamics. Think about this; you have nine people (mostly strangers) trapped in a castle during a snowstorm. As someone who loves <em>The Shining </em>and <em>The Thing</em>, there was a great opportunity to create a sense of paranoia among the characters; let them know early on one of them is a Werewolf. They'll be at each other's throats the whole time, distrusting each other and backstabbing at a moment's notice. It would've fit perfectly; instead, they just sit around and talk relationships, careers and history and for the most part, they get along too calmly given the circumstances. The word "werewolf" isn't even uttered until the last third of the film. I appreciate trying to develop characters, but there's a fine line between having good characters in a horror movie and having a horror movie about people talking about their lives and loves; <em>Howling V </em>crosses that boundary.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEYI8in7Um0oGUaSy3HJjVsmW8hMNV_UAe88nJ1_11_nIZbtsbAW3zrPcctZmsINFnUdvfAaigpAqhqcz8jRd1sytbglRruLCNsglOmv0H9w14rJwFjQ2WcWt5edJiflKYiJfDE0oWcCw/s1600/howlingv-ld_shot4l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEYI8in7Um0oGUaSy3HJjVsmW8hMNV_UAe88nJ1_11_nIZbtsbAW3zrPcctZmsINFnUdvfAaigpAqhqcz8jRd1sytbglRruLCNsglOmv0H9w14rJwFjQ2WcWt5edJiflKYiJfDE0oWcCw/s320/howlingv-ld_shot4l.jpg" width="320" /></a></div>This being a Werewolf movie, I was expecting some gripping terror to occur, yet surprisingly most of the horror is never shown, probably due to the budget. Of the 12 deaths, eight of them occur offscreen, almost all of them having their throats ripped out; the four deaths that you do see are of minor characters and none of them die at the hands of a Werewolf. The most onscreen brutality we get is someone accidentally chopping a head off. Like <em>Howling IV</em>, the actual onscreen appearance of a Werewolf is strangely curtailed; the best shot we get of the Werewolf is very darkly lit and quick. While I prefer implied violence, there comes a time and a place in most horror movies to put the red stuff on display and this film holds back way too much, resulting in neutered scares and zero tension.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnTcZP0KqMw0dFuRZCJlkabK3UNx557M4fO9xDeqlN-tgbYmTsDBUkYqAG_NvWFxIEeH2YjbLcEfbUt3EqKLtL45TX0e182Z_-1zhF1l8uZw_AtvRjpvn8wNc-K6kux_wtwMneXt-dsGQ/s1600/vlcsnap-1308105.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnTcZP0KqMw0dFuRZCJlkabK3UNx557M4fO9xDeqlN-tgbYmTsDBUkYqAG_NvWFxIEeH2YjbLcEfbUt3EqKLtL45TX0e182Z_-1zhF1l8uZw_AtvRjpvn8wNc-K6kux_wtwMneXt-dsGQ/s320/vlcsnap-1308105.png" width="320" /></a></div>Given that <em>Howling II: Your Sister Is A Werewolf</em>, <em>Howling III: The Marsupials </em>and <em>Howling IV: The Original Nightmare </em>rank among the worst films I've ever seen, I am truly impressed that <em>Howling V: The Rebirth </em>is relatively good. Now by no means am I saying that I fully approve of what's been done here; we're a long ways off from what Joe Dante created. There's a lot of missed opportunities with this setup, there's too many characters running around the castle, the acting is pretty atrocious, and the scares are too few and ineffective. But thanks to a clever setup, impressive production values and a fun murder mystery angle, I can't say I regret watching this and for a <em>Howling </em>sequel, that's a tremendous accomplishment. <strong>2.5 out of 5 Stars</strong>.<br />
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Next Up: October 29th: The Mummy's Shroud (1967)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-46315124046450856902011-10-29T23:33:00.000-07:002011-10-29T23:34:38.494-07:00October 27th: Paranormal Activity 3 (2011)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAVQqa6RMXpXj6ysWOJQnDlgQfkYm6MW4iJYKowpSUBr1y9j_zEytuGKUcu7apRuedIq9wajqUOYFsWO9adigY6yLEwDLLsY-dRaOLoIxjX2Vxbjj5VNA32cP0Y6UFRxJzsr3REEF2uLQ/s1600/paranormal_activity_three.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAVQqa6RMXpXj6ysWOJQnDlgQfkYm6MW4iJYKowpSUBr1y9j_zEytuGKUcu7apRuedIq9wajqUOYFsWO9adigY6yLEwDLLsY-dRaOLoIxjX2Vxbjj5VNA32cP0Y6UFRxJzsr3REEF2uLQ/s320/paranormal_activity_three.jpg" width="216" /></a></div><strong>PLOT</strong><br />
It's 1988; Julie Featherston (Lauren Bittner) is living a quiet, easygoing life in California with her daughters Katie (Chloe Csengery) and Kristi (Jessica Tyler Brown) and boyfriend Dennis (Christopher Nicholas Smith), who makes his living shooting wedding videos. Following Katie's eighth birthday, Kristi begins interacting with an imaginary friend named Toby; while Julie and Katie think nothing of it, Dennis begins to notice strange occurrences happening around the house shortly afterwards.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWvxI4cfyDaur_uF6FhAFM7yutsWg-GN2Ldufn1EwglEUsSNDLITDOcb73nj0AxEnJGh7Uy4K0X3ptij_R1zzMA10lvrM4AGf48c2w7PsfW7O6M26cs-8pP0woOD4TjlqA3Eh3rykXo58/s1600/44692000001_1190441709001_Paranormal-Activity3rev2-par-t.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWvxI4cfyDaur_uF6FhAFM7yutsWg-GN2Ldufn1EwglEUsSNDLITDOcb73nj0AxEnJGh7Uy4K0X3ptij_R1zzMA10lvrM4AGf48c2w7PsfW7O6M26cs-8pP0woOD4TjlqA3Eh3rykXo58/s320/44692000001_1190441709001_Paranormal-Activity3rev2-par-t.jpg" width="320" /></a></div>While Julie and Dennis try to film a sex tape one night, an earthquake occurs; the next morning, Dennis and his friend Randy (Dustin Ingram) go over the footage and see dust land on an invisible figure, forming what appears to be a face. Intrigued, Dennis decides to set up cameras throughout the house, in his and Julie's bedroom, in the girls' bedroom and in the living room/kitchen, to see if he can catch anymore unexplained paranormal activity.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5w3KJCmVwPz_S1WwlTUzOa_fnFgB71-oVSvD0jBpnfL_R9rOGtpFmSoYcr7-E3yOeR5XgZ22AuwLJUBVx3AGdOfX5NBUe6Ccs6YnsDhknTFpCHIvpww7D_tie0pbNh9U0yPI_5d3pUDQ/s1600/tumblr_lsnuzyUXlC1qcipvoo2_500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5w3KJCmVwPz_S1WwlTUzOa_fnFgB71-oVSvD0jBpnfL_R9rOGtpFmSoYcr7-E3yOeR5XgZ22AuwLJUBVx3AGdOfX5NBUe6Ccs6YnsDhknTFpCHIvpww7D_tie0pbNh9U0yPI_5d3pUDQ/s320/tumblr_lsnuzyUXlC1qcipvoo2_500.jpg" width="320" /></a></div>Checking the girls' closet, Dennis discovers strange symbols scribbled on the walls. Dennis eventually discovers a connection between the symbol and a witches coven, leading him to believe the entity inside the house is demonic in nature. During the month of September, Dennis sees the paranormal activity gradually getting worse and when Kristi refuses to listen to Toby anymore, the demon's attacks towards the family become increasingly violent.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUkGbelQuwjRwcoA0mGGJKejnkxSCV3vgFcX3XHW9PcB1-L2Asshgmx1XozIvRmAv_tlDTUiDduzkQE2z8KcSuZZcyJyuPt7x1std-ez7uJ50FDeZA0zXY2DspcrwitGwDBlhcsK8WnSY/s1600/paranormal_3_02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUkGbelQuwjRwcoA0mGGJKejnkxSCV3vgFcX3XHW9PcB1-L2Asshgmx1XozIvRmAv_tlDTUiDduzkQE2z8KcSuZZcyJyuPt7x1std-ez7uJ50FDeZA0zXY2DspcrwitGwDBlhcsK8WnSY/s320/paranormal_3_02.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
Let's go back to 2009 for a moment; while remakes were all the rage, the decade truly belonged to <em>Saw</em>. Taking the torture porn concept a step further, <em>Saw</em> created a brand new horror franchise that was dominating the box office around Halloween and with <em>Saw VI</em> right around the corner, it looked like Jigsaw would reign triumphant once again. Then there was <em>Paranormal Activity</em>. With a meager $15,000 budget, computer software programmer Oren Peli pulling quadruple-duty as director, writer, editor, and cinematographer and first-time actors Katie Featherston and Miach Sloat in the lead roles, <em>Paranormal Activity </em>didn't exactly scream box-office success.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJRQ7BjxKYiVW86TuPo942_3aCPNofN-TMxxAdCdt4FNF8IXJc7dPmfRalqN1ZOerHHYQA04rZYx4XY8tyUAFNDKow0yYHDxmy2Sbggc9lLMEANfP6vwdnY2UBZ0qdSQX4GkJPhrwvjlc/s1600/pa3-newclip.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJRQ7BjxKYiVW86TuPo942_3aCPNofN-TMxxAdCdt4FNF8IXJc7dPmfRalqN1ZOerHHYQA04rZYx4XY8tyUAFNDKow0yYHDxmy2Sbggc9lLMEANfP6vwdnY2UBZ0qdSQX4GkJPhrwvjlc/s320/pa3-newclip.jpg" width="320" /></a></div>Thanks to the persistence of horror fans and the efforts of people like producer Jason Blum, studio executive Adam Goodman and Steven Spielberg, <em>Paranormal Activity </em>went from barely known oddity to nationwide phenomena in the fall of 2009, unseating <em>Saw </em>from its throne, revitalizing the found footage genre and giving audience nightmares. A year later, <em>Paranormal Activity 2 </em>was released to similar success, defying understandable skepticism by expanding on the story in an inventive way.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW6poev_y93ViR0ANPDwGNkt3E9YRnkyLpgPQuQc1g0ZM_sKDcTqoWW-55qzOuGwNNgDDIJ_097uCKJ29w73H-XqShzQFOFS-LS1XSFxzZCqYeda_k4R1KsYDCOOG_zn4xkQh-RzGhcCA/s1600/paranormal-activity3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW6poev_y93ViR0ANPDwGNkt3E9YRnkyLpgPQuQc1g0ZM_sKDcTqoWW-55qzOuGwNNgDDIJ_097uCKJ29w73H-XqShzQFOFS-LS1XSFxzZCqYeda_k4R1KsYDCOOG_zn4xkQh-RzGhcCA/s320/paranormal-activity3.jpg" width="320" /></a></div>Now in 2011, we have <em>Paranormal Activity 3</em>, which begs the question: Is there any life left in this series? Surprisingly yes. With Ariel Schulman and Henry Joost of <em>Catfish </em>fame in the directors seat and the previous film's co-writer Christopher B. Landon now handling the screenwriting duties on his own, <em>Paranormal Activity 3</em> manages the unenviable task of keeping the trademark scares coming fast and furious, all the while creating genuinely real, likeable characters for the demon to torment.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4ojjMJt7UQb_9yWRIx7hP6QWWmCvVKqyd0qCID0oj-_K1XwAiR6DGB1i54_BpU8SX-12V54Xl2k23rhyH2ITcBWQHHlMsntFyIUz81uXQ1gztCl-ouaNmgX7iXj8XpMXX9PZwoEc7H9Y/s1600/paranormalactivity32011tsxvid-mistere_screen.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4ojjMJt7UQb_9yWRIx7hP6QWWmCvVKqyd0qCID0oj-_K1XwAiR6DGB1i54_BpU8SX-12V54Xl2k23rhyH2ITcBWQHHlMsntFyIUz81uXQ1gztCl-ouaNmgX7iXj8XpMXX9PZwoEc7H9Y/s320/paranormalactivity32011tsxvid-mistere_screen.png" width="320" /></a></div>When it comes to found footage films, especially those in the horror genre, the film lives and dies on its cast; these aren't supposed to be actors reading lines, but real people reacting to horrific situations and for this to work, it is vitally important for the cast to sell their characters and thus far, all three films in this series have accomplished just that. Lauren Bittner is a joy to watch, exuding a spunk and charisma reminiscent of JoBeth Williams in <em>Poltergeist</em>. Even better is Christopher Nicholas Smith, whose Dennis is enthusiastically loveable, even more so than Micah Sloat and Daniel Rey in the previous films. Chloe Csengery and Jessica Tyler Brown successfully avoid the precocious child stereotype of horror films to deliver sweet performances, especially Brown as a young Kristi, the object of the demon's affections. Special mention goes to Dustin Ingram's Randy, Johanna Braddy's babysitter and cameo appearances by series star Katie Featherston and adult Kristi Sprague Grayden.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-yS5TnwUhbC2oaYkBDa40EHHIt53JsrMAveuHk_QXZrG5vOOrvgJi6rqeN-4sDMFXRPmjryoboSreS4J1L9dM6gAyugXLXC2S-8hGhzbiyyR23q0XtisnKTlk6rsRxDr1Kwc3CY4KHlg/s1600/lbit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-yS5TnwUhbC2oaYkBDa40EHHIt53JsrMAveuHk_QXZrG5vOOrvgJi6rqeN-4sDMFXRPmjryoboSreS4J1L9dM6gAyugXLXC2S-8hGhzbiyyR23q0XtisnKTlk6rsRxDr1Kwc3CY4KHlg/s320/lbit.jpg" width="320" /></a></div>I also have to give huge kudos to Christopher B. Landon; let's face it, <em>Paranormal Activity </em>didn't need a sequel, let alone two. But by taking the prequel approach, Landon has found a way in both films to expand on and add to the mythology of the first film. In the case of this third film, Landon manages to retain the formula of the original while giving the series something new at the same time. Julie and Dennis' relationship is quite similar to the Katie/Micah dynamics, albeit with even looser morals and some pot-smoking thrown in; their chemistry is spot-on and colorful, never dry or boring. On the other hand, the presence of young Katie and Kristi gives the franchise a different edge; whereas Hunter in <em>Paranormal Activity 2 </em>was never in any real danger, these kids, especially Katie, are clearly taking the brunt of the demon's fury and it's terrifying to see them in danger.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5BVLWHALwq0WErDng3w8iQGAIv-slKmwayH1mwObkS0R1-JrhiIe0IlBunmf6FJ57AH_L7IbW_l-Cbyh6rkeHUOt8mOsqTWTmTnXaw2HIy91jVn54mXL_5LTdkjwFS6SfBNYWGcR0Eek/s1600/paranormalactivity3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5BVLWHALwq0WErDng3w8iQGAIv-slKmwayH1mwObkS0R1-JrhiIe0IlBunmf6FJ57AH_L7IbW_l-Cbyh6rkeHUOt8mOsqTWTmTnXaw2HIy91jVn54mXL_5LTdkjwFS6SfBNYWGcR0Eek/s320/paranormalactivity3.png" width="320" /></a></div>Speaking of which, Schulman and Joost have a lot to live up to in terms of the scares. <em>Paranormal Activity</em> is generally accepted to be one of the scariest movies since <em>The Exorcist </em>and <em>Paranormal Activity 2 </em>had its share of freaky moments, punched up by more special effects-laden scares and an exorcism. I'm happy to report that <em>Paranormal Activity</em> continues this trend; the scares come fast and furious, far more so than its predecessors. I'm coming to think the 18 years in between the timeline of this film and the first two films mellowed the demon, because in 1988 Toby is way pissed off and pulling no punches. Rooms are trashed, doors are slammed, people are tossed around, and in the film's creepiest moment, the demon stands behind the babysitter with a sheet over it, only to disappear before the babysitter notices. It's downright chilling and worthy of this series.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsMymUfjgeWNB4XwME7iCNqFgkUAc_EpXiSTkdRbNObPHfHllKt598S7DrvLJ0s-MFzAn1pyg0ekUxrKknFuaDGqgpm_HEQXTxlXRNReKdny8kTiwS5x6vvjJ6Hk7WAXGYgO5HmJrerc0/s1600/11411229178130781589.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsMymUfjgeWNB4XwME7iCNqFgkUAc_EpXiSTkdRbNObPHfHllKt598S7DrvLJ0s-MFzAn1pyg0ekUxrKknFuaDGqgpm_HEQXTxlXRNReKdny8kTiwS5x6vvjJ6Hk7WAXGYgO5HmJrerc0/s320/11411229178130781589.png" width="320" /></a></div>Given the more limited technology of the '80s, I was curious to see the filmmakers utilize the found footage technique in the 1980s; fortunately, they've found some creative ways to do so. While the concept of Dennis film weddings for a career is awfully convenient, it's quick to forgive when we see the inventive ways Dennis sets up the cameras; the bedroom cameras and handheld cameras are standard of the series, but it's all about the living room/kitchen camera, which is attached to the base of an electric fan; for the first time, the camera can actually move around, giving a wider view and creating opportunities for effective scares; every time that camera turns one direction, you can't help but be frightened about what's going to be on the other side. Sure the film quality looks a little too polished for 1988, but once again I'm able to forgive it because the filmmakers are making me squirm in my seat ad nausea for the 81 minute running time.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9EaVhUALj7Bzvtk9JcdfNr9haSaw-28-lhLPqrW1DRQlSee8q_3Qgr7oM7l4if-1lWzwLmhb-vufClcU5qLNsxmW_K_ofjUEcqwzbvhXY_A_RjEihmyUwauGgn4CSn3w-gCVO4gAS1ic/s1600/Trampoline-horror.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9EaVhUALj7Bzvtk9JcdfNr9haSaw-28-lhLPqrW1DRQlSee8q_3Qgr7oM7l4if-1lWzwLmhb-vufClcU5qLNsxmW_K_ofjUEcqwzbvhXY_A_RjEihmyUwauGgn4CSn3w-gCVO4gAS1ic/s320/Trampoline-horror.jpg" width="320" /></a></div>That being said, there are two types of scary movies; movies that scare you in the moment and movies that stick with you long after the credits roll. Whereas the original film is certainly the latter, this third film is firmly the former. Far more than the previous films, <em>Paranormal Activity 3 </em>made me jolt out of my chair time after time; but by the next morning, I found that I slept like a baby. Even upon repeat viewings, the original film remains creepy and unsettling, as does the second film to a lesser extent. Other than the sheet in the kitchen, I doubt anything in this film will scare on repeat viewings. It's easy to make someone jump; make loud noises and throw something at the camera, you got a jump scare. It's much harder to genuinely get under someones skin, especially jaded horror fans like myself. The fact that <em>Paranormal Activity </em>continues to scare every time I see it is a testament to Oren Peli's talent; the fact that <em>Paranormal Activity 3 </em>didn't give me any sleepless nights is disappointing.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkAR6D5Ug9bn57T0qcsom4my6Qd1Rkaejs8YoVAlxQ-yvbfBq4BEdXD8hweRsEEFAMr4iXLYjgQxvHtpUp76Fs6-EATzbv35N6XngZc_EQXBq-r2D8fBoZ4KLQR3L9FC1gG9JJXihvIwY/s1600/paranormal-activity-3-birthday-party-girls.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkAR6D5Ug9bn57T0qcsom4my6Qd1Rkaejs8YoVAlxQ-yvbfBq4BEdXD8hweRsEEFAMr4iXLYjgQxvHtpUp76Fs6-EATzbv35N6XngZc_EQXBq-r2D8fBoZ4KLQR3L9FC1gG9JJXihvIwY/s320/paranormal-activity-3-birthday-party-girls.jpg" width="320" /></a></div>Then there's the climax, which raises questions that leave me with mixed feelings. Personally, I've always preferred ambiguity in my horror films and tend to resist answers to questions I don't need answered; I don't want to know why Michael Myers snapped and killed his sister. I don't care if Jack Torrance's psychotic breakdown is the result of demonic possession or mental instability. I don't want to know what demon possessed Regan MacNeil. These things are unnecessary questions and nine times out of ten, the answers provided leave me furious and wishing the filmmakers ignored the question. Up to this point, all we knew about the demon in the <em>Paranormal Activity</em> films is that a relative of Katie and Kristi's mother made a deal with it, leading it to pursue the first born male in the family. Going into <em>Paranormal Activity 3</em>, I knew the filmmakers were going to fill in more backstory; the question is whether they go too far and ruin the mystique or give me just enough information to leave me wanting a part four.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip4QmwMEsCoep1-DsTemOvGi2UVY8mcr7SZVZa9WuvuVhDV1_LTuxv6HrCrw1nqNIllUOYgXEdMv3GPR3yFa6Wv5ZFEUVh8Wyfmn8aIAwuu_3RR6FN5byxWadN6hFbN9ylsycvJAkI2LI/s1600/Paranormal-Activity-3-2011-TS-XviD-MiSTERE1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip4QmwMEsCoep1-DsTemOvGi2UVY8mcr7SZVZa9WuvuVhDV1_LTuxv6HrCrw1nqNIllUOYgXEdMv3GPR3yFa6Wv5ZFEUVh8Wyfmn8aIAwuu_3RR6FN5byxWadN6hFbN9ylsycvJAkI2LI/s320/Paranormal-Activity-3-2011-TS-XviD-MiSTERE1.png" width="320" /></a></div>In the end, they've done both. Without getting into too much detail, the filmmakers form a connection between the demon and witches; I'm not particularly fond of this new revelation. Demons are badasses on their own. Do they really need to have witches help them do their bidding? It just takes away from the demon, now knowing that it worked with a coven of witches in the past. Regardless, I can't help but be intrigued by this new wrinkle; it doesn't contradict anything seen in the previous films and for someone who values ambiguity in horror films, I can't help but actually ask questions about the nature of this relationship and the role witches play in this whole affair. I'm genuinely excited to see this aspect handled in a fourth film; whoever thought I'd go from wanting no sequels to looking forward to a part four?<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXmogbLgauxR-rbwe_TTLI6fNFVeT4AJA3TlWir2zwGG_QWKKUlRPddPZgOlGOI9pNYFwApaSQELTLSn45-C7WYOm2utIDJsJUPurmkhwpec3jb-4JbLciHkr3sShXKAYN7K6X6xtKoUs/s1600/fantastic-fest-review-paranormal-activity-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXmogbLgauxR-rbwe_TTLI6fNFVeT4AJA3TlWir2zwGG_QWKKUlRPddPZgOlGOI9pNYFwApaSQELTLSn45-C7WYOm2utIDJsJUPurmkhwpec3jb-4JbLciHkr3sShXKAYN7K6X6xtKoUs/s320/fantastic-fest-review-paranormal-activity-3.jpg" width="320" /></a></div>If I have to be technical, then I'll go ahead and admit that <em>Paranormal Activity 3 </em>is the victim of diminishing returns. The creepy, atmospheric chills from the previous films are mostly gone and a new twist on the mythology takes away from the overall power and aura of this demon. But let's be honest; we're used to franchises dipping in quality, especially by a part three. Do I really need to remind you people of <em>Howling III</em>? It's an impressive feat that three films in, these filmmakers have found a way to keep this story going without sacrificing quality storytelling, well-developed characters and intense, nail-biting scares. To pull a phrase from a far lesser franchise, if it's Halloween, it must be <em>Paranormal Activity</em>. <strong>4 out of 5 Stars</strong>.<br />
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Next Up: October 28th: Howling V: The Rebirth (1989)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-73156416151313011092011-10-29T19:51:00.000-07:002011-10-29T19:53:01.454-07:00October 26th: Howling IV: The Original Nightmare (1988)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEKcUjIBB7k_VO_M0PweTh1EpHgBezAaoqp4YBWM8OnJzm02A0rMiIa5_6CZ2URDvTAoiGVq1oNpoELDQcr73SUfavyuzjTNnHISqiypUeINCbRAD70GlDbyypkJKw29sdYyGCwtERiq8/s1600/MPW-40031.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEKcUjIBB7k_VO_M0PweTh1EpHgBezAaoqp4YBWM8OnJzm02A0rMiIa5_6CZ2URDvTAoiGVq1oNpoELDQcr73SUfavyuzjTNnHISqiypUeINCbRAD70GlDbyypkJKw29sdYyGCwtERiq8/s320/MPW-40031.jpg" width="217" /></a></div><strong>PLOT</strong><br />
Successful author Marie Adams (Romy Windsor) is in the middle of working on a new book when she starts seeing bizarre visions of a mysterious nun (Megan Kruskal). During a meeting with her agent Tom Billings (Antony Hamilton), a vision of a Werewolf sends Marie into hysterics. Dr. Heinemann (Dale Cutts) believes Marie's visions to be the result of stress and advises her to leave Los Angeles for a few weeks.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5XI680f2IET8V86FXIMIVwMSnfQUUpgaPRLaAU6oz7MkydtVLhNdmuZiTDokNuwF45CzkVzz6cNW6OH73NVyYXMsSzM8gXBf9BwATSaJWj3OoYxThNYJRBU5EM9JBk_nwEnZwAs_wYhw/s1600/howlingIV-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5XI680f2IET8V86FXIMIVwMSnfQUUpgaPRLaAU6oz7MkydtVLhNdmuZiTDokNuwF45CzkVzz6cNW6OH73NVyYXMsSzM8gXBf9BwATSaJWj3OoYxThNYJRBU5EM9JBk_nwEnZwAs_wYhw/s320/howlingIV-3.jpg" width="320" /></a></div>Marie's husband Richard (Michael T. Weiss) takes Marie to Wilderness Cottage, a cabin located in Drago, a secluded Southern California town, home to cranky Sheriff Carson (Norman Anstey), store owners Mr. and Mrs. Ormstead (Dennis Smith and Kate Edwards), Dr. Coombes (Dennis Folbigge), a mysterious tow truck driver (Clive Turner), and eccentric artist Eleanor (Lamya Derval).<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjBiOBT6LVPiXBmd3LRi-o3iYBKnzjL4903MS6ri1CyJxoEqpLYjmCzu9PR0x-95G1PgehpQUa5Qsqw34Y0Ssz09-pfPl4BCH6Bsk0c6RTamBpoCxmKEm6-tymp_RAIk8qod802Jk8ESc/s1600/howlingiv1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjBiOBT6LVPiXBmd3LRi-o3iYBKnzjL4903MS6ri1CyJxoEqpLYjmCzu9PR0x-95G1PgehpQUa5Qsqw34Y0Ssz09-pfPl4BCH6Bsk0c6RTamBpoCxmKEm6-tymp_RAIk8qod802Jk8ESc/s320/howlingiv1.jpg" width="320" /></a></div>Once in Drago, Marie's visions of the nun continue and she hears howlings at night. One day, Marie meets Janice Hatch (Susanne Severied), an ex-nun who's come to Drago to investigate the mysterious circumstances surrounding the death of her friend Sister Ruth Brooks, the nun Marie's been seeing visions of. Working together, Marie and Janice begin exploring the dark history of Drago, leading them to discover Werewolves living in the town.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDaIMs-VibODQ-ofi4plLpfNcaLfTPlrxh6CIXe98X2qQutURyNwJyl4SR6i8OiOgFPcXJjptAXNJI7FvcAeaj82yOmLte1Lb3YkEciHNisvTEcM4ha7GeA726tJnhtitaut_T_UfeeR0/s1600/Howling-IV-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDaIMs-VibODQ-ofi4plLpfNcaLfTPlrxh6CIXe98X2qQutURyNwJyl4SR6i8OiOgFPcXJjptAXNJI7FvcAeaj82yOmLte1Lb3YkEciHNisvTEcM4ha7GeA726tJnhtitaut_T_UfeeR0/s320/Howling-IV-3.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
<em>Howling IV: The Original Nightmare</em> is an odd entry in the series; though it claims to be the fourth installment, this is actually a quasi-remake. Like Joe Dante's <em>The Howling</em>, this film is an adaptation of Gary Brandner's 1977 novel <em>The Howling</em>. For that alone, I was actually curious to see this film. It helps that Philippe Mora of <em>Howling II </em>and <em>Howling III</em> infamy is long gone and that director John Hough and screenwriters Clive Turner and Freddie Rowe eschew the camp humor of Mora's films in favor of straightforward horror. Believe me, I wasn't expecting anything great but at the very least I was intrigued to see someone try to make a scary, atmospheric <em>Howling</em> film.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO1VGvXbSpPzEq_R6jj33hYuVTUJejvCu3gWq1_zpfmRkRL6OcuyIBfFLHThhEz5iYt4VMNSxDCUwZUmb1AK8GdrMAynsCzi8CmzP6EfPo230NBc95dhgTA8ioGaeBKgxIbbnVy8XkCaI/s1600/vlcsnap-1388787.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO1VGvXbSpPzEq_R6jj33hYuVTUJejvCu3gWq1_zpfmRkRL6OcuyIBfFLHThhEz5iYt4VMNSxDCUwZUmb1AK8GdrMAynsCzi8CmzP6EfPo230NBc95dhgTA8ioGaeBKgxIbbnVy8XkCaI/s1600/vlcsnap-1388787.png" /></a></div>That's not saying this series has redeemed itself; in its best moments, <em>Howling IV</em> is slightly easier to endure than the previous sequels and in its worst moments is every bit as wretched and pathetic. Part of the problem comes from the fact that this film and its original are following the same storyline; yes, there are minor differences throughout but there's way too many obvious similarities to ignore. A successful woman with a career in entertainment living in Los Angeles? Check. Said woman going with husband to a secluded town to recuperate from work-related stress? Check. Husband seduced by eccentric local? Check. Husband becoming a Werewolf? Check. All the town locals are Werewolves? Check. The Werewolves killed by fire? Check. It's the same damn movie, only with roughly a fraction of a fraction of the quality Joe Dante and John Sayles gave this story seven years earlier.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPc2Y4oYd8PNZuWhH32uxbbtJCHzeGNyW3oSzEkWObdJjDf9qy620vLUXBMGpVK88p3r3hacrkIM68RK0huH0CdMViNwGSRh3GFppAVP7BYjFXkHSpGY0gMJXdcjohVCRQobFus0ryiTc/s1600/Howling-IV-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPc2Y4oYd8PNZuWhH32uxbbtJCHzeGNyW3oSzEkWObdJjDf9qy620vLUXBMGpVK88p3r3hacrkIM68RK0huH0CdMViNwGSRh3GFppAVP7BYjFXkHSpGY0gMJXdcjohVCRQobFus0ryiTc/s320/Howling-IV-5.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">From what I've heard, <em>Howling IV </em>is more faithful to Brandner's novel than the original, leading me to believe Gary Brandner is a terrible writer (he wrote <em>Howling II </em>for christ sakes), or this movie's been royally fucked over by Clive Turner and Freddie Rowe. Personally, I'm thinking it's the latter, because while I haven't read <em>The Howling</em>, I do know that Karyn Beatty's nervous breakdown is the result of her being raped and suffering a miscarriage; having Marie Adams snap due to hallucinations brought on by writer's block isn't exactly an appropriate change. Watching this only makes me appreciate John Sayles' writing more and more, because Turner and Rowe have no sense of building tension or fleshed out characters. What's even more terrifying to me is that Turner wrote <em>Howling V </em>and wrote, starred, produced, and directed <em>Howling VII: New Moon Rising</em>. No wonder this series went direct to video once Turner got involved.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUjxueOJj2TWxkPTlPzqEOJ2o-1wpgOy-IvA2t2oa3HKIAool8Yr3IIBhR9aSxRKP8lA1WNADvt1SXurxY_rtiFB8SWWoeShFnyc0UGgkuGv22oxoBQZYMgh1kFQZN7Fp8wiPL9i-hQ2k/s1600/howlingiv2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUjxueOJj2TWxkPTlPzqEOJ2o-1wpgOy-IvA2t2oa3HKIAool8Yr3IIBhR9aSxRKP8lA1WNADvt1SXurxY_rtiFB8SWWoeShFnyc0UGgkuGv22oxoBQZYMgh1kFQZN7Fp8wiPL9i-hQ2k/s320/howlingiv2.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">Watching <em>Howling IV </em>also makes me realize how much I miss that wonderful cast Dante pulled together. If only this cast had an ounce of their presence. Whereas Dee Wallace Stone's traumatized Karen White feels real and genuine, Romy Windsor just looks continually perplexed and stoned. Michael T. Weiss is well-known as Jarod on TV's <em>The Pretender </em>in the late '90s; it's hard to believe anyone hired him after a performance this stale. Antony Hamilton doesn't even try to hide his Australian accent, let alone act. When Susanne Severeid pops up, I honestly thought she had a speech impediment; her line readings were that awkward. Everyone else onscreen is equally bad, including Clive Turner in a bit part as a tow truck driver.</div><div class="separator" style="clear: both; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGYZFAUfCMq_l6LQfJ_3XzN6bbWISP-GE31F6WpJac3Crg4YTD9BKduapQ_pDVuLwQ5aMhPFjlJ5i5QuSRrRy2je1maRgiyGQ5igBSR3Wyf4olz8R3jY4UBnHE6b8u2NfK5-Y_vQ3C4vA/s1600/11131original.jpg" /></div><div class="separator" style="clear: both; text-align: left;">That leads me to what really hurts <em>Howling IV</em>; the piss-poor execution. Let's face it, remakes aren't exactly a rarity in the film industry and as much as I despise them, I'm willing to accept someone rehashing a classic if they manage to do it well. Let's just say John Hough doesn't and move on. No? Okay, here we go. I've never seen any of his other films, but I do recognize two films on his resume: <em>Escape to Witch Mountain</em>, which was remade recently as <em>Race To Witch Mountain</em>, and <em>The Legend of Hell House</em>, a well-respected cult classic from the '70s. I've got to believe he was a much better director then, because he does nothing here to make me think he ever made one reportedly good movie, let alone two.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX7o4VYStJRrihb36ZGraJYEvuCNQX1Fqaab5wVtarvvc5r7prGaHktqPOqbfGdEjj4rvDZp_z9tRuEc2io65v100C2c84Br3dv_T0Ny8ZlErC-1sEKnu3jZVuCXZjFxYxudmLFQMztVc/s1600/howlingiv3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX7o4VYStJRrihb36ZGraJYEvuCNQX1Fqaab5wVtarvvc5r7prGaHktqPOqbfGdEjj4rvDZp_z9tRuEc2io65v100C2c84Br3dv_T0Ny8ZlErC-1sEKnu3jZVuCXZjFxYxudmLFQMztVc/s320/howlingiv3.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">To be fair to Hough, he didn't exactly have much of a chance here. Clive Turner started out as director, but lost funding and brought in cult producer Harry Alan Towers, who replaced him with Hough. By the time Hough started filming, the budget was non-existent and it shows. The South Africa locations don't look anything like California (though the city scenes were filmed in L.A.). What's even more off-putting is the bad dubbing; the budget was so low most of the scenes were shot WITHOUT SOUND. Really? That's how you save pennies, by not recording the actor's dialogue and having them come in to dub their lines over? No wonder there's so many scenes of people saying nothing or talking offscreen. I'm not trying to apologize for John Hough; he directed most of this movie and certainly deserves condemnation for making such a drab-looking movie. I'm merely stating that Hough's directing is the least of this film's problems.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7hA9q40F2bJZQwzq_e0q5tpNDX3d-de2PsZcVgROoAFNmehmbuUnyuiGntgXbT2cGgADnu0KZFy5AeYs-ouYMF4xyK6bJcEVm7YCmwhmHXUcdE860ubwL94q00qZSAxhtPgJrYPFJ2ys/s1600/a191eb07.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7hA9q40F2bJZQwzq_e0q5tpNDX3d-de2PsZcVgROoAFNmehmbuUnyuiGntgXbT2cGgADnu0KZFy5AeYs-ouYMF4xyK6bJcEVm7YCmwhmHXUcdE860ubwL94q00qZSAxhtPgJrYPFJ2ys/s320/a191eb07.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">As I said before, I was ready to see a scary <em>Howling </em>after the campy, unwatchable humor of Philippe Mora's films. While I'll never want to go back there, it would've been nice to see some levity here, because <em>Howling IV </em>really suffers from being stark and depressing. The colors are toned down, there's absolutely no attempts at humor and everything is delivered way too seriously; this is clearly meant to be a chilling film and I certainly appreciate the notion, but these filmmakers fail to create anything resembling tension and suspense, unless they think visions of a bug-eyed nun and old people are creepy.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwoR74pO8TajBWoy-4ZG5eqHjGmZYxjjhNltQbjiD8AeppePKE-IHNSnLYdvaJWk43s-l7uju4Tl2jvK_53E93beFs5t0ZANqnhvsAZ9vs-1eOHcn8qEcxYACNGnentz1ekCF_ciwL3UQ/s1600/tumblr_lpeyn7MkZu1qzr8nao1_500.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwoR74pO8TajBWoy-4ZG5eqHjGmZYxjjhNltQbjiD8AeppePKE-IHNSnLYdvaJWk43s-l7uju4Tl2jvK_53E93beFs5t0ZANqnhvsAZ9vs-1eOHcn8qEcxYACNGnentz1ekCF_ciwL3UQ/s320/tumblr_lpeyn7MkZu1qzr8nao1_500.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">One of the best things going for <em>The Howling </em>were the spectacular Werewolf effects, which took a steep fall in quality in <em>Howling II </em>and were inexcusably amateurish in <em>Howling III</em>. How does <em>Howling IV </em>stack up? It's hard to say, because for a Werewolf movie there's shocking little Werewolf action going on. For most of the film, they're reduced to howling in the background; there's no real Werewolf action until the finale, in which most of them look like third-rate knockoffs of Henry Hull from <em>Werewolf of London</em>; nothing wrong with that film, but '30s era Wolf People sporting bad hairdos and fangs aren't exactly frightening anymore.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6KY_7Dg7rBKNZw6mFGsXwQOZOSv72PjkJlY-UJmPaosusV44ZsF1ncEtv9rJQIm0exHjpRbmJne1XsLkH5YninxjY-D8BScUktTqMObVlP0MifSMbysEYOqJ6Nltz9dCSFMEkcpzWPhc/s1600/halloween4-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6KY_7Dg7rBKNZw6mFGsXwQOZOSv72PjkJlY-UJmPaosusV44ZsF1ncEtv9rJQIm0exHjpRbmJne1XsLkH5YninxjY-D8BScUktTqMObVlP0MifSMbysEYOqJ6Nltz9dCSFMEkcpzWPhc/s320/halloween4-2.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">It doesn't help that the filmmakers can't seem to decide what kind of Werewolves they want; other than the bad Wolf People, there's a lot of actual wolves and dogs running around with glowing red eyes, meaning that I'm supposed to believe these Werewolves can pick between Wolf People and Wolves. That's not to say there's no true Werewolves walking around; we do get two of them, but they don't get much to do. The first Werewolf, blackish-gray with glowing yellow eyes, only pops up for a second of screentime. The second Werewolf, shown below, looks like a bat-dog hybrid; to be fair, I actually like the look of these Werewolves, but they're so darkly lit and underused that you almost wonder what the point was.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcLAuJH8dbICN_k0jMAt2QvrwyxJO3szcYSCvOKFtHd2_OftHSiZ8k_Ch_Hs0bsPzxb4w-t8RmcfA37PPN05595iBlB9k7m3kIRBWymWP61kG8aD6qY5RfK7pnwwGx630B_Wj6-l0-avA/s1600/Howling-IV-17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcLAuJH8dbICN_k0jMAt2QvrwyxJO3szcYSCvOKFtHd2_OftHSiZ8k_Ch_Hs0bsPzxb4w-t8RmcfA37PPN05595iBlB9k7m3kIRBWymWP61kG8aD6qY5RfK7pnwwGx630B_Wj6-l0-avA/s320/Howling-IV-17.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">As for the transformation scenes, <em>Howling IV</em> gets brownie points for actually being inventive; in the two transformation scenes we see, the Werewolves' human skin falls off in a disgusting, putrid manner before the actual transformation can occur. It's a genuinely icky moment when a character's skin begins to melt away and his skinless body changes. All in all, I can honestly say that for the first time since <em>The Howling</em>, I'm relatively satisfied with the effects. That being said, decent special effects don't make a good movie and this film is certainly proof of that.</div><div class="separator" style="clear: both; text-align: left;"><strong>OVERALL</strong></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih6dOEGoAPu8Scu2eqvVqDTtO93sQnXS_cmIOQof8J0qcK-cECXqH4mXCgAm409N0E-fFDAAMBsB__c0GtpAeWhxHXA1MLeiYcqmdtTK8EfWtL4ZEyQqIgi4Ygub8HK0BoHkPSu0tQF8w/s1600/howlingIV-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih6dOEGoAPu8Scu2eqvVqDTtO93sQnXS_cmIOQof8J0qcK-cECXqH4mXCgAm409N0E-fFDAAMBsB__c0GtpAeWhxHXA1MLeiYcqmdtTK8EfWtL4ZEyQqIgi4Ygub8HK0BoHkPSu0tQF8w/s320/howlingIV-2.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">Deep down, I do believe <em>Howling IV </em>had the potential to be good; the basic story is simple enough and I'm quite happy to see somebody try to inject some atmosphere and suspense back into the series. It's hard to know who to blame; John Hough for doing nothing to keep the plot moving or the visual interesting, Clive Turner and Freddie Rowe for showcasing some truly dreadful writing abilities or this cast for giving performances even soap-opera actors would be embarrassed by. There's no question the finished film is an improvement over Philippe Mora's films, but that's faint praise that in no way defends yet another abysmal <em>Howling </em>sequel. <strong>1 out of 5 Stars</strong>.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Next Up: October 27th: Paranormal Activity 3 (2011)</div><div class="separator" style="clear: both; text-align: left;"></div>JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-70209799743493726092011-10-27T02:27:00.000-07:002011-10-27T02:28:39.753-07:00October 25th: Red Dragon (2002)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi90PX3YL-NK-hGm8hbTDDPRIIN8bbSK6yafiYvq5xF9sFd3S-Tehp48Nme1F2gVlguTOThxRTlvQTzy_-gGFsCFvKmSAZCz2gDnLFJt0MJGVUEjMYtsvdIQHXVvXBtPSTISqZ_dVVQDT4/s1600/red_dragon_ver2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi90PX3YL-NK-hGm8hbTDDPRIIN8bbSK6yafiYvq5xF9sFd3S-Tehp48Nme1F2gVlguTOThxRTlvQTzy_-gGFsCFvKmSAZCz2gDnLFJt0MJGVUEjMYtsvdIQHXVvXBtPSTISqZ_dVVQDT4/s320/red_dragon_ver2.jpg" width="213" /></a></div><strong>PLOT</strong><br />
In 1980, FBI criminal profiler Will Graham (Edward Norton) is investigating a bizarre series of murders in Baltimore, Maryland, working closely with psychiatrist Dr. Hannibal Lecter (Anthony Hopkins) on developing a psychological profile of the killer. While at Lecter's home for another consultation, Graham discovers evidence proving Lecter to be the killer. Lecter tries to disembowel Graham, but Graham gets the upper hand and apprehends Lecter. Lecter is convicted and sentenced to life imprisonment, while Graham, psychologically traumatized, retires from the FBI.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqT8w_TuyCbmlZfumvhTcuTrp_MZOzNGO_Q0jHYyJq6AKhrivaADjfINDqLX6kzKI9dOdaVBlpMMkNVeLbRrtJ0isipsFmsfaBCukm5m-HUPJ2NCazR2xzRvLT7eikh66PyZFHxibo1gg/s1600/sin3k0694.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqT8w_TuyCbmlZfumvhTcuTrp_MZOzNGO_Q0jHYyJq6AKhrivaADjfINDqLX6kzKI9dOdaVBlpMMkNVeLbRrtJ0isipsFmsfaBCukm5m-HUPJ2NCazR2xzRvLT7eikh66PyZFHxibo1gg/s320/sin3k0694.jpg" width="320" /></a></div>Three years later, Graham is living peacefully in Marathon, Florida, with his wife Molly (Mary-Louise Parker) and son Josh (Tyler Patrick Jones) when Special Agent Jack Crawford (Harvey Keitel) pays him a visit. The FBI is investigating the murders of two families, the Jacobis in Birmingham, Alabama and the Leeds in Atlanta, Georgia, both committed by a serial killer nicknamed The Tooth Fairy (Ralph Fiennes), a deranged man named Francis Dollarhyde, turned monstrous by his sadistic grandmother (Ellen Burstyn) and driven to kill by his alternate personality, The Great Red Dragon.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrVwdwEzSkNmhzz9-Cr7JHVfxGiJUUyo4AP2BDi1HWpwFCePHEotVO6DFYxMi6hZCkV5fzHmMvayDBes-xn2Cs35K80NmAoRMgCp0WeadwJvLMSP1C96Lynxkjh7ajBx8rNF7raonS7g8/s1600/reddragon2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrVwdwEzSkNmhzz9-Cr7JHVfxGiJUUyo4AP2BDi1HWpwFCePHEotVO6DFYxMi6hZCkV5fzHmMvayDBes-xn2Cs35K80NmAoRMgCp0WeadwJvLMSP1C96Lynxkjh7ajBx8rNF7raonS7g8/s320/reddragon2.jpg" width="320" /></a></div>Baffled by a lack of evidence, the FBI's single, solitary clue is that the Tooth Fairy's killings coincide with the full moon, giving them only three weeks to catch him before the next full moon. Despite some initial reluctance, Graham agrees to help Crawford, promising Molly that he'll only look at evidence and not get deeply involved. With the prospect of a third family's death weighing on his conscience, Graham inevitably becomes deeply involved, but comes to realize that if he is to catch the Tooth Fairy before he kills again, he must seek advice from Hannibal Lecter one last time.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp5BG-XHyjhO464-ZUu_zSIYkPa5kS9oLru9nocyj-lcRFqvQEqRt4oGUMWj3kFjDazid-Hp28k591AqWhFIkFuaKJ2_HPUueMzA_PRZUbgx5-UwxDnLB2jUUd77N0oTXPL8wfFNjBakc/s1600/reddragon4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp5BG-XHyjhO464-ZUu_zSIYkPa5kS9oLru9nocyj-lcRFqvQEqRt4oGUMWj3kFjDazid-Hp28k591AqWhFIkFuaKJ2_HPUueMzA_PRZUbgx5-UwxDnLB2jUUd77N0oTXPL8wfFNjBakc/s320/reddragon4.png" width="320" /></a></div><strong>REVIEW</strong><br />
The only horror film to win Best Picture, <em>The Silence of The Lambs</em> is an iconic classic, the perfect blend of crime procedural, horror slasher and psychological character study. Everything about it works; the acting, especially Anthony Hopkins and Jodie Foster's Oscar-winning performances, are outstanding, Jonatham Demme's direction is perfectly gothic and atmospheric and Ted Tally's script is tightly wound and executed to perfection. It's rare for a film to be flawless and <em>The Silence of The Lambs</em> is in that class of filmmaking.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwHd_hyphenhyphenBSlLmqwZUpZHe5XpKxUD6Zv6TjVF_269dNwL3kDUE2gGKO6TIn34gxTopV0UmTEXFhfeN4qyxF-s409wsnmOD7cxSgWXFaP6wNuIiTgeTG0WyjA_fJayqboVGsACY1DvSWm8YU/s1600/screenshot3ms0.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="119" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwHd_hyphenhyphenBSlLmqwZUpZHe5XpKxUD6Zv6TjVF_269dNwL3kDUE2gGKO6TIn34gxTopV0UmTEXFhfeN4qyxF-s409wsnmOD7cxSgWXFaP6wNuIiTgeTG0WyjA_fJayqboVGsACY1DvSWm8YU/s320/screenshot3ms0.png" width="320" /></a></div>Interestingly enough, <em>The Silence of The Lambs</em> is not the film that introduced Hannibal Lecter to the world; that honor goes to <em>Manhunter</em>, a Dino De Laurentiis production from 1986, predating Demme's film by five years. In comparison to the world of <em>The Silence of The Lambs</em>, <em>Manhunter</em> exists in an entirely different universe. Michael Mann gives the film a bizarre, almost dreamlike style, favoring haunting, coldblooded visuals over Jonathan Demme's gothic atmosphere, while Anthony Hopkins' Hannibal Lecter is predated by the deranged Hannibal Lecktor, played by Brian Cox.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-5sZpXkxj6-cdApX2mxN2B5aSPXSrH857RDZsgO249Ie54PpvRKe2vKg58Wp5sCNFRmjRY0pZBzlNZR8XumUbdpzRVLunkaZ0yE5ftlJCZlUOzH3RHxjv5q7_OvB6B5WZuhkDrKJYgNE/s1600/124557gs3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-5sZpXkxj6-cdApX2mxN2B5aSPXSrH857RDZsgO249Ie54PpvRKe2vKg58Wp5sCNFRmjRY0pZBzlNZR8XumUbdpzRVLunkaZ0yE5ftlJCZlUOzH3RHxjv5q7_OvB6B5WZuhkDrKJYgNE/s320/124557gs3.png" width="320" /></a></div>Why do I bring up <em>Manhunter</em>? Because both that film and this film are based off Thomas Harris' novel <em>Red Dragon</em>, which was the very first Hannibal Lecter story; both films follow renowned FBI criminal profiler Will Graham coming out to retirement to catch the Tooth Fairy and seek advice from Hannibal Lecter. For the most part, <em>Manhunter </em>and <em>Red Dragon</em> are very similar films, featuring the same plot points, characters and setups. So why redo this story? The answer is Dino De Laurentiis; despite dreadful reviews, Ridley Scott's <em>Hannibal</em> was a huge box office hit and, with <em>Manhunter</em> having been mostly forgotten by 2002, De Laurentiis decided to take another swipe at the original Lecter story.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4PKhqo5lu5B2A2u8ffQlj2mwPMgFwE96YkhQLHSMM_ffqtPXlEeCBa7HdbtGHlLIE4hTjMYoB16zcKaazQdaq0HRoEAMoaN_2UPzV2rL91K4IPcrReGlJOXH4r7oySFtN84pDtjChn4Q/s1600/RedDragon2002m-HD-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4PKhqo5lu5B2A2u8ffQlj2mwPMgFwE96YkhQLHSMM_ffqtPXlEeCBa7HdbtGHlLIE4hTjMYoB16zcKaazQdaq0HRoEAMoaN_2UPzV2rL91K4IPcrReGlJOXH4r7oySFtN84pDtjChn4Q/s320/RedDragon2002m-HD-1.jpg" width="320" /></a></div>Given the impressive cast and crew assembled for this, there's a lot to be hopeful about and with good reason; <em>Red Dragon</em> is a worthy addition to Hannibal Lecter's film resume. Though he may seem lightweight compared to his predecessors, Ratner gives <em>Red Dragon</em> a brisk pacing that keeps the story going and the audience intrigued. His visuals are in all fairness workmanlike, lacking any real visual panache; that's not to say it's poorly directed but in comparison to Michael Mann and Jonathan Demme, Brett Ratner's take on Hannibal The Cannibal is visually less striking, even forgettable most of the time. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQJrJmTJ0Tq1z3BdTMfIR10FYu124GcxS1_FqdqHTynXnURLXZLMgOYpkz6YvVqz1-1FwqTvYmTGGipRvI3-vGJrDFFaYJISK4vAogH5jexY4k0MfFzCMZSGsDCx_wOQ2KKk5oyuCvtt4/s1600/reddragon5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQJrJmTJ0Tq1z3BdTMfIR10FYu124GcxS1_FqdqHTynXnURLXZLMgOYpkz6YvVqz1-1FwqTvYmTGGipRvI3-vGJrDFFaYJISK4vAogH5jexY4k0MfFzCMZSGsDCx_wOQ2KKk5oyuCvtt4/s320/reddragon5.png" width="320" /></a></div>Though the visuals are shabby, <em>Red Dragon</em> does win points for storytelling; Ted Tally's script is really the backbone of this film. In contrast to Michael Mann's script for <em>Manhunter</em>, Tally manages to get the story moving quicker while still covering a lot of the same territory. Furthermore, Hannibal Lecter is wisely given more to do here and the Tooth Fairy is better integrated into the story. It's also a delight to see Hannibal before his capture (with a ponytail, no less) and to finally witness the Lecter/Graham confrontation only hinted at in <em>Manhunter</em>. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4PGEcxTVumR34zvMjr1vxnqJq4pmuOMo_Uo1kusm6aKaakyQzutaWzp3UwS13C8PuoPjQOASz_l_dKi4asuL3XUaBDSMqxiiTHmLfQeSKQtY2zDU1Nw6l7lZoMVT2O1L6WsqRM18WMic/s1600/15525298QTl.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4PGEcxTVumR34zvMjr1vxnqJq4pmuOMo_Uo1kusm6aKaakyQzutaWzp3UwS13C8PuoPjQOASz_l_dKi4asuL3XUaBDSMqxiiTHmLfQeSKQtY2zDU1Nw6l7lZoMVT2O1L6WsqRM18WMic/s320/15525298QTl.jpg" width="320" /></a></div>Unfortunately, Tally's script isn't flawless and although the plot holes are few and far between, they're big, glaring holes, all of which deal with the character of Will Graham. Though I can't speak for the way Graham is presented in Harris' novel, Michael Mann's film presents him as a troublesome figure; whereas we feared Clarice Starling's lack of experience would cause her to make a mistake that would get her killed, we fear Will Graham's extensive experience has made him unstable and dangerous; in <em>Red Dragon</em>, Graham lacks any edge to his personality and seems to have no psychological trauma whatsoever. So when Tally tells us that Graham spent time in a mental hospital and is a monster like Hannibal, it doesn't jive at all. In addition, this Will Graham rarely comes off as the resourceful criminal profiler of Mann's film; he has to rely on Hannibal far more for clues and when he actually busts Hannibal in the opening scenes, it looks like he got lucky rather than smart.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYjmX-ZP52X2oVoHknFmWIl9kabqZIFGRk1nUSZLyusj5_xD9AzY9iELvXzVtJQDgEeS7GW__Kob6RYc2qBpkqk2q_Tse-dL4Dv6ywqPkYlceUHqhKf8BmNVr8r33TyOpU17DH_5wrUjQ/s1600/reddragon1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYjmX-ZP52X2oVoHknFmWIl9kabqZIFGRk1nUSZLyusj5_xD9AzY9iELvXzVtJQDgEeS7GW__Kob6RYc2qBpkqk2q_Tse-dL4Dv6ywqPkYlceUHqhKf8BmNVr8r33TyOpU17DH_5wrUjQ/s320/reddragon1.jpg" width="320" /></a></div>I've always liked Edward Norton, but his Will Graham leaves something to be desired. In <em>Manhunter</em>, William Petersen conveyed Graham's psychological torment and reluctance to return to the force, but also presented Graham as selfless and heroic. Norton is certainly likeable as Graham and conveys his humanity very well, but he's just not interesting to watch; he seems bored most of the time and lacks the intensity necessary for this character, not mention that he looks too young to be a seasoned criminal profiler. Furthermore, Norton has no edge to his personality here and never once do you question his mental state. It doesn't help that he's saying and doing much of the same things Petersen did in <em>Manhunter</em> and by comparison, Norton is a dull, lifeless presence for most of the film.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJbbO8ym_IcW63TSaZW_emdgyxnbPPh55-N1RvxC70kIE_cILl2AayxxwIWG_PNjIlpcZxv0JVDkXIPVhTx5lL6_ROKmxBgTXtIJWqQm81fFtsEtSDrOyKfSOVZJI5GQaBe_-KgfMahww/s1600/rddrgn8.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJbbO8ym_IcW63TSaZW_emdgyxnbPPh55-N1RvxC70kIE_cILl2AayxxwIWG_PNjIlpcZxv0JVDkXIPVhTx5lL6_ROKmxBgTXtIJWqQm81fFtsEtSDrOyKfSOVZJI5GQaBe_-KgfMahww/s320/rddrgn8.png" width="320" /></a></div>Fortunately, Norton's co-stars step up to the plate in a big way. Following a rather unimpressive performance in <em>Hannibal</em>, Anthony Hopkins redeems himself with a performance closer in spirit to the one that won him the Oscar. Harvey Keitel is commanding and enjoyable as Jack Crawford, though I personally prefer his predecessors Dennis Farina and Scott Glenn. Philip Seymour Hoffman is appropriately sleazy as tabloid journalist Freddie Lounds, despite awkwardly stumbling through his dialogue. Emily Watson lives up to Joan Allen's portrayal of Reba McClane, but gets more time to develop the character as well. Special mention goes to Anthony Heald, returning to play the sinister Frederick Chilton, and Frankie Faison, back for a third time as Barney Matthews and the fourth time overall (he played Lieutenant Fisk in <em>Manhunter</em>).<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbUWJ615a4rpicPcN-nxBZt91ID7vFeFvATdbnGtCV03_h30OF-6xZ1svwYueBA1TWpznjpxe1lEl16-PVMUdx6uMb2N4VQMwP0r33jdQ0hJE1RyEq3uXeWpddt0hwlx2Kw28KVacORyM/s1600/reddragon3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbUWJ615a4rpicPcN-nxBZt91ID7vFeFvATdbnGtCV03_h30OF-6xZ1svwYueBA1TWpznjpxe1lEl16-PVMUdx6uMb2N4VQMwP0r33jdQ0hJE1RyEq3uXeWpddt0hwlx2Kw28KVacORyM/s320/reddragon3.png" width="320" /></a></div>Then there's Ralph Fiennes, a rather unusual choice for the role of Francis Dollarhyde. Aside from his role as Amon Goeth in <em>Schindler's List</em>, Fiennes was known at the time for doing talky character dramas like <em>The English Patient</em>, which <em>Seinfeld</em> made fun of to great effect. As Dollarhyde, Fiennes crafts a more sympathetic version than Tom Noonan; this Dollarhyde is tormented and struggles with his murderous impulses, especially in a well-crafted attic scene where Dollarhyde refuses to kill Reba. Though effective as a sympathetic villain, Fiennes is lacking any real menace or intensity, especially in comparison to Tom Noonan, whose Francis Dollarhyde was a fucking nightmare come to life.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheroqp6n9r9d-ON75w79MdlIoHw7j-aPaRQTMaYfQ58J1TIi2ub4ZpK-DS1sjNsl5vsOzkegGykasJpky5qdWA9pbzgHN9P9lv5IMxT_5ybsLdTckHHKK9XgOAxyh_WzsA-qMStASP2pg/s1600/reddragon3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheroqp6n9r9d-ON75w79MdlIoHw7j-aPaRQTMaYfQ58J1TIi2ub4ZpK-DS1sjNsl5vsOzkegGykasJpky5qdWA9pbzgHN9P9lv5IMxT_5ybsLdTckHHKK9XgOAxyh_WzsA-qMStASP2pg/s320/reddragon3.jpg" width="320" /></a></div>Looking at this as an adaptation of a book, how close does <em>Red Dragon</em> the movie come to <em>Red Dragon</em> the book? All in all, it's a pretty close adaptation, certainly more so than <em>Manhunter</em>, though I would say <em>Manhunter</em> is the better film. It doesn't help that Ratner reminds me of that by throwing in visual callbacks to both the original film and <em>The Silence of The Lambs</em>; sure it's the same story, but that doesn't mean the filmmakers have to remind me by showing Lecter in the mask or having a flaming body in a wheelchair. Fortunately, Ratner and Tally throw in new twists, some from the novel and some original; the best of these being the final confrontation between Graham and Dollarhyde, in which Graham finally shows why he's so renowned by the FBI; it's easily the most tense scene in the whole movie and makes sitting through the whole movie worth it, though the final moment with Hannibal and Chilton is needlessly tacked on.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgShrSxuKSnIRrMsHVi2z89V8ilrwnAyOS_3KA0TyyotCvydiqmj3_tCaFW04V5GkyT2_eqKvvLSdqeL3EaBc_KkcVCuE7Pbo8WbH4AydZDNEyFiTzBryfzaRUVPX1vgC2K9E8PZXMwf9g/s1600/red-dragon-original.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgShrSxuKSnIRrMsHVi2z89V8ilrwnAyOS_3KA0TyyotCvydiqmj3_tCaFW04V5GkyT2_eqKvvLSdqeL3EaBc_KkcVCuE7Pbo8WbH4AydZDNEyFiTzBryfzaRUVPX1vgC2K9E8PZXMwf9g/s320/red-dragon-original.jpg" width="320" /></a></div>I'll admit I was skeptical coming into this one; <em>Hannibal</em> had killed all momentum this series had going for it, <em>Manhunter</em> had done this story perfectly well and while I like Ratner, I knew he wouldn't make a film on the same level as Michael Mann, let alone Jonathan Demme. Overall, I'm pleasantly surprised with <em>Red Dragon</em>, thanks primarily to a rock solid script by Ted Tally, brisk pacing and the wonderful supporting cast, with Hopkins giving it his all in his last performance as Hannibal The Cannibal. While it has its story flaws and suffers from a weak lead in Norton and a non-frightening villain, in this day and age where remakes are tossed out willy nilly with little to no attention paid to quality control, it's nice to see a remake that actually tries and, by and large, lives up to its predecessor. <strong>3.5 out of 5 Stars</strong>.<br />
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Next Up: October 27th: Howling IV: The Original Nightmare (1988)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-6566844113300792342011-10-26T01:29:00.000-07:002011-10-26T01:30:39.683-07:00October 24th: The Return of Dracula (1958)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlzhEV4RkIT5evziT30JEnbkX6boH25HVQsphHE50FpOaRE6CT3aYOIbTrfjTFaNqkPfOVEmZYotzhyjh18fKvPOPNw-5HPAxyhVWi4uMbarNoqYEAqsmGx5v5kzIUJkObFQLB5RFpa_4/s1600/235544_1020_A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlzhEV4RkIT5evziT30JEnbkX6boH25HVQsphHE50FpOaRE6CT3aYOIbTrfjTFaNqkPfOVEmZYotzhyjh18fKvPOPNw-5HPAxyhVWi4uMbarNoqYEAqsmGx5v5kzIUJkObFQLB5RFpa_4/s320/235544_1020_A.jpg" width="207" /></a></div><strong>PLOT</strong><br />
In Transylvania, modern-day vampire hunter John Merriman (John E. Wengraf) brings a priest and a group of hired men to a local graveyard to help him destroy the legendary Count Dracula (Francis Lederer). But when Merriman's men open Dracula's crypt, they are stunned to find the coffin empty, unaware that Dracula has fled Transylvania and is now traveling by train to a ship that will take him to America.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdQZJulgJX2y4LW7g8eqKq4Py7Dg2cihlsuu_2JMA7eYxT86Op5U18g7IjlCUVT33UZng0MlnA9B4zOgb_L_rzpGA-SUQspA60f0__6_jVbPH_GmVzKTVPri9HpYgJ5ni4NW2VTtP7yYw/s1600/The-Return-of-Dracula-1958-003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdQZJulgJX2y4LW7g8eqKq4Py7Dg2cihlsuu_2JMA7eYxT86Op5U18g7IjlCUVT33UZng0MlnA9B4zOgb_L_rzpGA-SUQspA60f0__6_jVbPH_GmVzKTVPri9HpYgJ5ni4NW2VTtP7yYw/s320/The-Return-of-Dracula-1958-003.jpg" width="320" /></a></div>En route, Dracula shares a cab with Bellack Gordal (Norbert Schiller), a painter who is moving to the small town of Carleton, California, to live with his distant relatives. Killing Bellack, Dracula takes his place and arrives in Carleton, where he is greeted by Bellack's cousin Cora Mayberry (Greta Granstedt), her son Mickey (Jimmy Baird) and her daughter Rachel (Norma Eberhardt).<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlK2hhUA_YCvFbHiVeZKZV5F7AoBQpbNhYUTDIua6Ny_vUHSACrjUg4hc_Esgv8g2evLIB-cdg1AfMunTdK7eBehjdVfHcFPXEj071NFhbCslYglGBnOQcWqYCP8F4CSJZIA2FZ7eGFc8/s1600/returnofdracula_notinphoto.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlK2hhUA_YCvFbHiVeZKZV5F7AoBQpbNhYUTDIua6Ny_vUHSACrjUg4hc_Esgv8g2evLIB-cdg1AfMunTdK7eBehjdVfHcFPXEj071NFhbCslYglGBnOQcWqYCP8F4CSJZIA2FZ7eGFc8/s320/returnofdracula_notinphoto.jpg" width="320" /></a></div>Passing off as Bellack easily, Dracula becomes enamored with Rachel, who tries her best to connect with him and help him adjust to American life, inviting him to costume parties and to visit Jennie Blake (Virginia Vincent), a blind girl Rachel looks after. Intent on making America his domain, Dracula seduces Rachel and Jenny to be his bride, unaware that Merriman is in America looking for him and that Rachel's boyfriend Tim Hansen (Ray Stricklyn) is growing suspicious of cousin Bellack.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicdjOtCAvLtE89aJkqdWbCX73rfDDgXmQFLgZfJf1xJcBvDPxJGjS_nvJrk-ev2SPPhW2WFDwWIYVcU2DeJlwMFUHU9LNyou6Ut3ysa8rEMBmuYe7Eip_ydCjW8DuzrYwcd7GN8mYABP0/s1600/RDrac8.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicdjOtCAvLtE89aJkqdWbCX73rfDDgXmQFLgZfJf1xJcBvDPxJGjS_nvJrk-ev2SPPhW2WFDwWIYVcU2DeJlwMFUHU9LNyou6Ut3ysa8rEMBmuYe7Eip_ydCjW8DuzrYwcd7GN8mYABP0/s320/RDrac8.JPG" width="320" /></a></div><strong>REVIEW</strong><br />
In the realm of horror icons, none stand as tall as Dracula; they call him the Prince of Darkness for a reason. Since his creation in 1897 and throughout the several dozen film, TV and stage productions (Dracula has appeared onscreen more times than any character except Sherlock Holmes), Dracula has become more than just a horror villain; he's truly become one of the greatest literary creations of all time.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhDAA0nLnFGTqdTcdOxjCwf3LbSUWlbtDWUzNG4HHG7f2e7fnSSDj2yw8T-VtSJ46EPS9QS3GPQunsGl7ix8UOaO-jPN5Oq0t8JP_XhV3MjAePgmgWNV1L0dZ0ylK5hfSjWLrdie_NIP4/s1600/RDrac2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhDAA0nLnFGTqdTcdOxjCwf3LbSUWlbtDWUzNG4HHG7f2e7fnSSDj2yw8T-VtSJ46EPS9QS3GPQunsGl7ix8UOaO-jPN5Oq0t8JP_XhV3MjAePgmgWNV1L0dZ0ylK5hfSjWLrdie_NIP4/s320/RDrac2.JPG" width="320" /></a></div>But even great literary icons need to be spruced up for different generations. By 1958, the Universal era of horror was over and Dracula was no longer feared by children, let alone adults. In the atomic age of the 1950s, when audiences had to fear such destructive, larger-than-life monsters as The Thing From Another World, The Body Snatchers, The 50 Foot Woman, and Godzilla, Dracula seemed tame, perhaps even quaint in comparison and in desperate need of reinvention.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZI_sRgvHUfwE7dNiQfvFB3K5quxcmlUX6Hkc4hKHtSrB_OazGx9iAMBIhNMhjQhutprdyu3yTQy3TGIBT3SADHk1nqnE8Y8bpxM9qJSjBs3aNiUSqIlL35BiKv9MsZe1f_Q_NrXs1PTo/s1600/RDrac9.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZI_sRgvHUfwE7dNiQfvFB3K5quxcmlUX6Hkc4hKHtSrB_OazGx9iAMBIhNMhjQhutprdyu3yTQy3TGIBT3SADHk1nqnE8Y8bpxM9qJSjBs3aNiUSqIlL35BiKv9MsZe1f_Q_NrXs1PTo/s320/RDrac9.JPG" width="320" /></a></div>Directed by TV director Paul Landres from a script by Pat Fielder, <em>The Return of Dracula</em> was the last in a quartet of '50s horror/science-fiction films produced by Gramercy Pictures, the others being <em>The Vampire</em>, <em>The Monster That Challenged The World</em> and <em>The Flame Barrier</em>, all of which were either directed by Landres or written by Fielder. Recognizing that Bram Stoker's creation needed to be revamped for the modern age, Landres and Fielder decided to literally bring Dracula to present day America, as a way to distant themselves from what Tod Browning and Bela Lugosi created in 1931.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3jkEixUb2GTkfCnkf7gR88fsKtihgd2pNycW487uy-ZFKeNco-LF-s4CtN4Jo8QwbcZlay4J51R1tpBQp-NsQSLkTOhyphenhyphene6QyVgI1I6-s8wYKoV4P6Ld0mKhQbCtKinxOKgy9dOczsmvA/s1600/The-Return-of-Dracula-1958-013.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3jkEixUb2GTkfCnkf7gR88fsKtihgd2pNycW487uy-ZFKeNco-LF-s4CtN4Jo8QwbcZlay4J51R1tpBQp-NsQSLkTOhyphenhyphene6QyVgI1I6-s8wYKoV4P6Ld0mKhQbCtKinxOKgy9dOczsmvA/s320/The-Return-of-Dracula-1958-013.jpg" width="320" /></a></div>Never heard of <em>The Return of Dracula</em>? Despite the hopes the film would reignite Dracula for modern audiences, it's been largely forgotten by the public; only die-hard fans of vampire films remember the film, which plays more as a supernatural thriller than a straightforward horror film, with Dracula spending more time psychologically taunting people than biting them. The result is a mixed blessing; it's unique and different from any other Dracula film out there, but is sorely lackluster when it comes time to be a horror film.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6JMrdYh03tfHWT3A-i1EdjGQxawmz5PiMauqzlQyqmO744wMqu1Q_KBVa8k4mpjw55IKkAOX6ewsOjQRcGPs1LTTy8LW_PndWefJ50zMDCRzfeV4nt2Beq-ik0kNrNjlj2dJZjmD696g/s1600/The-Return-of-Dracula-1958-017.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6JMrdYh03tfHWT3A-i1EdjGQxawmz5PiMauqzlQyqmO744wMqu1Q_KBVa8k4mpjw55IKkAOX6ewsOjQRcGPs1LTTy8LW_PndWefJ50zMDCRzfeV4nt2Beq-ik0kNrNjlj2dJZjmD696g/s320/The-Return-of-Dracula-1958-017.jpg" width="320" /></a></div>Much of the problem comes down to the California setting; for one, it doesn't make much sense for Dracula to establish himself in a small town; you'd think he'd go to a big city like Los Angeles, New York or Chicago. The more important problem is that Dracula doesn't fit in a modern day setting. Dracula belongs in 19th Century Europe, with fog-enshrouded forests, dusty old castles and gothic cathedrals. To be fair, the filmmakers avoid the stereotypes of the '50s culture; nevertheless, Carleton, California lacks the gothic atmosphere of Transylvania.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl0CIWTggk2gP_dKThK0brImbSpEkRvb9PmEY2OZiVzjtrFfyR4hyphenhyphenDDIrbVBVzcDEe3-h2LHvDQXicgZbNT0xCwv7f_0hcepNcxAo3mBt69TzClpTUXMlXnk1dvS5eohIYwxjbqhxFA3M/s1600/The-Return-of-Dracula-1958-011.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl0CIWTggk2gP_dKThK0brImbSpEkRvb9PmEY2OZiVzjtrFfyR4hyphenhyphenDDIrbVBVzcDEe3-h2LHvDQXicgZbNT0xCwv7f_0hcepNcxAo3mBt69TzClpTUXMlXnk1dvS5eohIYwxjbqhxFA3M/s320/The-Return-of-Dracula-1958-011.jpg" width="320" /></a></div>Though the 1950s weren't exactly known for gruesome, sexually charged horror films, I was expecting <em>The Return of Dracula</em> to push the envelope a bit and was surprised to see it play relatively safe. True, it has some icky moments from time to time; a character gets his throat ripped out by a vampire in wolf form and there's a closeup shot of Merriman driving a stake through a vampire's heart in color. Most of the deaths, however, occur offscreen or lack any real blood. Dracula himself, in the tradition of Bela Lugosi's version, lacks fangs and never bites anyone onscreen.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgwMuxXTp0jJXBh3czO4kbeqT8pu2jsslfVgs3To3g9Dj-2HRz9iDCp_9D9u-G0YqvbOOLoGfXeamdLL6yU99fizP-acx08t7z-PZjhPUTQ8VrNxpPFdmEjO9qL6Kld1h9KRGuNCYsK2Q/s1600/returnofdracula2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgwMuxXTp0jJXBh3czO4kbeqT8pu2jsslfVgs3To3g9Dj-2HRz9iDCp_9D9u-G0YqvbOOLoGfXeamdLL6yU99fizP-acx08t7z-PZjhPUTQ8VrNxpPFdmEjO9qL6Kld1h9KRGuNCYsK2Q/s320/returnofdracula2.jpg" width="320" /></a></div>That being said, Landres and Fielder are following a different film pattern. In this case, Fielder's script is based off of Alfred Hitchcock's first masterpiece,<em> Shadow of A Doubt</em>. In that film, an older relative comes to stay with his niece and her family, but as time goes on the niece starts to figure out that her beloved relative is a coldblooded monster<em>. The Return of Dracula </em>is clearly inspired by Hitchcock's film noir classic and while the horror elements are lacking, these suspense moments are surprisingly effective; Dracula's psychological games with Rachel are fun to watch and, more so than in many other Dracula films, the filmmakers have captured the sense of fear Dracula exudes very well.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6qEv_WfeKYumb0WDu-hfY8USMqzZzwAYV90OjOu8RW2wzgJ1NRyoDuRmvr9zp_LGwGwnP_Ls14daasfnKeuGfGwum-WVhE90G74645HQ7jFRk-2ukQvbOqqOenp1yyxXbrbbiHI2xjRk/s1600/RDrac7.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6qEv_WfeKYumb0WDu-hfY8USMqzZzwAYV90OjOu8RW2wzgJ1NRyoDuRmvr9zp_LGwGwnP_Ls14daasfnKeuGfGwum-WVhE90G74645HQ7jFRk-2ukQvbOqqOenp1yyxXbrbbiHI2xjRk/s320/RDrac7.JPG" width="320" /></a></div>That air of fear is aided immensely by the presence of a likeable female lead in Norma Eberhardt, whose Rachel Mayberry is this film's version of Mina Murray. More so than any of her family, it is Rachel who seems most excited for cousin Bellack's arrival; whereas Cora respects Bellack's odd behavior and Mickey seems none the wiser, Rachel tries to form a relationship with Dracula. Their bond takes a twisted turn when Rachel learns of her cousin's true nature; she revolts in horror, wears a crucifix necklace and is the only family member to fight back. It's great to see an actual character story arc in the movie, given that the other characters are generic stock characters that, despite being well-acted, do nothing memorable or interesting.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFfQx9p6sDDJdc0A63LMB_Bp3WTljQNXpnVYpBGGWO_ipf16NpHqwCdusFjOG16niyEQ0LYOgbNnNjurm5P-KnjCIWMpBTiNl4Yp9PXHhtCuOUSlseWNXAR5tYTn9cT1YKLSIIbtgl_HA/s1600/the-return-of-dracula-original.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFfQx9p6sDDJdc0A63LMB_Bp3WTljQNXpnVYpBGGWO_ipf16NpHqwCdusFjOG16niyEQ0LYOgbNnNjurm5P-KnjCIWMpBTiNl4Yp9PXHhtCuOUSlseWNXAR5tYTn9cT1YKLSIIbtgl_HA/s320/the-return-of-dracula-original.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">The casting of Francis Lederer as Dracula is an odd touch; in his late '50s at the time, Lederer gives Dracula a weight of age not seen in most Draculas, which is a nice touch. Though lacking the foreign aristocracy I associate with the character, Lederer's Dracula is appropriately foreign in personality and is a smooth talker, seducing characters as easily as he frightens them. That being said, this Dracula just isn't very menacing; he lacks any real intensity and fury behind his mask of cool swagger. It's a decent version of the character and if you like your Dracula suave and charming in the vein of Bela Lugosi, you'll find something to love about Lederer in this film. For those who want Dracula to be vicious and nasty, Lederer will leave you a bit disappointed.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj8IeuqqpIUCfTK7OxbqKyOMBlSYrNUt5DWA1o5szCC9-LYn-ZExbLbTMKeQ5s_gH4pNBgQAbznoBzzOQiLO-B3tixSKhUA27YIFaSmInZnd6zdVRy97L-KkzEPsAoFYdxJkmX4Vg1bqY/s1600/The-Return-of-Dracula-1958-007.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj8IeuqqpIUCfTK7OxbqKyOMBlSYrNUt5DWA1o5szCC9-LYn-ZExbLbTMKeQ5s_gH4pNBgQAbznoBzzOQiLO-B3tixSKhUA27YIFaSmInZnd6zdVRy97L-KkzEPsAoFYdxJkmX4Vg1bqY/s320/The-Return-of-Dracula-1958-007.jpg" width="320" /></a></div>As far as vampire lore goes, <em>The Return of Dracula</em> features many of the trappings audiences are familiar with; Dracula can turn into mist and animals, he has mind control abilities, fears the cross, and sleeps during the day; Fielder manages to add a few new touches to the mythology, showing Dracula can telepathically communicate with people and mess with their minds, adding to his suave charisma. One curious touch is that Dracula is physically hurt when his bride is staked, something I've never seen in any other Dracula film. Most of what's here is familiar territory, save for a few twists and that nicely sums up this version of the Dracula mythos; it's nothing new on the surface, but there's a small handful of twists and turns taken by the filmmakers that make the film noteworthy.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQDxex8GPYgqPzwB8xFZKpNWLHNSGmn6LqFNap3jrMrijK7iqJX16zftIzB75k7D4Rd0ZksNrKrIKygn6Wxgazj_v98xc5CkoC1tETCQYQq4yegk2N1vIQSZMjEuSfuRLb9Ie0po6yz4g/s1600/returnofdracula1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQDxex8GPYgqPzwB8xFZKpNWLHNSGmn6LqFNap3jrMrijK7iqJX16zftIzB75k7D4Rd0ZksNrKrIKygn6Wxgazj_v98xc5CkoC1tETCQYQq4yegk2N1vIQSZMjEuSfuRLb9Ie0po6yz4g/s320/returnofdracula1.jpg" width="320" /></a></div><em>The Return of Dracula</em> is an interesting take on the Dracula mythos that works in certain ways, but falls way short in others. Released the same year as <em>Horror of Dracula</em>, it's easy to see why this one has been forgotten; <em>Horror of Dracula</em> is a masterpiece, easily one of the best Dracula films ever made. By comparison, the black and white, film noir feel of Landres' film doesn't match up with Terence Fisher's gruesome, technicolor adaptation and let's face it; Francis Lederer falls way short of Christopher Lee's iconic performance, my personal favorite iteration of Dracula. It may be old hat and lacking in the horror department, but if you've seen all the classic Dracula films and are looking for the lesser known, b-level films, <em>The Return of Dracula</em> should be on that list. <strong>3 out of 5 Stars</strong>.<br />
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Next Up: October 25th: Red Dragon (2002)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com2tag:blogger.com,1999:blog-3087466692826310326.post-4910234741816242832011-10-25T22:45:00.000-07:002011-10-25T22:45:31.243-07:00October 23rd: Hellraiser Revelations (2011)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-frSf8qv3pyJcHfTVca02lQsUBQR_gfWDpy3WNsHMPm9OC2HA4MFQQWmDm9xdrtfhfaMXiKLHr4c_gMxXnpMhfwOw_nrEI89LnLxIFBfhwPkjD9UjbM91PXk3gzVgjAy2yuHXJHMNNso/s1600/HellraiserRevelations.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-frSf8qv3pyJcHfTVca02lQsUBQR_gfWDpy3WNsHMPm9OC2HA4MFQQWmDm9xdrtfhfaMXiKLHr4c_gMxXnpMhfwOw_nrEI89LnLxIFBfhwPkjD9UjbM91PXk3gzVgjAy2yuHXJHMNNso/s320/HellraiserRevelations.jpg" width="233" /></a></div><strong>PLOT</strong><br />
Bored with life in Los Angeles, Nico Bradley (Jay Gillespie) and his best friend Steven Craven (Nick Eversman) decide to run away and travel to Mexico to drink, party and meet beautiful women. There, the two are approached by a mysterious vagrant (Daniel Buran), who gives them a mysterious puzzle box, telling Nico that the box provides experiences beyond the limits of his concepts of pain and pleasure.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCRYDULU4WAMweOVg17y97FGxOVct2BXrRpNojEjHFnwkdLXMoExIynzpW0Zl3oVT8i8ZFlRZEwTzh5EE_lHKVmIA2gjjhPqxu1QRrFdAJ8X3tR3CVLj1lMGGRYLdZqKbUDQt1WPXAv4c/s1600/hellraiserrevelations2011v2dvdripxvidac3-sic_screen_0.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCRYDULU4WAMweOVg17y97FGxOVct2BXrRpNojEjHFnwkdLXMoExIynzpW0Zl3oVT8i8ZFlRZEwTzh5EE_lHKVmIA2gjjhPqxu1QRrFdAJ8X3tR3CVLj1lMGGRYLdZqKbUDQt1WPXAv4c/s320/hellraiserrevelations2011v2dvdripxvidac3-sic_screen_0.png" width="320" /></a></div>A year later, Nico's parents (Sebastian Roberts and Sanny Van Heteren) meet with Steven's parents (Steven Brand and Devon Sorvari) and Emma (Tracey Fairaway), Steven's sister and Nico's girlfriend, for dinner. Despite Emma's urgings, the families are unwilling to talk about Nico and Steven, who disappeared in Mexico with no trace. Even a private investigator turned up nothing, other than found footage showing Nico and Steven being attacked by Pinhead (Stephan Smith Collins) and the box.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg09D5bSDS-Us6EhMOgLcCJLaN28NxZRasyhfHToVY-HO21nkW9ONO7tyahorXc5KkAt7MJCe9lANAnwPWZUZ0taN87kusVDCl0npqS2ApjJeAmFQqJ86F1ail11nIytFlcesRhButmoDk/s1600/fiar3dgur7lv8w0bn5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg09D5bSDS-Us6EhMOgLcCJLaN28NxZRasyhfHToVY-HO21nkW9ONO7tyahorXc5KkAt7MJCe9lANAnwPWZUZ0taN87kusVDCl0npqS2ApjJeAmFQqJ86F1ail11nIytFlcesRhButmoDk/s320/fiar3dgur7lv8w0bn5.png" width="320" /></a></div>As the families eat in silence, Emma discovers Steven outside, covered in blood and barely alive, claiming that he escaped the Cenobites. But with their cars stolen and the phones dead, the Cravens and the Bradleys soon find themselves faced with Pinhead and his legions, as well as the truth of what really happened to Nico and Steven.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrBptJt3bwqotaHPV-yKEIB6gDCZ00NOb08uYMZrgCj7Nx-RfClbxIm-V0ZCm6K333YkIwhsMrhGjc_p5K5fv7r7aD5RTZigGqvQjFNIj4gkblUxCHHw-z6ScG52YV26C8O02frUb-QOQ/s1600/hellraiser-revelations01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrBptJt3bwqotaHPV-yKEIB6gDCZ00NOb08uYMZrgCj7Nx-RfClbxIm-V0ZCm6K333YkIwhsMrhGjc_p5K5fv7r7aD5RTZigGqvQjFNIj4gkblUxCHHw-z6ScG52YV26C8O02frUb-QOQ/s320/hellraiser-revelations01.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
When it was released in 1987, Clive Barker's <em>Hellraiser</em> was a gruesome change of pace from the slasher films of the era, which had become increasingly campy and over-the-top by this point. Eschewing the overused "masked killer stalking horny teenagers" storyline, <em>Hellraiser</em> presented a more gothic, old-fashioned story of family tragedy, amplified by shocking gore scenes, implications of such taboo subjects as incest, love affairs and resurrection from beyond the grave and a frightening new icon in Pinhead, The Dark Prince of Pain.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWuCe-94O7ZOCcJuGH2_wg20zdAy7KpP_zidp9EuAgDFOqcKR8C90ihhABU4qjMKmLr0CZ2OpGTpx713sUTSCJPkFAmihw2fbbilFCNt8dcpXuWQUsnaPZHOsuXWwmOX4A4AQZZ94yErg/s1600/db28za4lm8y4z0ec0pfw.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWuCe-94O7ZOCcJuGH2_wg20zdAy7KpP_zidp9EuAgDFOqcKR8C90ihhABU4qjMKmLr0CZ2OpGTpx713sUTSCJPkFAmihw2fbbilFCNt8dcpXuWQUsnaPZHOsuXWwmOX4A4AQZZ94yErg/s320/db28za4lm8y4z0ec0pfw.png" width="320" /></a></div>Today, in 2011, <em>Hellraiser</em> remains a beloved classic of the genre. As for its sequels? Oh boy, here we go. <em>Hellbound: Hellraiser II</em> had many impressive moments, but lacked the tension and character development of its predecessor. <em>Hellraiser III: Hell on Earth</em> turned Pinhead into a Freddy knockoff. <em>Hellraiser Bloodline</em> was a convoluted origin story. <em>Hellraiser Inferno</em> was surprisingly intriguing, but lacked atmosphere and likeable characters. <em>Hellraiser Hellseeker</em> was an abysmal waste of time. Fuck <em>Hellraiser Deader</em>. <em>Hellraiser Hellworld</em> was an insult to moviegoers everywhere. Suffice it to say, things haven't gone well for the Cenobites. So why in god's name do we have <em>Hellraiser Revelations</em>?<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMfvAw0s94XABJRvSemzE8OMYXvNz2zFRDq0h1PCNCXS4uVPSyzQGvuIi4Ny2pFHmJ5emglsVkYV7IMaDHVqqOvhzdn0DqAQ_DxuBMEMDmYj28caALU2HC1uNuG-auG_x1w5wGlSDelvM/s1600/hellraiser-revelations07.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMfvAw0s94XABJRvSemzE8OMYXvNz2zFRDq0h1PCNCXS4uVPSyzQGvuIi4Ny2pFHmJ5emglsVkYV7IMaDHVqqOvhzdn0DqAQ_DxuBMEMDmYj28caALU2HC1uNuG-auG_x1w5wGlSDelvM/s320/hellraiser-revelations07.jpg" width="320" /></a></div>Having had tremendous commercial success with <em>Rob Zombie's Halloween</em>, Bob and Harvey Weinstein announced a remake of <em>Hellraiser </em>in 2007. Three years later, the project seemed dead; Alexandre Bustillo and Julien Maury, the filmmakers behind <em>Inside</em>, and Pascal Laugier of <em>Martyrs </em>fame, abandoned the project over creative differences with Dimension. Though they secured the services of Patrick Lussier and Todd Farmer, the director/writer duo from <em>My Bloody Valentine 3D</em> and <em>Drive Angry </em>(who are now no longer involved), Dimension was at risk of losing the rights to the franchise unless they started production on a new film ASAP and with the remake still in development hell, the decision was made to quickly produce another sequel.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWiM5kN0HSSX5u6YJNTuDyiXclfHXoWKO0hRSSanpKl-jjCmRkbkBZDssuHnCUNlSYDXDejaOMw1bD3q13ZAkfGVr7Y8dao7tCdW5xki0tJQRxtgBB8G07YnlNwNjNI2yRk4bgwBtIYos/s1600/hellraiser-revelations02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWiM5kN0HSSX5u6YJNTuDyiXclfHXoWKO0hRSSanpKl-jjCmRkbkBZDssuHnCUNlSYDXDejaOMw1bD3q13ZAkfGVr7Y8dao7tCdW5xki0tJQRxtgBB8G07YnlNwNjNI2yRk4bgwBtIYos/s320/hellraiser-revelations02.jpg" width="320" /></a></div>To say <em>Hellraiser Revelations</em> was rushed would be a ridiculously humongous understatement. Announced in late August 2010, the film was written, cast and in front of the cameras by early September and wrapped in October, on a budget of $300,000. Yes, I said $300,000. Let's put this in perspective; the original <em>Halloween</em> from 1978, 32 years earlier, cost $20,000 more. Though Rick Bota, director of the last three films, was nowhere to be seen (thank you God), his replacement Victor Garcia, the director of <em>Return To House on Haunted Hill</em> and <em>Mirrors 2</em>, didn't exactly give the fans much hope for something good. Far and away, the biggest sign of trouble came when Pinhead himself, Doug Bradley, announced he would not be returning to the series due to the rushed schedule and tiny budget. It didn't help that Clive Barker recently decried <em>Hellraiser Revelations</em>' claim to be from the mind of Clive Barker, stating it didn't even come from his ass. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVv94r798dw_Fk9YFZX9BOjilS1Knlx8UCWcWEaik_ZY6FaJfKoMqUv40ljpRphjjpdwF4Ha4gZYMWudw0FY9z-6hGLKU17M0zo-IN4gW73lEB2nyjxrNT91XWyysmbz8DEIhD6_4L7KY/s1600/thumbbig-152494.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVv94r798dw_Fk9YFZX9BOjilS1Knlx8UCWcWEaik_ZY6FaJfKoMqUv40ljpRphjjpdwF4Ha4gZYMWudw0FY9z-6hGLKU17M0zo-IN4gW73lEB2nyjxrNT91XWyysmbz8DEIhD6_4L7KY/s320/thumbbig-152494.jpg" width="320" /></a></div>Given these revelations, was there any chance this could be any good? Yes, for there's actually some genuinely good ideas floating around here. The filmmakers avoid tying their film into the convoluted mythology of the series in favor of a standalone film, meaning that they don't have to waste time explaining how their film connects to the original. Many of the visuals of Barker's film make a welcome return, particularly the blue lights and pillars of skin and bones. The basic setup is simple, but maintains the twisted character dynamics of <em>Hellraiser </em>missing in most of the sequels. Furthermore, Pinhead is finally back to his roots as an impartial executioner, giving those who open the box the ultimate experience of pleasure and pain.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFCtgnyGkITyjfRMYq4ttrBU08i31whiL1x0DYJ1kwECO24OebiLwWSiQglDxTtBpH7nX3HezTizTcQsLHfkFxwR27MEp-iY5EovYQMZSsGD8hzlA6nYGGrw35hKXd7_Q640EOOp71NEA/s1600/c9z6W.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFCtgnyGkITyjfRMYq4ttrBU08i31whiL1x0DYJ1kwECO24OebiLwWSiQglDxTtBpH7nX3HezTizTcQsLHfkFxwR27MEp-iY5EovYQMZSsGD8hzlA6nYGGrw35hKXd7_Q640EOOp71NEA/s320/c9z6W.png" width="320" /></a></div>But alas, good ideas don't make a good movie and, though a slight stepup from <em>Hellseeker</em>, <em>Deader </em>and <em>Hellworld</em>, <em>Revelations</em> still ranks as one of the most wretched horror sequels in recent memory. A lot of people share the blame here; Victor Garcia's directing is pretty uninspired and stale, jumping back and forth between the present events and flashbacks at random, even utilizing the popular found footage technique in a few scenes. The film shows its budget with dull lighting, minimal sets and a brief 75-minute running time. The acting? Dear god. I don't say this often, but I hope everyone in this cast either starts taking acting lessons or just stop acting and go do something else with their lives, because they don't even know how to read lines properly.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghvnP7No2SmFFz47mbT_DvFwW846KFbTGq1wftYImIPFQvYqgxclTEJAfmz4PyDL5FAa83RrRQWGUjRcqan_c5WggV2Bd7dbD9e562RA98dl7FVIQLVVAqWHZ7Sq7em1aWfWyX1yYvPiE/s1600/Hellraiser+Revelations+%25282011%2529+DVDRip_AMzingcinema+Screenshot+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghvnP7No2SmFFz47mbT_DvFwW846KFbTGq1wftYImIPFQvYqgxclTEJAfmz4PyDL5FAa83RrRQWGUjRcqan_c5WggV2Bd7dbD9e562RA98dl7FVIQLVVAqWHZ7Sq7em1aWfWyX1yYvPiE/s320/Hellraiser+Revelations+%25282011%2529+DVDRip_AMzingcinema+Screenshot+4.jpg" width="320" /></a></div>That being said, the guiltiest of all is Gary J. Tunnicliffe, who is handling screenwriting duties after doing the special effects for the last five films, including <em>Revelations</em>. It's always a troublesome sign when someone on the technical side of filmmaking gets involved with the creative side and while I can't question Tunnicliffe's love for <em>Hellraiser</em>, I'm sure as hell going to call out his shitty writing. For such a simple premise, Tunnicliffe has way over complicated this by bringing the families of Nico and Steven into the story; he would have served the film much better if it was about Nico and Steven in Mexico, unleashing Pinhead and dealing with the consequences; their families add nothing but baggage to the story. Sure it creates some mystery, but c'mon; I know going into a ninth <em>Hellraiser</em> exactly what happened to Nico and Steven long before Tunnicliffe tells me, not to mention there's no resolution to the tense relationship between hardass Nico and wimpy Steven.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXLWNUxcSHPu1gr-OyUg1Ga1plXFDlnZ1_XkDucZlJLR259OTsY90HfgWOyAJlx_a0IRCer-EKvWAUxL9XnuCbmy3nUm9KffHB81MdBJSKFRtg-ooVgXbwF7jS2KaOJnVPhSnmSPOsqhc/s1600/Hellraiser-Revelations-2011-V2-DVDRip-XviD-AC3-SiC1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXLWNUxcSHPu1gr-OyUg1Ga1plXFDlnZ1_XkDucZlJLR259OTsY90HfgWOyAJlx_a0IRCer-EKvWAUxL9XnuCbmy3nUm9KffHB81MdBJSKFRtg-ooVgXbwF7jS2KaOJnVPhSnmSPOsqhc/s320/Hellraiser-Revelations-2011-V2-DVDRip-XviD-AC3-SiC1.png" width="320" /></a></div>There's also many frustrating loose ends, probably a combination of Tunnicliffe's bad writing and the rushed schedule. Why would Nico and Steven hang out? Nico's a hothead jerk and Steven's a nice guy who Nico uses all the time; while this relationship could work in a movie, the script never explains their friendship. It's awfully coincidental that Emma is Steven's sister AND Nico's girlfriend, to the point that it feels like two characters were combined into one to save money. Why would these families have dinner when they don't even appear to get along? In addition, they never follow up on the private investigator's investigation; in fact, Sarah Craven never tells the Bradleys about the box, the found footage or Pinhead's appearance in the footage; you think she'd take that shit to the FBI instead of leaving it in a duffel bag in Steven's room. In the climax, when it's finally revealed why Nico and Steven left Los Angeles, it was painfully uninspired and cliched, as if <em>Hellraiser</em> was now a soap opera.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZCCZoa-0O8vPyu2vCznzi3kKn4aX-j5YclY1nX2WeGJ74g9MnCHwwiVq6a75bRkKSc_0vjOKf4awknejo9JQPjN-clrHqsOGOgXpcXeaYCpCQHEGMVeQR8m0tgk0HiChtcylnQAgrQPE/s1600/Hellraiser+Revelations+%25282011%2529+DVDRip_AMzingcinema+Screenshot+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZCCZoa-0O8vPyu2vCznzi3kKn4aX-j5YclY1nX2WeGJ74g9MnCHwwiVq6a75bRkKSc_0vjOKf4awknejo9JQPjN-clrHqsOGOgXpcXeaYCpCQHEGMVeQR8m0tgk0HiChtcylnQAgrQPE/s320/Hellraiser+Revelations+%25282011%2529+DVDRip_AMzingcinema+Screenshot+2.jpg" width="320" /></a></div>As for the Cenobites, the <em>Hellraiser</em> sequels have tried their best to create supporting villains as impressive as Butterball, Chatterer and Female Cenobite without much success. <em>Hellraiser Revelations</em> continues that trend; a female Chatterer pops up and while it was nice to see the filmmakers use Chatterer again, this incarnation is barely used. Then there's Pseudo Pinhead. The name and the above picture say it all; in this case, Pseudo Pinhead is a Cenobite who covers his skinned face with pieces of flesh, bit by bit, and allows Pinhead to manually drive pins into his head to hold these pieces of flesh in place. If there was ever a better piece of evidence that <em>Hellraiser</em> has run out of creativity, I'd like to see it and will vehemently challenge it.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFXdcb2ECXpr3n6j3ukzEJxS3r6d_errQmPJstnhs7ldd3FRtIo6eAYXImEBK5ob8UprFTldcF0V-8T6ly5v4LUV5H0Zo0ShHVeb6RhK6Hmu_ZxQOifuN4hZq_9WTwhb4xxV70C6oesX8/s1600/P00D1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFXdcb2ECXpr3n6j3ukzEJxS3r6d_errQmPJstnhs7ldd3FRtIo6eAYXImEBK5ob8UprFTldcF0V-8T6ly5v4LUV5H0Zo0ShHVeb6RhK6Hmu_ZxQOifuN4hZq_9WTwhb4xxV70C6oesX8/s320/P00D1.png" width="320" /></a></div>Then there's Pinhead. Much like Freddy Krueger in the remake of <em>A Nighmare on Elm Street</em>, our beloved Black Pope of Death has been recast to disastrous results. Inspired by Christopher Lee's Dracula, Doug Bradley gave Pinhead a commanding presence, a sinister intelligence and a creepy, iconic voice. Stephan Smith Collins, in addition to falling way short of Doug Bradley, doesn't even do anything new with the character; he's mimicking his predecessor, but lacks any menace or presence. It doesn't help that his facial expressions look goofy and his voice is instantly forgettable. From a script perspective, Pinhead seems more in tone with the original interpretation, yet he breaks the rules in the climax by gleefully slaughtering innocent people for no reason. Pinhead also talks way too much, mindlessly commenting on Emma's dark sexuality and replacing such iconic lines as "we'll tear your soul apart" with "we have a deficit of flesh." Why?<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQtHGqpWCKkHKzlqNGRSiee5ki433omB3F5FZV7-8nTAKLn8i3LGtwQjdFaAlMdG5ZM4tTq7JUYZNlIqkdlDqGhvSqMaPp49HSqeS4N00gP20SqWm-1htMoNIpBPq9zOsmZK_5RFI_ncE/s1600/hellraiser-revelations08.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQtHGqpWCKkHKzlqNGRSiee5ki433omB3F5FZV7-8nTAKLn8i3LGtwQjdFaAlMdG5ZM4tTq7JUYZNlIqkdlDqGhvSqMaPp49HSqeS4N00gP20SqWm-1htMoNIpBPq9zOsmZK_5RFI_ncE/s320/hellraiser-revelations08.jpg" width="320" /></a></div>I feel bad for Clive Barker; it's got to hurt to see his creation fall so incredibly low with such dreck as <em>Hellseeker</em> and <em>Hellworld</em>; don't even get me started on <em>Deader</em>. Given how many strikes were against it, the fact that <em>Hellraiser Revelations</em> isn't the worst of the series is a relief, only because I no longer have to deal with clumsy slow-motion, quick editing and the third act "it was a dream" twist that made me curse the day Rick Bota picked up a camera. Unfortunately, there's not to much to cheer about when you're sixth place in a nine-part franchise that can only boast one good movie. <strong>1 out of 5 Stars</strong>.<br />
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Next Up: October 24th: The Return of Dracula (1958)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-6724592561680627172011-10-23T23:20:00.000-07:002011-10-23T23:20:15.412-07:00October 22nd: American Psycho (2000)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAd6ma06djvX2NAkFiQu1CmT4PRg88FI2nbvFLM_heqquO17I35h1KWw3o99zFntd25BhLDzQN5BgyvE2BkSWNfpRLAKwWqA3mzlIiZbA0bcEDs_7eSxRBRxRAMxxSc4tFkuJe7iPzwDY/s1600/american_psycho_ver2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAd6ma06djvX2NAkFiQu1CmT4PRg88FI2nbvFLM_heqquO17I35h1KWw3o99zFntd25BhLDzQN5BgyvE2BkSWNfpRLAKwWqA3mzlIiZbA0bcEDs_7eSxRBRxRAMxxSc4tFkuJe7iPzwDY/s320/american_psycho_ver2.jpg" width="215" /></a></div><strong>PLOT</strong><br />
27-year-old Patrick Bateman (Christian Bale) is a successful Wall Street businessman, working for his father's firm Pierce and Pierce. He spends much of his free time at restaurants and bars with fellow yuppies Timothy Bryce (Justin Theroux), David Van Patten (Bill Sage), and Craig McDermott (Josh Lucas), lives in a luxury apartment, loves '80s pop music and is engaged to socialite Evelyn Williams (Reese Witherspoon), but is more attracted to his comely secretary Jean (Chloe Sevigny).<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRfCmCrmz_9ec1BrE95KLQfyq54Jf7RAHQxTEwJsIVOiqZdauhCTYNlDb8MV11TDcV0Bjy7Kn4e-LUGX3YrXQTmqmAlqJOU0z4DjpEBg3WiGw9vIvNedcybg50CRjYT7SZAd9t1tMzNAs/s1600/American%252520Psycho%2525202000%252520Christian%252520Bale%252520pic%2525201.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRfCmCrmz_9ec1BrE95KLQfyq54Jf7RAHQxTEwJsIVOiqZdauhCTYNlDb8MV11TDcV0Bjy7Kn4e-LUGX3YrXQTmqmAlqJOU0z4DjpEBg3WiGw9vIvNedcybg50CRjYT7SZAd9t1tMzNAs/s320/American%252520Psycho%2525202000%252520Christian%252520Bale%252520pic%2525201.jpg" width="320" /></a></div>Unbeknownst to any, Patrick wrestles with his inner psychopathic impulses, commenting to himself on his utter lack of emotions and his desire to kill, yet he's managed to create a mask of sanity for himself, out of his desire to fit in and succeed. When he is upstaged by co-worker Paul Allen (Jared Leto), who even mistakes him for businessman Marcus Halberstram (Anthony Lemke), Patrick's bloodlust gets the better of him.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKTORhBSKQUg5Jyf2SOH7Zvo-jMHq3xhQozC3OmJqMw0fnKHEc04zsYViVulLyqPwGwcc6fzS1lG2JYfYKvpJIP96HARBO7-uaFo0iLAuMWiUJjHYPQYYD9nI3Ult23Y8uJuBa8gYj8Nw/s1600/63822351.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKTORhBSKQUg5Jyf2SOH7Zvo-jMHq3xhQozC3OmJqMw0fnKHEc04zsYViVulLyqPwGwcc6fzS1lG2JYfYKvpJIP96HARBO7-uaFo0iLAuMWiUJjHYPQYYD9nI3Ult23Y8uJuBa8gYj8Nw/s320/63822351.png" width="320" /></a></div>Killing Paul to the tune of Huey Lewis and The News' "Hip To Be Square," Patrick painstakingly covers his tracks, but is repeatedly questioned by Detective Donald Kimball (Willem Dafoe). Growing paranoid and realizing that his sanity is slipping away, Patrick's psychosis takes hold; targeting the homeless, hookers, supermodels, strangers, and even those closest to him, Patrick murders and rapes his away through victim after victim, all the while struggling to deal with the guilt.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRDVmM9ylT7VRbjRtestz0Ibll_6wuzmULRhQLi1hP1Zhmyl5Rwv1f8rLHoGOr0L-JS1rdjDmWS952uiqmlCstHv4RD3g4CnlOb9oTnH3TWxgWDG3ZAF6Xau0BBUdDvA-9dBXXsAqZnkE/s1600/American%252520Psycho%2525202000%252520Christian%252520Bale%252520pic%2525204.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRDVmM9ylT7VRbjRtestz0Ibll_6wuzmULRhQLi1hP1Zhmyl5Rwv1f8rLHoGOr0L-JS1rdjDmWS952uiqmlCstHv4RD3g4CnlOb9oTnH3TWxgWDG3ZAF6Xau0BBUdDvA-9dBXXsAqZnkE/s320/American%252520Psycho%2525202000%252520Christian%252520Bale%252520pic%2525204.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
Since the release of John McNaughton's <em>Henry: Portrait of A Serial Killer </em>and Michael Mann's <em>Manhunter</em> and the unparalleled success of Jonathan Demme's <em>The Silence of The Lambs</em>, horror fans have discovered a new subgenre; the serial killer profile film. Sitting somewhere between slasher films and character dramas, these movies allow audiences to delve into the minds of flesh and blood killers and learn what drives them to kill.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1t-6ipEwkxgXrppbrhVIQbbczHiqrgeSTIl5rZbCUcSr7M_wNF6P6LNEQhOPc3cRrNzxD075yl_1imXBJtZ0bOoO6zPjAU6A3Bz51Bds4YIp8nLVbpnFrjdHX9uqo7BKx_zRSDwEUtJI/s1600/34-American_Psycho_jpg_627x1000_q85.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1t-6ipEwkxgXrppbrhVIQbbczHiqrgeSTIl5rZbCUcSr7M_wNF6P6LNEQhOPc3cRrNzxD075yl_1imXBJtZ0bOoO6zPjAU6A3Bz51Bds4YIp8nLVbpnFrjdHX9uqo7BKx_zRSDwEUtJI/s320/34-American_Psycho_jpg_627x1000_q85.jpg" width="320" /></a></div>Released in 2000, <em>American Psycho</em> remains one of the most controversial serial killer films. Based off Bret Easton Ellis' 1991 novel of the same name, <em>American Psycho</em>, in book and film form, generated immense controversy due to its graphic depictions of violence and sexual content. Bateman engages in sadomasochistic sexual fantasies, brutally tortures beautiful women, casually speaks of his interests in murderers like Ted Bundy and Ed Gein, and even claims to eat his victim's body parts.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtSpFNA31Er4LB2tu8RRfw63UDkQHH18ptBKCptx4CNEWvWQQm2ZDQY1BRV7Ss0sc1ykKbjR3YxbX_C79sup2geXhSDXLE9fQuNtHuh5zeeXoFntJLLWg8QBvac7KxMM9jlRS-RIBBZpc/s1600/untitled3to8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtSpFNA31Er4LB2tu8RRfw63UDkQHH18ptBKCptx4CNEWvWQQm2ZDQY1BRV7Ss0sc1ykKbjR3YxbX_C79sup2geXhSDXLE9fQuNtHuh5zeeXoFntJLLWg8QBvac7KxMM9jlRS-RIBBZpc/s320/untitled3to8.jpg" width="320" /></a></div>On the other hand, <em>American Psycho</em> polarized audiences and critics; some claimed it to be a chilling horror masterpiece, while others decried it as pretentious, arthouse exploitation. Personally, I would pinpoint the satirical elements as what divides people. The driving motivation here is to poke fun at the yuppie, survival of the fittest culture of the '80s by casting the killer in that mold; Bateman wears the finest suits, snorts coke in bathrooms, has menage a trois with hookers, watches TV at work, and is all around a pompous, egotistical jerk.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSL_w3T3NnEWCaHAeEBNeCyjv8eYwxW5CjJhopmaqipSoMlrgLn5bJbLUnkF1BOq1Pv7xvfiLwMi2X-hG4yT5DjmkgAOPuMxVo4kSB4pxu182eNEF53EKapofJkw1Lq3Qua-D1Rf7SbIs/s1600/nej6lg.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSL_w3T3NnEWCaHAeEBNeCyjv8eYwxW5CjJhopmaqipSoMlrgLn5bJbLUnkF1BOq1Pv7xvfiLwMi2X-hG4yT5DjmkgAOPuMxVo4kSB4pxu182eNEF53EKapofJkw1Lq3Qua-D1Rf7SbIs/s320/nej6lg.png" width="320" /></a></div>I can't speak for Ellis' novel, but I have seen Mary Harron's film version and can say that, while the satire gave me enough chuckles and WTFs to be entertaining, it distracts from the story of Bateman's gradual mental breakdown. I can respect the intentions, but I'm intrigued by watching Patrick develop his mask of sanity and have it crumble all around him, not listening to him ramble on about the joys of Phil Collins and Whitney Houston songs; these moments snap me out of the film and remind me that the filmmakers are having fun with their splatter.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCrjkVC5F5Ph_MypZsLgz5Cq4y8_EWYler9VnkNJJFy2mfAjCNleQsKkC-2fYV4cz2iTXwkR1Va7N2y3pk5PHk8ondh-8Npcou6lkkOVqK0EkJLc-FSq8H-g4KkSG1tUllTKYwIh7caAE/s1600/untitled11jh5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCrjkVC5F5Ph_MypZsLgz5Cq4y8_EWYler9VnkNJJFy2mfAjCNleQsKkC-2fYV4cz2iTXwkR1Va7N2y3pk5PHk8ondh-8Npcou6lkkOVqK0EkJLc-FSq8H-g4KkSG1tUllTKYwIh7caAE/s320/untitled11jh5.jpg" width="320" /></a></div>There's nothing wrong with horror comedy, but I do have a problem when I feel like the movie I'm watching is repeatedly slapping me upside the head with its jokes, just in case I'm too stupid to get it. Now not all the satire sticks out needlessly, but what does is frustrating. Did we need to go into detail about Patrick's regular sex life? Does he really need a fiancee, a couple mistresses <em>and</em> a potential love interest? Is any important information derived from learning of Patrick's daily cleansing routine? I can accept these extraneous things in books, but movies need to be more streamlined.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8yQ6d4QB2Mha4g1QDe6m3zEUHhyZNX4cfrOt0C-P2RNsGTzjiWcgio-hYlm9E8427M6IzjNH75rEhHsg3QQhJ_ptDg6l5x1O2LNphgnTkY3mYE1eFfCwmeUbti0_L6gm5yXYyO8-k65g/s1600/untitled12tb0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8yQ6d4QB2Mha4g1QDe6m3zEUHhyZNX4cfrOt0C-P2RNsGTzjiWcgio-hYlm9E8427M6IzjNH75rEhHsg3QQhJ_ptDg6l5x1O2LNphgnTkY3mYE1eFfCwmeUbti0_L6gm5yXYyO8-k65g/s320/untitled12tb0.jpg" width="320" /></a></div>According to my research, Harron stuck very close to Ellis' novel, even using the exact same dialogue for the most part. That's really where <em>American Psycho</em> struggles; the filmmakers' decision to adapt the novel verbatim hurts the film; the dialogue feels stilted and overly written, never sounding like something real people would say at random. I can respect the desire to be faithful to your source material, but books and films are two completely different mediums and you have to be willing to make necessary changes to make that book work as a movie. Can you imagine what <em>Jaws</em> would've been like if Spielberg kept Peter Benchley's subplots of Ellen and Hooper having sex and Mayor Vaughn owing money to the Mafia? <em>American Psycho</em>'s biggest flaw is that very problem.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUP1i4D8SoyxVgoK6vAVAweuxSpmFXzdODZcIt_ucMj1Z1d1NqDG-TCwKRkM_sMDWLfxUIff8RuhX4tuZbeNzkC5rQk5E15rzAgUQbvyyih_uWTZJxv0VbxdPz52_FC1jyJJrMhWPDChg/s1600/1118608141.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUP1i4D8SoyxVgoK6vAVAweuxSpmFXzdODZcIt_ucMj1Z1d1NqDG-TCwKRkM_sMDWLfxUIff8RuhX4tuZbeNzkC5rQk5E15rzAgUQbvyyih_uWTZJxv0VbxdPz52_FC1jyJJrMhWPDChg/s320/1118608141.jpg" width="320" /></a></div>While Harron's writing leaves something to be desired, her skills as a director are thankfully quite better. This film is visually stunning and surreal and really succeeds in putting you in the mind of a killer. The opening credits are crazy weird, the sex scenes are off-kilter in the best way possible, the closeups heighten the growing tension, and the scenes of horror and murder are appropriately gothic and creepy. In addition, Harron's visuals are perfectly complimented by Gideon Ponte's production design; not only does this look like the time period it's set in, but the sets are gorgeous and eye-catching. Her script may be overstuffed, but the production values are incredibly sleek.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifgFaAR4izW9qB8uqHX6oTjvd_Tr2kBnaeIwyaw1a3awgzfgwfQcei-S6Yw49bUc22LHABsYBchz0tiXfaml7vhA9F8QXlkH8wIlPfw9pjslB5KEfmvEIA0FizsgEvO8gNbD1LZV0Daiw/s1600/3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifgFaAR4izW9qB8uqHX6oTjvd_Tr2kBnaeIwyaw1a3awgzfgwfQcei-S6Yw49bUc22LHABsYBchz0tiXfaml7vhA9F8QXlkH8wIlPfw9pjslB5KEfmvEIA0FizsgEvO8gNbD1LZV0Daiw/s320/3.png" width="320" /></a></div>My particular favorite scenes in <em>American Psycho</em> are the scenes of horror; this is, after all, a horror movie and I'm here to see Patrick Bateman rip people to shreds rather than shake his hips to Huey Lewis and The News. Bateman chops people up with axes, shoots random strangers, kicks animals to death, keeps severed heads in refrigerators, and in the film's best scene, puts a chainsaw to good use. Must've been that clip from <em>The Texas Chainsaw Massacre</em> on his TV that inspired him; while Patrick is creepy throughout the whole film, his actions are every bit as important as his words in showing just how demented he is.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjenY5woYdu6iI6ef4rWR8wC-I7-xLUFCzMdTV7IBw7taLDWhMuQsJe1zMlJ252pUvTcxU13mYYDErdJcd_WTZfDI3tbw1QkP7KdKNqtUrE7OyDY9Ch1NsYUA5E5eRdF3chvVnMW8zhMhs/s1600/untitled10zj3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjenY5woYdu6iI6ef4rWR8wC-I7-xLUFCzMdTV7IBw7taLDWhMuQsJe1zMlJ252pUvTcxU13mYYDErdJcd_WTZfDI3tbw1QkP7KdKNqtUrE7OyDY9Ch1NsYUA5E5eRdF3chvVnMW8zhMhs/s320/untitled10zj3.jpg" width="320" /></a></div><em>American Psycho</em> might not be a great movie, but it does have a great villain in Patrick Bateman, thanks to Christian Bale's performance, which I must say is perhaps the only reason to see this film. Best known at the time for acting in Steven Spielberg's <em>Empire of The Sun</em> when he was 13 years old, Bale took a massive risk taking on this role; Johnny Depp, Brad Pitt, Edward Norton, and Leonardo DiCaprio all passed on playing such a deranged, violent character, fearful it would hurt their careers. Fearlessly committing himself to the part, Bale showcases his chameleon-esque ability to step into a role and completely disappear into it; even when saying the stilted dialogue, Bale never loses his credibility as Patrick Bateman; in fact, the cast and crew assumed he was American throughout the entire shoot; it wasn't until the wrap party when he started speaking in his natural Welsh accent. When you can even fool the people working with you on the movie, that's a true sign of a great actor.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4WUSsFIP6iF88BjVSnsghmGHNVyHjcL5B0hnJehim0lvcsEY6R-XtEsMg56SUls4gbxLBcohNZooe6hepuE4QgotqyafWp6T0tHiOQqTWPs7JHi5bKnwlX6hNq5lqzqURGp4Dm8AK2ZU/s1600/vlcsnap-15899965.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4WUSsFIP6iF88BjVSnsghmGHNVyHjcL5B0hnJehim0lvcsEY6R-XtEsMg56SUls4gbxLBcohNZooe6hepuE4QgotqyafWp6T0tHiOQqTWPs7JHi5bKnwlX6hNq5lqzqURGp4Dm8AK2ZU/s320/vlcsnap-15899965.png" width="320" /></a></div>The supporting cast is effective in their own right, the highlights being Chloe Sevigny as Patrick's secretary Jean, Willem Dafoe as Detective Kimball and Reese Witherspoon as Patrick's fiancee Evelyn. While everyone is clearly playing second fiddle to Christian Bale, it's a testament to their skills that every one onscreen has great chemistry with Bale; Sevigny creates a sympathetic character out of just a few scenes and convinces you she's the one person Patrick might actually care for, Dafoe has great fun teasing Bateman and making him sweat and it's nice to see Reese Witherspoon not so sugary sweet and cheerful for a change.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4AMnAv1v98b2ZNQt4tLkzHO53v7yCt810hiOdg2qfgh0jpc7uErRqBrRhFLnHxnCptdoNTr-2Zt3T4Xsg02t7o8FqHkBNM0Ta8zmyqVopKaZ3x9WEWm5S3CNH_PY_c_EYaPNWsmdd-Kc/s1600/vlcsnap-15902905.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4AMnAv1v98b2ZNQt4tLkzHO53v7yCt810hiOdg2qfgh0jpc7uErRqBrRhFLnHxnCptdoNTr-2Zt3T4Xsg02t7o8FqHkBNM0Ta8zmyqVopKaZ3x9WEWm5S3CNH_PY_c_EYaPNWsmdd-Kc/s320/vlcsnap-15902905.png" width="320" /></a></div><em>American Psycho</em> is a difficult film to comprehend and critique. From a technical standpoint, the film is visually captivating, the moments of horror and violence are brutal, realistic and genuinely creepy, the humor, for the most part, is irresistibly funny and this cast is fantastic, especially Bale, whose performance as Patrick Bateman rivals his later work as Dicky Eklund and Batman. That being said, I can't help but feel that the story leaves me cold. Bateman's growing madness is underwritten and rushed, there's too many secondary characters running around with no payoff, the satirical elements feel forced and distracting, and the ambivalent ending comes out of nowhere. It might be a touch overrated, but it's got more flair, style and palpable tension than most horror films made this past decade. <strong>3.5 out of 5 Stars</strong>.<br />
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Next Up: October 23rd: Hellraiser Revelations (2011)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-82312178074197936132011-10-23T13:16:00.000-07:002011-10-23T13:16:12.837-07:00October 21st: Howling III: The Marsupials (1987)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDhkfvI_0n_q8ym710MvgMjfgvo2axHyfJe1Qs52UqBI0BU8KJFvFFD6VMsX6k09U80pk8vv-9k4fEBB-JYpV_-GiGPfGjQe7CSUXoZByPLa7FzLFcX7QOmUk3w-gG5NR1Kw0cPk2X_yo/s1600/howling3-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDhkfvI_0n_q8ym710MvgMjfgvo2axHyfJe1Qs52UqBI0BU8KJFvFFD6VMsX6k09U80pk8vv-9k4fEBB-JYpV_-GiGPfGjQe7CSUXoZByPLa7FzLFcX7QOmUk3w-gG5NR1Kw0cPk2X_yo/s320/howling3-1.jpg" width="247" /></a></div><strong>PLOT</strong><br />
When three villagers turn up dead in the town of Leovich in Siberia, Russia, the National Intelligence Agency in Russia declares that the murders were committed by Werewolves. The President of The United States (Michael Pate) brings Harry Beckmeyer (Barry Otto), a sociology professor at the University of San Andreas, and his old friend Professor Sharp (Ralph Cotterill) to Washington to help explain the Russian's claims that Werewolves exist.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5b5aNZpT7lepoiQHKZssgMWILbrqvolbJ9X1pvkijEPPPNDlHsyRL2YQZeNKLwhTunroIDZlguXnygRD8er4Ksu09AkgAD_eWsX7UAJGU1OerIcCaNAfrG4tSEhPreTaCoBc6IRYIpHg/s1600/Kendi_Howling_III.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5b5aNZpT7lepoiQHKZssgMWILbrqvolbJ9X1pvkijEPPPNDlHsyRL2YQZeNKLwhTunroIDZlguXnygRD8er4Ksu09AkgAD_eWsX7UAJGU1OerIcCaNAfrG4tSEhPreTaCoBc6IRYIpHg/s320/Kendi_Howling_III.jpg" width="320" /></a></div>In Australia, Werewolf Girl Jerboa (Imogen Annesley) runs away from her abusive tribe and makes her way to Sydney, where Donny Martin (Leigh Biolos) gets her a role in Jack Citron's (Frank Thring) new movie, <em>Shape Shifters Part 8</em>. Donny and Jerboa fall in love, but when Jerboa is rushed to the hospital after a car accident, her true nature is discovered and Beckmeyer and Sharp are brought in to study her.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuHHcrWlyXBkBSfkmFPxzxfLC4xxMLDkO_h1KArx5i0_fL8XSOfJ2wlaHc0DipBNJEsaz_Fs5GEESgTOVONiorO7nfm-y9OZlPVExyxK4NJi5oQls7Eu5LIo1Fn1H1BNXfZF6eN5ZNTZo/s1600/howling31.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuHHcrWlyXBkBSfkmFPxzxfLC4xxMLDkO_h1KArx5i0_fL8XSOfJ2wlaHc0DipBNJEsaz_Fs5GEESgTOVONiorO7nfm-y9OZlPVExyxK4NJi5oQls7Eu5LIo1Fn1H1BNXfZF6eN5ZNTZo/s320/howling31.jpg" width="320" /></a></div>Since his grandfather captured a female Werewolf on tape in Australia in 1905, Beckmeyer has long been fascinated with Werewolves and, learning that Jeroba's tribe is descended from the long-extinct Tasmanian Wolf, intends to perform experiments on these Werewolves, particularly cruel tribal leader Thylo (Max Fairchild) and Russian Ballerina Olga Gorki (Dasha Blahova), while the leaders of the world, acting on the Vatican's declaration of all Werewolves being inherently evil, unleash a plan to exterminate all Werewolves.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrZGz_oFLHy8slBdZUjHNDNfSPZ2EOd9Ik8U48dUyT83N420EO7kxzmGpFarb7IaVgT6uy6Wgq2JtJCPsC_oKcnC46Ya7VSZkSaP5jIRTf7gh4Oa3UWwHaI14kQieVYYXHtcv_Sp1MMoU/s1600/howlingIII-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrZGz_oFLHy8slBdZUjHNDNfSPZ2EOd9Ik8U48dUyT83N420EO7kxzmGpFarb7IaVgT6uy6Wgq2JtJCPsC_oKcnC46Ya7VSZkSaP5jIRTf7gh4Oa3UWwHaI14kQieVYYXHtcv_Sp1MMoU/s320/howlingIII-3.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
Yep, it's time to delve back into the world of <em>The Howling</em>. Where we last left off, I had just survived the horrors of <em>Howling II: Your Sister Is A Werewolf</em>, a film so wretched even Christopher Lee and Sybil Danning's breasts couldn't salvage it. I won't go into detail about that film again (I prefer not to relive that experience, thank you), but it was a world-shattering disaster of epic proportions. And that's putting it nicely.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB_KTLSRFFlCwj7SD2QuodvDMkd-lZIs_zsynKTbTw6mApeUQZP7skOgfZQ861-_kEvHhmflJ_Vw3MolWc5wEkGxqaOmB-XUNzBVpHiUFza1o79JPORjfLVznw_TfFQZrferB9_9z3TFs/s1600/phpIY3Q9wAM.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB_KTLSRFFlCwj7SD2QuodvDMkd-lZIs_zsynKTbTw6mApeUQZP7skOgfZQ861-_kEvHhmflJ_Vw3MolWc5wEkGxqaOmB-XUNzBVpHiUFza1o79JPORjfLVznw_TfFQZrferB9_9z3TFs/s1600/phpIY3Q9wAM.jpg" /></a></div>The only thing more shocking than <em>Howling II </em>is that, a mere two years later, Philippe Mora, back in the director's chair in addition to handling the screenwriting duties, gave horror fans <em>Howling III: The Marsupials</em>. Why, in the name of all that is good and decent in this world, would anyone want to kick this dead, rotting horse again? Or more importantly, what could Mora possibly do with the storyline post-Stirba, Werewolf Bitch?<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_sMSZ30vGQm-TgB59jPdVMko2dgmM8qaJOEWyY8VQGPqr0izGN6BmJQFvKBqb4ceWT2dMLmSonyLR9o3oLc8DFP0wN6C5vGqk8N4MXMld23sco9gn5o1bg6WfI5nBhGsarWAWURJhzCA/s1600/howling33.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_sMSZ30vGQm-TgB59jPdVMko2dgmM8qaJOEWyY8VQGPqr0izGN6BmJQFvKBqb4ceWT2dMLmSonyLR9o3oLc8DFP0wN6C5vGqk8N4MXMld23sco9gn5o1bg6WfI5nBhGsarWAWURJhzCA/s320/howling33.jpg" width="320" /></a></div>The latter will never be answered, because <em>Howling III </em>is a sequel in name only. Other than the title and being about Werewolves, this film has no connection to its predecessors. That's right; two movies in, the series gets unnecessarily rebooted. Considering what <em>Howling II</em> established, that's actually a good thing. By ignoring all that ludicrous Stirba bullshit, Mora has wiped the slate clean for a return to what Joe Dante created in 1981. Unfortunately, <em>Howling III</em> is everything but a worthy sequel. In fact, it's even worse than that last debacle I sat through. Oh boy, here we go again.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi53k2s574VzNq4GKz0cxOSTiyIvNOVU8oohfuFQ12OKn1SrNtBJpPZndgUJ_I9AI05pJ0LD5BMrQLdLTxUs7kRJY8TMf4MT_-TeZPE5IMCgby6R4y3FTIcZEP2qwYc_uCst6Og1UJ6tZo/s1600/movie_124-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi53k2s574VzNq4GKz0cxOSTiyIvNOVU8oohfuFQ12OKn1SrNtBJpPZndgUJ_I9AI05pJ0LD5BMrQLdLTxUs7kRJY8TMf4MT_-TeZPE5IMCgby6R4y3FTIcZEP2qwYc_uCst6Og1UJ6tZo/s320/movie_124-2.jpg" width="320" /></a></div>How could this possibly be worse? Let's start with the production values; dear god. As much as I hate <em>Howling II</em>, I wouldn't say it was poorly made. Other than those nonsensical transitions, <em>Howling II</em> was at least well-made from a technical standpoint. To be fair, I was impressed <em>Howling III</em> was shot on location in Australia, but Mora never takes advantage of this gorgeous setting. Nothing about the locations makes you feel like you're in Australia; this could have been set anywhere and it wouldn't have made any difference. When we're on sets, everything looks cheap and quickly thrown together. According to my research, this was made for $1,000,000; I've seen dozens of well-made, sophisticated films made on a fraction of that budget.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcSQdgiKr1ESadPy-vksxFJNGIcGtay2fSKiQan3lPmOUY4Oi20bXgtZ3fecm6W1h298o-ibqa0bMIXn_yUSuatvRKIcC1fMMIpFW8N7xbjYGoSM0TPiy4lzlvRq8YMMv6sQ2xEzt1-_8/s1600/howlingIII-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcSQdgiKr1ESadPy-vksxFJNGIcGtay2fSKiQan3lPmOUY4Oi20bXgtZ3fecm6W1h298o-ibqa0bMIXn_yUSuatvRKIcC1fMMIpFW8N7xbjYGoSM0TPiy4lzlvRq8YMMv6sQ2xEzt1-_8/s320/howlingIII-1.jpg" width="320" /></a></div>Mora's a terrible director, but his directing is Oscar-worthy compared to his writing. These various storylines are loosely connected in the worst possible ways. We start with Russian werewolves, only to drop them in favor of the Australian variety. Sure there's Olga, but she had no part in those earlier attacks; it's a mere coincidence that she's Russian AND living in Australia. Thylo brings Olga to his clan, but there's no discernible reason why Thylo needed to hook up with an outsider. Why does the President of the United States need a sociology professor to tell him about Werewolves? America hated Russia in the '80s; why would he take such a ridiculous claim seriously, only to then quickly dismiss Beckmeyer's theories on Werewolves and send him packing to Australia? Why would Jeroba, a real-life Werewolf trying to hide from her sisters, make a high-profile horror movie about Werewolves? Only the thinnest of strings are holding this plot together, albeit barely; that string breaks more times than I'd care to remember.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO8srLAvfPm2-WbNjIGRZ9XK_jF4OhG97kdcZkqeOTkIrSFlcAwGDaXayytWC9kQYxB5XjlpAT0GSrjkkzIrpGrINKlPThmrR4GjSedi1qjb6_J2zEdmPTANTZ195hWuedmLi0dWqi3IQ/s1600/howling-3_jerboa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO8srLAvfPm2-WbNjIGRZ9XK_jF4OhG97kdcZkqeOTkIrSFlcAwGDaXayytWC9kQYxB5XjlpAT0GSrjkkzIrpGrINKlPThmrR4GjSedi1qjb6_J2zEdmPTANTZ195hWuedmLi0dWqi3IQ/s320/howling-3_jerboa.jpg" width="320" /></a></div><em>Howling II</em> had a horrid cast, but it was amusing, out of context, to see Dracula and Captain America fighting Werewolves; <em>Howling III</em> doesn't even have that cheese value in its cast. Let's start with Imogen Annesley; apparently, the filmmakers considered casting Nicole Kidman, who at the time was just another struggling actress. I'm not her biggest fan, but Kidman as an Australian Werewolf would've at least got a chuckle out of me. Annesley does nothing but deliver her lines with no emotion and try to look exotic, but I don't find her anywhere near as stunning as everyone in the film thinks she is. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz7cRuTH4OqP-PueJNd1f7ivyRmo-A93M8NhZEF2jiXImdplth1NeriG2dgSR0wrZgEWk_6f6sAAHM78lt4B0IQvAeUdaiNpfCD1d0rs21LK66Tt79go-Kx1AmhZ5cmRUaJzGrF1nBZiI/s1600/British_Guys.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz7cRuTH4OqP-PueJNd1f7ivyRmo-A93M8NhZEF2jiXImdplth1NeriG2dgSR0wrZgEWk_6f6sAAHM78lt4B0IQvAeUdaiNpfCD1d0rs21LK66Tt79go-Kx1AmhZ5cmRUaJzGrF1nBZiI/s320/British_Guys.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">Barry Otto is a four-time AFI (Australian Film Institute) Award nominee for his works in films like <em>Strictly Ballroom</em>,<em> Bliss </em>and <em>Cosi</em>. Other than <em>Howling III</em>, I only know him as Frank Castle's cohort Shake in <em>The Punisher</em> with Dolph Lundgren. Well, everyone's allowed a bad performance here and there, because Otto gives just that; what's frustrating is that it feels like Otto could've been in that "so bad, he's good" level of acting, but he restrains himself too much here. Given his character's storyline, Otto needed to be more of the mad scientist, rather than mild-mannered hippie. Everyone else will be leaving this movie off their resume; Leigh Biolos is a dry love interest for Jerboa, Max Fairchild is unevenly goofy and sinister and Dasha Blahova's facial expressions will make you howl in agony.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzIgQx0MF497pAGhAQh64E_qdWNLv9fvUpkOYV4A4ogVVuV9hbxGsI09CECs48b_Unep8wtyOxDxzsoa2Ly9V4eheCz7KrW5atHXZzzBnVNEiKc3JAUTS66Q7AiUFkA34Gr9WAFozmkbo/s1600/vlcsnap-1445961.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzIgQx0MF497pAGhAQh64E_qdWNLv9fvUpkOYV4A4ogVVuV9hbxGsI09CECs48b_Unep8wtyOxDxzsoa2Ly9V4eheCz7KrW5atHXZzzBnVNEiKc3JAUTS66Q7AiUFkA34Gr9WAFozmkbo/s320/vlcsnap-1445961.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">That being said, I'd like to point out that this is not a straight-faced horror movie. Mora is clearly trying to make a satirical horror film; there's various references to pop culture, Jerboa is acting in a horror movie sequel, she and Donny go to see a Werewolf movie, <em>It Came From Uranus</em>, drag queen Barry Humphries makes a cameo appearance, and when the President learns that Beckmeyer has fallen in love with a Werewolf, he's relieved to hear it's a female Werewolf. Furthermore, I'd like to remind everyone that <em>The Howling</em> satirized self-help gurus and the conventions of Werewolf movies.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWf6rnHwfZXu3AL_DGFOiRVtp0EguN7Bx-zaUPIsS6raWHXV0hgNOuUCsf9UU3_jXLMBHMUzgfGB-l0HQ_5qnjfpjl9JCl7vGrG0Kfsrn1MDrFLuMFskmI-CNx8qYtTyy26VwHTMEGLHQ/s1600/screen_image_350694.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWf6rnHwfZXu3AL_DGFOiRVtp0EguN7Bx-zaUPIsS6raWHXV0hgNOuUCsf9UU3_jXLMBHMUzgfGB-l0HQ_5qnjfpjl9JCl7vGrG0Kfsrn1MDrFLuMFskmI-CNx8qYtTyy26VwHTMEGLHQ/s320/screen_image_350694.jpg" width="320" /></a></div>Where <em>Howling III</em> fails with its satire is in the execution; it's overblown and overtly in your face. John Sayles' satire from the original film was subtle and genuinely funny. I find nothing humorous about the characters watching a movie called <em>It Came From Uranus</em>; it sounds like a <em>Jackass</em> skit. Whereas Sayles worked his satire into the story, Mora just drops the main storyline to be satirical; there's no integration of the horror and the humor here. I will give Mora this, though; I laughed when the President expressed relief that Beckmeyer was dating a female Werewolf. Other than that, none of this satire is even clever, let alone funny.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTMoe-i-jN99kbVqFOqHwR9x-CJu2X8g88yVocfNq3AkRt0Cz6laRZeas-ZPNsYEmo7gBepcvg2lyyRk1OO6UG01eqXOH-k_4lLkj2ZEpO8gIa_8tI61BnQSWUP_IjyfLHdL6G0ZWufiE/s1600/11405450_gal.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTMoe-i-jN99kbVqFOqHwR9x-CJu2X8g88yVocfNq3AkRt0Cz6laRZeas-ZPNsYEmo7gBepcvg2lyyRk1OO6UG01eqXOH-k_4lLkj2ZEpO8gIa_8tI61BnQSWUP_IjyfLHdL6G0ZWufiE/s320/11405450_gal.png" width="320" /></a></div>As for the Werewolf effects, Mora makes those <em>Howling II</em> effects look great by comparison. At least <em>Howling II</em> was smart to keep those shitty rubber things poorly lit; most of these Werewolves are in broad daylight, which only makes it worse. Everything looks horribly rubbery and fake; one Werewolf even looks like its mouth was made out of cardboard. The transformation scenes are ludicrous; you see Werewolves with ridiculously huge snouts and claws, Ballerina Werewolves in Red Tutus, Aboriginal Werewolves in tribal makeup, and Marsupial Werewolves. Yes, I sad Marsupial Werewolves. With pouches. Oh. My. F%$^&$. God.<div class="separator" style="clear: both; text-align: left;"><strong>OVERALL</strong></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuaN7TiWjX8K-d5cISuXn6T4Vto584SC9GSoJIwhxPC2jOUD4bqLTEj7r3bRcK5vxTeKylX3V9H_Mudt8yZnTBuwzJ5FbXOoTns7xBxo87yHVSJuA3Z_tHTTYyg6VOZGgVWugBuciOtDQ/s1600/howling3_shot4l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuaN7TiWjX8K-d5cISuXn6T4Vto584SC9GSoJIwhxPC2jOUD4bqLTEj7r3bRcK5vxTeKylX3V9H_Mudt8yZnTBuwzJ5FbXOoTns7xBxo87yHVSJuA3Z_tHTTYyg6VOZGgVWugBuciOtDQ/s320/howling3_shot4l.jpg" width="320" /></a></div>I think the above picture perfectly captures everything that is wrong with <em>Howling III: The Marsupials</em>. Philippe Mora tried to return to the dark, satirical horror from Joe Dante's film, but replaced the dry wit, snappy dialogue and clever jokes with stupid sight gags, long-winded dialogue scenes and characters who make decisions even characters in <em>Scary Movie</em> would never even think of. I knew this was going to be bad, but at best I hoped for something so outrageously bad it would be amusing; instead, I got something even worse than the last movie that I hated. To quote the very last title card in the credits, Adios Amigos. <strong>0 out of 5 Stars</strong>.<br />
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Next Up: October 22nd: American Psycho (2000)<br />
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</div><div class="separator" style="clear: both; text-align: left;"></div>JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-39252387234884846572011-10-22T17:33:00.000-07:002011-10-22T17:33:26.575-07:00October 20th: The Invisible Man Returns (1940)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLwaciqzLFhSgb9dzFgc6MyfomUFwB2g18xYwAyckwlV6gmA4BPoiDMiF72Z5jCehCK0EuBry6nMpZt_4R2wrubR7Vhw46HycS35mBHFkpZpAMrwdkDv9X8hEvu2Ie1hEeJqSDzv57CWk/s1600/199777_1020_A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLwaciqzLFhSgb9dzFgc6MyfomUFwB2g18xYwAyckwlV6gmA4BPoiDMiF72Z5jCehCK0EuBry6nMpZt_4R2wrubR7Vhw46HycS35mBHFkpZpAMrwdkDv9X8hEvu2Ie1hEeJqSDzv57CWk/s320/199777_1020_A.jpg" width="205" /></a></div><strong>PLOT</strong><br />
Sir Geoffrey Radcliffe (Vincent Price) is to be executed in two hours for the murder of his brother Michael, a crime he did not commit. His fiancee Helen Manson (Nan Grey), his best friend Dr. Frank Griffin (John Sutton) and his cousin Richard Cobb (Sir Cedric Hardwicke) believe he's innocent, but are unable to get a stay of execution.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5zQh66HLw4Zo2XUY8w5IEgo9QMra4MzEdKz7aoTDdwN86XDXyJb_bmULLi9ssg9kNRNQ6eabso3YoD2-d1JP-vvokYv5pEQXmbUMiAPdE9R0MOWO82yFHO28ijzgM50E-gZvBrI9Mxco/s1600/the-invisible-man-returns-02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5zQh66HLw4Zo2XUY8w5IEgo9QMra4MzEdKz7aoTDdwN86XDXyJb_bmULLi9ssg9kNRNQ6eabso3YoD2-d1JP-vvokYv5pEQXmbUMiAPdE9R0MOWO82yFHO28ijzgM50E-gZvBrI9Mxco/s320/the-invisible-man-returns-02.jpg" width="320" /></a></div>Nine years ago, Frank's brother, Dr. Jack Griffin's (Claude Rains) experiments with mystery drug Monocane led to his creation of a drug that, when injected into a human's bloodstream, makes their entire body invisible. Having recreated his brother's formula, Frank visits Geoffrey an hour before his execution and injects him with the Invisibility drug, turning Geoffrey invisible.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCzX_fei7e0_EUBx8mXJDMyWeT-cXDkamnVAm6wvEEGnGLPwjZBSotfsl0o2IL2XCT7yJMwcu97ors0Na-JkXkD6N20aI9MV78oPkArG7124jS0eddBEfY6XOTF_re3_GT2IRQ71aS9y0/s1600/invisibleManReturns-bandaged.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCzX_fei7e0_EUBx8mXJDMyWeT-cXDkamnVAm6wvEEGnGLPwjZBSotfsl0o2IL2XCT7yJMwcu97ors0Na-JkXkD6N20aI9MV78oPkArG7124jS0eddBEfY6XOTF_re3_GT2IRQ71aS9y0/s320/invisibleManReturns-bandaged.jpg" width="320" /></a></div>Now a free man, Geoffrey spends the night with Helen before going out to search for Michael's true killer, while Inspector Sampson of Scotland Yard (Cecil Kellaway) searches the whole country for him. Frank, well aware that the Invisibility drug turned Jack into a deranged, psychotic murderer, works around the clock to find a way to reverse Geoffrey's invisibility, before the Monocane drives him insane as well.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsPNkTupkwcjuKiP9bxSL-pbn6q8xwUiBZe-dUphIXdtQrrVxnMp4uRI4dA2UcGFloO0Ayc7D-weT825R7CI04pBh2g-BHq7ssgCnM4jeiO9mVCvBUvUPXy4nYHjl9xp6Jf3fPTE1MRW0/s1600/the-invisible-man-returns-06-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsPNkTupkwcjuKiP9bxSL-pbn6q8xwUiBZe-dUphIXdtQrrVxnMp4uRI4dA2UcGFloO0Ayc7D-weT825R7CI04pBh2g-BHq7ssgCnM4jeiO9mVCvBUvUPXy4nYHjl9xp6Jf3fPTE1MRW0/s320/the-invisible-man-returns-06-4.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
In the 1930s, Universal Studios was the reigning House of Horrors. With Tod Browning's <em>Dracula</em>, James Whale's <em>Frankenstein</em> and <em>Bride of Frankenstein</em> and Karl Freund's <em>The Mummy</em>, Universal was raking in tremendous profits, reinventing the monsters of classic literature, creating new monsters of their own, and giving audiences nationwide reasons to sleep with the lights on.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_x4B-7Zim3Ev0TmVDXRFBZ8tvpl7zil0nz5vh4jEdsPKOlUSrlx7lxvfOvurT_GcpKE0C5T7HwOxMFALKLTt42vo1QwSgfH9PH3cbNVVTLRidDMUiNMGXiCbGf1MjM0t3KsZseNoPxyE/s1600/invisibleManReturns-hand.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_x4B-7Zim3Ev0TmVDXRFBZ8tvpl7zil0nz5vh4jEdsPKOlUSrlx7lxvfOvurT_GcpKE0C5T7HwOxMFALKLTt42vo1QwSgfH9PH3cbNVVTLRidDMUiNMGXiCbGf1MjM0t3KsZseNoPxyE/s320/invisibleManReturns-hand.jpg" width="320" /></a></div>By the '40s, however, Universal Horrors was starting to wear thin. Films like <em>Gone With The Wind</em> and <em>The Wizard of Oz</em> introduced audiences to technicolor films, making the old black-and-white films look cheap by comparison. Furthermore, Val Lewton had arrived on the scene and, with films like <em>Cat People</em>, <em>The Leopard Man</em> and <em>The Seventh Victim</em>, showed audiences horrors darker and more psychological than anything Universal had produced up to that point.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcM_3687FB3dBhQdZm0va1TOmAAxZ5UkJTFiCAHUglsGbWP0LvnIhz8Y3VUP1hjlbpMgL-WcjlFpTtCk0dlhmH7PGhyRMyhHThR8WyCKSD4scSQ19uUFjSkdzrM59QHgd6of3_g6cPDiQ/s1600/the-invisible-man-returns-13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcM_3687FB3dBhQdZm0va1TOmAAxZ5UkJTFiCAHUglsGbWP0LvnIhz8Y3VUP1hjlbpMgL-WcjlFpTtCk0dlhmH7PGhyRMyhHThR8WyCKSD4scSQ19uUFjSkdzrM59QHgd6of3_g6cPDiQ/s320/the-invisible-man-returns-13.jpg" width="320" /></a></div>In response, the new regime at Universal started producing sequels to their established franchises. Frankenstein's Monster came back to life in <em>Son of Frankenstein</em> and <em>Ghost of Frankenstein</em>, Dracula lived on through his own flesh and blood in <em>Son of Dracula</em>, Kharis carried on in Imhotep's place in four <em>Mummy</em> sequels, and Claude Rains stepped into Lon Chaney Sr.'s shoes as <em>The Phantom of The Opera</em>.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3Mj4PwpIUBLzWTBRDgLqbqmLUCWdlCr4zqCSz6mgCaKUVfQbvg-b1mWT7LpE7XKFUSe9qh4cxQtBhBpTMyY1vegt7CnkMT6qgZwbEOpIWGwRE8MlPzXi9g78asFZY4LMN-E5-r-M26b0/s1600/tumblr_lgmmwylnd21qzr8nao1_500.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3Mj4PwpIUBLzWTBRDgLqbqmLUCWdlCr4zqCSz6mgCaKUVfQbvg-b1mWT7LpE7XKFUSe9qh4cxQtBhBpTMyY1vegt7CnkMT6qgZwbEOpIWGwRE8MlPzXi9g78asFZY4LMN-E5-r-M26b0/s320/tumblr_lgmmwylnd21qzr8nao1_500.png" width="320" /></a></div>In 1940, Universal followed up James Whale's <em>The Invisible Man</em>, one of their most popular films, with <em>The Invisible Man Returns</em>, a loosely connected sequel less interested in seeing a good man's psychological breakdown and more interested in the Invisible Man as anti-hero, setting out to find his brother's murderer(s) and bring them to justice; not exactly a typical horror sequel, but a fairly effective one, though upon closer inspection I feel it could have been a much stronger film.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4o8cpw0R90yEZOjMlOk5KjuB8gz-prEZdWc8Ay98zUde6Bo0mb7iF3fkOvP3OrBVSJ6uO6BjvIrMUL9U8G64Rjkwhu7j4vfK6QGbEfVSMk0SgMGLQKSe-n2-7hpEPHbGsDImMOYjSuZ4/s1600/3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4o8cpw0R90yEZOjMlOk5KjuB8gz-prEZdWc8Ay98zUde6Bo0mb7iF3fkOvP3OrBVSJ6uO6BjvIrMUL9U8G64Rjkwhu7j4vfK6QGbEfVSMk0SgMGLQKSe-n2-7hpEPHbGsDImMOYjSuZ4/s320/3.png" width="320" /></a></div>The best thing <em>The Invisible Man Returns</em> has going for it is its script, writing by Lester Cole, who would go on to become one of the Hollywood Ten in the 1950s, and Curt Siodmak (misspelled in the credits with a K), who would give Universal a new horror icon in <em>The Wolf Man</em> the following year. Recognizing, unintentionally or not, that these Universal horrors were no longer scary, Cole and Siodmak wisely avoid trying to frighten in favor of crafting a fun murder mystery for our Invisible Man to solve.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRhThVjwXK-fKtbZMU9WHJzIH6AbI3Ie3l34NtRp8EYw4hflJhr-GIEmvf71IVSZpITPqLrLkl_z9B1i4_Fj-aaJomd7iSe1L3kAt-GTOmFZZPUewI2yJ_VKV-I6ukHlKso69z5sgF0JQ/s1600/invisiblereturns3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRhThVjwXK-fKtbZMU9WHJzIH6AbI3Ie3l34NtRp8EYw4hflJhr-GIEmvf71IVSZpITPqLrLkl_z9B1i4_Fj-aaJomd7iSe1L3kAt-GTOmFZZPUewI2yJ_VKV-I6ukHlKso69z5sgF0JQ/s320/invisiblereturns3.jpg" width="320" /></a></div>As for our new Invisible Man, there's two clear distinctions between Geoffrey Radcliffe and Jack Griffin. Unlike the original film, we actually get to see Geoffrey coming to terms with his newfound invisibility and we get to actually see his gradual transformation from good man to psychotic, although Geoffrey never becomes as violent as Jack. In fact, the filmmakers make the rather curious decision to portray this Invisible Man not as a monstrous psychotic, but as an anti-hero seeking justice for the real monsters. Though it allows us to sympathize with Geoffrey in a way we couldn't with Jack, it also makes his growing madness less threatening, since it's obvious he'll never become the psychotic his predecessor was. At best, Geoffrey is eccentric and egotistical, but never evil.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYHSelolMJ-EwjCgUEYvbj5VXAgQ10kFN1ENsWjmgkVN6b9DxWQIU2xO9gp4SHScIIkD8Z_RJqXaGHMcnqmeOVZtGPKKpoR_XYRUoDckbUKUwBg6K6O8f00RbiV9fu9VOJO16JNmJiKaI/s1600/invisiblereturns2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYHSelolMJ-EwjCgUEYvbj5VXAgQ10kFN1ENsWjmgkVN6b9DxWQIU2xO9gp4SHScIIkD8Z_RJqXaGHMcnqmeOVZtGPKKpoR_XYRUoDckbUKUwBg6K6O8f00RbiV9fu9VOJO16JNmJiKaI/s320/invisiblereturns2.jpg" width="320" /></a></div>The Invisible Man himself is portrayed by Vincent Price, making his first appearance in a horror film; in the 1950s, Price became the new leading man of Horror, appearing in such classics as <em>House of Wax</em>, <em>The Fly</em>, <em>The House on Haunted Hill</em>, <em>The Pit and The Pendulum</em>, and <em>House of Usher</em>. As Sir Geoffrey Radcliffe, Price manages to showcase his rarely used ability to create sympathy rather than terror. Relying solely on his voice and body language, Price's Invisible Man is a far more tragic figure than the one Claude Rains originated in 1933.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2UwG2GAKvCcxlIaFT5ShhAN_1lglc_rdxE2iD_YuC3Q3a7_vwLaU8H1wLbs3_ISAspxX6TenQPjF3Ptq8g7PP7r87u4GxRe8KSwrxBpo2V-JWakxeSvB3vUajeroWBzOo4MfAHpMorhc/s1600/returns06qh3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2UwG2GAKvCcxlIaFT5ShhAN_1lglc_rdxE2iD_YuC3Q3a7_vwLaU8H1wLbs3_ISAspxX6TenQPjF3Ptq8g7PP7r87u4GxRe8KSwrxBpo2V-JWakxeSvB3vUajeroWBzOo4MfAHpMorhc/s320/returns06qh3.png" width="320" /></a></div>The supporting cast is less impressive; Nan Grey, four years after playing Lili in <em>Dracula's Daughter</em>, plays the requisite love interest adequately, though she's thankfully less clinging than Gloria Stuart from the original film. As Dr. Frank Griffin, John Sutton conveys Griffin's concern for Geoffrey fairly well, but is otherwise bland and forgettable. Sir Cedric Hardwicke, who would go on to play Ludwig Frankenstein in <em>Ghost of Frankenstein</em> two years later, is stuffy and looks uncomfortable for most of the film. On the other hand, Cecil Kellaway is quite fun as Inspector Sampson and, along with Price, livens up this otherwise dull cast of characters. Special mention should also go to Alan Napier, Alfred from the '60s <em>Batman</em> series, in a minor supporting role.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJG7BDGQs82eT8aXVkXgiACwZfR-2DKmpjfKaqBHWoQNMGGqYfkTivEn4hm5BURuyvhpCZ-wa2lZyUp5z5lycBCfTDeQnPMrn8JtlkSoGtLr1_bA2B-ih8PhdmV59-PpxSf7T_0tjulz4/s1600/2z4ikba.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJG7BDGQs82eT8aXVkXgiACwZfR-2DKmpjfKaqBHWoQNMGGqYfkTivEn4hm5BURuyvhpCZ-wa2lZyUp5z5lycBCfTDeQnPMrn8JtlkSoGtLr1_bA2B-ih8PhdmV59-PpxSf7T_0tjulz4/s320/2z4ikba.png" width="320" /></a></div>In addition to punching up the cast, the filmmakers could've made this more dramatically exciting as well. Save for some ego-boosting, Geoffrey never becomes menacing or psychotic; the audience is firmly on his side, never questioning his sanity. Given that is a horror film sequel, it would've been nice to see this character be more complex. We never get to see Geoffrey struggling with his growing insanity nor do we ever feel that he may cross that line and become a monster himself. I get he's not the true villain here and I'm not saying he had to become a murderer, but the script should've allowed him some moral ambiguity. It doesn't help that for much of the film, we know who the real killer is long before we're ever told, making the murder mystery angle obsolete. Instead, we're forced to sit and wait until the final confrontation.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN705SlwiTAvruWOW6okTBQt5JlgNc84NUkGmX4Lj5omIEhJq2YpJ8BCHX4eYlMEK64F-Qt01oLWtssgSCRXGmo0jO0Yl5cmDGGZFxdchTb0sManP10hCrzjo7Y79jVc4zG-3CLodnZJ8/s1600/3011739281_30de261c4e.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN705SlwiTAvruWOW6okTBQt5JlgNc84NUkGmX4Lj5omIEhJq2YpJ8BCHX4eYlMEK64F-Qt01oLWtssgSCRXGmo0jO0Yl5cmDGGZFxdchTb0sManP10hCrzjo7Y79jVc4zG-3CLodnZJ8/s320/3011739281_30de261c4e.jpg" width="320" /></a></div>Technically speaking, director Joe May, having just made <em>The House of The Seven Gables</em>, delivers a perfectly competent film, but his style notably lacks the vigor and energy James Whale brought to the original. The set design is well done, particularly the coal factory used for the climax. The biggest compliment, however, goes to John P. Fulton and his Oscar-nominated special effects. Taking what he had already done in <em>The Invisible Man</em> to new heights, Fulton creates set pieces that, though simple looking today, remain impressive given the era this film was made in, especially the Scarecrow scene.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdQzUEjawCxDWXN_SvjX26jDN2evcz3Q_AVjCGYsIPxccTqT-oh812ZsUgiAA48v7rYoikpo0eIUeQazsJL7gX2BODudsqaHhym64VPR_8VoispPqQQov7pQy3JNnnCH2RE-Y-EThtP98/s1600/invisible-bed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdQzUEjawCxDWXN_SvjX26jDN2evcz3Q_AVjCGYsIPxccTqT-oh812ZsUgiAA48v7rYoikpo0eIUeQazsJL7gX2BODudsqaHhym64VPR_8VoispPqQQov7pQy3JNnnCH2RE-Y-EThtP98/s320/invisible-bed.jpg" width="320" /></a></div>Today, the Universal Horror films are something of an acquired taste; they're harmless, entertaining films lacking in the scares, shocks and gore their modern counterparts have. But for those like me who grew up on a steady diet of Sci-Fi Channel showings of <em>Dracula</em> and <em>Frankenstein Meets The Wolf Man</em>, it's a nostalgic trip back to our childhood. While <em>The Invisible Man Returns</em> wasn't a part of my childhood, I greatly enjoyed revisiting the world of Universal Horror and, despite its flaws, found this to be a classy, entertaining flick that, if nothing else, paved the way for Vincent Price to become the new Godfather of Horror. <strong>3.5 out of 5 Stars</strong>.<br />
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Next Up: October 21st: Howling III: The Marsupials (1987)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-48927555857969773392011-10-21T23:29:00.000-07:002011-10-21T23:29:45.600-07:00October 19th: Puppet Master (1989)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg03Ox4AQcr0wr1Z7kdpTjgr3agxPo8HWZRsNwff3pds1l7BekIsB1cQM6lYR1sooSQNeKJRGW9m_nO3fuIJYSCrbAPrgfHdeV03-eIztrt5FbuMztLLFYxGEv91vseHz-eYX1cFkotPUw/s1600/228026_1020_A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg03Ox4AQcr0wr1Z7kdpTjgr3agxPo8HWZRsNwff3pds1l7BekIsB1cQM6lYR1sooSQNeKJRGW9m_nO3fuIJYSCrbAPrgfHdeV03-eIztrt5FbuMztLLFYxGEv91vseHz-eYX1cFkotPUw/s320/228026_1020_A.jpg" width="200" /></a></div><strong>PLOT</strong><br />
It's 1939; elderly puppeteer Andre Toulon (William Hickey) has created seven living puppets, with Jester (Michael Laide) being the latest. As Andre rests in his room at Bodega Bay Inn in Bodega Bay, California, two Nazi spies (Peter Frankland and Andrew Kimbrough) arrive and are looking for him. Alerted by Blade (Bert Rosario), Andre hides the puppets and kills himself just as the Nazis kick his door down.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_W9gcdblws441hg7TJfWY20TI3ow5MMKyzyTMcpx0rncNXPXKjGzf64M_4l7WDHa0FJLN2yjFx2Xw5nLEogGNVcZnZcPfsSu9837ipLIG0Pd5xPjUr10k_JCA0t6X26hVtpFaVeMZu7k/s1600/mastkykhd_04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_W9gcdblws441hg7TJfWY20TI3ow5MMKyzyTMcpx0rncNXPXKjGzf64M_4l7WDHa0FJLN2yjFx2Xw5nLEogGNVcZnZcPfsSu9837ipLIG0Pd5xPjUr10k_JCA0t6X26hVtpFaVeMZu7k/s320/mastkykhd_04.jpg" width="320" /></a></div>Fifty years later, psychics Alex Whitaker (Paul Le Mat) and Dana Hadley (Irene Miracle) have visions of their own deaths. Alerting fellow psychics Frank Forrester (Matt Roe) and Carissa Stamford (Kathryn O'Reilly), the four travel to Bodega Bay, convinced that the visions are from Neil Gallagher (Jimmie F. Skaggs), a former colleague staying at the Inn.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkn5l4UquUz-skeghRu956DCs2kSlvRD6zuA0aml0P1W5CBHMfoq8R4yPdnwcv1emY8sViGvVEnM9Opk53OqHkQM7_MyUN44fVVEipWPOxOTGnaNVOVx2ub-17Kk831HQ_Dc-oWcf3KYg/s1600/puppet1e.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkn5l4UquUz-skeghRu956DCs2kSlvRD6zuA0aml0P1W5CBHMfoq8R4yPdnwcv1emY8sViGvVEnM9Opk53OqHkQM7_MyUN44fVVEipWPOxOTGnaNVOVx2ub-17Kk831HQ_Dc-oWcf3KYg/s320/puppet1e.JPG" width="320" /></a></div>Upon their arrival, the psychics are informed by Megan Gallagher (Robin Frates), Neil's wife and the Inn Keeper, that Neil committed suicide a few days ago. As the other psychics settle in and being to enjoy themselves, Alex and Megan discover that Blade, Jester and Toulon's other puppets have been revived and are now running amok in the Inn with murderous intent.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhops6OeUxVDbgtmzjubdU8jPc-iowma4ZaAz5Ygf_MA2Tom-WNI-nh2oJEyTuGDlJKn2_RqF9ZdVj_1hy-5FGB4ErKFEd04AgFfZDQj2ct6yEWVDv7YudStftz-niLNX-fuWh0H8F6CDc/s1600/114464_512x288_generated.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhops6OeUxVDbgtmzjubdU8jPc-iowma4ZaAz5Ygf_MA2Tom-WNI-nh2oJEyTuGDlJKn2_RqF9ZdVj_1hy-5FGB4ErKFEd04AgFfZDQj2ct6yEWVDv7YudStftz-niLNX-fuWh0H8F6CDc/s320/114464_512x288_generated.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
Thanks to the success of "Living Doll" and "Dummy," '60s era episodes from <em>The Twilight Zone</em>, and "Amelia," the third segment of Dan Curtis' <em>Trilogy of Terror</em>, the concept of killer dolls/puppets has become a surprisingly popular formula. <em>Magic</em>, <em>Dolly</em> <em>Dearest</em>, <em>Dolls </em>and <em>Demonic Toys</em> all employed killer dolls and puppets as the villains to varying levels of success.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbaE0xM-z3TxjyYnjNWNPjgZ7ryF28ymMPN3fXPJFcii4VQgvqn0-dG1DiHqyWR55zuSPEcrpXyD_QLIpbzeddVSdnDg61hdOqQQe-lxwqxV7zYrdaoynY7Fv35bKYMzulpHtwLOJHdIE/s1600/PM+LEECH.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbaE0xM-z3TxjyYnjNWNPjgZ7ryF28ymMPN3fXPJFcii4VQgvqn0-dG1DiHqyWR55zuSPEcrpXyD_QLIpbzeddVSdnDg61hdOqQQe-lxwqxV7zYrdaoynY7Fv35bKYMzulpHtwLOJHdIE/s320/PM+LEECH.jpg" width="320" /></a></div>When <em>Puppet Master</em> came out in 1989, the killer doll concept had been revived by Tom Holland's <em>Child's Play</em>; a surprise hit at the box office, <em>Child's Play</em> created a new horror icon in the incredibly foul-mouthed Chucky. Recognizing the film's success, Charles Band, producer and founder of Full Moon Productions, jumped on the bandwagon and with director David Schmoeller and co-writer Kenneth J. Hall crafted <em>Puppet Master</em>, which would go on to spawn nine sequels and become Full Moon's most successful property.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX5OKk9vBOMNQx6K3A-SWGXUfSJ-6cUwUWlO9N_kiZ7OaHvzVAXYn7bvThVtemAUOYAvnnDbxwD3ZizxJUP_EdCkIQlmIg1h-mWT2kIwFyzzzB9eJOIkgV9UK9wR3EbPQKQIy__zEjWPc/s1600/pupmaster5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX5OKk9vBOMNQx6K3A-SWGXUfSJ-6cUwUWlO9N_kiZ7OaHvzVAXYn7bvThVtemAUOYAvnnDbxwD3ZizxJUP_EdCkIQlmIg1h-mWT2kIwFyzzzB9eJOIkgV9UK9wR3EbPQKQIy__zEjWPc/s320/pupmaster5.jpg" width="320" /></a></div>Considering those facts, <em>Puppet Master</em> proves just how much studios like Full Moon value box office potential over film quality. Seriously, is this is Charles Band's pride and joy, I'd hate to see what films he's not proud of, because <em>Puppet Master</em> is god awful in every conceivable way; the acting, the writing, the production values, the directing, the dialogue, the characters, the bad accents, the stupid flashbacks, the silly deaths, AM I MAKING MYSELF F&*^$#@ CLEAR!!?!?!?!?<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWWFrrEZd-Zfs-7to9IToK1dSpIoNDXUpqTT4bkqHK4sJicaZEQ-tC0YrakpGTp-RUtvAfGyLWTsZMgGNn4nsRqwVlMw1hLoGdWDlpqKzJo3QOVKKOwEKY9rtXOnts89t__FcMqzNne4A/s1600/puppetmaster2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWWFrrEZd-Zfs-7to9IToK1dSpIoNDXUpqTT4bkqHK4sJicaZEQ-tC0YrakpGTp-RUtvAfGyLWTsZMgGNn4nsRqwVlMw1hLoGdWDlpqKzJo3QOVKKOwEKY9rtXOnts89t__FcMqzNne4A/s320/puppetmaster2.jpg" width="320" /></a></div>Alright, let's start the script, which is the crux of any good film. We start off in 1939, with Andre Toulon and the puppets. How the hell did Toulon bring them to life? It's never even brought up for discussion; they're alive and that's all there is to it. Now I'm not one who needs everything explained to me; I tend to prefer ambiguity in horror films, but the fact the filmmakers aren't even bothered to drop some hints as to how or why Toulon makes living puppets is beyond me. Furthermore, why the &#%+ are NAZIS doing in California and why are they trying to kill Toulon?!?!?!? Either these screenwriters are couch potatoes too lazy to make the story coherent or there were a LOT of scenes deleted from the finished product, because this don't make a single, solitary lick of sense.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdy6MzUW8kwtbTlkKiHGPq7KN66eB92ytfQ72ZwgJQa_1Eefat8Dv_TRMHB7K1iJNuE0zQBATt4zT6gtvARfQHup97Sx8uDiwOqMHAJ649nSFe-d1TKckRAw6iWvVReblRPe5M8N_oJY4/s1600/Puppetmaster1989.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdy6MzUW8kwtbTlkKiHGPq7KN66eB92ytfQ72ZwgJQa_1Eefat8Dv_TRMHB7K1iJNuE0zQBATt4zT6gtvARfQHup97Sx8uDiwOqMHAJ649nSFe-d1TKckRAw6iWvVReblRPe5M8N_oJY4/s320/Puppetmaster1989.jpg" width="320" /></a></div>Then there's our psychics; Alex, Dana The White Witch (Bitch is far more appropriate), Frank, and Carissa. Their relationship is pretty loose; Alex is a professor at Yale, Dana is a circus fortune teller and Frank and Carissa are researchers. In addition, their relationship with Neil is even thinner. Regardless, you would think adult psychics would be a nice change of pace from the horny teens usually seen in '80s horror films, yet, with the exception of Alex, they could all have been teenagers and it wouldn't have made a difference. Dana is just a raging bitch who walks around with a bottle of wine in one hand and a stuffed dog in the other, while Frank and Carissa are horny; we don't even know exactly what Frank's powers are.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWAxVzEUcSNHQAG7LXLoYcO7IDfRLeKf_U5aJUbUWj9T_DAl_BkqcbtLyaxQzUDwTdpWp-2AqKZ4FS3i-mhbJNcobgZPVUqGRC3-bbh002ir0ab9w_QuYWlR4pM50EXMylFNKT-KLcxc4/s1600/mastkykhd_02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWAxVzEUcSNHQAG7LXLoYcO7IDfRLeKf_U5aJUbUWj9T_DAl_BkqcbtLyaxQzUDwTdpWp-2AqKZ4FS3i-mhbJNcobgZPVUqGRC3-bbh002ir0ab9w_QuYWlR4pM50EXMylFNKT-KLcxc4/s320/mastkykhd_02.jpg" width="320" /></a></div>That's not to say Alex gets off the hook; oh no, he's getting his just desserts right now. I'm not sure whether Band and Hall's writing is more to blame than Le Mat's acting or not, but Alex Whitaker is a pathetic leading man. There's nothing wrong with having a middle-aged, heavier built guy as the hero; Reggie in the <em>Phantasm</em> movies fits that description, yet he's right up there with Ash in <em>Evil Dead</em> as a righteously cool badass. The problem is that Alex has nothing interesting about him; his dreams are nonsensical even when they're explained, he never develops any sort of relationship with Neil's widow, his powers do nothing to help the situation, and he's a shitty fighter, not to mention Le Mat is a horrid actor with zero points in the charisma department, which is a lot more than I can say about the rest of the cast, especially Irene Miracle and her grating fake accent.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV3dYxyu943ASrNbCteG0gzM0O4ueKyzAZ9zYJnanqsYcgnPb_dXIkNT-17vN_uigeH4x-iPcGyKJ2y689IsCxJuWrw0vEJoCkGl-B99A5rytdSQJAewCaxQmoUIxlTYg7AENPoj8irwI/s1600/bscap298ld.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV3dYxyu943ASrNbCteG0gzM0O4ueKyzAZ9zYJnanqsYcgnPb_dXIkNT-17vN_uigeH4x-iPcGyKJ2y689IsCxJuWrw0vEJoCkGl-B99A5rytdSQJAewCaxQmoUIxlTYg7AENPoj8irwI/s320/bscap298ld.jpg" width="320" /></a></div>As for Neil Gallagher, there's a lot of questions to be asked. First of all, the other psychics treat him like Mr. Boddy in <em>Clue</em>; they claim he's a horrible bastard who screwed them over. Okay, but whereas <em>Clue</em> took the time to explain what Mr. Boddy did, we're never let privy to Neil's sins, other than a bizarre vision of him attacking a woman in an elevator, something that is never explained or brought back up. We're told he sent Alex and Dana the visions, but I don't recall it ever being explained what powers Neil had or what his role in this psychic group was. In the climax, we eventually learn Neil's motivation in bringing the psychics to Bodega Bay, but it's absurd and quickly rushed in the last 20 minutes, at which point I wished I was in Neil's place; dead and unable to see or hear what was going on around me.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6MJ8kYtcMpTNYTzEhnnqhjWHwLm2d9t5I6d5409hG3mrNqUBdYYIMkdNrP9WSfKVb0N1Yj1_2BOaQCUXjKmHi3_H-cxBDdnWPC3B5KRXlmlnTX-wzbe50oOvC4fV-KMgvuDmPGKklxPk/s1600/Puppet-Master-2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6MJ8kYtcMpTNYTzEhnnqhjWHwLm2d9t5I6d5409hG3mrNqUBdYYIMkdNrP9WSfKVb0N1Yj1_2BOaQCUXjKmHi3_H-cxBDdnWPC3B5KRXlmlnTX-wzbe50oOvC4fV-KMgvuDmPGKklxPk/s320/Puppet-Master-2.png" width="320" /></a></div>From a production value standpoint, <em>Puppet Master</em> is amateurish even for its time and budget, but what makes it worse is that the setting is actually a good one. Bodega Bay is a beautiful town; anyone who has seen Alfred Hitchcock's <em>The Birds</em>, which was shot and set in Bodega Bay, can attest to that. Not to mention, the film primarily takes place in a seaside Inn. Unfortunately, the filmmakers never once take advantage of the gorgeous location. Granted, they filmed in California, but that didn't mean the whole movie had to be confined in the Inn; this could've happened anywhere else. It should've been set in California; that's where they were filming, so they might as well use that location for all its worth. By confining the characters in an Inn, it's up to Schmoeller to make the film visually exciting. Guess what? He doesn't. Even <em>Silent Night, Deadly Night Part II</em> looks better than this.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSuybpXFseRohZPcSsiAL2RtKYxMFaHbZFL1hZQqJa8SRA8_EVXIRrL5ODU2mQOd9EsZyNwlB00h_QaD44sK9nEJQjljdeFsNwZNZx4-zZgpVsEKuenpAOgzhJMtClO1snWFDSiqvdsvU/s1600/mastkykhd_01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSuybpXFseRohZPcSsiAL2RtKYxMFaHbZFL1hZQqJa8SRA8_EVXIRrL5ODU2mQOd9EsZyNwlB00h_QaD44sK9nEJQjljdeFsNwZNZx4-zZgpVsEKuenpAOgzhJMtClO1snWFDSiqvdsvU/s320/mastkykhd_01.jpg" width="320" /></a></div>I'll throw <em>Puppet Master</em> one compliment, though; the Puppets themselves, in particular Blade and Leech Woman. When Leech Woman makes her debut and reveals why she's called Leech Woman, it's an impressively icky moment, even if it makes no sense. Then there's Blade; having never seen <em>Puppet Master</em> up until this point or any of its sequels (which I intend to avoid like the f&#&*$@ plague), the only thing I knew was Blade, who is apparently the most popular character of the series. I can see why; dressed in a black trenchcoat with long white hair, a look based on Klaus Kinski and a knife for one hand and a claw for the other, Blade is appropriately gothic and creepy. If <em>Puppet Master </em>does nothing else right, at the very least it created an iconic villain.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEileLKydQY0VzGQhalUBo7ZgxhCTO78qNYGT4ram7BUGvvbX7yB2igpI5jff-sBfHUzycDXpEXVwUBcZyQJVjVgcMQ4U0wTVJHRee2OYcncbwy9ew3IDEsZce7gOPci2CZriWXINWYzQEE/s1600/Puppet-Master-10.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEileLKydQY0VzGQhalUBo7ZgxhCTO78qNYGT4ram7BUGvvbX7yB2igpI5jff-sBfHUzycDXpEXVwUBcZyQJVjVgcMQ4U0wTVJHRee2OYcncbwy9ew3IDEsZce7gOPci2CZriWXINWYzQEE/s320/Puppet-Master-10.png" width="320" /></a></div>As cool as they are, these puppets (Blade and Leech Woman excluded) are pathetically inept killers. Now I get they're small, but c'mon. Jester is apparently the leader, yet he doesn't do anything important in the film. Tunneler, sporting a drill head, isn't the least bit effective on his own. Then there's Pinhead, a puppet with human-sized hands. His mode of death? Punching. During his confrontation with Dana, he does nothing but punch her across the face repeatedly, which does nothing, save for giving Dana a bruised lip. Oh yeah, that's really dangerous. Here's a hint, Pinhead; you have human-sized hands. How about getting a weapon or choking people? If that's not bad enough, the puppets actually turn out to be good guys in the end. Please kill me now, Lord.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH-u1GuKAukePNX6R3bfwoRiUYC2vu87pgVDJ7O1K96hfiwtSDFwtUVh1KAsbEyrLPvUktpgBoQyDa1BeNopadYlrU8Q8AssX_beadN1VaCVAIafXLsGuhk3buy49yNbcJlJuyLgKWAHw/s1600/puppet1d.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH-u1GuKAukePNX6R3bfwoRiUYC2vu87pgVDJ7O1K96hfiwtSDFwtUVh1KAsbEyrLPvUktpgBoQyDa1BeNopadYlrU8Q8AssX_beadN1VaCVAIafXLsGuhk3buy49yNbcJlJuyLgKWAHw/s320/puppet1d.JPG" width="320" /></a></div>As big a fan of horror movies as I am, there are a handful of franchise I've yet to see, with <em>Puppet Master</em> and <em>The</em> <em>Amityville Horror </em>being the big ones. Having subjected myself to <em>Puppet Master</em>, I have to say I don't regret never seeing it in my childhood. It's a decent concept on its own and Blade and Leech Woman are cool slasher villains; it's a shame they're trapped in such a dreadful movie, filled to the brim with horrid performances, piss-poor production values, and some of the nonsensical writing I've seen in a very long time. There's not even anything to laugh at here; it's all bad and no good. <strong>0.5 out of 5 Stars</strong>.<br />
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Next Up: October 20th: The Invisible Man Returns (1940)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-78967566288863313512011-10-19T21:43:00.000-07:002011-10-19T21:45:40.787-07:00October 18th: The Phantom of The Opera (1983)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5xj35fNISBK78fqFu5BsVoY8etJshqtJp7OnWK3KYqUyiEAOOR-UXmplpMirBVJg_aSY0JQkjK4Agt_CSETX3HRm6LxbLV2tc2xqNK2zA9F-SrvPS2c4lu2hdPBFcb-SXWrxjGCqp-w4/s1600/9325336024287.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5xj35fNISBK78fqFu5BsVoY8etJshqtJp7OnWK3KYqUyiEAOOR-UXmplpMirBVJg_aSY0JQkjK4Agt_CSETX3HRm6LxbLV2tc2xqNK2zA9F-SrvPS2c4lu2hdPBFcb-SXWrxjGCqp-w4/s320/9325336024287.jpg" width="223" /></a></div><strong>PLOT</strong><br />
Struggling Opera singer Elena Korvin (Jane Seymour) is preparing for her debut as Marguriette in <em>Faust</em> at the Budapest Opera House, with training and encouragement from her loving husband and conductor, Sandor Korvin (Maximilian Schell). When Elena rebukes the sexual advances of Baron Hunyadi (Jeremy Kemp) the night before the first show, the Baron, influential Opera critic Oscar Krauss (Philip Stone) and paid-off audience member Balas (Andras Miko) conspire to ruin her career.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOQ87MUchFCHoNYFlKU_RU4CQ8exHsf5kbK2mnga-EhNGoGmcTIPfGxGFyopAMltcAT2j-sGrz2TYqXzBZKtQI5zqkbPaNQa8B0-CKPputQTRu_TVNFSDMuoVh8toK6bq0HUwyhInTC5o/s1600/kmpdvd001224140745.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOQ87MUchFCHoNYFlKU_RU4CQ8exHsf5kbK2mnga-EhNGoGmcTIPfGxGFyopAMltcAT2j-sGrz2TYqXzBZKtQI5zqkbPaNQa8B0-CKPputQTRu_TVNFSDMuoVh8toK6bq0HUwyhInTC5o/s320/kmpdvd001224140745.jpg" width="320" /></a></div>Booed offstage by Balas and receiving a dreadful review from Krauss, Elena throws herself off a bridge, committing suicide. Driven mad by Elena's death, Sandor kills Balas and Krauss, but his confrontation with Krauss causes a fire, burning him beyond recognition. Saved by rat-catcher Lajos (Gellert Raksanyi), Sandor becomes The Phantom of The Opera, hiding below the Opera House and plotting his revenge against Baron Hunyadi.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7j8VG8nYRnyB9acB2mmTczMCita7uTCHlJ7b77-BOieyAxuKpjKQT1Sz5CN9p1dCZkUX2OTKVqExNkGG1uYBfl0q7VZH9MQTL7HIgyrNVkHEKsTj78bklixTnVz3vLmIBTue4Gby05Bc/s1600/39cf45cd9bf7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7j8VG8nYRnyB9acB2mmTczMCita7uTCHlJ7b77-BOieyAxuKpjKQT1Sz5CN9p1dCZkUX2OTKVqExNkGG1uYBfl0q7VZH9MQTL7HIgyrNVkHEKsTj78bklixTnVz3vLmIBTue4Gby05Bc/s320/39cf45cd9bf7.jpg" width="320" /></a></div>Four years later, the Budapest Opera House is preparing for a revival of <em>Faust</em>. In an attempt to get leading lady Madame Bianchi (Diana Quick) under control, director Michael Hartell (Michael York) casts Maria Gianelli (Jane Seymour) as the Madame's understudy. Noticing Maria to be physically identical to Elena, the Phantom takes Maria on as his student, intent on making her the star Elena never was and killing anyone who gets in his way.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8-UUT-Babujh-rhEKpIjRDDImpcS-7HQySZ8yzGKORTPW1J9aNADYS7YHpyTOXLQEY671cAybvRbFrRNGNzACYfJ1ezyvK3snZd0OLOQa_3beApfgyrV-1krXgr-k7ZazNn44Eaq9H1k/s1600/pdvd_032.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8-UUT-Babujh-rhEKpIjRDDImpcS-7HQySZ8yzGKORTPW1J9aNADYS7YHpyTOXLQEY671cAybvRbFrRNGNzACYfJ1ezyvK3snZd0OLOQa_3beApfgyrV-1krXgr-k7ZazNn44Eaq9H1k/s320/pdvd_032.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
When it comes to film adaptations of novels, filmmakers' general rule of thumb is to stay faithful to the source material. Films that stray from the book often receive criticism, especially from fans of said book. Looking at the history of film, however, that's not always the case. Steven Spielberg's <em>Jaws</em> is very different from Peter Benchley's novel, but is far and away better. David Morrell's <em>First Blood</em> is great, but Ted Kotcheff's film version is impressive on its own right.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmONUHIX0GNFYJgCdm-Onf7pGG30q2FaXz87SwY-amC2SSAr6OG-qJnTHP4ROXefJiMNid6IcRfHSp-zOO73je4yACZGL6roRG8Z5DkZajHENu7bTYMZVUxEz6dnSbqOWrBgTqIPuQhgo/s1600/7a9378f4f86b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmONUHIX0GNFYJgCdm-Onf7pGG30q2FaXz87SwY-amC2SSAr6OG-qJnTHP4ROXefJiMNid6IcRfHSp-zOO73je4yACZGL6roRG8Z5DkZajHENu7bTYMZVUxEz6dnSbqOWrBgTqIPuQhgo/s320/7a9378f4f86b.jpg" width="320" /></a></div>Robert Markowitz's <em>The Phantom of The Opera</em>, similarly, is drastically altered from Gaston Leroux's original story, yet the alterations chosen result in a very interesting version, despite notable flaws. Like the 1943 Claude Rains version, the filmmakers choose to showcase the Phantom's origin, then delve into their version of the novel's story. Though the mystique is sadly absent, the new origin is worth it. Whereas Erique's origin was rushed, Sandor's origin is fully fleshed out and, though nothing new by film standards, give this Phantom a different edge and presence.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoAfu9lKruxkExy-s1-A3apV5xI0kh1OiqnitSeY-VPcSnchg9r5I_HoAIVjc1TPo33NFXLRB5dO2Rmy5_zedVkRZx71w2w0vsMe09BDTpwzHq4zo25KjRPC4jm-Pevoz92kiQwCPruCU/s1600/PDVD_0012-475x371.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoAfu9lKruxkExy-s1-A3apV5xI0kh1OiqnitSeY-VPcSnchg9r5I_HoAIVjc1TPo33NFXLRB5dO2Rmy5_zedVkRZx71w2w0vsMe09BDTpwzHq4zo25KjRPC4jm-Pevoz92kiQwCPruCU/s320/PDVD_0012-475x371.png" width="320" /></a></div>It also allows the audience to really spend time with Maximilian Schell, who is easily the key element to this film's success. Physically imposing and possessing a strong, intense voice, Schell perfectly sells the Phantom's descent into madness. Whereas some versions soften the Phantom, Schell makes him unquestionably sinister and psychotic. Even before becoming the Phantom, Sandor already looks unhinged and dangerous, ready to explode at any moment.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjETibbSFBwGIy6Z76rDRNphEuSrqY-sPVdMxOnEXLTPfv_W1GzKzmBA6sYhluUL23l2OeUPYLJqkWoKbSRKCiM42pIOSywpqhyphenhyphen5S34wYe0OZTb23XtG4onNk8-YNihzasGTNJmuEoSxV8/s1600/c341db944f40.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjETibbSFBwGIy6Z76rDRNphEuSrqY-sPVdMxOnEXLTPfv_W1GzKzmBA6sYhluUL23l2OeUPYLJqkWoKbSRKCiM42pIOSywpqhyphenhyphen5S34wYe0OZTb23XtG4onNk8-YNihzasGTNJmuEoSxV8/s320/c341db944f40.jpg" width="320" /></a></div>The only drawback is a lack of sympathy for Sandor. In horror films, there are two types of monsters; one who celebrates darkness and evil and one who hates himself for becoming evil. The Phantom of The Opera is most certainly the latter, but Schell's interpretation makes it hard to feel sorry for Sandor when the script asks us to. With the exception of Madame Bianchi, Sandor is the least likeable person onscreen, both in Schell's performance and in the way Sherman Yellen has written him.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5iOTOAWIhdDafNvpQ8PlHQJg2D9U4BxGUHqqfOM1Aes6G6NswI8WbGa2RXsCXzYH3ENVA0JZjJlIdBKvm_HX5PjG5jteN_4KafC3RR65MmWZ9d5-x1Zy8tudE0n6C63pSQwdfMbVCfv0/s1600/a1d0131d5bba.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5iOTOAWIhdDafNvpQ8PlHQJg2D9U4BxGUHqqfOM1Aes6G6NswI8WbGa2RXsCXzYH3ENVA0JZjJlIdBKvm_HX5PjG5jteN_4KafC3RR65MmWZ9d5-x1Zy8tudE0n6C63pSQwdfMbVCfv0/s320/a1d0131d5bba.jpg" width="320" /></a></div>This would've worked only if the Phantom's enemies were as despicable and monstrous as him; alas, not the case here. Baron Hunyadi is lecherous early on and it is his actions, more than anyone, that leads Elena to kill herself, yet he seldom appears in the rest of the movie. When he does pop back up, say at the Masked Ball for example, he does nothing to remind you of why he should be punished. Krauss is slightly more sinister when pushed, but his reaction to the news of Elena's death is too genuine to make him truly despicable.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_7cZ8pqIHgbKu8fSxpzKB4yuUCgpbEJ1QvnXaBP_UAvVhOAn6qaEmtB8i-roDMur0j9iXobh3osbg7ZW6Nfz3U3BonvnHWR4AB_bFxH_jvKJBEppZnvYYHtQerqseKGbFFG6mnshEF0M/s1600/6cd500a7862f.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_7cZ8pqIHgbKu8fSxpzKB4yuUCgpbEJ1QvnXaBP_UAvVhOAn6qaEmtB8i-roDMur0j9iXobh3osbg7ZW6Nfz3U3BonvnHWR4AB_bFxH_jvKJBEppZnvYYHtQerqseKGbFFG6mnshEF0M/s320/6cd500a7862f.jpg" width="320" /></a></div>That leaves the rest of the cast, starting with Jane Seymour. Though not yet Dr. Quinn, Medicine Woman, Seymour was already well-known to audiences, having played Elise McKenna in <em>Somewhere In Time</em> and Solitaire in <em>Live and Let Die</em>, the eighth 007 film. I can't help but think Seymour's casting was so audiences would see a recognizable face among the cast. Still, Seymour does give Maria a commanding sexual presence, though she ultimately leaves it to her lover to be heroic.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcV1p_jkXJWgXsR3KRLFkpgtjSg-964SRvSGqflNMZJIMUx8aMux9cOXtCK7bX7D43I9BBkN_rF9BQaU8x_SOz0bOS4WHCeMjhtBfMsojDsMZmP3JSkjKcdfJ3PaAxXXvFdr_m74CGLD4/s1600/PDVD_006-355x299.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcV1p_jkXJWgXsR3KRLFkpgtjSg-964SRvSGqflNMZJIMUx8aMux9cOXtCK7bX7D43I9BBkN_rF9BQaU8x_SOz0bOS4WHCeMjhtBfMsojDsMZmP3JSkjKcdfJ3PaAxXXvFdr_m74CGLD4/s320/PDVD_006-355x299.png" width="320" /></a></div>As for Michael Hartnell, Michael York is convincing as an Opera director, but a mixed bag as a character. His temperamental, impatient personality makes it hard to like him, especially when he decides at one point that Maria isn't ready to be Marguriette. Like Edward De Souza in Hammer's version, York does get brownie points for being heroic, though he's never allowed to confront Sandor nor is his relationship with Maria ever clear; he goes back and forth between being charmed by and annoyed with Maria and it's unclear if they're in love by the end of the movie.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6aI1sd1EK9r2SxTOM-SR0dUuFLnsbRXPuP4RRVVYAICLGBR6e72SSM6nE4V5icXntdCm9Rvhq6TudqgKjYH4mB-w0gUghalYCTfcJpegL5Hl3FeyX9v4i73_6DWiwWy8EhxwlE4-7jts/s1600/kmpdvd004099141012.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6aI1sd1EK9r2SxTOM-SR0dUuFLnsbRXPuP4RRVVYAICLGBR6e72SSM6nE4V5icXntdCm9Rvhq6TudqgKjYH4mB-w0gUghalYCTfcJpegL5Hl3FeyX9v4i73_6DWiwWy8EhxwlE4-7jts/s320/kmpdvd004099141012.jpg" width="320" /></a></div>Luckily, the relationship between Sandor and Maria is much more fascinating. Believe me, it ain't perfect; having Maria be the reincarnation of Elena is ludicrous. What does work is how twisted it becomes. The Phantom practically controls Maria and makes her perform at command, yet he does it in a gentle, caring way. By the climax, the Phantom, in his insanity, sees Maria as Elena. He calls her Elena and, in a disturbing twist, plots to throw Elena's well-preserved corpse, dressed in Maria's clothes, in the river for authorities to find with the intent they will presume it to be Maria. It's creepy and heartbreaking to watch Sandor become this monstrous, while Maria's predicament is frightening.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyBq4DeFspZBYQbTZN-i7h3vOxayuDleVjyWWY1ry41y39GNJXz_u73QGKnzxSnM3RHZggqPzidtUUSChPqXKpsFBmDAk5JEnkAE9wSqS98iqsDIEBQFX6_pyzw8eucFe29P4pOo9Ytoc/s1600/prizrak_operi_1983129751155158.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyBq4DeFspZBYQbTZN-i7h3vOxayuDleVjyWWY1ry41y39GNJXz_u73QGKnzxSnM3RHZggqPzidtUUSChPqXKpsFBmDAk5JEnkAE9wSqS98iqsDIEBQFX6_pyzw8eucFe29P4pOo9Ytoc/s320/prizrak_operi_1983129751155158.jpg" width="320" /></a></div>Huge props to the production values; <em>The Phantom of The Opera</em> is bathed in rich, dark lighting and and the sets are gorgeously gothic, worthy of a Hammer film. The chandelier is massive and imposing, the Phantom's Lair is littered with candles and the halls of the Opera are stunning. Markowitz makes great use of his sets; he knows he's telling a darker Phantom tale and he keeps the atmosphere ever present, even for a TV movie. Fortunately, the script isn't all menace, as Yellen allows levity via the characters; the banter between Maria and Michael is amusing and Diana Quick's Madame Bianchi provides great comic relief.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnCiWdo8yzLhhd7FujLgttayzBWsaghASxnf9nnkP7HSPB1jTU_mc0qY-SazkbZGH9FG1sk-10LtZS4wr2RHU8rYfvP6inaHDVc1diy_o7cla9PfbTzO0Yuo8zO238FpsdTNd3EVuMFhM/s1600/vlcsnap2009082415h20m20.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnCiWdo8yzLhhd7FujLgttayzBWsaghASxnf9nnkP7HSPB1jTU_mc0qY-SazkbZGH9FG1sk-10LtZS4wr2RHU8rYfvP6inaHDVc1diy_o7cla9PfbTzO0Yuo8zO238FpsdTNd3EVuMFhM/s320/vlcsnap2009082415h20m20.png" width="320" /></a></div>I'd also like to point out how great the Phantom's masks are in this film. For his main mask, Sandor wears a full face mask that looks almost stone-like. Unlike most half-faced Phantom masks, the full face keeps his disfigurement fully hidden, only allowing Schell's piercing eyes to be seen. His second mask, however, is even more unique; a lifelike mask resembling his face prior to being burned. It looks surprisingly real, which makes it all the more unsettling when you realize it's a mask. While the unmasked Phantom is a disappointing Elephant Man knockoff, his masked visage ranks as one of the Phantom's more impressive looks.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXfdnB6_dFhtY7OmdY24a8AUXQtZhqPnKgfiPQRkE7yVzzHPvvjF1h6aG_HxcWm0w2hJX-mBIpqIZ2Sqj3w1NsffKe2MZr8O_ODqmYQ7C8E91GPaca9TPX3NyDho1q9_aZX56qulM_sAk/s1600/mask1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXfdnB6_dFhtY7OmdY24a8AUXQtZhqPnKgfiPQRkE7yVzzHPvvjF1h6aG_HxcWm0w2hJX-mBIpqIZ2Sqj3w1NsffKe2MZr8O_ODqmYQ7C8E91GPaca9TPX3NyDho1q9_aZX56qulM_sAk/s320/mask1.jpg" width="320" /></a></div><em>The Phantom of The Opera </em>is unique, but struggles to overcome its obvious blemishes. On one hand, I adore the new wrinkles thrown into the story. Maximilian Schell is phenomenal as a more deranged Phantom and Jane Seymour's sexual confidence is a welcome change from the more virginal, straight-laced Christines of the past. The film looks great, especially for its budget, and the relationship between Sandor and Maria is incredibly poignant. That being said, this Phantom isn't particularly sympathetic, the climax is rushed, the Phantom's prosthetic effects are rubbery, and no one else, be it York, Kemp or Paul Brooke's Inspector, do anything worth mentioning. For Schell and Seymour alone, this is one of the stronger versions of this timeless tale. <strong>3.5 out of 5 Stars</strong>.<br />
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Next Up: October 19th: Puppet Master (1989)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-78616599662461065152011-10-19T00:23:00.000-07:002011-10-19T00:23:44.857-07:00October 17th: Phantom of The Opera (1943)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCS8G0Rq6-vKulJRc-dhWypPwBeP7sUq3m-QFlv4Bam0qxI5RBouQcMZD4jB-gk5p8bbEdckDuksgAOoP0PIBaNvQzrcCxMF_4huOFRveQjOWNj5OM8RFz-yPJeHUFWxmPCrI7NCBi9BI/s1600/143680_1020_A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCS8G0Rq6-vKulJRc-dhWypPwBeP7sUq3m-QFlv4Bam0qxI5RBouQcMZD4jB-gk5p8bbEdckDuksgAOoP0PIBaNvQzrcCxMF_4huOFRveQjOWNj5OM8RFz-yPJeHUFWxmPCrI7NCBi9BI/s320/143680_1020_A.jpg" width="205" /></a></div><strong>PLOT</strong><br />
After 20 years of service at the Paris Opera House, eccentric violinist Erique Claudin (Claude Rains) is dismissed by his conductor Villeneuve (Frank Puglia) due to pains in the fingers of his left hand which negatively affect his playing abilities. Though Villeneuve assumes Erique has made more than enough money to retire, Erique is practically broke, having spent much of his money secretly funding music lessons for Christine DuBois (Susanna Foster), a soprano and understudy to leading lady Biancarolli (Jane Farrar).<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFT290uTwxvSB0sNHEqQt5vW5foxZaefah7J-M3nkb9gq4104LAnEYbWnl58oQnnheQJTN04qal_d6vXX6Mn8aWnZtN_HdOw1rlFPlIeQTVLaqPclg6QZLTESt0gwRDTxuYwHFrajQsEo/s1600/2596368_f520.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFT290uTwxvSB0sNHEqQt5vW5foxZaefah7J-M3nkb9gq4104LAnEYbWnl58oQnnheQJTN04qal_d6vXX6Mn8aWnZtN_HdOw1rlFPlIeQTVLaqPclg6QZLTESt0gwRDTxuYwHFrajQsEo/s320/2596368_f520.jpg" width="320" /></a></div>No longer able to fund Christine's lessons, Erique goes to Pleyel & Desjardins in the hope of getting his Concerto published. Forced to wait for hours, Erique is rudely dismissed by Pleyel (Miles Mander). As he's leaving, Erique overhears his Concerto being performed; unaware that legendary composer Franz Liszt (Fritz Leiber) intends to have Erique's Concerto published ASAP, Erique assumes Pleyel has stolen his Concerto, goes mad and strangles Pleyel to death. In retaliation, Pleyel's assistant Georgette (Renee Carson) throws etching acid at Claudin.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkU6WDh35NBZsVMUZ-N2kE9QlWMLXQ6cd8zO5Sjqp8kAcxeUkb7i355UhyNp3gkH7bAoIPAf3NfQINqY5FLOOldmOdjB5f6LvrNLRq-rEkcdXg9g547TnVkF4wKn0UUSBSSP7Vas_8Xik/s1600/phantomopera.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkU6WDh35NBZsVMUZ-N2kE9QlWMLXQ6cd8zO5Sjqp8kAcxeUkb7i355UhyNp3gkH7bAoIPAf3NfQINqY5FLOOldmOdjB5f6LvrNLRq-rEkcdXg9g547TnVkF4wKn0UUSBSSP7Vas_8Xik/s320/phantomopera.jpeg" width="320" /></a></div>Horribly disfigured and driven insane, Claudin re-emerges as The Phantom of The Opera. More obsessed with Christine than ever before, the Phantom vows to make her the star of the Paris Opera House, resorting to murder to achieve his goal. Growing more and more deranged, the Phantom becomes obsessed with keeping Christine for himself, forcing Christine's dueling admirers, Inspector Raoul D'Aubert (Edgar Barrier) and Opera Baritone Anatole Garron (Nelson Eddy), to work together to stop the Phantom and save Christine.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigiUPcx64tLXlDPnA0nQHB84z6VWm57lLlpiE840sfngwFtECaDu76qj1RIA51TWrUbcDhs0rXZHJLogusuxp5wKH8i-2RWDdTVMYeN5KtAQJPIfGDqx8AUjtf0oEOMR5wF7eR92n4Kr0/s1600/922e5046698b282ac89131fc8a1e7e.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigiUPcx64tLXlDPnA0nQHB84z6VWm57lLlpiE840sfngwFtECaDu76qj1RIA51TWrUbcDhs0rXZHJLogusuxp5wKH8i-2RWDdTVMYeN5KtAQJPIfGDqx8AUjtf0oEOMR5wF7eR92n4Kr0/s320/922e5046698b282ac89131fc8a1e7e.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
Alongside Thomas Edison's <em>Frankenstein</em> and F.W. Murnau's <em>Nosferatu: A Symphony of Horror</em>, Rupert Julian's <em>The Phantom of The Opera</em> was one of the first horror films made. Starring Lon Chaney Sr. in ghoulishly creepy makeup, the film was a massive hit and paved the way for Universal Studios to become the first House of Horrors, with Tod Browning's <em>Dracula </em>and James Whale's <em>Frankenstein </em>leading the charge.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH1U42YJtu_D1Lten5KffK5iaYY_MsoZKxBzJd8A3UI-rSyZSDSuN7uYTt7ZM29Z-E0IQCm5LuzOorcogE81cOpQVbL0hnLu7xU_5V3o3QFRED7M_yx-PgfrVhz728Ne5YCD5mMXX-CRI/s1600/Phantom_Of_The_Opera_-_1943_avi3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH1U42YJtu_D1Lten5KffK5iaYY_MsoZKxBzJd8A3UI-rSyZSDSuN7uYTt7ZM29Z-E0IQCm5LuzOorcogE81cOpQVbL0hnLu7xU_5V3o3QFRED7M_yx-PgfrVhz728Ne5YCD5mMXX-CRI/s320/Phantom_Of_The_Opera_-_1943_avi3.jpg" width="320" /></a></div>By the 1940s, the golden years of Universal Horror seemed long gone; though the films were still being made, Lon Chaney Sr. had been dead for 10 years, Boris Karloff and Bela Lugosi had either grown tired of the studio or were being put out to pasture, and the genius that is James Whale had retired out of his frustration with the new regime at Universal. Most of these new Universal Horrors lacked the class, wit and power of their '30s counterparts, being nothing more than retreads.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOyCZKpnOi0HoPrC8b7Tvn0cwg3KInhjIQD6hjd9zxGMrqwfPbYlxdmS_pxsmgAgsO43Cp5zSh5bvwCjNM2KYMjqaE0qE5ORANUhDq2yV8Ety9RGbAG012sTSp28h46Wzqi1Og4nybqgw/s1600/Phantom_Of_The_Opera_-_1943_avi4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOyCZKpnOi0HoPrC8b7Tvn0cwg3KInhjIQD6hjd9zxGMrqwfPbYlxdmS_pxsmgAgsO43Cp5zSh5bvwCjNM2KYMjqaE0qE5ORANUhDq2yV8Ety9RGbAG012sTSp28h46Wzqi1Og4nybqgw/s320/Phantom_Of_The_Opera_-_1943_avi4.jpg" width="320" /></a></div>Despite their lack in quality, the 1940s Universal Horror films were big business; revivals of Dracula, The Invisible Man, Frankenstein's Creature and The Mummy were huge, as were new horrors like George Waggner's <em>The Wolf Man</em>. Audiences, desperate for a release from the horrors of World War II and The Great Depression, ate these films up and it was only a matter of time before The Ghost of The Paris Opera House would return.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgorVWPxA-J-oSIEGdqzpSUw14XtIFRm0TbUnA42exX2UyY89xmlccHp-C_VNNPwiIQIGJBM_0JQdIV4JZ3ybkjxIgMGUvLW_EL9cR4ueG3pyvbsX43F4sYjl3RQWma7wi2zVboLxMN5TQ/s1600/2596327_f520.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgorVWPxA-J-oSIEGdqzpSUw14XtIFRm0TbUnA42exX2UyY89xmlccHp-C_VNNPwiIQIGJBM_0JQdIV4JZ3ybkjxIgMGUvLW_EL9cR4ueG3pyvbsX43F4sYjl3RQWma7wi2zVboLxMN5TQ/s320/2596327_f520.jpg" width="320" /></a></div>While a new film was inevitable, what's surprising about <em>Phantom of The Opera</em> is how vastly different it is from its predecessor and Gaston Leroux's novel. Other than the title and the general premise, Arthur Lubin's film is a very different interpretation, one that seems more interested in the musical stylings of Nelson Eddy and the comedy stemming from the love triangle of Raoul, Christine and Anatole than it is in depicting the horror and tragedy of the Phantom.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCbi1NdpM8sODwZkTj0soNcD_nXnVEpysJ3nuPZhTn9ejbB-wRg6SMFk_r6vdQt8VT3nRc7fZNsc1cYoruNIS9T3TdhzypqldLPuGY3DutzqFanJYRMqKPDsFxueC8ET9_3SDK5EuIjOk/s1600/cap282.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCbi1NdpM8sODwZkTj0soNcD_nXnVEpysJ3nuPZhTn9ejbB-wRg6SMFk_r6vdQt8VT3nRc7fZNsc1cYoruNIS9T3TdhzypqldLPuGY3DutzqFanJYRMqKPDsFxueC8ET9_3SDK5EuIjOk/s320/cap282.jpg" width="320" /></a></div>For this version, the role of Christine was played by Susanna Foster, whose rise to fame following roles in <em>The Great Victor Herbert </em>and <em>There's Magic In Music</em>, came crashing down in the mid '40s. Young and attractive, not to mention possessing a strong singing voice, Foster is perfectly acceptable as Christine, but fails to make much of an impression. In all fairness, it has less to do her with talents and more to do with the fact that, like Hammer's 1962 version, Christine is overshadowed by her more colorful, eccentric co-stars.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjabUdloo91gLlRzFG4K3fiXVdN321OOIcSN1mAm-CDCrdDwR9jMq_fx5I5VzZ4mgSUwc6vVdV6MByEgJ8NiR1jUsUSWP_SlN5jCzCK6lSmgN5-NIpCHEdtoRm_koafvA8PpWYmR5Sb5m8/s1600/Phantom_Of_The_Opera_-_1943_avi13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjabUdloo91gLlRzFG4K3fiXVdN321OOIcSN1mAm-CDCrdDwR9jMq_fx5I5VzZ4mgSUwc6vVdV6MByEgJ8NiR1jUsUSWP_SlN5jCzCK6lSmgN5-NIpCHEdtoRm_koafvA8PpWYmR5Sb5m8/s320/Phantom_Of_The_Opera_-_1943_avi13.jpg" width="320" /></a></div>None more colorful than Nelson Eddy, the beloved star of many MGM in the 1930s opposite Jeanette MacDonald. Rather than being Raoul, reinvisioned as an opera star, the filmmakers have cast him as a brand new character; Opera Baritone Anatole Garron, who vies for Christine's affections. Eddy shows off some great acting chops and comedic timing here, but the problem is with Anatole Garron himself; the romantic aspects are now centered on him and Raoul's dueling love for Christine, which brings in unnecessary bits of physical comedy and takes away from the Phantom's love for Christine. It doesn't help that Edgar Barrier, our new Raoul, is stale and instantly forgettable by comparison. Having three love interests for Christine overly complicates the story.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM8uFXTqyEeO7k-w7U0do5dlvub10WcHGXFe0r3JIRnTW3Tb1z9CIBZBh6QyhZ4cqSmynThQNdZ3B2GqvUCzVECi6gjOv7K7emIdYZ9zn6qQL9JmjvwnygM9fp7kqZtRVSiJP3tmC2Qwo/s1600/s640x480.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM8uFXTqyEeO7k-w7U0do5dlvub10WcHGXFe0r3JIRnTW3Tb1z9CIBZBh6QyhZ4cqSmynThQNdZ3B2GqvUCzVECi6gjOv7K7emIdYZ9zn6qQL9JmjvwnygM9fp7kqZtRVSiJP3tmC2Qwo/s320/s640x480.jpg" width="320" /></a></div>That's not to say the Phantom is overshadowed; in fact, the first third of the film focuses on the origins of the Phantom, now a pathetic, middle-aged violinist whose horrific visage is the result of facial scars rather than birth deformities. A testament to this film's success, most subsequent adaptations followed this blueprint. Does it work? Not really. Much of what works about the Phantom is the intriguing mystery surrounding him; by actually showing Erique become the Phantom robs him of that mystique. Furthermore, his descent into madness feels forced, rushed and underdeveloped; in fact, this Phantom is kept in the darkness for the remainder of the film, taking a backseat to the other characters, which is strange given his dominant presence early on. Once he slaps the mask on, he's just the crazy villain who needs to be stopped.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU6zxpk6xGd7Nawmu5selEdVceNWCdrpA2zGBOdeUvCFJUtYi6ERO6FwNUMJbYEDhIdNvfkZurVMNyCvifld7mwOXAi4cBkLU0uPBH4raqiU6jFI_7WFHo6QogVh2NPF4ABkj3jh3kbtY/s1600/2596391_f520.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU6zxpk6xGd7Nawmu5selEdVceNWCdrpA2zGBOdeUvCFJUtYi6ERO6FwNUMJbYEDhIdNvfkZurVMNyCvifld7mwOXAi4cBkLU0uPBH4raqiU6jFI_7WFHo6QogVh2NPF4ABkj3jh3kbtY/s320/2596391_f520.jpg" width="320" /></a></div>A four-time Oscar nominee for his performances in such films as <em>Mr. Smith Goes To Washington</em> and <em>Casablanca</em>, Claude Rains was an exceptional character actor with a tremendous voice and, as <em>The Invisible Man</em> proved, more than capable of being batshit crazy. Given the script's treatment of the character, Rains deserves all the credit for making Erique sympathetic and likeable; unfortunately, his middle-aged Phantom lacks menace, saddled with a dull costume, bland dialogue, an incredibly lame disfigurement and just not much to do in the second half of the film. Rains does his best, but is never given the chance to make an impression as the Phantom of The Opera.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPYRCgJ4Bn8F4WXD88aaRdPCCq1qxECiIWwGcbftwVvD06od-W0kzESmRIvQptZzs9oilPN_sVPXDoS1I6p9GYZWWUbG-yxX0la_OK60imqtjVWIUyOAW9Y7O-bYj_xk7Xworw5VUczC8/s1600/f5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPYRCgJ4Bn8F4WXD88aaRdPCCq1qxECiIWwGcbftwVvD06od-W0kzESmRIvQptZzs9oilPN_sVPXDoS1I6p9GYZWWUbG-yxX0la_OK60imqtjVWIUyOAW9Y7O-bYj_xk7Xworw5VUczC8/s320/f5.jpg" width="320" /></a> </div>It's pretty clear Lubin and Univeral weren't interested in making a Phantom movie; his origin is quickly told and underwritten and he's poorly underused for the rest of the film, benched in favor of letting the cast engage in not very witty banter and extended singing sequences. Now I enjoy a good romantic comedy and I like musicals, especially <em>Top Hat</em>. But when I come into a horror movie, that's not what I'm looking for, yet for some strange reason, that's what I'm getting. Don't get me wrong; some of the jokes work and the physical comedy between Raoul and Anatole is amusing. I can't help but be impressed with the singing scenes, I very much appreciate the fact that the music is being sung by real singers and I know this is just naturally part of the Phantom mythology. But at its heart, <em>Phantom of The Opera</em> is about the horror of watching a mild-mannered man become a raving lunatic, not watching people sing <em>Le Prince Masque De Caucasie </em>and joke about what the Phantom might look like.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFRrhkxmUEHovPoeIviYJ2efZ0GNL_3IopanznZYHI59WqoBL9xBCO-HkgMrQd7slilvXrnD1hV8f6o1szyggxdj3buVMe6nwcYn8u42prxSUCVhbWCKTs1bpluCX7wqKXPUZJuqGmcW8/s1600/2596307_f520.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFRrhkxmUEHovPoeIviYJ2efZ0GNL_3IopanznZYHI59WqoBL9xBCO-HkgMrQd7slilvXrnD1hV8f6o1szyggxdj3buVMe6nwcYn8u42prxSUCVhbWCKTs1bpluCX7wqKXPUZJuqGmcW8/s320/2596307_f520.jpg" width="320" /></a></div>From a production standpoint, it's worth noting just how much <em>Phantom of The Opera</em> sticks out from Universal's other horror films of this era. Filmed in technicolor on a $1,500,000 budget, <em>Phantom of The Opera</em> is a far cry from its horror brethren, all of which were in black and white and filmed on low budgets. The film won Oscars for its art direction and cinematography and most certainly deserves them; even nearly 70 years later, this film still looks gorgeous and the filmmakers make full use of their wonderful sets. Though the auditorium set is the same one used in 1925, Lubin takes full advantage of the higher budget and technicolor, giving the set a look and feel different from what Rupert Julian did. If only the script was this good.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm9yT9PcUpSvWPJDCVOS5S24ptME6tKyBm0Wvj_5Jj6nYCRAYz9JD4eFRu-rDNZ_pjQiOVYQ9lRUqKvbi7mgPjhTEOsmREP_Hw86OGR4JrPI3DpITcU2cmShZnG1nPX1kAfesQlhN-otM/s1600/2596446_f520.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm9yT9PcUpSvWPJDCVOS5S24ptME6tKyBm0Wvj_5Jj6nYCRAYz9JD4eFRu-rDNZ_pjQiOVYQ9lRUqKvbi7mgPjhTEOsmREP_Hw86OGR4JrPI3DpITcU2cmShZnG1nPX1kAfesQlhN-otM/s320/2596446_f520.jpg" width="320" /></a></div>As a fan of the Universal Monster movies, I was really looking forward to seeing one on a bigger budget, with name actors and in vivid technicolor. Having watched it, the phrase "money corrupts" keeps ringing in my head. Had this just been another Universal Horror, it probably would've been more focused on the Phantom and his tragic tale; instead, the character's origin is sloppy and dealt with as quickly as possible so Arthur Lubin and his screenwriters can get to Opera music, love triangles and corny humor. <em>Phantom of The Opera </em>is far from terrible; it's actually relatively entertaining, not to mention well made, but it misses the spirit and power of this timeless story. <strong>2.5 out of 5 Stars</strong>.<br />
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Next Up: October 18th: The Phantom of The Opera (1983)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-51132603058807840002011-10-17T18:59:00.000-07:002011-10-17T21:14:36.151-07:00October 16th: The Phantom of The Opera (1962)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOz1_RR2j9dYGb-XOXEvrEyUSxsd1iX75dmiFsHBjqn6jlwO61bNmbkT3fvHX2-MsO8DYxzeYtjR57ufQarm0TRKij0XYMB1jFoFuC3UHbUUzR0Vrlmd_pKJZRjEdyDgCOZ4A_7NSjTkA/s1600/1990.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOz1_RR2j9dYGb-XOXEvrEyUSxsd1iX75dmiFsHBjqn6jlwO61bNmbkT3fvHX2-MsO8DYxzeYtjR57ufQarm0TRKij0XYMB1jFoFuC3UHbUUzR0Vrlmd_pKJZRjEdyDgCOZ4A_7NSjTkA/s320/1990.jpg" width="214" /></a></div><strong>PLOT</strong><br />
It's opening night for the London Opera House. Producer Harry Hunter (Edward De Souza) and manager Lattimer (Thorley Walters) are preparing for the first performance of <em>Saint Joan: The Tragedy of Joan of Arc</em>, a brand new opera composed by Lord Ambrose D'Arcy (Michael Gough). The cast and crew, however, are nervous due to various unexplained mishaps. The night takes a sinister turn when the corpse of a hanged stage hand pops up during the performance.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4-vk4ZtxSmGTEiSGpQ9LJJr4E3eqdkxf-Xz7LXRf3vKOZT2h2o_fF_Ch2Ko-b1uGyuRzyoQ7Ypi-ofhPBwkX22GAV4i8ZIo99ueMXiYoJyTNaTgTfmeZmG7JkMAaQlkt8N0zgmf2pJDU/s1600/Phantom%252520of%252520the%252520Opera%25252003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4-vk4ZtxSmGTEiSGpQ9LJJr4E3eqdkxf-Xz7LXRf3vKOZT2h2o_fF_Ch2Ko-b1uGyuRzyoQ7Ypi-ofhPBwkX22GAV4i8ZIo99ueMXiYoJyTNaTgTfmeZmG7JkMAaQlkt8N0zgmf2pJDU/s320/Phantom%252520of%252520the%252520Opera%25252003.jpg" width="320" /></a></div>Frightened, leading lady Maria (Liane Aukin) refuses to sing again. Holding auditions for a new Joan of Arc, Harry, Lattimer and D'Arcy find their star in chorus girl Christine Charles (Heather Sears), whom both the lecherous D'Arcy and the charming Harry take a liking to. Christine finds herself with a third admirer as well; a mysterious, unseen figure who warns her about D'Arcy and speaks of more horrible tragedies to strike the London Opera House.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN7wj1YmxAJpKX8xeEd1AcR2TFcb1Vkzfo1FgiYNoIiPSAKjHpfaQoANpAWjS-P54Nh-mCBGreB40rbdqnDEIkKali3w6OhJAlcNwo58i3NXOLx4zyGZLAop6shEVzvLf6nZenFDD4eVM/s1600/Phantom7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN7wj1YmxAJpKX8xeEd1AcR2TFcb1Vkzfo1FgiYNoIiPSAKjHpfaQoANpAWjS-P54Nh-mCBGreB40rbdqnDEIkKali3w6OhJAlcNwo58i3NXOLx4zyGZLAop6shEVzvLf6nZenFDD4eVM/s320/Phantom7.jpg" width="320" /></a></div>Growing closer to Harry, Christine tells Harry about her mysterious admirer. Intrigued, Harry has Christine bring him to her dressing room, where she first heard the voice. There, Harry and Christine discover this unknown figure to be the Phantom of The Opera (Herbert Lom), a deranged, horribly disfigured musician determined to mold Christine into the greatest singer the Opera has ever known.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZQXX0OhvoNmUp8Giny6inP0KTthJ3cuPJItIWPIM1-DDnrDEQ9GYYJb3LTFNHu6aOJeyenC5TzhcnaAEMjqJT9Mad3jtHlCVeik2CnzcuAF6FqGCBKaXHdPo_OzAhmonwrcq3gWgE8xI/s1600/tumblr_louoyskzVJ1qzr8nao1_500.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZQXX0OhvoNmUp8Giny6inP0KTthJ3cuPJItIWPIM1-DDnrDEQ9GYYJb3LTFNHu6aOJeyenC5TzhcnaAEMjqJT9Mad3jtHlCVeik2CnzcuAF6FqGCBKaXHdPo_OzAhmonwrcq3gWgE8xI/s320/tumblr_louoyskzVJ1qzr8nao1_500.png" width="320" /></a></div><strong>REVIEW</strong><br />
Written in 1910, Gaston Leroux's <em>The Phantom of The Opera</em> is the third in the series of classic horror novels, preceded by Mary Shelley's <em>Frankenstein</em> and Bram Stoker's <em>Dracula</em>. Unlike those stories, Leroux's novel was a failure upon its release; it was even out of print several times during the 20th century. Whereas <em>Frankenstein</em> and <em>Dracula</em> were instant successes in novel form, <em>The Phantom of The Opera</em> has achieved longevity through the various film adaptations.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTSGY49NmVMnHxjrGGOVlNOKI6J0FEscYM_xFKB26IT7Yv1oTEAn1aMxwCoEgAFjB2lytRf_HUgyA336nhmKpu2oujQOQ0pHHLJksNAVOcoriZDoNQ7sPiNHhoOlb96vTd78Kl3jmyICo/s1600/2ee505987e78ec9827eb19efd5d72e.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTSGY49NmVMnHxjrGGOVlNOKI6J0FEscYM_xFKB26IT7Yv1oTEAn1aMxwCoEgAFjB2lytRf_HUgyA336nhmKpu2oujQOQ0pHHLJksNAVOcoriZDoNQ7sPiNHhoOlb96vTd78Kl3jmyICo/s320/2ee505987e78ec9827eb19efd5d72e.jpg" width="320" /></a></div>With Universal having adapted Leroux's story into the iconic 1925 silent version and a 1943 Oscar-winning 1943 remake, it was only a matter of time before Hammer presented their own version. On paper, <em>The Phantom of The Opera </em>seemed poised to be another big hit for Hammer. The British House of Horrors was enjoying its golden years; in addition to <em>The Curse of Frankenstein</em> and <em>Horror of Dracula</em>, Hammer had success with <em>The Revenge of Frankenstein</em>, <em>The Mummy </em>and <em>The Brides of Dracula</em>. Furthermore, Terence Fisher, the director of all five films, signed up to direct <em>The Phantom of The Opera</em>, with a script by regular scribe John Elder, AKA Anthony Hinds.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEievPs_JsI8pFTfvEOFk0p7v5LPx9oko9j5C621YW5FIOZu53JUpVTzqJ_6pjw6QnJA1JlQ08D7zMI5LSJZkgAMGO_bILbL5DLyjEFBngxq2j7jiTFa7R3qIUFlfZegdMje43oB0BRhQv8/s1600/Phantom3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEievPs_JsI8pFTfvEOFk0p7v5LPx9oko9j5C621YW5FIOZu53JUpVTzqJ_6pjw6QnJA1JlQ08D7zMI5LSJZkgAMGO_bILbL5DLyjEFBngxq2j7jiTFa7R3qIUFlfZegdMje43oB0BRhQv8/s320/Phantom3.jpg" width="320" /></a></div>Surprisingly, the film flopped at the box office and was quickly forgotten by the public; Hammer never made a sequel or remake and Terence Fisher, having steadily worked for Hammer since 1957, fell out of their favor and wasn't given another project to direct until 1964's <em>The Gorgon</em>. Since then, the film has undergone a critical reappraisal and is now considered underrated by fans of Hammer Horror, myself included.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD51brb_pkt1BrodZc9nQDkrdUkpKb91CE_s3jKlxUHTQ6TrVWuhnNHhfIyOM078T1AcD0jvHu_PG7h8Xkx6XtuvZ3cNhr4yoMop3gAEwO-h8sCIp3c8HBfAD_YlFyJ4X0Otz0ejtgFxg/s1600/Phantom%252520of%252520the%252520Opera%25252002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD51brb_pkt1BrodZc9nQDkrdUkpKb91CE_s3jKlxUHTQ6TrVWuhnNHhfIyOM078T1AcD0jvHu_PG7h8Xkx6XtuvZ3cNhr4yoMop3gAEwO-h8sCIp3c8HBfAD_YlFyJ4X0Otz0ejtgFxg/s320/Phantom%252520of%252520the%252520Opera%25252002.jpg" width="320" /></a></div>For horror fans, the golden era of Hammer features some of the best looking horrors around and <em>Phantom of The Opera </em>is no different. Fisher delivers a gorgeously gothic film; the set design, particularly the London Opera House and the Phantom's Lair, are stunning, the lighting by Arthur Grant perfectly compliments the sets, and Edwin Astley's music is appropriately eerie, not to mention the use of Bach's Toccata and Fugue in D Minor, which has become symbolic in horror films.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi469Osg9z5WQM5A9qjir5Mjv9x1-jEO8ZsPOp_SfDBkkMfFk2B34Qs8zjffjnPZ-wk_croSFzCdMkqssqYMZnaj7e5IPJQxbmbn1-5b1V1JBzJZW0JvyyVeAhOzJ3H9sbBZPn5IecGAPQ/s1600/Phantom%252520of%252520the%252520Opera%252C%252520Bray%252520backlot%252C%2525201962.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi469Osg9z5WQM5A9qjir5Mjv9x1-jEO8ZsPOp_SfDBkkMfFk2B34Qs8zjffjnPZ-wk_croSFzCdMkqssqYMZnaj7e5IPJQxbmbn1-5b1V1JBzJZW0JvyyVeAhOzJ3H9sbBZPn5IecGAPQ/s320/Phantom%252520of%252520the%252520Opera%252C%252520Bray%252520backlot%252C%2525201962.jpg" width="320" /></a></div>One of the constant criticisms towards <em>The Phantom of The Opera</em> stems from Anthony Hinds' script, which takes drastic liberties with the source material. The Opera House is now in London instead of Paris, the characters of Raoul, Carlotta and the Opera Managers have been re-written and the Phantom himself is changed, complete with a new origin and personality. Is this really a problem? For fans of Leroux's novel and faithful book-to-film adaptations, it'll probably be irksome to a degree. For myself, largely unfamiliar with Leroux's novel outside of what's in popular culture, I found myself enjoying a lot of these new wrinkles and found them captivating and unique.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMa7wdcIQtM690nDkcPBsDbcfB_yjUxPK_p53EDtDgV1eiEfXKtXbUWv6IUfJCA3gSuaPrrQuHOPnC6HqZ4sxSy0hIfeBWwJepeKSUYzw0CwHFfsWDoZ8SHERAq5Kv6QRNRBYDw0i_2AA/s1600/vlcsnap-00002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMa7wdcIQtM690nDkcPBsDbcfB_yjUxPK_p53EDtDgV1eiEfXKtXbUWv6IUfJCA3gSuaPrrQuHOPnC6HqZ4sxSy0hIfeBWwJepeKSUYzw0CwHFfsWDoZ8SHERAq5Kv6QRNRBYDw0i_2AA/s320/vlcsnap-00002.jpg" width="320" /></a></div>The Phantom of The Opera himself, as realized by Hammer, is one of the more fascinating takes on the character. More in tone with the 1925 Lon Chaney Sr. version, this Phantom is not the charming, devilishly suave version from Andrew Lloyd Webber's musical version. Hammer's Phantom of the Opera is gruesome, sporting disease ridden, pale gray skin, wears a crude, makeshift mask, and is downright arrogant and mean-spirited at times, yet once you learn his backstory, you can't help but sympathize with him. I won't give the origin away, but it gives the Phantom an interesting motivation and enhances his tragic qualities. It helps that Fisher and Hammer found the perfect actor for the role in Herbert Lom. Using body language, his distinctive voice and his one visible eye, Lom crafts a superb iteration of this character that might just be the most tragic Phantom captured on film.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixR8zTkRTFglmdwCYakIRa43m954AS-XER9or-weCCsX39ISt9I4RLOUJvWgyrbXd6MltUoQMRq6tT-z8gc656al_fFIm3UmrqAI7vkt1-CHW4sHZsUyZ8R6beCy5493xjMCbxbhybGmQ/s1600/vlcsnap-00004.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixR8zTkRTFglmdwCYakIRa43m954AS-XER9or-weCCsX39ISt9I4RLOUJvWgyrbXd6MltUoQMRq6tT-z8gc656al_fFIm3UmrqAI7vkt1-CHW4sHZsUyZ8R6beCy5493xjMCbxbhybGmQ/s320/vlcsnap-00004.jpg" width="320" /></a></div>Despite some obvious dark aspects to his personality, Lom's Phantom is a saint compared to the true villain of the piece; Lord Ambrose D'Arcy. Egotistical, lecherous, pompous, and inhumanely cruel, D'Arcy is far more monstrous than the Phantom and is eventually revealed to have played a part in the Phantom's origin. Having played the far more pleasant Arthur Holmwood in <em>Horror of Dracula</em>, Michael Gough takes full advantage of this juicier role, never missing a chance to give the audience more reasons to hate him and never being afraid to be as cruel and sinister as possible. Gough is every bit as effective as Lom and for those who only know him as Alfred Pennyworth in Tim Burton's <em>Batman</em> and its sequels, this should be quite the eye opener.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDxGl7h9SEGpq8wlMBeJo6BY2WIYfPu5ZUZODtJ7Rpu8mV-pv_Xkz-0OjkOaZf4l8tJvWJzeOQBenO_7HwUr1esIVBwMc93YTnjZN0TrPsTs4H6IQkSoWkisfEnaMakrbK1wX0ynQJ0PA/s1600/thephantomoftheopera01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDxGl7h9SEGpq8wlMBeJo6BY2WIYfPu5ZUZODtJ7Rpu8mV-pv_Xkz-0OjkOaZf4l8tJvWJzeOQBenO_7HwUr1esIVBwMc93YTnjZN0TrPsTs4H6IQkSoWkisfEnaMakrbK1wX0ynQJ0PA/s320/thephantomoftheopera01.jpg" width="320" /></a> </div>Of all the changes, one of the most notable deals with the character of Raoul. Christine's childhood friend and lover in the novel, Raoul is now Harry Hunter, a suave, dashing Opera producer played by Edward De Souza, though originally intended for Cary Grant. Rather than just being the straight man trying to save Christine, Harry is a charisma machine; fun, quick-witted and charming, De Souza has made the most out of the role and manages to make it as easy to love Harry as much as we hate D'Arcy and sympathize with the Phantom. As far as Christine goes, she's definitely the straight man of the piece and lacks the screen presence of her male leads. Regardless, Heather Sears is solid in the role and has a great singing voice. The rest of the cast does what is required, with notable appearances by Hammer regulars Thorley Walters as the put-upon Opera manager Lattimer, Michael Ripper as a cabbie and Patrick Troughton as the nasty rat catcher.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU2JkIC_ace8c_xWMOJtXSaZXiwbY6ybbCpVpXQWiDzams2Mrqol2KUZuqAKOe46WF8ntaIwCw6x1YBoAea8pA-SlphRrpnC7d4bQw9uewqC7jsvsUme6rVDk8Gq1UL2_73a7kYY3QnaQ/s1600/Phantom%252520of%252520the%252520Opera%25252005.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU2JkIC_ace8c_xWMOJtXSaZXiwbY6ybbCpVpXQWiDzams2Mrqol2KUZuqAKOe46WF8ntaIwCw6x1YBoAea8pA-SlphRrpnC7d4bQw9uewqC7jsvsUme6rVDk8Gq1UL2_73a7kYY3QnaQ/s320/Phantom%252520of%252520the%252520Opera%25252005.jpg" width="320" /></a></div>Impressive as it is, <em>The Phantom of The Opera</em> makes its share of stumbles along the way. Harry clearly has a strong relationship with original leading lady Maria, yet she's dropped like a sack of rocks and is quickly forgotten. Lattimer spends the first half of the film subordinate to D'Arcy, but once he stands up to him and takes control, he's never seen again. The romance between the Phantom and Christine is oddly underplayed in favor of a student-mentor relationship. Strangest of all, the Phantom's dwarf, played by Ian Wilson, commits the film's first murder instead of the Phantom.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZAkbV5UyKud2W7LfMRrAudAWVh3-NkywgW6E8g65zkVVdjSHMXJ-L4-mxrmA39iQ0hyC4pId40wV9RjjxeOEdWR1aYs22fkkxzBZvF83Y15A1Zc4NnZuo7eRrj4vvm3O8tRK2Ev71n9k/s1600/phantom18.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZAkbV5UyKud2W7LfMRrAudAWVh3-NkywgW6E8g65zkVVdjSHMXJ-L4-mxrmA39iQ0hyC4pId40wV9RjjxeOEdWR1aYs22fkkxzBZvF83Y15A1Zc4NnZuo7eRrj4vvm3O8tRK2Ev71n9k/s320/phantom18.jpg" width="320" /></a></div>Speaking of which, <em>The Phantom of The Opera</em> is notably lacking in the vivid, bloodsoaked horror Hammer is known for. This is most notable in the film's climax, where the filmmakers make two peculiar choices. First, Lord D'Arcy is still alive at the end; given how contemptible he is throughout the entire movie, the fact that the Phantom doesn't kill him is frustrating. Secondly, the chandelier scene has the Phantom, removing his mask, bravely push Christine out of the way and sacrifices himself, coming off less villain and more anti-hero. They're odd decisions and, in the case of D'Arcy, puzzling, but you can't accuse Hammer of sullying the project. This is what Terence Fisher wanted to with the source material and, for the better more so than the worst, these alterations work in the film's favor.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj86el-5KArteYhF6uetqjNghixbn1Z0Vf2WUbwO-R20BjjuZR3qWd2g8jVu8ZiEAvpHNe0GXc5dxfyqbB5CQp-PXcXsIgShMJRhuEH1KaU9m0vS0RjShQfdM7OTikrsWC2dqfmXAGOQKI/s1600/phantom22.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj86el-5KArteYhF6uetqjNghixbn1Z0Vf2WUbwO-R20BjjuZR3qWd2g8jVu8ZiEAvpHNe0GXc5dxfyqbB5CQp-PXcXsIgShMJRhuEH1KaU9m0vS0RjShQfdM7OTikrsWC2dqfmXAGOQKI/s320/phantom22.jpg" width="320" /></a></div>I get why Hammer fans didn't respond to this at first. The gory horror is downplayed in favor of character drama, Christopher Lee and Peter Cushing are nowhere to be seen and the supposed villain of the piece is actually a sad, pathetic individual. It might not be the type of film horror fans expect from Terence Fisher and Hammer, but those on the fence should definitely give it a go; you'll most certainly be pulled in by the engaging performances, the stunning production values and the powerful tragic aspects of Herbert Lom's Phantom. It might not be what Gaston Leroux intended, but Hammer's <em>The Phantom of The Opera</em> is easily one of the story's best interpretations. <strong>4 out of 5 Stars</strong>.<br />
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Next Up: October 17th: The Phantom of The Opera (1943)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-55543765931537489962011-10-17T11:34:00.000-07:002011-10-17T11:34:38.834-07:00October 15th: Wolfen (1981)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjq0_pUAJzb0Vw1EroZTHypb66GW8hP9L9CigWV0Tn7kBTKwvBfCSucT3cKZ2qcuqPVsCHefv8fofS1kc9MeMvj6tOOBafiNuurXwwsWBmf24c3t040wHHVdN3ZUhFzkMiAkSHfm8kJzQ/s1600/wolfen-movie-poster1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjq0_pUAJzb0Vw1EroZTHypb66GW8hP9L9CigWV0Tn7kBTKwvBfCSucT3cKZ2qcuqPVsCHefv8fofS1kc9MeMvj6tOOBafiNuurXwwsWBmf24c3t040wHHVdN3ZUhFzkMiAkSHfm8kJzQ/s320/wolfen-movie-poster1.jpg" width="211" /></a></div><strong>PLOT</strong><br />
Dewey Wilson (Albert Finney) is a veteran of the New York Police Department; burnt out and hardened by his years on the force, Dewey has been enjoying time off due to assorted family and psychological problems until his superior Warren (Dick O'Neil) puts him back on active duty to investigate the bizarre murders of industrialist Christopher Van Der Veer (Max M. Brown), his wife Pauline (Anne Marie Pohtamo) and their driver/bodyguard (John McCurry).<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZjY4ax3ofR7WwisO7jTXthGXV2Wi4PUzlkIjgdP8i0OdWNhuTSixecJ8tG9ef3iMv3duqWPytpxSfyxSe9yeNGvvKu6u-jEmR_qJC2UucsizEU0UUtiFRt4B-VWIkr3TP5ZAtwEdQ7U/s1600/Wolfen6_png.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="144" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZjY4ax3ofR7WwisO7jTXthGXV2Wi4PUzlkIjgdP8i0OdWNhuTSixecJ8tG9ef3iMv3duqWPytpxSfyxSe9yeNGvvKu6u-jEmR_qJC2UucsizEU0UUtiFRt4B-VWIkr3TP5ZAtwEdQ7U/s320/Wolfen6_png.jpg" width="320" /></a></div>Warren pairs Dewey with Rebecca Neff (Diane Venora), a psychologist working for Van Der Veer's security firm. Lacking evidence and motive, Dewey and Rebecca seek advice from an eclectic group of experts: Whittington (Gregory Hines), a colorful coroner; Ferguson (Tom Noonan), a zoologist; and Eddie Holt (Edward James Olmos), an ex-con and former member of the Native American Movement.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIGXGpRfjmwVzClwDBS-Qi2lsFSY2lPC572cmr57e3toAqctIhd7UzHqCPV051BpfVEJgw9pUyuDR4Z0wWACiC7CMywyLNcM7nxC5FM9wWz2XrHubaSiJGrgF88-mZDHn78aLLR2eb0Vk/s1600/08112wolfen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIGXGpRfjmwVzClwDBS-Qi2lsFSY2lPC572cmr57e3toAqctIhd7UzHqCPV051BpfVEJgw9pUyuDR4Z0wWACiC7CMywyLNcM7nxC5FM9wWz2XrHubaSiJGrgF88-mZDHn78aLLR2eb0Vk/s320/08112wolfen.jpg" width="320" /></a></div>When a South Bronx vagrant (David Connell) turns up dead, Whittington find hairs on the corpse that are identical to hairs found on the Van Der Veers. Ferguson identifies the hair as belonging to a Wolf, but maintains that Wolves have been driven to extinction in the East and wouldn't be capable of committing these murders. Sensing that they're onto something, Dewey, Neff and Whittington turn their attention to the ruined areas of the South Bronx, but soon discover that they're up against something much more ferocious than a pack of Wolves.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifm-MhxOuCoCsmaw-Ow2Jb_RbfoutQzDvRcFJKvELbX7fvX17PdYQMb_BW6zjjnTj7faEyEli3R42IIpGau46kNj_i4tuINIumYsYcXr30oUYj8nseLGBuPTjJhB8HKK51gIP2R2TAHO0/s1600/wolfen_fur.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifm-MhxOuCoCsmaw-Ow2Jb_RbfoutQzDvRcFJKvELbX7fvX17PdYQMb_BW6zjjnTj7faEyEli3R42IIpGau46kNj_i4tuINIumYsYcXr30oUYj8nseLGBuPTjJhB8HKK51gIP2R2TAHO0/s320/wolfen_fur.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
Based on the 1978 Whitley Strieber novel of the same name, <em>Wolfen</em> is a fascinating, yet strange blend of supernatural horror, crime thriller and psychological character study with an environmental subtext that has largely been forgotten for obvious reasons. It doesn't fit into any clear genre, there's not much in the way of horror for most of the film and director Michael Wadleigh seems more interested in exploring the psychology of Dewey Wilson and environmental issues than telling a scary/suspenseful story.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsMUp3jsUsgJwFu7UbAz94jPDon2ZC_A_Oo_VqAqbQ5gJ_wrn1XCWUG1U0LJjCvuLhl7bzMy8HwZHc9_xxDkhAOuXN_mADDkO0AysN7gKnwShtryXC2sftD4GXSSol_IaIgoYBw6AWgMo/s1600/wolfen-1981-gregory-hines-pic-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsMUp3jsUsgJwFu7UbAz94jPDon2ZC_A_Oo_VqAqbQ5gJ_wrn1XCWUG1U0LJjCvuLhl7bzMy8HwZHc9_xxDkhAOuXN_mADDkO0AysN7gKnwShtryXC2sftD4GXSSol_IaIgoYBw6AWgMo/s320/wolfen-1981-gregory-hines-pic-2.jpg" width="320" /></a></div>By and large, '80s horror was all about death and violence. It was the decade of the slashers, with <em>Friday The 13th</em>, <em>A Nightmare on Elm Street</em> and all the other <em>Halloween</em> clones raking in big profits. Films like <em>Wolfen</em> had a hard time fitting in, given that they weren't pure horror films and were more based in psychological horror, something that wouldn't take off until <em>The Silence of The Lambs</em> in 1991. In the 1980s, horror films had to be gruesome and shocking to make money.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj277E-4Kcwn1OsRxil6S-GtzpPPOAD9DAQOWttL6w1QfwUOBk-BBkrPeLEslxqBaFcAfN2O91A-bjnQxx-T4hPHstYdGbRPbK-LunAYWUZ3AGTIU428wTfJl-reWXZeq8kbDfzgovTcrY/s1600/wolfen5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj277E-4Kcwn1OsRxil6S-GtzpPPOAD9DAQOWttL6w1QfwUOBk-BBkrPeLEslxqBaFcAfN2O91A-bjnQxx-T4hPHstYdGbRPbK-LunAYWUZ3AGTIU428wTfJl-reWXZeq8kbDfzgovTcrY/s320/wolfen5.jpg" width="320" /></a></div>That's not to say <em>Wolfen </em>isn't gruesome; the death scenes show plenty of hands being bitten off, throats being torn open and heads being cut off. But that's not the driving force behind this film; Wadleigh, who co-wrote the film with David Eyre and an uncredited Eric Roth, are clearly not horror filmmakers. It's crystal clear that their interest lies in the psychological profile of Dewey Wilson and his eclectic group of friends and enemies.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0RmbyiuGypRbQbXgy0x37WFFBh1VhPxJA7AVHSCUo7PmpM3Pu6JQ7YVRGRNvTOM614724Pqfkmq_yhWZrJxGNLL61MGh1uxGoNriZVSexnWcomWsIABmRO2fLHy-IyUb78rm54_C1EX4/s1600/Wolfen2_png.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="142" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0RmbyiuGypRbQbXgy0x37WFFBh1VhPxJA7AVHSCUo7PmpM3Pu6JQ7YVRGRNvTOM614724Pqfkmq_yhWZrJxGNLL61MGh1uxGoNriZVSexnWcomWsIABmRO2fLHy-IyUb78rm54_C1EX4/s320/Wolfen2_png.jpg" width="320" /></a></div>In that case, Dewey's story feels somewhat muted. It's brought up that Dewey had psychological and family problems that forced him to take time off, but not much is done with it once it's established. His family is never mentioned, nor does he show any signs of psychosis or difficulty slipping back into police work. In fact, you pretty much forget that Dewey was disturbed. The farthest they go with it is just showing Dewey to be tired and burned out, described by Eddie Holt as having the eyes of the dead.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXAREdzC-cNFFsgrgoc78xJ2W9wYUJVxl6DxzIOOxXJhbdHyTpDEFlvi1OdDakqJi6S179Ibh2O0JDnO6EDAhr61ys8XKWbslDhPoBXGWlOvprUhWnnNq2fqKwr1Z1Ujl9_aAPXCtYmis/s1600/Wolfen3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXAREdzC-cNFFsgrgoc78xJ2W9wYUJVxl6DxzIOOxXJhbdHyTpDEFlvi1OdDakqJi6S179Ibh2O0JDnO6EDAhr61ys8XKWbslDhPoBXGWlOvprUhWnnNq2fqKwr1Z1Ujl9_aAPXCtYmis/s320/Wolfen3.jpg" width="320" /></a></div>Being that the script's treatment of Dewey is half-hearted, I'm giving massive, massive props to Albert Finney for making this character work. A two-time Oscar nominee at this point for his performances in <em>Tom Jones</em> and <em>Murder on The Orient Express</em>, the British actor seemed like an odd choice for this film, yet Finney is pitch-perfect as Dewey Wilson. Finney's gruff demeanor perfectly conveys the character's exhaustion and every time I lose interest in this film, it's always Finney who pulls me back in.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYyiO2qnzMMnv3CNRUHPHoPARUxL0LJbmfR8JGcZLU8nAtyyaH52c4umHeMKzzLVP5cUoe7A9DItwO0R_-aTcxqF472Eqhvwt-r-OjD5BPa6TsLWE71N6InzsKMKMTD2y0Wy_5ga2c6Kw/s1600/wolfen_wolf.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYyiO2qnzMMnv3CNRUHPHoPARUxL0LJbmfR8JGcZLU8nAtyyaH52c4umHeMKzzLVP5cUoe7A9DItwO0R_-aTcxqF472Eqhvwt-r-OjD5BPa6TsLWE71N6InzsKMKMTD2y0Wy_5ga2c6Kw/s320/wolfen_wolf.jpg" width="320" /></a></div>Finney's supporting cast make the most of their roles; Diane Venora, best known for her critically acclaimed performances as Chan Parker in Clint Eastwood's <em>Bird</em> and Justine Hanna in Michael Mann's <em>Heat</em>, made her film debut as Rebecca Neff and she's an effective match for Finney, but doesn't have as many scenes together as they should, not to mention the romantic subplot goes nowhere. Other notable performances include Gregory Hines, whose Whittington has some great character moments with Dewey, Tom Noonan, finally getting a chance to play a normal character in Ferguson, and Edward James Olmos, whose Eddie Holt explains the Wolfen to the audience with intense line readings and facial expressions.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxbTvSPm2zURMtWpSkVMyRHPj39JnlaPbQ4jasrjmOy_-R9d0zk0xqyTs54-7yB63YvIxhq0mGSEHnWl7DhZJrj9mVDM20RmkKtIaFSBmoj-rS36RW22ALGcjMUraolu_sYh_Z8tpbphI/s1600/olmos.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxbTvSPm2zURMtWpSkVMyRHPj39JnlaPbQ4jasrjmOy_-R9d0zk0xqyTs54-7yB63YvIxhq0mGSEHnWl7DhZJrj9mVDM20RmkKtIaFSBmoj-rS36RW22ALGcjMUraolu_sYh_Z8tpbphI/s320/olmos.jpg" width="320" /></a></div>Even with this great cast, I was losing interest in <em>Wolfen</em> far too often. The problem is that the mixture of genres is uneven; there's a lot of crime thriller and psychological character study going on, but the horror elements are lacking. Furthermore, it's obvious this script was based off a book; the pacing is slow and the script is overstuffed with secondary characters and needless forensics. I'm not opposed to a film taking its time; <em>The Exorcist</em> is similarly slower-paced, but that film balanced the crime procedural and character development with nightmarish horror scenes. <em>Wolfen</em> just doesn't have enough horror to balance it out.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg40l27d9_IUPPvTNnsYeuMUX5TDm9Lk6gYPoJW_mB2EY1_Jbz55H_FzKK851b40cL0ajVqFrLwmKUf9IB8auUpo4XEozrkGyiHzMPgPObw5OyRHkoqoES3pHeXSzwXak9W-m1GwOEc3yk/s1600/Wolfen_1981_dvd_x264_ac3_mp3_eng_ger_subs_ger_eng_olds_039394_09-59-28.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="129" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg40l27d9_IUPPvTNnsYeuMUX5TDm9Lk6gYPoJW_mB2EY1_Jbz55H_FzKK851b40cL0ajVqFrLwmKUf9IB8auUpo4XEozrkGyiHzMPgPObw5OyRHkoqoES3pHeXSzwXak9W-m1GwOEc3yk/s320/Wolfen_1981_dvd_x264_ac3_mp3_eng_ger_subs_ger_eng_olds_039394_09-59-28.png" width="320" /></a></div>Wadleigh has made his career off of documentaries, not horror films. I get he's more interested in his characters and that's wonderful. Nevertheless, this is a horror movie and it must have tension and atmosphere. Wadleigh reportedly turned in a four hour and four minute cut of <em>Wolfen</em>, with 36 "missing scene" cards in place of scenes he hadn't shot yet; I'm willing to bet those 36 missing scenes were all the horror scenes, which producer Rupert HitzigWadleigh was fired. By no means am I saying Wadleigh is a bad director; his visuals are actually pretty good. He just wasn't the right person to direct this film and his lack of pacing really hurts <em>Wolfen</em>.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu0cKQEhHqtVb9EAXUA5q6U4fqP3V22gsmN4Sbqs2yZGS83n86zCf4guncPV6fxCHcYuaEtWBWQP2Ci02TEFrbkr2-e8QsXCTpq9AtFhNvD4ZC-LVY3pDZl1n-AweFRXgtqUjNR-al2Ig/s1600/wolfen-1981-diane-verona-dick-oneill-alfred-finney-pic-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu0cKQEhHqtVb9EAXUA5q6U4fqP3V22gsmN4Sbqs2yZGS83n86zCf4guncPV6fxCHcYuaEtWBWQP2Ci02TEFrbkr2-e8QsXCTpq9AtFhNvD4ZC-LVY3pDZl1n-AweFRXgtqUjNR-al2Ig/s320/wolfen-1981-diane-verona-dick-oneill-alfred-finney-pic-3.jpg" width="320" /></a></div>What of the actual horror scenes? They're effective for the most part, highlighted by the bizarre Wolfen vision created by Hitzig and Garrett Brown, the inventor of the Steadicam. This thermovision, similar to the Predator vision in John McTiernan's <em>Predator</em> six years later, is stunning to look at, even 30 years later, and gives the Wolfen, unseen for the first hour, an eerie presence. The actual Wolfen attacks are impressive as well; shocking, sudden and gruesome, they almost make the slow pace worth it. Almost.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRhr0neM1pn2Jaat6NTZtTb4ILXYO1GpYf4krKkykh6zYm9GSEe0xBWJR7i_7fTiQ12Jb1WSl4vAXpPC0gJt87GW0AIi1oIwMR4l_b4aWvYCF_ywZqXkrru1Clb8zQo97VjLgf2IL3uYY/s1600/Wolfen5_png.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRhr0neM1pn2Jaat6NTZtTb4ILXYO1GpYf4krKkykh6zYm9GSEe0xBWJR7i_7fTiQ12Jb1WSl4vAXpPC0gJt87GW0AIi1oIwMR4l_b4aWvYCF_ywZqXkrru1Clb8zQo97VjLgf2IL3uYY/s320/Wolfen5_png.jpg" width="320" /></a></div>As for the Wolfen themselves, it's time to clarify this film for people who haven't seen it. Since its release, <em>Wolfen</em> has been mistakenly defined as a Werewolf movie, primarily because of the poster art and the fact that <em>Wolfen</em> came out in July 1981, three months after <em>The Howling </em>and one month before <em>An American Werewolf In London</em>. The Wolfen are not Werewolves, but rather an advanced, highly intelligent species descended from Wolves and worshipped by the Native Americans as Gods. The concept is great and the Wolfen definitely make creepy monsters, but they are not Lycanthropes in any way.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG5M8I9rI_bmcOVcOfYl2F4tXQ2jFdhUL0ad790HwoT0luWJ-mn-fBIhRlxsZcuLSSSJ4IPIp_BSqTtivn5yaFM_KHC08kUgMlgp5kKCyMN1mCegDlkQNAiL4Q37VATAtmeIJgfdQmmxQ/s1600/48cec2e072f15515956a0ecdfe6202fa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG5M8I9rI_bmcOVcOfYl2F4tXQ2jFdhUL0ad790HwoT0luWJ-mn-fBIhRlxsZcuLSSSJ4IPIp_BSqTtivn5yaFM_KHC08kUgMlgp5kKCyMN1mCegDlkQNAiL4Q37VATAtmeIJgfdQmmxQ/s320/48cec2e072f15515956a0ecdfe6202fa.jpg" width="320" /></a></div>On paper, <em>Wolfen </em>should be a great film. The performances are stellar, the Wolfen are unique movie monsters, the visuals are stunning, and the overall mystery is intriguing. So what bogs this down? Slow pacing, uneven tone and stuffy script. It's frustrating, because what is a perfectly good, enjoyable film could have and should have been a beloved classic. As is, it's just a good '80s horror film and nothing more. <strong>3.5 out of 5 Stars</strong>.<br />
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Next Up: October 16th: The Phantom of The Opera (1962)<br />
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<strong></strong>JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-51150579307400999122011-10-16T21:12:00.000-07:002011-10-16T21:12:38.968-07:00October 14th: The Thing (2011)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcsqdSUi5iP3724teZkVkdD4s_jPWj_m82gdSqRRoPIzd6tFWAS1uxgUNx9tJZodc7GuhassIlpz-ObamtphoEZwiCPsxjP_OA2hMk4MNAHzSzV9oV1VlfccYSZgqchTqQVAZZqH4vJow/s1600/thing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcsqdSUi5iP3724teZkVkdD4s_jPWj_m82gdSqRRoPIzd6tFWAS1uxgUNx9tJZodc7GuhassIlpz-ObamtphoEZwiCPsxjP_OA2hMk4MNAHzSzV9oV1VlfccYSZgqchTqQVAZZqH4vJow/s320/thing.jpg" width="215" /></a></div><strong>PLOT</strong><br />
Paleontologist Kate Lloyd (Mary Elizabeth Winstead) is recruited by Dr. Sander Halvorson (Ulrich Thomsen) and his assistant Adam Goodman (Eric Christian Olsen) to travel to Antarctica, where a team of Norwegian scientists have stumbled across underground caverns, though Kate is kept in the dark about what the Norwegians found.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1N0Sd59F5KNNhTz9If7Z-dg7s36d_NYI4dL7q-8a8qgshajRk6I2oukASAsiTmwZfx1zN9WQ6QA7J7kgiCwXm-LPsQ_B4CR_OvHkrVi0Hv5YxPr_jwXPN7NX9Z9-PhBWD0AtgLpgCUH0/s1600/the-thing-2011-20110714022254126.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1N0Sd59F5KNNhTz9If7Z-dg7s36d_NYI4dL7q-8a8qgshajRk6I2oukASAsiTmwZfx1zN9WQ6QA7J7kgiCwXm-LPsQ_B4CR_OvHkrVi0Hv5YxPr_jwXPN7NX9Z9-PhBWD0AtgLpgCUH0/s320/the-thing-2011-20110714022254126.jpg" width="320" /></a></div>Arriving at the Norwegians' base and meeting the team, led by geologist Edvard Wolner (Trond Espen Seim), Kate is taken to the caverns and sees for herself what the Norwegians discovered; a crashed extraterrestrial spaceship, buried under the ice for at least 100,000 years, and its pilot, presumably dead. Despite Kate's protests, Dr. Halvorson and Wolner begin experimenting immediately and take a tissue sample.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_5oAO4ikPTxu4HbDVvCScOTIN5lTipfI40eRZAj8l4hxprqgiLdvKj9CNyuAhf9QfxjzhedTgLIDP6OU-QAT_st0LXW6jn35P62i5NTsy2i3lrB_eO07dwhIAj8X95KyHNRFMeUwfScE/s1600/Mary-Elizabeth-Winstead-The-Thing-prequel-movie-picture-Joel-Edgerton.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_5oAO4ikPTxu4HbDVvCScOTIN5lTipfI40eRZAj8l4hxprqgiLdvKj9CNyuAhf9QfxjzhedTgLIDP6OU-QAT_st0LXW6jn35P62i5NTsy2i3lrB_eO07dwhIAj8X95KyHNRFMeUwfScE/s320/Mary-Elizabeth-Winstead-The-Thing-prequel-movie-picture-Joel-Edgerton.jpg" width="320" /></a></div>Later that night as the team celebrates their find, The Thing escapes and begins killing the crew off. Studying the tissue sample, Kate discovers that The Thing is capable of absorbing living organisms' cells, allowing it to perfectly mimic those cells. Realizing that The Thing is trying to imitate the crew members as a means to escape Antarctica and infect the world, Kate, American Pilot Braxton Carter (Joel Edgerton) and Norwegian Lars (Jorgen Langhelle) arm themselves with flamethrowers and begin testing the increasingly paranoid crew to determine who is and who isn't The Thing<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMKxk5EJuvnWvwVMNtBUln_BnRfuRDmIQ8l7yW1vXNWFrj6NNgfVI2TY7Lh2sz0WYacGVHnj8bw8jSx0Rch5Vn4MLXBkxEVifilurhu7LHOiX681y-5P7QeibXOoxo0TJELfoUy6LN-gU/s1600/splitface.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMKxk5EJuvnWvwVMNtBUln_BnRfuRDmIQ8l7yW1vXNWFrj6NNgfVI2TY7Lh2sz0WYacGVHnj8bw8jSx0Rch5Vn4MLXBkxEVifilurhu7LHOiX681y-5P7QeibXOoxo0TJELfoUy6LN-gU/s320/splitface.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
John Carpenter's <em>The Thing</em> was an undeniable failure upon its release; the general consensus at the time was that it was too grotesque and nihilistic, especially compared to the far more successful <em>E.T.</em> In the 20+ years since its release, Carpenter's film has under a critical reappraisal and is now considered one of the all-time horror classics, far superior to its enjoyable 1951 original, <em>The Thing From Another World</em>.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnGRkcDZqYR8vJsRVIn7ILot5-BpV16IBrf3qgQOETHKbH8thFA66eHR_WucMpuW4icQSxGlAc5t_KBIbiJg4nwMCTbMGFRxap-FN1kwHaY3wGgsUReAMlJZwin5KwPYOxzf3Du6IpETU/s1600/Eric-Christian-Olsen-The-Thing-prequel-movie-picture.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnGRkcDZqYR8vJsRVIn7ILot5-BpV16IBrf3qgQOETHKbH8thFA66eHR_WucMpuW4icQSxGlAc5t_KBIbiJg4nwMCTbMGFRxap-FN1kwHaY3wGgsUReAMlJZwin5KwPYOxzf3Du6IpETU/s320/Eric-Christian-Olsen-The-Thing-prequel-movie-picture.jpg" width="320" /></a></div>With films like <em>The Texas Chainsaw Massacre</em>, <em>Halloween</em> and <em>Psycho</em> getting remakes, horror fans were bracing themselves for the inevitable <em>Thing</em> remake. While some people still think this is a remake, <em>The Thing</em> 2011 is actually a prequel to <em>The Thing</em> 1982, set three days earlier and centered on the Norwegian crew who uncovered The Thing that stalked R.J. MacReady and his crew in Carpenter's film. Nevertheless, red flags were going up amongst the fan community, concerned that this new film would add nothing to Carpenter's film or worse, take away from it by answering unnecessary questions Carpenter knew were better left unanswered.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguACdODR5yHY4xZP4MqzeXri8tchxVvd0HWgtZChq1kq7pIGXEv-cQXpQzQRaXAsKZU0MU48BlI1fmvBYuk4h9XtOaHzhVgWgGHi9kTObI_4xlc-XULwXKhz_SjRnCiG5mJLkhQXLiZso/s1600/Booze_TheThing3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguACdODR5yHY4xZP4MqzeXri8tchxVvd0HWgtZChq1kq7pIGXEv-cQXpQzQRaXAsKZU0MU48BlI1fmvBYuk4h9XtOaHzhVgWgGHi9kTObI_4xlc-XULwXKhz_SjRnCiG5mJLkhQXLiZso/s320/Booze_TheThing3.jpg" width="320" /></a></div>Having seen <em>The Thing </em>2011, I can understand why people presumed it to be a remake; it's the same damn thing, only with a female lead, Norwegians and a massive drop in quality. Now to be fair, there are other minor differences that pop up on occasion, but its few and far between, not to mention frustrating. It's bad enough when a remake just copies the plot points of its original verbatim, but at least remakes, by their own nature, exist outside of the original film. For a prequel to imitate its predecessor so blatantly is inexcusable.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifGvtIPqTAlsk8ZEvNHHj3fbRWFCWNNce1XwYEsXhcyo8Kq9ScHeRpP5l9BLfAOi0kymEZ3R9BhRm3xfBW03pScGcN5hCeCqD6aSOjnnrYgtgl8y37hMuG7uRwk-fiVeeMA5sETLpaZSM/s1600/The-Thing-2011-Set-Photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifGvtIPqTAlsk8ZEvNHHj3fbRWFCWNNce1XwYEsXhcyo8Kq9ScHeRpP5l9BLfAOi0kymEZ3R9BhRm3xfBW03pScGcN5hCeCqD6aSOjnnrYgtgl8y37hMuG7uRwk-fiVeeMA5sETLpaZSM/s320/The-Thing-2011-Set-Photo.jpg" width="320" /></a></div>Prequels are constricted by what happened in the original film/films, so it's vital for the filmmakers to reveal new information. The <em>Star Wars </em>prequels, as god awful as they are, introduced us to new, important characters. <em>Dominion: Prequel To The Exorcist</em> told us Father Merrin had lost his faith after WWI, something William Friedkin's film never brought up. <em>Paranormal Activity 2 </em>informed us why the demon was after Katie and Kristi. It's a simple rule; for a prequel to work, the filmmakers must shed new light on the original.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsj81b3rhXa99Z4VOw4E4EjViZLs2GEVKrtdU_nO_28Ivup6BhROOT_NEx_qUT_bzEikEMMfzp6E3ezBjhqV1JnY5XrSltuaXQ1sQ25dfjsB5gS0Ncox1BjFH3GuPxGJwdqnaujWl_AAk/s1600/imagesCAVZJCEB.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsj81b3rhXa99Z4VOw4E4EjViZLs2GEVKrtdU_nO_28Ivup6BhROOT_NEx_qUT_bzEikEMMfzp6E3ezBjhqV1JnY5XrSltuaXQ1sQ25dfjsB5gS0Ncox1BjFH3GuPxGJwdqnaujWl_AAk/s1600/imagesCAVZJCEB.jpg" /></a></div><em>The Thing</em> 2011 fails miserably because it doesn't provide anything new. In Carpenter's film, we were told that The Thing was discovered by a Norwegian crew, subsequently wiped said crew out and escaped from their compound. It wasn't particularly specific, so there was plenty of room to expand and elaborate. Instead of doing that, director Matthijs Van Heijningen Jr. and writer Eric Heisserer chose to steal from Carpenter. Many of the plot points have carried over, the characters' growing paranoia is identical, The Thing looks no different, and it ends on a similarly dark note.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6lGyTu9gVj5xHDrRLSjMqtkCoJfxL6RLrmCgqUXYc-0XvihkP6WFN4RFQvdgg5lp-SDoLst6PoPrWiTww6BsYykK3tVY2-o1fOC7-mv2oRWChF88xkLzNyTe1f-dD7i4fy_pam2SCeqQ/s1600/the-thing-2011-trailer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6lGyTu9gVj5xHDrRLSjMqtkCoJfxL6RLrmCgqUXYc-0XvihkP6WFN4RFQvdgg5lp-SDoLst6PoPrWiTww6BsYykK3tVY2-o1fOC7-mv2oRWChF88xkLzNyTe1f-dD7i4fy_pam2SCeqQ/s320/the-thing-2011-trailer.jpg" width="320" /></a></div>The only key difference between <em>The Thing</em> 1982 and <em>The Thing </em>2011 is that this version features a female hero, in the form of Mary Elizabeth Winstead's Kate Lloyd. Other than <em>Final Destination 3</em> and <em>Live Free or Die Hard</em>, I can't profess to being an expert on Winstead. However, her performance here is enough to convince me to go no further. Winstead looks far too young to be a paleontologist, my eyes rolled every time she tried to come off as authoritative and I was never given any reason to like her or want her to be the hero. She's just another bland, dull Ripley knockoff that Sigourney Weaver, even at her age, could beat the living crap out of in ten seconds flat.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtOxSqIBZoW4Z93iwOQqb9k_AGfDXeYVFrYIK0znmUpaa0PdZbZH1EAyZAj6NKFDrct0I7C0uVySb_5U0AP8ECg_6zb3w24cLKIzur8RevGnmTwbmk9odmyrcqLuW88zg6HYzTUKr8qmo/s1600/the_thing_2011__12862131112458.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtOxSqIBZoW4Z93iwOQqb9k_AGfDXeYVFrYIK0znmUpaa0PdZbZH1EAyZAj6NKFDrct0I7C0uVySb_5U0AP8ECg_6zb3w24cLKIzur8RevGnmTwbmk9odmyrcqLuW88zg6HYzTUKr8qmo/s320/the_thing_2011__12862131112458.jpg" width="320" /></a></div>The closest this film has to a likeable hero is Joel Edgerton, as pilot Braxton Carter. Don't get too excited, though, because Braxton Carter is clearly modeled off R.J. MacReady, the protagonist of Carpenter's film and John W. Campbell, Junior's original story <em>Who Goes There?</em>. Though clearly an anti-hero, MacReady was a supreme badass, the essence of cool and tough, helped immeasurably by Kurt Russell's performance. Edgerton is a solid actor, but he's just not as cool as Russell and the obvious parallels between the characters make it impossible to not compare them. Of course, it doesn't help that Edgerton isn't given anything to do that would make him unique and different (unless an earring counts).<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj64Fo3NTcy5pBIO1qXgnfn14Mlye9Jy1oqfDr1cvAECZCLBiLDkpN9ycjwmBdwLljXOZ-lDt6XcF4ae_7C3GseQXKbVNhH9BQaRqjiHquEUoyL1NYNNlCG3qUjFGoCWWSj6qYfSQEhxt4/s1600/the-thing-2011-20110714022252829.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj64Fo3NTcy5pBIO1qXgnfn14Mlye9Jy1oqfDr1cvAECZCLBiLDkpN9ycjwmBdwLljXOZ-lDt6XcF4ae_7C3GseQXKbVNhH9BQaRqjiHquEUoyL1NYNNlCG3qUjFGoCWWSj6qYfSQEhxt4/s320/the-thing-2011-20110714022252829.jpg" width="320" /></a></div>Fans of Carpenter's version will tell you that every character was memorable and I'm inclined to agree with that. Every single character, even such minor characters as dog handler Clark, station chef Nauls and redbeard Bennings, had their own moment to shine and they all stick with the fans. This film? None. Not a single fucking character is unique or memorable, let alone fun to watch. They're all just generic, straight-laced people with no personality or charisma. As weak as the performances are, I'd have to blame Eric Heisserer. The writer responsible for that wretched <em>A Nightmare on Elm Street </em>remake strikes out yet again, proving his complete and utter lack of talent.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhluALM5iGDnuXt7yS_1SM-yBhiw-GhgxoT0AHrlNYaxQ0Ems3KAjn0kJOCouqjGk61W4BF2UiRuUrCFXtwWRlNGGG74B-cvK5KjTCaAlaP58SQGcPj5Fge3VuOZIWhaKPGXxqsKzPoXrY/s1600/mary-elizabeth-winstead-the-thing-prequel-movie-picture.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhluALM5iGDnuXt7yS_1SM-yBhiw-GhgxoT0AHrlNYaxQ0Ems3KAjn0kJOCouqjGk61W4BF2UiRuUrCFXtwWRlNGGG74B-cvK5KjTCaAlaP58SQGcPj5Fge3VuOZIWhaKPGXxqsKzPoXrY/s320/mary-elizabeth-winstead-the-thing-prequel-movie-picture.jpg" width="320" /></a></div>While it's hard not to compare the two, does <em>The Thing</em> 2011 hold up on its own? Not at all. As we've already established, there's no reason to invest in any of these characters, so there's nothing in the way of tension or suspense when The Thing starts wrecking havoc. The film relies a lot on jump scares and loud noises, which any true horror fan would tell you doesn't count as a genuine scare. Unfortunately, Heijningen only adds to the problem by making the movie glossy and overproduced, not to mention (back to comparing the two films) that most of his visuals are lifted from Carpenter.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixtsxOMmfRU8aHSTX8T_bKHIOIxMhnEW3UKaI1lKdMRKin_nz4JNUt2BcTKVZD-W9A2_k0d59tcjgITZ7G0rumx26pDGrFItl6pbpXl-pF0RZ0E2d4QHNJzMr-tdA192akQOOXPY0ol1s/s1600/The-Thing-2011-Dissection-Scene.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixtsxOMmfRU8aHSTX8T_bKHIOIxMhnEW3UKaI1lKdMRKin_nz4JNUt2BcTKVZD-W9A2_k0d59tcjgITZ7G0rumx26pDGrFItl6pbpXl-pF0RZ0E2d4QHNJzMr-tdA192akQOOXPY0ol1s/s320/The-Thing-2011-Dissection-Scene.jpg" width="320" /></a></div>It's because of films like this that I curse the day CGI was invented. Even nearly 30 years later, Rob Bottin's effects in <em>The Thing</em> hold up perfectly. Bottin's vision of The Thing is the stuff of nightmares and will never be topped. I knew going in these effects weren't going to come anywhere near that, but even then I was still outraged. The Thing can contort itself in so many freaky ways, yet Heijningen is content with just copying Carpenter yet again and not doing something different with The Thing. I'm not inherently against CGI, but when this Thing looks just like Carpenter's Thing, all you're doing is reminding me of how much better practical effects are and, in turn, pissing me off. That pretty sums it up right there; Heijningen and Heisserer have done nothing but remind me that <em>The Thing</em> 1982 is far superior to this piece of junk retread.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlalV-WQK6-C3IHCBL05DKTZiHuxhsVKB-IWBFy456YwL1obcsgaoBBQ-Bg34swrIz_7KFy8_ERxs8GwTFatm1c63WYT9CmZM87FRyTf6iNs4vIzInKWRxPD7IjhK1mAwH8hlxvI0rbwU/s1600/the-thing-2011-20110714022256985.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlalV-WQK6-C3IHCBL05DKTZiHuxhsVKB-IWBFy456YwL1obcsgaoBBQ-Bg34swrIz_7KFy8_ERxs8GwTFatm1c63WYT9CmZM87FRyTf6iNs4vIzInKWRxPD7IjhK1mAwH8hlxvI0rbwU/s320/the-thing-2011-20110714022256985.jpg" width="320" /></a></div>According to both John Carpenter and Matthijs Van Heijningen Jr., The Thing is an evil entity capable of absorbing the cells of living organisms and perfectly imitating them. Given the recent trend of horror remakes, I'm not the least bit surprised to see Heijningen try to mimic the original film. What outrages me is how poorly they've replicated Carpenter; this is far from a perfect imitation. If you've seen <em>The Thing </em>1982 and <em>The Thing From Another World</em>, there is nothing about <em>The Thing </em>2011 that will surprise you; it's just another soulless Hollywood clone. <strong>1 out of 5 Stars</strong>.<br />
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Next Up: October 15th: Wolfen (1981)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-19480083142350067792011-10-16T17:07:00.000-07:002011-10-16T17:07:30.992-07:00October 13th: Night of The Creeps (1986)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikegW84K_i_9LPwdl2DBMeJg8EV4DeJhb34PViJg6apjhP3eSjBSZXuezpA_JtQp118QtIXK7T_8srbwZTyIun7K9tJ0DXew9HLNytGJzOLUQtOUBgGCYUQgmZb_4WWQGcUdnaLJvolcY/s1600/269977_1020_A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikegW84K_i_9LPwdl2DBMeJg8EV4DeJhb34PViJg6apjhP3eSjBSZXuezpA_JtQp118QtIXK7T_8srbwZTyIun7K9tJ0DXew9HLNytGJzOLUQtOUBgGCYUQgmZb_4WWQGcUdnaLJvolcY/s320/269977_1020_A.jpg" width="222" /></a></div><strong>PLOT</strong><br />
It's 1959 and Corman University student Pam (Alice Cadogan) is spending the night watching the stars with new boyfriend Johnny (Ken Heron) when they see what appears to be a flaming meteor crash into the woods near Route 66. Discovering the meteor to be a canister from outer space, Johnny is attacked by a slimy leech while Pam is chopped to pieces by an escaped mental patient (Ivan E. Roth).<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9iojLZmlZYyhLCgENHNlsnmEyrcNqOlsRdjBD1jZKk1DR8UJpkfeY-dqQJVJ15LAvZX6_QGEbKPMzKTrCRrSWOp2-UlsD8MCIo6BIROjx7bys7wm4eIQhT92Jn9_zfpkfMZ06MrrmaFk/s1600/notc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9iojLZmlZYyhLCgENHNlsnmEyrcNqOlsRdjBD1jZKk1DR8UJpkfeY-dqQJVJ15LAvZX6_QGEbKPMzKTrCRrSWOp2-UlsD8MCIo6BIROjx7bys7wm4eIQhT92Jn9_zfpkfMZ06MrrmaFk/s1600/notc.jpg" /></a></div>27 years later, Corman University is celebrating Pledge Week and Chris Romero (Jason Lively) has decided to pledge to a fraternity in the hopes Cynthia Cronenberg (Jill Whitlow) will notice him. Along with his roommate J.C. Hooper (Steve Marshall), Chris and J.C. are tasked by fraternity leader Brad (Allan Kayser) with stealing a corpse and dumping it in front of the Phi Omega Gamma house. Finding Johnny's body in cryogenic stasis, Chris and J.C. release him, but run when he regains consciousness.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvGjfzKqthv4QIboKu7k82M-SHgJOpAi62cxQOGzNgTuoNCaSsiagVLS50yOO-rAeRW1fzqI8qckKenegq_Jm1UUPHmWXi3-64sxlHfbxVm2LNWLG-bVZKmpgkF1s050PGHzvDepoaeOY/s1600/tumblr_lr8coqZNqY1qdqhxjo1_500.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvGjfzKqthv4QIboKu7k82M-SHgJOpAi62cxQOGzNgTuoNCaSsiagVLS50yOO-rAeRW1fzqI8qckKenegq_Jm1UUPHmWXi3-64sxlHfbxVm2LNWLG-bVZKmpgkF1s050PGHzvDepoaeOY/s320/tumblr_lr8coqZNqY1qdqhxjo1_500.gif" width="320" /></a></div>When Johnny's body is found at Cynthia's sorority, Cynthia tells Chris and J.C. that Johnny came to her window and his head split open, with dozens of leeches crawling out. The next night, Chris, Cynthia and the rest of Corman University are preparing for the formal when the leeches re-appear; killing many of the fraternity brothers, the leeches possess their corpses and start attacking the student body. Armed with shotguns and flamethrowers, Chris and Cynthia fight back, joining forces with Ray Cameron (Tom Atkins), a grizzled detective with a personal connection to the creeps.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQKIHNKZtaJzMdKvNfIynaedPbwAsLuAvFoSWL0qTmoEDhqn0GZjlVKTFB90KemD9RfwqnNHz1grbROvtrCaSUHUrca57cLJa05ZxTUQ8Gxi336XmemGAC-mPg-kOl-OJWe8BCMJLJTFo/s1600/night-of-the-creeps.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQKIHNKZtaJzMdKvNfIynaedPbwAsLuAvFoSWL0qTmoEDhqn0GZjlVKTFB90KemD9RfwqnNHz1grbROvtrCaSUHUrca57cLJa05ZxTUQ8Gxi336XmemGAC-mPg-kOl-OJWe8BCMJLJTFo/s320/night-of-the-creeps.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
Growing up, one of my all-time favorite movies was Fred Dekker's <em>The Monster Squad</em>, which told the story of monster-loving children fighting iconic horror villains Dracula, Frankenstein's Creature, The Wolf Man, The Mummy, and The Creature From The Black Lagoon. As a fan of the Universal Studio Monster classics from the '30s and '40s, I fell in love with <em>The Monster Squad</em> and my infatuation with the film continues to this day.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ2GouQ3DOl9dqzYUcQvjUaUbcgaBO8Wz3i94L5zaM_KtFmuL_HWwBwAcvnm8CL1awDFoGmH5Q7g_i3DfnnaGFRFY6YZsCyfcf6TDMQd30NP6TQnpFUESg8I93H-lRRKSE2Rq8HNVesXI/s1600/notcpic1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ2GouQ3DOl9dqzYUcQvjUaUbcgaBO8Wz3i94L5zaM_KtFmuL_HWwBwAcvnm8CL1awDFoGmH5Q7g_i3DfnnaGFRFY6YZsCyfcf6TDMQd30NP6TQnpFUESg8I93H-lRRKSE2Rq8HNVesXI/s320/notcpic1.jpg" width="320" /></a></div><em>Night of The Creeps </em>is not that film. As much as I was looking forward to it and hoping Dekker's first outing as director would be as enjoyable as his second, I was disappointed with the finished product. Rather than being a successful blend of horror and humor, it feels like a misguided homage to science fiction films from the 1950s, zombie movies from the '60s, slasher films from the '70s, and special-effects extravaganzas from the '80s.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3oWzwIXdSZR2zQjWH4ie4_XF_4iT3J73wcQdSCSVp0k-NX5Qffu_opG6GJ_C9qG3XZvDox3OUuTS2e_6Qh3-3gOpQPcKOCpZ1oIm0mWrwOgOqadPRsCpFIMi58RcNvRL2BPiOiswdk24/s1600/night+of+the+creeps+zombie+cat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3oWzwIXdSZR2zQjWH4ie4_XF_4iT3J73wcQdSCSVp0k-NX5Qffu_opG6GJ_C9qG3XZvDox3OUuTS2e_6Qh3-3gOpQPcKOCpZ1oIm0mWrwOgOqadPRsCpFIMi58RcNvRL2BPiOiswdk24/s320/night+of+the+creeps+zombie+cat.jpg" width="320" /></a></div>While I enjoy a good homage (<em>Tremors</em>, another childhood favorite), <em>Night of The Creeps</em>' mistake was to not go with just one genre. This was clearly meant to be an update/homage to '50s sci-fi classics, especially <em>The Blob</em> and <em>Invasion of The Body Snatchers</em>, and Dekker should have stuck to that. The presence of zombies and an axe-wielding psycho make no sense.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_R5SMF0NGvDNlGzU5cVui04I-n0uf6Lp1nc9XpHXtIK2WCqvnLYwHBxnheihv2Lbm44QZ4GbHwl4bvqEpeaMezmvEdpmFCYhr9wdTY9tON9HUwjKk2ANcx253-f71BF1xEMmLojilSYs/s1600/notc1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_R5SMF0NGvDNlGzU5cVui04I-n0uf6Lp1nc9XpHXtIK2WCqvnLYwHBxnheihv2Lbm44QZ4GbHwl4bvqEpeaMezmvEdpmFCYhr9wdTY9tON9HUwjKk2ANcx253-f71BF1xEMmLojilSYs/s1600/notc1.jpg" /></a></div>I get the impression Dekker had a bunch of different ideas for this movie, but made the poor mistake to throw all these unrelated ideas together. The result is a film with no real sense of direction, not to mention tone. I'm assuming Dekker meant to make a horror comedy here, but there's no cohesion. In good horror comedies, the director makes it abundantly clear what you're supposed to find funny and what's supposed to be horrifying. <em>Night of The Creeps</em> is just messy and feels tossed together, as if Dekker had no vision for what he wanted.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCjwc_2y3zupGxohFhhjvxxSHQNLCBuVVrsvo38_8ccQY-edmc1w94fhBgW7_DPKgQJnpsJEEat4kkWSauxybn-mu9j7_VAM99y-Msud8GRXWyemqikOCL9DXnIB4RGJsh0kq0uMvYHcU/s1600/vlcsnap-16907.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCjwc_2y3zupGxohFhhjvxxSHQNLCBuVVrsvo38_8ccQY-edmc1w94fhBgW7_DPKgQJnpsJEEat4kkWSauxybn-mu9j7_VAM99y-Msud8GRXWyemqikOCL9DXnIB4RGJsh0kq0uMvYHcU/s320/vlcsnap-16907.png" width="320" /></a></div>Dekker also struggles with pacing the film right. <em>The Blob</em>, clearly the template here, had the Blob land on earth and make contact with mankind within the first ten minutes <em>while</em> the characters and their relationships were being established. In <em>Night of The Creeps</em>, the Creeps land on Earth and make contact with Johnny; then, we're subjected to Pam getting hacked up (albeit offscreen), followed by 20 groan-inducing minutes of character setup. Now I get that character setup is needed, but Dekker could've incorporated this so much better into the beginning of the film by having the Creeps land on earth in modern day and Chris, J.C. or some fraternity brother discovering it, at which point the Creeps escape. Opening the movie in 1959 and showing how the Creeps got to Earth just feels disjointed and misplaced in the rest of the film.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKyERIxkHKTcUGtnvcPk7PIm1ooHOZSVHm8-NScBHaTClw9I7lhxnCjqPFHMGn8EWbdnKtRnv8Zj5Dg4c2X-4AnwfAHP_6N7jO7ru6-6zhI0qfH2Si-rWvkF8qbYkoDpEZ0Jq3zTmeVl8/s1600/images.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKyERIxkHKTcUGtnvcPk7PIm1ooHOZSVHm8-NScBHaTClw9I7lhxnCjqPFHMGn8EWbdnKtRnv8Zj5Dg4c2X-4AnwfAHP_6N7jO7ru6-6zhI0qfH2Si-rWvkF8qbYkoDpEZ0Jq3zTmeVl8/s1600/images.jpg" /></a></div>That being said, I'd be willing to be more forgiving were Dekker to introduce strong, enjoyable characters like he did in <em>The Monster Squad</em>. That, to be polite, sure as hell ain't happening here. Meet Chris, played by actor Jason Lively, half-brother to actress Blake Lively of <em>Gossip Girl </em>and <em>The Sisterhood of The Traveling Pants </em>fame. I get Chris is supposed to be nerdy and shy, but that doesn't mean he has to be idiotic, not to mention unlikeable. Steve Marshall and Jill Whitlow fare slightly better; they clearly got charisma and acting chops, but the script gives them little chance to show that skill.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUr-nzRX8eQlNsnlk81DCyH-wv3wOZq7X62RQj_tFAbcBqtsmbI0P9Od4yJl4PqBYSB83-FmVmkUpGVoHUqwKkA-ZFcvyX9AwZZWOMp1MLETi7XmwcqgMDYd7RKcbLWXhajyAYKDFqUpk/s1600/500px-night_of_the_creeps_ray_cameron_11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUr-nzRX8eQlNsnlk81DCyH-wv3wOZq7X62RQj_tFAbcBqtsmbI0P9Od4yJl4PqBYSB83-FmVmkUpGVoHUqwKkA-ZFcvyX9AwZZWOMp1MLETi7XmwcqgMDYd7RKcbLWXhajyAYKDFqUpk/s320/500px-night_of_the_creeps_ray_cameron_11.jpg" width="320" /></a></div>Tom Atkins is a beloved icon of '80s horror, best known for his work as Nick Castle in John Carpenter's <em>The Fog</em> and Detective Frank McRae in William Lustig's <em>Maniac Cop</em>; let's not forget films like <em>Halloween III: Season of The Witch</em>, <em>Escape From New York</em>, <em>The Ninth Configuration</em>, and <em>Creepshow</em>. Atkins' grizzled, tough guy attitude is awesome and he always brings something colorful to his work. <em>Night of The Creeps</em> is no exception, although Atkins would've been better served if he were spared such horrid dialogue as "What is this? A homicide or a bad b-movie?," a line ironically suited to my feelings about this film. Furthermore, Dekker plays up Atkins as being semi-unhinged, but it goes nowhere and he just doesn't get enough to do, other than show up and say "Thrill Me" every other sentence. "Thrill Me" is an awesome catchphrase, but it's said way too many times. It's like if Bruce Campbell said "Groovy" every five minutes in <em>Evil Dead II</em>.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiYOoxC9fE3Yw5zHdS-RuHGxPVKXalZDracTxUUr-Y0VrOzrYdM6QSj-0eXYsjmk75QHCNgr9IAO_FOBu9Q9NTiLauKuFYeEjVSHlDXQI85wVJF_pisLE0RbP0rhFOL_5DwUNJZEti3wQ/s1600/notcpic3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiYOoxC9fE3Yw5zHdS-RuHGxPVKXalZDracTxUUr-Y0VrOzrYdM6QSj-0eXYsjmk75QHCNgr9IAO_FOBu9Q9NTiLauKuFYeEjVSHlDXQI85wVJF_pisLE0RbP0rhFOL_5DwUNJZEti3wQ/s320/notcpic3.jpg" width="320" /></a></div>What of the Creeps themselves? They might be small, but size matters not. <em>Gremlins</em> and <em>Kingdom of The Spiders</em> both showed that small monsters can be frightening; the key is that there has to be hundreds of them, organized and striking with intent. The creeps are barely seen and when they are visible, they're few in numbers, save for one stop-motion animation shot in the climax. Not only that, the Creeps never come off as intelligent foes, but rather parasites infecting at random. They're just not a big threat; all you have to do is keep your mouth closed and it's game over. They're also easily killed, just like the zombies in George Romero's films.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNWfzsbduLuIbbJcEWNygY0iP8E0s2P65427vWFn_oZ0EPvDQLopw_eyYJSA-d3kGJs3dg9A0LVneHENFSkv8xx6nfIoNHbsWbIuf84jLaQbQZIlFraE05kVrjbyZb3iRBfVTkTEka1JA/s1600/night-of-the-creeps-1986-hdtv-xvid-video-man13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNWfzsbduLuIbbJcEWNygY0iP8E0s2P65427vWFn_oZ0EPvDQLopw_eyYJSA-d3kGJs3dg9A0LVneHENFSkv8xx6nfIoNHbsWbIuf84jLaQbQZIlFraE05kVrjbyZb3iRBfVTkTEka1JA/s320/night-of-the-creeps-1986-hdtv-xvid-video-man13.jpg" width="320" /></a></div>Unlike Romero's zombies, the Creeps aren't intimidating or in large numbers. The makeup designs are nothing spectacular, which is surprising given that proven effects artists like David Miller, who designed Freddy Krueger's makeup for the original <em>A Nightmare on Elm Street</em>, and Robert Kurtzman and Howard Berger, who would form KNB with Greg Nicotero two years later, worked on the effects. Either they had no creative say here, or they just took an easy paycheck. Either way, the Creeps are unmemorable and unsatisfying as antagonists.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRiX4U3yNy-WXkPn4FNPVgAU1PSlDXDxEGTjlFS8CxXlntA9-0SgEVIvcOw_yz0oiBFIJvFNF-2qJKM4s-vuLAEbvOU4UBY0HCxjtOKm_vR3-z7KbCPfPRwLIp-_NraMLWJbffNpK0GVc/s1600/notcpic4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRiX4U3yNy-WXkPn4FNPVgAU1PSlDXDxEGTjlFS8CxXlntA9-0SgEVIvcOw_yz0oiBFIJvFNF-2qJKM4s-vuLAEbvOU4UBY0HCxjtOKm_vR3-z7KbCPfPRwLIp-_NraMLWJbffNpK0GVc/s320/notcpic4.jpg" width="320" /></a></div>The film's most unforgivable mistake, more than the bad characters, painful dialogue and overstuffed script, is its climax. Rather than getting the epic, flamethrowing, shotgun-toting battle royale this film should have had, we get Chris and Cynthia killing Creeps from a distance and Detective Cameron shooting in a circle before blowing the house up, all accomplished with less than 20 MINUTES to go. After all this unnecessary 1959 buildup and worthless character development, we're treated to a wham, bam, thank you ma'am finale with no payoff and no satisfaction.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWs_PGCYDZZ40AupzV0fXzTT8bw08Jlwi7ysDdBGmjcgZ1Q1MjuybbrNC165yJpf81Ij687d11nOUbwegcq9wJodZhipj4H8acgC79PCUH9EqaA7ePqZN12-BgssRsO5wDnoUftytMKQY/s1600/screenshot-640-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWs_PGCYDZZ40AupzV0fXzTT8bw08Jlwi7ysDdBGmjcgZ1Q1MjuybbrNC165yJpf81Ij687d11nOUbwegcq9wJodZhipj4H8acgC79PCUH9EqaA7ePqZN12-BgssRsO5wDnoUftytMKQY/s320/screenshot-640-01.jpg" width="320" /></a></div>I got good news and bad news. The good news is Tom Atkins makes the most out of his role and turns in another kickass performance. The bad news, pray tell? Everything else sucks. The characters are unlikeable heroes, the Creeps are ineffective villains, the special effects fail, and the script is confusing and oversaturated with homage after homage. While I still hold Dekker up in high regard for <em>The Monster Squad</em>, I'm starting to think Shane Black was that film's ace card. <em>Night of The Creeps</em> sure could have used Black's talents behind the script because, at least at this point, Dekker doesn't have it. <strong>1.5 out of 5 Stars</strong>.<br />
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Next Up: October 14th: The Thing (2011)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-73186848936848178232011-10-14T16:36:00.000-07:002011-10-14T16:36:44.712-07:00October 12th: Night of The Demons 3 (1997)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqI4hp224RNEavuSGCTmRn1huUPIPIeAJ-gRdFx0QtJm_-tKNubzTDXWRGN8N7ATGfFrUAeoeUHqhN_BKtkGpMK62XhF6a1FoyCTH-geAinZjBdm2An1YgjTKhM1kK9BhoxR64ZYEXdZ4/s1600/210946_1020_A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqI4hp224RNEavuSGCTmRn1huUPIPIeAJ-gRdFx0QtJm_-tKNubzTDXWRGN8N7ATGfFrUAeoeUHqhN_BKtkGpMK62XhF6a1FoyCTH-geAinZjBdm2An1YgjTKhM1kK9BhoxR64ZYEXdZ4/s320/210946_1020_A.jpg" width="216" /></a></div><strong>PLOT</strong><br />
It's been years since the St. Rita's Academy massacre and school cheerleader Holly (Stephanie Bauder) and her shy friend Abbie (Patricia Rodriguez) are getting ready for the Halloween dance. Meanwhile, bad boy Vince (Kristen Holden-Ried), his slutty girlfriend Lois (Tara Slone) and their friends Nick (Gregory Calpakis), Reggie (Joel Gordon) and Orson (Christian Tessier) are killing time by cruising around town in Orson's van.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9x6HJRQ7YDmtv-Rq00_R9qW1leAJ-hlR2T8EVZz3Rdrpmdfo_SZGAfZVCKXMaAnFVIK185Q-f3vToSOVbxJWzSK4Eri_xMMi3rg6jon3EkPWyv6hIByamLiDyktRzwrl4I6SecAUTjBs/s1600/Night+of+the+Demons+3+%25281997%2529+van2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9x6HJRQ7YDmtv-Rq00_R9qW1leAJ-hlR2T8EVZz3Rdrpmdfo_SZGAfZVCKXMaAnFVIK185Q-f3vToSOVbxJWzSK4Eri_xMMi3rg6jon3EkPWyv6hIByamLiDyktRzwrl4I6SecAUTjBs/s1600/Night+of+the+Demons+3+%25281997%2529+van2.jpg" /></a></div>Picking up Abbie and Holly after their car breaks down, the teens park at a gas station so Reggie can get some beer. When Reggie argues with store clerk Mr. Morris (Ian McDonald) over his fake ID, the clerk pulls out a shotgun on Reggie. Vince snatches the shotgun away just as two cops walk into the store, leading to a gunfight that leaves one cop (Minor Mustain) dead and Reggie badly wounded.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXNPbTyl3ezziJKMBEoceWnnaLLxcoXqYh7xD0gtqsmJWkCkvG2ry8ziN-hOhREI_kgxAsMB_jKoEAXy5kPLEge_lVENYBlPoAv4XVU800elo8ApN51fxAP6xu4WcBnf7dNwQ0yOy7-YY/s1600/Night+of+the+Demons+3+%25281997%2529+angie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXNPbTyl3ezziJKMBEoceWnnaLLxcoXqYh7xD0gtqsmJWkCkvG2ry8ziN-hOhREI_kgxAsMB_jKoEAXy5kPLEge_lVENYBlPoAv4XVU800elo8ApN51fxAP6xu4WcBnf7dNwQ0yOy7-YY/s320/Night+of+the+Demons+3+%25281997%2529+angie.jpg" width="320" /></a></div>Ignoring Nick and Holly's pleas to get Reggie to a hospital, Vince, Lois and Orson take them hostage and bring them to Hull House to lay low, where they find Angela Franklin (Amelia Kinkade) getting ready for Halloween. With Vince and Lois forcing Nick to search the house and Orson holding the others at gunpoint, Angela slowly reveals her demonic nature and begins turning the teens into demons, leaving Nick and Holly to defend themselves while Lieutenant Dewhurst (Vlasta Vrana), a few hours shy of retirement, searches for the missing teens.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFXlSFSYfW90F5CFAikz0s6KYiysPJGjZSkEEWmM9SGhHDr81zi4_z49KQD1dKeDyCp3u4t1J_rFe9QQ9_-51Y4KOoOszyIT4heQzdJ0a5N32-cuY7wDtlYWnOTG15JHli5B2scuCVX9c/s1600/f5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFXlSFSYfW90F5CFAikz0s6KYiysPJGjZSkEEWmM9SGhHDr81zi4_z49KQD1dKeDyCp3u4t1J_rFe9QQ9_-51Y4KOoOszyIT4heQzdJ0a5N32-cuY7wDtlYWnOTG15JHli5B2scuCVX9c/s320/f5.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
In preparing to watch <em>Night of The Demons 3</em>, I went in with incredibly low expectations. The original <em>Night of The Demons</em> was a fucking catastrophe and, though I enjoyed <em>Night of The Demons 2</em>, I would never say it was a good movie. Furthermore, the man responsible for that first film, Kevin S. Tenney, was back for the third installment as writer, editor and second unit director, leaving it to Jimmy Kaufman of <em>Shades of Love</em> and <em>Sirens</em> fame to direct, not to mention that '90s horror, save for <em>The Silence of The Lambs </em>and <em>Scream, </em>is pretty dismal.<em> </em>How could this possibly be good?<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYlAw5jMYjiWYFnKOi22Kmto28gm5Ur2r8THIY2hZs1KiX5zGqdnZtKHBquA9pGKF7zHO5gVLSU6KzZ2Yc55hN8JH9ZJNB56XNKnMz8R1M3mL00ww28DVIO4q0qDELvNG9e3xlkdf7tY0/s1600/tumblr_lk6tuspUHe1qzr8nao1_500.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYlAw5jMYjiWYFnKOi22Kmto28gm5Ur2r8THIY2hZs1KiX5zGqdnZtKHBquA9pGKF7zHO5gVLSU6KzZ2Yc55hN8JH9ZJNB56XNKnMz8R1M3mL00ww28DVIO4q0qDELvNG9e3xlkdf7tY0/s320/tumblr_lk6tuspUHe1qzr8nao1_500.png" width="320" /></a></div>Those hoping for a surprise in this series can put those hopes to rest. <em>Night of The Demons 3 </em>is even worse than the first film in so many ways. First of all, the lack of comedy. The previous films were horror comedies; I recognize neither were fully successful, but that was the intention of this franchise. None of that humor is anywhere to be seen; just like <em>The Return of The Living Dead</em> series, the third installment in the franchise tries to refresh the story by eschewing the kitschy humor in favor of atmospheric horror.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgwtJbC6XQl4awecF4q8xBipSHgJR8d9cDdkf5YavndpSD6aO-1pEmdx_bOmHu6Cf269f-BrYUc4fhULI1OJTJk_AZpnUjgUftejsOYQnTjlXtCZ4lfTzn_ZzIj6wC4e1QV_h0O2jtL1g/s1600/screen_image_436463.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgwtJbC6XQl4awecF4q8xBipSHgJR8d9cDdkf5YavndpSD6aO-1pEmdx_bOmHu6Cf269f-BrYUc4fhULI1OJTJk_AZpnUjgUftejsOYQnTjlXtCZ4lfTzn_ZzIj6wC4e1QV_h0O2jtL1g/s320/screen_image_436463.jpg" width="320" /></a></div>Unlike <em>Return of The Living Dead III</em>, which was straight horror all the way through, <em>Night of The Demons 3</em> screws the pooch by holding onto some of those silly jokes. Angela makes wisecracks even Freddy Krueger would be ashamed to use, Kaufman reuses the kid busting in on his half-naked sister bit from the original and Lieutenant Dewhurst does magic tricks during police investigations. Remember Yo Mama's So Fat... Jokes? Yeah, they're here in gross excess and not a single one is even slightly amusing, just cringe worthy.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLfzrFm6HtiUh1EVrL7cgJMaaPbqDe50gAewqymX1uasvGWAAutBGVzzKJYXcmUMZKTBWGl-2F5xl1zilMQk4JSRZ-dWErFzowJ6VWZP3DJwFKMSIhjmb5UBB6chzJnByEmvG0NCE6rJA/s1600/Night+of+the+Demons+3+%25281997%2529+not+a+sheen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLfzrFm6HtiUh1EVrL7cgJMaaPbqDe50gAewqymX1uasvGWAAutBGVzzKJYXcmUMZKTBWGl-2F5xl1zilMQk4JSRZ-dWErFzowJ6VWZP3DJwFKMSIhjmb5UBB6chzJnByEmvG0NCE6rJA/s320/Night+of+the+Demons+3+%25281997%2529+not+a+sheen.jpg" width="320" /></a></div>Does it even work on a horror level? No, not at all; if you watched the first two films, nothing here will surprise you. The opening scene is lifted from Part 2, the credits sequence is similar to the original film's opening credits, most of the character types are a mish-mash of the previous films' characters, and everything is painfully predictable. The only thing that gives this any novelty from its predecessors is that these kids, rather than going to a Halloween party, are running from the law. It makes the dynamics a little bit different and works pretty well in contrast to everything else in the film.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqwMTIpnPd0vlbA4OmIWv3WSE-8vHgQEpDsGQ4HIi0z5WJXooRaoKRGbNg-R2wdfw27_b39hZRptSAUOeUSPpmRKYRJMU8GAaxDF_V6vpUzd_Af2zM-xildPawvI0t7SdmTOfvWmhn8A0/s1600/1301558494_noch-demonov2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqwMTIpnPd0vlbA4OmIWv3WSE-8vHgQEpDsGQ4HIi0z5WJXooRaoKRGbNg-R2wdfw27_b39hZRptSAUOeUSPpmRKYRJMU8GAaxDF_V6vpUzd_Af2zM-xildPawvI0t7SdmTOfvWmhn8A0/s320/1301558494_noch-demonov2.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;"></div>That being said, practically everything else in the film is garbage and for this conceit to really work, the characters have to work and guess what? This cast of characters are far and away the worst lot of the whole series. They're not just annoying or poorly acted; they're downright despicable. But unlike Zoe Trilling's Shirley in <em>Night of The Demons 2</em>, these characters never become entertaining to watch, even in a love-to-hate way. It's a chore to watch them interact and, looking back, I realized the only time I was even remotely connecting to <em>Night of The Demons</em> <em>3 </em>was when they started dying.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmcK1da71HXqfeRH-hnkH-mCJKahXaaURIqwcV4YBSzGQpZJr5sgWVJme0ZfXKNbz07GIjSeA0bUdy3aTn9Dpl11CpfFxL8QHss24_GsMtPuDor9e38L0EfmhwmHjD4XwfTyFYuVsw6tQ/s1600/NOTD3+fake+tough+guy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmcK1da71HXqfeRH-hnkH-mCJKahXaaURIqwcV4YBSzGQpZJr5sgWVJme0ZfXKNbz07GIjSeA0bUdy3aTn9Dpl11CpfFxL8QHss24_GsMtPuDor9e38L0EfmhwmHjD4XwfTyFYuVsw6tQ/s320/NOTD3+fake+tough+guy.jpg" width="320" /></a></div>However, I'm not going to put the blame on Tenney for this. In my opinion, these characters because of the performances more so than the script. Kristen Holden-Ried (a guy named Kristen?) is certainly big enough, but his attempts to convey macho intensity and rage aren't even slightly convincing. Gregory Calpakis is playing the same role William Gallo essayed in the original film, only without the bad accent. Joel "Yo Mamma's" Gordon and Vlasta "Pick a Card" Vrana's antics get tiresome really fast, while the rest of the cast leaves no impression whatsoever.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLNtnDosFw_ILcPhoFo-6DvEwOgAxS7kosObUZq5_lV2hlSygPm2viVnS2GdMnPlH8ohNwCXlyiMbVlv4XjxtVw0Lvff5FfIjGiZN9dSn9yonoXA19c0rzIRPWvh6yhCZr3-QYEBoXPeA/s1600/xDDKFHQB.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLNtnDosFw_ILcPhoFo-6DvEwOgAxS7kosObUZq5_lV2hlSygPm2viVnS2GdMnPlH8ohNwCXlyiMbVlv4XjxtVw0Lvff5FfIjGiZN9dSn9yonoXA19c0rzIRPWvh6yhCZr3-QYEBoXPeA/s320/xDDKFHQB.png" width="320" /></a></div>As for Angela herself, I'll give Amelia Kinkade props; she's getting better with each installment. Even though she's got horrible one-liners, Kinkade gets to show more acting range this time and does much of it fairly well, especially in the way she seduces the other characters. Unfortunately, Angela the character isn't really doing anything different, not to mention the Part 2 subplot involving Mouse has been completely dropped. And in case you're wondering, yes, Angela does the psychosexual dance again.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-zyRg5LZLTCJo0rqXrlLIEHRiXzuH2UiycxIwAGFM5LxGvS4UGtnuMRhbOBt20ppIt9hknfuigiTlLxS-K6JbmfCF7kov-2S0vclGWAl9XYtBioxYVHEfA2N1y28T3tlunlL3mnFbLO0/s1600/Night+of+the+Demons+3+%25281997%2529+grotastic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-zyRg5LZLTCJo0rqXrlLIEHRiXzuH2UiycxIwAGFM5LxGvS4UGtnuMRhbOBt20ppIt9hknfuigiTlLxS-K6JbmfCF7kov-2S0vclGWAl9XYtBioxYVHEfA2N1y28T3tlunlL3mnFbLO0/s320/Night+of+the+Demons+3+%25281997%2529+grotastic.jpg" width="320" /></a></div>This begs an obvious question; Why not do something different with Angela? In all three films, Angela is just a caged animal, trapped in Hull House and waiting for her victims to come to her. By this third film, it feels redundant. I understand the demons can't cross the underground waterstream, but Part 2 clearly showed there were ways to escape, not to mention Part 2's ending hinted Angela would escape Hull House. They should've gone there and let her run loose on Halloween Night. State officials have the house moved elsewhere. Angela performs a spell allowing her to escape. The underground waterstream is shut off or destroyed. Anything to get her out of that house would've helped immeasurably.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Lm1ELVvNeeYtMDVjpV9dw15aBGspJSGCITtIhXpKnoCcv81VNgBcxej_yvDrCbz4Hwu5E4IrsWRavyb-HcKcLc-AwD-SU_QQkpZR_NAzE0vJfp8jMiThwO0OBSHbFELhsZNHbmvK0E4/s1600/screen_image_436466.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Lm1ELVvNeeYtMDVjpV9dw15aBGspJSGCITtIhXpKnoCcv81VNgBcxej_yvDrCbz4Hwu5E4IrsWRavyb-HcKcLc-AwD-SU_QQkpZR_NAzE0vJfp8jMiThwO0OBSHbFELhsZNHbmvK0E4/s320/screen_image_436466.jpg" width="320" /></a></div>Before closing this out, I have to bring up the effects. For god knows what reason, Kaufman relies on a tremendous amount of CGI for this film and every bit of it looks bad and incomplete. Arms turn into snakes, people transform into demons on-camera, bodies disintegrate, and the invisible wall keeping Angela in Hull House is now, for the first time, visible and looks appalling. The prosthetic effects aren't much better; Angela looks weathered and the others are just generic demon makeup, save for Orson, who actually looks pretty cool in his red demon face.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh49Zf7t_hZ_J_wDmWYI-vgbW_XnBdm9QYTZcKXto56hy8f37VxHSoLGCzMDoNFjGfEdvUxYMxDyBkOX45vbLa8NVr4sCl9bY0vzOwpVMDZJYtCPuZpTycOfyPVrx8d3iPJJlJ4A3_8tRw/s1600/timthumb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh49Zf7t_hZ_J_wDmWYI-vgbW_XnBdm9QYTZcKXto56hy8f37VxHSoLGCzMDoNFjGfEdvUxYMxDyBkOX45vbLa8NVr4sCl9bY0vzOwpVMDZJYtCPuZpTycOfyPVrx8d3iPJJlJ4A3_8tRw/s1600/timthumb.jpg" /></a></div>It's worth noting that <em>Night of The Demons</em> <em>3</em> is not only the last film in the series until 2010, but it's also the end of the original franchise, as the next installment is a remake by Adam Gierasch and Jace Anderson. Why is this worth noting? Because generally, a franchise doesn't reboot unless one of two things happen. Either the franchise goes on without a new installment for so long a reboot is the only way to go, or the property gets fucked up beyond repair and has to start all over again. <em>Night of The Demons</em> <em>3 </em>most certainly falls into that later category.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYCB5sUBf4sJyIRb8qezzXdsB-tI7UrgXfdMe9jbQOtKMPbqPte-GK0nS080-hwWs0LzVmlMhMfXtt8uthvJJ7lj_CcraB6y6D3bqhdXMR1GQym_q9JAz2WqR2_g4pQmySN_5r-CGCKHo/s1600/nightofdemons3_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYCB5sUBf4sJyIRb8qezzXdsB-tI7UrgXfdMe9jbQOtKMPbqPte-GK0nS080-hwWs0LzVmlMhMfXtt8uthvJJ7lj_CcraB6y6D3bqhdXMR1GQym_q9JAz2WqR2_g4pQmySN_5r-CGCKHo/s320/nightofdemons3_2.jpg" width="320" /></a></div>I give <em>Night of The Demons 3</em> <strong>1 out of 5 Stars</strong>. Given that this film bears a very tenuous connection to its predecessors (some even consider it a remake), there's honestly no reason to subject yourself to this, even if you do consider yourself a fan of this franchise. As I stated in my original review of <em>Night of The Demons</em>, the concept behind the trilogy can work in the right hands. I love Halloween movies and I wanted to be able to add these films to my list of required October viewing. Instead, all I got were two shitstorms and one mildly fun ride that I'll probably never watch again. At least <em>Night of The Demons 2 </em>made me laugh; <em>Night of The Demons 3 </em>just depresses me.<br />
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Next Up: October 13th: Night of The Creeps (1986)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com2tag:blogger.com,1999:blog-3087466692826310326.post-71189445288214237082011-10-13T02:19:00.000-07:002011-10-13T02:19:18.864-07:00October 11th: Chromeskull: Laid To Rest 2 (2011)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2H845iCWR8EHkRTQDUDiwCqLKCtAj7LDhuINkRMVkjkVkvrR0R7yUcwW4zojZJpLofc8GqFbtVwaGug8-hSjElawp6z4yjNP2X-Zg1QAhfNP_VaAk7DgZsqemWw4WHYcnJP4McKTn_vs/s1600/chromeskull_ltr_2_poster02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2H845iCWR8EHkRTQDUDiwCqLKCtAj7LDhuINkRMVkjkVkvrR0R7yUcwW4zojZJpLofc8GqFbtVwaGug8-hSjElawp6z4yjNP2X-Zg1QAhfNP_VaAk7DgZsqemWw4WHYcnJP4McKTn_vs/s320/chromeskull_ltr_2_poster02.jpg" width="216" /></a></div><strong>PLOT</strong><br />
Barely alive after his confrontation with The Girl (Allison Kyler) and Tommy (Thomas Dekker), ChromeSkull (Nick Principe) is taken out of police custody by a mysterious group of people working for him, led by the psychotic Preston (Brian Austin Green). Using metal plates and artificial skin grafts, surgeons manage to reconstruct ChromeSkull's mangled face, while Preston hunts down and guts The Girl in an act of revenge.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKJaKwgpwfU-9USVSSi9AVjeKM3OOQ8oYZNORTFjJsQB_hSkXDaA2CFtXjQxIlBhOUi_6ty8NEDaVGlIeJpUzW-DOOnlq2QR_7pxt2UlotnstiCsvdZDuihwCJeszQ0DhDdR9jr84N4rc/s1600/chromeskull_laid_to_rest_2_2011_1024x576_834612.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKJaKwgpwfU-9USVSSi9AVjeKM3OOQ8oYZNORTFjJsQB_hSkXDaA2CFtXjQxIlBhOUi_6ty8NEDaVGlIeJpUzW-DOOnlq2QR_7pxt2UlotnstiCsvdZDuihwCJeszQ0DhDdR9jr84N4rc/s320/chromeskull_laid_to_rest_2_2011_1024x576_834612.jpg" width="320" /></a></div>Three months later, Detectives King (Owain Yeoman) and Max (Christopher Allen Nelson) are investigating the murders. Tommy, still haunted by the deaths of The Girl and his best friend Anthony (Anthony Fitzgerald), is brought into the investigation by King, who hopes Tommy can help them pinpoint ChromeSkull's base of operations. Preston, convinced ChromeSkull's injuries have rendered him impotent, dons a modified version of his mask, becomes the new ChromeSkull and hunts Tommy.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGk5k9pxhBHkvnvg6EiCUBvabtKuks3P65r-OowptIEg_9MnQ32ijpM7tu8woV1zHt2x7fvc702E4XBh-dfFbBa5TRu1I9A_TeUFWCF2WLuaxpEgbKTMNdBne3NPeRLysmjr6lqyvZAQc/s1600/739gr6b8km34t05wsa9x.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGk5k9pxhBHkvnvg6EiCUBvabtKuks3P65r-OowptIEg_9MnQ32ijpM7tu8woV1zHt2x7fvc702E4XBh-dfFbBa5TRu1I9A_TeUFWCF2WLuaxpEgbKTMNdBne3NPeRLysmjr6lqyvZAQc/s320/739gr6b8km34t05wsa9x.png" width="320" /></a></div>The news of The Girl's death at Preston's hands, combined with the physical trauma he endured, sends ChromeSkull into a depression but, with the help of his personal assistant Spann (Danielle Harris), he makes a full recovery. Learning of Preston's growing bloodlust and King's investigation, ChromeSkull plots a new killing spree of his own, kidnapping blind teenager Jess (Mimi Michaels) to be his new victim.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI6234vA9KEK7GY2U_phizbo1dpNCDNeLt3EeI-ZQLXd2nrWeJK5eDGzMLto2pDAJ-URpppYGaBVF0rk8h_cNHl3qRqQdMfYMsVTebsU3u_ZkdmPSdt4O4X6FZ_4vs-Zl6k54nSCgwKTI/s1600/2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI6234vA9KEK7GY2U_phizbo1dpNCDNeLt3EeI-ZQLXd2nrWeJK5eDGzMLto2pDAJ-URpppYGaBVF0rk8h_cNHl3qRqQdMfYMsVTebsU3u_ZkdmPSdt4O4X6FZ_4vs-Zl6k54nSCgwKTI/s320/2.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
As a fan of slasher films, it's become downright depressing to look at the modern crop of slashers, almost all of which are either gritty Platinum Dunes remakes, PG-13 Lifetime movies or cruddy independent films made for five cents. Given that, I always appreciate it when a good one comes out these days and Robert Hall's <em>Laid To Rest</em> is arguably one of the best slashers films in recent memory, alongside Scott Glosserman's <em>Behind The Mask: The Rise of Leslie Vernon</em>.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOt2rPIhiJyhiPtqWT8b0lpYAXhcOKCT15u4BwwMdEfxY5_t52DZTAVnre9j0e5r4GsO3-zuq-AWePpptQRmHYURZL3RmRL6uUeoXbwXLjV38pE8R0j5A3mvJrKXsSBCA6DuDp7Ao5JTA/s1600/chromeskull_ltr_2_06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOt2rPIhiJyhiPtqWT8b0lpYAXhcOKCT15u4BwwMdEfxY5_t52DZTAVnre9j0e5r4GsO3-zuq-AWePpptQRmHYURZL3RmRL6uUeoXbwXLjV38pE8R0j5A3mvJrKXsSBCA6DuDp7Ao5JTA/s320/chromeskull_ltr_2_06.jpg" width="320" /></a></div>Delivering on its promise, <em>Laid To Rest</em> is a brutal, unflinching film, sporting the most insanely creative kills in any slasher film and an instantly memorable villain in Nick Principe's ChromeSkull. More than that, however, the original also boasted an intriguing mystery surrounding the identity of The Girl, striking visuals and genuinely likeable characters, especially Bobbi Sue Luther's Girl and Kevin Gage's Tucker. It was a downright shame that <em>Laid To Rest</em> was released Direct-To-Video, despite being far superior to such suckfests as the <em>Friday The 13th </em>remake and <em>Rob Zombie's Halloween II</em>.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaFsHETXUjf0i5CsZGpZOV9kvcxaIgPaWT_T1jP70aWrjzFasjkQkQ33zwzmppp3maMKlInxuUSSVhhJ5l1Hb7bu9bKIqqvu-APz-tp-Bir10GsX6tRmwJ8W_byiRg11qvidzO4eR-kR8/s1600/564329633.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaFsHETXUjf0i5CsZGpZOV9kvcxaIgPaWT_T1jP70aWrjzFasjkQkQ33zwzmppp3maMKlInxuUSSVhhJ5l1Hb7bu9bKIqqvu-APz-tp-Bir10GsX6tRmwJ8W_byiRg11qvidzO4eR-kR8/s320/564329633.png" width="320" /></a></div>Being that I adored <em>Laid To Rest</em>, I was incredibly psyched to see Hall's follow-up; in particular, I was curious to see how ChromeSkull would return after a very final death scene in the original and what would become of the Girl and Tommy. To put it lightly, nothing I write here could possibly articulate how utterly disappointed I am with <em>ChromeSkull: Laid To Rest 2</em>. Not only disappointed, but furious, shocked, outraged, frustrated, confused, pissed off, and downright dumbfounded. I cannot believe how disastrously bad this sequel was.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkZyamnLieBJTV5Q49OiOLoZUIhwxLpjvhRCkrYlOJ8zvB-AWCcHFA9BD7JHtf2BJfyIjLPY67RTMN2QoFrBYXdZxw2KzPy-3WIWzb4LJRdFFPlG6xMfIXC4ODnVPUJQ16s7F9VFYhe9k/s1600/ChromeSkullLaidToRest22011UNRATEDWSVODRiPXviD-T00NG0Davi_8.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkZyamnLieBJTV5Q49OiOLoZUIhwxLpjvhRCkrYlOJ8zvB-AWCcHFA9BD7JHtf2BJfyIjLPY67RTMN2QoFrBYXdZxw2KzPy-3WIWzb4LJRdFFPlG6xMfIXC4ODnVPUJQ16s7F9VFYhe9k/s320/ChromeSkullLaidToRest22011UNRATEDWSVODRiPXviD-T00NG0Davi_8.png" width="320" /></a></div>What I loved about <em>Laid To Rest</em> was its punk rock horror vibe. In this film, however, I kept waiting for Tobin Bell to show up, because this felt like a <em>Saw</em> film in so many ways. First, the story structure; both this and <em>Saw</em> switch back and forth between scenes dealing with the killer and his victims and scenes of the police trying to solve the case. Second, the use of multiple killers; both this and the later <em>Saw </em>films deal with the main killer physically weakened and having to rely on two assistants, one male and one female, to do his work for him. Third, the focus on the killer: <em>Saw </em>is more interested in examining Jigsaw than making us care about the victims and <em>ChromeSkull</em> has the same problem. It's impossible to care about Tommy when we only just met him in the climax of the last film and Jess is just another final girl, albeit a blind one. Hell, ChromeSkull even has a blond-haired wife like Jigsaw. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhPBFhqmz8jqNW7EM1QFnE-baNOSg8ZTsSYI3SRDPkQBL6Lk_fCz5HJS9XeWoapdcFeo4Lqbl3Rjj44BKSh00vcKhusuxhRVNGjekHtP_8YuxmgL9pAJu6No6cAjooah5PxEtHSDO_HXQ/s1600/scrncppqp.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhPBFhqmz8jqNW7EM1QFnE-baNOSg8ZTsSYI3SRDPkQBL6Lk_fCz5HJS9XeWoapdcFeo4Lqbl3Rjj44BKSh00vcKhusuxhRVNGjekHtP_8YuxmgL9pAJu6No6cAjooah5PxEtHSDO_HXQ/s320/scrncppqp.png" width="320" /></a></div>Coming back to Tommy; I like the fact they brought a character from the original film back, they just used the wrong character. Tommy was barely in <em>Laid To Rest</em>. Furthermore, his role here is totally unnecessary; the whole point is that Preston wants to kill Tommy before the police can get information from him. What does Tommy know? He doesn't know anything the police don't know, not to mention he's just moping around most of the time, doing nothing. Thomas Dekker does what he can, but the script gives him nothing and, consequently, we have no reason to attach ourselves to him as our hero.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigapVEhrCrhVMUPqt9kKptSYzmzZh50EjmWxS1xIaOwxBVTlRAcm83myeJruT3J2iiAUGNrmR79xKzwv6uk63JGWPMqzzp8Lz-3NqJn3yO6ZNM-V1s-MJV3n9a5l6apSKjvjFKng3AUes/s1600/vlcsnap-2011-09-01-01h06m20s70.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigapVEhrCrhVMUPqt9kKptSYzmzZh50EjmWxS1xIaOwxBVTlRAcm83myeJruT3J2iiAUGNrmR79xKzwv6uk63JGWPMqzzp8Lz-3NqJn3yO6ZNM-V1s-MJV3n9a5l6apSKjvjFKng3AUes/s320/vlcsnap-2011-09-01-01h06m20s70.png" width="320" /></a></div>The Girl, as played by Bobbi Sue Luther in the original, was a great final girl. The mystery about who she was immediately pulled me into the story and her plight made me really care for her, especially when she finally discovers her past as a prostitute. She's every bit as important to <em>Laid To Rest</em> as ChromeSkull. Unfortunately, Robert Hall seems to disagree. Bobbi Sue Luther is nowhere to be seen; instead, we're left with a bland replacement. To make matters worse, The Girl gets killed really early into the movie and not by ChromeSkull, but Preston. Not only have they robbed us of a strong final girl and not explained more of who she is, they have let us know that the series is no longer interested in dealing with the victims; ChromeSkull is the star and this is going to be his movie.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-DLtOZaWmxptAAOmiLn1TSOQWrAExRWofhgGLVRj5cWEj9ylgP2nF-scn7wVVhX5qzMcbrRbSaIJmY_ANC2OcxOZN8kivGwg2UR1Kg36bQ4B-v_C2zzW5YFWlNO6yqPO65c7GOA93-as/s1600/Chromeskull_site.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-DLtOZaWmxptAAOmiLn1TSOQWrAExRWofhgGLVRj5cWEj9ylgP2nF-scn7wVVhX5qzMcbrRbSaIJmY_ANC2OcxOZN8kivGwg2UR1Kg36bQ4B-v_C2zzW5YFWlNO6yqPO65c7GOA93-as/s320/Chromeskull_site.jpg" width="320" /></a></div>What's surprising is how little ChromeSkull has to do here. For most of the film's 93 minute running time, ChromeSkull is "ominously" sitting at a computer, watching Preston do his job and listening to Snapp inflate his ego. He's not the fearsome killer from the first film anymore, which is a real shame. ChromeSkull was a fantastic, possibly even iconic villain in <em>Laid To Rest</em>, but is taking a backseat here. Nick Principe is still one scary dude and the film's best scenes are ChromeSkull's scenes; the problem is that he just has nothing to do until the inevitable climax when he jumps back into action.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq9n8o_5zSItiAf58IEWHekstwaGna5G0zafyBA7AAojuIdx63bOKi7rUpl-DrqOGzC3Q4tRHCDxvhZmH8PlUxS9UiMHw6m-xeHBPB5PswQWcwl7f5YDMpH-Aeq01QzuDlRY2XhG0kmZc/s1600/3bf2d8.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq9n8o_5zSItiAf58IEWHekstwaGna5G0zafyBA7AAojuIdx63bOKi7rUpl-DrqOGzC3Q4tRHCDxvhZmH8PlUxS9UiMHw6m-xeHBPB5PswQWcwl7f5YDMpH-Aeq01QzuDlRY2XhG0kmZc/s320/3bf2d8.png" width="320" /></a></div>In his place for most of the movie, we have Preston, played by Brian Austin Green of <em>Beverly Hills 90210</em> fame. Preston is an accomplice to ChromeSkull who wants to be ChromeSkull, but clearly lacks the skill and motivation that makes ChromeSkull great; he's just a sloppy psychopath who wants to spill blood. Green has a physical presence and looks intense enough to make this character work, yet the problem is the way Preston is written. Nothing about this character makes sense whatsoever. We don't have any understanding of who he is or what his connection to ChromeSkull is. He just pops up out of thin air, calls ChromeSkull "boss" and starts ordering people in black clothes around. It's haphazard screenwriting at its worst.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvrQyeQ-o-kBS3EGeJKy_EJERKGNPdrtslikMtqiCSImWcn6Lx9h-pwhjlsYs3tCb8IpBmTf-RV-g4ZaENK6VmH311XPOu_AVj2p9ets5M-MJIoVa6PTHHkAhLUWMdDOE2dWxFHk0b_Ek/s1600/vlcsnap2011090110h42m17.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvrQyeQ-o-kBS3EGeJKy_EJERKGNPdrtslikMtqiCSImWcn6Lx9h-pwhjlsYs3tCb8IpBmTf-RV-g4ZaENK6VmH311XPOu_AVj2p9ets5M-MJIoVa6PTHHkAhLUWMdDOE2dWxFHk0b_Ek/s320/vlcsnap2011090110h42m17.png" width="320" /></a></div>I have to ask: ChromeSkull, Inc.? WTF!? Why does ChromeSkull have an entire team of businessmen, psychopaths, camera technicians, weapons smiths, mask makers, and surgeons working for him? More importantly, why does ChromeSkull need a corporation helping him? This isn't like Tobin Bell in <em>Saw</em>; Jigsaw was a dying cancer patient and he required Detective Hoffman and Amanda Young to help him, not to mention those films did at least explain their involvement. ChromeSkull, even after his injuries, is physically strong and perfectly capable of killing on his own. By having all these people making his weapons, masks and running his business(?) for him, ChromeSkull is rendered impotent and no longer frightening. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_eJX4jEW5xrT11NqUuXTbbXIttBizq7gbAyfMAd02ECubVkozBzXMUnz2O53nRq2t-CEMMPHfvMmDPC-igKHCSFvJToUHJRxDhMicPlYbrGJAi36MJraBiiukeA7cnfef_09seEf2eN0/s1600/600full-chromeskull_-laid-to-rest-2-screenshot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_eJX4jEW5xrT11NqUuXTbbXIttBizq7gbAyfMAd02ECubVkozBzXMUnz2O53nRq2t-CEMMPHfvMmDPC-igKHCSFvJToUHJRxDhMicPlYbrGJAi36MJraBiiukeA7cnfef_09seEf2eN0/s320/600full-chromeskull_-laid-to-rest-2-screenshot.jpg" width="320" /></a> </div>Who's to blame? Robert Hall is definitely the man to point the finger at. Not only is the script poorly constructed and the actors badly directed, but Hall's directing itself is piss-poor. The visuals are poorly shot, a surprising amount of the film is cinema verite and the whole film looks black and murky. The film's budget must've been considerably lower or Hall was just aiming too high, because there's a lot of CGI use in the film and all of it looks abysmally bad. I don't know what happened; maybe Hall just fell into a creative rut or something went horribly wrong on the set. Either way, the finished product looks cheap and amateurish in every way. Did they even have a budget? I'd be shocked if it was more than $1,000,000. Hell, <em>Paranormal Activity</em> cost $15,000 and was shot on a standard handheld camera and that looked better. I could maybe understand if this was made in the late '80s with just a few hundred thousand bucks, but for a film made in 2011? Indefensible. Utterly and completely indefensible.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTDxthhIDKFUfso1TkaGrj9E-ltt971oXqxSjOIARBi408SEniT-IoLprkO9xbxD2a_77AwH0x3VVJ2Y123OG9RIeW59BUf-b9y1ENvvHxtl-ZiqxM-d-GQQk7MXkPEK61LWwrYDf1VEQ/s1600/ChromeSkullLaidToRest22011UNRATEDWSVODRiPXviD-T00NG0Davi_6.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTDxthhIDKFUfso1TkaGrj9E-ltt971oXqxSjOIARBi408SEniT-IoLprkO9xbxD2a_77AwH0x3VVJ2Y123OG9RIeW59BUf-b9y1ENvvHxtl-ZiqxM-d-GQQk7MXkPEK61LWwrYDf1VEQ/s320/ChromeSkullLaidToRest22011UNRATEDWSVODRiPXviD-T00NG0Davi_6.png" width="320" /></a></div>I give <em>ChromeSkull: Laid To Rest 2</em> <strong>0 out of 5 Stars</strong>. Yep, that fricking bad. And once again, I'd like to reiterate just how much of a shame it is. <em>Laid To Rest</em> has its haters, but for my money no slasher film in the last ten years has come close, other than <em>Behind The Mask: The Rise of Leslie Vernon</em>. I don't get the hate whatsoever; I fully get the hate on the sequel and boy do I feel it. According to interviews Hall gave on horror websites, there are plans for a third film, possibly a prequel, meaning that he had "franchise" on the brain with this film. For me, I have only one thing on my mind when watching this. Franchise Killer.<br />
<br />
Next Up: October 12th: Night of The Demons 3 (1997)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-89958759584723053512011-10-12T17:29:00.000-07:002011-10-12T17:29:16.422-07:00October 10th: The Thing From Another World (1951)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioQU6KsmRBBdR8F6FKWB0LGnNhBGa1WhR6g8jZwftahSn7jW2WXvN3OrDxVnpPF772D8GdT2fKHAeXVwECMq_Op-NqmXDmIgdfpvAAqlBQtPxPveC44WeVUhmZmZ8DblRqnQRQb96c6D0/s1600/259801_1020_A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioQU6KsmRBBdR8F6FKWB0LGnNhBGa1WhR6g8jZwftahSn7jW2WXvN3OrDxVnpPF772D8GdT2fKHAeXVwECMq_Op-NqmXDmIgdfpvAAqlBQtPxPveC44WeVUhmZmZ8DblRqnQRQb96c6D0/s320/259801_1020_A.jpg" width="204" /></a></div><strong>PLOT</strong><br />
Captain Patrick Hendry (Kenneth Tobey) of the U.S. Air Force is sent by his superior, General Fogerty (David McMahon) to take supplies to Dr. Arthur Carrington (Robert Cornthwaite) at Polar Expedition Six, a research outpost in the North Pole, where Carrington and his team of scientists, including Hendry's on/off girlfriend Nikki Nicholson (Margaret Sheridan) are researching sightings of a falling meteor.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXdjacoWE4fU9ycet79ZssKP8lS26ZPNAZzCRE5J8NQQwYyer1ub-4_RPelbnCsau46bTSqgQn9eecW-3CrYZAYGVw53kedgi04XWVBrttbZ2tWoXuea3M9pstO2-OD8Ku3ZthtrtVT0A/s1600/thingplanet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXdjacoWE4fU9ycet79ZssKP8lS26ZPNAZzCRE5J8NQQwYyer1ub-4_RPelbnCsau46bTSqgQn9eecW-3CrYZAYGVw53kedgi04XWVBrttbZ2tWoXuea3M9pstO2-OD8Ku3ZthtrtVT0A/s320/thingplanet.jpg" width="320" /></a></div>Upon their arrival, Hendry, Lieutenant Eddie Dykes (James Young), Crew Chief Bob (Dewey Martin), Lieutenant Ken McPherson (Robert Nichols), Corporal Barnes (William Self), and news reporter Ned "Scotty" Scott (Douglas Spencer) learn that Carrington and his team have discovered a recently landed UFO and its pilot (James Arness), an advanced form of plant life that lives by absorbing blood from other creatures.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkBYwxPRXQwy-Fr5xW6AIK_40iJqJ7lejjVYuGjpjRrPlm_j29n9HmKVLyyWW-_TTrG0dMuRhyafCb60jo_BBZvR-TQxzC6YGaHvzLsYynQQpcXcwe38DlTHBWkCZvK4pgxwAV8W0mf5E/s1600/Thing%25252015.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkBYwxPRXQwy-Fr5xW6AIK_40iJqJ7lejjVYuGjpjRrPlm_j29n9HmKVLyyWW-_TTrG0dMuRhyafCb60jo_BBZvR-TQxzC6YGaHvzLsYynQQpcXcwe38DlTHBWkCZvK4pgxwAV8W0mf5E/s320/Thing%25252015.jpg" width="320" /></a></div>Frozen in a block of ice, Hendry and Carrington have the Thing brought back to base; Carrington wants to examine it immediately, but Hendry orders it undisturbed until he receives orders from Fogerty. As the crew relaxes and Hendry spends time with Nikki, the ice block melts and the Thing awakens. Despite Carrington's stubborn claims that their visitor is peaceful and knowledgeable, the Thing proves malevolent and violent, forcing Hendry and his crew to find some means to destroy it.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe6t7z_eH0wnu69AVHhAgif_dbNQs_CsGGZdmqMgCk9GMhIRuCzzCDT6XXpcE5SGwd0VnFQhInezFqlRdKW3zMkWUMndIMTovwYFOnZzW0IzxAeIBuS2ROEd-oYdEN9vS8kDdFhr1Nix4/s1600/thing-3-774562.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe6t7z_eH0wnu69AVHhAgif_dbNQs_CsGGZdmqMgCk9GMhIRuCzzCDT6XXpcE5SGwd0VnFQhInezFqlRdKW3zMkWUMndIMTovwYFOnZzW0IzxAeIBuS2ROEd-oYdEN9vS8kDdFhr1Nix4/s320/thing-3-774562.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
When it was released in 1982, John Carpenter's <em>The Thing </em>flopped, deemed repulsive and upsetting by film critics and ignored by moviegoers in favor of <em>E.T. </em>In the ensuing years, fans of horror and science fiction have come around to praising <em>The Thing</em> as one of the greatest sci-fi/horror films ever made, thanks to Carpenter's stylish direction, Bill Lancaster's tense screenplay, Dean Cundey's gorgeous lighting, intense performances by a cast headlined by Carpenter regular Kurt Russell, and Rob Bottin's nightmarish special effects. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZRpN7ApmeLImgw87wlVpE7O7HZwH7bZNIU5p28nwo85GMWXE717TGEo_X9DCwhyp4uQICec_bXhuy4T1FmNQa1zM8498Z3hNRXeJE2axyLlmdSA2pKNtbwMZZST0G9ISP8NycAw9p8rQ/s1600/tumblr_l3dkt4ydz21qz72v7o1_500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZRpN7ApmeLImgw87wlVpE7O7HZwH7bZNIU5p28nwo85GMWXE717TGEo_X9DCwhyp4uQICec_bXhuy4T1FmNQa1zM8498Z3hNRXeJE2axyLlmdSA2pKNtbwMZZST0G9ISP8NycAw9p8rQ/s320/tumblr_l3dkt4ydz21qz72v7o1_500.jpg" width="320" /></a></div>But what of <em>The Thing From Another World</em>? Released in 1951, this often forgotten film, directed by Oscar nominated film editor Christian Nyby and produced by legendary filmmaker Howard Hawks, was the first adaptation of John W. Campbell Jr's <em>Who Goes There?</em>. Unlike Carpenter's film, limited budget and cruder technology resulted in a loose adaptation, featuring a completely different cast of characters and a very different version of the Thing played by future <em>Gunsmoke</em> actor James Arness in Frankenstein-esque makeup.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5K_UKeXe2zG3L0CoTpae78WwSF774wWUfbHjNwj49nhFqT6ml1Na4orymcDtvuDfR01-7WerU9w1wL6CwwvNx6p13LzaMzSWU574wALSfSYxt3DJDcRLZYCGeUiE-qUIc1NVa0Ro9HiQ/s1600/Thing+From+Another+World_snow.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5K_UKeXe2zG3L0CoTpae78WwSF774wWUfbHjNwj49nhFqT6ml1Na4orymcDtvuDfR01-7WerU9w1wL6CwwvNx6p13LzaMzSWU574wALSfSYxt3DJDcRLZYCGeUiE-qUIc1NVa0Ro9HiQ/s320/Thing+From+Another+World_snow.png" width="320" /></a></div>It certainly doesn't come close to Carpenter's film in terms of visceral horror and unbearable tension, but <em>The Thing From Another World</em> fits perfectly in the era of '50s sci-fi/horror films where one can find such gems as <em>The Creature From The Black Lagoon</em>, <em>The Blob</em>, <em>Tarantula</em>, and <em>Them</em>. Like those films, <em>The Thing From Another World</em> is an example of the unfairly maligned b-movie; that is, a type of film that is usually made on a low-budget, stars relatively unknown actors and is designed simply to provide cheesy, harmless entertainment. While they were often derided and discounted by snobby film critics, these movies have a place in film history and this first adaptation of Campbell's story is one of the best.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb6rUycFOiQ7KXstr00dAIv8_2hPcFImejnKi1Wbi_jEBiv0nol4ZwwKhB__YBAInEQUdnPS_ZDulGnZAJYUwzcWacWb4dkXYY11Et_PuXboYd3xbFPT5zCPvqyUAyNMkdFBPWh0vwfk0/s1600/Thing%25252016.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb6rUycFOiQ7KXstr00dAIv8_2hPcFImejnKi1Wbi_jEBiv0nol4ZwwKhB__YBAInEQUdnPS_ZDulGnZAJYUwzcWacWb4dkXYY11Et_PuXboYd3xbFPT5zCPvqyUAyNMkdFBPWh0vwfk0/s320/Thing%25252016.jpg" width="320" /></a></div>The keystone to any good movie is a good, well-developed screenplay and <em>The Thing From Another World</em> boasts an impressive script, written by Charles Lederer with uncredited re-writes by Hawks and frequent collaborator Ben Hecht. Wasting no time, the script gets right to the point. The air force characters are established and sent on their way to meet with the scientists, the whole team discovers the Thing and its ship, the Thing is brought back to base and then escapes. It's efficient screenwriting at its finest. It's quick enough to move the plot along and keep the audience intrigued with what's happening, but it never sacrifices storytelling and atmosphere.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmyYv0l41FjS8ZVAhxDVTgsqjsLvIqrPLXPtwZHqLE-AEikUv9GzENxnm7zjm0PYw0nwSTS_oaMlnTlqF9D0pad_mrSQ929IBSQLOo6EVPgvZjpJ7dAnpci6lNZ40E8Max-fViHA32a0I/s1600/the-thing-from-another-world-w1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmyYv0l41FjS8ZVAhxDVTgsqjsLvIqrPLXPtwZHqLE-AEikUv9GzENxnm7zjm0PYw0nwSTS_oaMlnTlqF9D0pad_mrSQ929IBSQLOo6EVPgvZjpJ7dAnpci6lNZ40E8Max-fViHA32a0I/s320/the-thing-from-another-world-w1280.jpg" width="320" /></a></div>As far as the characters go, they're admittedly pretty generic b-movie people. You could make a checklist of '50s sci-fi/horror characters and this one would fill nearly every column. Tough guy hero? Check. Nosy reporter? Check. Mad scientist? Check. Attractive female love interest? Check. Greedy authority figure? Check. Rag tag team of guys? Check. It's nothing a dozen other movies haven't done, but what's more important is how these standard cliches are executed and it's in that way this film exceeds.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5hYG8WzZ35eJoNkUEmsgu-8hAETGp1Hl4JDjbAFsusDNLRK7b4tNjM6_bs6rCnHQ2OQJxtRI8CVxE8Vrf5DuGjTW0IczS_FaXt2zj_UoPxWMqHKJTmgMZ-ARwt5TMnCiGAYk11bgpd_g/s1600/top10_1950s_the_thing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5hYG8WzZ35eJoNkUEmsgu-8hAETGp1Hl4JDjbAFsusDNLRK7b4tNjM6_bs6rCnHQ2OQJxtRI8CVxE8Vrf5DuGjTW0IczS_FaXt2zj_UoPxWMqHKJTmgMZ-ARwt5TMnCiGAYk11bgpd_g/s320/top10_1950s_the_thing.jpg" width="320" /></a></div>Headlining this cast is character actor Kenneth Tobey. As a huge fan of Joe Dante growing up, I recognize Tobey for his cameo roles in such Dante films as <em>The Howling</em>, <em>Gremlins</em> and <em>Gremlins 2: The New Batch</em>. It was unusual to see Tobey not only youthful, but in the lead role. Too bad he didn't do it more often; Tobey is a great anchor to the fantastical elements of the film. Coming off as a more relaxed John Wayne, Tobey makes the most of this role, presenting a screen presence both entertaining and commanding.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyaCMgnQfLvH3OMrc9rSftuL4pz0g0nCz7DA0S55sWwtKvp2a9szAiK81RWKsrHwnkm9Ai-kkxqPuq9y8UdHUgpZOaUZu8tDAn73Z2phThr6-9I8XeYdQzNJ5oQzDoAVf-ufhSOh-xfuU/s1600/TheThingFromAnotherPlanet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyaCMgnQfLvH3OMrc9rSftuL4pz0g0nCz7DA0S55sWwtKvp2a9szAiK81RWKsrHwnkm9Ai-kkxqPuq9y8UdHUgpZOaUZu8tDAn73Z2phThr6-9I8XeYdQzNJ5oQzDoAVf-ufhSOh-xfuU/s320/TheThingFromAnotherPlanet.jpg" width="320" /></a></div>Other actors worth mentioning are Margaret Sheridan, Robert Cornthwaite and Douglas Spencer. As Hendry's love interest Nikki Nicholson, Sheridan bucks the cliche of frightened, defenseless female. Instead, while not exactly Ellen Ripley, Nikki is a fairly tough cookie, displaying confidence, smarts and sex appeal to this otherwise all-male cast. As stereotypical mad scientist Dr. Carrington, Robert Cornthwaite is appropriately sinister, but manages to give the character an aura of good intentions; it isn't until the finale that he truly becomes the mad scientist. As Hendry's good friend Scotty, Spencer is pitch-perfect, providing witty sarcasm and humor to the proceedings.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyh0Qyhj1kXHr8UHLn63vZICR0w2MC7cMfGLuqCfrrtatCIX5fHK0Z4u-jWKDGTjDV_zvxPumyRj8P61VWn5ClSkToyWTgwG9ez23iKuDlpknALdhP5O4jtvjG0BLl3-NFUI4c2U0CYBc/s1600/4SVE1h61Fg774lgrrBDu5FvVo1_400.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyh0Qyhj1kXHr8UHLn63vZICR0w2MC7cMfGLuqCfrrtatCIX5fHK0Z4u-jWKDGTjDV_zvxPumyRj8P61VWn5ClSkToyWTgwG9ez23iKuDlpknALdhP5O4jtvjG0BLl3-NFUI4c2U0CYBc/s320/4SVE1h61Fg774lgrrBDu5FvVo1_400.jpg" width="320" /></a></div>Let's not forget TV's Marshall Dillon himself, James Arness, in one of his earlier roles as the titular villain. Arness was openly embarrassed about his participation in this film, claiming the Thing looked like a giant carrot. In all fairness, I can understand Arness' negative feelings toward the film. Arness is best remembered for starring in one of Television's longest running shows and made four movies with Hollywood's favorite cowboy, John Wayne. Furthermore, from an acting point of view, Arness gets little to do beyond stalk dark hallways from a distance, as Hawks kept his screentime to a minimum in an effort to hide the makeup effects. While the Thing might not have been much of a character, Arness is nevertheless imposing and intimidating, which is exactly what the Thing needed to be.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIJUNQaAg2-Bwwkaybe_d7cky2B6zWguusIPxs2B18Zllc-h_TZo3N1QlBL6hdCnMk48BEc1Cd24y-lzUFJSncqMtzzYcw-k81uMMz0weljfM03IkBQNmPRojHs947ozZxJpO35blqUoQ/s1600/Thing-0_1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIJUNQaAg2-Bwwkaybe_d7cky2B6zWguusIPxs2B18Zllc-h_TZo3N1QlBL6hdCnMk48BEc1Cd24y-lzUFJSncqMtzzYcw-k81uMMz0weljfM03IkBQNmPRojHs947ozZxJpO35blqUoQ/s320/Thing-0_1_.jpg" width="320" /></a></div>I'd also like to compliment Christian Nyby's directing, or was it Howard Hawks? To this day, it remains unknown who really directed the film. Nyby was Hawks' editor at the time and <em>The Thing From Another World</em> marked his first time as a director, whereas Hawks was already established. Even the people who were there can't seem to agree; Arness claims Nyby was the director, whereas Tobey cites Hawks as being in control of the production. Regardless of who was behind the camera, the film looks phenomenal; the director makes great use of camera angles, knows how to make lengthy scenes of exposition engaging to listen to and keeps the pace moving quickly. Kudos.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsgD-oOpOurZ15O9zySTo-XwfGEX-kp2nV7LMKB8zqEF4LK9sL1m5U62AjhT0oGTosSf8joMsVToh3Dej3dWSC0C8691vIVWz160i-dGONsMuSjS23s8SVhp9OGXevTEECA10aKTn59gs/s1600/thing1edited.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsgD-oOpOurZ15O9zySTo-XwfGEX-kp2nV7LMKB8zqEF4LK9sL1m5U62AjhT0oGTosSf8joMsVToh3Dej3dWSC0C8691vIVWz160i-dGONsMuSjS23s8SVhp9OGXevTEECA10aKTn59gs/s320/thing1edited.jpg" width="320" /></a></div>Now look, I know this is a cheesy b-movie and nothing more. Sure, the actors are clearly on sets. Yes, I know most of these people (Arness notwithstanding) went on to do nothing of importance. Fine, I'll admit the Thing looks like a Frankenstein knock-off. But this isn't necessarily a bad thing. As I've made crystal clear throughout my review, b-movies are not about creating intellectually stimulating pieces of art or telling subliminal storytelling. They're down, they're dirty and they're just trying to have fun. That's exactly what the '50s sci-fi/horror genre was all about; I grew up loving these films, so for me the obvious sets and low-grade effects aren't the least bit problematic. Rather, they make me smile and enjoy the film more, because they remind me of a time when everything wasn't about CGI or product placement or star power. <em>The Thing From Another World</em> reminds me, if nothing else, of a time when filmmakers, largely unappreciated by their peers, set out to have fun with their films and this film succeeds wonderfully at that.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoInl9C9m-HcgBY2ir_O8bXmDr7T1PAwjgM2MNsNbGuqSG2hiOr6dGkaseMk-lsK4j8byus-agWuQbJuwdZVYtX2EQYqwzLtp0uWLHq9WUBGcnXqCMD-k9aa9kfOZsP4SseX37fvpYjps/s1600/thing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoInl9C9m-HcgBY2ir_O8bXmDr7T1PAwjgM2MNsNbGuqSG2hiOr6dGkaseMk-lsK4j8byus-agWuQbJuwdZVYtX2EQYqwzLtp0uWLHq9WUBGcnXqCMD-k9aa9kfOZsP4SseX37fvpYjps/s320/thing.jpg" width="320" /></a></div>I give <em>The Thing From Another World</em> <strong>4.5 out of 5 Stars</strong>. For those who love a good, cheesy '50s blend of sci-fi and horror, this film has it all. Stellar cast, snappy dialogue, intriguing exposition, fast pacing, imposing monsters, heroic soldiers, crazy scientists, beautiful women, and groovy music. No, it's not arthouse filmmaking and, in all honesty, it can't compare to what John Carpenter did with the source material 31 years afterwards. However, if you're willing to put aside your pre-conceived notions of science-fiction/horror films and b-movies, and to forget about Carpenter's <em>The Thing</em>, you'll be delighted with a superb film.<br />
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Next Up: October 11th: Chromeskull: Laid To Rest 2 (2011)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-73910042395287136292011-10-10T20:18:00.000-07:002011-10-10T20:18:53.000-07:00October 9th: The Curse of The Cat People (1944)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4mGuL2zi4hntqUkFuy-ShGEY5rxRb10pd7I-zc1vNIpokH8qhvDo8eQkM_9wtqlLPzPyvGtiIxMVqThKbkXzcvZsejI7fi-r3wW8mo6m5UJUp7uhxfhnu27FzUCp6d3LvTtdHomx14vw/s1600/142834_1020_A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4mGuL2zi4hntqUkFuy-ShGEY5rxRb10pd7I-zc1vNIpokH8qhvDo8eQkM_9wtqlLPzPyvGtiIxMVqThKbkXzcvZsejI7fi-r3wW8mo6m5UJUp7uhxfhnu27FzUCp6d3LvTtdHomx14vw/s320/142834_1020_A.jpg" width="212" /></a></div><strong>PLOT</strong><br />
Six years ago, marine engineer Oliver Reed (Kent Smith) fell in love Irena Dubrovna (Simone Simon), an exotic fashion designer from Serbia. Once married, Oliver discovered that Irena believed herself to be descended from a race of cat people and that she will become a bloodthirsty Panther if sexually aroused. Oliver tried to get Irena psychiatric help, but things went from bad to worse; Irena murdered her psychiatrist Dr. Judd (Tom Conway) and then committed suicide at the Zoo where she first met Oliver.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLXeltB3mCrORRTtkGeLwi_W2Khr37MFUnKmT4DFXKECajSu4SOGrJTJF7uwtP2wiwfQHKV-BJc4vttGb15XwqR_D3r3MvWsvS8Fj4XI81owQMP1xZBrjatWxQkspRMchpVOOu5H9QKvM/s1600/the-curse-of-the-cat-people-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLXeltB3mCrORRTtkGeLwi_W2Khr37MFUnKmT4DFXKECajSu4SOGrJTJF7uwtP2wiwfQHKV-BJc4vttGb15XwqR_D3r3MvWsvS8Fj4XI81owQMP1xZBrjatWxQkspRMchpVOOu5H9QKvM/s320/the-curse-of-the-cat-people-poster.jpg" width="320" /></a></div>Oliver has since married former co-worker Alice Moore (Jane Randolph) and they now have a daughter, Amy (Ann Carter), who is deeply introverted and spends most of her time daydreaming. Oliver, recognizing Amy's similarities to Irena, fears that his daughter will become like his ex-wife and demands that Amy start spending time with other children and stop daydreaming.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiifX3dUgW_jeUG9E_cbwAZ0thyphenhyphenl4UH5IQ5PdwDsHNr53YIYjntU6xdvI7VvDpXgMYJipqVIE_JMXgcAqVSs-yIAaVrfllgXiFp_jK8ckmOKhs0XlxmpU_r1nAoodceHEr1YIYFZzfk4Yo/s1600/curseofthecatpeople2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiifX3dUgW_jeUG9E_cbwAZ0thyphenhyphenl4UH5IQ5PdwDsHNr53YIYjntU6xdvI7VvDpXgMYJipqVIE_JMXgcAqVSs-yIAaVrfllgXiFp_jK8ckmOKhs0XlxmpU_r1nAoodceHEr1YIYFZzfk4Yo/s320/curseofthecatpeople2.jpg" width="320" /></a></div>After her sixth birthday, Amy finds a picture of Irena and, using a ring given to her by aging actress Julia Farren (Julia Dean), wishes for a friend and gets Irena, who plays with Amy in the backyard and becomes her best friend, unaware that Ms. Farren's alienated daughter Barbara (Elizabeth Russell) plots to kill Amy out of jealousy, while Oliver tries to force Amy to stop dreaming about Irena and grow up.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj751E2fYDrlwpW1H9_cW6h0PcS8jGX2jbm6ONy2oXCEp8z5-ilsX3CHHGPLQvat-CyptHqFTLCZ4uk6TkbhJLNoAqrY5u3qNt-ZoPjiqO7v8m0mdn_tOPwMfFtBkByvwsBgCG-1ZfDsmw/s1600/Curse2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj751E2fYDrlwpW1H9_cW6h0PcS8jGX2jbm6ONy2oXCEp8z5-ilsX3CHHGPLQvat-CyptHqFTLCZ4uk6TkbhJLNoAqrY5u3qNt-ZoPjiqO7v8m0mdn_tOPwMfFtBkByvwsBgCG-1ZfDsmw/s1600/Curse2.jpg" /></a></div><strong>REVIEW</strong><br />
Released in 1942, Jacques Tourneur's <em>Cat People</em> is often lauded as one of the best films from producer Val Lewton during his tenure as RKO's Head of Horror. In contrast to Universal Studios' output, Val Lewton specialized in ambiguous, psychological horror. Rather than using monsters in outrageous special effects, Lewton believed that the unseen was more unsettling than what was seen and <em>Cat People</em> perfected that formula. Never utilizing any overt supernatural elements, only strongly hinting at it, the film's horrors came from wondering if Simone Simon's Irena was really a bloodthirsty Catwoman or simply suffering from mental instability.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNvBaJp0L5uPUQV9igbGeEKLh9u95AwWRBmnkeqdz9tmMCvAhQ999R15R_I4bauLKzAVWYiZdo4w_XTWnkn8RPynQf2yA2jrlLgsTKxbsa3woTBvt_LY_Pyh6Haanfh78dy59F8U-59dM/s1600/23wf.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNvBaJp0L5uPUQV9igbGeEKLh9u95AwWRBmnkeqdz9tmMCvAhQ999R15R_I4bauLKzAVWYiZdo4w_XTWnkn8RPynQf2yA2jrlLgsTKxbsa3woTBvt_LY_Pyh6Haanfh78dy59F8U-59dM/s320/23wf.jpg" width="320" /></a></div>When it was all over, <em>Cat People</em> seemed to be a one-off with no room for a sequel. Yet surprisingly, Lewton and screenwriter DeWitt Bodeen reunited with actors Simone Simon, Kent Smith and Jane Randolph for <em>The Curse of The Cat People</em>, released two years after the original. A big fan of <em>Cat People</em>, I was satisfied with that film and had no interest in a sequel. My one rule with sequels is that they should only be made if, and only if, there's a reason to continue the story. <em>The Silence of The Lambs</em> ended with Hannibal Lecter out of prison and <em>Hannibal</em> showed him continuing his murder spree. <em>Frankenstein</em> ended with Dr. Frankenstein sacrificing his life to stop the Monster and <em>The Bride of Frankenstein </em>dealt with him coming to terms with what he had created. <em>Alien</em> ended with Ripley the sole survivor of a Xenomorph attack and <em>Aliens</em> showed her face her fear by battling an army of Aliens. That's what sequels do; they take the story of the original film and build off of it.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8LW1BgLODmG5rLlad1ctkqDzTPYcZECyprMQlK-X6v40lflhsOEY2FaDmXTnbWKO9DTnGaq9clEE8WWAGO2RDdr8zP8ABMUpgeCGYTFRxi5dnNXIlBwgMQy5wPJAujL-EQIsiVuU_mbk/s1600/The+curse+of+the+cat+people+1944.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8LW1BgLODmG5rLlad1ctkqDzTPYcZECyprMQlK-X6v40lflhsOEY2FaDmXTnbWKO9DTnGaq9clEE8WWAGO2RDdr8zP8ABMUpgeCGYTFRxi5dnNXIlBwgMQy5wPJAujL-EQIsiVuU_mbk/s320/The+curse+of+the+cat+people+1944.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;"><em>The Curse of The Cat People</em>, on the surface, seems to be an appropriate sequel. Original characters Oliver and Alice are back and they have a shy, quiet daughter similar to Irena who they fear will become like Irena. Unfortunately, that's where the connection ends. Other than the returning characters, <em>The Curse of The Cat People</em> feels less like a proper sequel and more like studio executives trying to cash in on a franchise by sticking the characters into an existing, unrelated story. In fact, Lewton and Bodeen wanted it to be a standalone film called <em>Amy and Her Friend</em>, but RKO overruled them.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9nEr7ihnWDO0axJRASfZbpiovhBILJFroC1LQPyth4faU2mGNTp_3Lk3ZIFmjHefKEvrDdv1trvJWRGvDzXX-4qnJkXgbZ7DE7aa7Di7TIBFoKL1iG1-CZTjV3NM4jF9Z37gyRZuxQG0/s1600/curse_of_the_cat_people01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9nEr7ihnWDO0axJRASfZbpiovhBILJFroC1LQPyth4faU2mGNTp_3Lk3ZIFmjHefKEvrDdv1trvJWRGvDzXX-4qnJkXgbZ7DE7aa7Di7TIBFoKL1iG1-CZTjV3NM4jF9Z37gyRZuxQG0/s320/curse_of_the_cat_people01.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">That being said, there have been effective sequels with very loose connections to their predecessors. <em>The Brides of Dracula</em> was just another vampire story with Van Helsing, but it's easily one of the best vampire films from Hammer and Terence Fisher. George Romero's sequels to <em>Night of The Living Dead</em> are all loose continuations, but the second and third films, <em>Dawn of The Dead</em> and <em>Day of The Dead</em>, are masterpieces. <em>Prom Night IV: Deliver Us From Evil</em> has nothing to do with the three films before it, yet, while not a great film, it's fairly interesting on its own.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_Fu6QMadh8MjezQAMf2_GU-viETiQnNnZeTgLSFcK1VlGzXstmUTntP7r34sKSpZYx14mV7JirpxexmzBbVEQoECV5tRRpK-XMlpD69CiG4sBzsdOsZ75LQYUZTIEaV2vTF9u7UdXqLk/s1600/cursecatp-momdies.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_Fu6QMadh8MjezQAMf2_GU-viETiQnNnZeTgLSFcK1VlGzXstmUTntP7r34sKSpZYx14mV7JirpxexmzBbVEQoECV5tRRpK-XMlpD69CiG4sBzsdOsZ75LQYUZTIEaV2vTF9u7UdXqLk/s1600/cursecatp-momdies.gif" /></a></div>It all boils down to the execution and that's ultimately where <em>The Curse of The Cat People</em> fails. Despite being a mere 70 minutes long, virtually nothing happens and the story takes forever to get to its main thrust, being the return of Irena. Instead, the first 30 minutes are spent establishing Amy's loneliness and difficulty making friends, not to mention a worthless subplot involving an aging actress past her prime who believes her cold-hearted daughter to be a sinister impostor.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcWTFow196BCCCN7ZH8gp_sRle2tpYzuu3uPLkdsbQw0BxCN4WXpuzQhzbfi7g3njMjpvpj9TlcsJu2R4gGuLbc74SJkV_zFaT5KkOR9j3PIOXfMHc0g_ble5oErE-oAd1-g1r7hdHDQw/s1600/32wp1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcWTFow196BCCCN7ZH8gp_sRle2tpYzuu3uPLkdsbQw0BxCN4WXpuzQhzbfi7g3njMjpvpj9TlcsJu2R4gGuLbc74SJkV_zFaT5KkOR9j3PIOXfMHc0g_ble5oErE-oAd1-g1r7hdHDQw/s320/32wp1.jpg" width="320" /></a></div>This subplot involving Mrs. Farren and her daughter has no place in this film. Not only does it have no bearing on the main plot, it's confusing and unresolved. Why does Mrs. Farren believe her daughter died years ago? What about Barbara makes Mrs. Farren believe she's not her daughter? Why is Barbara so sinister and cold? It's an interesting idea on its own, but it doesn't fit with the rest of the film. It feels incredibly forced and unnecessary, but might have been salvaged if the characters were interesting. Unfortunately, Julia Dean and Elizabeth Russell do nothing but make me keep wondering why they're here.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWGBlSIGLS6wPE_4V5o00HbIowtjGdN4K3Us5JmUgBX82oudtfFomtJe-UsTdd15OzQtA4vytkQ0_L0vxRjvDjJBaxhX_rriOPyuSOPjMrnoQ5yEMCMbIXOFxRsuChGHVJ7cq6ZKqZfYY/s1600/cursecatp-dad.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWGBlSIGLS6wPE_4V5o00HbIowtjGdN4K3Us5JmUgBX82oudtfFomtJe-UsTdd15OzQtA4vytkQ0_L0vxRjvDjJBaxhX_rriOPyuSOPjMrnoQ5yEMCMbIXOFxRsuChGHVJ7cq6ZKqZfYY/s1600/cursecatp-dad.gif" /></a></div>What of our returning characters? Kent Smith and Jane Randolph were a wonderful pairing in Tourneur's film, exuding a sexual chemistry rarely seen in 1940s films. That chemistry is nowhere to be seen now. Oliver' story is interesting enough; he remains haunted by Irena and fears Amy will suffer her fate, yet he shows little compassion and just acts angry, demanding that a six year old stop making up imaginary friends and grow up. Randolph has absolutely nothing to do, other than to comment on Oliver's paranoia.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDovo5MKZ7o8HwnwXfz60ZGo953LqqWtf-auJ_MLNqo8vAWufua9UZwXmYOfuKy8C5YNtF4ch8j65Zx8jXayIRTCIBuHRtx8u1ywN1Kz6jay6F3lFvqhVN4c8kcXZ6sEacQ3ZK_qtMJi4/s1600/Simone_Simon_in_The_Curse_Of_The_Cat_People_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDovo5MKZ7o8HwnwXfz60ZGo953LqqWtf-auJ_MLNqo8vAWufua9UZwXmYOfuKy8C5YNtF4ch8j65Zx8jXayIRTCIBuHRtx8u1ywN1Kz6jay6F3lFvqhVN4c8kcXZ6sEacQ3ZK_qtMJi4/s1600/Simone_Simon_in_The_Curse_Of_The_Cat_People_2.jpg" /></a></div>That leaves Simone Simon, returning to the role of the exotic Irena Dubrovna. Watching the film, however, you'd swear this was a different character. Simon is still attractive, but never once does she even attempt to convey the insecurities and psychological damage she gave Irena in the original film. She's reduced to nothing more than a playmate for Amy, leaving it to the useless Elizabeth Russell to serve as the film's "villain." She seems peaceful and happy most of the time for no reason.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjsylRpfqpXLoZzQXSPgHvQ2mC_BPRIA53uA8TMSSdZTAFj73LXS8lxdtWpMPrbFsFh4n841o4RhnJw9_WG_EK550ZkKaqMt6vTpkhIVeQt6DiK3eApPeKJsYrHxbnpsiLe_eccOrzvg4/s1600/curseofthecatpeople.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjsylRpfqpXLoZzQXSPgHvQ2mC_BPRIA53uA8TMSSdZTAFj73LXS8lxdtWpMPrbFsFh4n841o4RhnJw9_WG_EK550ZkKaqMt6vTpkhIVeQt6DiK3eApPeKJsYrHxbnpsiLe_eccOrzvg4/s1600/curseofthecatpeople.jpg" /></a></div>This leads to the film's biggest fault; it's not much of a horror film. It's not unheard of for sequels to switch genres; all three <em>Evil Dead</em> films belong in different genres; horror, slapstick black comedy and looney tunes comedy. <em>The Curse of The Cat People</em>'s problem is that it does nothing with the horror elements from the first film. We're lead to believe that Amy might be Irena's daughter and, therefore, has possibly inherited her mother's mental imbalance. This never goes anywhere. The film is not about a child carrying on the sins of her mother; it's about a lonely child finding a way to hold onto her fantasies in the real world. The concept in and of itself doesn't exclude horror, but the execution lacks any horror elements. The term cat people is never once brought up and the film's sole bit of horror; the cold Barbara wanting to kill Amy out of jealousy, lacks any real tension and is quickly resolved.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLJyc2UMlAbPcECzHtSTe97zwhdfUyuAWTY_-KaVkarG3YPPiVLx46PeLBv2vS_3p3tDZCfJBE8l6Pvf_w_bKHDeDHOfhzgU2hJeksq0mMB66NlajwXA3iE07ibqN_99cQx6CV9ZNjaSg/s1600/Curse-Cat-People-Carter.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLJyc2UMlAbPcECzHtSTe97zwhdfUyuAWTY_-KaVkarG3YPPiVLx46PeLBv2vS_3p3tDZCfJBE8l6Pvf_w_bKHDeDHOfhzgU2hJeksq0mMB66NlajwXA3iE07ibqN_99cQx6CV9ZNjaSg/s320/Curse-Cat-People-Carter.png" width="320" /></a></div>What of Amy herself? Ann Carter is an interesting enough little girl and looks an awful lot like Simone Simon at times. But, since that idea disappears real fast, it doesn't seem to matter much (the issue of who Amy's mother really is is never resolved either). Most horror fans tend to cringe at child protagonists and, while it doesn't bother me in general, Amy is certainly cringe-worthy. She's far too innocent and bland to carry this film. Rather than presenting the idea of her as sinister and possibly crazy, she's just lonely and really creative. Not the right choice at all.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrRPe8wj9aKS_bvf6Sys8vK_FYNE360ZuA8PT8wGvp74dUnWD6wiTuzf8UHP3gOn8TGuQe_o0n3qVSpkFGq_DBFIUdZFeVpcDIlvHXktNwY0YUlCgWxz4F0m0-VjsuaYWzgj_-nodqXDE/s1600/untitled.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrRPe8wj9aKS_bvf6Sys8vK_FYNE360ZuA8PT8wGvp74dUnWD6wiTuzf8UHP3gOn8TGuQe_o0n3qVSpkFGq_DBFIUdZFeVpcDIlvHXktNwY0YUlCgWxz4F0m0-VjsuaYWzgj_-nodqXDE/s320/untitled.png" width="320" /></a></div>I give <em>The Curse of The Cat People</em> <strong>2 out of 5 Stars</strong>. Is it outright terrible? Probably not; the acting is mostly acceptable and the film is competently made. Interestingly enough, this was the directorial debut of Robert Wise of <em>The Haunting </em>and <em>Star Trek: The Motion Picture</em> fame. The film fails because of three fatal mistakes; its child heroine couldn't carry a five-minute short let alone a 70-minute film, the script lacks any understanding of pacing, character development and storytelling and there's little to nothing here that could be called horror. Let's just pretend <em>The Cat People</em> was a standalone that was remade in the '80s and leave it at that. This film has no place in the franchise.<br />
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Next Up: October 10th: The Thing From Another World (1951)<br />
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</div>JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-44808225452584325352011-10-10T16:30:00.000-07:002011-10-10T16:31:13.514-07:00October 8th: Howling II: Your Sister Is A Werewolf (1985)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGbDjEM0PzUHL-zRal7cjutjV7IvhEPZDUGnRQddki6v6hp0syygSMSVHTEdDF9Q8pIUaPJV77yJYetDD7u1NwFM1mDAhkK59qtOtTHAzdx2WrW_-bQMP-kUsTRlloeNS_9Z0svEk-SMw/s1600/271491_1020_A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGbDjEM0PzUHL-zRal7cjutjV7IvhEPZDUGnRQddki6v6hp0syygSMSVHTEdDF9Q8pIUaPJV77yJYetDD7u1NwFM1mDAhkK59qtOtTHAzdx2WrW_-bQMP-kUsTRlloeNS_9Z0svEk-SMw/s320/271491_1020_A.jpg" width="215" /></a></div><strong>PLOT</strong><br />
Ben White (Reb Brown) attends the future of his late sister, news reporter Karen White (Hana Ludvikova), who was murdered under mysterious circumstances. Following the funeral, Ben meets Karen's colleague Jenny Templeton (Annie McEnroe), who wants to find out what really happened to Karen. Enter Occult Investigator Stefan Crosscoe (Christopher Lee); Stefan informs Ben and Jenny that Karen, following her experiences at The Colony, became a werewolf and had herself killed to protect innocent people from her.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYWSewZABKJOQjLauZ6V2Ise3SXXVtcxWzNj6SOQRP9M7NE0b5sLXXu-CcCk4gXxmjaH-4eoS0HOKwUq3U7WWDReBIMQqdkAPmby-lBKqX1ldNorZ-Olq8se-NcFfRPT5UeYdi0aM1n3M/s1600/HowlingII1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYWSewZABKJOQjLauZ6V2Ise3SXXVtcxWzNj6SOQRP9M7NE0b5sLXXu-CcCk4gXxmjaH-4eoS0HOKwUq3U7WWDReBIMQqdkAPmby-lBKqX1ldNorZ-Olq8se-NcFfRPT5UeYdi0aM1n3M/s320/HowlingII1.png" width="320" /></a></div>Stefan shows Ben and Jenny a video of Karen as a werewolf, which went missing shortly after her death. Ben remains skeptical and, when he learns of Stefan's plans to drive a silver stake through Karen's heart, threatens to kill him. Following a nighttime confrontation with a clan of werewolves, Ben and Jenny vow to help Stefan stop the werewolves before the next full moon, when all werewolves will reveal themselves to the world and conquer mankind. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6GefXcnZCxlr7GwZ4GeMGNiYD8FQDP0qL77gR3r2mLp_JP2nJMZcIE4nrRbCn1QUzUWwP7Ps8C5UzdG8nSMbukrXWGlTEuuPZv9QYm2YuLktxe8lBjMUja2Ok16l0H6SUH2oNBVFXlw0/s1600/the-howling-21.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6GefXcnZCxlr7GwZ4GeMGNiYD8FQDP0qL77gR3r2mLp_JP2nJMZcIE4nrRbCn1QUzUWwP7Ps8C5UzdG8nSMbukrXWGlTEuuPZv9QYm2YuLktxe8lBjMUja2Ok16l0H6SUH2oNBVFXlw0/s320/the-howling-21.jpg" width="320" /></a></div>Traveling together to Transylvania, the trio join forces with fellow werewolf hunters Vasile (Jiri Krytinar), Father Florin (Ladislav Krecmer) and an American Priest (James M. Crawford) and arm themselves with silver bullets, garlic, holy water, battle axes, and titanium knives in preparation for battle with powerful werewolves Vlad (Judd Omen), Mariana (Marsha A. Hunt) and the deadliest werewolf of all: Stirba (Sybil Danning), Werewolf Bitch and Queen of The Lycanthropes.<br />
<strong>REVIEW</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEn0JEFJ4-MSFhdxMP1hstS53E0RDyEkhPzcndLRNlP3o_oZGFOlynV3YoDu0c7YB4DkcU9clGcaDSGitzux0nzfEZjv0qBMyUXceGumAfa5z2JZ_ieUkwmmXiF4fp2PmDOmJDoLhfL6I/s1600/howling2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEn0JEFJ4-MSFhdxMP1hstS53E0RDyEkhPzcndLRNlP3o_oZGFOlynV3YoDu0c7YB4DkcU9clGcaDSGitzux0nzfEZjv0qBMyUXceGumAfa5z2JZ_ieUkwmmXiF4fp2PmDOmJDoLhfL6I/s320/howling2.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">Like Vampires, Werewolves are a popular part of European folklore and mythology that has long fascinated us, but why? In the case of Vampires, it's all about primal sexuality and everlasting youth. The Vampire legend preys on the vanity of mankind. When it comes to Werewolves, however, it's something much more psychological and disturbing. Mankind can be a violent, cruel and monstrous species, but what separates us from the Lions, Tigers and Bears is our humanity and compassion. Werewolves represent the loss of that humanity; the legend dares to wonder what happens to humans when they're stripped of their inherent moral compass and ability to care for fellow man. What happens when intelligent, thinking people become monsters? It's a frightening concept and, for me, makes Werewolf mythology far more interesting.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoa49DPbag4Hasoss24cENoFzEYnOA_7Dqvs5CWLfCGJoUeNd9un0Urufb4ZYUBjwPZrRlHR_5eAy2SvgJp0GjLfzEyIGYGTvFIiYpV_2-HgBvRfrkaDfWV0EvduDxcqM1nf_l04WrAUA/s1600/howlingII-1024x576.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoa49DPbag4Hasoss24cENoFzEYnOA_7Dqvs5CWLfCGJoUeNd9un0Urufb4ZYUBjwPZrRlHR_5eAy2SvgJp0GjLfzEyIGYGTvFIiYpV_2-HgBvRfrkaDfWV0EvduDxcqM1nf_l04WrAUA/s320/howlingII-1024x576.jpg" width="320" /></a></div>Starting with the lost 1913 film <em>The Werewolf</em>, the film industry has presented the Werewolf legend onscreen hundreds of times in such films as <em>Werewolf of London</em>, <em>The Wolf Man</em>, <em>I Was A Teenage Werewolf</em>,<em> The Curse of The Werewolf</em>, <em>The Mark of The Wolf Man</em>, <em>Wolfen</em>, <em>Silver Bullet</em>,<em> Teen Wolf</em>,<em> Bad Moon</em>, <em>Ginger Snaps</em>,<em> Underworld</em>, and <em>Skinwalkers</em>. In this class, there are two Werewolf films a cut above all others; John Landis' <em>An American Werewolf In London</em>, beloved for its mix of intelligent humor and nightmarish scares, and Joe Dante's <em>The Howling</em>, featuring malevolent Werewolves, top-notch transformations and strong satirical elements.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO2xV1MT1wQd3X-WD9sL_fuFtxhOUlCo1dBOza2iBtnN4v70PrAS6h42YQqQR1L2SpjX_sWMI0mxvBfIi-nCG5ATDtyhiQWmA99HuubYTqw_eQlDP2O6VsPHipfdBM_KK2Wiw07umM88E/s1600/HOWLING_II-rip_dress.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO2xV1MT1wQd3X-WD9sL_fuFtxhOUlCo1dBOza2iBtnN4v70PrAS6h42YQqQR1L2SpjX_sWMI0mxvBfIi-nCG5ATDtyhiQWmA99HuubYTqw_eQlDP2O6VsPHipfdBM_KK2Wiw07umM88E/s320/HOWLING_II-rip_dress.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">While I personally prefer <em>An American Werewolf In London</em>, <em>The Howling</em> is a close second in the pantheon of Werewolf films. Darker and edgier, <em>The Howling</em> is a love-letter to the classic werewolf films from Universal Studios in the '30s and '40s and Hammer Films in the '60s and '70s. Four years after its release, <em>Howling II: Your Sister Is A Werewolf</em>, also known as <em>Howling II: Stirba - Werewolf Bitch</em>, was unleashed. Other than returning producer Steven A. Lane, no one from Dante's film returned for the sequel. Interestingly enough, Gary Brandner, the author of the 1977 novel <em>The Howling</em> Dante's film was based on, co-wrote the script for this, as he was reportedly unsatisfied with what Joe Dante did with the source material.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgooBMlJXTVMWIrk0kJnVT95hMTWMTzxszT0E5tm0sDV6XJJNLT6vH7RRIe4JBBMjT4s8Cr0htIuRl0T7WvMGW-AnlPCXzN-yIgrwGk538wsWd5kVrXbZClhuRagz2geZ-hgQmE1KROiE8/s1600/tumblr_liw7quxBgS1qf83cro1_500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgooBMlJXTVMWIrk0kJnVT95hMTWMTzxszT0E5tm0sDV6XJJNLT6vH7RRIe4JBBMjT4s8Cr0htIuRl0T7WvMGW-AnlPCXzN-yIgrwGk538wsWd5kVrXbZClhuRagz2geZ-hgQmE1KROiE8/s320/tumblr_liw7quxBgS1qf83cro1_500.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">Taking this bit of trivia into account when thinking about this film, I can only conclude that either Brandner wrote a first draft re-written by the other writer, Robert Sarno, or that his ego was so massive that he had no idea that he was raping his own creation to death, because that's exactly what he, Sarno and director Philippe Mora have done. <em>Howling II</em> is a clusterfuck of such epic proportions that I don't even know where to start. And I've seen some of the worst horror films out there; <em>Strawberry Estates</em>? Yep. <em>Bloody Murder</em>? Ouch. Rick Bota's <em>Hellraiser</em> sequels? Dear God. The Platinum Dunes remakes? Unfortunately. Asylum films? Kill me now. My soul has been crushed by this genre many times over, but it's been a while since a film left me this shattered. Where to begin?</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzFGehiHeR0H7WZEHenBZgLOY-XpOYQBV1Z9Pn1q3QxYrvpYSE9jOEHCEANlBQHepLeJSa7Dv7KTLRGBb0UwHZYd1zJFeehg7cZuYr_18f29Mjc1kWpqkunrxCZWkDkL-V0j-mIgC1Ags/s1600/0000218356.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzFGehiHeR0H7WZEHenBZgLOY-XpOYQBV1Z9Pn1q3QxYrvpYSE9jOEHCEANlBQHepLeJSa7Dv7KTLRGBb0UwHZYd1zJFeehg7cZuYr_18f29Mjc1kWpqkunrxCZWkDkL-V0j-mIgC1Ags/s320/0000218356.jpg" width="320" /></a></div>Let's start with all the great things <em>The Howling</em> had that the sequel misses. Now look, I'm not saying sequels have to copy their originals. However, I do believe it's important for a sequel to carry over elements from their predecessor. Other than having evil Werewolves that can turn at will, this doesn't feel like it's in the same world as Dante's film. All of that clever satire you loved the first time? Gone, other than some minor character named after Hammer director Freddie Francis (no relation to the Fred W. Francis character Kevin McCarthy played in the original film). The likeable, charming cast of characters? Yikes, this cast can't muster a single ounce of charisma if their lives depended on it. The sinister, frightening Werewolves? They must have been on vacation, because these Werewolves are some of the biggest wusses I've seen in forever and most of the time, they're in human form! WTF!?!?!??!!!?!?!<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7-WuMC2lJgl26Ga3-TOpR-QNpbu-OSJgsaBZYLUUEyEyx2bNvzIfWVrI0_-LhYAz-ZO12PGk3whLHg9B-KrviwUI2vsRV6Z4FmnSP1Tkbewni5KJfJ6aG_ezY8v-CjkMR3fLl345CMXE/s1600/0000218349.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7-WuMC2lJgl26Ga3-TOpR-QNpbu-OSJgsaBZYLUUEyEyx2bNvzIfWVrI0_-LhYAz-ZO12PGk3whLHg9B-KrviwUI2vsRV6Z4FmnSP1Tkbewni5KJfJ6aG_ezY8v-CjkMR3fLl345CMXE/s320/0000218349.jpg" width="320" /></a></div>We've established that this cast sucks gerbil balls, but in what ways? Let's start with the casts' worst offenders; Reb Brown and Annie McEnroe. Brown's appearance as Ben White, the brother of original protagonist Karen White, came after the two roles he's best remembered for, Captain America in two TV movies from 1979 and the titular character of <em>Yor, Hunter From The Future</em>. Not exactly an impressive resume and this performance doesn't help his image; he's flat the whole way through, delivering his line with negative zero emotion and smiling most of the time. That being said, at least he's not dull; that seems to be Annie McEnroe's job. She has no personality to speak of and, other than giving Captain America someone to have sex with, adds nothing to the film.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGEjX-4sWp4Zv-lQct3_Bd2eggEF7ZgietSORqhyphenhyphen2Ap9htBOao06FBKbqCbBklNYMUjYQy71_Y0nGCGgAEas7G_-cJ7ZuweYfM49Em94pp8XiPgVm0N_opkq5NDR6D5dJL1OBxevyXgrg/s1600/Stefan_Crosscoe_%2528Howling_II%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGEjX-4sWp4Zv-lQct3_Bd2eggEF7ZgietSORqhyphenhyphen2Ap9htBOao06FBKbqCbBklNYMUjYQy71_Y0nGCGgAEas7G_-cJ7ZuweYfM49Em94pp8XiPgVm0N_opkq5NDR6D5dJL1OBxevyXgrg/s320/Stefan_Crosscoe_%2528Howling_II%2529.jpg" width="320" /></a></div>If there's one thing <em>Howling II</em> has going for it, it's Christopher Lee. With the possible exception of Robert Englund, Lee is the most iconic horror star alive today. He's played Dracula more times than anyone else on film, in addition to appearances as Frankenstein's Monster, Dr. Jekyll/Mr. Hyde and The Mummy. Lee, by his own admission, agreed to play the heroic Stefan Crosscoe only because he had never been in a Werewolf movie. Is Lee any good here? Sure; he's the one bright spot in the cast. Even at his age in this film, Lee's eyes and voice create a commanding presence <em>Howling II</em> is not worthy of. Unfortunately, Lee can't answer the lingering question of who Stefan is and why he's hunting Werewolves. I don't need an overly detailed explanation, but if you're going to give your film a Van Helsing type, we the audience need to understand what motivates him to kill lycanthropes and, while we eventually discover a connection between him and Stirba, it's so threadbare and late in the film that it has no real impact.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS38Juix5k2RR93XGR_vBQ2By5RXMraroVT44MX31wvunwINp12zHFqZXq-VKys9NBzIhuQGaU_e1bQkdcDwWgqq-26zb83ED1iJQknzYI-3r-0S8PJ7yjfko2F43VZcFXcaL7YmzIe6c/s1600/howl22.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS38Juix5k2RR93XGR_vBQ2By5RXMraroVT44MX31wvunwINp12zHFqZXq-VKys9NBzIhuQGaU_e1bQkdcDwWgqq-26zb83ED1iJQknzYI-3r-0S8PJ7yjfko2F43VZcFXcaL7YmzIe6c/s320/howl22.jpg" width="320" /></a></div>The few brave/stupid people who defend <em>Howling II</em> often point to Sybil Danning as being one of the best things about it. Danning has had a long career in cult films such as <em>Reform School Girls</em>, <em>Chained Heat</em>, <em>Amazon Women On The Moon</em>, and <em>Battle Beyond The Stars</em>, for which she earned The Golden Scroll Award of Merit from the Academy of Science Fiction, Fantasy and Horror Films. She's certainly a stunning, gorgeous woman and I can see her being effective in the right role; Werewolf Bitch Stirba is not that role. If you're going to have a Werewolf Queen, you need to believe that she can command legions of lycanthropes around the world and has wisdom, power and menace that makes her a formidable foe. Danning does the best she can, but she doesn't have nearly enough screentime to create any real menace; it doesn't help matters that when she is onscreen, she's only doing one of two things; ripping her clothes off and having sex with other Werewolves or conjuring some unknown hocus pocus while wearing a ridiculous black-and-gold rubber bathing suit with rubber sleeves and leggings.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2F85q2WS8DjaQTO2ldew_I3-15zQGxFn0Edk4TDTQpOa5H-pU0-_jKskB5oADIQKifbAsUb54slTaGp1xmPleTbNwIpWDQh467wbudWKnRNgh6YkTrJsYpiVgqHAdqiPhmtjTnHtppHY/s1600/0000218361.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2F85q2WS8DjaQTO2ldew_I3-15zQGxFn0Edk4TDTQpOa5H-pU0-_jKskB5oADIQKifbAsUb54slTaGp1xmPleTbNwIpWDQh467wbudWKnRNgh6YkTrJsYpiVgqHAdqiPhmtjTnHtppHY/s320/0000218361.jpg" width="320" /></a></div>Without doubt, the Werewolves seen in <em>The Howling</em> were the creepiest, coolest Werewolves committed to film, <em>An American Werewolf In London</em> notwithstanding, and the transformation scenes themselves were revolutionary. So how does <em>Howling II</em> stack up? Doesn't the above picture say it all? No? Alright then, they suck. Not only do they look nothing like the Werewolves from <em>The Howling</em>, most of them are shot from a far distance and barely visible. When you do see them, they look more like primates than wolves and the transformation scenes themselves are clearly rubber puppets. Worst of all, our three primary Werewolves never fully turn; at best, they're just covered in hair and have claws and fangs. Hell, the puppet Werewolf in the village scenes looks better.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3wLIV03z0lr2lbhQui4aK-lVSApSv6D0WQYPJkILTD3OiWZ4E72T0I5XgWk0gbBbjV0H_-wuw06cIf8l2M_hxJ1c5A8TfeH2SYwmNYL1H4_uJHemmdzDQKEhbPIJcI55rctXVGx8-Hew/s1600/0000218359.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3wLIV03z0lr2lbhQui4aK-lVSApSv6D0WQYPJkILTD3OiWZ4E72T0I5XgWk0gbBbjV0H_-wuw06cIf8l2M_hxJ1c5A8TfeH2SYwmNYL1H4_uJHemmdzDQKEhbPIJcI55rctXVGx8-Hew/s320/0000218359.jpg" width="320" /></a></div>Who's to blame? Philippe Mora. Let me quote Scott LeBrun's mini biography of Mora on IMDB: <br />
"...a highly talented artist and film-maker with an impressive resume to boast of...Philippe Mora has definitely left his mark in both art and film." Either LeBrun has never really seen Mora's films, or Mora's paying him off. There's no way you could possibly call this guy talented. He seems more interested in showing some bad '80s new wave band rocking out than creating any sort of tension or atmosphere. Not to mention his editing; what the heck is with the weird editing transitions? Scenes form out of triangles, scenes dissolve into circles, the Babel theme song re-appears time and time again for no reason and random shots of Werewolves pop up out of nowhere. Worst of all is the end credits sequence set to the Babel theme song when, for absolutely no reason, the shot of Stirba exposing her breasts is replayed SEVENTEEN times! I know she's hot, but seriously? That little fact right there lets you know what kind of people are making this movie; the kind that don't know anything about filmmaking.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKdnmpVra0FPYlYGDutfJ9Hgni4Aj4M4nBYrNV3MNxk6wd-PpfJ2ltH1dfkWwegB3R6n-B92eT75MCSpMvHB32flM-SOpiAHOIx02bZr-_InW-i2vZaNXIOT3689PxxCK_V7cEN4g1XT4/s1600/0000218353.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKdnmpVra0FPYlYGDutfJ9Hgni4Aj4M4nBYrNV3MNxk6wd-PpfJ2ltH1dfkWwegB3R6n-B92eT75MCSpMvHB32flM-SOpiAHOIx02bZr-_InW-i2vZaNXIOT3689PxxCK_V7cEN4g1XT4/s320/0000218353.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">I give <em>Howling II: Your Sister Is A Werewolf </em><strong>0.5 out of 5 Stars</strong>. That 0.5 rating exists solely because of my respect for Christopher Lee and Sybil Danning's impressive rack. All in all, I think part of my hatred for this film stems from it being a sequel to <em>The Howling</em>. If it was just called <em>Your Sister Is A Werewolf </em>or <em>Stirba - Werewolf Bitch</em>, I'd still hate it but I'd just let it go and remember as just another shitty horror film. The fact that this claims to be <em>Howling II</em>, a sequel to one of the best Werewolf films of all time, not to mention one of the best horror films of all time, is indefensible. No one, not even the strange, twisted sect of people who like this, could possibly give me a single reason to appreciate this film. And let's not forget; there's six more <em>Howling</em>'s after this. God help us all.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Next Up: October 9th: The Curse of The Cat People (1944)</div><div class="separator" style="clear: both; text-align: left;"></div>JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-20755135276509366242011-10-09T19:03:00.000-07:002011-10-09T21:07:22.148-07:00October 7th: Night of The Demons 2 (1994)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4UQZYwNFZUwXSWKNb4Q8vREsxItM_dcC5fSbuNf_L0fkWLlnqhqfw4DBz9uDsBm4ON9EDLHDWupmHIRbaKImB4BoxTibPzJ8Z6P4h5V_OvS-_PqB3V_nCF05Rk63A5xE9ZdY6oxIgRG8/s1600/210586_1020_A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4UQZYwNFZUwXSWKNb4Q8vREsxItM_dcC5fSbuNf_L0fkWLlnqhqfw4DBz9uDsBm4ON9EDLHDWupmHIRbaKImB4BoxTibPzJ8Z6P4h5V_OvS-_PqB3V_nCF05Rk63A5xE9ZdY6oxIgRG8/s320/210586_1020_A.jpg" width="216" /></a></div><strong>PLOT</strong><br />
Six years have passed since the Halloween Night Massacre at Hull House, which left seven teenagers brutally murdered. In the ensuing police investigation, all the bodies were found except one; Angela Franklin (Amelia Kinkade). When Angela's disappearance became public, rumors spread that Angela has physically descended into hell and still resides in Hull House, murdering anyone who ventures beyond the underground water system that keeps the demons trapped in Hull House.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibeoAC5Cyg8x9dYLwp6puI-FIWpjfK_cO5wV1usWyb_rxKzw1ZQM2kWGblNyH3NxwHmyiNh3a3lB_itoeGKXrdvU3_tnnM2av4ZZvfxo2lvxMFv3tvz-u5crZQPFDKi_FdIUrUVZS_V9Q/s1600/2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibeoAC5Cyg8x9dYLwp6puI-FIWpjfK_cO5wV1usWyb_rxKzw1ZQM2kWGblNyH3NxwHmyiNh3a3lB_itoeGKXrdvU3_tnnM2av4ZZvfxo2lvxMFv3tvz-u5crZQPFDKi_FdIUrUVZS_V9Q/s320/2.jpg" width="320" /></a></div>A year after her disappearance, Angela's parents committed suicide after receiving a repulsive Halloween card signed by Angela. Her sister Melissa Franklin AKA Mouse (Merle Kennedy) is now attending St. Rita's Academy, a Catholic boarding school for troubled teens, where she is subjected to cruel bullying and teasing at the hands of the other girls, primarily school bullies Shirley Fennerty (Zoe Trilling) and Terri (Christine Taylor).<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguwLmttqnn0MARoWw1HHvk-mYJnyE-6o7ZDa_pU2foindt_225fg7BlnU0BqMhAGSOdAVcJUtlr3Z9s0rNfrdhy7JWWfjZxcUNVW2DAPJJOeiI7jpmXbKmCwWbxePFRVRD4V7WfsxuZaw/s1600/NIGHTOFDEMONS-201.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguwLmttqnn0MARoWw1HHvk-mYJnyE-6o7ZDa_pU2foindt_225fg7BlnU0BqMhAGSOdAVcJUtlr3Z9s0rNfrdhy7JWWfjZxcUNVW2DAPJJOeiI7jpmXbKmCwWbxePFRVRD4V7WfsxuZaw/s320/NIGHTOFDEMONS-201.png" width="320" /></a></div>Banned from attending the school dance, Shirley decides to have a party at Hull House, inviting Terri, nice girl Bibi (Cristi Harris), Bibi's kung-fu boyfriend Johnny (Johnny Moran), jock Kurt (Ladd York), and Mouse. With help from her boyfriend Rick (Rick Peters) and friend Z-Boy (Darin Heames), Shirley intends to pull a prank on Mouse but Kurt interferes and the group returns to St. Rita's, but not before Bibi finds a tube of lipstick, which Shirley brings back with them, allowing Angela to cross the stream and attack St. Rita's. With the partygoers turned into demonic servants and Angela running amok, Bibi and Johnny join forces with righteous kung-fu nun Sister Gloria (Jennifer Rhodes) and demonology expert Perry (Bobby Jacoby) to stop Angela before she can sacrifice Mouse to Satan, which would give her limitless power.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFBnoJAKknOD3raBSGroyHAj2TiOd3gWbTDunPBZ_oHoV7A3XSq9DYvWcYBhGjcqW_xagawUp7Qe_JCMwHQ0T7_9qUuRwVF70_iiG5HSd0YCqhTqxQtiD-466uzPbWnfN_zPEU_xnlYv0/s1600/night-of-the-demons-2-original.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFBnoJAKknOD3raBSGroyHAj2TiOd3gWbTDunPBZ_oHoV7A3XSq9DYvWcYBhGjcqW_xagawUp7Qe_JCMwHQ0T7_9qUuRwVF70_iiG5HSd0YCqhTqxQtiD-466uzPbWnfN_zPEU_xnlYv0/s320/night-of-the-demons-2-original.jpg" width="320" /></a></div><strong>REVIEW</strong>A few blogs ago, I reviewed the original <em>Night of The Demons</em> and I made no bones about how much I disliked it. To paraphrase that review, I found the humor childish and poorly written, the scares utterly pathetic, the characters annoying and worthless, the central villain poorly executed, the demon effects unsatisfying, the ending cheap, the dialogue groan-inducing, etc, etc. Save for Linnea Quigley and Angela's psychosexual dance number, I couldn't find any redeeming values in it. I can appreciate that Kevin S. Tenney and Joe Augustyn were trying to make an '80s rock and roll slasher with demons and I understand it's beloved by fans of cult horror but for me, I found it downright dreadful.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhK38vwIEN9GTQQC4A5S-MXCdWRDo5M2ln2waYUKs104FTQDaRcl7VJUZNA_PB8AAkP1gfkwJn-yTo7XCNX5IpK93RR9QrNwiWZaJB3eo90mAMiKK58C9EVzVoBIdXIHeVl-sjYMpY9gY/s1600/bryn-hammond-editor-gorezone--630-75.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="142" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhK38vwIEN9GTQQC4A5S-MXCdWRDo5M2ln2waYUKs104FTQDaRcl7VJUZNA_PB8AAkP1gfkwJn-yTo7XCNX5IpK93RR9QrNwiWZaJB3eo90mAMiKK58C9EVzVoBIdXIHeVl-sjYMpY9gY/s320/bryn-hammond-editor-gorezone--630-75.jpg" width="320" /></a></div>Given my disdain for <em>Night of The Demons</em>, I wasn't exactly foaming at the mouth in anticipation for <em>Night of The Demons 2</em>. The only hope I had was that Kevin S. Tenney was nowhere to be seen, replaced by Brian Trenchard-Smith, the director of <em>Leprechaun 3</em> and <em>Leprechaun 4: In Space</em>. Granted, that resume far from makes me comfortable going into this film but, at the very least, I knew I'd be getting something mildly amusing, if not genuinely entertaining. Color me surprised; while not a good film technically speaking, <em>Night of The Demons 2</em> is fairly entertaining in a so ridiculous its funny way.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj37oX9iCc1It3QPhj7TE8a6RhniiLdR1FtEiMwNMjAeQX_z8hVjTQBgII-ybsv1zhPgHr9QOrVSbHM_vbUfH60KrgyOFBAZt590f0q06u2mhSRu6nwmvgcfM-8qmQvaWUyzRdDVwE4J40/s1600/notd2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj37oX9iCc1It3QPhj7TE8a6RhniiLdR1FtEiMwNMjAeQX_z8hVjTQBgII-ybsv1zhPgHr9QOrVSbHM_vbUfH60KrgyOFBAZt590f0q06u2mhSRu6nwmvgcfM-8qmQvaWUyzRdDVwE4J40/s320/notd2.jpg" width="320" /></a></div>Let's get this out of the way; <em>Night of The Demons 2</em> is not a good movie in the technical sense. Once again written by Joe Augustyn, many of the script problems from Part One show up in Part Two. Though not as poorly done, the tone is once again imbalanced; whereas the original film was silly comedy with poorly done horror elements, the sequel is unscary horror with incredibly goofy humor peppered in. Once again, the characters are largely bland (Bibi, Kurt, Terri) or painfully over the top (Z-Boy, Rick, Johnny). The effects are still unsatisfying, though the actors are notably more expressive when clad in latex and every attempt to be atmospheric or scary falls flat on its face.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxIUwTxc7sVMo8-pjCium6N9FY86JbdOMFHmMolE-UXFge0ce6slQeWy9CL4YDlf2jwk7ny5mmChoFe5a8pdyFi7UKuo35EHzPFABjKMNLVhApg206GsGlpw7gtCVKQYxe9CBRnGrWZOw/s1600/ndemons1b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxIUwTxc7sVMo8-pjCium6N9FY86JbdOMFHmMolE-UXFge0ce6slQeWy9CL4YDlf2jwk7ny5mmChoFe5a8pdyFi7UKuo35EHzPFABjKMNLVhApg206GsGlpw7gtCVKQYxe9CBRnGrWZOw/s320/ndemons1b.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div>We've established that the tone is off and that the scares fail, but does the humor work? Surprisingly yes, albeit in a so bad its good way. Much of the humor comes courtesy of Sister Gloria. Jennifer Rhodes, having previously appeared as Crystal Bernard's mother in <em>Slumber Party Massacre 2</em> and Winona Ryder's mother in <em>Heathers</em>, is playing a Ninja Nun. Yes, I said a Ninja Nun. It's absurd and out of nowhere. That being said, when watching a movie about a Ninja Nun fighting Demons, one can't help but accept that this is meant to be outrageous and Rhodes wisely gives the role just the right amount of winking humor and deadpan seriousness.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF-ZaBWPzzSIefOeg3O2jC94ZITpieSPQtGlnLUgkrCjyYFrf5DPkHK9GN9ljITgE2KZiGPMoAR_sEQ3ZDhjbOnQgUsQKlobMvKEdD9JiGsjaex1lUr8yYSDMuUfm2_fYgD7zJRygxfLY/s1600/3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF-ZaBWPzzSIefOeg3O2jC94ZITpieSPQtGlnLUgkrCjyYFrf5DPkHK9GN9ljITgE2KZiGPMoAR_sEQ3ZDhjbOnQgUsQKlobMvKEdD9JiGsjaex1lUr8yYSDMuUfm2_fYgD7zJRygxfLY/s320/3.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div>There are two other characters worth mentioning; the first of which is Shirley Fennerty, played by cult actress Zoe Trilling from such films as <em>Girls Just Want To Have Fun</em>, <em>Amityville 4: The Evil Escapes </em>and <em>Leprechaun 3</em>. Shirley is, without question, the most hateful person I've seen in a horror film in a very, very long time and a lot of it goes to Zoe's performance. Confident, sexy and mean-spirited, Zoe tackles this role with full gusto; I spent the whole film wanting her to die a horrible, painful, slow death and cheered every time something bad happened to her. In a straightforward horror film, this character would never work but, for a film that's clearly just trying to be crazy fun, you can't help but love to hate every second of screentime Zoe has here.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJm8LENycLeapKPpOYPgX5cT4kTLW_TgM_bhXKaHSeBAeJMDSrr7OkPTcmZcpqFCiPDqKHhA_soog1vmMJxFQJOshuZgxE4S99GNfDhFx5-QSEJsvAH8-rD2RUx-BYujaZkP22NrxjOjE/s1600/5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJm8LENycLeapKPpOYPgX5cT4kTLW_TgM_bhXKaHSeBAeJMDSrr7OkPTcmZcpqFCiPDqKHhA_soog1vmMJxFQJOshuZgxE4S99GNfDhFx5-QSEJsvAH8-rD2RUx-BYujaZkP22NrxjOjE/s320/5.jpg" width="320" /></a></div>The second character in question is Perry, nerd turned demon slayer. In stark contrast to every other teen in the film, Perry comes off as a genuinely good person; sure he's into demonology, but he equals Sister Gloria in his determination to stop the demons and save Mouse. Bobby Jacoby has spent the majority of his career languishing in TV movie Hell, but I am more familiar with his film work. To this day, I still consider <em>Tremors</em>, the 1990 science fiction homage/send-up starring Kevin Bacon, to be one of my all-time favorite movies and Jacoby was memorable for his brief role as annoying brat Mel Plug, a role he would reprise in <em>Tremors 3: Back To Perfection</em> and the short-lived TV series. Here, Jacoby is instantly likeable, taking the nerd role, which usually equates to dead meat, and giving it a nice spin by making him heroic and brave. I would never call him a great actor, but he's colorful here and his chemistry with Jennifer Rhodes is the highlight of the second half of the film.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcf4Vh8k6ubwZjc-nmci1TvueK7vWYmUlB5L8O3yeHSsHYLiflza7pFR0hEVW7L90fbMSUevNj4def7Tejk0n9HOAgmUoR8OmRJDiD_RhLmE77zq1cmB_HtwRSIK3k-BS_gUpk1P8n6Xg/s1600/imagesCATUDBX1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcf4Vh8k6ubwZjc-nmci1TvueK7vWYmUlB5L8O3yeHSsHYLiflza7pFR0hEVW7L90fbMSUevNj4def7Tejk0n9HOAgmUoR8OmRJDiD_RhLmE77zq1cmB_HtwRSIK3k-BS_gUpk1P8n6Xg/s1600/imagesCATUDBX1.jpg" /></a></div>Last time, I was quite clear that I didn't find Angela Franklin to be a satisfying villain. It had nothing to do with her being a petite woman; it had everything to do with the character lacking any menace or real motivation. This time around, Augustyn gives Angela motivation behind her actions in the form of her uber-meek sister Mouse; Angela plays on her sister's feelings of loneliness and desire for family, helping to make Mouse sympathetic (Merle Kennedy certainly isn't helpful in that regard). Amelia Kinkade is clearly more comfortable with the character now and, thought not menacing in the least, she's at least more fun to watch now. And yes, she does her crazy psychosexual dance again, though the nudity is oddly missing. Don't worry, though; Zoe Trilling fills the nudity requirement to fantastic results.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY4BmV5WN7DPaV5sxIRhQSW81k-wbBMK1JyCAioAzUJTy2iNpVAqerifBaH_I41DVEeOSyhansDOgrJ4zpMFgualt44eUEv7U-FJHy9fq240yVuemjIh4nENhqELhMLgM2ZrVb0j8bk88/s1600/NOTD2+Angela+dancing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY4BmV5WN7DPaV5sxIRhQSW81k-wbBMK1JyCAioAzUJTy2iNpVAqerifBaH_I41DVEeOSyhansDOgrJ4zpMFgualt44eUEv7U-FJHy9fq240yVuemjIh4nENhqELhMLgM2ZrVb0j8bk88/s320/NOTD2+Angela+dancing.jpg" width="320" /></a></div>From a filmmaking standpoint, how does the auteur responsible for two <em>Leprechaun</em> sequels do? All in all, it's nothing special. It's workmanlike in that he knows where to put the camera when filming horror scenes and how to switch between the serious horror and the silly humor well enough. My only real complaint was his tendency to use footage from <em>Night of The Demons</em> of Angela floating down the hallway; it's always been a sticking point for me when a filmmaker tries to pass off footage from a previous film as his own, even if it's not intentional. Director of Photography David Lewis, the man who shot the original film and Trenchard-Smith's <em>Leprechaun</em> films, makes effective use of lighting, especially in the Hull House scenes. He makes the film look better than it has any right to be and I can see why Trenchard-Smith would keep using him for his films.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOd8Us6iEzAKX0SWFJcvLu_Gz_vGZ__JKDUdNlGKQzec2PVr6SG0Y_Is0NXxchS6TnaXR0D5ZF6z_EqJ5ZsJ0NEftmgOVC4aYSUIo2yIapUxRMflOAgrM0VeU2r247qVU13uFTV-qdAUw/s1600/5556094360_180e9f3abd.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOd8Us6iEzAKX0SWFJcvLu_Gz_vGZ__JKDUdNlGKQzec2PVr6SG0Y_Is0NXxchS6TnaXR0D5ZF6z_EqJ5ZsJ0NEftmgOVC4aYSUIo2yIapUxRMflOAgrM0VeU2r247qVU13uFTV-qdAUw/s320/5556094360_180e9f3abd.jpg" width="320" /></a></div>Going back to my review of <em>Night of The Demons</em>, I was quite frustrated with that film's conclusion. Rather than fighting back against the demons, Judy and Roger simply ran away, the sun came up and the demons burned back to hell. Yikes, what a dull ending. Fortunately, <em>Night of The Demons 2</em> avoids that mistake. The finale at Hull House is surprisingly epic; Bibi, Johnny, Perry, and Sister Gloria fight the demons for a good 15-20 minutes. Balloons filled with Holy Water are thrown, heads are knocked off and dribbled like basketballs, demons melt into bloody piles of goo, and Angela gets to showcase the full extent of her powers. For such a low-budget sequel to have a climax this well done, I was thoroughly impressed.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS8Fwgrdww1LK6X3BWWgSmecI9_2wnGE-o7PeyGIivGPjeS5WIAqq0VbyEIeOd-Nd70IITBQ9_zvy-QABbafH9vLTx8H2SDLg49N5ja47c22FTVOiPKGE8BHKeFLLd0bksUe8g7u21XII/s1600/NOTD2+Angela+and+Shirley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS8Fwgrdww1LK6X3BWWgSmecI9_2wnGE-o7PeyGIivGPjeS5WIAqq0VbyEIeOd-Nd70IITBQ9_zvy-QABbafH9vLTx8H2SDLg49N5ja47c22FTVOiPKGE8BHKeFLLd0bksUe8g7u21XII/s320/NOTD2+Angela+and+Shirley.jpg" width="320" /></a></div>Before going into my final thoughts, I think it'd be appropriate to explain how I can say it's so bad its good. It's a phrase that gets thrown around a lot and all it means is the film in question isn't technically a good film due to acting, writing, directing or any other aspect of filmmaking but gets by because it's entertaining and fun to watch because of how bad it is. That's what I'm saying about <em>Night of The Demons 2</em>. I fully recognize that Brian Trenchard-Smith and Joe Augustyn have not made a legitimately good film; all I'm saying is that the film's entertainment value, combined with the things it does right, outweigh the flaws of the film, if only slightly. <br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNYxMBzDtBZH39A_QbJoFXwj70PQmovRofu76x8r-Uhbl-HBkwcnVrbzkbBq_7zDwwQ3wExRu2eqRI6TFF6Crzh26gRQJEx4Di4O5xGO_GV5eH9h33YqwjDE4HcwERUidV9tUW27hUMps/s1600/NIGHTOFDEMONS-203.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNYxMBzDtBZH39A_QbJoFXwj70PQmovRofu76x8r-Uhbl-HBkwcnVrbzkbBq_7zDwwQ3wExRu2eqRI6TFF6Crzh26gRQJEx4Di4O5xGO_GV5eH9h33YqwjDE4HcwERUidV9tUW27hUMps/s320/NIGHTOFDEMONS-203.png" width="320" /></a></div>I give <em>Night of The Demons 2</em> <strong>3 out of 5 Stars</strong>. While not perfect, Brian Trenchard-Smith has moderately succeeded in making the kind of film Kevin S. Tenney should've made in 1988. It's certainly flawed; the main cast sucks, the scares are non-existent and the script feels incohesive most of the time. Fortunately, the film works because of Jennifer Rhodes and Bobby Jacoby's chemistry, the wacky humor, Zoe Trilling's uber-bitchy acting, an impressive finale, and a better iteration of Angela. It's nothing special, but it's worth a watch. Look at this way; <em>Night of The Demons 2</em> is gold compared to <em>Night of The Demons</em>. Nuff said.<br />
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Next Up: October 8th: Howling II: Your Sister Is A Werewolf (1985)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-6872017420926020212011-10-09T15:30:00.000-07:002011-10-09T15:33:21.343-07:00October 6th: The Curse of The Mummy's Tomb (1964)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1e9tKm_B03TqnCuiabRvjVGO67qUDJjGQK2GGs9le35ZyibdcSTdacCIZemyg5gHpzGG8SwG6E6Lc_evOS_gR6ifJgdiOKu0KWuBav4QpPcIflXu4LQR8YIMgpUcoT8MskQaoNugNjVo/s1600/283856_1020_A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1e9tKm_B03TqnCuiabRvjVGO67qUDJjGQK2GGs9le35ZyibdcSTdacCIZemyg5gHpzGG8SwG6E6Lc_evOS_gR6ifJgdiOKu0KWuBav4QpPcIflXu4LQR8YIMgpUcoT8MskQaoNugNjVo/s320/283856_1020_A.jpg" width="215" /></a></div><strong>PLOT</strong><br />
After three months of hard work, archaeologists Professor Eugene DuBois (Bernard Rebel), John Bray (Ronald Howard), Sir Giles Dalrymple (Jack Gwillin) and Annette DuBois (Jeanne Roland), the professor's daughter, have uncovered the tomb of Ra-Antef (Michael McStay), the Royal Prince of Egypt. According to Egyptian legend, Ra-Antef was exiled by his father, Rameses VIII, due to the treachery of his jealous younger brother Be. Becoming the king of a nomadic tribe in Libya, Ra-Antef planned to return to his homeland to avenge himself, but Be, learning of his plans, has Ra-Antef killed.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-b8llVeiNMHcAWr7gBJqjI3dCTdOjUiibFjQDgdbqRP-a4PnrAd0zZu2ZKXkXdXcDcbbqvqj4LWLrK6R0adJpB-vud6ZaYqldGnNmu5TcDze4Lcrx5Y9ldBkkTKKbfyArNfOAGOnOAgQ/s1600/curse%252520of%252520the%252520mummys%252520tombPDVD_013.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="144" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-b8llVeiNMHcAWr7gBJqjI3dCTdOjUiibFjQDgdbqRP-a4PnrAd0zZu2ZKXkXdXcDcbbqvqj4LWLrK6R0adJpB-vud6ZaYqldGnNmu5TcDze4Lcrx5Y9ldBkkTKKbfyArNfOAGOnOAgQ/s320/curse%252520of%252520the%252520mummys%252520tombPDVD_013.jpg" width="320" /></a></div>Though the dig is a success, the archaeologists are dealt tragedy when Professor DuBois and servant Achmed (Michael Ripper) are murdered by superstitious locals. Egyptian Inspector Hashmi Bey (George Pastell) arrives shortly afterwards to offer Sir Giles £70,000 to display Ra-Antef's tomb in an Egyptian museum. Though Sir Giles is willing to take the offer, the dig's financial backer, American businessman Alexander King (Fred Clark), turns the offer down in favor of taking Ra-Antef and his treasures on tour throughout Europe and the United States. Sir Giles, disgusted by King's willingness to exploit Egyptian legend for monetary reasons, resigns from the expedition and is banned from Egypt, effectively ending his career.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAy_3Zr7pEuYWG4lP_i5TATvGxSlQLT-FVQvmZEq4xmSfaHW88w-e7fo2CPV5VSDxf6hmcV6oy9iK9BV7Ko-zMghS9a3WVl40B_C18GFfHKHIM_r6Iaw1Ng3RNatP5VBgP6m3-r-44QiE/s1600/cotmt4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAy_3Zr7pEuYWG4lP_i5TATvGxSlQLT-FVQvmZEq4xmSfaHW88w-e7fo2CPV5VSDxf6hmcV6oy9iK9BV7Ko-zMghS9a3WVl40B_C18GFfHKHIM_r6Iaw1Ng3RNatP5VBgP6m3-r-44QiE/s320/cotmt4.jpg" width="320" /></a></div>Arriving in London for the first show, Bray and King work around the clock getting everything ready for the opening, while Annette is romanced by the elusive Adam Beauchamp (Terence Morgan) and Giles drinks his sorrows away. When Ra-Antef's mummified corpse (Dickie Owen) disappears during the show, Bray realizes that Ra-Antef has been re-animated to murder those who have desecrated his tomb.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuBqbQbjzEnWqV0c2u0FbOM1_TRqSyIFjwAZBJNT6n1-LtoaBN_r0BvIUxnSgtVFPvWPvaFdb3oRL07fxQOABnUHQb1tr7bXWbocjGxFztE3muBqKna-fkWZ_g5rT99qY9U4T-3v04usM/s1600/curse%252520of%252520the%252520mummys%252520tombPDVD_016.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="144" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuBqbQbjzEnWqV0c2u0FbOM1_TRqSyIFjwAZBJNT6n1-LtoaBN_r0BvIUxnSgtVFPvWPvaFdb3oRL07fxQOABnUHQb1tr7bXWbocjGxFztE3muBqKna-fkWZ_g5rT99qY9U4T-3v04usM/s320/curse%252520of%252520the%252520mummys%252520tombPDVD_016.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
While The Mummy and his horror brethren of Frankenstein's Monster, Dracula and The Wolf Man are best remembered for their appearances in the Universal films of the '30s and '40s, their appearances in the Hammer films of the '50s, '60s and '70s are every bit as beloved by the horror community. With bigger budgets, technicolor and fewer restrictions on censorship, Hammer produced gloriously Gothic films with rich color, sexy dames in short-cut dresses and gruesome gore effects, resulting in such iconic films as <em>Horror of Dracula, The Mummy </em>and <em>Frankenstein Created Woman</em>, many of which starred screen icons Christopher Lee and Peter Cushing and were directed by Terence Fisher, the godfather of Gothic horror.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxerHt1ZgEnjogLwdYe9Rdt3hlQi-hz7jgiw9jyLD38HQtuBDx92X_wFcneK0lLnnPtBF-jjsUjyRDIQSUjr123pzkA2o_njkbxPXfEl-Ocd_3NrRUune1VSrmdRYmr9Os8qEKcmrg4Gs/s1600/mistero_mummia4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxerHt1ZgEnjogLwdYe9Rdt3hlQi-hz7jgiw9jyLD38HQtuBDx92X_wFcneK0lLnnPtBF-jjsUjyRDIQSUjr123pzkA2o_njkbxPXfEl-Ocd_3NrRUune1VSrmdRYmr9Os8qEKcmrg4Gs/s320/mistero_mummia4.jpg" width="320" /></a></div><em>The Mummy</em>, from 1959, remains the definitive Mummy movie, far superior to the boorish, slow-moving Boris Karloff iteration from 1932 and the action-packed blockbuster with Brendan Fraser as an Indiana Jones wannabe. All three men, fresh off the success of <em>The Curse of Frankenstein </em>and <em>Horror of Dracula</em>, were at the top of their game, with Fisher delivering a gorgeous, stylish production, Cushing giving one of his best performances as the dashing John Banning and Christopher Lee was appropriately imposing as Kharis.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-__QETy5bazJlaUYvdTLAoiH3BZRRMV29wl26xZpR-77semO8BbrogRIfqjSwWZ5IcZnPzMOXEbjc5fRbOydU2Qu4wJ9JL_PcUygAsz54PeMvXmeJbiv924_VOg1g5Z79_NLvvrf_O3M/s1600/cotmt1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="157" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-__QETy5bazJlaUYvdTLAoiH3BZRRMV29wl26xZpR-77semO8BbrogRIfqjSwWZ5IcZnPzMOXEbjc5fRbOydU2Qu4wJ9JL_PcUygAsz54PeMvXmeJbiv924_VOg1g5Z79_NLvvrf_O3M/s320/cotmt1.jpg" width="320" /></a></div>Unlike the sequels to <em>The Curse of Frankenstein</em> and <em>Horror of Dracula</em>, Lee, Cushing and Fisher had nothing to do with <em>The Curse of The Mummy's Tomb.</em> In Fisher's place, Michael Carreras, the son of Hammer co-founder James Carreras and producer of many of Hammer's best known films, stepped in as writer and director with a cast and crew that, save for actors Michael Ripper, George Pastell and production designer Bernard Robinson, were new to the world of Hammer Horror. While it's easy to immediately dismiss the film as nothing more than the studio head giving his son an ego boost by putting him in the director's seat, Michael Carreras has some real talent as a writer and director and <em>The Curse of The Mummy's Tomb</em>, surprisingly, turns out much better than expected.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpkvHT8MqiEkDUTGZvFlBiulfso6bMkcTfGiRxXFPF1DGBGXpSOcpvVdVAeCcnomUPhQIHtGjBQ119NPcA7GyL0uXKEgPgMwQ69te-h-nqrYAi7F97xo2WJVZIErv5nZtHtb9e7O5FAKI/s1600/curse%252520of%252520the%252520mummys%252520tombPDVD_014.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="144" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpkvHT8MqiEkDUTGZvFlBiulfso6bMkcTfGiRxXFPF1DGBGXpSOcpvVdVAeCcnomUPhQIHtGjBQ119NPcA7GyL0uXKEgPgMwQ69te-h-nqrYAi7F97xo2WJVZIErv5nZtHtb9e7O5FAKI/s320/curse%252520of%252520the%252520mummys%252520tombPDVD_014.jpg" width="320" /></a></div>From a screenwriting perspective, Carreras takes a page from Universal's <em>Mummy</em> movies in that, like <em>The Mummy's Hand</em>, <em>The Curse of The Mummy's Tomb</em> bears no connection to its predecessor, other than the same basic concept of a team of archaeologists digging up a Mummy that comes back to life. Furthermore, Carreras wisely avoids the usual stereotypes of <em>Mummy</em> movies; Ra-Antef's origin of betrayal and righteousness is unique from any other <em>Mummy </em>movie, some of the cliches typical of these movies are turned on their head and the common theme of reincarnation, present in virtually any other version of this story, is nowhere to be seen. That's not to say this film is completely unique; the Mummy is still a guy wrapped from head to toe in bandages hunting down those who desecrated his tomb by opening it and most of the character types are very familiar, but what is different gives Carreras' film a touch of class, setting it apart from Fisher's film.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglQyn3KrK8b1ET6g0Vl0GEcxSi7_ZgkygzaIVsGx02HJ4WB4HHuUd29lu8I5HCTzmWsqljO-lhv2VvupSpXp-XhuLaaXCuXNgM40okz19W0WXMxZQNE2h23S_dbttiWZj84pMT9wGmkXU/s1600/cotmt2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglQyn3KrK8b1ET6g0Vl0GEcxSi7_ZgkygzaIVsGx02HJ4WB4HHuUd29lu8I5HCTzmWsqljO-lhv2VvupSpXp-XhuLaaXCuXNgM40okz19W0WXMxZQNE2h23S_dbttiWZj84pMT9wGmkXU/s320/cotmt2.jpg" width="320" /></a></div>That's not to say <em>The Curse of The Mummy's Tomb</em> is equal to <em>The Mummy</em>. Indeed, the sequel sees a notable fall in quality from what Terence Fisher did. The film's biggest problem is its pacing; Fisher is great at moving a story along. When you look at films like <em>Horror of Dracula</em>, <em>Dracula: Prince of Darkness</em> and <em>Frankenstein Created Woman</em>, Fisher sets up his story, characters and conflict within the first 15 minutes, giving plenty of time for the rest of the film to build atmosphere and let his actors fully develop their roles and storylines. In Carreras' case, he starts off with the dig already complete; he robs the audience of seeing the archaeologists at work and develop, making it harder to connect with them as the film progresses.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeAOx9ywRt0ImL6xttbgBIPbDFSMJT7qeWeTTrQz2O4101MT5SHWpGRcBC2eJl_G_TSfsva_hNPbp2pba1Bp2Z5yz2BqtjFJNM3By1qQG1AIQTKpUWFZ69Jsqgu0sGcFltDJKRZIsU6yM/s1600/screen_image_411053.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeAOx9ywRt0ImL6xttbgBIPbDFSMJT7qeWeTTrQz2O4101MT5SHWpGRcBC2eJl_G_TSfsva_hNPbp2pba1Bp2Z5yz2BqtjFJNM3By1qQG1AIQTKpUWFZ69Jsqgu0sGcFltDJKRZIsU6yM/s320/screen_image_411053.jpg" width="320" /></a></div>To be fair, Carreras' writing isn't solely to blame for this; his lead actors aren't exactly A-level. In the lead role is Ronald Howard, best known for playing Sherlock Holmes in the 1950s, a role that Peter Cushing and Christopher Lee played in later years. To put it mildly, Howard is no Cushing. Emotionless and distant for much of the film, Howard isn't necessarily terrible; he just fails to leave an impression and, save from doing some sleuth work, never gets his chance to be heroic and dashing.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_L8mjw2EghTC9UFl82zLQ9qu5AWPCL76xHZCjdSAXZGJMtHielUCigyP70AszOxc4A9aV3mNRJHAHBKAgzGkH80kDpNoAmcrjntjjknN0sc0pCdqkJxvUSOnZfNQkRPls48SLqHKINGA/s1600/cotmt2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_L8mjw2EghTC9UFl82zLQ9qu5AWPCL76xHZCjdSAXZGJMtHielUCigyP70AszOxc4A9aV3mNRJHAHBKAgzGkH80kDpNoAmcrjntjjknN0sc0pCdqkJxvUSOnZfNQkRPls48SLqHKINGA/s320/cotmt2.jpg" width="320" /></a></div>Jeanne Roland and Jack Gwillim don't do much better in their roles, either. Roland isn't anything special as Annette; she lacks the requisite presence needed for this kind of role, although she's attractive enough to understand why both Bray and Beauchamp vie for her affections. Gwillim is a respected stage actor and appeared in such films as <em>Lawrence of Arabia</em>, <em>A Man For All Seasons </em>and <em>Sink The Bismarck!</em>. Suffice it to say, this isn't exactly his type of film and he doesn't look particularly pleased to be here. Given his resume, Gwillim should be able to convey a sense of gravitas and weight but just stumbles around and mumbles out his dialogue.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpUoWwastOhtrDJJd2pwP_2_ZCJcsOsTXqLPLIPoPwPbZjwXGRII6VLDypWAbzYEyN5xNyBrX5CKlrtoRfhNgNOgmqAHlIcmEeHRhoRAk-T1yxfG99yYOdytcmXWtztonQH5sZgaLxkVs/s1600/iconsofhorrorhammer5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpUoWwastOhtrDJJd2pwP_2_ZCJcsOsTXqLPLIPoPwPbZjwXGRII6VLDypWAbzYEyN5xNyBrX5CKlrtoRfhNgNOgmqAHlIcmEeHRhoRAk-T1yxfG99yYOdytcmXWtztonQH5sZgaLxkVs/s320/iconsofhorrorhammer5.jpg" width="320" /></a></div>Fortunately, the supporting cast is decidedly stronger. In the role of American promoter Alexander King, Fred Clark brings some much-needed charisma to the film; King is a colorful character who, despite being responsible for Ra-Antef's resurrection, is incredibly charming and funny. George Pastell, who played Mehemet Bay in <em>The Mummy</em>, is the only returning actor, albeit in an unrelated role as Hashmi Bey and it is he who gives <em>The Curse of The Mummy's Tomb</em> its gravitas and weight. Best of all, however, is Terence Morgan, TV's Sir Francis Drake. As the elusive Adam Beauchamp, Morgan delivers a compelling mix of charm and mystery, making the audience both enjoy his presence and distrust his interest in Ra-Antef.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2l42IuMqvycDy_fktsjrSa2lo4QUnw64pn4RMD5sPPviH6xlJny8OOO30qJoCNIzZJJtfgGR6cQ2vnPvgFyyL-ZVKXxUghaL8L8x_VS8gKp4UTDoo4ubZhUPksXks_VpeFBti5V7ntp0/s1600/2wh42s2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2l42IuMqvycDy_fktsjrSa2lo4QUnw64pn4RMD5sPPviH6xlJny8OOO30qJoCNIzZJJtfgGR6cQ2vnPvgFyyL-ZVKXxUghaL8L8x_VS8gKp4UTDoo4ubZhUPksXks_VpeFBti5V7ntp0/s320/2wh42s2.png" width="320" /></a></div>Speaking of Ra-Antef, it's time to discuss how Dickie Owen does as the titular character. Without question, Christopher Lee's performance as Kharis in <em>The Mummy</em> was downright creepy. Despite being covered head to toe in bandages and latex, Lee brought a surprising amount of intensity to the role, using his distinctive eyes and imposing presence to great effect. Even taking into account the fact that this is a different Mummy, it's hard not to compare Owen and Lee and Owen comes up a bit short. Though tall, Owen doesn't exactly have a skeletal build; his protruding stomach is downright distracting, as are his arms, stretched out on his side at all times. By the way, didn't he have his left hand cut off!? Dickie Owen is by no means a terrible Mummy; he gets the job done and his kills are surprisingly vicious, but one can't help wonder how much better Ra-Antef would've been if it was Christopher Lee.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicK3x8f4c3qGzuDDYjh5XOKedUNCA-JPnhEm8mPG0D578SRMVRKAl9zkjgDRxRp_er4xWii9E3gDysJgsoJosx7U7PgrdLnkz5YdSW5BNEpPx-59vxwcNK7EQr4QcH9-axFMFSFYYFlac/s1600/12365-4227.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicK3x8f4c3qGzuDDYjh5XOKedUNCA-JPnhEm8mPG0D578SRMVRKAl9zkjgDRxRp_er4xWii9E3gDysJgsoJosx7U7PgrdLnkz5YdSW5BNEpPx-59vxwcNK7EQr4QcH9-axFMFSFYYFlac/s1600/12365-4227.jpg" /></a></div>Perfectly watchable and entertaining throughout, <em>The Curse of The Mummy's Tomb</em> achieves greatness in its climax, primarily due to revelations about Adam Beauchamp. When first introduced, it is clear that Beauchamp has ulterior motives behind his interest in Ra-Antef; he acts as if he knows more than he says and becomes frustrated with the archaeologists' mistaken beliefs regarding the legend.. Go ahead and try to figure out what Beauchamp's role is in the story, but regardless of whether its predictable or not, one can't help but appreciate the novelty of this character. It brings a real weight to the story and makes the climax much more gripping, now that you're no longer sure whether to fear or pity Beauchamp and Ra-Antef.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Wj9yMyUCwXYpXYLwSg2CzrsZt7GvoPZOhQowpA_GZTxxY9nAvXUDSyXHzs3CDJWzXVtqDXQQzSgbWqlNmvqpJOCk34mne57bTBkiO8WajGiQw4wRQxHQz4e8nk6qFcOTA-xn4dDTb6Q/s1600/mistero_mummia3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Wj9yMyUCwXYpXYLwSg2CzrsZt7GvoPZOhQowpA_GZTxxY9nAvXUDSyXHzs3CDJWzXVtqDXQQzSgbWqlNmvqpJOCk34mne57bTBkiO8WajGiQw4wRQxHQz4e8nk6qFcOTA-xn4dDTb6Q/s320/mistero_mummia3.jpg" width="320" /></a></div>I give <em>The Curse of The Mummy's Tomb</em> <strong>3.5 out of 5 Stars</strong>. As hard as it tries, this film just can't live up to Terence Fisher's definitive interpretation. The main cast is just uninteresting, the tension is missing for most of the film and the Mummy makeup leaves a lot to be desired. Fortunately, Carreras pulls it off, thanks to his stylish directing and, more importantly, his effective script, which puts some clever twists on the subject matter and creates a Mummy legend very unique. This, aided by impressive set design, commanding performances by Clark, Pastell and Morgan and an intense climax, makes this one of the better <em>Mummy</em> movies around.<br />
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Next Up: October 7th: Night of The Demons 2 (1994)JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0tag:blogger.com,1999:blog-3087466692826310326.post-32354858716854781572011-10-09T00:12:00.000-07:002011-10-09T00:12:39.515-07:00October 5th: He Knows You're Alone (1980)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwfXxDWzV7uDI9jY1KKOeudPtjA_gB0JI411_qZa0fPPpitqFrtCimNTHMap6xgJ1dgGbksXVFTG4ngSUiM4YeHUSkWVsTbJipuYQ1IKc7SBynHX3rtbI1GibilB21F58IdlhN2Ag3FZk/s1600/243345_1020_A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwfXxDWzV7uDI9jY1KKOeudPtjA_gB0JI411_qZa0fPPpitqFrtCimNTHMap6xgJ1dgGbksXVFTG4ngSUiM4YeHUSkWVsTbJipuYQ1IKc7SBynHX3rtbI1GibilB21F58IdlhN2Ag3FZk/s320/243345_1020_A.jpg" width="207" /></a></div><div class="separator" style="clear: both; text-align: left;"><strong>PLOT</strong></div>Called in to investigate the murder of bride-to-be Marie (Robin Tilghman), Detective Len Gamble (Lewis Arlt) immediately suspects Ray Carlton (Tom Rolfing). Three years ago, Ray murdered his ex-girlfriend and Gamble's fiance (Dorian Lopinto) on their wedding day; since then, Gamble has been relentlessly tracking Ray, who has spent the last three years continuing his murder spree, targeting young brides throughout the week before their wedding.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0J0KJfyiqfFEkpQWc-gbvw1hjIA6y1sQSo6AQcCz-mFRgJGv2itdsZoxQ0C_QttPjm86v73ZPi_UymcsjA31Xjih6BsiT7Xuh8lVFG0jgOiy3mB3FRoLILqTRCufE4F3AF-MEdSlow9U/s1600/sa24.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0J0KJfyiqfFEkpQWc-gbvw1hjIA6y1sQSo6AQcCz-mFRgJGv2itdsZoxQ0C_QttPjm86v73ZPi_UymcsjA31Xjih6BsiT7Xuh8lVFG0jgOiy3mB3FRoLILqTRCufE4F3AF-MEdSlow9U/s320/sa24.jpg" width="320" /></a></div>As Detective Gamble resumes his manhunt, Amy Jensen (Caitlin O'Heaney) is spending the week before her wedding with best friends Nancy (Elizabeth Kemp) and Joyce (Patsy Pease) while fiancee Phil (James Carroll) is out of town for his bachelor party. Preparing for her impending nuptials, Amy begins to have second doubts, mostly brought on by her lingering feelings for ex-boyfriend Marvin (Don Scardino). As Amy struggles to decide between Phil and Marvin, Ray targets Amy and her friends, leaving a trail of bodies in his wake.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG2f1bG2p4w_JYAzkNckcpKcErF6PMtkyOVIHo-O7SBJ9M2_JZkbnSaDhqYNC2cW4bmmHtu55MYj4hYLBV640lMFeHhWkljRigUoKiKNn6N23ZKZi0ePk9g07vSaf6Z_sG8OiwiBQ4Z_4/s1600/hkya_shot3l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG2f1bG2p4w_JYAzkNckcpKcErF6PMtkyOVIHo-O7SBJ9M2_JZkbnSaDhqYNC2cW4bmmHtu55MYj4hYLBV640lMFeHhWkljRigUoKiKNn6N23ZKZi0ePk9g07vSaf6Z_sG8OiwiBQ4Z_4/s320/hkya_shot3l.jpg" width="320" /></a></div><strong>REVIEW</strong><br />
Following the massive success of John Carpenter's <em>Halloween</em> in 1978 and Sean S. Cunningham's <em>Friday The 13th</em> in 1980, horror filmmakers took note of this new concept of the slasher film and have been churning out imitators ever since, ranging from fantastic (<em>The Slumber Party Massacre</em>) to adequate (<em>The House on Sorority Row</em>) to god awful (<em>Sleepaway Camp</em>). While many of these films were as inspired by Cunningham as they were by Carpenter, horror fans and historians tend to overlook the small set of slashers made in a post-<em>Halloween</em>, pre-<em>Friday The 13th</em> world, most of which tried to emulate Carpenter's ability to craft interesting characters and unbearable tension as opposed to Cunningham's flare for gore and spectacular kill scenes.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYk4PCinlpeqUQ5KqxHfqrYKI9Ymu3l8Br_OoT4QjsZXLaSregzuQd8It733-p4XiD1_jVi95c-SCl-w_TQRWJHgAvjeWm6jW4sunDTtIt-irkpDsNhk3KfpJuUvimq2fXin_rim6B9bA/s1600/hk7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYk4PCinlpeqUQ5KqxHfqrYKI9Ymu3l8Br_OoT4QjsZXLaSregzuQd8It733-p4XiD1_jVi95c-SCl-w_TQRWJHgAvjeWm6jW4sunDTtIt-irkpDsNhk3KfpJuUvimq2fXin_rim6B9bA/s320/hk7.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">Sitting alongside Fred Walton's <em>When A Stranger Calls</em> and Paul Lynch's <em>Prom Night </em>is <em>He Knows You're Alone</em>, the brainchild of TV movie director Armand Mastroianni and screenwriter Scott Parker, whose career ended with this obscure slasher. More so than Walton and Lynch's films, <em>He Knows You're Alone</em> wears its influence on its sleeve, imitating <em>Halloween</em> in its visuals, story structure, character types, and musical choices. But what makes this film interesting isn't so much how similar it is to Carpenter's classic, but in what ways it stands out from its slasher brethren.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj53iEJOt-8jCEGSf3wZAT52__Oeld1beqeqOUSjXp0TNwiPfe1vhV7Szau-_6OBz2Ker-R8XN40A6zx2Pg3f0NomohGrhUfpDpM2bEAzSPknFLtPptBPzBdSwXFRaANcBvQWgPDolYzPc/s1600/sa21.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj53iEJOt-8jCEGSf3wZAT52__Oeld1beqeqOUSjXp0TNwiPfe1vhV7Szau-_6OBz2Ker-R8XN40A6zx2Pg3f0NomohGrhUfpDpM2bEAzSPknFLtPptBPzBdSwXFRaANcBvQWgPDolYzPc/s320/sa21.jpg" width="320" /></a></div>For starters, the film immediately pulls you in with its subversive opening, a scene Wes Craven would pay homage to in <em>Scream 2</em> 17 years later. Like the <em>Scream</em> series, the opening serves to introduce the killer, only loosely connected to the rest of the film. Fortunately, Mastroianni knows a thing or two about pacing and pulls the story together quickly afterwards; within the first 15 minutes, we the audience not only know Ray Carlton's backstory and the reason he slaughters young brides, but the character of Detective Gamble is also established, as is his obsession with Carlton, a relationship pretty similar to the one between Michael Myers and Dr. Loomis.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIqe7MTrzlsSZTa1jJd_S2kTFWXFG6kEeEZ8tSz4gEuXLCMZBdUKUQe1NL1Y3WmKvl0wxd53tIaTzWVbBZMGEyfFZp5UBSV1QAaXgYexEfP-vn_oHiAYtU8zYyWvBwI2WukfnWImHR7jQ/s1600/hkya12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIqe7MTrzlsSZTa1jJd_S2kTFWXFG6kEeEZ8tSz4gEuXLCMZBdUKUQe1NL1Y3WmKvl0wxd53tIaTzWVbBZMGEyfFZp5UBSV1QAaXgYexEfP-vn_oHiAYtU8zYyWvBwI2WukfnWImHR7jQ/s320/hkya12.jpg" width="320" /></a></div>Those who want to criticize <em>He Knows You're Alone</em> for its imitation of <em>Halloween</em> can't be faulted for that. <em>He Knows You're Alone</em> is far from the only slasher film to take from John Carpenter. <em>Friday The 13th</em> borrows the opening from the killer's POV scene, <em>Prom Night </em>and <em>Terror Train</em> cast Jamie Lee Curtis, and virtually every slasher film since 1978 have used the same story elements, character types and shock ending from Carpenter's film. (To be fair, <em>Halloween</em> bears some notable similarities to an earlier slasher film, <em>Black Christmas</em>, from 1974).<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQWfVrEdZmoJf5Vql4z68vV65hKKQ1oZN6DHK5I-Exk-hbpfeIZODia7BNOvp0mVfFVV5Z7NMSEQKYQBE0CUI8jHGajzmHtuV5YsKZ8kBn5rlK5pYMeqGIhxQTv4zFlBBl31XdptQy5Vc/s1600/hkya_shot7l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQWfVrEdZmoJf5Vql4z68vV65hKKQ1oZN6DHK5I-Exk-hbpfeIZODia7BNOvp0mVfFVV5Z7NMSEQKYQBE0CUI8jHGajzmHtuV5YsKZ8kBn5rlK5pYMeqGIhxQTv4zFlBBl31XdptQy5Vc/s320/hkya_shot7l.jpg" width="320" /></a></div>That being said, the overwhelming majority of these films took inspiration from <em>Halloween</em>. <em>He Knows You're Alone</em> outright steals from it. Mastroianni utilizes a lot of the same camera angles as Carpenter does; the POV shots for the flashback and shots of the killer from a distance, which Carpenter used to great effect, reappear here. Parker's script has several of <em>Halloween</em>'s plot points; the heroine thinks she's being followed by someone, the killer targets women who remind him of his first victim and the hero is obsessed with the killer. Worst of all, the music by Alexander and Mark Peskanov is virtually identical to Carpenter's chilling score. I can understand why the filmmakers would take inspiration from <em>Halloween, </em>but their shameless copying of it is a major problem. You can't help but compare the two films and let's face it; every slasher film looks worse compared to <em>Halloween</em>.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6cHJAaXuO4un7AtJj56Hia4YiTHbOI9gfij3kdf609Y9mn1J69ucJgaRJZ7opJid0nnCaFwRRLD4lkOUkyns5uPXGmfnuYnxkmPL6MEFcFs_NIvsRW7MqlwyS-Nh-CwuGrQHRnckDFjY/s1600/He-Knows-Youre-Alone-Caitlin-OHeaney.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6cHJAaXuO4un7AtJj56Hia4YiTHbOI9gfij3kdf609Y9mn1J69ucJgaRJZ7opJid0nnCaFwRRLD4lkOUkyns5uPXGmfnuYnxkmPL6MEFcFs_NIvsRW7MqlwyS-Nh-CwuGrQHRnckDFjY/s320/He-Knows-Youre-Alone-Caitlin-OHeaney.png" width="320" /></a></div>Despite the obvious similarities, there is still a lot to like about <em>He Knows You're Alone</em>. For starters, Mastroianni and Parker put a very clever twist on the subject matter by making the heroine a bride-to-be. In most slasher films, the killer is specifically targeting the promiscuous, flirtatious men and women, punishing them for the immoral act of pre-marital sex; the virginal heroine is not the killer's primary target, she just happens to be the last one standing to face the killer. In <em>He Knows You're Alone</em>, the killer is not only targeting the virgin on purpose, he's punishing her for following the norms of society by getting married and holding onto her virginity until she is married. It's a clever change of pace from the rest of the genre, disputing the old stereotype that the virgin is relatively safe from the killer.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLrN4xgcaK1tJQOL_6ssbk_5YFZ5FIBiW0VmB_RbcCAyghvSuAY9cXYRqENC10T5GoFF0A7v2SA4X5oYYqDRD2JFP06-6c9DeWoPflrJk_PpXPeoGJAUwyod2_XdRgCLW54JvDljNO39U/s1600/sa28.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLrN4xgcaK1tJQOL_6ssbk_5YFZ5FIBiW0VmB_RbcCAyghvSuAY9cXYRqENC10T5GoFF0A7v2SA4X5oYYqDRD2JFP06-6c9DeWoPflrJk_PpXPeoGJAUwyod2_XdRgCLW54JvDljNO39U/s320/sa28.jpg" width="320" /></a></div><em>He Knows You're Alone</em> also puts a nice twist on its Dr. Loomis character, present here in the form of Lewis Arlt's Detective Len Gamble. Without a doubt, one of the best elements of Carpenter's film was Donald Pleasance's Dr. Loomis, who gave the film gravitas and weight, by virtue of his obsession with Michael Myers; he was clearly terrified of what Michael would do in HaddonfieldLoomis, Gamble is untrustworthy and dangerous, yet Arlt's mixture of obsession and desperation gives him a degree of empathy and a personal connection to the case that makes him fascinating and unique.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqDA5x38AAZG-TqoRmVzmGQ0cwYWYlNlDHlgBamWLhocKuXj4Krvd20qOYYWVKWfN9s2OPI-dOOimdDzacxHDtT74QvjGKw1WBEzZzxe9RpstjMU69CUve3AytZ9Fdd4ZGok9-6m5agKE/s1600/hkya_shot2l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqDA5x38AAZG-TqoRmVzmGQ0cwYWYlNlDHlgBamWLhocKuXj4Krvd20qOYYWVKWfN9s2OPI-dOOimdDzacxHDtT74QvjGKw1WBEzZzxe9RpstjMU69CUve3AytZ9Fdd4ZGok9-6m5agKE/s320/hkya_shot2l.jpg" width="320" /></a></div>Without a doubt, the film's biggest strength is its cast of main characters. Unlike the characters usually seen in slasher films, these people aren't sex-crazed teenagers looking for a good time, Joyce being the exception; they're young adults stuck in that awkward phase of moving beyond childhood and growing up, especially Amy and Marvin. For much of the movie, Amy is unsure of her relationship situation; Phil is attractive and a great catch, but finds that most of her friends don't like him and he wants her to quit school and stay at home while he works. On the flipside, Marvin is a morgue attendant and doesn't have much going for him, but he makes Amy laugh and he genuinely loves her for who she is. Even Nancy, who in any other movie would've abandoned Amy for a love-making session with new boyfriend Elliot (more on him later), cancels their date to stay with a frightened Amy. They're nothing revolutionary but, in a world full of 12 <em>Friday The 13th</em>'s and eight <em>Hellraiser</em>'s, it's refreshing to see something other than horny teens in a slasher film.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtXIAvn37LerGg0Mkfp7vjyQJYK1iAVfZMtt1G4ojlbjH0UeeRTDBztxf6GHZREogreyGi7fpW2nI1VwGJi9tatzapt_lZ9JP3a68NdjXAeNS_8CkOkeb_3PH-zi2YOcFsjfDAR1uWSbM/s1600/heknows2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtXIAvn37LerGg0Mkfp7vjyQJYK1iAVfZMtt1G4ojlbjH0UeeRTDBztxf6GHZREogreyGi7fpW2nI1VwGJi9tatzapt_lZ9JP3a68NdjXAeNS_8CkOkeb_3PH-zi2YOcFsjfDAR1uWSbM/s1600/heknows2.jpg" /></a></div>In addition to being well-written, in context, the film is also stocked with good talent in front of the camera. Caitlin O'Heaney, best known for her work on the short-lived TV series <em>Tales of The Gold Monkey</em>, is quite effective as final girl Amy Jensen. She conveys a charm and maturity that makes her instantly likeable and sympathetic. Elizabeth Kemp and Patsy Pease do well in the supporting roles of Nancy and Joyce, bringing the requisite sex appeal required for a slasher film. In the role of Marvin, Don Scardino, despite a clumsy introduction, gradually develops into a funny, genuinely good person. The rest of the cast fill their roles adequately, with notable appearances by notable '80s actors Paul Gleason (Principal Richard Vernon in <em>The Breakfast Club</em>), Dana Barron (Audrey Griswold in <em>National Lampoon's Vacation</em>) and Russell Todd (Scott in <em>Friday The 13th Part 2</em>). Tom Rolfing, despite a few laughable facial expressions, is appropriately creepy as Ray Carlton, Mastroianni wisely putting much of the focus on Rolfing's leering eyes and letting his body language do the talking for him.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT_IFHsUj7JHx9E-UBH_q819vAPEHsWyqEG8_7kBVE96FHkMrFJtfgzBSKdoTnVxnWFFwamAGSQ4XnfZqRteNDRXDXuvdV1rSGfoPWtrQZtREf7iGypZl-pHpOtQpmtna18CfyHKWzr-0/s1600/heknowsyourealone_01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT_IFHsUj7JHx9E-UBH_q819vAPEHsWyqEG8_7kBVE96FHkMrFJtfgzBSKdoTnVxnWFFwamAGSQ4XnfZqRteNDRXDXuvdV1rSGfoPWtrQZtREf7iGypZl-pHpOtQpmtna18CfyHKWzr-0/s320/heknowsyourealone_01.jpg" width="320" /></a></div>While fairly solid for the most part, <em>He Knows You're Alone</em> takes a bad turn in its disappointing climax. Though predictable, one of the things most enjoyable about the slasher genre is seeing the virginal heroine face off against the unstoppable killer and emerge triumphant and traumatized. Unfortunately, the film's climax lacks any real impact. Mastroianni makes little use of the morgue setting, resulting in unsatisfying chase scenes, Amy cowers in a corner instead of fighting back, Marvin is largely absent, and Gamble's plight is unresolved. To make matters worse, the audience is hit with two sour notes in the last five minutes; Ray Carlton is arrested off-screen rather than being subjected to a horrifying death scene and the ending throws in a twist ending involving Amy and Phil that makes zero sense, especially given Phil's lack of screen time.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWXWTonsXbIfLlvHJWMSFfeDZ_hZmyQavob2offOlbQE8VMXmR6pPBl0LwRr5ipNLPcs6kHwYjWUqwoTX_qxXg-b0ZlMFL6qqUFs9BP4RzZWpK-KUKXGqSV7OQUNXTuFj0hEnBQt0W7yY/s1600/600full-he-knows-you%2527re-alone-screenshot.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWXWTonsXbIfLlvHJWMSFfeDZ_hZmyQavob2offOlbQE8VMXmR6pPBl0LwRr5ipNLPcs6kHwYjWUqwoTX_qxXg-b0ZlMFL6qqUFs9BP4RzZWpK-KUKXGqSV7OQUNXTuFj0hEnBQt0W7yY/s1600/600full-he-knows-you%2527re-alone-screenshot.gif" /></a></div>Given that <em>He Knows You're Alone</em> was never given a sequel and its creators never went on to anything of importance, it has largely fallen into obscurity alongside such forgotten slashers as <em>The Prowler</em>, <em>Sledgehammer</em> and <em>Slaughter High</em>; the film, however, is remembered for one factoid of historical importance in the history of film; <em>He Knows You're Alone </em>marks the film debut of Tom Hanks, one of Hollywood's most popular actors and winner of two back-to-back Oscars for his performances in <em>Philadelphia </em>and <em>Forrest Gump,</em> not to mention roles in such films as <em>Big</em>, <em>Sleepless in Seattle</em>, <em>Cast Away</em>, and <em>The Green Mile</em>. So how does Tom do in his first film? While not the great actor he would become in the later '80s and throughout the '90s, Hanks, in the brief role of psych major Elliot, showcases his trademark charisma and energy. He makes the most out of his part, in which he romances Nancy and explains to the characters, and the audience, why people love being scared. Despite only roughly 10 minutes of screen time, and being completely absent from the first hour of the film, Hanks is a delight as Elliot; in fact, Mastroianni liked Hanks so much he removed his death scene from the script and allowed the character to live, proof of why Hanks became so successful; he's just so darn likeable.<br />
<strong>OVERALL</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPJ_zdsEtP16CuQzXVygTMAspGcdOPwh4RXuWytnVE2YA8yEfJgg-QHfJprPFF8OlVBupnTQrAWeZ7O1DYyubhAaJM7ohYh0dH0mvJihvfGzZ8i5I6BpWGHk82pT3gfgWtrGQBR_XKh5k/s1600/untitled.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPJ_zdsEtP16CuQzXVygTMAspGcdOPwh4RXuWytnVE2YA8yEfJgg-QHfJprPFF8OlVBupnTQrAWeZ7O1DYyubhAaJM7ohYh0dH0mvJihvfGzZ8i5I6BpWGHk82pT3gfgWtrGQBR_XKh5k/s1600/untitled.png" /></a></div>I give <em>He Knows You're Alone</em> <strong>3.5 out of 5 Stars</strong>. Given its overt similarities to <em>Halloween</em>, its lackluster finale and lack of gruesome kills, I can understand why this film has largely fallen off the radar and, for those who like their slashers gory and icky, this will probably disappoint. But for those who appreciate good characters, clever twists on the subject matter, and a creepy villain, Mastroianni and Parker deliver the goods, resulting in one of the better <em>Halloween</em> clones. And hey, it has Tom Hanks talking about <em>Psycho</em>. Ray Carlton might not be as effective a killer as Michael Myers but, compared to the likes of Angela Baker from <em>Sleepaway Camp</em>, Marty Rantzen from <em>Slaughter High</em> and Curt Duncan from <em>When A Stranger Calls</em>, I'll gladly watch Carlton cutting off heads and killing brides.<br />
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Next Up: October 6th: The Curse of The Mummy's Tomb (1964)<br />
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</div>JWhttp://www.blogger.com/profile/18175910151853313415noreply@blogger.com0