1-20 of 67 items from 2011 « Prev | Next »
In 1925, Universal released what would become one of the most influential and important movies ever made. Even today it stands as a singular achievement in film that still impresses some eighty years on.
From Lon Chaney’s outstanding makeup to the beautiful sets and costumes, it is a breathtakingly lavish film that entertains as much as it educates. The film cannot be overstated in its historical importance, as it was the first of the Universal Monsters to be born.
Without Chaney and his amazing creation, we would arguably never have seen Lugosi’s Dracula or Karloff’s Monster and so on. One could point to this film and say it was the birth of the horror film, as we know it today. Sure, Nosferatu had come before, as had The Golem, The Cabinet of Dr. Caligari and of course Edison’s Frankenstein. However, The Phantom of the Opera was the »
- Derek Botelho
Strangely enough, the myth of the Sasquatch still looms fairly large in pop culture despite no evidence ever really materializing proving their existence. Winnipeg filmmaker Darryl Nepinak takes a new, light-hearted spin on the mythology with his short mockumentary Bigfoot where hunters and monster-lovers clash in the forest.
“You fear monster, but you want to protect him at the same time” is a saying I heard a long time ago and good monster myths embrace this philosophy, such as Boris Karloff’s at-times sympathetic portrayal of the Frankenstein monster. Minor spoiler alert, but Bigfoot does make an appearance in Nepinak’s film, played by the filmmaker himself. However, the majority of the film encompasses a wide range of attitudes among those searching for him.
For the most part, though, those attitudes have nothing to do with the creature. The hunters hope to find some meaning within themselves should they encounter the beast. »
- Mike Everleth
When Harry Knowles, the Grand Mufti of movie bloggers, has a birthday party he does it up big. It starts with the Internet's most die-hard cinemaniacs filling out an elaborate application for a coveted, assigned seat at Austin's Alamo Drafthouse Theater, and ends with intense film junkie bragging rights.
The event, appropriately called Butt-Numb-a-Thon, is a (more than) 24-hour movie marathon mixing hard-to-find vintage prints and first looks at forthcoming films. In years past, attendees have had sneak peeks at movies like "King Kong", "Kick-Ass" and "Hobo With A Shotgun", as well rare opportunities to see flicks like Disney's "Song of the South" or Orson Welles' "Chimes at Midnight."
This year, after a Friday night kick-off party at an elaborate pinball arcade, the lucky few exchanged tips on how long to wait until drinking coffee (everyone has their own theory) and tried to guess the line-up. This was my second Bnat, »
Movies from the “golden age” of black and white films (approximately the 1930’s through the 1950’s) almost invariably contain well-written dialogue and strikingly subtle humor, making them a favorite among many fans of cinema. The horror movies of this more subtle period in film history are therefore of a cerebral nature, primarily relying on the viewer’s imagination to generate the true sense of horror that modern movies generate through more visual means. It is these oft-ignored horror movies that will be the focus of a series of articles detailing the reasons why true fans of horror movies should rediscover these films. The Vampire Bat (Majestic Pictures, 1933) is the second movie in this series.
The Vampire Bat made its debut during the Great Depression when Universal Studios was the undisputed king of horror films. This “poverty row” film from Majestic Pictures, unlike many other Depression-era films from the smaller picture studios, »
- Tim Rich
Anyone who's followed the career of director John Landis could tell you: the man knows his movies. You can't make something like "An American Werewolf in London" or Michael Jackson's "Thriller" if you don't understand horror films inside and out. Landis' movies, from "Kentucky Fried Movie" to "The Blues Brothers" to "Three Amigos" are awash in cinemania. Cinephiles love Landis because Landis clearly loves cinephilia.
For proof, you only need to check out Landis' beautiful new book, "Monsters in the Movies," an illustrated history of cinematic creatures. With witty commentary and insightful observations, Landis outlines the origins and developments of all the famous monsters of filmland, from Dracula to Frankenstein to The Mummy and many more.
"Monsters in the Movies" includes over a thousand pictures from the Kobal Collection, the largest collection of motion picture stills in the world. Kobal approached Landis about doing a picture book on whatever »
- Matt Singer
The Skin I Live In
Written by Pedro Almodóvar
Directed by Pedro Almodóvar
The hallowed caverns of cinema history are littered with the skeletal remains of mad scientists, those power-crazed maniacs whose unholy experiments are frequently an affront to god and to the more tangible realm of medical ethics. These sneering antagonists are driven by all-consuming desire to avenge a wrong, or save a loved one, or to play the immortal and be damned with the consequences to their perverted souls. From the translocation of limbs and organs in the likes of The Hands of Orlac and The Eye, from the shrieking transmutations in The Island of Dr. Moreau, from the perverted humor of The Thing With Two Heads, or the automaton prophecy of Metropolis, the cinema has reveled in the possibilities of man breaching the bounds of pathological and righteous decency, scorning the absurd moral framework of his »
The St. Louis Globe-Democrat is a monthly newspaper run by Steve DeBellis, a well know St. Louis historian, and it.s the largest one-man newspaper in the world. The concept of The Globe is that there is an old historic headline, then all the articles in that issue are written as though it.s the year that the headline is from. It.s an unusual concept but the paper is now in its 25th successful year! Steve and I collaborated last Spring on an all-Vincent Price issue of The Globe and I’ve been writing a regular monthly movie-related column since then. Since there is no on-line version of The Globe, I will be posting all of my articles here at We Are Movie Geeks. When Steve informed me that this month.s St. Louis Globe-Democrat was to take place in 1939, often labeled “Hollywood’s Greatest Year”, I knew the possibilities were immense. »
- Tom Stockman
Almost as soon as it was announced that J. Edgar Hoover would be getting a new biopic, speculation has been rife over how his relationship with Clyde Tolson would be portrayed.
Although there's no definitive proof either way, it's widely assumed that Hoover, long-term director of the Federal Bureau of Investigation, and Tolson, his assistant director, were lovers. Director Clint Eastwood sparked concern that Hoover's story would be “straightwashed” when he told The Wall Street Journal that the script “didn't quite go down [the] road” of addressing rumors of Hoover's being closeted and a cross-dresser. (Eastwood later confirmed with The Hollywood Reporter that he included a scene showing Hoover wearing his mother's dress.)
Meanwhile, out J. Edgar screenwriter Dustin Lance Black assured AfterElton that Hoover and Tolson would not be “de-gayed,” saying “To think that somehow you’re going to make a movie about somebody like J. Edgar and »
To mark the release of his new book, Monsters In The Movies, we sat with John Landis to talk about horror and sci-fi cinema, and much more…
Look back over John Landis’ career as a director, and you’ll find not only some of the most successful comedies of all time, including Animal House, The Blues Brothers and Trading Places, but also some classic horror work, such as An American Werewolf In London, Michael Jackson’s Thriller video, and the underrated Innocent Blood.
Landis is well qualified, then, to compile a loving and lavishly illustrated guide to the creatures of genre cinema. Called Monsters In The Movies, and serves as an exhaustive compendium of aliens, zombies, atomic mutants and vampires.
With Landis in the UK to promote his book’s release, we jumped at the chance to talk to him about movie monsters, film making, and what he’s up to next. »
For our money there's no greater convention in the entire world than Eliot Brodsky's incredible Monsterpalooza, is held each year in Los Angeles. What sets it apart from the rest is that it isn't about meeting celebrities (though there are plenty on hand both signing and just walking around enjoying the show) and getting autographs. This show is about one thing and one thing only: Monsters! Which is why we're nothing short of ecstatic that Brodsky is looking to expand his universe with Monsterpalooza Magazine.
From the Press Release
The premiere issue of Monsterpalooza Magazine, named after Eliot Brodsky’s Monsterpalooza Convention held annually in Burbank, California, is now available and ready to order direct from the publisher! Monsterpalooza Magazine brings you the best of classic and modern horror, fantasy and science fiction in film, literature, media, art, illustration, make-up and sculpture in its glossy print pages! 96 glorious pages — advertisement free! »
- Uncle Creepy
The horror genre has been one of the most popular with cinemagoers since projectors first started rolling films. Over the past century, huge volumes of memorable and impressive horror films have adorned our screens and as such horror villains and their character victims and settings/locations have often become implanted within popular culture, transcending the boundaries of the cinema screen to become familiar to those who haven’t even seen the films in question.
The following are what we consider to be the 10 most iconic of these images… those moments in horror cinema that have been ingrained in our soul and what he have come to know as the 10 defining moments of horror.
10. Hellraiser (1987)
Clive Barker’s Hellraiser series and lead character Pinhead are undisputed icons of British horror. This grotesque and freakish image of the devilish character actually scared me so much as a child back in the 90s »
- Stuart Cummins
It’s Halloween! If you were going to pick out the ideal DVD to watch tonight, once the trick-or-treaters go home and there’s nothing left but the night and the darkness, which flick would you choose? What movie most says “Halloween” to you? That’s not necessarily the scariest movie you’ve ever seen (though perhaps it is). It could be a movie that’s comforting in its scariness, in that it’s maybe more sorta creepy and ooky than outright horrifying. Or it might be a movie that embodies the modern ideal of Halloween, more about silly fun than anything else. I think I’d pick an old Universal monster movie, perhaps the James Whale Frankenstein, or Lon Chaney Jr. as The Wolf Man. I don’t find these movies all that terrifying, but I love their atmosphere. Halloween is a black-and-white holiday for me... (If you have a suggestion for a Qotd, »
- MaryAnn Johanson
'Tis Halloween, and many film companies are observing the not-so ancient tradition of releasing plenty of horror DVDs. All pagan man could manage was sticking candles into hollowed-out pumpkins, whereas we get the full widescreen, HD and surround sound Halloween experience. In your face, pagan man.
There are two things horror has taught us. Firstly, there will always be new horror films. Secondly, most of them will be rubbish. Thankfully, enough will take a chance or try a few different moves to keep the genre in rude health. Stake Land (Metrodome) is one such plucky newcomer. A road movie with the road paved with vampires, it's a strange, often sedate journey, on which the peaceful passages impress more than the frenzied attacks.
The Dead (Anchor Bay) offers an unlikely setting for a zombie movie. Brit directing brothers Jonathan and Howard J Ford took their undead project to gorgeous Burkina Faso »
- Phelim O'Neill
With every new film Tim Burton puts out, I find it harder and harder to be excited by his new projects, but Frankenweenie is definitely an exception. A stop-motion animated remake of the short film he made all the way back in 1984, the movie represents a literal return to the filmmakers roots. The new film isn't going to hit theaters until October of next year, but the folks at Disney's D23 this past summer got a sneak peek at the project and now two stills have arrived online, giving us our first official look at the characters. Check out the images below or full-size over on EW. As you can see, one of the coolest aspects of Frankenweenie is that it's being made entirely in black and white, just like the short it's based on and just like the movie the original was parodying: James Whale's 1931 classic Frankenstein. The »
By my reckoning three masterpieces of the genre were released in 1960. All three involve a character with obsessions that eventually destroy him, but only after a string of other deaths. All three got, at best, mixed reviews on their release, as edgy horror movies almost always get. And the three stand up as proof of what the genre can be in the hands of the right artists.
The centrepiece of this triptych, of course, is Alfred Hitchcock’s 1960 Psycho, which marks a turning point. Norman Bates goes in the list with Frankenstein’s monster and Nosferatu, but this time the monster had a perfectly normal, even likeable, face and voice, and an innocent charm. Many horror and crime movies since have been about characters with multiple personalities, but I struggle to think of any such movies made prior to this. Suddenly the danger had shifted from an external monster into »
- Adam Whyte
As promised, here is part one of our fan site exclusive interview with The Twilight Saga: Breaking Dawn director, Bill Condon! If you missed our teaser earlier in the day (which explains how we got this awesome opportunity), check it out here. Bill was gracious enough to answer a wide variety of questions that we think you, as diehard fans, would appreciate. So without further ado, here is part one of our interview. Check back tomorrow for part two!
Interview Part One
Conducted: June 3rd, 2011
(Just finished seeing clips and trailer.)
BC: So what did you all think? Any thoughts?
Q: I can’t find the words to explain seeing them where I am from, in my favorite movie. Seeing Kristen out in Rio-to see Kristen there was like…
BC: Yeah, it was great to go down there-
I’m trying to recover.
BC: It was so fun. That’s how we started the movie, too. We spent our first couple weeks there, you know. And it was so great to actually feel, you know-it was actually our biggest experience of fans, kind of being on the set or tracking Rob and Kristen. It actually calmed down after that, but you really felt the excitement when you were there, you know?
Q: Was the fan interaction – I mean that was the one scene where it seemed like there were a lot of people around during filming.
Q. Was that distracting or did it help elevate the mood?
BC: Uh, it was weird ’cause that was again like our second night and it was-i didn’t know what to expect and actually, it turned out to be the most extreme of anything that happened through the whole movie. But when we’re on the streets of Lapa, suddenly, you know, we’re shooting something and this girl suddenly jumps into the shot and throws herself on Rob, goes “ha ha ha ha”, gets pulled off, and I think she was beheaded. I never saw her again.
BC: Something happened to her. But after that-but yeah, it was a little crazy there. Yeah, definitely.
Q: How much of the fandom did you know about before you jumped into this?
BC: We’d gotten big lectures from all the people at Summit about what it was going to be like. And I actually have to say, in Baton Rouge we were in the studio the whole time, so it was actually really under control, you know. It was actually only being on the streets in Brazil that we saw it.
Q: How much fun was it scouting the locations? I mean, I guess next to Chris Weitz getting to go to scout out in Italy-
BC: I know! Can you imagine? Yeah.
-you probably had the next most exciting things to go scout. How involved were you in the scouting of the locations?
BC: Well, I mean Richard Sherman scouted first. He spent a month there ’cause it was tough to find Isle Esme, you know?
BC: And then I got to go to the last five possibilities or something like that. But it was great. I mean, scouting in a boat and stopping off for lunch at the little fish place on an island…No problems there. It was fun.
Q: How familiar with the series were you before you decided to pop into the last installment?
BC: Right. Pretty familiar, I guess. But not you know-i wouldn’t say I was a student of it but I was aware of them all and had seen them all. But then obviously once I jumped in it was really about Twilight Lexicon and it was the books and rereading and just making sure that we had everything right. You know things like-you saw the-Rob’s thing about( referencing a clip showing a glimpse into Edward’s past where he is at a movie theatre stalking “human monsters” )“I haven’t told you everything about myself” and there was a moment when I moved away from Carlisle. That’s only one line I think in the first book, you know, and he’d mentioned it one offhanded comment in one of the movies. But that was an example of something where the first time I met with Rob we had a long great night, many, many, many beers [laughter] and um, he said that one thing that had frustrated him a little is that-i guess that had been more developed in the first book, that was from Edward’s point of view, and it kind of informed the way he was playing the part throughout the whole movie. This sense of self-loathing and guilt that came from having killed humans for that period and yet, it had never been explored in the movies. So it felt like then I went back and looked at the section that described it in Twilight and I felt like, God, what better time right before a wedding to lay out the last objection, you know? And to have it also explain who he’s been, and then in the wedding you’ll see he has a toast where he said-he talks about the fact “to find that one person who can look at you, know everything there is to know about you and still accept you for who you are. I’m ready to move on”. So that being caught in this perpetual 17, and this perpetual kind of-i think you’ll see starting from the moment he gets married he moves on. The performance changes. It’s about him becoming a man. So I think that will be an interesting shift for people, you know? So that-the whole idea of just sort of, between discussions with him, going back finding a line in the first book and then deciding to dramatize that with an episode of him being someone who was on the hunt for human blood felt like something we hadn’t seen before.
Q: Speaking of that scene, I was really interested in the whole black/white dynamic-
BC: I think in a way it was sort of. I mean, there are a lot of levels. One of them is that-i just like the fun that they’re all screaming at Frankenstein and they’ve got Edward in their midst-
BC: -walking behind them, but also, yeah, he’s become the monster in the movie. And actually, the whole movie turns out to be creating his bride. I mean, basically at the end that is what he’s done. Also, the tone of that movie is very similar when you’ve got Aro cackling-it’s similar tonally to a movie like that, and then finally the black and white thing that we do there is just like-as he kills people the color goes away and then it comes into him. So just a film language way to kind of give that sense, you know.
Q: Should we expect to see a lot of that kind of playing with new dimensions that we haven’t seen before in the other [films]?
BC: Yeah, I think so. You know why I think? Because in this movie it’s Jacob, in the next movie it’s Bella. You know as that surprising thing that Stephenie did in the book where having told the story through Bella’s point of view, then suddenly she shifted to Jacob’s point of view in the middle, and then you’re back to Bella’s. In this movie you do-there is this chunk of movie where you get inside the head of what it’s like to be a wolf. So that involves a certain stylization. And then in the next movie, the big change is we’ve been watching these vampires from Bella’s point of view but now it’s like we-because we are her-now it’s like you’re inside what it’s like to be a vampire. What it’s like to move that fast. What it’s like to have those powers. What it looks like. What the world looks like through her eyes. So both of those-they are more-it does become more the point of view of those characters and you get more-it’s more immersive, I think, and that involves a certain kind of stylization.
Q: I love that you’re talking point of view. I mean one of the things that I really love and that other people love too about the movies is that because the books are first person, either from Bella’s point of view or Jacob’s point of view, that now you get to expand out into that scene in Volterra-
BC: That’s right. Yes.
-and you get to see that total-what you only can imagine is occurring. How much collaboration did you have with Stephenie Meyer on those sort of alternate point of view moments that you don’t see in the books, but clearly were happening to get everything to spin.
BC: Right. Well, I think my kind of most intense collaboration was with Melissa Rosenberg-Stephenie was there and part of it all the time, and then-but we were the ones who sort of day-by-day, once I got involved in a rough outline form, we would be there kind of shaping what the scripts would be, and then Stephenie, along with the other producers, would have comments and things like that. Obviously, she’s this great resource that we would go to all the time.
Q: So how much collaboration did you do on the day to day script writing? I mean after doing Chicago and doing Dreamgirls as a screenwriter, I was wondering how’s the adaptation different going from a musical to a movie to going from this large volume of a book to a movie?
BC: Right, which I’d done before too. Gods and Monsters was an adaptation of a book, so that was something, but Melissa wrote these scripts-*his phone rings* Excuse me, this is her right now-
-which was great ’cause I mean you know I jumped into this in March or April or something and we were shooting-you know if you’re prepping two movies and all that stuff-so it was sort of just-it was kind of overwhelming right there in the beginning. So Melissa, who knew it so well and is such a solid, strong writer-we would collaborate and talk through scene after scene after scene, structure, all that stuff, and then she’d come back. And it was really very, as I said, very intense for several months. But it was her. It was her knowing the stuff inside out…and creating. She’s done a lot of creating too on these movies.
Q: Speaking of Melissa and Stephenie, I think it was you that pointed out the cameo first-
BC: Oh right! Yeah.
It was Laura from the Lexicon.(room points at Laura)
Q: What-how did that come about? Who’s idea was that?
BC: Um, I kinda like nudged them all into doing it.
BC: And I stuck them in the back so you could see them as Bella’s coming down the aisle and get a good glimpse of them, you know.
Thank you on behalf of all of us!
BC: Oh good! Well it makes sense ’cause she was at the diner, right? And they [the Cullens] don’t have that many friends, you know.
Q: Which part of Breaking Dawn do you think is going to be the most exciting for the fans? Part 1 or Part 2?
BC: You know what’s interesting about them? All the three-one of the reasons getting involved I was excited is that all three movies are so different. One thing, they each have the director’s style of whoever did it, and these two movies are incredibly different one from the other. They’re like-this is a very-i always think of this movie as being kind of the bookend to the first Twilight. It’s very much Bella’s, you know, kind of private journey from where she starts to being-to becoming a vampire, getting what she wants, you know. But there isn’t that kind of external threat in this movie, you know? The Volturi are always out there but they’re not really breathing down their necks. It’s really Bella making her way to what she wants to be and staying alive. The second movie is epic. The second movie is-you know the whole world kind of converging in this one place to deal with these big major issues about what it means to be a vampire.
Q: You had some parts where-about the sex scenes. Did you have some concerns? Because it’s going to be PG-13.
Did you have some concerns to do the sex things?
BC: Yeah, I guess. Yeah. (laughs) Well I think-yeah I think obviously we weren’t doing anything explicit but I think it’s also important to really-they’re married now-to really express this great connection that they have and to put it into physical terms, you know. So…
Q: Stemming from [an earlier] question, coming from a musical background how excited are you to be involved in the whole music process with Carter Burwell who’s done phenomenal scores in the past-
BC: He has.
–what tone do you want to convey going into the movie, ’cause we obviously didn’t see any music with this [Breaking Dawn footage they screened]?
BC: Right, right.
What tone or feel do you want to convey in your head to Carter, or is it more just Carter’s vision?
BC: No. You know Carter and I have worked together a lot before too, Gods and Monsters and Kinsey, and then he did this first movie. So it’s-i mean we have a collaboration that goes way back and we were just talking the other day. He’s going to come out next week. So it is-again because he did the first movie and now he’s picking up, I think that bookend nature of it will be kind of really heightened by his involvement. But I think like any other movie it’s just now we go and we talk through every moment. Here what’s interesting is that there’s a style that’s been set up that really works-and I think we shot to reflect this-where songs do tell a lot of the story, too, and that way it’s a little bit like a musical. There are all these ballads. You know, when she figures out that she’s pregnant and suddenly he leaves for a second, and she has a moment where she looks in the mirror and falls in love with her baby and looks at herself and said, “You are gonna be a mother”. That’s a minute and a half, just three long shots, but it’s all about where that music takes you inside her head again. And there is a musical number.
At the wedding. A very short one but there’s a dance number. We had a choreographer, who is one of the chorus boys from Chicago who’s now a big choreographer up there.
We’re big musical fans.
BC: Oh good!
Q: On the same note as music: all of the directors so far have had kind of say on the soundtrack choices-
-at least one that they picked themselves. Do you have someone in mind that you hope to see?
BC: For songs?
BC: Yeah, we’ve been doing that all along, you know. Quite a few of them actually. And what’s interesting I think it’s gotten, in a way, easier and easier because like amazing bands now write songs and submit them. So I mean we’ve got Alex Patsavas, who’s done the music supervising for all these movies. I think we’re up to CD ten or eleven or something like that.
BC: Eleven. Each of which has eighteen songs in it. So that’s what? Two hundred songs with amazing people you’ve all heard of who have written Twilight songs for us to choose from. So it’s really…yeah.
Jack Morrissey: And all unreleased. The golden rule stands of: if it’s been released, if you’ve heard it, it will not be in the movie.
Q: I’m curious. When you first read the script, you know you get pictures in your head of things, what scene from when you read it-what was the one that was like the clearest in your head of “Oh, this is how I want to do this”. And did that actually-when you shot it, did it actually come out that way?
BC: Right. That’s a good question. You know what it was? It was the lovemaking. And it wasn’t in the script. There was no script. But it was reading the book and figuring out an approach to that. I think I had a very simple idea right away that I wanted to try, and I think that’s part of why they hired me. I think it was sort of like-i think it made some sense, you know? And that’s exactly the way we shot it, and it’s in the movie now until the MPAA sees it. But so far so good!
Jm: Don’t worry. It’ll stay. That will stay.
BC: Yeah, that’ll stay.
Q: So what initially really drew you to want to kind of take on this project, ’cause it’s exciting but it’s also kind of daunting I’m sure-
BC: Oh it is. Yeah.
-so what kind of drew you to actually say “I’m gonna do this”?
BC: Well it’s like I started out in genre movies, so I’ve always been looking for a chance to get back into that, you know? And this-and also, it’s not just the genre stuff but also a certain kind-i have a reverence for old Hollywood films, you know, and it seems to me this also reflects the kinds of movies that Vincente Minnelli would make. You know romantic melodramas that are really heightened and with a great use of color and style to tell a woman’s story. All that really appealed to me about it, I have to say. If it had-the fact that it was two movies and back-to-back, that was…um, a consideration, you know. That didn’t seem like the most exciting prospect! (laughs) But on the other side of it, it’s-i’m glad we did it, you know?
Q: Are you working on anything involving Part 2 right now? I mean what’s going with that? How do you balance both of them?
BC: Well you know Ginny [Virginia Katz] edits as we go along, and then we would talk on the weekends and stuff. So we have a pretty good rough assembly of Part 2 that Ian, the associate editor, is still working on in terms of putting second unit stuff in and stuff like that. ‘Cause soon enough we have to start, even though it’s a year away, getting some of that effects stuff going. But basically it’s in a drawer for the next six weeks until we’ve finished-really refined-Part 1.
Part two of our interview with Bill Condon will be released tomorrow (Tuesday, October 25) at 9am Pt / 12pm Pt!
Huge thanks to our friends at Twilight Series Theories for transcribing! »
- Team Switzerland
Monsters in horror movies more often represent an internal than an external threat. Henry Frankenstein’s Creature is, depending on how you read it, symbolic of the repressed; when he sees the monster in Bride of Frankenstein his shock isn’t a response to its features, but to what the Creature means to him. He’s a respectable, well-to-do, loving husband who lights up with a manic obsession when confronted with the possibility of playing God, and the Creature is irrefutable proof of that obsessive streak.
In the 1940s Universal’s hold on the genre started to wane, and less effort and artistry was put into the resulting films. After The Wolf Man in 1941 it switched from A to B pictures, and focussed on increasingly silly sequels to the big franchises: Frankenstein, The Wolf Man, Dracula and The Mummy. With films like Frankenstein Meets the Wolf Man and House of Frankenstein »
- Adam Whyte
On 11 October, Halloween began early at the Barbican Centre with a screen talk by Mark Gatiss and film critic Jonathan Rigby, followed by a screening of Harry Kümel's Belgian vampire film Daughters of Darkness (1971). The hour-long discussion covered much the same ground as Gatiss' BBC4 series A History of Horror - on which Rigby was show consultant - but for fans it was a great opportunity to see in person these two engaging, funny, and impressively knowledgeable horror enthusiasts.
The pair chatted about German Expressionism and the striking black and white images from Robert Wiene's The Cabinet of Dr Caligari (1920) and F.W. Murnau's Nosferatu (1922) that stayed with them long before they were able to view the actual films. A large part of the talk was given to Universal's classic monster movies, which started with Lon Chaney in The Phantom of the Opera (1925) and The Hunchback of Notre Dame »
- Daniel Green
Bride of Frankenstein, 1935.
Directed by James Whale.
“Karloff In… ”
Bride of Frankenstein doesn’t open well. There’s an awful segment between Lord Byron, Percy and Mary Shelly. This prologue is tacked onto the beginning of the film as crudely as Frankenstein’s head is onto his own neck.
They all sit around a fireplace in period dress. Mary narrates a brief montage explaining the story of the previous film, Frankenstein. “Oh, but the story doesn’t end there,” she explains conveniently to the other two, as the image dissolves into the burning windmill from the preceding film’s conclusion.
The townsfolk believe »
The first in a series of articles in which I select my favourite horror movie from each of the last ten decades, providing some context and history and a look at (some) of the other great horrors of each. It is in no way meant to be a comprehensive history. Some articles are expanded upon from a list I wrote last year.
Few filmmakers in the first two decades of movie-making seemed explicitly interested in frightening the audience, though perhaps the audience soon let the filmmakers know what it craved. There is the famous story of the first screening of The Arrival of a Train at La Ciotat Station (1896), directed by the Lumière brothers, with reports of fleeing, terrified audience members as a train approached the screen. That this never actually happened is almost irrelevant; there is a reason some apocryphal tales persist.
One of the most often adapted horror texts of all time, »
- Adam Whyte
1-20 of 67 items from 2011 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners