Friday, October 24, 2014
Thursday, October 23, 2014
Seed pods from space land on earth and begin to create duplicates of everyone they come into contact with, leaving the originals as desicated husks, while the emotionless duplicates silently take over the world.
Invasion of the Body Snatchers (1978) is possibly the best example of a remake that equals, or surpasses, its original, in this case the 1955 movie of the same name. Moving the action from anytown USA to the chaotic city of San Francisco works in its favor, and allows us to take in the transformation of the citizens almost ambiently around the main action as the central characters stumble upon the plot initially by a rash of people claiming that their spouses aren't really their spouses, followed by the discovery of unformed human duplicates and suspicious behavior among their friends, coworkers, and officials. By the time they figure out what's really going on, it might very well be too late.
This film really succeeds by presenting its eerie invasion concept against the mundane day to day lives of the central characters and the behavioral changes detected in their loved ones dismissed as an emotional distancing effected to cope with their hectic and unhappy lives. There's a lot of paranoia on display as well. People not believing others, people suspicious of whether their friends are really their friends, of who can be trusted...The special effects are pretty unsettling, amplified by Ben Burtt's highly effective sound design, which along with Denny Zeitlin's minimalist score, drives a lot of the unease and tension in the film. Then there's my favorite moment in the film, which I won't spoil for those of you who haven't seen it. I'll just say it involves a banjo playing homeless man and his dog.
A test pilot disobeys orders and flies his ship 250 miles from the earth's surface. His ship passes through a strange cloud of particles which turn the pilot into a hideous monster in need of blood to survive.
First Man Into Space (1959) was obviously influenced by The Quatermass Xperiment (1955) and would in turn influence The Incredible Melting Man (1977). It's attempt to present serious aeronautic experiments using stock footage, and it's one note characters, add more tedium than excitement. There are some neat things in the movie though. The compositional transformation of both the ship and the pilot is pretty cool, in spite of the pseudo scientific mumbo jumbo presented to explain why it happened. Also, while the transformed astronaut is a deadly monster, all is not as it seems, and the payoff here is a welcome change from how these stories from this period typically played out. It was also nice to see Roger Delgado, the actor who originally played The Master on Doctor Who, appear as a consul from Mexico.
Wednesday, October 22, 2014
Poor Carrie White (Sissy Spacek). Bullied at school, abused by her crazy religious nut mom (Piper Laurie) at home, just when things finally look like they are going to change for the better for her, a nasty prank at the prom turns tragic as Carrie finally decides to push back with deadly telekinetic force.
I don't have any interest in either of the remakes. Carrie (1976) based on the novel by Stephen King remains a really strong movie and one of the few King adaptations that really succeeds. The strength of the movie lies in its cast Spacek and Piper are fantastic and deserve all of the praise they are given for this film, but William Katt as the high school boy who takes her to the prom, and Betty Buckley as the supportive gym teacher deserve equal accolades. Without their genuine performances here to offset the more villainous characters this movie would not have been nearly as successful, and the tragedy that unfolds would have felt empty. The prom, where Carrie's life seems like it's really going to change, is the heart of this movie, and you really want things to get better for her, and you suspect they probably would have, had not the mean kids intervened with their bucket of blood.
There are a couple of scenes here that feel a bit dated, and there are particular music cues that are almost painful to listen to, but overall Carrie really holds up well. Split screen, which pretty much went out of fashion around the time this movie came out, is used really effectively during the film's climax by Brian DePalma.
Christina Ricci plays Fall River's notorious ax murderer in the Lifetime original tv movie, Lizzie Borden Took an Ax (2014) a historical drama revisiting the murder of Lizzie's parents and the trial that followed. Despite having a good cast, this movie is a dreadful bore. It seems to drag on forever, as if somewhere along the way they discovered that this story isn't really that interesting and could be summed up in about twenty minutes instead. In an attempt to inject some life into any scene that involves people walking outside, riding in a carriage, or just standing outside on the street, modern music that would sound at home in a Jack Daniel's commercial is played over these scenes. This choice was a bad one and only draws attention to itself since the music in no way enhances the scenes in a way that's pertinent to the story.
This may not be the worst movie I watch this month, but I doubt any other movie is going to prove to be more tedious to sit through.
Tuesday, October 21, 2014
A tarantula injected with a synthetic super food nutrient breaks loose from the lab and continues to grow wreaking havoc on a small desert community.
Like Empire of the Ants (see previous entry), Tarantula (1955) mainly relies on combining photography of an actual tarantula with live action plates (and the occasional close up of a full size mock-up spider), but the effects in Tarantula still look amazing. It doesn't hurt that the story is better and the characters, while being a bit thinner as dimensional characters, are more engaging and likable. John Agar, as is often the case, plays the earnest young scientist. Model/actress Mara Corday is the love interest and scientific assistant to the man behind the synthetic super food nutrient (Leo G. Carroll), who in a b plot is also breeding monsters of the human variety in a series of disfiguring side effects when the nutrient is injected into humans. This fun monster movie is one of the last classics to come out of Universal Studios, and one of my favorites. The score by Ronald Stein is also top notch.
Joan Collins plays a shady real estate developer who takes potential clients to an island in the hopes of selling them beach front property. Little does she, or her guests, know that the island is overrun with giant ants.
Bert I. Gordon (The Amazing Colossal Man, Beginning of the End, Food of the Gods) continues his cinematic fascination with giant creatures with Empire of the Ants (1977) loosely based on a story by H.G. Wells. Formulaic by way of 1970s disaster movies in which a cross section of personality types are introduced so we can fathom who they are, then the horrible element is introduced and the characters are picked off one by one. It's schlocky, but somewhat entertaining. Coming out the same year as Star Wars, which really upped the ante on special effects, the effects here are awful when they fail, such as the transparent superimposed ants, but actually pretty damned good when they work out. The effects are a combination of macrophotography of actual ants inserted into footage of actors, or on miniature sets, mixed with full sized ant props which are shaken at the actors by off screen crew members. The story itself isn't all that interesting, or new, until very late in the film when it introduces an interesting plot development. By the time this comes to the forefront though, the movie is pretty much over.
If you like other 1970s nature gone mad films like Day of the Animals and Frogs, you may get a kick out of this. Everyone else though would be much better off watching Them! (1954)
Monday, October 20, 2014
Bela Lugosi is definitely the star of The Corpse Vanishes (1942) as a horticulturist who uses an orchid of his own creation to put young women about to be married into suspended animation simulating death. He then steals these "corpses" and whisks them off to his laboratory so that he can extract fluids from the young women to inject into his aging wife in order to keep her beautiful. He is aided by a family of creeps. Luana Walters plays a reporter uncovering the secret behind the stolen dead brides.
This is a pretty ludicrous movie, even for poverty row, but it is pretty fun to watch. The diversity of the elements involved keeps it pretty interesting, and there's some novelty in the orchestration involved in turning the brides into "corpses" and then abducting them. Elizabeth Russell is an actress with a very otherworldly aura about her, which makes her perfect as Lugosi's ailing wife here, just as it benefitted her in movies such as Cat People and Weird Woman. This is no classic, but it's good for a late rainy night.
Today is Bela Lugosi's birthday, so, as per usual, I try to watch at least one of his movies in his honor. First up is Black Friday (1940) which sounds like he and Boris Karloff should be racing for hot ticket items at one of the big box retail stores on the day after Thanksgiving. Really though, Karloff plays a doctor who attempts to save his friend, a kindly literature professor, by transferring the brain of a dying gangster into his head. The professor suffers from a few back and forth Jekyll and Hyde moments as the dead gangster's personality takes over set on revenge against the criminals who killed him, including Bela Lugosi in a small role (even though he gets second billing). There's also the matter of a lot of hidden money, which Karloff's character wants to get his hands on for his own experiments.
This is an okay movie with some really wonky logic in it, but it plays pretty well if you're willing to completely suspend disbelief and go along with it. This movie is really a showcase for actor, Stanley Ridges who plays both the professor and his Hyde character as two very distinct characters, even physically. He does a real good job, too. If you're looking for some classic Lugosi/Karloff chills, this isn't going to be the movie to provide them.
Sunday, October 19, 2014
Radio crime reporter, Bob Hope and his assistant Willie Best find themselves travelling to Cuba in order to protect Paulette Goddard from a murder threat and ghosts and zombies with a haunted castle she has inherited.
The Ghost Breakers (1940) is a successful horror comedy not quite on par with Abbott & Costello Meet Frankenstein, but still a highly enjoyable viewing experience. There's plenty of Scooby-Doo like shenanigans, a creepy zombie and ghost, and a number of guest stars ranging from Richard Carlson to Paul Lukas and Anthony Quinn. The castle set is great, and this movie was one of the inspirations for Disney's Haunted Mansion.
Gremlins 2: The New Batch (1990) moves its story from a small town to a state of the art skyscraper in Manhattan, where Gizmo gets wet spawning more mogwais who eat after midnight turning into gremlins, which get wet spawning more gremlins and so on. This time things are complicated by an on site genetics lab where some of the gremlins are able to ingest formulas that merge them with spiders, bats, vegetables, and electricity. There's even a gremlin who increases his intelligence and becomes voiced by Tony Randall. Much of the original cast is back and together they must keep the gremlins contained within the building until they can develop the means to destroy them.
Somehow, I've never seen this movie until now. It was a real mixed bag for me. While I admired the social commentary and satire, sight gags, and the numerous homages to various pop culture touchstones, the gremlins themselves were really irritating. Joe Dante decided to go for a more cartoony approach than in the first movie, and Rick Baker came up with a lot of individualized gremlins that fit the bill, but their silly slapstic and screaming was like trying to watch an hour and a half of Tazmanian Devil cartoons if you removed Bugs Bunny from them. Gizmo was strangely absent from most of the movie with much of his screen time a build up to a one note bit based off of a movie scene, much like Gizmo's race car scenes from the original movie, only here it's not nearly as endearing.
Saturday, October 18, 2014
Baron Boris von Frankenstein (Boris Karloff) creates the means of ultimate destruction and summons all of earth's monsters (except one) to his island castle in order to announce his discovery and his retirement as leader of the Worldwide Organization of Monsters, a role he plans to pass on to his clueless, human, nephew Felix. This leads to a number of the monsters and Frankenstein's assistant, Francesca, scheming to get their hands on the secret formula for themselves.
Mad Monster Party (1967) was created by the same people that brought us Rudolph the Red-Nosed Reindeer and other beloved holiday classics. Like Rudolph, Mad Monster Party was created using stop motion animation on miniature sets with characters designed by Jack Davis. There are also a number of musical numbers.
Unlike Rudolph, and most of the other Rankin/Bass classics, Mad Monster Party has never won me over. I love stop motion animation and think it's a perfect choice for this film. I love the character designs and the sets too. I just think the characters themselves and the story (written by Harvey Kurtzman and Len Korobkin) are a bit flat and uninteresting, especially for a feature length movie that was clearly padded out to extend its running time with several scenes in the middle that serve no other purpose. This is similar to my reaction to A Nightmare Before Christmas. Both of these movies feature lots of things that appeal to me and I feel that I should love them, but I don't. The biggest problem here is that Felix is such an unlikable dweeb that it's hard to root for him and harder to believe in the romance that develops between him and Francesca.
I'm a big fan of Rankin/Bass, but as much as I want to love this movie, it just doesn't do much for me beyond the visuals.
Andy (Alex Vincent) receives a "Good Guy" doll named Chucky for his sixth birthday little knowing that his new best friend is really the soul of a voodoo practicing serial killer (Brad Dourif) inhabiting the doll until he can transfer his soul to the first person he revealed himself to in this form -- Andy.
I haven't seen Child's Play (1988) since it's opening weekend and I don't think I've ever seen any of the sequels. On its own, this film holds up really well. It maintains a sense of logic that is absent from many genre films these days and the suspense isn't built upon people being stupid. In fact a few characters catch on the what's going on pretty quickly, but how to convince anyone who can do anything that a living killer doll is responsible for a pair of violent crimes which are being attributed to Andy. The film really revolves around the relationship between lonely Andy and his mother, and Andy and Chucky instead of a gimmick, which makes almost heartbreaking when Andy realizes that Chucky never really was his friend to the end.