Harry and Willie buy the Edison Movie Studio in the year 1912 from Joseph Gorman, a confidence man. They follow Gorman to Hollywood where, as stunt men, they find him directing movies as Sergei Trumanoff and stealing the studio payroll.
Two volunteer firemen rescue a gold prospector from suicide. However, once they discover that the police mistakenly want them for murder, they travel with the prospector to Alaska to help ... See full summary »
Lost Caverns Hotel bellhop Freddie Phillips is suspected of murder. Swami Talpur tries to hypnotize Freddie into confessing, but Freddie is too stupid for the plot to work. Inspector Wellman uses Freddie to get the killer (and it isn't the Swami).Written by
Ed Stephan <firstname.lastname@example.org>
This was Lenore Aubert's last American movie. She signed a seven year contract with Universal-International Studios and her then husband sweater King and movie actor Julius Altman was not getting as many acting jobs as his wife and since the war was over he was willing to move back to Europe. Aubert had fallen madly in love with America, became an American citizen and did not want to leave. Altman insisted, and insisted that Universal executives let Aubert out of her seven year contract. He had done this when she was under contracts to Goldwyn and RKO too. RKO put him under contract to give him the acting bug so he wouldn't pressure Aubert to break her contracts and go to New York City with him. However this time he was determined. Universal executives reluctantly gave in and asked him to let her do a three picture deal. Universal put her in two Universal movies and looking for a third vehicle for her decided to let her complete her contract change from a seven year contract to a three picture contract by loaning her out to Columbia Pictures for Barbary Pirate (1949) just to let her complete her three picture contract. Universal insisted though that the last movie she make in her contract be a Universal-International Studios one. And that one is Bud Abbott Lou Costello Meet the Killer Boris Karloff (1949). See more »
When Angela comes to visit Freddie in his suite, and they sit down on the sofa, her right arm is down near her lap. Then, when the shot shifts to the side, her arm is resting behind Freddie on the back of the sofa. See more »
The film begins animated versions of Abbott & Costello on a scaffold painting their names on a wall. (The bucket is labeled "BLOOD")Then there is the sound of a car screeching to a stop, and machine gun fire. "Meet the Killer" is written in bullet holes. "Costello" yells "HaHa! You didn't dot the "I"!" Then a dagger flies in and "Dots the 'I'", while the bucket of "Blood" is spilled. Then the frame drops, following the "Blood" as it spells out "Boris Karloff", and then the rest of the credits. See more »
In Australia and New Zealand, every scene with a corpse was removed prior to distribution. See more »
Abbott and Costello are one of the best comedy duos on film, and there are some great entries of theirs, Abbott and Costello Meet Frankenstein being a contender for their best. Meet the Killer, Boris Karloff is not one their high-points, there are a few draggy spots, a rather standard story and while he is eerie and commanding Boris Karloff is underused(so much for the misleading title). The gags are well-timed and funny though, especially the dressing up in drag, Costello being hypnotised by Karloff and playing cards with a corpse. There is a very nice mix of zany comedy and suspenseful mystery elements, the dialogue is snappily written, the film looks good and is directed in a way that allows the stars to have fun and the story to breathe while not leaving things out of control. Abbott and Costello are still as funny as ever and their chemistry still sparkles even with contrasting personalities. The acting is solid enough from all, Karloff is still fine in his role, you just want to see more of him considering how great an actor he was and is. Overall, not among the greats with Abbott and Costello but makes for good fun regardless. 7/10 Bethany Cox
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