tag:blogger.com,1999:blog-90181048999502399622024-03-14T03:58:55.308-07:00Naptown NerdA film blog giving you an honest commentary on all things past, present and upcoming.Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.comBlogger394125tag:blogger.com,1999:blog-9018104899950239962.post-39809813723990330992020-08-24T20:16:00.003-07:002020-08-25T09:21:45.439-07:00The Brandon Peters Show! BEGINS<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg3Fu42KA0y7ALOm2SYel4nl4hbWC9OmsWuhS8KN3v-gyW9j7ZTf7anef62rV9qGxxXL8DNWte6pjzawCEsUmak59bm4czImycth8A6ASBvXPaHz3cJYOMgynUBhgszt91VFGNCBfjnkI/s2016/Sketch+logo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="2016" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg3Fu42KA0y7ALOm2SYel4nl4hbWC9OmsWuhS8KN3v-gyW9j7ZTf7anef62rV9qGxxXL8DNWte6pjzawCEsUmak59bm4czImycth8A6ASBvXPaHz3cJYOMgynUBhgszt91VFGNCBfjnkI/w400-h300/Sketch+logo.jpg" width="400" /></a></div><p style="text-align: center;"><br /></p><p style="text-align: justify;">I thought it might be high time for an update on the new podcast. First of all, it now has a name. Purely, simply <b>The Brandon Peters Show!</b> I can hear your brain right now saying things like "Boring", "Basic", "Weak sauce" and "Generic". That's fair, considering the previous show had such a clever ring to it. But, I assure you this was the best name for this show. Though Brad Shoemaker (my producer) still argues "Playing With Peters" was the best choice. <span></span></p><a name='more'></a><p></p><p style="text-align: justify;">When it comes to the podcast realm, people tend to paint themselves into a corner with uber specific titles and show mission statements. The goal of moving onward to this new program was to find a way to house many ideas I've been having (and tend to frequently have) in my brain under one umbrella. And to do so without creating a new show for each. The common consistency of this show being myself, I'll be able to do a lot more and a lot more stuff that I felt I couldn't add or evolve to on my previous show.</p><p style="text-align: justify;">"Oooh big ego, Brandon!" Sure, if that's how you want to take it. I imagine many of the initial listeners will be those who were following along with Cult Cinema Cavalcade, but also Why So Blu, Out Now With Aaron & Abe, maybe this blog and quite possibly Mendelson's Memos. Maybe even some of you who know me in person will FINALLY check out one of my adventures. What I'm getting at is that there's a familiarity with me that's expected and I really think that this show is going to have something for you no matter which place you're coming from. You'll see once it gets going.</p><p style="text-align: justify;">As far as the content of the show itself, its going...how its going. There are things I'd like to move faster but it is what it is. I'm doing a lot of scheduling of recordings right now and that's always one of my least favorite parts. My anxiety rides high as I set myself personal deadlines to get things done and a lot of the time things become a game of E-mail cat and mouse. I'm pretty active on keeping up with my e-mails and responding timely as that's how I'd hope someone would be with me, but its not always that way. But, in that regard the guests and prospective guests have been going pretty smoothly so far.</p><p style="text-align: justify;">Ideally, my goal is to deliver episodes/content throughout the work week for consumption. Sure, it sounds quite ambitious, but breaking it down (to me) its not going to be so bad. And I don't HAVE to drop this stuff every week. The episodes are not all going to be the same type or style even. I'm going to be entering some more experimental territory in some areas and different ones will have different agendas. I don't really want to go into it right now until I'm more in a post production mode on some of this, but this show will cover movies, television, music and sketch comedy and it'll be explored in different ways. I have one episode that is in the process of locking some people (Some familiar, some brand new) up for that is going to be an absolute blast to do and to listen to. I'm really excited for it. </p><p style="text-align: justify;">I apologize for being vague, but things obviously go day to day and my mind could change or go somewhere else between now and then. That's the beauty of a name like <b>The Brandon Peters Show!</b> Things I can reveal at this time:</p><ul><li style="text-align: justify;">Jessica Alsman (The Bob & Tom Show) will be the "voice" of the show and is also part of one the more experimental avenues of the show.</li><li>Metavari's Nate Utesch is composing a theme song for the show</li><li>Longtime friend and Forbes writer Scott Mendelson will be my first guest.</li><li>Out Now With Aaron and Abe monthly commentaries will be released as part of this show, too</li><li>HHWLOD Network's Jim Dietz and I will be journeying through the first season of an "old space show". </li><li style="text-align: justify;">Once a month, an episode will feature a roundtable discussion. Topics to vary between fun and deep. The first one is on the fun side.</li><li style="text-align: justify;">At this time I plan on doing a Patreon and some light YouTube content for this show. </li><li style="text-align: justify;">The show will be available on its website, Apple Music, Spotify, Stitcher and wherever (except Soundcloud) podcasts are found. It remains part of the Creative Zombie Studios family.</li></ul><div style="text-align: justify;">The aim is still a flat "September" start. Whether that means September 1st (It won't be) or as late as September 29th (Please be before then) depending on recordings and post production. I'm enjoying being a bit more open about this show and the process in writing and doing videos (on my instagram @brandon4kuhd). If you're enjoying that, feel free to let me know, I'll continue doing so. I hope this little update was a little something to help keep you aware and provide a little inside information (Maybe some excitement?).</div><p></p>Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-40852475284725746872020-07-12T20:36:00.000-07:002020-07-13T09:57:19.530-07:00Cult Cinema Cavalcade Ends<div class="separator" style="clear: both; text-align: center;">
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<i><b>This is Naptown Nerd. </b></i></div>
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<i><b>This is Brandon. </b></i></div>
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<i><b>This is my old movie blog. </b></i></div>
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<i><b>This is my farewell to Cult Cinema Cavalcade. </b></i></div>
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Five years ago, one of the best friends the universe has ever granted me and I set off on a journey to share our friendship with the world in audio form (I'll be the first to push up my glasses and tell you its actually six as we agreed and slowly planned it over the course of the year prior to the first episode publishing.) And five years ago, this other creation of mine ceased to post new content. Between Why So Blu, Cult Cinema Cavalcade and life itself, it was just too much extra on my plate. And because of that, it felt returning here would be the proper channel to deliver the news on Cult Cinema Cavalcade's conclusion. </div>
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Shutting down Cult Cinema Cavalcade wasn't an easy choice, but one I am very comfortable with. When starting the show, I had a personal goal of getting it to at least five years and reassessing where it had come and if it could go anywhere from there. At the end of the day, it was clear to me that the show had run its course and I was eager to move into a new podcasting endeavor. The show could have ran in place, sure, but there was nowhere else for it to go. I'm proud to have had a part in creating a well oiled machine like that, but I'm also someone who wants to be challenged, create and evolve. </div>
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I'm insanely grateful and honored by the success the show reached in its five years. As of writing this, we just received the Pop Con Podcast Award for Best TV/Film for the 3rd time in 4 years. That's a total of 4 awards during our tenure (We won Best Editing/Mixing one year). And they've only been dong that awards program for the last 4 years. Beyond that, the following we've had, listenership, interaction and the eye-opening amount of subscribers/streaming numbers of people that want to listen to this drivel is humbling. </div>
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I became more known for Cult Cinema Cavalcade than all of my other endeavors. In fact, many of you may not have known this blog even existed. I'll wear the CCC association as a badge of honor and one of the brightest spots in my timeline forever. I'm very happy for the work Cullen and I created and shared with you over the five years. It feels only fitting to announce its conclusion on the weekend of Pop Con, which has been a home for us the past five years.</div>
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There were MANY people who helped make Cult Cinema Cavalcade a success. Many who championed it and we our eternally grateful. <a href="https://podcasts.apple.com/us/podcast/doc-heads/id1499438988" target="_blank">Jessica Alsman</a> was like our 5th Beatle and truly was game for ANYTHING we threw out her. <a href="https://podcasts.apple.com/us/podcast/out-now-with-aaron-and-abe/id646631453" target="_blank">Aaron Neuwirth</a> always brought his A-game and has sincerely been one of the best colleagues in the podcasting world. <a href="https://www.hhwlod.com/" target="_blank">Jim Dietz</a> is a godfather in the world of geekdom and podcasts! <a href="https://www.saturdayeveningpost.com/author/t-brownfield/" target="_blank">Troy Brownfield</a> always blew me away with his knowledge and talking shop through the crazy 80s. Buy one of his books, too! <a href="http://thefiveishfangirlspodcast.blogspot.com/" target="_blank">Rachel Frend</a> was possibly one of our biggest cheerleaders and a true help for catching editing mishaps I may have had. She can also quote the show better than I can. ALSO - she probably gave us the movie I had the least joy of sitting through AND having to prep an episode for! Russell McGee, always a pleasure, always game. James Oster, we'll continue to talk hack and slash, don't you worry. <a href="https://film.avclub.com/author/katierife" target="_blank">Katie Rife</a> might have been one of the most perfect fits for the show. A shame we didn't get to have her on more. One day I hope we finally see Bianca Allaine's film Zombinatrix! Everyone who came on the show was great. </div>
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I had many a great experiences with guests, too! I got to talk to Shelley from Friday the 13th Part 3! Todd Farmer! Lil Kev from Always Sunny! Someone from a Neil Breen movie! Probably the highlight was having a full on hour long convo with Linnea Quigley. She even texted me Happy Thanksgiving and kept in touch for a bit. There were many other people who helped or supported the show in big ways over the years like Carl Doninger and the Pop Con family, Tony Troxell and Geeking In Indiana, Johnny Lyles & Mandy Montgomery, the guys from Literate Gamer (Nick Rust and John David Small), Shaun Burris of Shadow Nation, Matt Quiett, DAVID BANKS, Jeff Chandler, Megan Splichal, Geoff Arbuckle, Audrey Lane, Michelle Suter-Shoemaker and I'm sure there's a big big big list of people I forgot. You can listen to my scrambled together farewell in podcast form, maybe i said it there?</div>
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Finally, the biggest of thank yous to producer Brad Shoemaker and of course my cohoster Cullen. What a terrific and lucrative ride this has been. </div>
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What's next for me? Is the Naptown Nerd blog back? Eh, not so fast on that. The plan for myself is to return to the podcasting streamwaves this September with an all new show that has been given the go ahead at Creative Zombie Studios. Yes, it will be film and TV related, but its going to offer myself the opportunity to be less limited and be able to explore a bit more. If you've been a fan of any of my writing or podcasting ventures, I think you're going to love it. There will be details trickling out in the months to come. </div>
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But that's for the road ahead. Now is the time to close the chapter that is Cult Cinema Cavalcade. Once more, THANK YOU so much to everyone who had a part in this be it a guest or a listener. I hope you will look back fondly on this show as I will and I can't wait to intrude your ears again with more movie blabber very soon.</div>
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(And yes, the title of this article was Halloween-inspired). </div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-27353515536921761072020-07-07T12:08:00.001-07:002020-07-07T12:08:16.927-07:00Three Mothers: Suspiria (1977)<div class="separator" style="clear: both; text-align: center;">
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<i>Suspiria</i></div>
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1977</div>
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Director: Dario Argento</div>
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Starring: Jessica Harper, Stefania Casini, Flavio Bucci, Miguel Bose, Alida Valli, Joan Bennett, Udo Kier</div>
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Rated: X</div>
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<i>Suzy, do you know anything about...witches?</i></div>
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<i> </i>~Sarah</div>
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<b><span style="color: blue;">I'll be making an announcement here on this page in the near future. Logging back in, I noticed I've had this piece in draft since October of 2015. Since then, I'd written a Blu-ray review for <i>SUSPIRIA </i>(1977) on <a href="http://whysoblu.com/" target="_blank">Why So Blu</a>. So, that will suffice for now and finally publish it 5 years later. Will I complete the set of Three Mothers pieces? Likely, no. But for now, rather than hit delete, I'll just copy and paste and fulfill the promise to publish this. You'll hear from me soon. Enjoy (again)!</span></b></div>
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Suzy travels to Germany to attend ballet school. When she arrives, late on a stormy night, no one lets her in, and she sees Pat, another student, fleeing from the school. When Pat reaches her apartment, she is murdered. The next day, Suzy is admitted to her new school, but has a difficult time settling in. She hears noises, and often feels ill. As more people die, Suzy uncovers the terrifying secret history of the place.</div>
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For all intents and purposes, this is a Blu-ray review, so a little personal home video history with the film shouldn’t be too out of place. I’m a nut for a lot of Italian horror and schlock thanks to the advent of Blu-ray in a way I never was before. Suspiria was always one that impressed, but many others I tried and would be left scratching my head. Blu-ray has actually helped me find what I was missing out on, understand and see what the big deal and appreciation was for so many of these films. They all had Pan and Scan VHS releases, crappy DVD transfers and a lot of the times were some incorrect or censored cut of the film. Now, with these restorations and seeing the film as they were intended to look and sound and close to what they were on the big screen, its easy to see what it was. These films are an “experience” of sight and sound. Something lesser formats had kneecapped these films in their effectiveness for all these years. But no matter what, none of them will probably ever be as beautiful or eye popping as the crown jewel of Italian horror; Suspiria.</div>
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No one is actually ever going to truly capture a nightmare on film, but damn if Dario Argento hasn’t come close. Suspiria is the living embodiment of terror. And not just for the characters in the movie, as an audience member, you’re almost a participant in the proceedings as you feel the tension and horror of the dancers discovering the dark secrets of their academy. Argento puts together a fine collaboration with Goblin, whom he frequently uses, to add another layer to the terror. Italian horror scores are a thing among themselves usually, but Goblin’s work here is almost a character of itself. Its as unsettling as it is hynpotic and beautiful, while also bring a sting and jumping insanity to it all. And within just a few minutes of the film starting, it has earned its place as one of the best and most memorable scores of all time.</div>
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One of the best aspects of Suspiria is the shot compositions all throughout. Every piece of costume, color choice and every set is designed so perfectly as to create a well balanced and gorgeous frame. While my favorite sequence in any Argento movie would come in his next film Inferno (And said sequence was advised by legend Mario Bava apparently), pick anything here in this movie and you’ll be just amazed. Its hard to not just be dumbfounded in appreciation of the visuals here even if its just a certain wallpaper. From the opening 15 minutes, Argento has announced exactly everything this movie is to be and just delivers such a hook. As one spends years and studies the film you’ll also notice and discover the tiniest of details, like the door handles being higher up on the doors, so as to have the girls always subtly being the idea of children in a fairy tale without you realizing it. With that and other things, its a lifelong rewarding experience to constantly return to the film.</div>
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Suspiria is a film that I really feel is timeless if the viewers are willing to give themselves to it. Its a measure in style, deep thematic, visuals, sound and a complete experience. These are things modern audiences tend to lend themselves to, but one with a good understanding of film should have no trouble appreciating it. Some of the most horrifying moments, amazing sets, usage of color, music and beautiful overall composition ever captured on celluloid are right here in Dario Argento’s film. At 43 years of age, Suspiria still works as well as it did upon its debut back in 1977.</div>
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<b>NEXT TIME: </b>My next adventure!</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-82373694620659391222015-11-17T13:50:00.003-08:002015-11-17T13:50:48.212-08:00Back To Bond: Talking SPECTRE & Never Say Never Again<div class="separator" style="clear: both; text-align: center;">
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These are late and I haven't posted in who knows when. I figured people might be interested in my thoughts on the new 007 film SPECTRE. I guested on Out Now with Aaron & Abe to share those thoughts. During the same week, my podcast, Cult Cinema Cavalcade (you'd better be listening!) took on Never Say Never Again. Both podcasts are super fun, so give them a listen. And I know the question you're currently asking...James Bond Will Return, but what about Naptown Nerd? And to that, I never say never...this blog is just currently on her majesty's secret service as of late, so it will have to die another day.<br />
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SPECTRE</div>
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Never Say Never Again<br />
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<iframe frameborder="0" height="30" scrolling="no" src="http://cultcinemacavalcade.com/?powerpress_embed=220-podcast&powerpress_player=mediaelement-audio" width="320"></iframe>Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-54651340336286777112015-10-15T13:49:00.004-07:002015-10-15T13:50:38.827-07:00Ranking The Gates Of Hell Trilogy<div class="separator" style="clear: both; text-align: center;">
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The Gates of Hell trilogy is an interesting little nugget. This truly is one in theme and feel as the movies, while not directly connected, feel related to one another. Some of that is in the thematics, but I'm sure a lot has to do with Lucio Fulci as well. its interesting as these just started basically with Fulci wanting to continue exploring an idea with a film he just finished. I do wonder if this was always meant to stop at three movies, or did he just never get the opportunity to return to this well. He did return to do Zombi 3/Zombie Flesh Eaters 2, even if he wound up not finishing the film. I do like the Gates of Hell Trilogy and it comes in the middle of the heart of Fulci's best work. Aside from this Trilogy, his quality straight horror and non-giallo work would probably only latch Zombi 2/Zombie/Zombie Flesh Eaters, New York Ripper and Cat in the Brain to the list. Yeah, Zombi 3/Zombie Flesh Eaters 2 is a hoot, but I'm not going to call it anything great. <br />
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Without further adieu, here's the short ranking and maybe we tackle some more Fulci down the road.<br />
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<b>3. The House By The Cemetery (1981)</b><br />
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Yeah, no surprise here. Still a solid horror film, but a little too streamlined and a little less put together than the rest of them. Fulci's signature gore and weirdness is still on display here if not in a more restrained fashion. By itself, this is a fine little grindhouse horror film, but when propped up with the other two, its easily the one that stands at the end of the line.<br />
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<b>2. City of the Living Dead (1980)</b><br />
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Here's one that is both a unique take on zombies and a bit of a head trip in its own right. The film features a very eerie atmosphere with haunting spooky imagery. It also has a few iconic horror kills in just one movie. There's stuff like the drill through the head and the woman coughing up her insides. This one definitely moves and has a finale with a very cool environment. The ending confuses, but feels like its solved for the most part anyway after that hook. If anything, this one ends the happiest of the trilogy.<br />
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<b>1. The Beyond (1981)</b><br />
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This film has pulled the feat of being a film I kinda saw and moved on from right away to climbing back into my conscience and working its way to being one of my favorite horror films. It gets better every time I see it. My mind has fun wandering around this one and trying to grasp and realize the dark concepts and ideas on display here. Its a movie who's ambiguity absolutely works for me. The film has great horror, atmosphere, gore and also works in some fun campiness and giggles at some amounts of silliness. For me, its something I'm finding myself going back to with more and more frequency. I've watched this one 3 times this year already (Thanks to the new Blu-ray) and its definitely in my fall rotation now.<br />
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Thanks once again for reading. I know this retrospective has been on the more obscure side, but they are also films and a director I want to recall from the past and maybe make some more familiar with. As for next time, shed no <i>tears</i>, we'll get slightly more familiar in the horror trilogy in theme series...<br />
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-33910773745664273062015-10-13T12:07:00.004-07:002015-10-13T12:07:30.949-07:00Gates Of Hell: The House By The Cemetery (1981)<div class="separator" style="clear: both; text-align: center;">
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<i>The House By The Cemetery</i></div>
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1981</div>
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Director: Lucio Fulci</div>
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Starring: Catriona MacColl, Paolo Maclo, Ania Pieroni, Silvia Collatina, Dagmar Lassander, Giovanni De Nava</div>
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Rating: Unrated</div>
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<i>Mae, time to go home and remember your manners. Now that Bob is staying with us, be sure to treat him like a Freudstein. For other guests are surely destined to drop in.</i></div>
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<i style="font-style: italic;"> ~</i>Mary Freudstein<br />
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Hot on the heels of <i>The Beyond </i>was the third and final installment in Lucio Fulci's Gates of Hell Trilogy. Oddly enough, this one seemed to get the most hacked up and rotten response from censorship boards. It almost instantly attained video nasty status and never saw a proper cut of the film surface anywhere for many years. Some of the versions of the film were sloppily put together and featured scenes that were wildly out of sequence. The film is hardly the most coherent one in the world, but when you do something that it pretty much renders the film to be a complete mish mash of nonsense and confusion. <br />
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Compared to the other films in this series, <i>House</i> tends to be a much more stationary tale. There was already a film called <i>Don't Look In The Basement </i>back in 1973, but this film would very much be suited for this title. Though, stuff does happen outside of it, most of the action requires a character to head on down the steps. Which, its where the movie starts and has the first bit of a Fulci film feeling like a teen movie. A woman is naked post coital rising and looking for her boyfriend in the basement. It felt right out of a teen slasher, but once the opening sequence is finished, we get back to a more haunted house, supernatural kill-fest that these movies are.<br />
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Aside from the haunted happenings and the zombie-esque killer in the basement, this film doesn't really establish that there is a gateway to hell that has been opened. The only things to clue us on for this film is basically similar occurrences or ones that feel like the events we saw in the previous two movies. This one plays a lot with weirdness, but seems more narratively straightforward than <i>The Beyond</i>. Yet, oddly, I would say <i>The Beyond </i>actually makes a lot more sense than this film. Maybe I need to watch it more, but the ending to this one and the motive behind the killer zombie guy in the basement don't seem to add up.<br />
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That's not to say this movie isn't enjoyable to watch. Its got that same sort of creepiness that the other films brought, but in a more toned down and singular evil fashion. The oddest is a terrible dubbed performance by the blonde kid. Not only is the kid kind of evil looking himself, but the voice dubbed on him is almost like an adult trying to make a kid's voice. There is a creepy spirit girl in the movie too and she even seems more friendly and less scary than this normal average joe kid. Normally these movies are all dubbed because they shoot the english actors speaking english and the italian ones mocking english (or just speaking italian) then dub the whole thing later. This better markets its for the desired US market back in the 70s and 80s. It also adds an otherwordly eerie feel to a lot of these films to add to their atmosphere.<br />
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The film does also boast plenty of gore with some really gruesome body mutilations and free flowing blood. This is the only one that doesn't have an eye-gouging (Something <i>Zombi 2/Zombie/Zombie Flesh Eaters</i> had one too). Fulci shot it, but ultimately cut the scene. It still hasn't surfaced and is likely destroyed by now. This one isn't afraid to hack people up and get gross. There is some really impressive stuff in this movie that definitely goes next level. The opening kill mimics one of the best slasher deaths ever seen in Tom Savini's outstanding effect for <i>The Prowler</i> earlier that year. If you die in <i>House By The Cemetery</i>, its not going to be pretty at all. Its going to be very very gruesome. The film isn't a non-stop death reel, but when someone gets off'd, they get off'd in glorious grisly, grindhouse bloody fashion. And Fulci is of the best at that.<br />
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Following the first two films, which also happen to be two of Fulci's very best, House By The Cemetery is a little bit of a step down. His coherency and nightmare logic doesn't work too much here and the gore effects are paced. This film brings us an interesting story with intriguing plot points, but a lot of it doesn't get explored like it should and some are left with weird answers or none at all (Seriously wanted to know more about Norman getting mistaken for his colleague). All in all, if you're looking for a one off Italian arthouse/grindhouse horror film to just sit and soak in, <i>The House By The Cemetery</i> does work well enough by itself.<br />
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<b>NEXT TIME: </b>Which gate opened best?<br />
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-43057936590750311472015-10-07T11:42:00.004-07:002015-10-07T11:42:54.259-07:00Gates Of Hell: The Beyond (1981)<div class="separator" style="clear: both; text-align: center;">
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<i>The Beyond</i></div>
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1981</div>
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Director: Lucio Fulci</div>
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Starring: Catriona MacColl, David Warbeck, Cinzea Monreale, Giovanni De Nava</div>
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Rating: X</div>
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<i>Woe be unto him who opens one of the seven gateways to Hell, because through that gateway, evil will invade the world.</i></div>
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<i> </i>~Emily<br />
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There's a good chance if you're a horror fanatic or film enthusiast dabbling in the macabre for the month of October, you've taken a gander at lists of best horror films. There's a good chance Lucio Fulci's <i>The Beyond</i> showed up on that list. There's also a good chance some famous filmmakers praises have shown up for the film too. There's also a good chance you were sold on some pictures and gave it a go. There's also a good chance after you saw it, you don't quite get what was so great about the movie.</div>
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There's also a good chance you totally didn't understand the film.</div>
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I've been through that journey with the film. Back in the day I had a boss who proudly hung the poster up in his office, prominently featuring the iconic Emily. It was freaky and I asked him "What is <i>The Beyond</i>?". He hyped it up, told about its craziness and praised the horrors it delivered. When I finally got around to seeing the film, the only background I had was that it was from the same guy who did <i>Zombi 2/Zombie/Zombie Flesh Eaters</i> (Seriously, we'll explain one day). I had not done any research on the film and was not well versed in Lucio Fulci. When I saw it, and maybe I saw an earlier US/UK cut of the film I'll talk about in a sec, I thought there was a couple neat things. But, overall, the movie didn't make sense to me and I just wasn't "getting" it. This is also pre-Blu-ray with crappy cuts, transfers and prints for films being used for DVDs and VHS. However, the second time I got around to giving it another chance I moreso wasn't understanding myself and why I thought the way I did the first time around.</div>
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Fulci's second entry into his Gates Of Hell Trilogy (Also referred to as The Death Trilogy. Personally I think Gates of Hell has a cooler ring to it) is a film that asks for a different kind of mentality when viewing it. Its also a film that improves and starts piecing together with subsequent views. With The Beyond, Lucio Fulci set out to craft a non-linear film in the first place. He wanted to have one constant element to the story to play through out, but moreso building the film's strengths off of surreal imagery and brutal death/chase sequences. This movie wasn't supposed to cleanly link from scene to scene or moment to moment. Fulci doesn't spoon feed it to you either. You're going to have to let your mind open up its imagination, pick up details and link them together on your own. Its not about Lucio Fulci holding your hand through the film, its about you trying to find your way to holding that hand and taking the journey with him.</div>
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The director was intrigued with the idea of a gateway to hell, introduced in his previous film, and the undead opening and slowly seeping into our world. Fulci fully gets on board with something you'll see commonly referred to as "Nightmare Logic" in <i>The Beyond</i>, and this is the best film that gets that tag hung on it of all. In this case, the director is actually going for this method, not something people have used as a defense for a film. The hell dimension that the gate in this movie opens is not one that plays by our rules. That's the most important thing to grasp and understand when watching The Beyond. Things may not be "working" or "making sense" because you're following along the lines of how you know everyday life and an everyday movie. The hell dimension does not play by those guidelines. It slowly begins consuming the little Lousiana town and starts taking over and making it and its inhabitants its own. This dimension has an endless freedom and kind of dark magic that fools, frustrates and devours our characters and you the viewer. But, if you recognize this and know this aspect of the writing and directing, the doors of this making sense really start to open.</div>
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Many may be quick to label the more well known, <i>Zombi 2/Zombie/Zombie Flesh Eaters </i>as Fulci's masterpiece, but <i>The Beyond</i> easily claims that title. Even if you're not fully grasping the plot, I think some of the confusion does provide an extra eeriness to the table. Not to mention, Fulci shoots this thing with an atmosphere that is pretty damn creepy. Until the end, gone is the super foggy look of <i>City of the Living Dead</i>. Instead, he uses a lot of browns and the like that bring a sense dullness and deadness to a lot of turns in the film. And that damn ending! So bleak. Its an absolutely horrifying image and realization. Judging it on its own, and just as an image and environment, you have to give credit that this is one of the most haunting and unsettling images ever captured onto a horror film. Its sort of like some of the stuff in <i>The Mist</i> many years later, that just looking at it and then the thought of it sort of brings chills.</div>
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There are a lot of weird things just happening in the film that you'll not soon forget. The character of Emily is literally the poster child of the movie. Her eyes are just insanely creepy and spooky. You could toss her mug up in any haunted house today and it still unnerve people. AND SHE'S ONE OF THE GOOD GUYS! Joe the Plumber and the artist in the open are also memorable too. I don't know if they get lumped in with the more zombie-like undead at the end, but they sure are just weird and different looking on their own. Its bizarre how goofy a person like the plumber could be turned into something so odd looking and creepy, but they're able to pull it off here in the film. An especially great moment is when he appears in the house as a tub drains to reveal him. </div>
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The Beyond also features some great moments of Fulci's gore, both exploiting things he's known for while also harnessing an fine tuning himself to a perfect balance of restraint and overdoing it. You like the Fulci eye-ball gags? Here he has three of them! The film doesn't feel overall soaked in blood from frame to frame, but if someone is going to die, they are going to get killed in astonishing fashion. Emily gets her throat and face ripped to shreds, a man is eaten by spiders. The most notable death comes when a child (Who is possessed, let me state first) gets her head blown off by a handgun. Its one of the most iconic moments in the film and has made many a horror moments list. The event of it happening combined with the amount of detail and the editing choice not to cut away or make it "safe" provides a massive shock on a first time view. Its so known that there is a bobble head to commemorate it.</div>
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Originally, Lucio Fulci did not intend for the film to include "Zombies". There were to be undead, but no the traditional flesh eater. In order to get full funding for the film from German financiers, he had to write them in. Zombie films in the country at the time were all the rage and Fulci was a big reason for that. So, if you're backing his film, you want him to include his trademark. It didn't seem to bother or alter his plans for the film much at all, just add a little more action to the finale. They don't show up until the final moments of the film, which honestly ramps up some intensity and suspense and mixes in some shooting violence. For something that wasn't intended from the get go, it really doesn't feel shoehorned into the story of the film at all. To me, I just feel its part of the final take over from the hell dimension. It also spruces up some of uncovering the final mystery and makes for a bit more excitement. Who knows, if we didn't have that, maybe we wouldn't have the iconic moment of the little girl getting her head blasted off?</div>
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Fabio Frizzi returns to score <i>The Beyond</i>, which is a much more full and realized take on what he was doing in the previous film. Yes, its in tune with that of a "kind of" Goblin score, but this has its own identity. Included in here is some of the eeriest piano music you'll ever hear. The more upbeat music is also very interesting. If you watch a lot of Italian films, you're used to the style they go with when making chase music and the like and its fitting. If this is your first rodeo it might seem a little different and feel out of place, but it truly isn't. There are tracks on this score that should be on rotation in any haunted house during the Halloween season and that's a fact. This is the last Frizzi would do here in the <i>Gates of Hell</i> trilogy, so there is a small loss of consistency going into the next one. But don't worry, the other series' constant thus far, actress Catriona MacColl will be back to see things finished up. I haven't mentioned her, but this role was supposed to go to Tisa Farrow (To reunite her and Fulci from <i>Zombi 2/Zombie/Zombie Flesh Eaters</i>). Mia's sister, however, had retired from acting.</div>
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Once long ago, this film was cut to shreds by the UK and subsequently cut even more by the US. The US renamed it <i>Seven Doors Of Hell</i>. The UK ended up Video Nasty'ing it and for the longest time this chopped to bits version was the only way to see the film. And its missing all the good stuff and if you thought the film make little sense before, this one doesn't. For most haters of this film, I wonder if this was the version of the movie they saw. The film was legendary in being hyped up for scares and of course gore, but if you hear all that and then THIS is the version of the film you see, you're really not going to see what everyone is gloating about. It wasn't until 1998 that the US finally saw the proper version of the film released, and even then the bad cut was still floating around. Sage Stallone's Grindhouse Releasing restored it and got it back onto conscious proper with endorsement from Quentin Tarantino (Under the Rolling Thunder Pictures label, remember that?) and midnight screenings.</div>
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People who are not into arthouse film or are nit pickers (That enjoy degrading stuff like Honest Trailers) and/or need things completely spoonfed to them...stay away from <i>The Beyond</i>. Its not for you. Those with an appreciation of vintage arthouse horror cinema, that can admire craft and enjoy narratives that are pretty wildly ambiguous, should definitely give The Beyond at least 2 shots. I say two, because I firmly believe after the first viewing of the film, your second is where things might start to come together. Your initial view could be polarizing or a bit confusing. I highly recommend you seek out the outstanding Blu-ray set from Grindhouse Films from earlier this year so you can appreciate appropriate color timing, framing and see the film for its terrific cinematography and the way it was meant to look. When I first saw this film, I was a doubter. But come what may, I have become a big time praiser of it and its definitely become one of my all time favorite horror films. Its the best film Lucio Fulci crafted and his own masterpiece.</div>
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<b>NEXT TIME:</b> The Home By The Tombstone</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-50371735680432262442015-10-02T10:47:00.000-07:002015-10-02T10:47:08.971-07:00Gates Of Hell: City of the Living Dead (1980)<div class="separator" style="clear: both; text-align: center;">
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<i>City of the Living Dead*</i></div>
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1980</div>
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Director: Lucio Fulci</div>
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Starring: Catriona MacColl, Christopher George, Carlo de Mejo, Janet Agren, Antonella Interlenghi</div>
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Rating: Unrated</div>
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<i><i>It's her... Mrs. Holden. This morning she was inside a coffin at the funeral home, and now she's here in my kitchen!</i></i></div>
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<i> ~</i>Mary Woodhouse<br />
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As we enter October, we're going to be doing a couple of "Trilogies in Theme" to celebrate horror's most celebrated month. For those not familiar, these are a series of films that carry a common theme, but the characters and events aren't direct sequels to one another. These are also films that were intended by their creator to be such a way. I won't be including anything that spawns from fan theories or lumpings together. Why? Because those don't count at all in the grand scheme of things. Nice thoughts, but no dice. We'll first be focusing on The Gates Of Hell Trilogy from Italian horror auteur Lucio Fulci. Each film deals with someone opening a gate to a hell dimension that begins seeping into our world.</div>
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Let's get this out here first, the 70s and 80s Italian horror films (And other genres) are very dividing among film fans, even horror fans. You either get them or you don't. One has to know "how" to watch them, and its just something that sort of has to come to you. Its love or hate. When I was younger I was not into them, but as I've gotten older I really enjoy them a lot. I think if a particular sect of film has had the benefit of the Blu-ray format, its this one. These films have turned out to be actually gorgeous productions with incredible visuals that you could never notice or appreciate on crummy beat up VHS and DVD transfers. Its very hard to understand on the most important aspects of this entire vault of films if you're not able to view it correctly. </div>
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Lucio Fulci had just broken through in the horror genre with his well received, bloody zombie opus, <i>Zombi 2/Zombie/Zombie Flesh Eaters </i>(One day we'll talk about this). People wanted more from him and more zombies. So, he made one of a different ilk, getting away from a voodoo inspired and more grounded/action take. This time he crafted zombies around a more religious/witchcraft/supernatural horror. These zombies were not only flesh mutilating undead, but they were also able to pop in and out of whereever they so pleased. The make-up design on these zombies is also significantly different than his previous film. They're much more goopy than before. And you have to give him props for making zombies that are completely different entities.</div>
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The film is most notable for some of its legendary gore sequences. Fulci himself was a man who place a focus on gore and visuals first, story and whatnot were secondary. This film is gross, and its deliciously gross. While it does have a repeated scalping, brain ripping effect happening three times, the other stuff is outstanding. We get a man who has a drill gone right through his head. Fulci isn't shy, he shows the whole thing, and shows it in close ups. That door you fear and wonder that never opens with suspense, Lucio manages to open show you the grisly details. Its not just blood and guts either, there is a gag worthy scene where our heroes are trapped in a room with maggots shooting at them furiously non-stop through a window. For me, the centerpiece is when a women begins bleeding out her eyes and then vomits up her entire insides; intestines, stomach, liver...ALL OF IT. Its absolutely disgusting, but man are those effects impressive and if you're grossing people out, this is terrific.</div>
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For a cheap production, the film has top notch visual. The film is also one where Fulci plays with the camera and moves it around a little more than the others. <i>City</i> boasts an incredibly spooky atmosphere and wonderfully framed shots to hit the noggin perfectly when trying to creep someone out. The night time foggy streets of Dunwich sure make me want to stay in at night. In the end, when our group heads down to the undergound tomb to close the gate, its an absolutely legendary looking frightfest down there of cobwebs, old stone structures, zombies and a deep cavern excavation-like feel. Helping matter too, is the film's pretty complimentary score. Its not as good as <i>Zombie</i>'s was, but its more of that "wannabe Goblin" kind of music that tends to illuminate these vintage Italian horror films.</div>
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Screenwriting and crafting a sound, tight narrative was never Lucio Fulci's strong suit, and <i>City of the Living Dead</i> is no exception. His stories are always relatively thin and sometimes things might not make much sense or go unexplained. We'll go into "nightmare logic" in the next piece as I think it actually is fitting, used well and actually intentional there. Here, some of this is a mix of poor translation, Fulci and a post production gaffe that had to have some last minute improvisation in the editing room. Let's point at the biggest example; the ending doesn't work at all. Yes, you could throw it up in the air to being ambiguous and letting the viewer figure it out in their own brains. But, really the problem and struggle with that is there is very little in the film previous to nudge the viewer to come up with something to do so here. One has to scrape the bottom to find something. In truth though, the editor spill coffee on the film's negative and one of the things they weren't able to save from it was the ending of the movie. Fulci and Co were rejected on a request for money to reshoot and they basically had to figure it out in post what to do with the ending. </div>
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<i>City of the Living Dead </i>delivers on what you came to see in a Lucio Fulci film to begin with; Gore, Visuals and Chills. The film does suffer from having a few to many ancillary characters, but as devil's advocate, those people do wind up getting some of the best death scenes. Its one of the director's best when you look back at his horror output in the 1980s. The film has a sense of eeriness, mystery, ghost and zombie fun all in one. I must mention there's some good suspense in areas too as a woman buried alive in a coffin has her rescuer trying to break it open with a pick axe and almost hitting her in the head with it a couple times. Some of Fulci's work may take a couple times or films to get on board with it, but I think this one excels at kind of being what it is on the first viewing and satisfactory to most.</div>
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<b>NEXT TIME:</b> ...a film I'm very excited to write about!<br />
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*The films I'm covering in this trilogy have gone by many many different names, but I will be using the one that is generally accepted as THE name of the film in our current times.</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-73167805614502650952015-09-28T12:57:00.003-07:002015-09-28T12:57:54.961-07:00Rankenstein: Ranking The Universal Frankenstein Films<div class="separator" style="clear: both; text-align: center;">
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Ah, the end of a big retrospective. This wound up being bigger than anticipated, eh? I had a lot of fun with this one. Its one of my favorite horror franchises and movie monsters of all time. Its always great to see the chances, jumps, tropes and many other things that were originating with this very series. And its incredible the legacy that these films have left that is still going strong. Go out looking at Halloween decorations (hell yes, tis the season) and you'll see its the image of Karloff from Whale's film that is THE definitive one. </div>
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Now comes the time to put an order to all these films, which is not too tough of a task until we get to the very top. Thanks for keeping up with this one and I hope you enjoyed all the "extra" little pieces and films that got thrown in with it. I also hope you'll come along and enjoy the direction I'm going next. Thanks again!</div>
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<b>8. House of Dracula (1945)</b></div>
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While I didn't dislike watching any entry in this retrospective canon, this one just didn't hold up even close to the others. The budgets had completely gone and they weren't even hiding it anymore it seemed. The story for it was extremely tired at this time, too as it was the exact same idea that was introduced in Ghost of Frankenstein, done now for the 4th or 5th time.</div>
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<b>7. House of Frankenstein (1944)</b></div>
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I originally thought I'd place this higher than Meets the Wolf Man, but upon further inspection, while this is pretty fun, I do think the former film delivered much better on its promise. Feeling like 2 separate films, its a shame Dracula didn't get more involved with the main plot more than he was. Karloff returning is a bonus and he's a joy to see as a mad scientist.</div>
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<b>6. Abbott & Costello Meet Frankenstein (1948)</b></div>
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A surprise that it falls so low on the list, I know. But, if right now, I was to reach quickly and get a Frankenstein film to watch...this likely wouldn't be it. While its fun and humor in it still works, the film is significantly longer than the others and moves at a more snail like pace. I like the film well enough, but its not as easy to get through as it once was.</div>
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<b>5. Frankenstein Meets the Wolf Man (1943)</b></div>
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On the list of famous "lost films" or different cuts of films I would love to see, Frankenstein Meets the Wolf Man's original form is on there. I'd like to know more about the monster in this film. This one works more as a sequel to the Wolf Man. The first half is a pretty creepy little straight sequel to The Wolf Man. But, when they get the two monsters together its interesting and then it doesn't disappoint with a very groovy fight in the finale.</div>
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<b>4. Ghost of Frankenstein (1942)</b></div>
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This one is no masterpiece, but its just fine. When getting to this one, the story is fresh and provides for a different and interesting experience. However, this storyline of swapping a brain in the monster would haunt the series until it finished out (Even Abbott & Costello's film deal with that). In this one though, its new and tells story that changes scenery and goes into territory not traveled while still maintaining some of the series' tropes.</div>
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<b>3. Son of Frankenstein (1939)</b></div>
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I love this one, personally. Its JUST shy of competing with the first two. I really don't think the distance in quality is as far as some would make you think. The story is different and works. Its long, but never feels that way. Bela Lugosi gives his finest performance in a Universal Monster film here (and maybe ever?) as Ygor, topping his iconic and more recognized performance as Count Dracula in the Todd Browning film.</div>
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<b>2. Frankenstein (1931)</b></div>
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One of the most beautiful and perfect horror films ever made. The only problem being that its follow up was just that much more unique and better than it to edge out. The film really launched the monster movies into a big thing and carved a career for Boris Karloff. I love love love love love this movie and hate to pick favorites or put them in order, but...</div>
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<b>1. The Bride of Frankenstein (1935)</b></div>
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...yeah <i>Bride</i> edges it out. The film embellishes more on the weird, the artistic and takes the story we all know and takes it in its most interesting direction. It adds some more of the book for good measure too. Its every bit as iconic as the first film. We also get one of the coolest movie monsters ever, that came, went and saw one of the biggest legacies left for 4 minutes. If someone were to argue the first is better, I won't disagree, some days it could be a coinflip for me. But both parties would agree this is one of the greatest sequels ever put to film. Its got everything you love about the first film, but adds much more stuff you love just the same. </div>
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That's that...feel free to leave your personal rankings down in the comments. Let the <span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">gates</span> open and tell me what you think on the series and whatnot. And, come back for next time</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-3859405078183214752015-09-28T08:46:00.001-07:002015-09-28T08:46:37.457-07:00Back To Bond: The Living Daylights COMMENTARY<div class="separator" style="clear: both; text-align: center;">
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It was very much around 3 years ago that I did my first podcast commentary guest spot on Out Now With Aaron & Abe to discuss <i>From Russia With Love</i> and then subsequently 3 more Bond films. Apparently I did decent enough as I've been honored to have found myself as a mainstay on the Out Now bonus commentary episodes ever since (And will continue to do so every time they ask me). We covered 4 Bonds during that time (Connery, Moore, Brosnan, Craig), so now we move on to Timothy Dalton with The Living Daylights. As most of you know this is one of my favorite all time Bond films (Both of Dalton's are). Scott Mendelson returns and joining is one of the coolest MI6 agents around, Randy Shaffer.<br />
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Like always, this discussion goes beyond just the movie at the helm and Sylvester Stallone fans are in for a treat. Watching the movie along with us is fun, but its not a requirement.</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-67839252546437509812015-09-24T13:24:00.003-07:002015-09-24T13:24:42.279-07:00Frankenweenie (1984, 2012) - BONUS<div class="separator" style="clear: both; text-align: center;">
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<i>Frankenweenie</i></div>
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1984, 2012</div>
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Director: Tim Burton</div>
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Starring: Shelley Duvall (1984), Daniel Stern (1984), Barrett Oliver (1984), Joseph Maher (1984), Sofia Coppola (1984), Winona Ryder (2012), Catherine O'Hara (2012), Martin Short (2012), Martin Landau (2012), Tom Kenny (2012)</div>
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<i>People are weird.</i></div>
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<i> ~</i>Victor Frankenstein</div>
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This was on the docket all along, and Aaron Neuwirth seemed to be in tune to know so. But, how could I do these bonus Frankenstein pieces and not include Tim Burton's loving, adorable love letter tributes to the original film. The behind the scenes tale of <i>Frankenweenie</i> seems either comical or in the effect that Disney was righting a previous wrong from decades earlier when it comes to the remake. Burton's original black and white short, which was supposed to run before a re-issue of <i>Pinnochio</i> in 1984, was deemed a disaster by the mouse house. They thought a lot of money was wasted on something they felt would scare children and not appeal to them. On top of that, they fired Burton from the studio.</div>
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Hypocritically, years later, after Burton had bagged himself success with <i>Pee-wee's Big Adventure, Beetlejuice</i>, a couple Batman films and <i>Edward Scissorhands</i> making him one of the biggest and hottest directors in Hollywood, Disney released the original short to VHS in 1992. I remember seeing the film sitting at my rental store when it was a new release. Tim Burton's name was on it, that's really all I needed at the time. I'm pretty sure that was my only rental for the evening. Not knowing it was a short, I was sourly disappointed with the fact it was only 30 minutes and I had nothing to watch the rest of the night. I enjoyed it, it was good, but that's not a cool surprise at all. So, I watched it a few more times.</div>
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Its incredible that Disney totally whiffed on the immense amount of talent Tim Burton was displaying in just this little short. The opening credits and the set in that graveyard are incredible. There were also much much scarier things being sold to kids in 1984 than <i>Frankenweenie</i>. For 30 minutes, this film provides a lot of charm and heart with its characters. Its also very passionate about the source material its borrowing from. While at a young age you "get" what they're doing, but being older and having studied film and such much more, its becomes an much more incredible sight to see, when you notice props, jokes and shots that perfectly mimic the original Universal film.</div>
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Burton went back to Disney on a two film deal and got the ball rolling on a stop-motion animated <i>Frankenweenie</i> back in 2005. The film finally was released in 2012. While, yeah it is a remake, it feels more like a compliment to the original short than it does in some sort of competition with it. Here, things become even more adorable (Thanks to animated characters), and the world and ideas are flushed out even more. Things you may be thinking about when the original ends gets addressed here. Like, for instance, the grand conflict of Victor sharing his ways and other pets being resurrected. It still has the homages, and also is able to go bigger an more cartoonish because it doesn't have reality implications. I really loved this film, and had it not been for that damned awesome <i>ParaNorman</i> that came out just a month prior, it would have been easily my favorite animated film of 2012.</div>
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Both Burton's <i>Frankenweenie</i> creations are enjoyable on the same and different levels. There's something with that original short that feels special, and its really neat to see one of Burton's earliest offerings. The latter animated movie is just a great animated film through and through. Tim Burton's inspirations in his career from the earlier works of horror see a lot of his more obvious and true passions come through in both of these. And they are an incredibly respectful, fun and loving take on the <i>Frankenstein</i> story and film.</div>
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<b>NEXT TIME:</b> I still have not seen <i>I, Frankenstein</i>...</div>
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...and I still haven't. Let's rank these damn movies I was done writing about last week already!</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com1tag:blogger.com,1999:blog-9018104899950239962.post-18548126326235731122015-09-22T13:27:00.001-07:002015-09-22T13:27:03.558-07:00Mary Shelley's Frankenstein (1994) - BONUS<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicqGcVoYiegpBMaW-K1gosplegesjKK0vdGZj4AWT4fFX09czXG2nlVOsWrOp8Xog6kdnAflZghj0VTaqbucLiea2U4miCYg20GOChFOMLgjX9MoIkrdFCkAt4-Jwg91vTpc8h1eKRkAM/s1600/mary_shelleys_frankenstein_ver2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicqGcVoYiegpBMaW-K1gosplegesjKK0vdGZj4AWT4fFX09czXG2nlVOsWrOp8Xog6kdnAflZghj0VTaqbucLiea2U4miCYg20GOChFOMLgjX9MoIkrdFCkAt4-Jwg91vTpc8h1eKRkAM/s400/mary_shelleys_frankenstein_ver2.jpg" width="267" /></a></div>
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<i>Mary Shelley's Frankenstein</i></div>
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1994</div>
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Director: Kenneth Branagh</div>
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Starring: Kenneth Branagh, Robert De Niro, Helena Bonham Carter, Ian Holm, Aidan Quinn, John Cleese</div>
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Rating: R</div>
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<i>And what of my soul? Do I have one? Or was that a part you left out?</i></div>
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<i> </i>~The Creature<br />
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Back in 1992 Francis Ford Coppola scored a critical and financial hit with his new adaptation/remake of <i>Dracula</i>. The film was big budget, bigger casted, grander, source friendly take on the book. So, when that happens, we dig in and do the same for the other monsters right? And here's pretty much where Frankenstein comes back into play. Earlier in the same year, you also got the Jack Nicholson and Michelle Pfeiffer modernized update on the werewolf film (<i>Wolf</i>). This would follow Coppola's model moreso, with being a grand period piece.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu_-DAJ776BBmcLuFvepLi6mbDB9nq-YgpSXL_3ahSc9F7MyMGCJciucHp-gShFKBY_Ts26syHRUiD6_KkN0Mz2V24UEQXMYMBiVwFuROlK0JoNaYymLcLKSbJLbZrmhhy0AO6ZAMFHQA/s1600/frankenstein6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu_-DAJ776BBmcLuFvepLi6mbDB9nq-YgpSXL_3ahSc9F7MyMGCJciucHp-gShFKBY_Ts26syHRUiD6_KkN0Mz2V24UEQXMYMBiVwFuROlK0JoNaYymLcLKSbJLbZrmhhy0AO6ZAMFHQA/s400/frankenstein6.jpg" width="400" /></a></div>
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Actor Kenneth Branagh was brought on to direct and from his previous directing work you can see how they felt this was a slam dunk. The guy had already made a name for himself in the field of medieval and period dramas. Surely he'd be able to rock the Frankenstein world. And with things that Branagh is very good at, he does indeed rock that world. But there are some moments that he also doesn't truly succeed at as well. Its a sort of uneven film, and Branagh is a bit hit and miss with some of the bigger moments. He also gets some set pieces that look like some beautiful modernized Hammer locations.</div>
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The film is a little ahead of its time in that its earlier moments feel like that dreaded nonsense origin story bullshit we'd be cluttered with in the 00s. Some of this is from the novel, but there is plenty of embellished stuff in here too. There is also a focus on trying to hammer home a sense of incest with Victor and Elizabeth and its odd because its really not even remotely incest. The bookend of Captain Walton at the North Pole feels like excess and that they could have told the story without it, but it is indeed a part of the book, and like Coppola before him, Branagh was trying to get as close an adaptation as he could.</div>
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"The Creature" as its called, played by Robert DeNiro, luckily is terrific and the best part of the film. There are many upon many of scenes that are incredible highlights for the lore of any Frankenstein film or book. And DeNiro plays his part pretty much perfectly. You couldn't ask for any better. Him at the family on the outskirts house provide good moments. In particular, when he and Victor have a sit down chat about where to go from here and The Creature wanting a mate and to disappear, that's some damn good cinema right there. Perfect, acting, dialogue, execution. DeNiro also can get quite sinister and incredibly cruel and evil which helps where some of the editing or shooting isn't quite working.</div>
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Branagh has some moments that play out a little too silly at times and a bit over the top. Whether it be a big action sequence or line deliveries, its very unbalanced. However, there are times where he frickin' hits the spot perfectly. He goes beyond the book and introduces The Bride in the end, and its a haunting, eerie moment. But what is awesome, is when she light herself afire and runs bumping through the halls setting the house on aflame. I don't know how practical or logical that all works out, but I don't care. Its fictional tale, and that particular moment looked fantastic. </div>
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Say what you will about the film, but one thing you can't say it isn't is entertaining. While a hair too long, the film is always somewhat interesting, whether it be a big science sequence or dramatic moment. What Branagh's pacing needed assistance in is that he hangs on some scenes or events a bit too long than they need be, and some of the stuff he should have slowed up and spent more time on. All in all, this film is still plenty solid. Its not perfect by any stretch (The first act is a little rough), but I still think its very good and very loyal to its source, with much more highs than the very few lows. I don't think this one was thought of too fondly upon release (39% on RT...yeesh), so definitely something that needs reanalyzed.</div>
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<b>NEXT TIME: </b>Keep going? Okay...i'll try...</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-91904599585326711162015-09-21T09:11:00.001-07:002015-09-21T09:11:23.670-07:00Frankenhooker (1990) - Because I Want To<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhq98darwynx87CxF4C1LBOBeLG_siTPcrRC3o0xGWL7Mkh9lP1jonYlnNmCs8eAwUxTP6vE4QyJ2kieIKM2i8G2sDIsp9LxNuJm0MT-GBao8TlkAIdDSO4xj1UlJK8o86EqzmzBp-W04/s1600/frankenhooker_poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhq98darwynx87CxF4C1LBOBeLG_siTPcrRC3o0xGWL7Mkh9lP1jonYlnNmCs8eAwUxTP6vE4QyJ2kieIKM2i8G2sDIsp9LxNuJm0MT-GBao8TlkAIdDSO4xj1UlJK8o86EqzmzBp-W04/s400/frankenhooker_poster.jpg" width="267" /></a></div>
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<i>Frankenhooker</i></div>
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1990</div>
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Director: Frank Henenlotter</div>
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Starring: James Lorinz, Patty Mullen, Joseph Gonzalez, Louise Lasser, Jennifer Delora</div>
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Rated: R</div>
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<i>Wanna date?</i></div>
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<i> ~</i>Elizabeth (Frankenhooker)</div>
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Yes, I am indeed doing another bonus entry and latching Frank Henenlotter's 1990 horror-comedy <i>Frankenhooker</i> to my Universal Frankenstein Retrospective. When else am I going to get the chance to write about a beloved trashy little film of mine. This felt like the opportunity with the slightest window open to do so. And after all, the film is one that was inspired by those original films and Mary Shelley's story too. It has some little things and details here and there while also moreso being its own original story.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOsx7dA8BT6NXL1ehjJ74kigFWOnVDO3NUlFvLHEF9tnxWYvstrbV_ZZ0zPyck5qWkepjUJailn1WmpWd4Y1hBbus8rMPYNZpif_w662HO5KeG-XWSPRoFeXctT9e9NDY6i9S3k0FB95s/s1600/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOsx7dA8BT6NXL1ehjJ74kigFWOnVDO3NUlFvLHEF9tnxWYvstrbV_ZZ0zPyck5qWkepjUJailn1WmpWd4Y1hBbus8rMPYNZpif_w662HO5KeG-XWSPRoFeXctT9e9NDY6i9S3k0FB95s/s400/maxresdefault.jpg" width="400" /></a></div>
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So, let's get into it. I'm sure most of you probably hear the title or see the box and assume this movie is a complete piece of garbage. And, to some people who don't like horror or don't get the horror-comedy hybrid or can't appreciate some of the sleezy low budget films of the 1980s (This was 1990, but for all intents and purposes things didn't just change in 1990 from the way they were in 1989)...I guess you'd probably think of it as that. But, this little film is much better than you'd think. It's also way way better than it has any business being.</div>
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First, the effects in this movie are terrific for its time, holding up decently now and are a joy to watch. Back then, when you were crafting low budget horror movies, you threw most your budget to gore effects and make-up. That way, if your film's story didn't hit, people at least recommended the film for the effects and gore. Seriously, that was a thing back then, people could watch a movie for just an aspect of it and appreciate it. You also get a scene in a hotel room with about a dozen hookers blowing up in grotesque fashion. Its just a parade of prostitutes erupting blood, guts, body parts and sheer mayhem. The scenes is not only amusing in a gorehound sense, but its also absolutely hilarious in terms of this film's comedy.</div>
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This film is not meant to be taken seriously in the slightest. I feel like a lot of these low budget effects-faire, horror-comedies may have been taken the wrong way upon release. <i>Frankenhooker</i> sort of has the soul of a <i>Re-Animator</i> mixed with its own take on the <i>Frankenstein</i> story. But, with the aesthestic of Basket Case or other trashy 70s/80s dumpy New York settings. We follow our mad scientist (Who's like a cross between Michael Moriarty and Andrew McCarthy) as he tries to revive the head/brain of his ex-girlfriend killed by a remote control lawnmower. He encounters silly pimps and hookers as he feels that he can off hookers because nobody will know or care if they disappear. And there is plenty of crack/cocaine fiendish humor from the hookers side of things. The film also sports a nifty Twilight Zone-esque ending...and surprisingly actually confronts the misogyny of what our protagonist has done to bring Elizabeth (Frankenhooker) back. </div>
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Penthouse Pet Patty Mullen takes on the title role in the film. As the character of Frankenhooker, she doesn't show up until the final act, but she's absolutely one of the best parts of the movie. Surprisingly, she goes all in for the role. The make-up work on the character is still phenomenal today, seriously, its outstanding even on Blu-ray. But, her ability to move her body the way she does and her facial expressions in the film help to make the moments great. Her squeaky, comical super Jersey accent is just the icing on the cake. Its a performance that I think people like, but maybe it flies over the head on how terrific, smart and well done it actually is.</div>
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My earliest memories of the film came from the ol ma and pa VHS rental store days of my youth. This one was a staple of the independent stores, not the commercial ones. The box of the film was a bigger one. Henenlotter, always the home video showman, put a button to press on the box that has a clip of Frankenhooker saying "Wanna date?" on it. It was a film I didn't see until I was older and could rent on my own. This was not one of those I even wanted my parents to know I was interested in renting let alone having to hand them over the box being like "here's what I chose" and having to convince them that I should see this. And thus, it was one of those that stayed a mystery for a few many years, always wondering...what kind of movie does that box contain.</div>
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This is not some unheralded masterpiece that the casual viewer must rush out and by the <a href="http://synapse-films.com/dvds/horror/frankenhooker-blu-ray/" target="_blank">Synapse Films</a> or <a href="http://www.arrowfilms.co.uk/shop/index.php?route=product/product&filter_name=frankenhooker&product_id=97" target="_blank">Arrow Video</a> Blu-ray release. Its for those with a more open mind, appreciation for cinema of this type or fans of things like <a href="http://cultcinemacavalcade.com/" target="_blank">Cult Cinema Cavalcade</a> (PLUG! No Shame!). Its a film I'm quite fond of for many different aspects now-a-days. Honestly, like I said, the film is better than you'd expect or that has any business being with a title and idea like that. I'm most happy that I actually found a spot and day on my blog that I got to write about it!</div>
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<b>NEXT TIME: </b>Ranking? No, we'll do one more...</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-45267544727604214232015-09-18T08:57:00.000-07:002015-09-18T08:57:54.659-07:00Young Frankenstein (1974) - BONUS<div class="separator" style="clear: both; text-align: center;">
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<i>Young Frankenstein</i></div>
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1974</div>
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Director: Mel Brooks</div>
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Starring: Gene Wilder, Teri Garr, Peter Boyle, Madeline Kahn, Marty Feldman, Cloris Leachman, Gene Hackman</div>
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Rated: PG</div>
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<i><i>Hallo. Vould you like to have a roll in ze hay?</i></i></div>
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~Inga<br />
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Yes, I'm going to keep this Frankenstein train rolling. We're going off canon here, but I think this wouldn't be complete without touching upon the Gene Wilder / Mel Brooks team up from 1974 for just a second. The parody film is one of the most successful of Frankenstein entries in the history of film. The movie garnered large box office and critical acclaim. It also impacted the lore and legend of people's memories of the Frankenstein series, making people believe things that weren't a part of the Universal films Importantly, the film has had a tremendous 41 year legacy, still giving audiences belly laughs today and considered one of the greatest comedy films ever made.</div>
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Gene Wilder was the brain child of the film. Its a passion project of his and mainly his creation even though legendary comedy film director Mel Brooks has his name stapled to it. This is also the only film of the director's that he doesn't "obviously" appear in. Wilder was so animate that this film carry a certain tone and feel and felt Brooks was good in his films, but constantly broke the fourth wall even when he wasn't trying. Wilder cultivated the movie as if it was the fifth film in the Frankenstein series following <i>Ghost of Frankenstein</i>. And while the film is built upon parodying elements from those first four films, it still works in that fashion.</div>
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Gene Wilder was a terrific presence back in the day. While he played a wonderfully wacky bunch of characters, no two were the same. Here in Young Frankenstein...ahem FronkenSTEEN, he 's all in and gives quite the performance of a descent into madness. He's also one who isn't afraid to let his co-stars steal some scenes and chew scenery all for the good of the show. Marty Feldman proves to be just that, winding up being what people think of when it comes Frankenstein's assistant instead of what really was in the Universal films. Madeline Kahn brings her excellence once again as she was very well known for. She's a true comedic genius in her own right. Cloris Leachman also dazzles here as <a href="https://www.youtube.com/watch?v=TO6nBFGqHTw" target="_blank">Frau Blucher</a>. And I must say this is a "swoon" role for me for the lovely Teri Garr and she is dorkily charming in the role of Inga and sells her comedy without being overtly ridiculous, even with the accent.</div>
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Peter Boyle plays the monster and he's pretty damn good at it. An actor of his stature taking this part shows me that the guy seemingly is up for anything and has a good time. This is different a different Peter Boyle than the one who seemingly passed on Popeye Doyle for The French Connection in pursuit of landing more tradition "handsome male lead" parts in films. Funny enough, Gene Hackman cameos in the film. Doyle has a comedic take on the monster, but also brings some of that humanity only Karloff seemed to be able to bring to the role back in the day. Scripts, yes, help this, but I put this on Boyle more than anything. And what a moment at the end when he speaks intelligibly. He just commands the room and wows you with that moment. Its a really good, sincere thing inside of a goofy comedy film.</div>
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Why this film works best is that its so dedicated to playing it straight. The looks, props, costumes, make-up and everything does its best to look every bit like one of the 1930s films. And the story of the film plays it pretty much straight for the full thing, sans a "Puttin' On The Ritz" here and there. The actors also play it straight, with some of the loud parts in their performances being perfectly warranted or seemingly channeling the overacting and campy quality to the older films it is trying to recreate. Yes, there are gags, but as much as this movie is making fun of things its just as much a tribute and passionate love letter to that era in horror cinema.</div>
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As legendary as the films it was parodying, Young Frankenstein will always be a comedic treasure. I'm sure maybe the day will come, or maybe its already here where it won't make sense to the youngins, but I think most of the humor here in the movie is silly enough for one not have done the homework and just know of the Universal horror films. It features outstanding turns from every cast member and the directorial work, set design, costuming and make-up are an incredible achievement. I can't sing this film enough praises and it funny enough, the one film Mel Brooks doesn't clearly appear in or have a role, wound up being his very best picture.</div>
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<b>NEXT TIME: </b>Yeah, still not done...</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-84305270307147149462015-09-17T11:51:00.001-07:002015-09-17T11:51:14.226-07:00Abbott & Costello Meet Frankenstein (1948)<div class="separator" style="clear: both; text-align: center;">
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<i>Abbott & Costello Meet Frankenstein</i></div>
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1948</div>
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Director: Charles T Barton, </div>
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Starring: Bud Abbott, Lou Costello, Lon Chaney Jr, Bela Lugosi, Lenore Aubert, Jane Randolph, Glenn Strange</div>
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Rating: "Passed"</div>
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<i><i>You're awful silly to call me all the way from London just to have your dog talk to me.</i></i></div>
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<i> ~</i>Wilbur Grey<br />
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The Universal Monsters lie dormant for three years following <i>House of Dracula </i>after an impressive revived run in the 1940s. Also down on their luck was the famous comedic duo of Bud Abbott and Lou Costello. To some kids they're the "Who's on first?" guys and probably most modern kids are like "Who?" Anyway, the team decided to make a comedy using the likes of the monsters Universal had made so famous. Bud Abbott at first went along, thinking this was a dumb, childish idea, but once the filming started he "got it". While the film ended up reviving the Abbott & Costello brand as well as Universal doing monster movies into the 1950s, the film does end up being the swan song for the "big three" of Frankenstein Monster, Dracula and the Wolf Man.</div>
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Bela Lugosi finally returned as Dracula in the film, one he apparently never cared to see but agreed to all press outings and obligations. Lugosi looks a bit aged, but convinces me enough that he's having fun with the role again. Its a bit more of a campy take on it before, but that's needed here due to the material. Once again, the film's villain plot winds up being about someone transferring a new brain into the Frankenstein Monster, not realizing EVERYONE ends up failing at that. But, this time that failure candidate is Count Dracula, so it adds a little more fun to it. For not having played the role in 17 year, Lugosi sure seemed able to just "turn it on" like he'd never left.</div>
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Lon Chaney takes on Larry Talbot for the fifth and final time. This man surely was the heart of the Universal Classic Monster series even if he didn't enter until late in the game. He once again is the "hero" of the monsters, trying to stop the other two and assisting our comedic protagonists along the way. Also, Glenn Strange wound up being injured on set, so Chaney got his wish and played a stand in for the Frankenstein Monster in a few scenes, including the finale. I love the man's gung ho attitude and willingness to jump right in and do thing just for the love of the genre. You didn't get that much I'm sure back then and we definitely don't see a lot of that now. </div>
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This comedy grouping almost had the perfect reunion, but alas Boris Karloff didn't make it. He'd appear in the following Abbott & Costello movie, where his name was in the title. Karloff was 61 years old, so I understand if he's not going to take on being the monster again. Instead we get Glenn Strange in his third and most active outing as the monster. He's decent enough. Appearance-wise, Strange has actually always looked very good and closest to Karloff's. I think one of Strange's strength's as the monster is that there is the least to say about him in the role in a positive way. I mean, Lugosi's monster wasn't in much of <i>Frankenstein Meets The Wolf Man</i> but that performance is very widely know and discussed. But also, up til this one, Strange's monster has been a non factor in his movies until the end.</div>
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Abbott & Costello Meet Frankenstein is actually a bit of a landmark film in cinema history. While not the first horror-comedy hybrid film, its one of the most significant ones. This opened the door for some more comedic takes on more familiar territory. It also launched a handful of Abbott & Costello Meets __insert monster here__ films. One thing I appreciate from it a lot is some of the filmmaking here that I think could go lost on the untrained eye. There are fantastic sequences here of something I'll refer to as "comedy suspense". When Wilbur (Costello) goes into the Wolf Man's hotel room to check on something and procrastinates on taking an apple while we all know the Wolf Man is around ready to pounce is terrific. Its a situation where you both laugh, but are tense hoping the man isn't mauled by the Wolf Man. This is my favorite one of those moments, but many of them play throughout the film and I feel like this is one of the biggest early examples of where this sort of scenario was used in film. And its done quite well.</div>
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A team up for the ages, this is a film I've enjoyed since my youth. I probably saw it before I saw most of the rest of the Universal Monster movies. I (and apparently Universal) consider it to be a piece of the canon and final film for the Frankenstein, Dracula and Wolf Man storylines. Yes, it doesn't pick up a lick of continuity from the previous film, but does adhere to the rules, returns cast members and could easily fit the setting. This is also franchise horror, which would be none for loose continuity, revisionist parts and redoes. So yeah, why not, <i>Frankenstein 8</i>, <i>Dracula 6</i> and <i>Wolf Man 5</i>. And yes, I call it <i>Abbott & Costello Meet Frankenstein</i>, not <i>Bud Abbott & Lou Costello Meet Frankenstein</i>. That what it was always called and referred to when I was growing up and its what their comedy troupe was called. I dunno when the pretentious change happened, but I'm sticking with what I'm familiar. The film is definitely a good romp for kids, and I think adults with a nice childish sense of humor like myself can find the fun in it, too. The Mummy and Invisible Man would each get another turn at bat following this, but Universal took a different direction with the monsters in the 50s, evolving to something new, so this one last tip of the hat was a fun farewell to a terrific 17 year run for Frankenstein and the rest of the monsters. </div>
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<b>NEXT TIME: </b>Thought we were done? Not yet</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-52611186028356410132015-09-16T08:32:00.002-07:002015-09-16T08:32:49.841-07:00House Of Dracula (1945)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD0q2qcxg0MlOv2zbaJdK8BTuAhJMwt_mbTD-Ca_me6QEr4DYkooKS2VB6L1r5fYXwvCXIz_T4nnoWgQp6qib8lLOt2pl1p_9ipknWwDVbfsu9UOWHn8kQfgfMXIThVcGi5wRbQNpVMow/s1600/house_of_dracula_poster_03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD0q2qcxg0MlOv2zbaJdK8BTuAhJMwt_mbTD-Ca_me6QEr4DYkooKS2VB6L1r5fYXwvCXIz_T4nnoWgQp6qib8lLOt2pl1p_9ipknWwDVbfsu9UOWHn8kQfgfMXIThVcGi5wRbQNpVMow/s400/house_of_dracula_poster_03.jpg" width="400" /></a></div>
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<i>House of Dracula</i></div>
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1945</div>
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Director: Erle C Kenton</div>
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Starring: Lon Chaney Jr, Onslow Stevens, John Carradine, Marta O'Dricscoll, Lionel Atwill, Glenn Strange, Jane Adams</div>
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Rating: "Approved"</div>
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<i><i>Now, Mr. Talbot... You broke your promise to me, didn't you? Told the police. I don't like people who break their promises, Mr. Talbot.</i></i></div>
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<i> ~</i>Dr. Edelman<br />
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After House of Frankenstein proved a big success and very popular with audiences, of course they'd move along with another. The same dynamic was kept here; Frankenstein monster, Wolf Man, Dracula, Mad Scientist, Hunchback. This time we'd call it Dracula's house and put together a story weaving them all together. Much of this proves to be the same kind of stories these monster's constantly face leading to a finale that all to much resembles the previous film. There are things this movie has that are intriguing, but also stuff that is far less impressive. </div>
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One thing is very apparent in this movie; Universal definitely cut back on the budget for this movie and its pretty apparent in every frame. The film takes place in one central location, which is inside the Dr. Edelman's home. They don't really go outside much at all even. And when they do spend time you can tell its in front of a rear projection backdrop. Adding to the cheapness is the finale which is pretty much the end of <i>Ghost of Frankenstein</i>, copying and using pretty much all its footage from that finale, mixed in with a couple shots from <i>Bride of Frankenstein.</i> Its a bit of a mess if you're familiar with the films, but I'm positive the folks back in 1945 probably didn't notice. Its something you could get away with then, since people weren't watching them obsessively on home media or television yet.</div>
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Speaking of our man, the monster, he's once again just a tool to cause destruction in the finale of the film. Glenn Strange reprises the role and seems to be inspired from the Lugosi rendition of the monster with his clogging and stiff arms. Unlike the other monster's in the film, his continuity is intact as he's found where the quicksand in the last film drowned him, clinging to the skeletal remains of Dr. Niemann from the previous film. The other two monsters, the Wolf Man and Dracula just show up in the film with no explanation as to how they're back after being defeated or killed in <i>House of Frankenstein</i>. I'm fine with that though, but I'm sure some nit pickers demand some background in that area.</div>
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Our Mad Scientist in the film is an interesting cat. He seems devious just looking at the fella. He winds up getting Dracula's blood mixed in with his and turns very diabolical. Its a good and interesting take on the stereotype we've had throughout these movies providing something more fresh. Also with a very fresh take is his hunchback assistant. Its not only played by a woman, but an attractive one at that, which seems like a pretty significant moment, especially for the time here. She joins the ranks of The Bride and Dracula's Daughter as one of the few female Universal Classic Monsters. </div>
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John Carradine returns in his final Universal Dracula performance. He would take the role on years later in a couple other films. Here, Dracula and the Wolf Man both want the same thing; to be cured. However, Dracula is a bit more devious and winds up being up to no good. He's more of an involved player with the rest this time though, which is welcome. There's something cooky about Carradine in the top hat that I enjoy. The Wolf Man is basically now our hero in this tale as he is actually cured this time around. Lon Chaney also sports a mustache this time around.</div>
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<i>House of Dracula</i> is definitely an enjoyable film, but it does have problems and those problems are quite clear just from seeing it. This film does bring some significant new elements to the Universal Monsters series, but in all reality is like the last film in being more of the same. It is interesting though that the actors playing the monsters were actually all kept intact for two films in a row. Feels like some sort of feat (No, i still think "mad scientist" and "hunchback" are a stretch in terms of big names). This would also be the last Universal Monster movie for another 3 years. The biggest gap since before <i>Son of Frankenstein</i>.</div>
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<b>NEXT TIME: </b>The Monster is on first</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-64764768510325755642015-09-15T13:01:00.001-07:002015-09-15T13:01:12.830-07:00House Of Frankenstein (1944)<div class="separator" style="clear: both; text-align: center;">
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<i>House of Frankenstein</i></div>
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1944</div>
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Director: Erle C Kenton</div>
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Starring: Boris Karloff, Lon Chaney Jr, John Carradine, J Carrol Naish, Anne Gwynne, Elena Verdugo, Lionel Atwill</div>
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Rating: "Approved"</div>
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<i><i>Talbot's body is the perfect place for the monster's brain that I will add to and subtract from in my experiments.</i></i></div>
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<i> </i>~Dr. Gustav Niemann<br />
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After the very successful Frankenstein Meets The Wolf Man, Universal decided "Dudes, lets put even MORE monsters together in a movie!" This began the final part of this cycle which were referred to as the "Monster Rally" films. You got one movie, but all your favorite monsters appeared in them. This was The Avengers team up before it became a thing. Rather than be a build up to something like that, this was a method of trying to craft some longevity and breath new life into the monster movies. This first one would see the return of Count Dracula (though still not Lugosi), The Wolf Man, Frankenstein's Monster, a mad scientist and a hunch back. I kinda feel like the latter two are a bit of stretching it, but damn that poster sells them, doesn't it. Essentially now we have this as Frankenstein 6, The Wolf Man 3 and Dracula 4 (Yes, I'm keeping track).</div>
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Now, this movie once again feels as if its two films. The first half is very much a standalone piece in its own right. There is a set of characters who pretty much come and go and are finished at the halfway point never to return again. This starts with our main character Dr. Gustav Niemann and his hunch back associate breaking out of prison in hopes of learning Dr. Frankenstein's secrets. They wind up murdering a travelling horror side show guy and taking over his carriage. This is where Dracula makes his return in the form of the third actor to play him. John Carradine fills the role and he's okay, but there's not much to go on. The previous year he had been played by Lon Chaney Jr. (I WILL PLAY EVERY MONSTER), but due to the fact that he was returning as the Wolf Man here, he couldn't do the dual role thing. This story is decent and much more interesting than the first half of <i>Frankenstein Meets The Wolf Man</i>, but it would have been nice to have tried to weave Dracula in with the other monsters instead of being the introduction monster and stand alone.</div>
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The Monster in the film marks the debut of Glenn Strange in the role. He ties Karloff in the Universal realm of playing him three times. Strange is decent in the shoes and electrodes, but there's not much here. The Monster is pretty much frozen in ice or tied to a table until the final minutes of the movie. He's used as a big climactic reveal/conflict in the movie instead of being a prime player. More of an instrument of destruction than anything. Even though the film's title is <i>House of Frankenstein</i>, this is more of a <i>Mad Scientist Meets The Wolf Man, But Not After Meeting Dracula First</i> movie. I get it though, the Frankenstein name is the one you use to put the butts in the seats as it was the most popular of the series.</div>
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Boris Karloff was a huge added bit of value to the film. He returns to the series that made him famous, but not as the monster, in a very human role. And he is such a joy to watch her as Dr. Niemann. You can also tell that Karloff is delighted to be there and having plenty of fun in the role. He's pretty vile and quite clever. I also love that Karloff isn't afraid to get his hands dirty. You can clearly see that it is him during scenes like the prison escape and then again with the monster carrying him in the finale through the "Quicksand!"</div>
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Once again, this feels more like a guest spot for the monster, but honestly he had been given more movies and more spotlight than the others at this point. And had the previous film not taken away his ability to speak, he might have been easier to factor in for the screenwriters. We do get more Larry Talbot which is a plus because Chaney is so great in the role. They even throw a love triangle in the mix with Talbot, a gypsy woman and the hunch back, which starts a domino fall to everyone's demise in the end. I'm not sure either, but this may be the introduction of the silver bullet into the vampire lore (Silver was already a thing, but I'm not sure the bullet form had come around yet). </div>
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While light on the monster, <i>House of Frankenstein </i>is still a very fun movie. Its neat to see all of these monsters share the same world and the same film. People leaving this film back in the day must have been having conversations about how the other monsters in Universal's arsenal could fit into a movie. These rally films were quite popular back in the day. People loved them. And I also think this film is a lot of fun and each monster in it does get to do the things they do best, even if none of them do battle.</div>
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<b>NEXT TIME: </b>Dracula gets home court.</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-51949295623053498232015-09-14T10:49:00.001-07:002015-09-14T10:49:12.523-07:00Frankenstein Meets The Wolf Man (1943)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKwJjzdRsMrqnZRbztk-Oo0w7KaxDXwG_D-DLdTQ1P2mp3zHh9GxA0vUR5ChNQ1G3q9cGR4B5dV2nhrPW5P_oU5vf09k4TTBdbKIuWAdCfYNmYdJ1mqlZqnOX6A-UOwG7Fb5Uk9DcMgIA/s1600/Frankenstein-Meets-the-Wolf-Man-Film-Poster-1943.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKwJjzdRsMrqnZRbztk-Oo0w7KaxDXwG_D-DLdTQ1P2mp3zHh9GxA0vUR5ChNQ1G3q9cGR4B5dV2nhrPW5P_oU5vf09k4TTBdbKIuWAdCfYNmYdJ1mqlZqnOX6A-UOwG7Fb5Uk9DcMgIA/s400/Frankenstein-Meets-the-Wolf-Man-Film-Poster-1943.jpg" width="400" /></a></div>
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<i>Frankenstein Meets The Wolf Man</i></div>
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1943</div>
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Director: Roy William Neill</div>
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Starring: Lon Chaney Jr., Ilona Massey, Lionel Atwill, Maria Ouspenskaya, Bela Lugosi</div>
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Rating: "Approved"</div>
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<i><i>I only want to die. That's why I'm here. If I ever find peace I'll find it here.</i></i></div>
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<i> ~</i>Lawrence Talbot</div>
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Looking to once again refresh and boost interest/dollars into their Monster movies, Universal decided to pair up their two current active/most popular ones for a movie. Before it was mainly putting two of the big named actors together in these movies, but never had the actual characters themselves been tossed into the celluloid ring together. This test ultimately took the Frankenstein monster and the newly minted classic <i>The Wolf Man</i> and weaved both their continuities and series together into one movie. Essentially, the film would serve as both <i>The Wolf Man 2</i> and <i>Frankenstein 5</i>. Though, if you've seen the film, its sort of plays more like <i>The Wolf Man 2</i> with special guest Frankenstein's monster. Since this the <i>Frankenstein</i> retrospective, this piece is going to look more into the Frankenstein's monster perspective on the film.</div>
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Frankenstein's monster sort of got the short stick with the film, and that's mainly because of some behind the scenes dilemmas and post production studio tinkering that led to less of the monster's presence. You'll recall in the previous film that Ygor (Played by Bela Lugosi) had tricked his way into having his brain implanted in the monster. At the end the monster speaks Ygor's voice, but soon becomes blind as they don't have the same blood type. Having Lugosi play the monster in the film was a perfect then (Originally Lon Chaney wanted to play both the monster and Wolf Man). However, early studio execs and test audiences did not respond well to the Hungarian speaking monster, mostly loudly laughing at it. The studio panicked and had all of Lugosi's dialogue, which included him referring to his blindness cut from the film. </div>
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With all the dialogue cut, a lot of audiences probably didn't remember the character was blind. So they had no idea what was going on. Lugosi's performance featured the monster stumbling around with his arms stiffly outstretched to show the blindness. Hilariously THIS is one of the things that had the biggest legacy and impact on the creature. It probably started with people joking about it, then it became a staple. Growing up, if I did an impression of the monster (And I believe I went as him one time in my single digit years) it would be some growling and walking like Lugosi did. I'm sure to this day, it still happens.</div>
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The monster also doesn't show up until halfway through the film. The first half plays pretty much like a direct sequel to <i>The Wolf Man</i> with a plot and characters all its own that don't happen to effect too much of the 2nd half. Its almost like the <i>The Wolf Man 2 </i>and <i>The Wolf Man 3</i> packaged together into one film. Its when Larry Talbot goes on his journey to meet Dr. Frankenstein (The one from Ghost) that we get the connection. And we dig deeper into that familiar territory with the daughter of Ludwig, who was in the previous film but now played by a different actress. If you're keeping score that would be the daughter of the second son who's brother also he shares the father that is Henry Frankenstein. So, it could be <i>The Granddaughter of Frankenstein</i>. But I believe they got the title right with this one. </div>
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The monster and the Wolf Man don't do battle until the very end, but Larry Talbot and he do get to spend some quality time together. And I just wonder how much better it would have been had we been able to see them both converse. As it stands though, the fight at the end is pretty rad, and they're smart by not having a clear winner. The fight results in a draw as an angry villager blows up a damn that wipes away the castle both monsters are fighting in, washing them both away until another feature calls their name.</div>
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<i>Frankenstein Meets The Wolf Man</i> brings some excitement with that title, its poster and its promise. It delivers on the promise and has left itself quite the legacy. In addition the stiff arms, the lore of a werewolf transformation coming with that of a full moon began with this film as well. But, I'm not sure if its really that great of a movie. The first half, basically rehashing <i>Wolf Man</i> stuff, is quite a bit slow and boring at the same time. The second half of the film kicks it into a much better gear, but travels down too similar path of the previous Frankenstein effort. Its another short one, so that's better, but watching it now feels like one of the more weaker efforts. This is especially true if you hold it up to <i>The Wolf Man </i>film that preceded it. Still, conjoining characters and worlds like this is an important moment in film history and the film has left quite a mark.</div>
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<b>NEXT TIME: </b> It was a graveyard smash</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-45484968942787402362015-09-11T11:44:00.000-07:002015-09-11T11:44:20.033-07:00The Ghost Of Frankenstein (1942)<div class="separator" style="clear: both; text-align: center;">
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<i>The Ghost of Frankenstein</i></div>
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1942</div>
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Director: Erle C Kenton</div>
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Starring: Bela Lugosi, Lon Chaney Jr, Cedric Hardwicke, Evelyn Ankers, Lionel Atwill, Ralph Bellamy</div>
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Rating: "Approved"</div>
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<i><i>The lightning. It is good for you! Your father was Frankenstein, but your mother was the lightning!</i></i></div>
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<i> </i>~Ygor</div>
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<i>Son of Frankenstein</i> was a big hit restored popularity to the Universal Monster films. The studio decided to invest once again in the films. However, they would no longer be of the A-list variety. Budgets were moved down to B-level productions. And yeah, you can tell <i>The Ghost of Frankenstein</i> is of a lower quality than what came before it. The sets aren't as kooky, they feel more like a stage show and the direction is much more static. They also use clips and footage from the previous films within the story. But, this would allow them to crank out more movie and much faster ideally. </div>
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This is also the first time the series has a noticeable dip in quality. That doesn't mean that <i>Ghost of Frankenstein</i> is bad, it just isn't in the conversation on hanging out with the three that came before. Those films with Karloff are all legendary and ground breaking horror films. The fourth film in the series is merely "good" or "solid" and that's nothing to scoff at. Back then and over its legacy, people seem to have been pretty kind to it, but in today's "best ever" or "worst ever" and no in-between climate, I'm sure the film would have possibly torn to shreds.</div>
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Karloff hung up his electrodes and klonky boots for good (in the Universal films) and so it was onto the next actor to fill them. Of course Lon Chaney Jr. would be the first to jump at the chance. The man wanted to play every monster he could on celluloid. He's not bad, but he's much closer to that generic stereotype of the monster we have than the haunting humanity of Karloff's. The monster does have those personal moments, but they seem much more a product of the script than they do of Chaney's performance. Gone, also, is that mischievous sweater from that last film and back to the traditional clothing. </div>
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To note, this isn't some sort of reboot to the series, its a direct follow up to the previous film. The monster has to be broken out of the hardened sulfur from the last movie. Due to popularity (And probably adding another "name") is Bela Lugosi's Ygor. And that's awesome. We continue he and the monster's relationship. Things get into a bit of hokey'ville here as we have another son of Dr. Frankenstein and I realize that it sorta reminds me of my beloved Halloween series, with trying to find relatives for Michael to stalk. It is what it is, though and we have a very different kind of man here to find himself with an inner conflict of perfecting his father's work.</div>
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One thing that's terrific of <i>Ghost</i> is that its yet another film in the series, but its not a copy of what came before. There are tropes and things that we've seen before done again, but the greater conflict of this movie is wholly unique. We shift the story to the next time over, so we can leave the "cursed" disgruntled villagers in peace for this one. In this film, Dr. Frankenstein's other son is attempting to transplant a new brain into the monster to see if they can correct the confused violent being he's been. There's conflicts between doctors and families, and Ygor even gets in on it wanting a new body and even the monster going on trial. The film even comes down to a fun little devious twist followed by another to finish out. It also introduces what seems like it could have been a game changer with the Frankenstein monster, but with the brain and voice of Ygor. Like a mish mash of the best things from the last two films. That detail leaves a bit of excitement as to where the monster will go next with the new modifications.</div>
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<i>Ghost of Frankenstein</i> may not be the fanciest or best <i>Frankenstein</i> movie, but I think its still both fun and fascinating. Its definitely the most low key of the series at this point, and you can really chalk that up to the script trying to appease a lower budget. While Son would have perfectly wrapped up the story satisfyingly, going further would always be a gamble. But, I think they honestly did all right. Its not a masterpiece, its not really as arty and is more factory made. It still works, and is still a good time with the monster and Ygor. Its okay to be "solid" or merely "good" and that's something I really wish people would allow modern films to be. If you've not seen <i>Ghost of Frankenstein</i>, give it a look.</div>
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<b>NEXT TIME: </b>Frankenstein v Wolf man: Dusk of Fright</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-70032808696959463432015-09-09T18:08:00.000-07:002015-09-09T18:08:01.534-07:00Son Of Frankenstein (1939)<div class="separator" style="clear: both; text-align: center;">
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<i>Son of Frankenstein</i></div>
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1939</div>
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Director: Rowland V Lee</div>
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Starring: Basil Rathbone, Bela Lugosi, Boris Karloff, Lionel Atwill, Josephine Hutchinson</div>
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Rating: "Approved"</div>
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<i>One doesn't easily forget, Herr Baron, an arm torn out by the roots.</i><br />
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<i> </i>~Inspector Krogh<br />
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Following <i>Bride of Frankenstein</i> and its success, Universal started to think of themselves above the whole horror and monster movie phenomenon. It was sort of dying off as any fad will, but Universal didn't produce any monster movies for a period of 2 years. Then, after that, the studio was down on their luck and suddenly needed a hit. There was a travelling triple feature billing of <i>Dracula, Frankenstein</i> and <i>King Kong </i>that started making rounds. It was proving very popular and bringing the monsters' relevance back into the conversation. Universal decided to put all their chips in and to make a big budget return to the Frankenstein series, with Karloff reprising his role and putting Bela Lugosi in the film to have the two icons share the screen. And also, rising star Basil Rathbone was put into the cast (Replacing an ill Peter Lorre...imagine how THAT might have gone!).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikRjeShdWWqYHmhBYsgoagaoL1fBQPw9disyaQXY7xzH5VnMOKjGYPxyE4WA66uWQgr1EL1FN6JenM5VMKFVm9mKTe_caLtgY22wTO3d9QA7KDkQZFKK1NNCxwzZ43Shi1Ygcm8OR1Jow/s1600/e55a5560b316d3c952cfba960ea20b57.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikRjeShdWWqYHmhBYsgoagaoL1fBQPw9disyaQXY7xzH5VnMOKjGYPxyE4WA66uWQgr1EL1FN6JenM5VMKFVm9mKTe_caLtgY22wTO3d9QA7KDkQZFKK1NNCxwzZ43Shi1Ygcm8OR1Jow/s400/e55a5560b316d3c952cfba960ea20b57.jpg" width="400" /></a></div>
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James Whale did not want to come back. While he was searching for his return to prominence as well, he was done with making monster films. In stepped Rowland V Lee. And I must commend, that while the gothic artistry of Whale is obviously missing, Lee does a great job trying to come close and also adds some delights of his own. The sets and new characters definitely feel that they've been taken from the same ilk of <i>Bride of Frankenstein</i> with a hint of the esteem of the original picture. The film also has a lot of money in it, and they don't put any of it to waste.</div>
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Lee's film is not only bigger in budget, its much bigger in length. The Universal Monster films typically didn't go much over an hour as to get as money showtimes in the day as possible. This one is 110 minutes. You'd think that would hamper the film, but honestly, I see that runtime every time before I watch it and think that, but this one really moves quite well. Its paced great and its part connect to different sections of the story very well. Yes, if you're watching them in succession, you're gonna notice this one hangs out a bit more than the others, but it doesn't "feel" or make you want it to go.</div>
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What helps this one work, is that its story is very different than the two films that came before it. Yeah, its got a bit of the same idea, but like <i>Bride</i>, it does plenty of different things with it and doesn't feel the same at all. <i>Son</i> involves some new quirky characters, all with much different focus and agendas than we've seen before. Heck, we even get a little murder plot that is pretty spooky and cool. The film even spouts what I found to be some meta dialogue where Wolf talks about how hated his father is that people have started calling the monster by his name. This I found to be a reference to how pop culture has referred to the monster as Frankenstein not, "the monster" or "Frankenstein's Monster". </div>
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One of those new characters is one of the franchise's best; YGOR! Here's where I may lose some of you, or get some hate. But, I really honestly think this is Bela Lugosi's best. As iconic as Dracula is and what he did for horror, he's much better here. Its a strange character, but Lugosi is terrific. And he had to be. Lugosi was down in the dumps at this time. He hadn't worked in a while. Ygor wasn't even in the script, director Lee wanted to help Lugosi out. Then he got minimum scale for the film and Lee kept putting more and more Ygor in the film to get Lugosi some money and exposure. And he doesn't blow it either. This seems like it was a picture that could have been a vehicle for Rathbone, but Lugosi steals this film from everyone. He's marvelous in the film and a treasure for every frame he's in. THIS is Lugosi's best character, even if its not the one he's most remembered for in his career.</div>
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Karloff's swan song as the monster is another terrific turn from the actor. He's once again mute, but this time he's more of an instrument than he is a person. Its almost as if he's under Ygor's spell for a lot of the film and there are times where his humanity breaks through on it. With what you would think is some simple monster character, Karloff has given three different and three outstanding performances. In an odd turn, the monster is wearing some sort of carpet-like sweater in the film as his outfit. I don't think its ever explained and it just kinda looks weird and takes some getting used to when watching it.</div>
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One of the greatest and wisest minds of this geek-centric generation, Jim Dietz, pointed out on the Facebook post for the original how this film is the basis for the comedy film <i>Young Frankenstein</i>. Its true, <i>Young Frankenstein</i>, while it covers things in the first four films, uses <i>Son of Frankenstein</i> as its template to go off of. For me, though, both work. I can still watch this film and enjoy it as its own piece of horror history. And as a matter of fact, the first two films in this series get all the glory, but I don't think <i>Son of Frankenstein</i> is far off at all from the original and <i>Bride</i> (Rotten Tomatoes has the first two at 100% and <i>Son</i> at 89% boo hoo). For me, I find it to be just as good as those first films. Thus, it culminates in what I would see as a perfect trilogy (Yeah, I know, the films continue...so I guess the "Karloff Trilogy" mind you). This film is a true horror gem and classic, standing both as a part of the series, trilogy capper and standalone <i>Frankenstein </i>film. </div>
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<b>NEXT TIME: </b>Lon Chaney Jr says, "Sure, I'll play him."</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-8743427554855778022015-09-08T11:00:00.003-07:002015-09-08T11:01:44.070-07:00Bride Of Frankenstein (1935)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk2pX_UHqvovyOvX-HxLvZEBVUaWjYAFqBFZTgVkv2i6lg-jA537Kvi6dnOaC6JCg6GK8iY0hW9ZMmFOcLvERHENjZ_V2hny7fVK6LgUFhQ9P1BkbNmqXU8qollFvfUCMoXs_hrmp05KE/s1600/bride.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk2pX_UHqvovyOvX-HxLvZEBVUaWjYAFqBFZTgVkv2i6lg-jA537Kvi6dnOaC6JCg6GK8iY0hW9ZMmFOcLvERHENjZ_V2hny7fVK6LgUFhQ9P1BkbNmqXU8qollFvfUCMoXs_hrmp05KE/s400/bride.jpeg" width="400" /></a></div>
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<i>Bride of Frankenstein</i></div>
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1935</div>
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Director: James Whale</div>
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Starring: Boris Karloff, Colin Clive, Valerie Hobson, Ernest Thesiger, Elsa Lanchester</div>
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Unrated</div>
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<i>She hate me.</i></div>
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<i> ~</i>The Monster</div>
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Universal wanted the sequel to <i>Frankenstein</i> immediately after the film was a hit. However, the film took years to get off the ground. James Whale was reluctant to helm another, feeling that he'd said just about everything he'd wanted in the first film. He may have also felt the "monsters" fatigue after doing <i>The Invisible Man</i>, too. Script after script was rejected until something caught his eye with one, when someone took an idea that was introduced in the book but not really explored. The idea of creating the monster's mate was something that sort of set Whale off on a path of creativity with this story again finally got the ball rolling.</div>
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<i>Bride </i>is definitely the direct follow up to the first film, but like the <i>Evil Dead </i>movies would do down the road, it would set itself up a little differently in order to make the film it wanted to. Bits of the finale are altered, like Henry Frankenstein's father being nonexistent in this film and the final "tag" scene being pretty much ignored or thrown out. That's all fine and you really won't care, as this film, though being a sequel is its own thing and can stand on its own lunky feet quite well.</div>
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Previously, the first film opened with someone coming from behind a curtain and warning everyone of how spooky the film they were going to watch was. Well, here is another weird opening scene with author Mary Shelley discussing with two guys about the events of the last film (Remember, there wasn't any way to view these on video or on TV even, so the recap was necessary). She lets these gents know that there was more to the story and off we go. So, maybe, things are different from the end of the last movie because we have a different interpretation? Anyway, she's played by Elsa Lanchester who will also show up as The Bride at the end of the film.</div>
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From that open, though, its a little goofy, but we just know something is going to be different about this movie. Its a special, fantastical film, with a wonderful sense of weirdness that polishes up nearly every bit of this film. We get a new character, Dr Pretorius, and with him comes all the eccentricities that give this film its vibe and thematics. He's an old chum of Dr. Frankenstein and both couldn't be more the opposites of one another, but each carrying a similar goal and enthusiasm on one another's achievements. This movie also carries with it a sense of humor that wasn't present in the first film. You'll get an idea of it right away, which maybe on a first time viewing could be a little jarring, but it actually works quite well.</div>
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Boris Karloff, while a bit hesitant about it, was able to add further dimension to his character of the monster. This time around he's learning much more and trying to fit in and find his place in the world. Albeit the movie takes place on a short amount of time, but all this is there. The monster even begins learning how to speak, which is both funny and terrifying at times as well. Whale also shoots some incredibly dreadful and intense "horror" sequences in the film as well that are just outstanding.</div>
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Not only does the monster get to evolve his character, but the make-up on him does as well. As is something Hammer Dracula and Jason Voorhees would take from this, his appearance has the wear and damage carried over from the previous film. His clothes are beaten up and shredded. His face features injuries and burns from the windmill fire. The hair closest to his forehead has been burned on cinged away. The make up and the effects work on this film are tremendous. We not only get another iconic monster in the film, but the scene with the little people that Dr. Pretorius has is a wonder and still holds up today.</div>
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The Bride of Frankenstein. I have been in LOVE with her look for most of my life. What a badass looking monster design. And she's creepy as all hell too, especially that damn hiss. She's been a HUGE feature when it comes classic monsters. And its kind of a shocker as she doesn't in full form as we know her until the final FOUR minutes of this film and never returns to any monster picture after. I'm not complaining, this film works perfectly, and her character rocks. I'm just saying, when people complain about something like <i>Jason Takes Manhattan </i>and he doesn't do it until the last 20 minutes or so of the movie...look at this one. What the title promises and poster shows, doesn't happen til there is 4 minutes remaining (including end credits). </div>
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As reluctant as he was to make it, James Whale crafted ANOTHER masterpiece with <i>Bride of Frankenstein</i>. Its a weird little film, but man is it ever a wonder to watch. The sets, costumes, make-up are all amazing. Performances at top flight here for horror too (Even Colin Clive, who looks like shit because he was battling alcoholism, works well). This is one of cinema's greatest sequels of all time and maybe one of the first ever "great" sequels. I could see how this one may have been polarizing at the time and taken years to warm up to, but every bit of this movie is so much different than the first one, its well on its own right. Its a film that I have no problem calling beautiful, bizarre and fun.</div>
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<b>NEXT TIME: </b>YGOR!!!</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-47334573977780059002015-09-01T13:49:00.000-07:002015-09-01T13:49:16.969-07:00Universal Frankenstein Retrospective - Frankenstein (1931)<div class="separator" style="clear: both; text-align: center;">
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<i>Frankenstein</i></div>
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1931</div>
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Director: James Whale</div>
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Starring: Colin Clive, Boris Karloff, Mae Clarke, Edward Van Sloan</div>
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Unrated</div>
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<i><i>Oh, in the name of God! Now I know what it feels like to be God!</i></i></div>
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<i> ~</i>Henry Frankenstein<br />
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While I celebrate horror year 'round, I always feel September is the time of year to start the Halloween run on Naptown Nerd. Last year, we covered Dracula, in probably what is his most prestigious and best series, the Hammer rendition. This time around, its his comrade Frankenstein's Monster's turn at bat. And for me, the best films of his lie in the Universal Monsters era starting at the beginning of the 1930s. For this grouping of horror monsters, he's seemed to be the clear leader and "face of the franchise". Much of that is probably owed to Boris Karloff taking on the role multiple times, stealing the thunder from Bela Lugosi's Dracula (Lugosi played the role twice and the 2nd was in <i>Abbot & Costello Meet Frankenstein</i> 17 years later).</div>
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But, the role was actually Lugosi's to lose at one point. Bela was slated to play the monster and did makeup effects and everything for it. Heck, there's even a poster for it</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8F2Z2hnkbK97mdNVXSW4yznIj_pHqMEySdBIHvqpKhb0RLQEI72R8zppo8kYFbLpR9Cz5Yb9ma1sN5U4hCGhyH2J-4uzj1AyV6XX2sFfeYLGynbVqYwUsDJHiyMGP3mVKKdFuCW2qyN4/s1600/1931_lugosi_frankenstein.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8F2Z2hnkbK97mdNVXSW4yznIj_pHqMEySdBIHvqpKhb0RLQEI72R8zppo8kYFbLpR9Cz5Yb9ma1sN5U4hCGhyH2J-4uzj1AyV6XX2sFfeYLGynbVqYwUsDJHiyMGP3mVKKdFuCW2qyN4/s320/1931_lugosi_frankenstein.jpg" width="233" /></a></div>
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Things didn't work out and I think, thankfully we then got the tandem of James Whale as a director and Boris Karloff as the monster. Whale was a hot overseas director, coming across the pond, and chose, WANTING to do Frankenstein.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQTBFsWh9BLSuiyTyPnDfTBJgSbpD1i78lcQiaPsTnw8LAwZhfJPsrXuLMvBsxDnm0qeH4iuFSx3ajB9fwiwQh5_AaCKOoHq4ZFN87nmLberzp0eHsUCMR_cypxHHoO8Xy7FMxi11cR94/s1600/Annex-Karloff-Boris-Frankenstein_12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQTBFsWh9BLSuiyTyPnDfTBJgSbpD1i78lcQiaPsTnw8LAwZhfJPsrXuLMvBsxDnm0qeH4iuFSx3ajB9fwiwQh5_AaCKOoHq4ZFN87nmLberzp0eHsUCMR_cypxHHoO8Xy7FMxi11cR94/s400/Annex-Karloff-Boris-Frankenstein_12.jpg" width="400" /></a></div>
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<i>Frankenstein</i>, to me, is an absolute work of perfection. The film nails every possible aspect of filmmaking for either now or of its time. One thing that has always struck me, is how beautiful this film is shot. It captures the costuming, sets and props so masterfully. I honestly, and have said it for years, feel that almost any random cell from the reel of this movie could be taken, blown up a bit, framed and put up on a wall in anyone's home. From the beautiful grave robbing scenes at the begging, to the townsfolk with their torches and pitchforks hunting down the monster, its full of greatness in almost every shot. There's a romanticism to the gothic nature of the look in this story and its a charm and delight to sit and gaze at. </div>
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Its kind of crazy, the yin and yang we sort of have with the performance of Colin Clive and Boris Karloff. Henry Frankenstein (Changed from Victor in the book) is our natural human character, yet Clive gives an eccentric but harnessed over the top/camp performance. Its a loud and colorful one at times, as he give many a cartooned look on his face. Meanwhile, his creation, the monster boasts a somewhat real and human performance without even muttering a word. Karloff is absolutely terrific and more impressive than Lugosi's outstanding turn as Dracula earlier in the year. As an audience member its sort of odd that you can gather what the monster is thinking, yet the one we are more like, the human, seems such a wild card and we have no idea what he plans.</div>
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The rest of the roles shape up nicely. But, commonly mistaken here for "Igor" is the character of Fritz, the assistant. This is what people think of when they imagine the assistant in physicality, yet in name, such a character isn't introduced until the 3rd film and its nothing as you'd expect (And I can't wait to talk about him). The character is a bit of a loon who seemingly is responsible for everything bad with the monster. He takes the criminal brain after mishandling the one he was meant to take and he also torments the shit out of the monster once he's brought to life. He's done away with very early, but man, its a wonder if this guy caused a lot of grief for the town because he was being a complete asshole.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBR8lRijYtSKPK1JM239AkC_W6hi9LpBMGbU3-JSE_o6Jsz32nL5W52rfCTu3p0DD5R67O42bUle8XIGGyhBD2VeSKqvC4ZmhHTE6vwn1qVETzuN_xVBShn9phCVuXsnC6gaKEKwAcYGk/s1600/redo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBR8lRijYtSKPK1JM239AkC_W6hi9LpBMGbU3-JSE_o6Jsz32nL5W52rfCTu3p0DD5R67O42bUle8XIGGyhBD2VeSKqvC4ZmhHTE6vwn1qVETzuN_xVBShn9phCVuXsnC6gaKEKwAcYGk/s400/redo.jpg" width="400" /></a></div>
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Going back to the reveal of Frankenstein's monster for a moment, one that is absolutely money and James Whale NAILS it. It has to go down as one of the best character/monster/villain type introductions of all time. And Karloff, without words and only his body brings about such a creepy, scary menace. I can only imagine the possibility of people in theaters actually screaming or shrieking aloud when seeing it for the first time. People only had <i>Dracula</i> before this as the "ultimate horror" as these Universal films, you must remember, were introducing new elements in horror and laying new groundwork. They were taking the intensity up a notch. And <i>Frankenstein</i> even takes it further from <i>Dracula</i> as well.</div>
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Like much of horror that would follow it, <i>Frankenstein</i> pushed the limits of censorship. Upon its release, audiences/critics were a bit offended at the line in the film that I have quoted in the top of the article. Crazy, yes, because nowadays there would be zero problem, even from some of the strictest religious pushback. They also did not approve of the monster killing the little girl by tossing her in the water. Going back in time, I can see where that may have been a big "no-no" in the 1930s. Upon a rerelease years later and some subsequent home video releases early on, these two parts of the film were altered or cut. The full version of the film actually wasn't comfortably in place on home video formats until it came out on DVD. Not that the full version wasn't on VHS, but some releases were the censored version and you didn't really know.</div>
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Maybe I just watch movies differently than others, but I really think James Whale's <i>Frankenstein</i> still holds up quite well. The film looks and plays great (Seriously, check out the Blu-rays of the Universal Monster movies, they're to die for). For me, its better than Todd Browning's <i>Dracula</i>. I think the pacing of it is quite terrific, putting in some slow burn horror and character development, taking its time but perfectly fitting in bits of action. The film is also very short too. You'll spend no time at all watching it. This movie is very much a staple for me this time of year (And I usually pop it in at random occasions in the year as well). Its worked for me my whole life. As a kid, during my youthful days and as an adult/parent. That's pretty impressive for a film that will be 85 years old next year.</div>
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<b>NEXT TIME: </b>Its a nice day for a white wedding</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-7269020501165016972015-08-18T08:35:00.002-07:002015-08-18T08:39:27.312-07:00Introducing CULT CINEMA CAVALCADE!<div class="separator" style="clear: both; text-align: center;">
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Hey readers! Something fantastic has just happened, though its been in development for over a year, I started a podcast. Myself and Cullen, who you may know from A Touch Of Crass or the terrific Freddy's Nightmares article he wrote for me last year, launched Cult Cinema Cavalcade yesterday! Its being hosted on the Dead Radio Entertainment network (where you can find additional podcasting entertainment) We're very excited to be finally on the internet airwaves sharing our discussions of the crazy movies we've been watching together for over two decades now.</div>
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Click below or head on over to <a href="http://cultcinemacavalcade.com/">cultcinemacavalcade.com</a> and check out the first episode where we discuss the 1988 stop motion with pixelation classic, The Wizard of Speed and Time. The podcast is bi-weekly and drops every monday, so our next episode will be in 2 weeks. That gives you plenty of time to check out the film we'll be discussing on it. On the podcast, we not only tell you what the film will be, but also the cheapest and most legal ways you can go about seeing it. As always, your comments, feedback, reviews, etc is appreciated! </div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-82775848301643379332015-08-06T14:41:00.002-07:002015-08-06T14:41:19.688-07:00Impossible Rankings - Ranking the Mission: Impossible Film Series<div class="separator" style="clear: both; text-align: center;">
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Its something that seems to slip my mind until the next comes out and was really cemented with Ghost Protocol, but I really think this is one of my all time favorite film franchises. Minus one entry, every film here is terrific high end entertainment. Why it slips my mind is that we've only had 5 films in 19 years from it and its never been rebooted. Plus, each film is so different from one another that its almost like its not a series. I was a bit of a fan of the reruns, but wouldn't go as far to call myself a "hardcore" Mission: Impossible TV fan.</div>
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One that was weird for a film series I'm a big fan of, the rankings for this was one of the easiest tasks I've done. My picks came right to me and are pretty much definite. This franchise is full of stunts, suspense, Tom Cruise and tons of fun. Here is my ranking of the series, from end of fuse all the way to the stick of dynamite.</div>
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<b>5. Mission: Impossible II</b></div>
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I'm pretty sure this is just about everyone's least favorite entry in the series (save for Scott Mendelson). While its not a good film per se, I think it still manages to entertain and feature some really fun over the top John Woo action. You also get to see a Tom Cruise that's really at the peak of an ego.</div>
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<b>4. Mission: Impossible III</b></div>
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I really do like this film a lot, just not as much as the rest. But from here on, know that I'm a big fan of each entry. This film is basically a long Alias episode, but it still works and there are still some fun action bits and some even more solid character depth on display. It features what I still think is the series' best villain in Phillip Seymour Hoffman.</div>
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<b>3. Mission: Impossible</b></div>
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It really is saying something when a film this good can be topped and topped twice at that. The DePalma film still holds up very well for me, if not even better than upon release. I love this cast and I love the DePalma-Hitchcock adventure stuff going on in this one. Its a film that proved big action blockbusters could also carry some intelligence as well.</div>
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<b>2. Mission: Impossible - Ghost Protocol</b></div>
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Yep, this great action classic has been topped. I love the spectacle of this movie and all the set pieces on display. Each one very memorable. This is possibly my favorite Ethan Hunt performance out of Tom Cruise as well, as he just dominates this film. While having a weak villain, the film still manages to carry some menace and plenty of suspense leading into a very awesome suspenseful climax. And, as I mention, damn was this cool to see in IMAX!</div>
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<b>1. Mission: Impossible - Rogue Nation</b></div>
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We have a Naptown Nerd first! This is the first time the most recent film in a franchise has taken top billing in the ranking battle. But how could Rogue Nation not? Its got the action set pieces, maybe not in the spectacle of Ghost Protocol, but they're fine enough as there is an elegance to what McQuarrie brings. Its almost as if he's mixing some of the spectacular of Ghost Protocol, channeling DePalma and bringing his own sensibilities to the table. This film is great in so many areas and achieving topping a film in the series I didn't think would ever get topped. Rogue Nation is a great spy/suspense/action thriller that also has brains. It's what defines this series. Go freaking see it (again), already!</div>
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<i>Thanks to those of you who have returned to the Naptown Nerd after patiently waiting for another retrospective. Stay tuned for next time with my Hotel Transylvania retrospective!</i></div>
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<i>Okay, so I'm not doing a Hotel Transylvania retrospective...but fall is approaching...</i></div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0tag:blogger.com,1999:blog-9018104899950239962.post-68081965708871782482015-08-05T12:27:00.002-07:002015-08-05T12:27:18.854-07:00Mission: Impossible - Rogue Nation (2015)<div class="separator" style="clear: both; text-align: center;">
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<i>Mission: Impossible - Rogue Nation</i></div>
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2015</div>
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Director: Christopher McQuarrie</div>
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Starring: Tom Cruise, Rebecca Ferguson, Simon Pegg, Jeremy Renner, Ving Rhames, Sean Harris, Alec Baldwin</div>
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Rated; PG-13</div>
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<i>You have your seatbelt on?</i></div>
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<i> ~</i>Ethan Hunt</div>
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I saw this film almost a week ago and really cannot wait to get back for more. It seemed almost <i>impossible </i>to top Ghost Protocol, so hoping for something of a "business as usual" sequel was about the highest of my expectations. That's not a bad thing, mind you, but catching lightning in a bottle more than once couple with switching directorial hands is a lot more difficult than it seems. Happily though, this movie crushed it in spades.</div>
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The "Tom Cruise hangs from a plane" sequence that was heavily featured in the marketing for the film is our "gun barrel" opening sequence and man is it every bit of fantastic. We are mid-mission, not needing a lot of information other than the basics. And its so much damn fun and when Tom Cruise as Ethan Hunt showed up I almost stood up and spilled my popcorn it was so cool. Mission: Impossibles have had solid opening numbers, so its nothing new, but something with this huge "going for it" attitude had not been done. Even though we've seen the most depth defying bit in the trailer, its STILL a marvel when you see it in the movie. Just some outstanding stuff here, and the best opening to number to a movie all year. Seriously, James Bond...we all know I love you...but how are you going to compete with THAT come December (side note: He could say he actually did that already as he hung from a plane once in my least favorite film of the canon - <i>Octopussy</i>)?</div>
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This is the closest thing we've ever got to a direct sequel in the franchise. Aside from Paula Patton, the team is kept intact. They are also dealing with fallout from the climactic events in Ghost Protocol. This team is made up of plenty of different people and they really manage to get all their chemistry right and work them together no matter how odd it may seem. Simon Peg and Tom Cruise share a lot of chemistry while also having wildly different energies, but also a complete understanding of one another. Jeremy Renner sort of is an odd addition (It feels like you should have him or Cruise in a movie, but not both), but they play up that aspect of him as well.</div>
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Paula Patton may be gone, but you'll completely forget she was ever there when you meet Rebecca Ferguson. While all you're hearing now is raves about her, I'd like to point out that she caught my eye in the BBC mini-series <a href="http://whysoblu.com/the-white-queen-blu-ray-review/" target="_blank">The White Queen</a> and I was very happy when she was cast in this. This could have been a stock "Spy Who Loved Me" kinda balance to Ethan Hunt, but because of Ferguson, she gives it a lot more. The script also does her a lot of favors too as it allows her to be a damn strong spy and not just "the girl". I'd almost venture to say that she probably "out cools" Tom Cruise in this movie. Here's hoping this has opened some major doors for her.</div>
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Christopher McQuarrie helms this, and I was a fan of him coming on board. I liked both <i>Way of the Gun</i> and <i>Jack Reacher</i>. The director handles the action sequences with a great sense of geography, intensity and stakes. They aren't super clean sequences, but contain just the right amount of raw. This film almost feels like a greatest hits reel of action sequences. Most action films have a hard time coming up with one notable set piece and McQuarrie's feels like a memorable one is always right around the corner. From the opening plane stunt, to the silent fisticuffs at the opera house to the motorcycle chase, this one has so much gas in it. There's also some insanely nail biting suspense bits too. One thing I have to give him as well is that there is a real sense of 60s spy era/Hitchcockian elegance to the look and feel of a lot of this film. Particularly when Rebecca Ferguson arrives at the opera house, I felt like I was taken back to a more classic era while still having the modern touch and feel. </div>
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I left <i>Mission: Impossible - Rogue Nation</i> INSANELY pleased. There was so much fun, thrills AND smarts to be had in this summer blockbuster sequel that proves YES, summer is a great time at the movies both big and small. Its almost a week later and I'm still high on this film. <i>Fantastic Four </i>comes out this weekend and while I'm going to see it, I'd almost rather buy another ticket and see <i>Rogue Nation</i> a second time. After <i>Ghost Protocol</i> I wanted another Mission: Impossible as soon as possible. After <i>Rogue Nation</i>, I wan the follow up TOMORROW!</div>
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<b>NEXT TIME: </b>My mission, should I choose to accept it, is to rank these films!</div>
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I F'in LOVE this teaser trailer</div>
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Brandon Petershttp://www.blogger.com/profile/14074875391068643921noreply@blogger.com0