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Niche is the "Golden Age of Horror: Universal Studios 1920s--1940s"
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Poirot: The Big Four (2013)
My least favorite of the series
They take a book (or stories) that had an international flavor and turned it into a trite piece of hysterical drama around a bitter actor of unrequited love. Awful. All smoke and mirrors.
Son of Flubber (1962)
Zany DISNEY film
Lots of good performances and cameos. Best is probably Paul Lynde, in his own way stealing the show as the football announcer. And Ed Wynn as the agricultural witness.
Better than The Absent Minded Professor. Supposedly Walt Disney didn't like sequels, but there were so many "left-over" gimmicks froom ABSENT that they made this film.
Escape to Paradise (1939)
One of the best of the Breen musicals
Have seen 8 of the 9 Breen films (missing Doughboy) and they are all charming and enjoyable in their own ways.
But this one uses Breen's talents as a growing adult.
The storyline is as good as the Grable/Faye musicals of 20th Century Fox.
A good job by all.
El tercero (2014)
True to life experience
Be warned, there are gaps of silence---but each carries its own story for the viewer.
A great little film and no sex shown but satisfying all the same.
The three actors are all sympathetic and likeable.
And unlike the general theme "a 3-some" it has much more to offer.
Life unfolds and friendships are born.
Stick with it and you'll agreee
Partners in Crime (2015)
Disappointed by Tommy--not so much Tuppence!
I avoided watching this series, but after enjoying both the recent BBC films ATTWN and WITNESS I thought I'd give it a try. Like any series where there is an earlier version(s) for comparison, and where there is a developed fan base for it, a new adaptation will come up for disagreement. My disappointment was in Walliams. Why did they make Tommy a bumbling boob? In both episodes I found myself routing for the villain when they encountered Tommy, and I even once shouted at the television "just shoot him" I didn't so much mind Raine. Even in the original she is the instigator and the one with the most energy. In defense of the series they didn't stray too far from the plot lines, add in any unnecessary sexual orientation switches, or even in those characters they altered (Albert) it was within the realm of the story. The only remaining novel not filmed is Postern of Fate (since Thumbs was included in the Marple series). It is not the best of the T&T books but with a good writer they could make it as interesting as Poirot's version of Elephants Can Remember, another late and perhaps weak Christie which they turned around admirably for the film. But if this one is filmed please replace Tommy
Golden Showcase: The Picture of Dorian Gray (1961)
An interesting and intelligent one hour version of DORIAN
Saw this on Youtube recently. Good adaptation. They double the part of Sybil Vane to also portray the girl in the country. There is one part of the novel that they leave out but I'll let you see it and pick it out ! It doesn't really mar the story at all. Unfortunately the Youtube print is very bad. The audio is fine but the picture is extremely poor. But it is an interesting and intelligent addition to the DORIAN canon.
George C. Scott is terrific as Lord Henry.
I gave it a 7 because of the poor picture quality. And I believe the visuals of the portrait are important in this version because there seems to be close-ups at times. Unfortunately this is when the picture quality is at its worst.
Scrooge (1935)
Seek out the 78 minute version rather than the 63 minute abridged.
Some companies (Westlake Entertainment being one) have the complete version. 85% of the DVDs are the shortened 63 minute film. But the extra 15 minutes or so add some very touching moments, especially in the Christmas yet to come scene at the Cratchits. The editing process of the shortened version leaves gaps and unexplained situations. One is that Scrooge cuts his nose while shaving-waiting for the poulterer to bring the turkey for the Cratchits. The is why he has a cross of plaster tape on the tip of his nose. And of course the very ending of the film with Scrooge going to church is a nice touch. An excellent version and one of my top 3 choices of this beloved classic.
Oriento kyuukou satsujin jiken (2015)
A very admirable adaptation
A very creative film. In two parts: 2 hr 25 min (ending with the denouement) and then the second part 2 hr 16 min is the back-story of the event and how the murder was planned. Very interesting. The production values are terrific. Great set, costuming, direction, and quality Japanese actors in the parts. An example of the high production values is that when each character is introduced a subtitle of his name and compartment number is given. Later when Mr. Sugaro (the Poirot character) is cross examining the witnesses and he refers to a drawing of the coach, a diagram subtitle pops up with the cabin highlighted for clarity. This may seem like a small point but it shows the care that went into this adaptation. Be warned though, that the actor playing the "Poirot"character (Masai Nomura) is not playing Poirot. He is a famous Japanese detective-Mr. Sugaro. He has the same mustaches and appearance of a very young Poirot. If you are looking for an older "Japanese Poirot" you won't find it here. Sometimes it is difficult to overcome the thought that Masai is a young actor who put on a mustache to play at being Poirot. But once you get over this minor quirk you can enjoy the film. He brings his own interpretation to the role, and occasionally it may lapse a bit into parody, but then so did Albert Finney—and he was quite enjoyable. While on the subject of Finney it seems this film is in line with the 1974 version. It is not a scene by scene remake (and in Part 2 it takes on a life of its own) but homage is paid to the classic Finney film in many ways. I do recommend it, if even to see how other countries adapt Christie for the screen. A respectable, accurate, and very enjoyable adaptation.
Pickman's Model (2008)
Pickman's Model 2008
Conor Timmis, the creative talent behind KREATING KARLOFF, brings H.P. Lovecraft's PICKMAN'S MODEL to the screen. It is an effective 20 minutes of cinema with terrific use of shadows and darkness to keep the atmosphere eerie and the viewer engrossed.
Justin Tacchi's adaptation stays true to Lovecraft's story. At first viewing, the ending may be a bit confusing, but the cast has assembled to provide a commentary (one of six special features included on the disc) and watching it a second time I saw how things fit together.
Another of the DVD's extra features is a 35 page scroll of the original tale.
My suggestion is to read Lovecraft's tale first then watch the film twice. Once without the commentary so you can get the first impression and then "academically" with the commentary so all the things you missed the first time are now evident!
As he did successfully with KREATING KARLOFF, Conor, along with the cast and crew, brings his enthusiasm and intelligence to the project. Lovecraft enthusiasts will be pleased.
Night of Terror (1933)
A double dose of Karloff and Lugosi
(THIS REVIEW IS FOR THE DVD Invisible Menace/Night of Terror)
This DVD presents Karloff and Lugosi, each in a film that is not part of their usual fare seen in other collections.
THE INVISIBLE MENACE is a Warner Brother's quickie (clocking in at under 60 minutes) that shows that Boris Karloff could do far more than play monsters. Most reviews of this film right it off as a poor example of his talents. I disagree. In it's 54 minute running time it manages to combine murder, red herrings, and an extremely quick paced mystery. The comedic antics of Marie Wilson and Eddie Craven may be a bit trying at times for those looking for pure mystery, but they are far less intrusive than many other mystery films where comedy is injected at random. At least their situation is part of the plot. As to Boris's role being beneath him, I tend to look at as an extension of his abilities to create a character. His gray hair, glasses and quiet manner (except when he is gesturing wildly pleading for justice) are a precursor to his role as Professor Linden in The Linden Tree, which he would play on the New York stage in the late 1940's. Overall it is an enjoyable little film.
The second feature, with the generic title NIGHT OF TERROR, comes as a welcome surprise. I had only seen it listed on Bela Lugosi film bibliographies. It is a variation on the old dark house thriller, with moving panels, tunnels, a gathering of heirs for the reading of the will, etc. This film has the advantage of Lugosi's performance. Reading other reviews of the film led me to believe that he was "wasted" in the part of Degar. Once again I tend to disagree. Bela is in almost every scene of the picture. His mysterious delivery of his dialogue is perfectly in line with the film's eerie atmosphere. As for him being "wasted" he turns out to be the most intelligent person of the lot-including the police and a wise cracking newspaper reporter. Being a B picture, and over the years being subject to scrutiny, the plot discrepancies are pretty evident, but overall it is an entertaining film. As to the peculiar ending, it is no more quirky that Edward Van Sloan's prologue to FRANKENSTEIN or his epilogue to Dracula (cut from most prints of the film)
The Invisible Menace (1938)
A double dose of Karloff and Lugosi
(THIS REVIEW IS FOR THE DVD Invisible Menace/Night of Terror)
This DVD presents Karloff and Lugosi, each in a film that is not part of their usual fare seen in other collections.
THE INVISIBLE MENACE is a Warner Brother's quickie (clocking in at under 60 minutes) that shows that Boris Karloff could do far more than play monsters. Most reviews of this film right it off as a poor example of his talents. I disagree. In it's 54 minute running time it manages to combine murder, red herrings, and an extremely quick paced mystery. The comedic antics of Marie Wilson and Eddie Craven may be a bit trying at times for those looking for pure mystery, but they are far less intrusive than many other mystery films where comedy is injected at random. At least their situation is part of the plot. As to Boris's role being beneath him, I tend to look at as an extension of his abilities to create a character. His gray hair, glasses and quiet manner (except when he is gesturing wildly pleading for justice) are a precursor to his role as Professor Linden in The Linden Tree, which he would play on the New York stage in the late 1940's. Overall it is an enjoyable little film.
The second feature, with the generic title NIGHT OF TERROR, comes as a welcome surprise. I had only seen it listed on Bela Lugosi film bibliographies. It is a variation on the old dark house thriller, with moving panels, tunnels, a gathering of heirs for the reading of the will, etc. This film has the advantage of Lugosi's performance. Reading other reviews of the film led me to believe that he was "wasted" in the part of Degar. Once again I tend to disagree. Bela is in almost every scene of the picture. His mysterious delivery of his dialogue is perfectly in line with the film's eerie atmosphere. As for him being "wasted" he turns out to be the most intelligent person of the lot-including the police and a wise cracking newspaper reporter. Being a B picture, and over the years being subject to scrutiny, the plot discrepancies are pretty evident, but overall it is an entertaining film. As to the peculiar ending, it is no more quirky that Edward Van Sloan's prologue to FRANKENSTEIN or his epilogue to Dracula (cut from most prints of the film)
Kreating Karloff (2006)
A Wonderful Tribute By a Fine Young Actor and Fan of the Great Karloff
Conor Timmis pays tribute to two legendary Boris Karloff performances, the Frankenstein Monster and the Mummy. Under the expert makeup of Norman Bryn, Conor brings these characters to startling reality.
Special mention goes to his colleague Liesl Ehardt, who portrays Helen Grosvenor in the reflecting pool sequence from the Mummy. It is in this scene that Conor brings the essence of his Karloff portrayal to life through his voice, diction, and mannerisms. Liesl's beautiful dark eyes are evocative of Zita Johann from the original film. (In a curious fate of casting, Ms Ehardt is actually a distant cousin of the original actress, although according to the commentary this was only later discovered.) These two fine actors recreate a lasting tribute to their predecessors.
Conor continues his portrayal of another Karloff role, the Frankenstein Monster, in several scenes: *The now famous entrance of the Monster *The first discovery of a ray of sunshine *The confused plea of the forlorn Creature
Interspersed throughout the film Conor, along with members of the cast and crew, explain how an idea progressed into a reality. The audience is drawn into their enthusiasm for the subject, their meticulous research, and the caring way they pieced it all together to create the finished product. A wonderful tribute to Boris Karloff, by a fine actor and a dedicated staff. As Boris would say "Full marks".
Now let's see if a full bio-pic can be done on the legendary Karloff !
The Strange Door (1951)
Good Old Boris and Charles
Good Old Boris! He always said "I'll never retire...I want to go out with greasepaint on my face and my boots on" In 1952 he was 65 years old. Charles Laughton was 53 at the time, but looked considerably older. Together their performances in this film make it worth the watch.
Laughton chews the scenery a bit in places but his over the top acting make it that much more fun.
Based on a Robert Louis Stevenson short story this 80+ minute film has much going for it: fist fights, carriage chases, deception and trickery, murders, and a love story thrown in for good measure.
And Good Old Boris, although shot and stabbed, manages to help save the day just in the nick of time.
Boris was a trouper. Watching him crawl across the damp cobblestones I was reminded that in his remaining 17 years he continued to work in films, never complaining, and often performing in grueling weather conditions where he always seemed to end up caught in the rain, lying in a puddle, or dunked in a vat of water.
Watch this film for the fun of it. The plot holds together just fine and it is an enjoyable glimpse of two veteran actors who make the most of their roles.
Behind That Curtain (1929)
An early example of the talking picture.
This is an early example of the talking film. The delivery of the lines and emotions seem to be in slow motion. I am not sure if this was shot as a silent film as well. I tend to believe it was because much of the acting is done with eyes and face.
Overall it is faithful to the plot line of the book, but characters have been removed and that lessens the "mystery" of the film. We know "who done it" about 30 minutes into the picture.
Boris Karloff has a small role as a servant and Charlie Chan is seen even less (somewhere around the 42 minute mark).
For film enthusiasts only. The regular "tv mentality" person won't be able to sit through it.