Last Seen pre-1970 Classic/Vintage Horror Movie?

[Tommy Jarvis]

The Creature Walks Among Us 1956 ★★

How about that? A creature feature where the actual creature is often pretty much an aftertought.

Based on the cover, one would expect a lot of campy carnage. But here, it takes a backseat to a love triangle with the juicy taste of day-old bread.

What gains the second star? The few bits of action with amongst other a stunt where they set a stunt man on fire. Knowing how people raved on how about the fire stunts in ANOES and The New Blood in the eighties, I can imagine this must have been quite the feat in the fifties.

I also love the almost synchronized swimming way in which the monster moves through the water. Or how one character one moment seems to have the bends or something similar, and then literally thirty seconds later, she's fine. Up and smoking. Proving once again that there's no camp like fifties camp.

[Tommy Jarvis]

Frankenstein 1931 ★★★★★

What better time than october to revisit one of the all time classics?

I love how they use small details to introduce atmosphere. Like the cast at the start. The actor playing the Monster? A mistery, just a question mark. Who is this damnable fiend? We do not know. Atmos immediately set. Excellent.

I had the time to fully immerse myself in the movie and I most of all noticed the humour. This movie is a lot funnier than one would give it credit for. What with the fysical antics of comic relief Fritz of other instances of slapstick.

I also love the portrayal of The Monster. This is not a run to the hills type of monster. This is a genuinely misunderstood creature who himself does not understand the world that surrounds him. How could he? He has only been alive for a few days. Or his childlike wonder and happiness when he reaches out for the light the first he sees it. Showing the parallel with children and adolescents explained at great length in the extras that came with this DVD.

That also brings us to the tragedy of the story. The Monster is not aware of his own strength or the effect of his actions on other people (Side note: Could one consider It's Alive as echoing Frankenstein?). Bringing us to the tragic death of Maria. The one person that reached out to him. But not unnatural since, based on testimonies, children of all people are the ones least afraid of The Monster. I also love how the makers' attempt at censorship only resulted in making things worse. Thus making them have more in common with The Monster than you would think at first glance.

A five star classic for all ages and all eras.

Ps: I keep writing The Monster, since we all know Frankenstein is the scientist and not the monster. But keeping that up is pretty damn hard.

[Tommy Jarvis]

Nosferatu 1922 ★★★★

Say what you will, but nothing tops the experience of seeing a classic like this in a theatre, especially in the version the theatre owners came up with, accompanied by a magnificent score.

The story itself is as wonderful. Ground breaking for its time, introducing what we now call clichés. Or the overacting that was par for the course in silent movies. Some of the facial expressions are downright hilarious.

Orloch looks part scary and part funny. He does not have the charisma that Lugosi brought to the table when playing, but he is definetily creepy at times. And his assistant looks like he (partly) inspired later incarnations of Scrooge. Perhaps even mister Burns?

[classic_horror_fan]

"The Thing From Another World" from 1951 is the original black and white version of John Carpenter's "The Thing" from 1982. It tells a different story with basically the same idea like "The Fly" from 1986 does with the original film with Vincent Price. It also has a lot of similar scenery, only in black and white format, and the story is taking place up in Alaska, instead of the Antarctic. It is currently steaming for free on TubiTV, and is highly recommended that those with accounts check that one out soon if they are into John Carpenter's version and/or its prequel from 2011. Those who like Carpenter's version and its prequel should definitely find the original black and white version worth a look, at the very least ::cool::::cool::

[Tommy Jarvis]

"The Thing From Another World" from 1951 is the original black and white version of John Carpenter's "The Thing" from 1982. It tells a different story with basically the same idea like "The Fly" from 1986 does with the original film with Vincent Price. It also has a lot of similar scenery, only in black and white format, and the story is taking place up in Alaska, instead of the Antarctic. It is currently steaming for free on TubiTV, and is highly recommended that those with accounts check that one out soon if they are into John Carpenter's version and/or its prequel from 2011. Those who like Carpenter's version and its prequel should definitely find the original black and white version worth a look, at the very least ::cool::::cool::

I recently saw it on Tubi. Good stuff.

[classic_horror_fan]

I recently saw it on Tubi. Good stuff.

Yes. I think it's one of the better and scarier of the older black and white horror films. I am definitely glad I finally got to see it. I hope more people into Carpenter's version get to see the original black and white version as well.

[FryeDwight]

THE TEN COMMANDMENTS (1923)>>>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>SPOILERS>>>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

I have seen the 1956 version (with a very hammy Charlton Heston, even outdoing Vincent Price and John Carradine), but had never heard of this version until a couple of weeks ago when my wife and I saw it on the big screen with live musical score to compliment the film.
This adaptation also directed by Cecil B DeMille follows the story, but in a shorter format, beginning with the Israeli slaves building a temple for Egyptian masters-and how amazing are the sets! After they begin their exodus in the desert and are pursued by Egyptians is when the special effects come into play. The wall of fire is cool enough, but the business with The Red Sea is pretty damn impressive, as is the Commandments coming out of the sky.
After that, the story switches to the present involving two brother; one a virtuous type (albeit poor) and his devil may care brother who breaks all the commandments for wealth, but then finds his life going to hell in a hand basket.

While some of the silent film acting can be called excessive, consider the point had to come across without sound, I enjoyed this very much and if You get the chance, go see it! ****

[Sculpt]

DEVIL GIRL FROM MARS (1954). A group of people at a remote Scottish Inn are menaced by the title character who has some to Earth looking for breeding stock to save her planet from extinction. When coercion and intimidation don't have the desired effect, She has to resort to more drastic measures.

A very cheesy Robot and low budget don't help matters, but Patricia Laffan is pretty cool as the titular character with an almost S/M outfit. Some decent support by Adrienne Corri (MADHOUSE, A CLOCKWORK ORANGE) and the always welcome Hazel Court. ***

DEVIL GIRL FROM MARS (1954)
8/10

I just recently was able to see Devil Girl from Mars on youtube colorized. The colorization is a bit too red in the warm scenes, but overall looks quite nice.

I was able to enjoy a fun riffing viewing with a buddy; the film begs for it. Devil Girl from Mars plays more like a completely unself-aware parody.

A film is sometimes described as: it's so bad it's "good" or "it's so bad" it's good. This would be the later, as I don't think there's a dull moment in its 1hr 13m runtime.

The jewel of the film is the black-leather clad Martian named Nyah played like a fusion of a cold, cruel, commanding, snazzily dressed, self-satisfied Gestapo agent, Bella Lugosi's Dracula and a sultry Soviet spy. She's powerful, determined, on a mission, and worst of all, she is thoroughly amused.

The film is rich with historical imagery evoking classic moral idioms. I sense an anti-eugenic theme. I love the overt condemnations of dark human history contrasted with the salvatory force of individual righteous indignation, and the selfless protective instinct. And I think you'll find it hard not to laugh at the presentation.

There are couple of nicely written romantic scenes for two of the couples. The brief narrative backgrounds for the cast of characters succinctly sets up the mix of motivations inside the simple sci-fi plot. I think more robust actors could delightfully liven up the room.

[FryeDwight]

SHACK OUT ON 101 (1955). Extremely campy flick involving a run down restaurant which seems to have very few customers, but may be a meeting place for communist agents. Terry Moore (MIGHTY JOE YOUNG) plays a dim bulb waitress who every guy seems to be hitting on, especially Lee Marvin, who is great as "Slob", a lecherous violent short order cook. ***

[DeadbeatAtDawn]

A Bucket of Blood,1959. 7/10

Directed by Roger Corman

https://moviesandmania.com/wp-content/uploads/2013/04/a_bucket_of_blood_nude.jpg

[FryeDwight]

CURSE OF THE SWAMP CREATURE (1968). While COTSC is better than most of Larry Buchanan's films, it's still a Larry Buchanan movie and still mind numbingly bad. A scientist's attempts to create an "Indestructible Fish man" in the Texas swamps are hindered by constant failures, the hysteria of his trophy wife (Francine York, who was in lots of TV and films, is lovely and about the only good thing here) and the showing up of a group led by John Agar searching for oil in the area. Good for insomnia. *

[hammerfan]

The Pit and the Pendulum (Vincent Price)

[FryeDwight]

20,000 LEAGUES UNDER THE SEA (1916). Based on the Jules Verne novel. For a film barely scratching the 90 minute mark, a lot is thrown in here; the original source, Verne's MYSTERIOUS ISLAND and much more. While the performances may seem antiquated, they certainly aren't bad. The highlight of the film for Me is, I believe, the first film to utilize underwater filming and I can only imagine the reactions of audiences at the time. The world certainly was smaller and more innocent then-how little We knew of the oceans then and how little We still don't know. ***

[DeadbeatAtDawn]

Die, Monster Die, 1965. 6/10

Director: Daniel Haller

https://64.media.tumblr.com/30427940fdacf1e36b7ecac88e8ce1ae/b478501a1556c0a0-99/s400x600/2cbdd15895c9165bf4591d95982e3f5425213629.gif

[DeadbeatAtDawn]

Queen of Blood, 1966. 6/10

Director: Curtis Harrington

https://64.media.tumblr.com/c63fe3e048c3d7107ccfe5febd7ad989/tumblr_oq9l05OE2d1tr6ni8o4_500.gif

[Tommy Jarvis]

Indestructible Man 1956 ★★★

One of the later Lon Chaney Jr pictures, although the real star is the narrator who I can only describe as Posh Jerry Orbach.

One of these fifties sci-fi horrors with the type of campiness that will never not be fun.

[Tommy Jarvis]

The Pit and the Pendulum 1961 ★★★★

A great vintage classic with Vincent Price in prime shape.

Well recommended.

Invasion of the Body Snatchers 1956 ★★★★

One of the occasions where the remake improved on the original.

Don't let this fool you, though. This fifties sci fi horror perfectly manages to capture the mounting paranoia and dread. You feel for doctor Winnell and you hope he and Becky will escape. Also, I am sure that the "you're next"-shot had a way bigger impact on the public in that time.

And, mind you, for a fifties movie, the special effects hold up pretty damn good too.

One side note: while open, the ending leaves at least a glimmer of hope. Especially when compared to the soul crushing ending of the seventies version.

At least, humanity still has a fighting chance, even if victory is far from certain.

Well worth seeing.

[Tommy Jarvis]

Equinox 1970 ★★★★

Equinox was a great ride. A rollercoaster of weird monsters, posessions and sixties styled acid trips. Or at least, what I would imagine them to be.

I will get back to this in the future and write a more extensive review, but for now I will suffice by highly recommending it.

[FryeDwight]

Indestructible Man 1956 ★★★

One of the later Lon Chaney Jr pictures, although the real star is the narrator who I can only describe as Posh Jerry Orbach.

One of these fifties sci-fi horrors with the type of campiness that will never not be fun.

"The Lon-Ster" isn't bad is this, although He was really beginning to decline. I do laugh at the part where He chases the guy on the crutches::big grin:: that guy is flying!

FUEGO (1968). I had never heard of Isabel Sarli until reading about Her on the great JR-Sploitation site (which may be gone as not seen it the last month). She was "Miss Argentina" in the 50's, met director Armando Bo and became the constant in his films which featured ample nudity from Isabel and always near water as well. Being no fool, Armando normally cast himself as her love interest, although some later films used his son, which is kind of off putting. One thing for sure, she ws stunning; almost Salma Hayek times 2.

The story focuses on a nymphomaniac who falls in love and marries a rich older man. While her love is true, her hyper sexuality cannot be contained with all sorts of situations; a phone repair man, her rather masculine maid and one shake-head worthy scene where she walks through town propositioning wearing only a fur coat and boots. Is there any hope for her salvation?

Extremely campy and I was not really surprised when I found out John Waters was a big fan of this; in fact, I think He modeled leading performer Divines look based on Bo's film. ***

[Tommy Jarvis]

The Bride of Frankenstein 1935 ★★★★½

I was struck by how much happens in the short runtime, since the actual Bride part is kept until the very end. For the slow pace some of the vintage films are known for, this one has quite a lot going on.

The opening bit explaining the origin of the story was okay. Even if they lived in the same era, putting Lord Byron and Mary Shelley in the same room came across as a bit forced. Also, while I'm sure it was meant well at the time, stressing the idea that one of the all time horror classics was written by a woman, the dialogue cannot help but look dated by current standards. The overstressing of the frail little woman. We got it.

For a horror movie, this film also has one or two touching moments. Like when the monster strikes up a friendship with a blind man. Masterfully linked to the ensuing tragedy.

Or how the monster at first comes across as rough around the edges. But then at the end, of all people, he has the wise insight that he and Pretorius are better off dead. In fact, his whole story arc in this film is a testament to personal growth. Learning how to speak, gaining insight in life and human relations,...

I also liked how they entered Pretorius and made him out to be more of an explicit villain. And make him really mean and heartless. Thus making and well understanding one of the big sequel rules: go big or go home. The other side characters were fleshed out well too. With the gossipy busy body as a well done comic relief.

[Tommy Jarvis]

FUEGO (1968). I had never heard of Isabel Sarli until reading about Her on the great JR-Sploitation site (which may be gone as not seen it the last month). She was "Miss Argentina" in the 50's, met director Armando Bo and became the constant in his films which featured ample nudity from Isabel and always near water as well. Being no fool, Armando normally cast himself as her love interest, although some later films used his son, which is kind of off putting. One thing for sure, she ws stunning; almost Salma Hayek times 2.

The story focuses on a nymphomaniac who falls in love and marries a rich older man. While her love is true, her hyper sexuality cannot be contained with all sorts of situations; a phone repair man, her rather masculine maid and one shake-head worthy scene where she walks through town propositioning wearing only a fur coat and boots. Is there any hope for her salvation?

Extremely campy and I was not really surprised when I found out John Waters was a big fan of this; in fact, I think He modeled leading performer Divines look based on Bo's film. ***

Sounds like watchlist material. Thanks for the recommendation.

[Tommy Jarvis]

The Ghost Train 1941 ★★★½

Ninety percent comedy and ten percent forties horror, which means a lot of description and little action. With the biggest stunt being a train driving off a bridge.

The characters fit together well. Peter Murray-Hill is good as the impatient Winthrop, but it's Arthur Askey who steals the show as comedian Tommy Gander. A chatterbox performance that reminded me of Rodney Dangerfield's cameo on The Simpsons. Or Donkey from the Shrek franchise. Same level of amusing for the viewer, same level of annoying for the other characters.

An enjoyable comedy for fans of this style. And available on YouTube.

Dial M for Murder 1954 ★★★★

On the heels of strangers on a train, this was one of his first thriller masterpieces. Which raises an interesting question: Was SOAT actually his first masterpiece or did something come before that that you would rate just as high?

This movie is brilliant. It takes its time on setting up the main characters and the premise. The story where the main character talks Halliday into killing his wife is an excellent piece of acting and screenwriting. The actual kill scene still holds up with a perfectly laid plan going to waste. And that trial montage... that's some scary shit, man.

Not to mention the great performance of the actor playing the cop. In a very credible way, he shows that he is on to the trick being played and that he will prove it. Showing a type of theatrical tension later perfected in Columbo. Or the writing on how they set a JB Fletcher-like trick to capture Toni. Seeing it spring is cinema at it's finest. Being sucked in, kind of knowing what's coming and still being on the edge of your seat rooting for the heroes.

And your cameo is even more subtle than in your other movies. Hat off to you, mister Hitchcock.

[FryeDwight]

I PASSED FOR WHITE (1960). Extremely off the wall exploitation that is still off beat enough to check out. A very light skinned black woman is tired of being turned down for jobs, being questioned why she's dating a black man and getting static about seeing her darker brother play in a nightclub. She decides to hit the big city, where not knowing anyone, she can make a fresh start. Things go OK for awhile-she has a different backstory of her past-until she falls in love with James Franciscus and meets his family. And then the trouble starts as her future Mother-In -Law is quite nosy, lots of questions involving family/location and having the wherewithal to get the answers. Worth seeing. ***

[Tommy Jarvis]

Blood and Black Lace 1964 ★★★★★

Great early giallo with everything you want from a horror movie:

A cool looking killer.

Epic and brutal kills that hold up even over fifty years after its release date.

An awesome reveal at the end I forgot about since my last viewing.

Gorgeous women, stylish men, cool looking cops,...

A groovy score.

And of course, stylish sets and colouring.

Five stars well deserved.

Night of the Living Dead 1968 ★★★★★

Thanks to the local art house theater for organising a screening of this classic.

In a cinema, you feel the dread more than in a living room. The paranoia between the people and how they turn on each other. Timely, with the covid memories still fresh. Ben as the voice of reason and Cooper as the selfish guy who does not help.

Not to mention the kills. I love how Savini realised a step up from the less gory kills from earlier horror (fifties and before). Of course, he was not the first one with brutal kills (Mario Bava, for one, paved the way), but it was certainly one of the first Hollywood classics that went this far with the gore. No coincidence that it was made off the radar of the big studios.

There is also the political dimension. This screening came with an introductory speech by a university professor on film history. She told us amongst others about the political climate in which Romero grew up – the age of the atom bomb – and about how this movie in a way reflected the era. Having that knowledge in the back of your mind, it's easy to think of the barricading of the house on more than one level. Is it to keep out the zombies or to protect you from the bomb? Or the interviews with the scientists and politicians contradicting each other. Again, timely.

Did I mention five star classic?

[Sculpt]

Dial M for Murder 1954 ★★★★

On the heels of strangers on a train, this was one of his first thriller masterpieces. Which raises an interesting question: Was SOAT actually his first masterpiece or did something come before that that you would rate just as high?

This movie is brilliant. It takes its time on setting up the main characters and the premise. The story where the main character talks Halliday into killing his wife is an excellent piece of acting and screenwriting. The actual kill scene still holds up with a perfectly laid plan going to waste. And that trial montage... that's some scary shit, man.

Not to mention the great performance of the actor playing the cop. In a very credible way, he shows that he is on to the trick being played and that he will prove it. Showing a type of theatrical tension later perfected in Columbo. Or the writing on how they set a JB Fletcher-like trick to capture Toni. Seeing it spring is cinema at it's finest. Being sucked in, kind of knowing what's coming and still being on the edge of your seat rooting for the heroes.

And your cameo is even more subtle than in your other movies. Hat off to you, mister Hitchcock.

Good question. I don't like presenting the word masterpiece; makes me really uncomfortable. lol

Dial M was my favorite Hitch. I don't really put any above it. Were any better before Dial M? You know, my second Hitch fav is a film I'd rather rewatch than Dial M, which is Rope (1948). I'd put Rope on the top shelf with Dial M.

Some might argue for The 39 Steps (1935), The Lady Vanishes (1938), maybe Suspicion (1941) and Shadow of a Doubt (1943). I suppose Rebecca (1940) is not a thriller, but some might say his first masterpiece, won Oscar for best picture.

I asked a buddy of mine, and he thinks 39 steps is full step better than Dial M, no pun intended.

[Tommy Jarvis]

The Thing from Another World 1951 ★★★½

I love fifties horror. Across the decade, you can tell how movies are coming into their own. But the influences of theatre and stageplays still simmer through. Wether it's in the positioning of the actors or their lines or delivery. Sometimes, it still leans a tad more to reciting or orating rather than to casually speaking.

I love the build up the film uses. As other reviews mentioned, it lays out alot of the tropes imitated by other horror films in later years. Slowly letting the danger sink in. Introducing it bit by bit. The scientist losing his mind because of their advanced status. And yet for some reason, the alien goes down in a way equally silly as when Will Smith makes the alien crash.

To cap things off, I must compliment the stunt people. I know, most of the effects are offscreen. But that stunt with the alien on fire? Are you kidding me? And that in 1951? For that long? Holy moly, Batman.

[Tommy Jarvis]

Good question. I don't like presenting the word masterpiece; makes me really uncomfortable. lol

Dial M was my favorite Hitch. I don't really put any above it. Were any better before Dial M? You know, my second Hitch fav is a film I'd rather rewatch than Dial M, which is Rope (1948). I'd put Rope on the top shelf with Dial M.

Some might argue for The 39 Steps (1935), The Lady Vanishes (1938), maybe Suspicion (1941) and Shadow of a Doubt (1943). I suppose Rebecca (1940) is not a thriller, but some might say his first masterpiece, won Oscar for best picture.

I asked a buddy of mine, and he thinks 39 steps is full step better than Dial M, no pun intended.

Thanks for the feedback. I'll check those out.

[Sculpt]

The Thing from Another World 1951 ★★★½

I love fifties horror. Across the decade, you can tell how movies are coming into their own. But the influences of theatre and stageplays still simmer through. Wether it's in the positioning of the actors or their lines or delivery. Sometimes, it still leans a tad more to reciting or orating rather than to casually speaking.

I love the build up the film uses. As other reviews mentioned, it lays out alot of the tropes imitated by other horror films in later years. Slowly letting the danger sink in. Introducing it bit by bit. The scientist losing his mind because of their advanced status. And yet for some reason, the alien goes down in a way equally silly as when Will Smith makes the alien crash.

To cap things off, I must compliment the stunt people. I know, most of the effects are offscreen. But that stunt with the alien on fire? Are you kidding me? And that in 1951? For that long? Holy moly, Batman.

Oh yeah, that pyrotechnics stunt in the film is over the top! The first time you see it you're like whoah, this is getting out of hand, bring in the fire extinguishers!

It's an engrossing thriller without many flaws. I would have liked to see them expand on the scientist's experiments and the conflict therein, but overall it's tight with a good pace.

[Tommy Jarvis]

Oh yeah, that pyrotechnics stunt in the film is over the top! The first time you see it you're like whoah, this is getting out of hand, bring in the fire extinguishers!

It's an engrossing thriller without many flaws. I would have liked to see them expand on the scientist's experiments and the conflict therein, but overall it's tight with a good pace.

And John Carpenter still managed to up the ante.

[Tommy Jarvis]

Mark of the Witch 1970 ★★★½

Mark of the witch is one of those fun little gems you can discover on YT.

We immediately get introduced to our main witch. At her hanging no less. All the less reason to worry about wether she actually did something, I guess.

Cut forward a good 300 years to a college party with ditsy blondes and at least one irrepriessible horndog, where they call up witches for fun. As you do. This, however, does bring up the score. A quite interesting mix of synth sounds and what sounded like theremin experiments that has a jaws-y way of getting you into the vibe of the scene. Especially effective during the witchey scenes.

Once possessing poor young Jill, the titular witch wastes no time in getting to work. Waking up Satan, killing people and what not. You know, the usually witchypoo stuff. Kind of funny how calling up Satan gets her sexually aroused. Guess this is not the devil from South Park.

Also, the makers make a nice little distinction in the character's speech. While Jill speaks the common lingo of the time, the witch gets a completely different tone and vocabulary. The result being a funny where her boyfriend Alan drops her off at home.

Alan forms the investigative duo who tries to stop the witch together with the more stuffy/stylish Mac, who we seem mouthing along to the original chant. They eventually come up with a solution and the witch's plans are thwarted. Though it does come at a price.

The atmosphere is well established and the execution of the kills is okay too. I like the paralysis effect on the first victim, creating a nice bit of eeriness. Even the sacrifice at the end is a nice touch. Making sure it is not simply a clichéd old “all's well that ends well”-ending.

Recommended if you want to find something on YT.

[Tommy Jarvis]

The Ape Man 1943 ★★

One of the lesser Lugosi flicks about a mad scientist who turns into a half man, half ape. But to be fair, he looks less like a monster and more like a hairy version of Mister Spock. The Wolf Man was released two years prior and at least that one gave us a transformation scene.

It's also less horror and more melodrama, even though the ape man and a 100% "monkey" go on a killing spree at one point. The cast looks uninspired and, at times, even Lugosi looks like he's phoning it in.

[FryeDwight]

Blood and Black Lace 1964 ★★★★★

Great early giallo with everything you want from a horror movie:

A cool looking killer.

Epic and brutal kills that hold up even over fifty years after its release date.

An awesome reveal at the end I forgot about since my last viewing.

Gorgeous women, stylish men, cool looking cops,...

A groovy score.

And of course, stylish sets and colouring.

Five stars well deserved.

Night of the Living Dead 1968 ★★★★★

Thanks to the local art house theater for organising a screening of this classic.

In a cinema, you feel the dread more than in a living room. The paranoia between the people and how they turn on each other. Timely, with the covid memories still fresh. Ben as the voice of reason and Cooper as the selfish guy who does not help.

Not to mention the kills. I love how Savini realised a step up from the less gory kills from earlier horror (fifties and before). Of course, he was not the first one with brutal kills (Mario Bava, for one, paved the way), but it was certainly one of the first Hollywood classics that went this far with the gore. No coincidence that it was made off the radar of the big studios.

There is also the political dimension. This screening came with an introductory speech by a university professor on film history. She told us amongst others about the political climate in which Romero grew up – the age of the atom bomb – and about how this movie in a way reflected the era. Having that knowledge in the back of your mind, it's easy to think of the barricading of the house on more than one level. Is it to keep out the zombies or to protect you from the bomb? Or the interviews with the scientists and politicians contradicting each other. Again, timely.

Did I mention five star classic?

Indeed, a ***** classic! Again, for the $$ nd resources they didn't have, Romero and company really created something special.

I was able to see it in a theater a few times and it is creepier...maybe because all the people in the houses are strangers and You are surrounded by many strangers watching it on the big screen.

While people have called Karl Hardman's performance "Amateurish", I think He's pretty convincing. The look of total horror on his face as the escape attempt goes south is extremely convincing as well as his stammering about the fuse.

My wife likes it (not as much as I do) and while She could see both sides; staying upstairs to access the situation, but so many areas to watch VS staying in the cellar which would be safer, but no idea of what's going on. Her thought was go upstairs, bring some stuff and could always knock the zombies down the steps...You might even end up with a barricade of them preventing any others from reaching You and be able to check outside for help.

[FryeDwight]

THE TRIP (1967). Roger Corman films concerns filmmaker Peter Fonda, who is in a state of flux concerning his upcoming divorce from unfaithful wife (Susan Strassberg) and malaise over his career. Obviously, the best way to handle this is take LSD bought from Dennis Hopper and go on a trip with Bruce Dern babysitting You. After He takes the Acid, the rest of the film concerns itself with what Fonda is experiencing-including Angelo Rossitto (FREAKS, MAD MAX: BEYOND THUNDERDOME) as an evil dwarf and all sorts of panoramic colors. Script is by Jack Nicholson who would be in EASY RIDER a couple of years later withy Fonda and Hopper. And it seems both actors are prepping for ER as the word "Man" ends just about every sentence. Also a good appearance by Luana Anders (DEMENTIA 13 and also in EASY RIDER). ***

[TaeKwonZombie]

The Ape Man 1943 ★★

One of the lesser Lugosi flicks about a mad scientist who turns into a half man, half ape. But to be fair, he looks less like a monster and more like a hairy version of Mister Spock. The Wolf Man was released two years prior and at least that one gave us a transformation scene.

It's also less horror and more melodrama, even though the ape man and a 100% "monkey" go on a killing spree at one point. The cast looks uninspired and, at times, even Lugosi looks like he's phoning it in.

I agree. ::shocked::

[Sculpt]

Indeed, a ***** classic! Again, for the $$ nd resources they didn't have, Romero and company really created something special.

I was able to see it in a theater a few times and it is creepier...maybe because all the people in the houses are strangers and You are surrounded by many strangers watching it on the big screen.

While people have called Karl Hardman's performance "Amateurish", I think He's pretty convincing. The look of total horror on his face as the escape attempt goes south is extremely convincing as well as his stammering about the fuse.

My wife likes it (not as much as I do) and while She could see both sides; staying upstairs to access the situation, but so many areas to watch VS staying in the cellar which would be safer, but no idea of what's going on. Her thought was go upstairs, bring some stuff and could always knock the zombies down the steps...You might even end up with a barricade of them preventing any others from reaching You and be able to check outside for help.

Never gave it a lot of thought... but now that you mention it... going upstairs would be a good idea if they tore up the steps/staircase. The zombies wouldn't be able get to the second floor then.

They could use the wood from the steps to board up the windows. They could pull each other up, use a rope, or use a ladder that they could pull upstairs when they were all up there. Just kinda depends what was in the house.

[Sculpt]

Blood and Black Lace 1964 ★★★★★

Great early giallo with everything you want from a horror movie:

A cool looking killer.

Epic and brutal kills that hold up even over fifty years after its release date.

An awesome reveal at the end I forgot about since my last viewing.

Gorgeous women, stylish men, cool looking cops,...

A groovy score.

And of course, stylish sets and colouring.

Five stars well deserved.

Agreed, the beautiful lighting, colors, sets and shots really make it special. Everything is pretty chic. The acting is mostly well done and has a decent pace. The story, suspense and mystery are enough to support everything else.

[FryeDwight]

THE SWINGER (1966). Silly film of an aspiring writer (Ann-Margret who is lovely here and gives an effort) who, for some reason, wants to be published in a PLAYBOY-esque magazine . She buys a bunch of torrid romance novels and acts like an immoral drunken part girl to convince the editors She should be published, all the while keeping away from the lecherous men, because She is a "Good Girl". TS reminded very much of THREE'S COMPANY with all the innuendos and misunderstandings. Some event support by Tony Franciosa, although his character is a jerk as well as model Barbara Nichols and gorgeous Yvonne Romain (CURSE OF THE WEREWOLF). **

[DeadbeatAtDawn]

Been siiiiick and bed rotting. I found comfort in B&W and The British.


The Tower of London, 1962. 7/10

Directed by Roger Corman

https://i.pinimg.com/originals/2f/1c/76/2f1c76b1438afb2215aef87b7906fae6.jpg





The Reptile, 1966. 7/10

Directed by John Gilling

https://64.media.tumblr.com/3e72d39267ca6beef1af0f1ac47fb732/9cf6d7efc1372912-20/s500x750/7325a604cae3da75a95d3968b7eece9817b1356b.gif


Night of the Eagle, 1962. 8/10

Directed by Sidney Hayers

https://pa1.narvii.com/7190/780dc4bf9f53d4f5f26893fe7ffe8cb9c4ce242er1-320-200_00.gif

[Sculpt]

Spellbound (1945)
9/10

Psychological, mystery, crime, thriller and romance starring Gregory Peck and Ingrid Bergman, directed by Alfred Hitchcock. Excellent theremin filled musical score by Miklós Rózsa, the film winning the Oscar for Best Musical Score. Also filled with some trippy Salvador Dalí set designs for a jaw dropping dream sequence. The film tried to stay accurate with psychological detail.

[Tommy Jarvis]

I agree. ::shocked::

Why the shock?

[Tommy Jarvis]

The Trip 1967 ★★★

Watching this movie on good pot would probably make it a five star experience.

Now it "just" has some amazing trippy visuals and ditto shots and a groovy score.

[FryeDwight]

The Ape Man 1943 ★★

One of the lesser Lugosi flicks about a mad scientist who turns into a half man, half ape. But to be fair, he looks less like a monster and more like a hairy version of Mister Spock. The Wolf Man was released two years prior and at least that one gave us a transformation scene.

It's also less horror and more melodrama, even though the ape man and a 100% "monkey" go on a killing spree at one point. The cast looks uninspired and, at times, even Lugosi looks like he's phoning it in.


I was off from work yesterday and had sort of a Bela "jones" going on; hadn't seen TAM in some time.

Wow...I should have watched THE RAVEN instead. Although Bela was a little subdued, He still gave his all. I'm wondering if when He spoke the line "What a mess of things I made" was He thinking about his career.

Though Louise Currie was pretty good...she reminded Me of Katherine Hepburn a little and pretty cool when She is fighting Bela towards the end...Film historian Greg Mank mentioned how it's almost an S/.M scene, with her in the heels, cracking the whip with the jaunty score playing.

As far as the guy looking in the windows and the big reveal at the end::mad::::mad::

** also

TJ...I told my wife that You described Bela as looking like a hairy version of Mr Spock....and She was dying laughing::big grin::!

[Tommy Jarvis]

TJ...I told my wife that You described Bela as looking like a hairy version of Mr Spock....and She was dying laughing::big grin::!

Glad to be able to help. ::big grin::

[Sculpt]

Thanks for the feedback. I'll check those out.

Spellbound (1945)
9/10

Psychological, mystery, crime, thriller and romance starring Gregory Peck and Ingrid Bergman, directed by Alfred Hitchcock. Excellent theremin filled musical score by Miklós Rózsa, the film winning the Oscar for Best Musical Score. Also filled with some trippy Salvador Dalí set designs for a jaw dropping dream sequence. The film tried to stay accurate with psychological detail.

Hey Tommy, ever do requests? After you asked about if Dial M was the best to that point, I made a list and have seen a few. Love to get your impressions on Spellbound (1945).

[Tommy Jarvis]

Hey Tommy, ever do requests? After you asked about if Dial M was the best to that point, I made a list and have seen a few. Love to get your impressions on Spellbound (1945).

Always in for suggestions and recommendations, Sculpt.

I think I found a copy on YT, so I should be able to check that one out some time soon.::cool::

[FryeDwight]

THE RAIN PEOPLE (1969). A disconnected, confused and newly pregnant Housewife deserts her husband and family, hitting the road to "Find" herself or maybe try to make sense of how She's feeling. Along the way, she makes the acquantince of brain damaged Football player -early James Caan-and He almost becomes a surrogate child, even if her treatment of him sometimes is questionable.

Early Francis Ford Coppola film has "Cult status" attached to it and while it certainly has moments (interesting look at how Women's lib was starting to appear, but how little control women had over their destinies), it just flips and flops. Shirley Night is VERY good as the addled protagonist, but her behavior is all over the place. You really root for her in some scenes and others, You want to lob a brick at her. The ending is kind of up in the air for Me, but it's worth checking out. Lots of real small town footage and read that George Lucas, a friend of FFC was a cameraman. **1/2

[Tommy Jarvis]

Hey Tommy, ever do requests? After you asked about if Dial M was the best to that point, I made a list and have seen a few. Love to get your impressions on Spellbound (1945).

Here's what I made of it:

Spellbound 1945 ★★★★

Certainly by 1945 standards, the premise is rather interesting. The new chairman arrives at a mental facility, only for them to find out that he is not the doctor, but rather a patient. He and one of the psychologists then try to find out what happened.

Is it a masterpiece? The jury is still out on the verdict. What I can say, is: it certainly plants the seeds for later greats. Like the shot with the eyes covered wallpaper getting cut up (Hitchcock and Salvador Dali, some pairing). Or the things coming back in later works: like the trial montage in Dial M or a bit of the score that later returned in either Vertigo or Psycho.

He certainly creates the tension that would come to full fruition in his later works. The scenes at the train station come to mind as well as the moment when doctor Peterson pieces things together or the moments where Peck struggles with his inner demons. He shows what made him such a great actor. Ingrid Bergman is very good as the feisty Dr. Peterson. I also like Michael Chekhov. He makes his Brulov just the right amount of eccentric.

Spellbound. It may not be a masterpiece, but at least it comes close. The type of flick that has you convinced that he has it in him.

[FryeDwight]

CURSE OF THE CRIMSON ALTER (1969 AKA THE CRIMSON CULT) .

Convoluted story of an antiques dealer searching for his brother who was involved with some not very nice people. Convoluted it may be, but not as bad as You may have heard. Good cast including Barbara Steele (although it seems She is little more than window dressing, although her outfit is impressive), Christopher Lee, Michael Gough, Virginia Wetherall and a very good turn by Boris Karloff-I feel he truly shines here. Sadly, there are some scenes that just seem to pad the story for a longer running time. ***

[FryeDwight]

FATHOM (1967). Silly British comedy with Raquel Welch as a Skydiver on a US Parachute team who gets involved in espionage between two competing organizations. Raquel took a lot of flak for acting (much like Ann-Margret), but like AM, she kept it up, got in better films, earned awards and became a real "Do It All" kind of performer; singing, dancing, Broadway, entrepreneurship and poked fun at her image, especially on SEINFELD. But honestly, her looks were a major factor in why us guys watched her films. Just the footage of her in a Lime Green Bikini will have You convinced that She was a marvel of Genetic engineering. **1/2

[DeadbeatAtDawn]

The Ouartermass Xperiment, 1955. 7/10

Directed by Val Guest

https://64.media.tumblr.com/00a9f6ea4adda78d02932eecf616b86e/tumblr_o3baaaY5hq1rcnqeto1_r1_400.gif


Night of the Demons, 1957. 7.5/10

Directed by Jacques Tourneur

https://64.media.tumblr.com/c0df74bfca9e123e6809e2a306a6d5e0/tumblr_pnk55sDBiB1qi0pl0o2_540.gif

[FryeDwight]

The Ouartermass Xperiment, 1955. 7/10

Directed by Val Guest

https://64.media.tumblr.com/00a9f6ea4adda78d02932eecf616b86e/tumblr_o3baaaY5hq1rcnqeto1_r1_400.gif


Night of the Demons, 1957. 7.5/10

Directed by Jacques Tourneur

https://64.media.tumblr.com/c0df74bfca9e123e6809e2a306a6d5e0/tumblr_pnk55sDBiB1qi0pl0o2_540.gif

Two good ones there::cool::

HORRORS OF SPIDER ISLAND (1962). Wretched flick of a Talent agent and his Dancing combo who crash in the ocean and make it to a deserted island which is inhabited by large spiders. Skimpy outfits, bad dancing, squabbling with infernal voices and foolish behavior. Pass *

[Tommy Jarvis]

The Quatermass Xperiment 1955 ★★★½

I like these fifties flicks. The Quatermass Experiment is a nice document of British horror in its infancy, with special effects typical of the time.

Overall a fun watch. I'll definteily go back for a rewatch.

[FryeDwight]

HIGH SIERRA (1941). Breakthrough role for Humphrey Bogart (although He is second billed to Ida Lupino) as a tough crook (with a tender side) trying to pull off a last job. Some amazing camera work towards the end. ***

[Sculpt]

The Reptile (1966)
4/10

A man and his wife move into the humble home of his dead brother, who died under mysterious circumstances. The town is not welcoming, except for the bar tender. They discover other town's people have died similarly. The couple become acquainted with a young lady across the way. She plays a wicked flute, but she, her father, a Doctor of Theology, and his exotic assistant are very odd and seem to be hiding something.

The general story lore is very interesting, but the story execution very restrained.

[FryeDwight]

STAGECOACH (1966). A decent cast with great photography, but an unnecessary remake of the iconic 1939 classic that madeJohn Wayne into a star. Alex Cord tries, but He's no match for Wayne, other performers including Ann-Margret::love:: as the "Bad Girl", Stephanie Powers as the "Good Girl", Bing Crosby, Red Buttons, Mike Connors and Slim Pickens. Worth watching for what was listed-maybe-and a really different listing/presentation of cast by the final credits. **1/2

[Sculpt]

The Paradine Case (1947)
8/10

A well-off blind man is poisoned to death, and his purdy wife (Alida Valli), with an indelicate past, is a prime suspect. Attorney Anthony Keane (Gregory Peck) takes the case, but to the dismay of his wife (Ann Todd), Anthony may be interested in more than just a favorable verdict for his client.

Effective story telling. It's actually difficult to know why Attorney Keane makes all the decisions he makes. His feelings are an interesting counterpoint to the unveiling of the case. It's a drama, not a suspense thriller.

[FryeDwight]

TEN LITTLE INDIANS (1965). Good adaptation of Agatha Christie story with an awesome cast, including Hugh Marlowe, Shirley Eaton, Fabian, Wilfred Hyde-White and the voice of Christopher Lee. ***

[hammerfan]

The Brides of Dracula (1960) starring Peter Cushing as Van Helsing

[hammerfan]

The Curse of the Werewolf starring Oliver Reed (1961) Hammer Studios

[Tommy Jarvis]

The Haunting 1963 ★★★★

The Haunting definetily is a classic.

There are several things to love about this movie. From the way it takes its time to set up the characters over the special effects that were amazing for the time to small details.

Like the combination of Eleanor's inner monologues and her Frances McDormand-ish way of staring into the distance with several degrees of fear and unease. Or how you can feel said unease and discomfort slip into the cheeky young getabout.

Four stars well deserved.

The Phantom of the Opera 1925 ★★★★

Every horror fan should treat him/herself to a bit of vintage every now and then. Visit/revisit the classics with Chaney, Lugosi, Karloff,... or go on the hunt for forgotten and/or underrated gems.

You can enjoy this one for the score, for the overacting that was par for the course in silent movies, for Chaney's great performance as the Phantom,... and that one reveal that still holds up to this day.

[FryeDwight]

The Haunting 1963 ★★★★

The Haunting definetily is a classic.

There are several things to love about this movie. From the way it takes its time to set up the characters over the special effects that were amazing for the time to small details.

Like the combination of Eleanor's inner monologues and her Frances McDormand-ish way of staring into the distance with several degrees of fear and unease. Or how you can feel said unease and discomfort slip into the cheeky young getabout.

Four stars well deserved.

The Phantom of the Opera 1925 ★★★★

Every horror fan should treat him/herself to a bit of vintage every now and then. Visit/revisit the classics with Chaney, Lugosi, Karloff,... or go on the hunt for forgotten and/or underrated gems.

You can enjoy this one for the score, for the overacting that was par for the course in silent movies, for Chaney's great performance as the Phantom,... and that one reveal that still holds up to this day.

Once again, TJ score two hits out of the park::cool::! We saw POTO a couple of years back on the big screen and despite the overacting by the supporting performers, Chaney is aces!

As for THE HAUNTING, so creepy! I saw in the Panama Canal Zone at an "Owl Show" which was usually horror films starting at 10:00. It really had the audience on edge, but some frustration when Eleanor is thinking (quite a lot in this film) as most of the films I saw back in the CZ had Spanish subtitles, but for whatever reason, Eleanors inner dialogues were in Spanish::shocked::!
Showed it many years later to a group, one who loved FANGORIA type films, but was riveted by the film and practically leapt out of his seat in a scene involving a missing person::big grin::

[FryeDwight]

THE TWO FACES OF Dr JEKYLL (1960).>>>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>SPOILERS>>>>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Not many people seem to know about this Hammer entry, but it's pretty damn good and I feel it's held up better than many of their offerings. While it's got the bare bones plot of Jekyll trying to find the duality of man, it has many differences. Jekyll is podgy and tired looking, while Hyde is handsome and so jittery that He can't sit still (Good performances by Paul Massie) and maybe it's because He holds a grudge from treatment from former colleagues, his best friend is a drunken gambler constantly hitting him up for $$ to get out of messes He created and said friend is boffing Mrs Jekyll! While Hammer had unpleasant characters in their films, there seems to be an overabundance in this...so many unsavory types here! Also, so much sexual content; they were really pushing the envelope here! Hyde's exotic mistress (where You see some actual nudity and the dance with the snake!), a conga line of dancers constantly revealing their undies and just an extremely misogynistic treatment towards ALL the women here, including a precursor to FRANKENSTEIN MUST BE DESTROYED where Hyde
gets even, as it were, for Jekyll's unfaithful wife.
Christopher Lee is very good here as the friend (although why You would want a guy like this as Your friend escapes Me) and an early appearance by Oliver Reed. ***1/2

[Sculpt]

THE TWO FACES OF Dr JEKYLL (1960).>>>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>SPOILERS>>>>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Not many people seem to know about this Hammer entry, but it's pretty damn good and I feel it's held up better than many of their offerings. While it's got the bare bones plot of Jekyll trying to find the duality of man, it has many differences. Jekyll is podgy and tired looking, while Hyde is handsome and so jittery that He can't sit still (Good performances by Paul Massie) and maybe it's because He holds a grudge from treatment from former colleagues, his best friend is a drunken gambler constantly hitting him up for $$ to get out of messes He created and said friend is boffing Mrs Jekyll! While Hammer had unpleasant characters in their films, there seems to be an overabundance in this...so many unsavory types here! Also, so much sexual content; they were really pushing the envelope here! Hyde's exotic mistress (where You see some actual nudity and the dance with the snake!), a conga line of dancers constantly revealing their undies and just an extremely misogynistic treatment towards ALL the women here, including a precursor to FRANKENSTEIN MUST BE DESTROYED where Hyde
gets even, as it were, for Jekyll's unfaithful wife.
Christopher Lee is very good here as the friend (although why You would want a guy like this as Your friend escapes Me) and an early appearance by Oliver Reed. ***1/2
Thanks for reviewing this one. I have not seen it yet. It sounds like an interesting take. Have you read the novella Strange Case of Dr Jekyll and Mr Hyde? If so, did you have a take on what you thought the novella was saying?

I've seen Dr. Jekyll and Mr. Hyde 1931 with Fredric March, the 1941 version with Ingrid Bergman and Spencer Tracy, and neither stick to the story of the novella Strange Case of Dr Jekyll and Mr Hyde. Which is a shame, because it's by far the better story, and would make a great film. The novella lets the reader apply whatever symbolism they see in the story, whereas the movies tend to name a philosophical bent not in the novella or seem to not leave room for there to be one.

I think the 1931 is the superior film of the two, mainly because the creative camera work, effects and pace. The Spencer Tracy version is rather odd, and just doesn't work as a cohesive story. The leads and plot are underdeveloped. I'm not sure what they were trying to say, if anything at all.

Having read the novella, I personally think the intention was to highlight the state of mind some humans descend to with alcohol, notably violent and deranged alcoholics, as an initial specific recognizable marker. The portrayal of "serum" is to note the medium or vehicle is not the focus, but rather an exploration of the destination (perhaps evil), the curiosity and the decision to go there.

Many theories come up regarding the intention of the story, including dualities, id, ego, superego, addiction, etc. One of the theories of the novella (published 1886) revolves around the impact of The Origin of Species (1859). Some interpreted the work to mean humans evolved from (modern) apes. That the work was looking at if man was to devolve into a beast, or what was the layer below "the evolution to humankind". When I read that, I began to think that the film Altered States was actually another Jekyll and Hyde adaptation. ::big grin::

[FryeDwight]

Thanks for reviewing this one. I have not seen it yet. It sounds like an interesting take. Have you read the novella Strange Case of Dr Jekyll and Mr Hyde? If so, did you have a take on what you thought the novella was saying?

I've seen Dr. Jekyll and Mr. Hyde 1931 with Fredric March, the 1941 version with Ingrid Bergman and Spencer Tracy, and neither stick to the story of the novella Strange Case of Dr Jekyll and Mr Hyde. Which is a shame, because it's by far the better story, and would make a great film. The novella lets the reader apply whatever symbolism they see in the story, whereas the movies tend to name a philosophical bent not in the novella or seem to not leave room for there to be one.

I think the 1931 is the superior film of the two, mainly because the creative camera work, effects and pace. The Spencer Tracy version is rather odd, and just doesn't work as a cohesive story. The leads and plot are underdeveloped. I'm not sure what they were trying to say, if anything at all.

Having read the novella, I personally think the intention was to highlight the state of mind some humans descend too with alcohol, notably violent and deranged alcoholics, as an initial specific recognizable marker. The portrayal of "serum" is to note the medium or vehicle is not the focus, but rather an exploration of the destination (perhaps evil), the curiosity and the decision to go there.

Many theories come up regarding the intention of the story, including dualities, id, ego, superego, addiction, etc. One of the theories of the novella (published 1886) revolves around the impact of The Origin of Species (1859). Some interpreted the work to mean humans evolved from (modern) apes. That the work was looking at if man was to devolve into a beast, or what was the layer below "the evolution to humankind". When I read that, I began to think that the film Altered States was actually another Jekyll and Hyde adaptation. ::big grin::

Hey Sculpt, Thanks for the kind words::smile::. I did read the novella, but it has been awhile, time to get on with it::wink::! I still think the best version of the story is the 1931 version, very good. I'm not crazy about the Tracy one and I remember seeing the Jack Palance version WAY BACK and mostly remember the DARK SHADOWS music. If You're really in the mood for more Jekyll/hyde, check out DR BLACK AND MR HYDE with Bernie Casey. Not as bad as it sounds and a hilarious trailer::big grin::::big grin::!

I'm pretty sure We talked about what the story might have been a metaphor for and We both agreed that alcohol was probably the one. It was a couple of years ago and show how much time I have on my hands that I can remember it::embarrassment::

[FryeDwight]

NIGHTMARE IN THE SUN (1965). I never heard of this until discovering a review in SHOCK CINEMA and caught it on YOUTUBE. It begins with THE POSTMAN ALWAYS RINGS TWICE territory with a Trophy wife (Ursula Andress, who is a knockout here) bored and unhappy with her marriage to an older guy who tends to drink (Arthur O'Connell from ANATOMY OF A MURDER). Said wife is somewhat slutty (as SC describes Her "...the hottest piece of ass in town"), even sleeping with the sheriff (Aldo Ray::shocked::!)!

She picks up a drifter (John Derek, who was married to Ursula at the time) who is planning to return home to his wife, although He finds time to canoodle with her. Her husband has had enough, shoots Ursula and the Sheriff conspires with the town to put the blame on the "stranger" and NITS almost become an episode of TV's THE FUGITIVE with a whole bunch of riff raff looking for him. Good cast (including Sammy Davis Jr as a Truck Driver::shocked::), but an impressive team up by Robert Duvall and Richard Jaeckel as two motorcyclists who join the search and whose relationship is rather, shall We say, suspect::confused::. ***

[Sculpt]

House of Dracula (1945)
6/10

Dracula (John Carradine) breaks into Dr. Franz Edelmann (Onslow Stevens) house and wakes him up at 5 AM while he's asleep in his reading chair and asks him to cure him of his vampirism. Later that day Larry Talbot (Lon Chaney Jr) asks to be cured of his lycan... let's just call it werewolf-ism. Plus, the doctor's hunchbacked female assistant has been waiting to be cured for even longer. And he finds Frankenstein's Monster in the sea caves below his mansion. There's a lot to do.

The dialogue of the opening scene is actually well done and enticing. Can Dracula really want a cure? Are you sure you can trust him? There's also a well-done scene where one of the doctor's assistants is playing Moonlight Sonata and Dracula helps morph it into a trippy horror piece. There are some things to like in this film, and it's intriguing to find out how or if the problems get solved.

Ultimately, the dialogue and plot become annoyingly simple-minded and dull. Dracula never discusses why he wants to be human. None of the monsters fight each other. Each plotline has a disappointingly abrupt ending.

************SPOILER*****************
I was intrigued by the relationship between Dracula and Dr Edelmann. Dracula also starts a relationship with one of the assistants. It would have been fascinating to hear Dracula talk about why he no longer wanted to be a vampire or lie about it. Perhaps these are only interests of modern film. Eventually, Dracula deceives Dr. Edelmann, and they never even have a discussion about the betrayal. Of course, films are not shot in chronological order, but the film feels like it was... as if halfway through shooting they were told they had a week to finish it.

[FryeDwight]

House of Dracula (1945)
6/10

Dracula (John Carradine) breaks into Dr. Franz Edelmann (Onslow Stevens) house and wakes him up at 5 AM while he's asleep in his reading chair and asks him to cure him of his vampirism. Later that day Larry Talbot (Lon Chaney Jr) asks to be cured of his lycan... let's just call it werewolf-ism. Plus, his hunchbacked female assistant has been waiting to be cured for even longer. And he finds Frankenstein's Monster in the sea caves below his mansion. There's a lot to do.

The dialogue of the opening scene is actually well done and enticing. Can Dracula really want a cure? Are you sure you can trust him? There's also a well-done scene where one of the Dr's assistants is playing Moonlight Sonata and Dracula helps morph it into a trippy horror tune. There are some things to like in this film, and it's intriguing to find out how or if the problems get solved.

Ultimately, the dialogue and plot become annoyingly simple-minded and dull. Dracula never discusses why he wants to be human. None of the monsters fight each other. Each plotline has a disappointingly abrupt ending.

************SPOILER*****************
I was intrigued by the relationship between Dracula and Dr Edelmann. Dracula also starts a relationship with one of the assistants. It would have been fascinating to hear Dracula talk about why he no longer wanted to be a vampire or lie about it. Perhaps these are only interests of modern film. Eventually, Dracula deceives Dr. Edelmann, and they never even have a discussion about the betrayal. Of course, films are not shot in chronological order, but the film feels like it was... as if halfway through shooting they were told they had a week to finish it.
You are right...there is so much to do and not nearly enough time to do it all::sad::::wink::!!

Despite the silly premise, HOD is a fun little time waster. You do wonder about Dracula, why He changes his mind so quickly-the Assistant wasn't all that!. Also, it's not wise to screw over someone trying to help You, and again a repeat, but a Timex and calendar might have helped Drac finalize his plan.

I really like Lionel Atwill here, even if He is going by route. Sadly, He was sick and I believe You can hear him coughing loudly in the scene where He is interrogating Dr Edelmann and Talbott provides an alibi.

[FryeDwight]

JOURNEY'S END (1930). Based on a successful play and early in the sound era, this WW1 film is static with lots of slow spots/talking, but stick with it. I think this was James Whale's first film and it also introduces Colin Clive (FRANKENSTEIN, BRIDE OF FRANKENSTEIN, MAD LOVE), Billy Bevan (DRACULA'S DAUGHTER, RETURN OF THE VAMPIRE) and David Manners (DRACULA, THE MUMMY, THE BLACK CAT).

Clive is the Captain of the group who is so burned out by war and liquor that his nerves are shot, but feels He still has to do his duty. A fine performance by Colin and an even better one by David, whose character was a student of Clive and looked up to him and finding his behavior objectionable. In most of is films (especially the three listed), David always played a fey and ineffectual doofus and it's a shame He couldn't have gotten more roles like this. ***

[Tommy Jarvis]

The Vampire Bat 1933 ★★

A not all too memorable vampire/detective drama.

Did not do much for me on this watch (partly since I was getting pretty tired by that hour). Should perhaps give it a rewatch at a later date.

[Sculpt]

You are right...there is so much to do and not nearly enough time to do it all::sad::::wink::!!

Despite the silly premise, HOD is a fun little time waster. You do wonder about Dracula, why He changes his mind so quickly-the Assistant wasn't all that!. Also, it's not wise to screw over someone trying to help You, and again a repeat, but a Timex and calendar might have helped Drac finalize his plan.

I really like Lionel Atwill here, even if He is going by route. Sadly, He was sick and I believe You can hear him coughing loudly in the scene where He is interrogating Dr Edelmann and Talbott provides an alibi.

Yes, I was happy to see Lionel Atwill. If I had him in the cast, I would have rewritten the script to give him a featured part. It was a tad painful to see him wasted in such a small saltless part.

I forgot to mention too, there's two scenes where Dracula is either transforming into a bat or from a bat. Those are the best-looking transformations I've ever seen... and that was 1945.

Let's face it, I think this film would be of most interest to 10-year-olds or the heart of 10-year-olds in horror film fans. To have all these monsters and none of them fight is just being cruel. ::big grin::

I read in wiki that the original script was Wolf Man vs. Dracula and the censors gave it a series of cuts, so it was rewritten many times. Makes you wonder what the original script was like?

[FryeDwight]

Yes, I was happy to see Lionel Atwill. If I had him in the cast, I would have rewritten the script to give him a featured part. It was a tad painful to see him wasted in such a small saltless part.

I forgot to mention too, there's two scenes where Dracula is either transforming into a bat or from a bat. Those are the best-looking transformations I've ever seen... and that was 1945.

Let's face it, I think this film would be of most interest to 10-year-olds or the heart of 10-year-olds in horror film fans. To have all these monsters and none of them fight is just being cruel. ::big grin::

I read in wiki that the original script was Wolf Man vs. Dracula and the censors gave it a series of cuts, so it was rewritten many times. Makes you wonder what the original script was like?
I kind of wonder myself about that...by this point, I think Universal just wanted to crank 'em out and lick their chops at the revenue distributed, logic be damned.
Think of it this way, Sculpt-at least there is a good throw down in ABBOTT AND COSTELLO MEET FRANKENSTEIN. Dracula and the Wolfman are truly going at it::cool::! Also, the interaction between Dracula and the Monster is pretty tough as well ("Mas..ter". "Yesssss").

CORRUPTION (1968)>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>SPOILERS>>>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Peter Cushing is terrific in here, playing an established Doctor with a hot Model girlfriend. When the girlfriend is badly injured (on the face, which is no good for a model), Pete tries to help with skin grafts to restore her looks. But to be honest, how the accident happened is sort of her fault and honestly, despite the good looks (Sue Lloyd, who was in a lot of British TV/film, including the Joan Collins vehicles THE STUD and THE BITCH resembles a slimmer Jill St John), the girlfriend is really not worth the aggravation she puts Peter through.
While the first skin graft (from a corpse) works quite well, of course it doesn't last and Peter has to resort to more nefarious means to obtain what He needs. The poor guy is a wreck! While there is a EYES WITHOUT A FACE element here, some pre-STRAW DOGS elements emerge towards the end.
Sleazy throughout, but worth seeing, although the final wrap-up is completely ridiculous and not needed. Also, an early performance by Kate O'Mara (THE VAMPIRE LOVERS and HORROR OF FRANKENSTEIN) and she is pretty good as the concerned sister and not the sexpot she usually seemed to play. ***

[FryeDwight]

DR GOLDFOOT AND THE GIRL BOMBS (1966). I'm a big fan of Vincent Price, but this Mario Bava directed film (not his best by any stretch) is absolutely wretched. I've read there was a lot of overlapping schedules, filming for different markets (ie; the two painfully UN funny Italian comedians for the European market) and just a rush job. Vincent is good, as alays, but the plot of starting a war by making Bikini clad women into bombs to kill Generals just isn't enough to justify the 90 minute running time. Only other interesting point is an appearance by Laura Antonelli, who became in the 70's/80's for European "Art Films" ( in other words, for Nude scenes). 1/2

[DeadbeatAtDawn]

Mr. Sardonicus, 1961. 7.5/10

Director: William Castle

https://64.media.tumblr.com/b9e24aa71ce575f4e6b675402126fef7/8cb2b40ed82a176c-94/s540x810/28d3a96ba2209f826b63c6958746fbc0214ce9fa.gif

[Sculpt]

Abbott and Costello Meet Frankenstein (1948)
5/10

Just a quick hit on this iconic film... it's really hard to watch Costello seeing something "scary" and calling to Abbott to rescue him... Costello then stumbles through describing the experience and Abbott expresses disbelief and leaves... and then repeat that one hundred times. Once was funny. ::wink::

The other half of the film is one of the monsters/villains nearly miss touching Costello, and Costello running from them and hiding... and then repeat that one hundred times. This near-miss-run-chase-hide running gag was reminiscent of the same gag the Three Stooges did often in some of their comedy short films from 1932 to 1946, and also The Monkees TV series in 1966 for that matter. If you like those two gags a lot... you'll love this film.

I like Lou Costello and Bub Abbott. Costello is funny and Abbott is the classic straight man. Their 'Who's On First' comedy routine is brilliantly written, performed and funny. But they did not write the script and were against the film, with Costello specifying he didn't like the script. The team did improvise some dialogue.

I have to echo the thoughts of Gary Rhodes and Bill Kaffenberger in 2016 when they said the story was a grand idea "but it was too bad that it could have been attended by persons capable of satire rather than pie-throwing comedy only".

There are certainly a mix of reviews. The film was a bankruptcy-saving hit for the studio. This film, like other Abbott/Costello films, Nick Pinkerton properly described as an all-or-nothing proposition. As New York World-Telegram wrote, if you don't have a palette for Abbott/Costello, you're in for a painful experience. I think that's partially true. My objection is the lack of satire and second level situational comedy, and the unnecessary repetition, not Costello's humor.

The film is nice looking with a quick pace by director Charles Barton. And has a good score from Frank Skinner.

[Tommy Jarvis]

Peeping Tom 1960 ★★★★

Time to revisit an old classic. A movie so reviled at the time that it efefctively broke the director's UK career.

And for what? If anything, it now holds up as a very well crafted psychological thriller. One could even see a prototype for what later became Maniac.

As the movie progresses, we get deeper into Mark's disturbed psyche and how he became the man he is in this story. The product from all the experiments his father put him through. A killer who executes his victims with a camera while filming them in their utterly terrified last moments. Making not only for what can be considered as a precursor to what later became found footage, but also for some very disturbing scenes.

Not in the least in the scenes with Helen, where we see how he still has a small connection with reality. Or how he takes his own life in the end. Since he feels he has nowhere else to run, he ends it all. In the only way he knows how.

Great horror. Four stars.

Spider Baby 1967 ★★★½

A fifties horror that kind of drew from Freaks. I like how the makers tried to shift our sympathies back and forth between their innocence (he will hate us) and the start where one of the girls made no bones about mercilessly killing the mailman.

The bad people were the right kind of cartoony (with Schlocker resembling Oliver Hardy, but with a bit more of an explicit Hitler-stache), wanting the children and Bruno to leave. I also got the feeling this was the type of family that (partly) inspired the Deetzs in Beetlejuice. Bruno (aka kind Walter Matthau) is the right kind of gentle and protective. And while it's sad, he takes the right decision at the end.

A fun watch for fans of fifties stuff.

[Tommy Jarvis]

Dr. No 1962 ★★★★

A classic Bond, should be in the overall top 5, if not top 3. With the classic scene introducing our hero at the card table (where else?).

That's a Smith & Wesson and you've had your six.

With his cool and his dry wit delivery, Connery is the ultimate Bond. A bit of Schwarzenegger before Schwarzenegger was a thing. Though I'm sure does the banter with Moneypenny and Q better than Arnold would.

Add a callous, evil main villain – who meets a suitably cruel demise – and a group of well established characters... and boom, you're of to the races.

House of Wax 1953 ★★★★½

Time to revisit one of the all time icons.

I cannot help but love Vincent Price. His iconic look, his captivating voice,... He makes Jarrod a villain for the ages. Hurt, charming, callous and cold,... Even while instructing his protégés, among whom a very young Charles Bronson, he still stands out as a kind and patient teacher.

The special effects still hold up to this date and the reveal of Jarrod's true form is still as timeless as ever. With a suitably dramatic score backing it up.

[FryeDwight]

TEENAGERS FROM OUTER SPACE (1959). Despite Absurdity and very low budget, TFOS, while not a good flick by any means, has aged decently and I was able to get through it without too much pain.
Some aliens (30 something appearing teens) land on Earth to use it as a Harvesting grounds for "Gargans" (which resemble lobsters) ; one of the crew feels that the intelligent life shouldn't be threatened by the monsters and makes his escape. While the ship takes off to bring more Garages, another crew member-Thor- with a serious anti-social bent goes after him, almost hell bent on using his pistols which turns victims into skeletons.

I do have fond memories of seeing this- in the early 70's; how my brother was scared to death by all the skeletons that fell after the blasting and in the mid 90's, I had gotten this on VHS and after food from Subway, my daughter asked what movie I put in (she had just turned 8) and the "You gotta be kidding !" look she gave Me when the title flashed on screen was quite humorous,

We get to see Bronson Cave again in a 50's movie, some great dialogue (my favorite being "I SEE You do not VALUE Your LIFE!") and how so much of the score was used in NIGHT OF THE LIVING DEAD. Goofy, but fun. **1/2

[Sculpt]

War-Gods of the Deep (1965)
AKA City Under the Sea
4/10

I think the film was supposed to be a sci-fi adventure, but it's on rather short supply of either. The script painted on the shoestring plot demonstrates no interest in said plot. And as an excruciatingly long underwater chase scene without establishing shots makes clear, suspense is also not on display. It is a nice-looking film.

A woman gets abducted by a gillman under orders of a group of undersea dwellers, that includes Vincent Price who was once boat captain of the group. They used a secret passage in an old mansion to grab any new books that may have information to help them stop an undersea volcano from erupting. Sadly, no book has been published on how to do that.

Why did the gillman take the woman? We never find that out. But it does lead some dude and another dude with a chicken in a basket to find the secret passage and go down into the caves to rescue her. That's when the dudes find the group of seamen who have discovered the place about a hundred years ago and decided to stay there. Be amazed that their aging process has slowed down. And if they go to the surface, they will immediately die of old age.

It's an ancient underwater city where all the dwellers died off except for a few gillman that do what the men ask them. Why did the seamen originally stay for decades? Not a very good reason. Cap. Price insinuates he keeps the city pumps going that provide air and heat, but the gillman breathe underwater and swim "outdoors" eating fish. Also, they are guilty of smuggling, so living in these caves eating fish is better than being busted for smuggling.

Why did the seamen decide to hold the woman? Besides the fact that she looks like a woman in a painting that captain Vincent Price used to know, we don't know. The dudes are afraid of the seamen, so they lie and say they can probably figure out how to stop the volcano from erupting. So, the captain holds all of them there. But they better hurry up, cause with all the earthquakes you can tell, like the film, she's about to blow.

[Tommy Jarvis]

Thunderball 1965 ★★★½

A solid spy action film, timely because of the nuclear threat that loomed over the world at the time. Hiroshima was still in people's memory, Bay of Pigs was only a few years ago,... so why not have Bond save us from a nuke?

Sean Connery proves here why he is the definitive James Bond. He effortlessly finds just the right mix between cheekiness and dry wit. Having the right voice for that does not hurt either, mind you. This is also the time where the audience gets used to the banter with Q and the flirting with Moneypenny.

The sixties action may not look as big as in the CGI laden Dwayne Johnson days, but seein the airplane land on water is still pretty spectacular. And the pov shot from the shark's point of view seeing the water color red is a nice idea. Also, this was the Bond who spotted Russian spies because they drank the wrong color wine. Or, in this case, because of how they opened the car door.

The villain looks a bit cartoonish and cliché and I believe that the electric chair scene is being parodied in the first Austin Powers. Or second, can't remember.

Three and a half stars. Fun watch.

[hammerfan]

The Evil of Frankenstein

[hammerfan]

Time for the old Universal monster movies!

Currently watching Frankenstein Meets the Wolf Man (1943)

Happy spooky season!

EDIT: now watching Them!

[Sculpt]

Time for the old Universal monster movies!

Currently watching Frankenstein Meets the Wolf Man (1943)

Happy spooky season!

EDIT: now watching Them!

I always loved the Festival of the New Wine song in Frankenstein Meets the Wolf Man. What you gonna watch next?

.
ut76Wnr5KPs

[FryeDwight]

I always loved the Festival of the New Wine song in Frankenstein Meets the Wolf Man. What you gonna watch next?

.
ut76Wnr5KPs

That is a cool scene, although Lon's outburst is embarrassing. My wife and I had watched Eddie Murphy's DELIRIOUS and the segment where He yells at the train porter who is thinking "What the fuck's wrong with this guy?" for some reason stuck with Me. So, after Lon loses his shit and people are staring at him, I said in a low voice the same line and my wife was in hysterics::big grin::::wink::::cool::.


HANG EM' HIGH (1968). An almost continuation of the Spaghetti Western's Clint Eastwood had become famous for, this could almost be considered the same, but with more familiar actors-and a whole slew of them are in here and half the fun is picking them out.

Jeb (Eastwood) is accused of rustling by a group who after being Judge, Jury and executioner Lynch him and ride away. Moments after they depart, Jeb is cut down and after being found innocent of the crime He was thought to have committed, He becomes Deputy Marshall to help the Town Judge (Pat Hingle) clean up the territory to ensure statehood and while carrying out his duties, He also finds the time to search for the group who strung him up.

While there are some long stretches here and there, this is a solid little film and check it out if You haven't seen it. ***1/2

[FryeDwight]

WEST OF ZANZIBAR (1928). Very sleazy story of an embittered stage magician (Lon Chaney) seeking revenge on the man who stole his wife and in an ensuing fracas left him crippled. The ruination of a young woman may also be a factor here, but things are not always what they seem....

The wife and I saw this this (and THE UNKNOWN) on the big screen accompanied by a live keyboardist last week and once again, Chaney just amazes by how versatile He was. His maneuvering around by only using his arms and hands is astounding. Also, despite the (sometimes well deserved) bashing Tod Browning gets for his sound films (mainly DRACULA and MARK OF THE VAMPIRE), He truly did excel in silent films, although a lot of his films truly had a decadent bent to them. He probably never got the hang of the talkies and I find his sound films are most effective without dialogue.

Of course, being Pre-Code, there is some racism/sexism in here so be prepared. If You get a chance, try going WTZ. ***1/2

[FryeDwight]

THE MAD MAGICIAN (1954). Decent little flick with Vincent Price who uses all the tricks in his arsenal to get even with those who wronged him.
Not much of plot to be honest and there are a lot of elements from the previous years HOUSE OF WAX thrown as well as an outright steal from 1945's HANGOVER SQUARE (also directed by John Brahm).
But...it's Vincent Price::love:: and it's worth seeing TMM so You can see him do his thing. ***

[FryeDwight]

THE SHUTTERED ROOM (1967).>>>>>>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>SPOILERS>>>>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Very loosely based on a Lovecraft story, TSR involving a young woman (Carol Lynley) returning to the old homestead located on a a rather primitive and hardscrabble island. She comes with her (much) older husband (Gig Young, who was at least 20 years older than Carol) and they discover there's a reason why the locals avoid the place.....

This REALLY had such potential; the cinema photography is very good and definitely an air of unease, mostly involving the island residents. We're talking pre STRAW DOGS type louts, exemplified by Oliver Reed, whose biggest motivation appears to be raping Carol. Oddly enough, when She calls his bluff, He all but folds up. There is a jazzy, very inappropriate score that doesn't help either.

The oddest thing here is how polite the couple are to the residents even after the less than pleasant encounters.

Not bad, but really could have better. **1/2

[FryeDwight]

THE THREE MUSKETEERS (1921). Douglas Fairbanks, all happy smile and nonstop physicality, is pretty good as the young lad who wants to join the security team of the king. He proves his worth despite the challenges of intrigue and subterfuge, mostly caused by the manipulative conniving Cardinal Richelieu. ***

[FryeDwight]

THE PROWLER (1951). Pretty good noir that runs out of gas before a pretty decent wrap-up. A disgruntled Policeman (Van Heflin) investigates a call from rich lovely lonely wife of a radio performer concerning a prowler peeping in while she is about to shower. He falls for her (more so after finding out about Hubby's insurance policy),pitches woo and begins an affair. The husband is killed and they are free to be together, which is where things begin to get tricky.

Most of the noir elements are here-shadowy locations and characters, violence and best laid plans not always making the grade. Worth a look. ***

[FryeDwight]

THE MOB (1951). A Police Detective screws up in the line of duty and goes undercover as a Dock worker to discovers who is running the crime syndicate in NYC area. Broderick Crawfod is pretty good as the honest yet jocular flatfoot who has to stay on his toes ; but he does get some good zingers out...lots of hard boiled dialogue here. Also a pretty good cast of many actors in the early parts of their careers....Ernest Borgnine, Richard Kiley (his first film, I believe), John Marley (although He has the dark hair, He still talks like Mr Wolz from THE GODFATHER), Neville Brand and a very young and even then craggy Charles Bronson. ***

[Tommy Jarvis]

The Hound of the Baskervilles 1939 ★★★★

This adaptation of perhaps the best known Sherlock Holmes story assembles a fine cast with the stars of the era like Lionell Atwill, Wendy Barrie and most notably Basil Rathbone as Sherlock Holmes.

Rathbone, fresh of an Oscar nod for If I were king, would spend a good chunk of the fourties portraying the mythical detective. And based on this performance, I look forward to check out the other Holmes movies. He makes Holmes cocky and arrogant, but also plays him thus to command a natural authority. Which makes me curious to compare this to RDJ's take. Also: For some reason, I would now like to see Ryan Reyolds as Holmes. What do you think?

The focus is more on the mistery and the thriller. It has your classic whodunnit structure with the necessary red herrings. While Letterboxd classifies this as horror, there is very little of that in here. Apart from maybe the moment where the titular hound attacks Sir Henry.

Good acting, decent pace and build up, good action set pieces. Solid across the board. The 80 minutes flew by.

Four stars well deserved. Check it out.

The Blob 1958 ★★★½

I have often seen the remake with Shawnee Smith and Kevin Dillon, but for some reason the fifties original has always eluded me. Luckily, I managed to get a hold of the DVD and and seized the opportunity to watch it.

It's a fun little fifties horror romp in that we do not get many special effects. That's one domain where eighties horror benefited from better and more credible special effects (as incredible as the premise is).

The story and the characters had a bit of a Happy Days-ish vibe over them (minus Tom Bosley and The Fonz) and the funny thing is that thr original blob does not instill a sense of urgency until it eats the doctor, and even thing, there is still a sense of fifties cosiness to the proceedings. Now, now,... now then, now then... now,... calm down... calm down now.

To be honest, the only scary scenes are when the leads are stuck in the diner. Which reminds me: I like the diea of the insect being dropped in the Arctic. That matter of fact ish solutions adds an unwanted bit of camp to the story and makes you think of climate change.

Also also: Maybe it's me, but Steve McQueen seemed like an old looking 28 year old.

3.5 stars. Fun watch for fifties horror fans.

The Death Kiss 1932 ★★★

This 1932 flick has a nice little opener. A man gets kissed by an apparently strange woman and then oops, shot. Turns out this was just the set of a crime movie and oops. This guy is really dead.

The cops bumble their way through the investigation, but David Manners takes manners into his hands and the most useful leads come from his work and the help of a studio janitor like type.

Manners is very good as the cheeky hero and lead detective. Meanwhile, Bela Lugosi lurks in the back as a stern producer.

Three stars. Fun little watch for fans of Lugosi and, by extension, vintage films.

[Tommy Jarvis]

Diabolique 1955 ★★★★

Thursday, I enjoyed one of the perks of this website: Getting a notice when something pops up one of your preferred streaming sites. Movie for the night immediately picked.

Fair warning: this is a slow burn. The first act is entirely used to set up the atmosphere leading up to the murder. Which, in a way, should ring in fact more true with a generation that throws around words like psychological abuse. So it kind of surprises me to hear people call this boring. Even more than the previous generations, they would/should be able to relate to the wife and her position.

From there, we get a Hitchcockian thriller about two women who are pushed to the edge and then strike back, in the process taking out the cause of their misery. The murder scene itself is tension filled with the wife having second thoughts and the husband sealing the deal with his own abusive behaviour.

We then get to their plan to hide the body with an odd mix between suspense (the blood drips) and “comic relief” (the radio quiz couple and by extension perhaps the drunk). The weird things that start happening. The widow now seemingly breaking down and the mistress taking charge. Thus reinforcing an interesting dynamic between the two of them.

THE scene that everyone remembers still stands like a house, though the ensuing twist makes the whole plan rather convoluted and lose some credibility.

Still fours stars, though.

[FryeDwight]

Queen of Blood, 1966. 6/10

Director: Curtis Harrington

https://64.media.tumblr.com/c63fe3e048c3d7107ccfe5febd7ad989/tumblr_oq9l05OE2d1tr6ni8o4_500.gif

QUEEN OF BLOOD (1966). >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>>>>>>>>SPOILERS>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

I finally got a chance to see this and while it's got a decent premise, the patchwork appearance of the film does take it down some. Earlier Russian footage is put together with newer scenes and it all looks like Elmer's Glue was used to do the connecting, although it could have been the copy viewed.
Also, it seemed to Me that ALIEN took quite a bit from this...love how they bring Florence Marley on board with no reservation or precautions and the less than happy consequences.
Still fun...Basil Rathbone giving his all,( even at this late stage), John Saxon has some great lines, Dennis Hopper looks like He's trying not to laugh, Florence Marley has an eerie sense of danger (maybe having no dialogue) and just too cool to see "Mr Monster" AKA Forrest J Ackerman (The editor of FAMOUS MONSTERS OF FILMLAND magazine and sans mustache too!). I thought it was neat in the very last scene that what He is carrying looks more like Hothouse tomatoes. ***

[Tommy Jarvis]

The Wasp Woman 1959 ★★★½

Director Roger Corman delivers a tasty bit of fifties horror sci-fi.

This one looked a bit more serious and straightforward than the cheese that made his name, but nonetheless, it was well done and I even dare say that the special effects here were a step up compared to the Vincent Price version of The Fly.

The story was okay, seeing a lady at the head of a company in 1959 must have been a nice change pace and Susan Cabot delivers the take no shit attitude well. And the action scenes were well filmed. Wasp woman would kick Ant-man's ass.

[FryeDwight]

THE STRANGER (1946). Orson Welles plays a Nazi going undercover by teaching in a small town and marrying the daughter of a prominent citizen.. Things start to go south as an investigator looking for ex-Nazi's shows up and how He has to try to keep the deception going to stay free.
Welles didn't think much of TS and honestly, He's not the kind of performer You would have sympathy for and Loretta Young as his wife, though lovely, is incredibly naive and dense. The best parts of the film are Edward G Robinson as the investigator (he's very good) and a scene stealing performance by Billy House as a checkers playing pharmacist (it was driving Me crazy trying to figure out where I saw him and thanks to IMDB, recalled He played Lord Mortimer in BEDLAM the same year). Also a very early performance by Richard Long (CULT OF THE COBRA and TV's NANNY AND THE PROFESSOR) who was married for a time to Mara Corday (TARANTULA, THE GIANT CLAW and SUDDEN IMPACT). ***

[Tommy Jarvis]

2001: A Space Odyssey 1968 ★★★★★

An all time classic for the ages. The best way to watch this is with somebody and see the disbelief on their face. "Holy crap! And this was made in 1968? Bruh."

Every single time, I am in awe of the majestuousness of it all. Overwhelmingly grand and, upon this rewatch, I wonder if and how much this influenced somebody like Wes Anderson.

I also liked how it incorporated horror elements, with Hal as an excellent psychopath.

I have no pretentions about understanding all the layers and metaphors in this movie. But I am looking forward to finding books and YT videos analysing and explaining them. Tips always welcome in the comments.

And of course: Merry Christmas, everyone.

Fanatic 1965 ★★★★

Die! Die my darling is a very entertaining Hammer flick.

The storyline is rather straightforward: a young lady goes to visit the mother of her recently deceased fiancé/boyfriend (tying up loose ends and what not), only to find that this woman takes cuckoo for Christ to a whole new level.

Tallulah Blankhead really shines here as Mrs Terfoile. From the first moment you see that expressive face, all the red flags are up and all the alarm bells should be ringing. She ends up holding our heroine Patricia, setting up a slew of escape attempts that keep you on the edge of your seat. Well told and a good moment to mention the performance by Donald Sutherland as the simple minded Joseph.

In these domains, it's also a sixties film. When the protagonist finally escapes, it's not so much by her own doing. It's more when Mrs. Terfoyle's fanaticism ends up being her undoing after killing the caretaker and resident pervert Harry. Good job by Peter Vaughan. And the “new guy” gets to save her, followed by a “told ya”-moment. Yeah, that would be done very differently today. Not throwing a stone at anyone here, mind you.

Nonetheless a solid sixties horror. Worth a check.

[FryeDwight]

2001 is an absolute classic; I feel it is the best Science Fiction film ever made


THE NAME OF THE GAME IS KILL! (1968). A couple of years before HAWAII FIVE-O, Jack Lord plays a Hungarian drifter who is picked up in the Arizona desert by Susan Strasburg and taken to meet her family, who are truly not a traditional sort and I found a lot of similarities to SPIDER BABY as the story progressed. Not great, but not bad either, although the final wrap up I found less than satisfactory. ***

[Tommy Jarvis]

The Kiss of the Vampire 1963 ★★★★

Excellent Hammer flick about vampires and cults.

The opening has you immediately set up with a solemn funeral and then,...I say, that was a bit rude.

Noel Willman looks a bit like Christopher Walken before there was such a thing. I also like how innocent the main couple look. The lady/damsel in distress at first has an odd looking expressionless face that makes sense once she is captured and bitten. I also like how the cult lures the husband away by getting him nicely hammered (pun intended).

Good wholesome Hammer fun. Looking forward to seeing more.

[FryeDwight]

THE HYPNOTIC EYE (1960). >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>>>SPOILERS>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

An absolutely boffo opening (very much like HORRORS OF THE BLACK MUSEUM) quickly becomes tedious (see last parenthesis) as an incredibly dense detective (He probably would have trouble finding a Dunkin' Donuts) is investigating a series of lovely women killing themselves in horrible ways and the common denominator for all of them involves them visiting a hypnotist (incredibly dismal sort) whose lovely assistant Alison Hayes-the main reason I watched- picks out volunteers from the audience.

This had potential to be pretty good and it just doesn't take advantage of the plot point and although the ending is kind of tough, there really should have been a back story of how and why; it truly might have helped. **

[TaeKwonZombie]

Had to rewatch one of my favorite classics House On Haunted Hill (1959)

[TaeKwonZombie]

House of Wax (1953)

[TaeKwonZombie]

The Island of The Lost (1921) I managed to watch a colorized/music version of this German silent film of the classic Dr. Moreau story. I get to see more makeup effects of half human beasties and their misery. I started off with the 1996 version, I am gonna continue this viewing adventure with the 1932 version next. I like everything I've seen so far.

[TaeKwonZombie]

Island of Lost Souls (1932)

"That is the law! " , This is the classic one people usually mention. I definitely liked it, but its the least favorite of the three so far for me.

[FryeDwight]

NIGHT OF THE BIG HEAT (1968)-also known as ISLAND OF THE BURNING DAMNED/ISLAND OF THE BURNING DOOMED>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>SPOILERS>>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

This has the feel of a Hammer movie, especially with Chris Lee and Peter Cushing. Both are good, especially Chris as a secretive scientist; honestly, NO ONE could display annoyance as well as Chris.

While England is freezing during a brutal winter, an island off the coast is experiencing almost tropical heat with mysterious deaths/occurrences happening.
Adding to the fun is the arrival of a secretary for Patrick Allen who is a book writer/hotelier; the two know each other, but not in a "Get-A-Cup-Of-Coffee" sort of way. While He wants her to leave, He also can't seem to keep his hands off her Not that I can blame him-Jane Merrow, who was in THE LION IN WINTER later this year-is as hot as fresh owl shit::love::.

Eventually, the cause of the heat is discovered and honestly, it's sort of anti-climatic. The real draw here is how adult some of the situations are handled in a film probably marketed for pre-teens. Allen calls Jane a "slut" more than once and when his wife finds out about hubby had an affair and asks why, she is told "Because I wanted her body!" and how is was "..physical". Oddly enough, she seems to forgive him for his adultery ; maybe because there was no emotional attachment-??::confused:: ***

PS: One could almost see this as decades old warning on Global warming.

[FryeDwight]

MAN BAIT (1952-also known as THE LAST PAGE). Early Hammer film in conjunction with Lippert Productions who would have a faded star to appeal to American audiences. In this case, it's George Brent (DARK VICTORY) who runs a book store and finds problems with one of his employees who isn't as worldly or smart as she thinks. There are quite a few plot holes -do these people think ahead-but certainly worth a look and although she isn't in it very long, Diana Dors (given an "Introducing" title, although she had made several films before this) is pretty good as the hot Lolita-ish doxy who gets in over her head with lots of twists and turns due to her behavior. And it's nice seeing all those familiar Hammer names in the credits, some years before they started hitting the big time. ***

[Sculpt]

Island of Lost Souls (1932)

"That is the law! " , This is the classic one people usually mention. I definitely liked it, but its the least favorite of the three so far for me.

I saw the 1996 version, which was a bit odd, and sort of lacked urgency, but Island of Lost Souls 1932 I consider a classic horror. The scene when the dude finds out the chic he was courting is half animal... horror. And the morals of Doctor Moreau is extremely chilling, and reminiscent of horror nasi Dr Josef Mengele.

[FryeDwight]

Never seen the other ones, but Island of Lost Souls 1932 I consider a classic horror. The scene when the dude finds out the chic he was courting is half animal... horror. And the morals of Doctor Moreau is extremely chilling, and reminiscent of horror nasi Dr Josef Mengele.

Very true...one of the Maddest scientists ever.


TORTURE GARDEN (1967). Amicus Anthology film of a group of people who go into the tent of "Dr Diablo" for a view of a possible future. While it's not the best anthology the studio ever made-TALES FROM THE CRYPT, ASYLUM and THE HOUSE THAT DRIPPED BLOOD are much better-it's not bad on it's own terms, although the first story is way too long. An early performance by Barbara Ewing (Zena from DRACULA HAS RISEN FROM THE GRAVE) and the final story with Jack Palance and Peter Cushing is pretty good. ***

[Sculpt]

Earth vs. the Flying Saucers (1956)
10/10

My first time seeing the film. I wouldn't change anything. Very nicely shot, full sets, effective special effects, well-acted, invisible score. The main characters display sweet attachments to each other, just enough to give the sci-fi story some gravity. Flim has a natural varied pacing, never feels like it's dawdling or trying too hard.

It's an interesting peek as a period piece too, regarding space satellites, UFO attitudes, distrust of aliens and military chain of command (the latter being timeless).

It's also a bit funny, in a mildly frustrating way, the way everyone deals with contact and the possibility of relations with space aliens. It doesn't seem self-aware of its own 'shoot first ask questions later' attitude.

--== SPOILERS ==-- How would you deal with technologically superior immigrants?

The main character, Dr. Marvin, a recently married rocket or satellite scientist, and the military brass, have a rather close-minded uncompromising approach to the space immigrants. They want to meet with US leaders in Washington, DC, but aren't allowed to. They say they're survivors from a disintegrated solar system, hanging out on the Moon, there's only a few of them (less than 100 apparently) and have worked out a nonviolent agreement with earth folks in the past.

When Marvin says he can only ask his leaders to set up a meeting and thinks it may take weeks or months to setup (wow, he's out of touch!), the aliens destroy a US destroyer and tells Marvin to relay the coordinates to show they aren't gonna read a magazine in the waiting room. The aliens also captured a General and feed his brain info into their computer, making him a radio-controlled mouthpiece, but also said they would return him, I assume they meant restored to normal, but they didn't specify. So, the aliens don't have much respect for human life, and they also said they don't want to fight a protracted insurgency.

Without meeting with the aliens to see what sort of arrangement they have in mind, Marvin, and apparently the military brass, decide they'll just try to wipe them out with the 56 days the aliens graciously give them to set up a meeting. The film never mentions anything about the President or Congress, which is weird.

Personally, I would have met with them to see what they're situation is, while making all plans for defense. I mean, they probably don't eat much. And if they've made peaceful arrangements in the past, maybe they just want a few bags of coal, relax to some Benny Goodman records and stay on the Moon. Might be worth thousands of lives and millions in reconstruction costs to offer some hospitality, get to know your neighbor and see if they can setup prosperous cooperation. ::big grin:: Thoughts?

[FryeDwight]

Earth vs. the Flying Saucers (1956)
10/10

My first time seeing the film. I wouldn't change anything. Very nicely shot, full sets, effective special effects, well-acted, invisible score. The main characters display sweet attachments to each other, just enough to give the sci-fi story some gravity. Flim has a natural varied pacing, never feels like it's dawdling or trying too hard.

It's an interesting peek as a period piece too, regarding space satellites, UFO attitudes, distrust of aliens and military chain of command (the latter being timeless).

It's also a bit funny, in a mildly frustrating way, the way everyone deals with contact and the possibility of relations with space aliens. It doesn't seem self-aware of its own 'shoot first ask questions later' attitude.

--== SPOILERS ==-- How would you deal with technologically superior immigrants?

The main character, Dr. Marvin, a recently married rocket or satellite scientist, and the military brass, have a rather close-minded uncompromising approach to the space immigrants. They want to meet with US leaders in Washington, DC, but aren't allowed to. They say they're survivors from a disintegrated solar system, hanging out on the Moon, there's only a few of them (less than 100 apparently) and have worked out a nonviolent agreement with earth folks in the past.

When Marvin says he can only ask his leaders to set up a meeting and thinks it may take weeks or months to setup (wow, he's out of touch!), the aliens destroy a US destroyer and tells Marvin to relay the coordinates to show they aren't gonna read a magazine in the waiting room. The aliens also captured a General and feed his brain info into their computer, making him a radio-controlled mouthpiece, but also said they would return him, I assume they meant restored to normal, but they didn't specify. So, the aliens don't have much respect for human life, and they also said they don't want to fight a protracted insurgency.

Without meeting with the aliens to see what sort of arrangement they have in mind, Marvin, and apparently the military brass, decide they'll just try to wipe them out with the 56 days the aliens graciously give them to set up a meeting. The film never mentions anything about the President or Congress, which is weird.

Personally, I would have met with them to see what they're situation is, while making all plans for defense. I mean, they probably don't eat much. And if they've made peaceful arrangements in the past, maybe they just want a few bags of coal, relax to some Benny Goodman records and stay on the Moon. Might be worth thousands of lives and millions in reconstruction costs to offer some hospitality, get to know your neighbor and see if they can setup prosperous cooperation. ::big grin:: Thoughts?

Hi Sculpt,

WOW!::big grin:: You sure put lots of ideas out thee. I think Your idea is a god one; see what they want, but with a Plan B invoiced. Also, maybe some Artie Shaw albums instead? It's been awhile since I saw this...good, as I recall, with amazing HArryhausen work.

FACE OF THE SCREAMING WEREWOLF (1959/1964). Yet another Mexican film acquired and shaked/baked by Jerry Warren into an oddball mess. A Mummy is found in Mexico and it's soon discovered that the Mummy is also a Werewolf! The big plus or FOTSW is Lon Chaney playing two of his 1940's Universal creations. Sadly, Lon looks horrible here-his disease was truly taking a toll- and has no dialogue. But, I must say, his werewolf makeup is decent and he's appropriately ferocious. Worth one look, at least, but really only one. **

[FryeDwight]

ROAD TO RUIN (1934). Short tawdry "Pre-Code" exploitation ( directed by Dorothy Davenport, listed here as "Mrs Wallace Reid"' Mr Reid was an actor in the early years of cinema becoming addicted to morphine and dying of influenza) about a "new Girl" at a school (implied very heavily that she is a "Good Girl") that gets involved with the "Wrong Crowd" and succumbing to "Peer Pressure". This starts with a first cigarette, drinking and romance with a cute boy before leading to drug addiction and promiscuity which doesn't foretell a happy future. A low budget hurts it somewhat, but pretty audacious and at barely an hour on YOUTUBE, it's worth a look. **1/2

[Sculpt]

THEM! (1954)
8/10

Atomic blasts in the Arizona desert enhanced some dangerous pests. Top-of-the-shelf Hollywood atomic-age sci-fi thriller with a virtual whose-who cast, right down to a Leonard Nimoy in a bit part. THEM! has attention to detail to take the story out a ways. The dialogue dances with inspirited performances. Nice cinematography, effects and pace. The only thing missing is a couple of change-of-pace scenes to develop the story's romantic partners. Makes me wonder if they're on the cutting room floor.

[FryeDwight]

THEM! (1954)
8/10

Atomic blasts in the Arizona desert enhanced some dangerous pests. Top-of-the-shelf Hollywood atomic-age sci-fi thriller with a virtual whose-who cast, right down to a Leonard Nimoy in a bit part. THEM! has attention to detail to take the story out a ways. The dialogue dances with inspirited performances. Nice cinematography, effects and pace. The only thing missing a couple of change of pace scenes to develop the story's romantic partners. Makes me wonder if they're on the cutting room floor.
THEM! truly is a great film, probably the best of the "Bug" films of the 50's although I'm quite fond of TARANTULA as well. I have THEM! on a double feature disc with THE BEAST FROM 20, 000 FATHOMS.

[FryeDwight]

HORROR OF DRACULA (1958). Very fond memories of HOD; how it scared the hell out of Me some 50 years ago (Halloween of '73 on a big screen-but how I loved it) and re-watching it yesterday, how it's still a good looking entertaining film with some cool moments and a still banging wrap up. Also, Peter Cushing and Christopher Lee are both aces here, especially Peter handling every prop in sight and being so physical-I love how He leaps over the banister to check out the commotion! Michael Gough is prickly and unpleasant as usual, but really good acting, especially when Lucy is done in...his anguish is quite convincing. A couple of questions are why didn't Van Helsing stay with Lucy himself (the old adage, "If You want something done right, Do it Yourself") and why do both Lucy and Mina call him "Dr Helsing"?

>>>>>>>>>>>>>>>>>>>SPOILER>>>>>>>>>>>>>>>>>>>>>>>>

A BIG question for Me, especially after this last viewing is how UNPREPARED Jonathon Harker is when going to the castle in order to kill Dracula...no crucifixes (I would have them all over Me, even in my socks) or other protection, why He doesn't dispatch Dracula first instead of the Vampire girl -the look of terror on his face as He realizes his error is quite convincing- and what possesses him to engage in physicality with the Count after the girl puts the bite on him-talk about a Death wish!

Minor quibbles and should not deter from checking HOD out. Also, in a review of BRIDES OF DRACULA, I mentioned Andree Melly as "The ultimate Vampire Chick", while Andree is scary, she can't compare to Valerie Gaunt, who is way scary, quite feral and WAY hot...as pointed out on 1000 MISSPENT HOURS, the amount of bountiful cleavage Valerie shows is quite mind boggling for a 50's movie! ****

[Tommy Jarvis]

Dr. Jekyll and Mr. Hyde 1920 ★★★★

One thing to keep in mind about these old timey classics is that every positive sentence should be preceded by the words “by the standards of *insert year or decade*”. This is one of the oldest horrors ever, if not the oldest. So that goes even more.

Nonetheless, I thoroughly enjoyed it. Ye old timey English – that somehow seemingly lends itself more to this type of epic drama – or the interesting way the score balanced strings for the more ominous and eerie moments and the piano in the more lighthearted and/or melodramatic parts. Around the first time Jekyll changed into Hyde, I heard snippets that would not be out of place on a post rock album. Would not mind a screening with live music provided by, I don't know, 65 days of static or Sigur Ros or some other good band I forgot to mention.

This goes well with the tragic figure that Jekyll was. A well meaning soul with kindness in his heart, whose curiosity as a scientist became his undoing. Shedding his kindness when Hyde, going even as far as killing people. Even though the death toll is not all that high in this movie. Separate mention for the scene where Hyde's ghost takes over Jekyll's body. Wondering how they did that with the technology of the time.

Two downsides: It's pretty slow and you have to stay focused because the pancartes with the dialogue and the exposition do not always leave you much time. Granted, this is coming from someone with English as their second language. But still, heads up for the more ADD prone among the native speakers.

I loved it. Make of it what you will.

The Last Man on Earth 1964 ★★★★

A shot of Vincent Price's voice and a classic from the sixties. Because I can and because I felt like it.

[Tommy Jarvis]

Sweeney Todd: The Demon Barber of Fleet Street 1936 ★★★

Most people (including myself) mostly know this film in te version Tim Burton made. So it was a pleasant surprise to see this 30s version pop up. And on Netflix of all places.

This movie has all the charm that a vintage horror can bring to table. Sweeney Todd convincingly portrayed as a psychopath, with his barbershop chair trap looking pretty spectacular, especially at first sight. The English spoken in that era, aka the type that Americans often parody when they think of jolly ol' England.

The story manages to keep a solid pace and never really lags all that much. Maybe not mindboggling, but a fun watch for those who are starting to explore vintage horror.

[FryeDwight]

BEAST WITH A MILLION EYES (1955). >>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>SPOILERS>>>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> An early AIP before they became AIP. BWAME focuses on a combative financially struggling family, raising dates in the desert, far from the nearest town. Paul Birch (THE DAY THE WORLD ENDED) also has to deal with an unhappy complaining wife (Lorna Thayer who was in a lot of films, particularly as The Waitress in FIVE EASY PIECES)-the women is so fussy, You could almost dub her "The Beast With A Million Whines". The wife also squabbles a lot with their daughter (whose voice sounds a lot like Rocky J Squirrel) and she's not crazy about their mentally deficient handy man-only referred to as "Him"-who has a ton of pin-ups in his living quarters and seems to take an unhealthy interest in the daughter, especially by the swimming hole.

A UFO flies over their house crashing somewhere in the desert and odd things begin occurring such as animals turning vicious and "Him" trying to harm the family. It turns out the Alien of the ship (who is less than impressive with You see him) has taken control of all the local animals and less intelligent people, giving him unlimited views, hence the "Million Eyes"

It's goofy, no two ways about it, but a certain inept charm and a larger budget might have helped-also an early appearance by Dick Sargent, the second "Darrin" from BEWITCHED. **1/2

[FryeDwight]

WAY DOWN EAST (1920). Another silent movie with live musical accompaniment at our favorite theater/concert venue. Lillian Gish is a young country girl who goes to visit some wealthy relatives, meets a guy who marries her after a whirlwind courtship, then dumps her like a hot potato when she is pregnant, revealing the marriage was a sham (Quite an intricate way to get nookie, I must say). Of course, She has to deal with the social stigma and shame from her situation and even a chance at happiness may be thwarted because of that. A pretty exciting ending , filmed in Upper New Hampshire and Vermont. ****

[FryeDwight]

Sweeney Todd: The Demon Barber of Fleet Street 1936 ★★★

Most people (including myself) mostly know this film in te version Tim Burton made. So it was a pleasant surprise to see this 30s version pop up. And on Netflix of all places.

This movie has all the charm that a vintage horror can bring to table. Sweeney Todd convincingly portrayed as a psychopath, with his barbershop chair trap looking pretty spectacular, especially at first sight. The English spoken in that era, aka the type that Americans often parody when they think of jolly ol' England.

The story manages to keep a solid pace and never really lags all that much. Maybe not mindboggling, but a fun watch for those who are starting to explore vintage horror.


I have to check this out, especially with Tod Slaughter in the role.

Speaking of Tod....

FACE AT THE WINDOW (1939). A series of "wolf man " murders are taking place around Paris which always involve a hideous face at the window. A Bank Clerk is accused of one of the murders and takes intricate steps to clear his name, while a possible investor for the Bank seems to make his mission to frame the clerk for the crimes.

This British film has that threadbare look and uneven acting that was evident during the time. The main interest here is Tod Slaughter who is delightfully hammy, wicked and possessing one of the most evil laughs You'll ever hear::big grin::! You'll probably guess the wrap up, FATW is worth seeing because of Slaughter's performance. SINISTER CINEMA once said that "...No one ever had as much fun being bad as Tod" and it certainly has an element of truth. **1/2

[Sculpt]

The Last Man on Earth 1964 ★★★★

A shot of Vincent Price's voice and a classic from the sixties. Because I can and because I felt like it.

One of my favorite Price films along with Haunted Hill and Laura. Arguably one of the first modern zombie films, except they're declared vampires.


Son of Kong (1933)
6/10

It's a one-hour film that's really kid friendly. There's a sweetness to the main characters. They don't get back to Skull Island until the film is more than half over. The white colored child of Kong, Little Kong, does funny things and makes funny faces.

The stop-motion is done by Willis O'Brien, same artist who did the work in the original King Kong. Little Kong fights three beasts, but it all seems unnecessary, and not particularly dynamic, you just have to wait for it to be over.

SPOILER
I saw Son of Kong as a child. The ending pulled my heart strings when Little Kong lifted the protagonist over his head out of the flood waters as Little Kong drowns. Watching it this second time, I did pick up something new... which is Little Kong got his foot caught in the rocks, that's why he drowned. As a child I just thought Little Kong wasn't tall enough to have his head out of the water and was just concerned with saving the man's life. Getting the foot caught is a novel solution to seeing Little Kong drown, as he wouldn't have fit on the small lifeboat the protagonist got into to survive the flooded island.

[FryeDwight]

One of my favorite Price films along with Haunted Hill and Laura. Arguably the first modern zombie films, except they're declared vampires.


Son of Kong (1933)
6/10

It's a one-hour film that's really kid friendly. There's a sweetness to the main characters. They don't get back to Skull Island until the film is more than half over. The white colored child of Kong, Little Kong, does funny things and makes funny faces.

The stop-motion is done by Willis O'Brien, same artist who did the work in the original King Kong. Little Kong fights three beasts, but it all seems unnecessary, and not at all dynamic, you just have to wait for it to be over.

SPOILER
I saw Son of Kong as a child. The ending pulled my heart strings when Little Kong lifted the protagonist over his head out of the flood waters as Little Kong drowns. Watching it this second time, I did pick up something new... which is Little Kong got his foot caught in the rocks, that's why he drowned. As a child I just thought Little Kong wasn't tall enough to have his head out of the water and was just concerned with saving the man's life. Getting the foot caught is a novel solution to seeing Little Kong drown, as he wouldn't have fit on the small lifeboat the protagonist got into to survive the flooded island.
LAST MAN ON EARTH is really good and one of my favorite Vincent films as well.

I was nine when I saw SON OF KONG and the ending got Me as well; it wasn't until I got it on VHS in the 80's that I noticed poor Little Kong got stuck. While I still enjoyed the stop motion work, SOK is pretty juvenile...I almost groaned when He shrugs and makes a face::shocked:: It's OK, but can't compare in any way to KING KONG.

THREE IN THE ATTIC (1968). I had never heard of this AIP film other than it was a big grosser for them that year. Christopher Jones plays a womanizing College Student who, while involved in a (somewhat) committed relationship with Yvette Mimieux , He also finds time and energy to bed two other women -Judy Pace - BRIAN'S SONG, COTTON COMES TO HARLEM and FROGS- and Maggie Thrett-some STAR TREK episodes and dating Gram Parsons-, swearing fidelity to all of them. Somehow, He manages to juggle all relationships and brag about it to his Fraternity Brothers.
However, He is found out and after being lured to an attic, bound to a bed and as "punishment", being screwed by the three women constantly-that's some punishment::roll eyes::. Eventually, the school lists him as a missing student and efforts are made to find him.

While the three ladies are fine (especially Judy Pace), their actions could be construed as kidnapping and rape. But the guy is such a jerk; a good beating is more of what he deserves.

So, a tiresome "hip" movie that really hasn't held up at all. *1/2

[FryeDwight]

BLOOD MOON (1934). >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>>>>>SPOILERS>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> A young girl, whose parents were killed during a voodoo ritual on an island (a different name, but I'm pretty sure it's supposed to be Haiti) returns in adulthood with her daughter and nanny to live with an uncle who is a long time resident there. The woman's husband and his secretary (who is secretly in love with him) travel to the island and find the wife heavily involved in voodoo rituals. Bad things happen to people who try to limit the wife's commitment including actions that veer into another realm entirely.

If You think this sounds A LOT like I WALKED WITH A ZOMBIE (made 8 years later) than You wouldn't be half wrong. Still, not a bad way to spend a hour plus and I always like watching Fay Wray (KING KONG); this was her last film in the "horror" genre and VM was released a couple of weeks before "The Code" was implemented, meaning a lot of the more sordid aspects in movies would be seriously toned down or deleted. With what looks like a low budget, director Roy William Neill (the Universal Sherlock Holmes series, THE BLACK ROOM and FRANKENSTEIN MEETS THE WOLFMAN) does a decent job. **1/2

[FryeDwight]

A LUST TO KILL (1958). Somewhat formulaic Western about two childhood best friends going on different paths-one to a life of crime (Don Megowan, mostly played monsters and who is a cross between Lee Marvin and Lon Chaney Jr as the sadistic hateful outlaw) and as a Lawman (Jim Davis, best known for TV's DALLAS). One of my favorites Allison Hayes is here, but not much to do, although, as per usual, she is lovely. It moves well enough to hold Your interest, although the ending can give You an "EWWWW" moment::big grin::. ***

[Tommy Jarvis]

Bloodlust! 1961 ★★½

This early sixties feature follows two couples with a lot of fifties in them. Kind of like the Cunninghams but, instead of the Fonz, their captain is the rummy from the opening scene from A Clockwork Orange. They find a seemingly abandoned island

Gosh dear, isn't this lovely?
Oh darling, it's wonderful.

only to end up being chased by a Vincent Price facsimile who tries to kill them with a crossbow for a place in his own private collection. Don't you just hate it when that happens?

The villain looks cool, but take away mister Price's charm, cool and charisma, and any actor imitating him will soon become cartoony. Which kind of makes it funny in its own way. Just like the predictable ending for the infidelity subplot or the henchman almost killed half off screen.

For people in the mood for a bit of cheese.
Or for people with not enough for a feature length, but still looking for an hour's worth of fun.

[FryeDwight]

QUATERMASS 2 (1956). Sci-fi from Hammer Studios with Brian Donlevy reprising his role as the brusque scientist intent on Space Colonization goes to investigates a large number of meteorites all landing in the same area. Investigating with a colleague, He discovers a large governmental building and finds there is more than meets the eye.

Nothing Earth shattering, but not a bad way to spend some time, especially spotting all the Hammer names that would become familiar to Monster Kids as the studios fortunes increased. ***

[Tommy Jarvis]

QUATERMASS 2 (1956). Sci-fi from Hammer Studios with Brian Donlevy reprising his role as the brusque scientist intent on Space Colonization goes to investigates a large number of meteorites all landing in the same area. Investigating with a colleague, He discovers a large governmental building and finds there is more than meets the eye.

Nothing Earth shattering, but not a bad way to spend some time, especially spotting all the Hammer names that would become familiar to Monster Kids as the studios fortunes increased. ***

I enjoyed part 1. Should check this one as well.

[Tommy Jarvis]

Cry of the Werewolf 1944 ★½

Off screen kills, little or no special effects, lots of theatrical and seemingly aimless yapping.

It's not good when one the more interesting scenes just remind you of Harry Dean Stanton in Alien.

Guess they can't all be zingers.

Vertigo 1958 ★★★★★

Thanks to the local art house theater for putting this gem on their classics program.

We got an introduction during which a person told us a few bits and bobs about the techniques used during the shooting and how they proved to be revolutionery. Like what later became as The Vertigo Zoom or the dizzying effect when Scotty suffers a vertigo episode. Cinematic brilliance.

And yes, I love this movie and my appreciation has only gone up from the previous viewing. A masterpiece of storytelling with excellent acting from both James Stewart and Kim Novak. During Madelleine's descent into madness and afterwards during the later twists. Though, in my opinion, Midge was the most likable character in the film. Makes me wonder how much the perception of the female characters in Vertigo shifted over the years.

At this point, I am a bit on the fence about the ending. From the introduction, I understand James Stewart's criticised the film for being too perverse and too somber; and yes, the ending is somewhat dark, with the main antagonist escaping scotfree. Then again, I would imagine that happy endings were so par for the course that you could also consider it as daring to go against the grain.

Sadly missed the shot where Hitch inserted himself into the movie. So a rewatch is due sooner or later. As if it would not be anyway.

[FryeDwight]

THE WORLD OF THE VAMPIRES (1960). Very cheesy Mexican horror film dubbed into English, that nonetheless is a fun little romp. If nothing else, a lot of their films had good atmosphere and certainly are fun if taken in the right spirit. TWOTV concerns a Count Subotai seeking revenge on the descendants of an enemy family. He loves playing music on a huge organ with lots of bones and like most Mexican vampires, has canines that are enormous. Oddly enough, there are some musical pieces which can cause serious harm and one scene where He attends a party and the nominal "hero" plays a piece, the look of distress on his face is pretty funny...it looks like He's having a bathroom attack! ***

[FryeDwight]

THE WASP WMAN (1960). Roger Corman (RIP) quickie that while very low budget is better than it sounds, although the titular feature is less than impressive. An aging head of a Cosmetics Firm-probably two firsts in a film of this type; a Woman is in charge and the emphasis on her normal aging could be responsible for declining sales- lets herself be a Guinea Pig for a scientist's experiments with Wasp jelly (although You tend to see a swarm of bees instead::confused) to rejuvenate her appearance. Things start off well, but it only lasts so long and typical of most people (not just a woman), She wants results yesterday and things quickly go FUBAR. Good performance by Susan Cabot in her last film. ***

[Tommy Jarvis]

Vertigo 1958 ★★★★★

Thanks to the local art house theater for putting this gem on their classics program.

We got an introduction during which a person told us a few bits and bobs about the techniques used during the shooting and how they proved to be revolutionery. Like what later became as The Vertigo Zoom or the dizzying effect when Scotty suffers a vertigo episode. Cinematic brilliance.

And yes, I love this movie and my appreciation has only gone up from the previous viewing. A masterpiece of storytelling with excellent acting from both James Stewart and Kim Novak. During Madelleine's descent into madness and afterwards during the later twists. Though, in my opinion, Midge was the most likable character in the film. Makes me wonder how much the perception of the female characters in Vertigo shifted over the years.

At this point, I am a bit on the fence about the ending. From the introduction, I understand James Stewart's criticised the film for being too perverse and too somber; and yes, the ending is somewhat dark, with the main antagonist escaping scotfree. Then again, I would imagine that happy endings were so par for the course that you could also consider it as daring to go against the grain.

Sadly missed the shot where Hitch inserted himself into the movie. So a rewatch is due sooner or later. As if it would not be anyway.

[Tommy Jarvis]

The Raven 1963 ★★★★

Roger Corman took the classic Edgar Allen Poe story and turned it into a more slapstick like comedy.

It worked brilliantly. All stars do a great job (Vincent Price can quite funny) and it was fun seeing a young Jack Nicholson come by.

Also, I kind of hope there is an audiobook version of mister Price reading the original text by Poe.

[Tommy Jarvis]

*delete*

[FryeDwight]

CORRIDORS OF BLOOD (1958, although there have been release dates as late as 1962). Boris Karloff is very good as an eminent surgeon who in the 1850's is trying desperately to find a way to sedate patients during surgery so no pain will be involved-kind of grim settings and a realization that "surgery" normally meant amputation or severe agony. He experiments with several chemicals until He finds a solution that works; unfortunately, He has ended up being addicted to his experimental elixir and having to associate with people He normally would cross the street to avoid. Lots of Hammer people in here including a very seedy Christopher Lee, a very young and lovely Yvonne Romain (CURSE OF THE WEREWOLF) and Francis Matthews (REVENGE OF FRANKENSTEIN and DRACULA, PRINCE OF DARKNESS). ***

[Tommy Jarvis]

Quatermass 2 1957 ★★★

This sequel to the cult classic Quatermass delves a bit deeper into the horror and the scarier parts. That makes it more of a fun watch, seeing how they now have more of a budget for special effects.

Of course, it's still a fifties flick, so the effects are not up to the standards that were developed in the seventies. But it is in a way interesting to see how Hammer are dveeloping their craft, thus going into the genre powerhouse they later would become.

Side note: The way a lot of these people talk is the stereotypical cliché a lot of people have in mind when they think of Britain. Shown in the obliviousness when Quatermass first encounters the invaders. I say, old chap, what's all this then?

A fun watch and available on YT for those interested.

[FryeDwight]

PHANTOM FROM 10,000 LEAGUES (1955). Last film from ARC studios before they became AIP and made their name with films like this, many made with low budgets, but better than You would think. Something is killing people offshore and scientists as well as people with different agendas trying to solve the problem. There are many funny lines (no doubt, unintentional) and it dawned on Me that many of the people in the film wear the same outfit throughout::shocked:: and how one character goes by the nom deplume of "Ted Baxter" -all I could think of was THE MARY TYLER MOORE SHOW, and there's even a Mr Grant too! While it's not a bad little film in its way, it loses a lot by one of the WORST looking monsters imaginable and loses even more by showing it early::confused::::confused::? **1/2

[FryeDwight]

WAR OF THE SATELLITES (1958). Roger Corman quickie about a space program attempts in reaching a certain point in the galaxy and hopefully not be destroyed as the past several have. The special effects are so-so, but interesting how Corman got this made and released barely two months after SPUTNIK and I could swear it's ol' Roger himself reading reports. Very nice seeing that reliable character actor Dick Miller get top billing and also a good performance by Susan Cabot (THE WASP WOMAN herself) who looks lovely here. **1/2

[FryeDwight]

CRY OF THE WEREWOLF (1944). I had never really heard anything good about this Columbia Pictures effort, but it's better than I thought it would be. The Griffin Jay (He wrote many 40's Mummy scripts for Universal, CAPTIVE WILD WOMAN and RETURN OF THE VAMPIRE) story involves a home that used to be owned by a gypsy werewolf woman has been turned into a haunted attraction and laboratory. Some murders occur and it's up to the local police (led by always abrasive Barton McClain and low IQ cops) and the murdered victims son and his bride to be. Meanwhile, there is a nearby gypsy camp nearby who is not happy with this investigation...

Some good mood and atmosphere here with elements of THE WOLF MAN and screenwriter Jay was definitely influenced by the Val Lewton films of that time; You would almost swear You were watching CAT PEOPLE in parts. Nina Foch, Blanche Yurka and lovely Osa Massen are solid, but our leading man "Bob" is a pompous pendantic jerk and You're hoping something bad happens to him. In real life, something did. "Bob" is played by Stephen Crane who left show biz to become a restauranteur, married Lana Turner (twice) and was the father of her daughter who ending up shooting Lana's abusive gangster boyfriend in the late 50's. ***

[FryeDwight]

CRY OF THE WEREWOLF (1944). I had never really heard anything good about this Columbia Pictures effort, but it's better than I thought it would be. The Griffin Jay (He wrote many 40's Mummy scripts for Universal, CAPTIVE WILD WOMAN and RETURN OF THE VAMPIRE) story involves a home that used to be owned by a gypsy werewolf woman has been turned into a haunted attraction and laboratory. Some murders occur and it's up to the local police (led by always abrasive Barton McClain and low IQ cops) and the murdered victims son and his bride to be. Meanwhile, there is a nearby gypsy camp nearby who is not happy with this investigation...

Some good mood and atmosphere here with elements of THE WOLF MAN and screenwriter Jay was definitely influenced by the Val Lewton films of that time; You would almost swear You were watching CAT PEOPLE in parts. Nina Foch, Blanche Yurka and lovely Osa Massen are solid, but our leading man "Bob" is a pompous pendantic jerk and You're hoping something bad happens to him. In real life, something did. "Bob" is played by Stephen Crane who left show biz to become a restauranteur, married Lana Turner (twice) and was the father of her daughter who ending up shooting Lana's abusive gangster boyfriend in the late 50's. ***

[FryeDwight]

I was in error...Lana's daughter Cheryl actually stabbed Johnny Stomponato (Lana's beau) which led to his death. The stabbing may have been more accidental as Cheryl was trying to protect her mother. It's a pretty interesting True Crime story.

[FryeDwight]

STARK FEAR (1962). Very lurid noir with Beverly Garland (a long time favorite and lovely here) married to the world's biggest asshole, one using mental and physical cruelty to his advantage, but Bev determined to "Stand By Your Man"-the woman has some serious esteem issues! Her trying to help him ends up with dire consequences and with Hubby even sinking lower. Kind of odd, but not too bad and it also has good ol' Kenneth Tobey along being the stud muffin He usually seemed to be. **1/2

[FryeDwight]

THE INDIAN TOMB (1959). This was the sequel to TIGER OF ESCHNAPUR, the first of the Fritz Lang "Indian Epics", but there is a brief prologue which will bring You up to speed. Taking place in India, the fiancee of a Maharaja runs off with a German architect. Both are caught and while the spurned ruler is planning to have his woman entombed, the architects relatives arrive to help him, while the brother of the ruler is planning a coup. It seems a lot to digest, but it's easy to follow the story and its quite rousing. In fact, it seems quite a bit of TIT was used for INDIANA JONES AND THE TEMPLE OF DOOM. The only name performer I recognize is Debra Paget; while she really doesn't look East Indian, she is quite appealing, especially in one scene that I'm amazed wasn't cut out, especially in this country. She performs a "Snake Dance" with the most bogus cobra You will ever see, but she literally is wearing next to nothing and You can actually see her leg muscle ripple. Quite steamy stuff and on a fan forum, someone mentioned how She became a Born Again Christian in the early 60's, probably knowing she caused many viewers to engage in "sinful" acts::big grin::. ***

[FryeDwight]

THE HAUNTED STRANGLER (1958). Wildly uneven convoluted film dealing with a novelist/social reformer trying to clear the name of a man hung for murders twenty years previously and going to overly excessive means to do so. While the opening is good; the execution is treated as if it were a public spectacle and some extreme tawdriness throughout; lots of cleavage including a closeup of a woman's dress soaked in champagne and being referred to as a "bitch:, the story just fails to hold our interest, even with Boris Karloff in the lead. He is incredibly hammy with a case of self flagellation even Lon Chaney Jr in THE INNER SANCTUM films couldn't pull off. More bland support is offered by Elizabeth Allen, known for MARK OF THE VAMPIRE as his whiny wife. For Karloff completeists and not much more. **

[FryeDwight]

DESTINATION INNER SPACE (1966). If You go into this expecting a Filet Mignon, You will be disappointed, But if all You want is a big juicy hamburger, You will probably enjoy DIS. An underwater sea station finds a wrecked space ship underwater and one of the crew foolishly brings back a cylinder which expands and a snarling monster pops out. There is also the pre-requisite love triangle and Science aspiration to study the monster.

Very very cheesy;;;the sets are so low budget;You would swear You are looking at bathtub toys and the monster looks like, as CREEPY CLASSICS rightfully said, "A cross between a Christmas tree and The Creature From The Black Lagoon!"

So nothing earth shattering, but worth a look. And while watching, I could have sworn I had seen the plot somewhere else and it was-a-couple-of years-in-the-making THE GREEN SLIME. **1/2

[FryeDwight]

STRANGLER OF THE SWAMP (1946). Very very low budget, yet atmospheric PRC quickie. Accused of a crime He didn't commit, a Ferry operator is executed. Hisvghosts prowls around the (quite small) swampy area, bumping off those who wronged him as well as relatives. A new Ferry Operator-a Young woman tries to save her boyfriend, whose father was involved in the crime and a pretty decent wrap-up.

Only people I know of here are Rosemary LaPlanche (Miss California for three years running and Miss America before putting her lovely self into films) and Blake Edwards as her boyfriend. After a few roles, Blake decided to change occupations , becoming more involved in the technical side, eventually directing movies such as BREAKFAST AT TIFFANY'S, DAYS OF WINE AND ROSES, THE PNK PANTHER, S.O.B. and VICTOR/VICTORIA and marrying Julie Andrews. ***

[FryeDwight]

THE OMEGANS (1968). One of the first leading roles for Ingrid Pitt, who a couple of years later tasted big success via Hammer and other studios. She's an unhappy wife married to a much older painter, who travels around the world painting and earning big bucks for his work. She has a lover and they conspire to kill hubby after enough money comes, but unfortunately for them, the Husband gets wind of their plans and undertakes a somewhat nasty revenge; almost COUNTESS DRACULA in reverse.

Ingrid is luscious here, but film isn't much; suffering from pedestrian direction by W Lee Wilder (Brother of legendary William) and a an oddly out of place music score. The revenge angle is pretty good as mentioned, but it might be hard going to get there. **

[FryeDwight]

SEDDOK-L'EREDE DI SATANA (1960)>>>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>>>SPOILERS>>>>>>>>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>


The untruncated version of ATOM AGE VAMPIRE with an extra 20 minutes actually helps the story line tremendously and provides logic (of some sort, at least) while some things are done ;eg, why does the Doctor inject himself with the formula to change before going out?

The same basic story; a hot (yet whiny and ungrateful) stripper is dumped by her boyfriend (really no loss-He's a jerk) because she won't give up her job. Distraught, she drives too fast, has a fiery auto crash which badly disfigures her and comes along when help is offered. Of course, the Doctor falls hard for her, even though his loyal assistant/girlfriend is very lovely. The movie entails a bad case of unrequited love.

Along with more coherent story line, more Euro-sleaze is added showing the stripper's act (complete with pasties::shocked::! and lots of thigh), another performer gyrating right in your face, the distraught boyfriend who instigated the whole business going back to the SAME nightclub to drink and brood, despite his anger at his girl working there.

So, still nothing essential, but this version is a big improvement over edited versions normally seen on collections and worth a look. ***

[Sculpt]

Monster on the Campus (1958)
6/10

Mildly fun Black & White feature. Perfect for riffing with friends ala MST3K. This is a classic case of a film being unintentionally funny.

Sort of a mix of classic concepts. A professor is able to examine a prehistoric fish. Now, people are being murdered on campus while some folks are seeing other prehistoric things.

[FryeDwight]

Monster on the Campus (1958)
6/10

Mildly fun Black & White feature. Perfect for riffing with friends ala MST3K. This is a classic case of a film being unintentionally funny.

Sort of a mix of classic concepts. A professor is able to examine a prehistoric fish. Now, people are being murdered on campus while some folks are seeing other prehistoric things.

Unintentionally funny is the truth...I love the loud plaid shirt he wears and how he gets infected twice...in the same way::big grin::!

RAGE (1966). Gritty Western with Glenn Ford grieving the death of his wife in childbirth and drinking to major excess while a doctor in a small Mexican town. He is bitten. by a rabid dog and has 48 hours to get to hospital. Will He make it in time?

Glenn is very good as a tortured, closed off soul with fine support by David Reynoso and a lovely Stella Stevens, yet again playing a fallen woman with a heart. But as one of my favorite actresses, I'll check out whatever she is in. ***

[Sculpt]

The Curse of Frankenstein (1957)
6/10

There're some things to like about Curse of Frankenstein, such as the sets, makeup and Christopher Lee's performance of the creature.

The biggest problem I have with it is its lack of character development. Victor Frankenstein doesn't make much sense and so isn't a very compelling character. Basically, based on his actions, we know he's driven to do his experiments, has few scruples and no empathy. He remains unchanged throughout. Although he's driven, he seems to suffer from simple immaturity rather than passion.

Christopher Lee is able to evoke some sympathy through miming, as he does not speak. The 1931 film "Frankenstein" engages in motivations for the creature; but unfortunately, this script doesn't provide any motivations for anything the creature does besides the possibility his brain may have been damage. It's hard to create anticipation and suspense when the characters aren't understandable.

The film also lacks suspense or scares. There is certainly some matter-of-fact horror and a little gore.

[FryeDwight]

THE MUMMY (1959). Continuing with remaking the classic monsters after CURSE OF FRANKENSTEIN and HORROR OF DRACULA, Hammer does a bang up job remaking the old musty film, focusing on Kharis. and the same basic story. Good acting by all and good production values.
As usual, Peter Cushing steals every scene He is in ; what a treasure! Using every prop He could snatch up, extreme physicality (such as sliding over and off a table despite his character having a bad leg) and the best selling of being throttled I've ever seen.::big grin::

Also, kudos to Christopher Lee as the bandaged one. Lon Chaney Jr's rendition was very slow and it really shouldn't have been too much trouble to get away. Lee's Kharis is very tall, very fast and almost TERMINATOR-esque as "...it can't be reasoned with, it doesn't feel pity and it absolutely WILL NOT STOP -ever-until You are dead!" ***1/2

[Sculpt]

THE MUMMY (1959). Continuing with remaking the classic monsters after CURSE OF FRANKENSTEIN and HORROR OF DRACULA, Hammer does a bang up job remaking the old musty film, focusing on Kharis. and the same basic story. Good acting by all and good production values.
As usual, Peter Cushing steals every scene He is in ; what a treasure! Using every prop He could snatch up, extreme physicality (such as sliding over and off a table despite his character having a bad leg) and the best selling of being throttled I've ever seen.::big grin::

Also, kudos to Christopher Lee as the bandaged one. Lon Chaney Jr's rendition was very slow and it really shouldn't have been too much trouble to get away. Lee's Kharis is very tall, very fast and almost TERMINATOR-esque as "...it can't be reasoned with, it doesn't feel pity and it absolutely WILL NOT STOP -ever-until You are dead!" ***1/2

I just saw Mummy 1959 recently. The sets were a feast for the eyes! Loved the modern conversation Mehemet Bey has with John (Peter Cushing); Bey lashing the British for taking Egyptian relics back to England. And yes, good stunts by Cushing, and nice squib (bullet hit) effects!

========== Spoilers ======================================
It was kinda funny when Peter Cushing's wife, Isobel, just sort of pops up out of nowhere in the last quarter of the film, just in time to look like the image of Princess Ananka. It's funny too when Inspector Mulrooney leaves Isobel alone in the dark trees when an assassin is expected to descend of the house from somewhere. ::big grin::

Was surprising how abrupt the ending was. And it was a rather odd too... was there really a need to shoot up Kharis? ::big grin:: Wouldn't an archaeologist want to interview him for a few decades? Apparently he already knew English. Just needed to teach him to write. ::big grin::

[FryeDwight]

THE RAVEN (1963). This Roger Corman comedy concerning conflicting sorcerers has aged pretty well and quite funny throughout, particularly Vincent Price and a constantly ad-libbing Peter Lorre. Boris Karloff is also quite good (his duel with Price certainly has its moments) and I've heard he was not amused how Lorre was constantly going off script.
Also an early performance with Jack Nicholson (already chewing the scenery) and lovely Hazel Court playing an extremely duplicitous gold digger. ***

[FryeDwight]

DRACULA HAS RISEN FROM THE GRAVE (1968). This third outing in the Hammer series still has lots of goofy scenes in here, but has aged well. Christopher Lee, looking quite savage, is pretty good, although his resurrection scene is suspect and although it's a way cool part, the part where an attempt to destroy him backfires is silly when You think about it. Chris himself wasn't amused with it either.

Veronica Carlson gets lot of praise (deservedly) as the "Good" girl that Dracula wants to destroy to get even with his enemies; She is drop dead lovely here and although many reviews described her initial attack as losing her "purity", it's very strongly hinted that situation has already occurred with her steady boyfriend. Barbara Ewing as the "Bad" girl, is actually pretty damn good and She deftly shows the attraction that evil would hold for some people.

Worth checking out and the ending is quite bad ass, but heavy on the theology; in fact, there is more religious subtext in DHRFTG than in most of the Hammers. ***

[Chevalier]

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[Chevalier]

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