by Steve Habrat
Considering how popular the classic Universal Studios monsters have become over the years, it’s no big surprise that the studio keeps digging them out of their graves. With remakes of three of their biggest ghouls already on the market (Francis Ford Coppola’s Dracula, Kenneth Branagh’s Frankenstein, and Stephen Sommers’s The Mummy), it makes sense for the studio to update one of their last big name monsters for modern audiences. In 2010, director Joe Johnston released The Wolfman, a CGI heavy update of George Waggner’s haunting 1941 classic that starred Lon Chaney Jr. With two Oscar winners in front of the camera and Rick Baker in charge of the werewolf make-up effects, The Wolfman should have been a smashing success, but there are several elements that caused the film to come out a major disappointment. While The Wolfman drips atmosphere and gothic set design that would make Tim Burton drool, this werewolf offering seems formulaic and misguided. At times it seems to want to be an action movie and the climax features a fight scene that looks like it would have been more at home in The Matrix rather than Universal monster movie. And then there is Benicio Del Toro and Anthony Hopkins, two award winners who deliver some of the most lifeless performances of their careers.
The Wolfman reintroduces us to Lawrence Talbot (played by Benicio Del Toro), a renowned Shakespearean actor with a traumatic past. When he was just a young boy, he witnessed his mother’s gruesome demise, and in the wake of the discovery, his father, Sir John Talbot (played by Anthony Hopkins), shipped him off to an insane asylum. One evening, John receives news that his brother, Ben, has mysteriously disappeared. Lawrence returns home to Blackmoor where he is met with news that his brother’s body was found mutilated. As Lawrence comes to terms with his brother’s death, he attempts to reconnect with his father and he strikes up a relationship with his brother’s fiancé, Gwen Conliffe (played by Emily Blunt). One night, Lawrence decides to visit a local gypsy that his brother was said to have associated with. While visiting the gypsies, the camp is attacked by what appears to be a giant wolf. During the attack, Lawrence suffers a bite that leaves him bedridden and suffering from horrific nightmares. With the town in hysterics over the violent attacks, Inspector Aberline (played by Hugo Weaving) arrives from London to launch an investigation before more bodies turn up. After being unconscious for many days, Lawrence wakes up and he initially believes he is okay, but when the moon is full, Lawrence undergoes a horrible transformation that turns him into a snarling monster. To make things worse, horrific family secrets come back to haunt Lawrence and new details about his mother’s death slowly start to emerge.
With Johnston kicking things off with the shimmering retro Universal Studios logo, you’d think that The Wolfman would remain a grounded tribute to what Waggner terrified audiences with back in 1941, but you quickly realize that is far from the truth. The opening werewolf attack is appropriately dark and gloomy, but it’s fairly obvious that this film is going to be drenched in rubbery CGI that instantly takes us out of the moment. And that is just the start of it. When blurry werewolves aren’t speeding across the screen, Johnston and Baker are having an extremely difficult time meshing the practical make-up effects glued to Del Toro’s face with the CGI extensions that are there to add some extra menace. We know Baker can do practical, especially after what he delivered with 1981’s An American Werewolf in London, but it seems that Universal urged the filmmakers to cut corners with the practical effects, something that is perplexing when we consider what exactly Universal is remaking. Part of the appeal of the classic Universal monsters is their practicality—the idea that we could almost reach out and touch them. They are unnervingly real, even if we can see some of the lines in their make-up. When the Wolfman starts leaping, slashing, and killing here, it feels more like its playing out in the pages of an old EC Comic. It’s almost an insult to the original film rather than a loving tribute.
While the copious amounts of CGI hold it back, The Wolfman does excel in the set design and costume department. The shots of 18th century London are absolutely exquisite. There is a grittiness to the city shots but there is also plenty of glamour to be found, especially when Johnston delivers a shot of the Wolfman crouched on a gothic gargoyle while howling at the full moon. It’s spectacular and it certainly holds up on a high-definition television. When we get to explore the Talbot manor, Johnston presents a shadowy mansion that you could very well see Dracula prowling around. There are cobwebs dangling from the staircase railing and there are dead leaves scattered about the marble floors. There are closed off rooms with ghosts of traumatic years past and characters peek through the darkness with candelabras in their clutches. The outdoor gardens are tangled vines that died many years ago and the local villages are as muddy and cruddy as they can get. Then there is the insane asylum, which features patients crouched in their cells wrapped in straight jackets. There is an observation room that is a stand in for a massive coffin, a maze that traps in a slew of doctors as they wait to see if Lawrence will really transform into a chopping werewolf. If there is any reason to see The Wolfman, it’s because of the extravagant sets that obviously cost a pretty penny. However, it was disappointing to see Universal remake The Wolfman and not give us a few scenes in a foggy forest. Here, we do get an eerie forest, but it never features the rolling sheets of fog that crept by Chaney’s hairy feet.
What is perhaps the most frustrating part of The Wolfman is just how miscast Benicio Del Toro and Anthony Hopkins truly are. Del Toro certainly resembles Lon Chaney Jr., but there is also something faintly hard about the man that prevents us from viewing him as a tragic character doomed to a hellish fate. There are scenes where he seems be settling into the character, but some of the more dramatic moments seem put on. There is never any of the nervous shifting and antsy unease that kept Chaney pacing in his room waiting for the inevitable. Meanwhile, Hopkins is asked to fill the enormous shoes of Claude Rains, who portrayed Sir John as a compassionate but rational man who grapples with the wild story his son tells of a werewolf taking a chunk out of his chest. It’s best not to say too much about his role, but Hopkins seems all to eager to give away the big reveal. Blunt seems to enjoy playing the misty-eyed damsel in distress and mourning love interest. She isn’t given much to do beyond holding Lawrence’s head and skip stones at a local pond, but there is something about her character that you just can’t resist. Hugo Weaving rounds out the cast as Inspector Aberline, the rather bland antagonist out to get to the bottom of the brutal slaying happening around Blackmoor. He dashes around with importance and the unblinking determination carved into his face does do the trick, but we never come to truly like or loathe him.
As far as the scares are concerned, with so much CGI artificiality contaminating the screen, The Wolfman is never permitted to become very scary. Hell, not even the howls send a chill! However, if you’re in the market for some serious blood and guts, then you’ve come to the right gothic castle. Bodies are slashed and bitten into hamburger meat, with guts splattered on the autumn ground. Head’s go flying across the screen, werewolf nails shoot through open mouths, and limbs are sent flying through the air with a thin trail of—you guessed it—CGI blood. The gore is extremely entertaining and it is sort of fun to see Universal embracing such savagery, especially when the Wolfman goes berserk in the streets of London. All the savagery does spiral out of control by the end, as Johnston ends The Wolfman with goofy werewolf brawl that finds hairy beats flying all over Talbot manor. You honestly wouldn’t mind so much if they weren’t doing wiry flips and leaps that would have been more at home in The Matrix. Come to think of it, maybe that is why Hugo Weaving is on hand here. Overall, while Universal showered the project in money, The Wolfman 2010 never dares explore the monsters that can lurk in even the mot mild mannered individuals. It falls victim to what almost every other horror film falls victim to: CGI excess. It’s all to eager to top the original rather than acting as a respectful tribute to a classic.
The Wolfman is available on Blu-ray and DVD.
by Steve Habrat
Before 1981, John Landis was far from a horror director. He hit it big with 1978’s Animal House, a college sex comedy that was all about chugging Jack Daniels and having a good time. He followed up Animal House with 1980’s The Blues Brothers, another comedy smash that seemed to suggest that Landis was sticking to the comedic track. However, in 1981, Landis revealed that he had a bit of range as a director with An American Werewolf in London, a horror film heavy with dark chuckles. As far as the horror side of An American Werewolf in London is concerned, the film isn’t nearly as scary as you’ve been led to believe. Over the years, there have been many lists ranking the scariest films of all time, most of which feature An American Werewolf in London, but the film seems to be a victim of its own hype. Despite not being overly spooky, the film still features several unsettling nightmares that surprise with the sledgehammer-to-the-head extremity and a transformation sequence that still manages to astonish first time viewers. The most charming aspect of An American Werewolf in London is undoubtedly the dark humor that Landis weaves together with his loving nods to Lon Chaney Jr.’s 1941 classic The Wolf Man.
An American Werewolf in London introduces us to David Kessler (played by David Naughton) and Jack Goodman (played by Griffin Dunne), two Americans backpacking through the English countryside. David and Jack decide to rest at a small pub called The Slaughtered Lamb, were they are met with an icy greeting from the locals. As they settle in for a drink, David and Jack notice a five-pointed star carved into the wall, which they immediately inquire about. The locals instantly ask them to leave, warning them to stay on the main road and to beware of the full moon. Confused, David and Jack leave, but they soon find themselves off the path they were warned to stay on. Things get worse for the two backpackers when they begin hearing faint growls and menacing howls circling around them. Suddenly, a wolf leaps at them from the darkness, killing Jack and severally wounding David. Three weeks later, David wakes up from the attack in a London hospital, where he learns about the death of his buddy. Over the course of a few days, David seems to be recovering nicely from the wounds that he received, but when he drifts off to sleep he suffers from horrible nightmares. Things get even more bizarre for David when the deceased Jack comes to visit him in the hospital and explains that a werewolf attacked them. Jack warns David that he must kill himself before the next full moon, or he will be responsible for more deaths. Soon, David is released from the hospital and begins shacking up with Alex (played by Jenny Agutter), a beautiful nurse that he struck up a romance with while bedridden. Things seems to be getting better for David, but the rotting Jack returns to warn him of the beast lurking inside.
An American Werewolf in London begins spooky enough, with a sudden attack that certainly gets the viewer’s heart pounding. As David and Jack wander around a darkened field, growling noises and anguished howls ring out all around them. The misty suspense erupts when a hairy blur comes shooting across the screen to leave our backpacking heroes a shredded mess. Landis manages to keep up the supernatural eeriness with David’s terrifying nightmares, which are all hilariously extreme in their own way. One dream finds a naked David sprinting through the forest when he suddenly leaps at a deer and rips its head from its body. Another dream finds David morphing into a demonic beast in his hospital bed as Alex cares for him. His final dream finds David at home with his family when several monstrous Nazi soldiers come bursting in to gun down everyone in the home. After these impressive little explosions of terror, Landis falls back on his skills as a comedic director, allowing us to find the humor in things like David waking up nude in a zoo after a night of werewolf mayhem. We get to chuckle at David’s attempts to get clothing, all of which are cleverly awkward. There is also some humor to be found in the gruesome visits from Jack, who picks up a Mickey Mouse action figure and makes it wave at David. I doubt Walt Disney would have found that one funny!
With its sense of humor finely tuned, Landis gives An American Werewolf in London even more personality through its make-up effects, which went on to nab an Academy Award. There is certainly no shortage of gore to be found, especially in the final moments when werewolf David causes chaos in Piccadilly Circus. There is a massive car pile-up, which results in bodies being thrown about like confetti over the finale. Buses run over people, heads go smashing through windshields, and a police officer’s head is ripped clean off by David’s fangs. Then there is Jack, who over the course of the film decomposes right in front of our eyes. Early on, his wounds are undeniably vicious as shards of skin dangle from his neck and blood covers about eighty percent of his body, but as the film continues, he begins to turns a greenish color and his eyeballs pop out of his skeletal head. All of this make up work doesn’t even compare to what Landis has planned for us about halfway through the film. As the full moon takes to the sky, we get to see David’s transformation up close and personal. Through Rick Baker’s amazing effects, we see thick sheets of hair poking through the skin, David’s hands and feet stretching into paws, fangs poking through the gums, and his face sprouting a snout. It’s all done through practical effects and only a handful of cuts. This sequence alone makes An American Werewolf in London essential viewing for cinema buffs or those who can appreciate the art of special effects.
As far as the performances go, everyone does a fine job with their respective roles. Naughton is spot on as the freaked-out David, who grapples with how to properly deal with his new curse. Does he end it all or does he find an alternative solution? He’s certainly gifted in the comedic sequences, especially the scene that finds him sprinting through a zoo in nothing but his birthday suit. Dunne hams it up as the talking corpse Jack, a “meatloaf” that drops by every now and then to remind David that something awful is waiting to emerge. Agutter is pleasant as the beautiful nurse Alex, a gal who finds herself quickly falling for the cursed David. John Woodvine is also on hand as David’s doctor, Hirsch, who gets to play detective after hearing David say that it was a wolf that attacked him. When it comes to An American Werewolf in London’s biggest flaw, it is difficult to ignore the abrupt ending, which cuts off on raw nerve emotion. You’d like to see what happens next, but Landis just slams the book shut on us and tells us to scram. Overall, while it favors laughs over screams, An American Werewolf in London is still a shrewd little werewolf horror film. It makes wicked use of music, the special effects will boggle the mind, and it features some marvelously set piece around London. It’s just a shame that the abrupt climax will leave you howling with disappointment.
An American Werewolf in London is available on Blu-ray and DVD.
by Steve Habrat
Of all the classic Universal monsters, the most tragic and touching is the Wolf-Man, a lycanthrope who by moonlight is transformed into a beast from Hell. One of the most famous classic monsters next to Dracula and Frankenstein’s Monster, The Wolf-Man is one of the most atmospheric films that Universal unleashed upon audiences. Played with a wounded scowl by Lon Chaney, Jr, The Wolf-Man is an essential horror film for fans of the genre, one that will scare you to your core. If you wish to read Corinne Rizzo’s review of The Wolf-Man, click here. Without further ado, here are Anti-Film School’s mini reviews of The Wolf-Man sequels and the first mainstream werewolf film. Anti-Film School is not responsible for the howling at the moon and spontaneous hair growth that may occur after reading…
Werewolf of London (1935)
Renowned British botanist Wilfred Glendon (Played by Henry Hull) takes a trip to Tibet to find the rare mariphasa plant and while searching the countryside; a strange, wolf-like creature suddenly attacks him. Despite the attack, Wilfred manages to make it back to London with a small sample of the mariphasa but he soon suffers a horrific transformation when the moon is full. As Wilfred races to understand the bizarre transformation, a mysterious man named Dr. Yogami (Played by Warner Oland) approaches him and claims they have met before.
Technically the first mainstream werewolf horror film, Werewolf of London certainly does set the bar high for the supernatural subgenre. The film is rich with plot and character development, two traits that actually cause the film to lag in places. The film lacks the hazy gothic atmosphere that the Lon Chaney, Jr. Wolf-Man had but the film still manages to be quite unsettling. The make-up effects in Werewolf of London are not as heavy on the wolf features and actually retain a more demonic quality with flashes of humanity, something that actually makes them creepier than Chaney’s famous wolf-mug. Hull himself isn’t nearly as tragic as Chaney’s Talbot and frankly, I didn’t really care for his snippy demeanor when he hovered over his precious plants in his lab. As the werewolf, he certainly is memorable, leaping out windows and even preparing himself for the nippy London weather with a scarf and coat.
As far as the secondary players go, Warner Oland is appropriately suspicious as Dr. Yogami. I absolutely loved how he played into the movie and I especially liked the reveal at the end, even if it is fairly easy to see the twist a mile away. Valerie Hobson is also present as Lisa Glendon, Wilfred’s wife who desperately wishes he would step away from his work and into her loving arms. The film embraces a smidgeon of comedy in the middle of the film with the werewolf crossing paths with two old lushes, who hoot and holler when they catch a glimpse of his protruding fangs. Overall, it is a shame that Werewolf of London has been left forgotten in the shadow of The Wolf-Man, but the cold hard truth is the film just isn’t as entertaining and heartbreaking as the Chaney classic. It does, however, deliver the spooks and that is the most important part of the film. It also happens to be a very dapper affair. Grade: B
Frankenstein Meets the Wolf-Man (1943)
Several years after the events of The Wolf-Man, Larry Talbot (Played by Lon Chaney, Jr.) is awakened by a duo of grave robbers on an evening when the moon is full. As moonlight falls on his skin, Talbot quickly morphs into the Wolf-Man and murders the two men. The next day, the dazed Talbot is discovered by the police and taken to Dr. Mannering (Played by Patric Knowles), a local doctor who believes that Talbot may be insane. Talbot begins warning Dr. Mannering of his curse and that he desperately needs to be cured before the next full moon. Frustrated no one will listen to him, Talbot escapes the hospital and seeks out Dr. Frankenstein, who may be able to end his terrible curse. As his search continues, Talbot accidentally discovers Frankenstein’s Monster (Played by Béla Lugosi), which has been buried in ice for many years.
The first forty minutes of Frankenstein Meets the Wolf-Man has all the makings for a horror classic. It’s atmospheric, loaded with eerie images, and surprisingly gruesome attacks for an early Universal horror flick. The film quickly looses some of that uneasy terror when it skips off to Frankenstein’s castle and unleashes Lugosi’s Monster. You can’t help but get the feeling that Lugosi is almost mocking Karloff in the way he waves his stiff arms around and moans like a family friendly ghoul. Hell, Herman Munster is more terrifying than Lugosi’s Monster. Then there is the middle section of the film, which is equally troubling. The story seems to run out near the center and the film just plods along killing time until these two titans of terror duke it out for a broad. It fills itself out with a head-scratching musical number that completely yanks the gothic atmosphere right out of the picture. Luckily, the film gets back on track with the final showdown that pits the angry Monster against the Wolf-Man. It’s a pretty satisfying fight even if it does find the two ghouls wrestling around on the ground for five minutes as things blow up around them. Still, it is pretty neat that they actually clash for a decent amount of time.
Frankenstein Meets the Wolf-Man is technically the first sequel to the original 1941 Wolf-Man and the first half of the film pushes the story along in a pretty fascinating way. Chaney is still top-notch as Larry Talbot/The Wolf-Man and his anguish is pretty chilling. Sadly, there is only so much I could take of his whining and by the end, I just wished he’d turn back into the Wolf-Man so I wouldn’t have to listen to him whine anymore. Patric Knowles steps in to play the mad doctor who isn’t as mad as some of the previous Universal kooks. Ilona Massey steps in as Elsa Frankenstein, who begins to fall for sad sack Larry. She basically acts as the boxing ring bell that has the two monsters swinging their claws at one another. Overall, if Frankenstein Meets the Wolf-Man had continued on the path it started on at the beginning, the film would have been a horror knockout. Instead, the film is KO’d after forty minutes by Lugosi’s bizarre turn as the Monster, Chaney’s relentless sobbing, and an absolutely pointless musical number. Luckily, the first forty minutes are a keeper and that showdown has some sparks. Grade: B
She-Wolf of London (1946)
After a string of brutal murders in a local London park, Scotland Yard detectives begin to fear that the murderer is actually a werewolf. As the news of the murders spreads, the young Phyllis Allenby (Played by June Lockhart) begins to fear that she may be the killer after she discovers that there are werewolves in her family tree. As fear spreads across London, Phyllis’s fiancé Barry (Played by Don Porter) and her aunt Martha (Played by Sara Haden) try desperately to convince her that her fear is all in her head.
Fueled more by suspense than all out terror, She-Wolf of London leaves a good majority of the supernatural spooks on the cutting room floor and opts for psychological fear. What remains firmly in tact is the foggy gothic atmosphere that The Wolf-Man was very fond of and for the most part, the atmosphere adds a few chills. Much like Lon Chaney, Jr, Lockhart plays Phyllis as a sad and tragic figure desperately pleading for help for her curse. At only an hour, we are able to give Lockhart a hefty serving of our sympathy and she never wears on us. Porter is solid as the concerned fiancé and Haden is wonderfully suspicious as Martha. Also on board is Jan Wiley as Carol, Phyllis’s clueless cousin who is consistently upsetting the sad sack.
At only sixty-one minutes, She-Wolf of London is brief and right to the point. The scenes that find a hooded she-wolf creeping out of the park’s tangled brush are indeed spooky, the hooded figure almost resembling a bloodthirsty apparition on the prowl. The middle twenty minutes of the film are sort of dry and you will find yourself rushing the film into the big reveal at the end. Much like Frankenstein Meets the Wolf-Man, She-Wolf of London also features some hair-raising attacks that have a particularly bloody outcome. Overall, director Jean Yarbrough puts a unique twist on the werewolf feature that is quite fitting for a post WWII horror film dealing with the supernatural. I dare you to get those foggy attacks out of your head. Grade: B-
Werewolf of London, Frankenstein Meets the Wolf-Man, and She-Wolf of London are all available on DVD.
by Steve Habrat
As dark and ominous as they come, the exotic Boris Karloff film is certainly a spine-tingling adventure. While the original Karloff film is a stand alone film, Universal refused to let the Mummy franchise shuffle back into the tomb and in 1940, they rebooted the series with more action, more suspense, more terror, and more mummy. If you wish to read Corinne Rizzo’s review of the Boris Karloff classic, click here. Without further ado, here are Anti-Film School’s mini reviews of The Mummy reboots. Read on if you dare…
The Mummy’s Hand (1940)
After unemployed archeologist Steve Banning (Played by Dick Foran) and his assistant, Babe Jenson (Played by Wallace Ford), stumble upon the whereabouts of the hidden tomb of Egyptian Princess Ananka, the duo sets out to find funding for their new expedition. The duo finds funding from jolly American magician Slovani (Played by Cecil Kellaway), who tags along on their quest with his beautiful daughter Marta (Played by Peggy Moran). The group believes that this new discovery will make them wealthy beyond their wildest dreams but they accidentally awaken an ancient curse that stirs Kharis (Played by Tom Tyler), a mummy that guards the tomb of Princess Ananka. As Kharis slowly rips his way through the members of Banning’s expedition, the sinister high priest Professor Andoheb (Played by George Zucco) is revealed to be controlling the mummy and he has his eyes on a bigger prize—Marta.
While more of a remake of the 1932 Boris Karloff original The Mummy, The Mummy’s Hand actually manages to be a bit more entertaining than the Karloff classic. Heavy on the serial style action and lighter on the creepy-crawly horror, the film certainly flirts with a B-movie aura but that only adds to the fun to be had. Where the original film only allowed us to see the mummy for a total of five minutes at most, director Christy Cabanne doesn’t shy away from showing us this undead fiend. He never takes on a human form in this Mummy installment and I must say that I enjoyed the film even more because of it. While Karloff was certainly creepy in the role, Tyler’s mummy is a hellish sight to behold, especially when we get a revolting close-up that reveals black holes for eyes and a twisted gimp arm. The mummy ends up being an indestructible puppet for a less interesting puppet master but he still manages to make your skin crawl when he shuffles in for the attack.
The Mummy’s Hand certainly has its fair share of comic relief to break up this roller coaster ride. Ford’s Babe Jenson is a mouthy sidekick that delivers one sly remark after another. Foran’s Banning is the typical tall, dark, and handsome hero who is constantly throwing himself in between the attacking mummy and Marta, who is usually tied up and screaming. There is also the buffoonish magician Slovani, who seems like he is only in front of the camera to perform some mildly impressive magic tricks but you won’t hear me complaining about him. At just barely over an hour, the film’s evil plot suffers a bit but the characters are all so animated that we barely even notice the moldy story. The film also hilariously borrows footage from the original Mummy movie and shamelessly steals the score from Son of Frankenstein, a cheap approach but never very distracting. Overall, The Mummy’s Hand may not send you fleeing in terror from it but as a rollicking serial-esque romp with a few tense spots, I don’t think you can really go wrong with it. Grade: B+
The Mummy’s Tomb (1942)
Thirty years after Steve Banning (Played by Dick Foran) sent the mummy Kharis to a fiery grave, an Egyptian high priest named Mehemet Bey (Played by Turhan Bey) travels to America with Kharis (Played by Lon Chaney, Jr.) to eliminate the surviving members of the Banning expedition and any descendents they may have. As the body count rises, the local citizens believe that they have a flesh and blood killer on their hands, but all hell breaks loose when they discover that the killer may be supernatural.
About as rickety as they come, The Mummy’s Tomb barely clocks in at an hour. Ten minutes of that hour are dedicated to giving us a quick refresher over the events of The Mummy’s Hand. This refresher comes in the form of lifting key scenes from The Mummy’s Hand and interlacing the scenes into a story told by the much older Banning. The other fifty minutes of The Mummy’s Tomb speeds by with plenty of nonstop suspense that is surprisingly effective even if it was made on the cheap. The overall appearance of the mummy, this time portrayed by Universal’s favorite son, Lon Chaney, Jr, is especially ghastly. Here, the mummy is missing an eye and has a charred mug that makes him even more repulsive than he already is. Chaney isn’t really given room to do anything creative with the roll and he basically resorts to mimicking the movements of Tom Tyler. Honestly, you wouldn’t even know it was Chaney in the make-up unless you were told.
The Mummy’s Tomb has a difficult time settling on one hero, bouncing in between the aging Banning and his valiant son John (Played by John Hubbard), who is forced to once again destroy the shuffling ghoul with fire. Wallace Ford pops in for a cameo as Babe, a cameo that doesn’t ask him to do anything except run down a dark alley and make a half-assed attempt to get away from the mummy. Surprisingly, Bey gives a fairly measured performance as the mummy’s puppet master. He is basically after the same thing that Andoheb was after but he is a bit creepier about it. Over before you even realize it, The Mummy’s Tomb is creaky B-movie horror that has an impressive monster, a unique setting, and plenty of atmospheric shadows to make this a quick fix that satisfies a monster movie craving. Grade: B-
The Mummy’s Ghost (1944)
Taking place many years after the events of The Mummy’s Tomb, the year is now 1970 and yet another new High Priest, Yousef Bey (Played by John Carradine), has traveled from Egypt to Mapleton, Massachusetts, to find the body of the mummy Kharis (Played by Lon Chaney, Jr.) and his dead lover, Ananka. Yet before Yousef can make it to Mapleton, Kharis is accidentally awoken from his slumber and begins attacking innocent civilians. When Yousef arrives, he discovers that Ananka’s soul has been reincarnated in the body of a beautiful young Egyptian woman named Amina Mansori (Played by Ramsay Ames). Meanwhile, the local detectives race to destroy the mummy before he can kill again.
Doing virtually nothing to set itself apart from The Mummy’s Tomb, The Mummy’s Ghost shuffles by on basically the same plot as its predecessor. I will admit that, in a way, it is sort of funny the way the script continues to rehash the mummy’s origin and recycle the same plotline. Yet you will find yourself unable to dislike The Mummy’s Ghost because it finds Chaney giving the moldy monster a small amount of personality and the film packs a pretty bleak climax. Here, Kharis is sent into uncontrollable rages as his lover is yanked just out of his deathly reach and the way that director Reginald Le Borg allows Kharis to stalk the shadows of suburbia are very effective even if it is a bit obvious that Chaney is limping around a set. The film also gets a boost from the presence of Carradine, who seems more comfortable in an Egyptian fez than Dracula’s cape.
As the film goes on, the rest of the cast slowly fades into the background. Robert Lowery plays the same hero that we have seen in the previous Mummy films. Here he is Amina’s brainy boyfriend, Tom Hervey, who may not be able to quite save the day. A clever and surprising touch for a film that is so formulaic. Ames is the eye candy as she prances around and faints at the mere mention of Egypt or the sight of Kharis. Rounding out the main players is Frank Reicher as Professor Norman, who examined some of the mummy murders when Kharis stocked Mapleton the first time. Here he makes the careless mistake of waking him up with the brew of nine tana leaves. You’d think he’d know better! The film’s climax ends with the typical chase as the hero stumbles after the mummy, who slowly shuffles through the woods with Amina in his arms. You’d think that Tom would be able to catch him but that Kharis must have one hell of a lead. Overall, The Mummy’s Ghost is a shameless rehash that contains a few interesting plot advancements and a chilling final sequence but really nothing more. You’ll be convinced that you are re-watching The Mummy’s Tomb. Grade: C+
The Mummy’s Curse (1944)
Twenty-five years after Kharis disappeared into a watery grave, an irrigation project in Cajun Country has unearthed the body of the mummy Kharis (Played by Lon Chaney, Jr.). The body falls into the hands of Dr. Ilzor Zandaab (Played by Peter Coe), a secret High Priest who awakens the mummy with his partner, Ragheb (Played by Martin Kosleck). Kharis begins wandering the swamps looking for the remains of his lover, Ananka (Played by Virginia Christine), who has also risen from the muddy grave and is under the supervision of the protective Dr. James Halsey (Played by Dennis Moore).
Released the same year as The Mummy’s Ghost, The Mummy’s Curse is the last installment of Universal’s slowly decaying Mummy franchise. Avoiding the rehash trap that The Mummy’s Ghost fell
into, The Mummy’s Curse is slightly rejuvenated through a fresh setting and a creepy sequence in which Ananka’s body rises out of the muddy swamp. The setting, which also happens to be the film’s biggest plot hole, has inexplicably moved from a swamp in Mapleton, Massachusetts to superstitious Cajun Country. Once again, Chaney is hidden behind the rotten bandages and the blistery burns but this time, they feel cheaply done and Chaney himself seems to have checked out of the role of Kharis. Christine is gorgeous as the undead swamp queen who knows quite a bit about ancient Egypt. Sadly, no one else is memorable or makes a ripple in this muddy puddle.
The highlight moment of The Mummy’s Curse is the scene in which Ananka slithers out of her muddy resting place and begins wandering the swamp like a ghostly specter. It is easily the only creepy moment in The Mummy’s Curse and the only scene that suggests that director Leslie Goodwins was attempting to make anything artistically worthwhile. At just an hour long, this could be the driest of the Mummy movies, the one that seems to be moving just as slow as Kharis. It lacks an arching evil plot and the only spooks outside of Ananka’s emergence come when the workers draining the swamps trade jittery stories about ghosts. Overall, The Mummy’s Curse could have ended much worse but there are small aspects to admire. Sadly, this supernatural adventure gets stuck in the swampy mud and just barely gets loose. Grade: C-
The Mummy’s Hand, The Mummy’s Tomb, The Mummy’s Ghost, and The Mummy’s Curse are all available on DVD.
by Steve Habrat
Nothing says Halloween like Frankenstein, the iconic horror story penned by Mary Shelley. The legendary tale has it all: walking corpses, gothic castles, mad scientists, hunchbacks, and misty graveyards. If that doesn’t scream Halloween then I don’t know what does. Shortly after the success of Dracula, Universal unleashed Frankenstein and Bride of Frankenstein, two horror classics that are still celebrated today and beloved by every single horror fan on the planet. If you wish to read Corinne Rizzo’s reviews of Frankenstein and Bride of Frankenstein, click here for Frankenstein or click here for Bride of Frankenstein. So, without further ado, here are Anti-Film School’s mini reviews of the Frankenstein sequels.
Son of Frankenstein (1939)
Picking up several years after the events of Bride of Frankenstein, Henry Frankenstein’s son, Baron Wolf von Frankenstein (Played by Basil Rathbone), returns to his father’s castle with his wife, Elsa (Played by Josephine Hutchinson), and his young son, Peter (Played by Donnie Dunagan). Eager to repair his father’s reputation, Wolf quickly discovers that local villagers are not so eager to forgive for the abomination that his father created. Wolf soon finds himself approached by the demented Ygor (Played by Béla Lugosi), who wants Wolf to bring the Monster (Played by Boris Karloff) back from the dead. Wolf reluctantly agrees with the hopes of restoring his father’s legacy but with the reanimation of the Monster, death and destruction once again tear through the countryside.
If Universal would have ended its Frankenstein series with Son of Frankenstein, then it could have ranked as one of the greatest trilogies to ever come out of Hollywood. Wrapping things up quite horrifically, director Rowland V. Lee tells one of the heartiest tales Frankenstein’s Monster ever received and it is all the better for it. Immensely satisfying and surprisingly eerie, Karloff once again shines as everyone’s favorite grunting brute corpse as he shuffles about the twisted landscape. It would become the last time Karloff would ever don that famous make-up and boy does he go out with a bang. While he lacks much of the understanding and humanity that he did in Bride of Frankenstein (my personal favorite Universal Monster movie), he still gives the Monster heaping amounts of personality. Karloff does end up playing second fiddle to Lugosi, who gives one hell of a performance as Ygor, a raspy grave robber who somehow survived a hanging and now has a deformed neck.
As far as the supporting players go, Rathbone is adequate as a man who refuses to own up to what he has created. Rathbone consistently plays off of Lionel Atwill’s one-armed Inspector Krogh, who is being forced into reprimanding Wolf even though he believes that he isn’t the criminal the rambling villagers think he is. The film applies a nightmarish German Expressionist vision to the terror, making everything seem slightly surreal as Karloff and Lugosi lurch about the rocky landscape. The film really takes hold when Wolf’s son Peter begins explaining that a giant has paid him a visit, a confession that will give you the creeps. Overall, Son of Frankenstein stands as the last great Universal Frankenstein film, one that still manages to terrify to this very day. An unsung winner from Universal’s glory days. Grade: A-
The Ghost of Frankenstein (1942)
Taking place shortly after the events of Son of Frankenstein, the horrific devastation that took place at Frankenstein’s castle still looms over the nearby village. Many villagers believe that Ygor (Played by Béla Lugosi) is still alive and is desperately trying to find the body of Frankenstein’s Monster (Played by Lon Chaney, Jr.). It turns out that Ygor has indeed found the body of the Monster caught and preserved in the sulfur that he was pushed into by Wolf von Frankenstein. The villagers soon storm the ruins of the castle and run Ygor and the Monster, who has been weakened due to the sulfur exposure, out of town. Ygor decides to travel to the nearby village of Vasaria to find Ludwig Frankenstein (Played by Cedric Hardwicke), the second son of Henry Frankenstein, with the hopes that he can restore the Monster to his full strength. Ludwig begins studying the Monster with the hopes of destroying it once and for all, but a visit from his father’s apparition pleads with him to perfect the creation.
At a brief sixty-seven minutes, The Ghost of Frankenstein seems like lukewarm scraps that should have been thrown out rather than reheated. Despite a tepid script and a nonsensical storyline that is slightly convoluted, The Ghost of Frankenstein still has a few surprises that keep things just barely shuffling along. Chaney does a surprisingly decent job as the Monster, who once again doesn’t show the degree of humanity that Karloff did in Frankenstein or Bride of Frankenstein. Chaney is much better as this monster than he was as Dracula but he will always be the best at the Wolf-Man, a role he should have stuck to but I guess someone had to step in and fill Karloff’s shoes. Meanwhile, Lugosi once again steals the show as the unhinged freak Ygor, who wants to use the Monster to cause as much destruction as he possibly can. Despite a lot of silliness, Lugosi plays for keeps. Thankfully, he comes out unscathed. Then there is Hardwicke, who seems rather disinterested as Ludwig, a man who has been blackmailed into reviving the Monster. He certainly doesn’t live up to the other two Frankenstein boys.
A step down in the production department, The Ghost of Frankenstein feels frustratingly stale and downright meaningless. It is obviously a quick cash grab on the Frankenstein name and it is hard to forgive Universal for that, especially after that trio of treasures that they delivered before this. The film has very few creepy moments to speak of but the atmosphere of the original three films is long gone. Still, Chaney works hard to keep things on the ghoulish track and the ever-colorful Lugosi aids him along. I will admit that I did enjoy the morbid twist at the end of film, a twist that involves a quick brain swap with fiery results. Overall, it is far from my favorite Universal horror film but I believe you can do much, much worse. It just hurts to see the high quality Frankenstein series deteriorate into such an unimaginative mess. Grade: C
The House of Frankenstein (1944)
After the vengeful Dr. Gustav Niemann (Played by Boris Karloff) escapes from prison with the help of his hunchback assistant Daniel (Played by J. Carrol Naish), he sets out to find the three men responsible for his imprisonment. After murdering a traveling showman and taking over his roaming horror show, Dr. Niemann unleashes Dracula (Played by John Carradine), the Wolf-Man (Played by Lon Chaney, Jr.), and Frankenstein’s Monster (Played by Glenn Strange) to get revenge on those who have wronged him. As their rampage tears through multiple villages, Dr. Niemann and Daniel begin to fear that they may also fall victim to the horrors that they have unleashed.
Released a year before the weary House of Dracula, The House of Frankenstein marked the first time that all of Universal’s headlining monsters were together in one smash horror show. A bit smoother than House of Dracula, The House of Frankenstein is carried by the mere presence of Karloff, who here is portraying the mad doctor rather than the big green Monster. While Karloff seems to be enjoying the fact that he isn’t caked with make-up, the real star here is Naish’s hunchback Daniel, a tragic soul who lusts after a beautiful gypsy Ilonka (Played by Elena Verdugo). Daniel longs for a better body, which he believes would allow him to win over Ilonka’s affection. It is even more tragic to see Daniel pitted against Larry Tolbot/the Wolf-Man, who seems to be the apple of Ilonka’s eye. The House of Frankenstein also finds Glenn Strange stepping in as the Frankenstein Monster, once again played as a grunting brute with very little emotion. Carradine also makes an appearance as Dracula, who flies off with the film’s most thrilling sequence.
Much like House of Dracula, The House of Frankenstein is really straining to keep itself together for its seventy-one minute run. The film really works due to the surprisingly strong conflict between the Daniel and Larry; a feud that we know will not have a positive outcome. Still, the plot finding Dr. Niemann using these creatures to exact revenge is a much sharper idea than all of them wanting to be cured of their curses. While it doesn’t mark the last appearance of all these ghouls in one film, it really should have acted as their last appearance on the big screen. Overall, The House of Frankenstein is a mildly enjoyable undead soirée that should have closed the coffin lid on these decomposing beasts from Hell. Grade: C+
Son of Frankenstein, Ghost of Frankenstein, and The House of Frankenstein are all available on DVD.
by Steve Habrat
The first legendary monster from Universal Studios, Dracula is one of the most iconic movie monsters ever put on the big screen. Played brilliantly by Béla Lugosi, the original film recieved three sequels and a chilling Spanish language version. Without further ado, here are Anti-Film School’s mini reviews of the Dracula sequels. Just make sure you hold your crucifix close and have Van Helsing speed dial. If you wish to read Corinne Rizzo’s review of Dracula (1931), click here .
Drácula (Spanish Version) (1931)
Young solicitor Renfield (Played by Pablo Álvarez Rubio) travels to Transylvania to meet the mysterious Count Dracula (Played by Carlos Villarías) about the Count’s recent purchase of a home in London. Upon Renfield’s arrival, he finds himself drugged and bitten by the Count’s trio of undead wives. With Renfield under his control, Dracula travels to London where he brings with him a plague of death and destruction. Shortly after his arrival, Dracula finds himself pitted against the cunning Professor Van Helsing (Played by Eduardo Arozamena), who is hell-bent on sending the undead terror back to his grave.
Shot at night on the same sets that Tod Browning and Béla Lugosi haunted, Drácula is a much more alive artistically than the rather comatose American version. Browning’s version was composed of multiple long shots that looked like the actors were performing on a giant stage rather than acting in a Hollywood motion picture. George Melford is much more sure of himself as he dares to move his camera around with the actors and in the process, wakes the film up from its dusty, cobwebbed slumber. Melford’s film also ends up being quite a bit longer than Browning’s, with a slower build up and a lengthier pay off than the sudden climax of the American version (this film is a whopping half-hour longer than Browning’s). It is blatantly apparent that this was made for an audience with a much longer attention span and a genuine love for character development. In addition to these touches, the film is much creepier than Browning’s, which ultimately gives it the upper hand. Your spine will tingle when Dracula’s brides emerge from their shadows and begin feeding upon the doomed Renfield and you’ll shiver when Dracula emerges from the dark depths of a ship braving stormy waters as Renfield roars with delight. The boat sequence was my personal favorite scene in the film. This one will give you nightmares, folks!
Then there is Villarías as Dracula and I must say, he comes dangerously close to toppling Lugosi but he just misses by a hair. The two have largely the same physical appearance but Villarías lacks the otherworldly gaze and the spidery fingers that Lugosi was so blessed with. However, Villarías has a curling lip and jagged sneer that makes him look like an unhinged madman who is seconds away from ripping out your jugular. He does have bulging eyes and a psychotic stare, which Melford likes to focus in on in extreme close-ups, but his gaze never really made my heart skip a beat. The rest of the actors and actresses do a fine job and match the American cast the entire way. Another standout is Rubio as Renfield, a man with a laugh that could wake the dead and a quiver that looks like the set temperature was below zero. It would have been perfect if Melford had included an equally hair-raising score but unfortunately, we don’t get one here. Still, Drácula is fully capable of giving you a few sleepless nights, that is, if you are one of the patient viewers. A stunning alternative that ranks as one of the best vampire films ever put on celluloid. Grade: A
Dracula’s Daughter (1936)
Picking up shortly after the events of 1931’s Dracula, the Hungarian countess Marya Zaleska (Played by Gloria Holden) emerges on the streets of London searching for the corpse of her father, Count Dracula. She is also searching for a way to rid herself of a mysterious curse that causes her to drink the blood of the living. With the help of her sinister manservant, Sandor (Played by Irving Pichel), Marya seeks out psychiatrist Jeffrey Garth (Played by Otto Kruger) in the hopes that he can cure her through scientific methods. Meanwhile, Professor Van Helsing (Played by Edward Van Sloan) is trying to convince Scotland Yard that there are vampires walking among the citizens of foggy London.
Exhibiting a much more artistic approach than Tod Browning’s original film, Lambert Hillyer’s Dracula’s Daughter is a creeping tale that draws you deep into its gothic atmosphere and slow building crescendo of tension. Rather than just a collection of stationary long shots of cobwebbed castles and misty gardens, Dracula’s Daughter is all damp, ominous streets and shadowy dens where Holden’s Marya grapples tragically with the curse that plagues her. The creepiest scenes come when Marya and Sandor slip around in the shadows and discuss ways to quench Marya’s unquenchable thirst. The film can also be relatively humorous, which does undercut some of the scares that generate, making Dracula’s Daughter a bit kid friendly, even more so than Dracula. Lengthy dry spots where thinly written background characters step into the frame and babble on, forcing us to drift out of the action until Holden reappears also trip up moments of Dracula’s Daughter.
Dracula’s Daughter is probably best remembered for the lesbian subtext that runs heavy through the second half of the film. This subtext is crystal clear in a sequence between Marya and a young girl named Lili (Played by Nan Grey), who is supposed to acting as a model for Marya. One thing is for sure, you have to see the scene to believe it. It is surprising that the scene made it past the production code authority but it actually makes Dracula’s Daughter all the more fascinating and thought provoking. It may not rank as one of the best Universal Movie Monsters sequels out there, but Dracula’s Daughter manages to be a smidgeon better than its predecessor, at least in construction. It would have also been nice to get a cameo from the legendary vampire himself but sadly, this film is Dracula-less. Overall, this gothic follow up will stick with you due to its dreary ambiance and nightmarish imagery that will have you switching the nightlight on before bed. Grade: B
Son of Dracula (1943)
After taking a trip to Hungry, the beautiful Kay Caldwell (Played by Louise Allbritton) returns to United States with a morbid curiosity with the supernatural. She returns to her family’s southern plantation with a gypsy fortuneteller named Madame Zimba (Played by Adeline DeWalt Reynolds) and the mysterious Count Alucard (Played by Lon Chaney, Jr.), who only makes select appearances after the sun has gone down. After Madame Zimba warns Kay that death looms over the plantation, several individuals close to Kay are discovered dead. To make matters worse, Kay informs her fiancé Frank (Played by Robert Paige) that she does not intend to marry him anymore. She instead plans on marrying Count Alucard, with the hopes of obtaining immortality.
Don’t be fooled by the title, there is no son of Dracula in Son of Dracula. I guess it was just a catchy title that everyone could agree on. The third installment in Universal’s Dracula franchise does find the legendary bloodsucker (thankfully) returning after his absence in Dracula’s Daughter but this time he is portrayed by Lon Chaney, Jr. Unlike Béla Lugosi, Chaney is never really able to own the fangs and it shows. Chaney lacks Lugosi’s horrific grin that just spelled pure evil and his piercing eyes, but he does an adequate job with the role. You are left wishing that Lugosi would show up and relieve Chaney of his duties here and sometimes, I got the feeling that Chaney was secretly hoping the same thing. His casting here has been widely considered one of the worst casting choices in the history of cinema and he does seem a bit awkward at times but he is aided by the stellar direction from Robert Siodmak, who ratchets up the eeriness with a relentlessly gloomy landscape.
More of a film noir with vibrations of terror, Son of Dracula has some superb moments of paranormal horror. Alucard drifts silently over the murky waters of a desolate swamp while another character chats with a ghost in a dingy jail cell as police officers murmur amongst themselves that the prisoner must be crazy. Dropping the comic relief that Dracula’s Daughter was fond of, Son of Dracula is done in by a thinly spread plot that ultimately got a bit monotonous for me. I did enjoy the somber tone and I have to say I really liked the scenes in which Alucard would transform from a bat into his human form. I also was quite fond of Allbritton’s distant femme fatale who has big plans for Chaney’s bloodsucker. I was thrown off by the idea that Dracu… I mean Alucard was looking to settle down and take a wife, especially after Dracula shows three of his wives slithering out of their graves. Overall, Son of Dracula plays things gravely serious and more power to it for that, but a bone-dry script and a dull monster cause the film to be a bit stiff. Grade: C+
House of Dracula (1945)
Count Dracula (Played by John Carradine) arrives in Visaria at the castle of Dr. Franz Edelmann (Played by Onslow Stevens) and asks the doctor to cure him of his vampirism. The good doctor agrees and just as he begins work on a cure, Larry Talbot (Played by Lon Chaney, Jr) comes knocking on his door seeking a cure him of his lycanthropy. As the doctor races to find cures for both monsters, he stumbles upon the ultimate discovery— Frankenstein’s Monster (Played by Glenn Strange). With all the ghouls together, Dr. Edelmann races the clock to protect his two assistants, hunchbacked Nina (Played by Jane Adams) and beautiful Milizia (Played by Martha O’Driscoll), from certain death, but Count Dracula has other plans for Dr. Edelmann, a plot that could unleash pure evil on the local villagers.
The lash hurrah for three of the most iconic movie monsters in Universal’s arsenal, House of Dracula does end with a big bang, lots of flames, and even a few fireworks. You’d think with three of the studio’s main monsters in the same picture, there would be plenty of murder and mayhem to go around but sadly, that is not necessarily the case. There is quite a bit of down time in House of Dracula and only some of it works. A scene where Count Dracula attempts to seduce Milizia is effectively frightening and a horrific vision by Dr. Edelmann is a hair-raiser but things are forced here. Screenwriter Edward T. Lowe, Jr really hopes for smooth sailing but some of these chance encounters are strained, especially the way Frankenstein’s Monster is discovered. Furthermore, the film lacks the unshakable gothic mood of some of the better Universal horror offerings, which further throws the film off. Luckily, this monster mash only goes on for a measly sixty-seven minutes.
As far as acting is concerned, Chaney is the only one reprising a role that he perfected. Béla Lugosi is replaced by John Carradine, who does more with the role than Chaney did in Son of Dracula but still lacks the allure of Lugosi. Glenn Strange steps in for Boris Karloff and has little to do as the Monster. He mostly just stays rooted to an operating table and flails his arms around in the film’s final minutes. It is Chaney’s Talbot/Wolf-Man who really steals the picture with his sympathetic performance of a man terrified of himself. Stevens also does an above average job with Dr. Edelmann and gets to really have some nasty fun in the home stretch when he descends into madness. The other memorable aspect of House of Dracula is the inclusion of female hunchback Nina, an unusual touch for a horror film at this time. As the last gothic gasp before the explosion of atomic terror and Cold War fears, House of Dracula attempts to send the terrifying trio back to the grave in grandiose style but ends up ushering them out with a big yawn and a faint snore. Grade: C
Drácula (The Spanish Version), Dracula’s Daughter, Son of Dracula, and House of Dracula are all available on DVD.
by Steve Habrat
Over the course of the next few days, I will be listing off the 25 films that have scared the hell out of me. This is not a definitive list of the scariest films ever made but rather recommendations of films that I think will spook you. Feel free to comment on this and let me know which films scare you. Let the terror begin!
25.) The Phantom of the Opera (1925)
In the opening moments of this silent film chiller, a man explores the underground tunnels of a Paris opera house. He is alone in the dark and armed with nothing but a lantern. The camera remains stationary in front of him so we only get to see his reactions. Keep in mind there is absolutely no sound. All of a sudden, he sees someone or something. Not anything or anyone he recognizes. We the audience are not permitted to catch a glimpse. Judging by his reaction, I do not think we want to. This is the magic of the crown jewel of the Universal Movie Monsters heap. We are not assisted by the luxury of sound effects. Our brain fills in the horrors for us and sometimes that can be the most effective way to send an icy chill down your spine. While many of you probably are familiar with Lon Chaney’s legendary hellish phantom and you do not even realize it, he plays the phantom like he may never have had the chance to star in anything ever again. And it also features a breathtaking sequence in color (gasp!). This is a truly unforgettable epic that mesmerizes and horrifies.
24.) The Hills Have Eyes (2006)
Many have expressed their disapproval at this remake of the 1977 Wes Craven classic of the same title. But in a rare case, French director Alexandre Aja actually improves upon it. And it refuses to play nice. Vile, upsetting, disgusting and downright repulsive, it hits the ground running and barrels at you without slowing down. The opening sequence and credits are enough to give you nightmares for a week and all it consists of is a few scientists in HAZMAT suits testing radiation who meet a grisly end. This is followed closely by lots of stock footage of atomic bomb tests. Following a family who ends up getting trapped in the hills of New Mexico and who begin getting terrorized by colony of mutant miners who were subjected to radiation from bombs set of by the US government may not sound all the brutal, but trust me, do not enter lightly. It’s an unapologetic and unflinching little movie. About half way through the film explodes like a ticking time bomb and it’s incredible to me that this avoided an NC-17 rating. Oh, and I should tell you that the family has a newborn baby with them. And the mutants kidnap the child and plan on eating it. Start covering your eyes and chewing off your fingernails now. Not for the faint of heart.
23.) Inland Empire (2006)
What’s it about? I couldn’t tell you. What’s the underlying message? Beats me. What’s the point? The point is that it scares the living hell out of you and it’s impossible to know why. David Lynch’s three-hour grainy epic that appears to be about a remake of a film that was cursed blurs the lines of what is real and what is a nightmare. Half way through you will give up trying to follow it but you will not be able to avoid it’s icy glare. The trailer alone will have goose bumps running up and down your arms. What elevates it is Lynch’s use of surreal imagery. There truthfully should not be anything particularly scary about it, but there is. Through his use of close ups, every single character takes on the look of a deformed specter that is staring right into your soul. And wait for one particular image of a deformed face that, in my opinion, is one of the most disturbing images I have ever seen on film. I understand that the film may frustrate you on what is actually happening and what isn’t, but I can assure you that that is exactly what Lynch is going for. To drive you mad.
22.) The Mothman Prophecies (2002)
Have you ever had someone tell you about his or her encounter with something paranormal? I would guess that while they are telling the story, your imagination was busy bringing their story to life. The story was creepy because you were not there but you believe this person is telling you the truth. Plus, your imagination has filled in what took place. Long after they have told you the story, it still plays in your brain like it was your own experience. That is kind of what The Mothman Prophecies is like. And it’s based on true events that happened in the late 60s. Through the strong performances by Richard Gere, Debra Messing, and Laura Linney, they make you feel every ounce of their confusion, frustration, horror, and weariness that is brought on from the events take place throughout the film. Centering on the sightings of an otherworldly winged creature with “two red eyes” in Point Pleasant, West Virginia, the film has an unshakeable sense of doom woven throughout. We are constantly left with some strange account that leaves us gripping our seats or a notion that something truly horrifying is lurking just around the corner. Pay close attention to the details in this one. It’s what doesn’t jump right out at you that is actually the creepiest. The Mothman is everywhere even if we never really get a good glimpse. But it’s like your reaction to your friend’s paranormal experience, you do not know, but you can imagine.
21.) Repulsion (1965)
Going mad has never been this unsettling. Roman Polanski’s portrait of a young woman (played by the gorgeous Catherine Denuve) who is seemingly losing her mind after her mother goes away for a weekend is all the more surreal because we cannot pin point the reason why. She is so normal! Turning an apartment into a claustrophobic living nightmare, the film makes exceptional use of space. Polanski makes the audience actually feel the walls closing in. And when someone knocks on her door, talk about tense! What truly makes Repulsion work is that it is a patient horror film. One that is all the more unsettling because this could be happening a few doors down in your apartment complex or just a few houses down. And to such a lovely woman at that! It’s a shame that Polanski’s other horror film, Rosemary’s Baby, overshadows that gem. Through it’s gritty scope and enclosed spaces, after seeing it you may want to evaluate your own sanity, go stand in an open field for a couple of hours, and you’ll never want to eat vegetables again.
Drop by tomorrow for more of the films that have scared the shit out of me. You know you’re intrigued and the terror has hypnotized you. And feel free to let us know what horror films scare you. Also, if you have not voted in our tiebreaker poll yet, Click Here to do so.
by Corinne Rizzo
Never being previously exposed to a Universal Monster Movie before, a viewer can find themselves overwhelmed by the extensive library of movie monsters available to them. There are, one will learn, your most popular among the classics, then the more underrated, then of course the overrated in every category of film though there isn’t much chatter among the masses of Universal Monster Movies anymore. There’s still time to exhume that excitement, and The Wolf Man circa 1941 is one of best ways a moviegoer can remind themselves of where suspense and horror began, where things first went bump in the night and how to never underestimate a timeless movie ever again.
Larry Talbot arrives home from nearly two decades in the United States for seemingly one reason—his brother had been killed in a hunting accident, but shortly after his arrival, Larry’s distant relationship with his father becomes prevalent and the viewer now understands that not only is Larry home to grieve, but replace his brother in his father’s heart. The formalities between Larry and his father make for cold interactions using such terms as “sir” and shaking hands instead of hugging or even a handshake/hug combo.
When Larry sees the opportunity to impress his father by swooping up the Conliffe girl tending the antique shop across the way, he does all he can to get her alone, which is where his fate turns.
Following the action of the film’s plot is easy enough and even an inattentive viewer would be able to spot the foreshadowing involved. The repetition of a fable and talks of Little Red Riding Hood signal to the viewer that soon enough, our guy will become a main player in his own werewolf legend. Along with leaving the viewer with no doubts of the foreshadowed events, The Wolf Man moves along quite slowly, which could leave any audience yawning or shuffling to the kitchen without pressing pause. The film goes on for a solid forty five minutes (Gosh, it really did feel like forever) without any real action. There is plenty of talk of werewolves, surprise third wheels showing up on dates and ruining everyone’s time, but no real werewolf action by our main guy.
When the audience finally does catch a glimpse of our man as wolf, it is lack luster at best, but also simple enough to catch this viewers attention. Not one for scary movies or any film that incites anxiety or fear, it was almost a relief to find the make-up and violence to be tame and understated. Plus, with all of that waiting around to see Larry as the werewolf, anything might have been a relief. It was then that then Universal Movie Monster franchise made sense and the appeal of The Wolf Man is not unlike the appeal of simple independent films some viewers find themselves seeking regularly.
There is something to be said for a classic film, which in its day was a hit, is now a muted outline for the gory atrocity of horror films today. Though the film ends just as the players begin to understand that Larry isn’t crazy and that he is in fact an unstoppable and blood thirsty werewolf (or in other words, just as it was getting good), the film still incorporates a steady incline of suspense with a swift and heavy climax involving father and son in a death match. The viewer is left feeling like there could have been more to the finish of the film, though with some soul searching, it is apparent that there is nothing left of the story, which makes it easy to abandon that feeling and just accept what was shown.
Arguing with a classic is useless anyway.
Top Five Reasons to see The Wolf Man (1941)
1) The entire film is supposed to be set in England but no one has a British accent.
2) The viewer begins to weigh the pros and cons of either being considered crazy or actually being a werewolf.
3) The audience is treated to a rare glimpse of what a werewolf were to look at had he a telescope.
4) The Wolf Man’s father is The Invisible Man, but don’t tell anyone.
5) It makes you feel so much more included in the horror scene without actually having to watch a scary movie.