Historically speaking, Man-Made Monster marks a significant point in horror film history as it marked the Prince of Pain, Lon Chaney Jr’s first lead role in the genre.
Here Chaney Jr plays the happy-go-lucky Dan McCormick, a man with a curious immunity to an overdose of electricity that propels him to life on the road with a travelling circus. The story picks up however when McCormick is the sole survivor of a tragic bus accident that collides into a power-line. Think David Dunn from the Unbreakable series, but less dramatic and moody.
His survival comes to the attention of Dr. John Lawrence (Samuel S. Hinds – It’s A Wonderful Life), who just so happens to be studying the effects of electricity.
The horror element comes in when Lawrence’s assistant, Dr. Paul Rigas (Lionel Atwill – Doctor X) takes the experiment into his own hands to manipulate an unwitting McCormick to undergo a series of tests with massive side effects. McCormick soon shows signs of fatigue and irritability as a result of the tests and the transformation turns him into a super-charged monster (a walking atomic light bulb) with the ability to kill with a single touch. This is exactly what occurs when Dr Lawrence finds out and attempts to shed light on Rigas’ illegal scientific experiments. That won’t hold water and Rigas ensures that McCormick (who is now under the mad scientists’ rule) stops Lawrence at all costs.
Despite a fairly low box office return and that it bared all too similarity to the Lugosi/Karloff feature, The Invisible Ray (a reason that the film had been shelved for a few years), it is a fairly stable movie and boasts great performances from both Atwill and Chaney Jr. For Chaney Jr. it would propel him into stardom and into a career that he could never shake, especially with The Wolf Man just around the corner, but there’s good reason as he’s definitely a captivating presence on screen.
Not to be confused with the crazed shopping spree that occurs after Thanksgiving, but arguably just as dark. Universal would blend together two of their most successful genres from the era in horror and gangster thrillers to produce a solid movie which would once again combine the awesome pairing of Bela Lugosi and Boris Karloff. The latter possibly delivers one of his finest performances for the production company as Dr. Ernest Sovac, a highly skilled surgeon who is compelled to save the life of his best friend college professor George Kinglsey (Stanley Ridges) with a brain transplant. Being a Universal horror feature, things naturally don’t go according to plan when a curious side effect occurs post operation.
The chosen brain just so happens to be from Red Cannon (also played by Ridges who should be commended for his portrayal of both characters) a gangster who is not only highly sought after by the police, but has hidden $500,000 dollars somewhere in the city.
The curious concomitant occurs when somehow Kingsley starts to show personality traits of Cannon in an almost Jekyll and Hyde type situation. Cannon clearly the dominant personality starts to take firm control of Kinsley’s body in pursuit of his hidden fortune.
The drama from the movie comes from Lugosi’s Marnay, another gangster who was part of Cannon’s crew and knows of the loot and will stop at anything to stake his claim, but also from Dr. Kovac, who at first is driven by saving his friend, but when he too learns of the fortune, gets the green mist and becomes consumed with using Kingsley as a puppet to lead him to the money.
It’s a pathway for doom and death for all involved and sparks an inevitable conclusion from a tale of greed, and power.
It’s a curious movie that is only really saved by Karloff’s performance from a script doctored by Curt Siodmak again, but comes across as a bit of a mish-mash of events leaving Lugosi grossly underutilised. With some clever changes to the plotline and perhaps a shift in casting, this movie could have presented more fairly, but as it stands, gets a little lost in its own moralistic views.
Positioned as a wartime propaganda film in order to build up the morale of US Citizens, Hollywood took another look at HG Wells’ Invisible Man, this time instead of mobs hunting down Griffin’s invisible formula, it would be the S.S.
The story picks up with the formula back in family hands, that of grandson, Frank Griffin Jr. played by John Hall in what would be his first outing as the cloaked man. Hall had previously impressed Universal for his support role in Eagle Squadron and was more than fitting to take the lead role embedded in the world of espionage.
Interestingly, the formula doesn’t have the negative impact on the psychosis as per the previous films, which is more than likely to keep a more upbeat, positive outcome with ample heroics for Griffin Jr to outwit and outsmart the S.S.
Sworn to make allegiance with the US government following the attack on Pearl Harbour, Griffin Jr discloses his secret to invisibility and from here on he is sent on a mission to where he parachutes behind enemy lines. He is soon aided by Maria Sorenson played by Ilona Massey, who receives equal billing and rightfully so as the femme fatale figure seemingly playing with the hearts of both Griffen Jr and GS Karl Heiser.
Cue mishaps and mayhem as they weave their way in and out of situations to evade capture in the manner that the 1940s movies excelled at. None more so here thanks to script writer Curtis Siodmak. Equally the leads are ably supported by stable actors, Cedric Hardwicke and Peter Lorre as the villains of the piece. Lorre’s performance is by today’s standards highly controversial and an example of the whitewashing in Hollywood as he plays Baron Ikito, a Japanese officer. He delivers his usual sound Peter Lorre performance, but you can’t escape how uncomfortable it is that he is portraying a character who is not of his own race.
Despite this, Invisible Agent is a great addition to the Invisible Man series and although it is different in tone, it has great substance in its style and has powerful performances providing a great yarn to boot.
100 years ago the Roaring Twenties came into effect with a social and economic boom that pushed the boundaries of experimentation and exploration dubbing it the crazy years.
Cinema has evolved greatly during this time and spawned Robert Miene’s silent horror in German Expressionism, which is still considered a classic among some critics.
While the tides have shifted and the boundaries of what is classified as horror has twisted through the years, moving numerous debates and discussions along the way, we come to a time when originality can be hard to come by, or perhaps the audience has become too critical and our perceptions have changed.
Can the films of today cause a deeper development in the genre that we’ve come to love and like the films that were born a century ago stir the insanity again and break new ground in the process?
Let’s look at what 2020 has in store and see if indeed it will deliver.
This film has led some early reports to compare it to Alien but in the ocean deep instead of the far reaches of space. It does boast Kristen Stewart in the cast who may divide audiences and has been a bit hit and miss of late in her film choices but she is supported in this instance by Vincent Cassel, who is known for choosing experimental films. Does this then mean that this team of underwater researchers will uncover not only a few beasties but also break new ground in the process?
Prediction: Neither sink or swim. A drifter that will entertain some but not cast anything new into the cinematic landscape.
Jan 24 – The Turning
Based on Henry James novel, The Turn of the Screw and produced by Steven Spielberg, it stars Mackenzie Davis (Terminator: Dark Fate) and Finn “Can my hair grow any longer?” Wolfhard (Stranger Things) and bears close scrutiny as director Mike Flanagan (Doctor Sleep) is set to release an interpretation of the novel in Netflix series, The Haunting of Bly Manor, his follow up to the successful The Haunting of Hill House.
Prediction: Director Floria Sigismondi will no doubt bring some artistic visual flair that is evidence from her music videos, but could possibly fall foul of “popcorn syndrome” – Light, fluffy with a bit of crunch and serves the masses, but ultimately has no substance.
Initially I was really excited about this release, being a fan of the Ju On franchise, plus Nicolas Pesce’s work with The Eyes of My Mother, and Piercing. Both movies have pushed the boundaries of comfort and shot in stylistic fashion that I was keen to see where Pesce would take The Grudge. Early reports haven’t been favourable however, so it could be another disappointment in the first month of the new decade.
Prediction: Could be another franchise instalment too many. The name alone will pull in the numbers, yet may not hit the mark on the scare front.
Jan 31 – Gretel and Hansel
It’s been over 200 years since The Brothers Grimm fashioned the fairy tale about a cannibalistic witch that kidnaps two children roaming in the woods. The fact that it is still resonates today is a testament to the strength of the storytelling and it will be interesting to see the story told from the perspective of Gretel played by Sophia Lillis (IT) who has already proved compelling as the young Beverly Marsh.
Prediction: Better than your average fair without necessarily offering anything new or compelling with the horror genre.
Some may argue its place in this list, but it is billed as a psychological horror and director Robert Eggers has already made a name for himself in the artistic expressionism world within the genre with his debut feature, The VVitch, a film that also divided audiences. American audiences have already seen the movie too as it was released there last year, but as yet Australian audiences are still to see Eggers’ sophomore outing which pits Willem Defoe and Robert Pattinson against one another in a battle of wills and sanity in a remote and confined island.
Prediction: Will wow audiences looking for the alternative and alienate those more into the mainstream. Either way, both audiences will applaud the performances and Eggers and cinematographer Jarin Blaschke will paint a stunningly beautiful canvas.
Feb 13 – Fantasy Island
Blumhouse Productions are about to shake things up again by breathing new life into a cult 70s tv series. With a star-studded cast – Michael Pena (Crash), Maggie Q (Nikita), Lucy Hale (Pretty Little Liars), and Michael Rooker (Henry: Portrait of a Serial Killer). On an island where your fantasies come true, only to turn into nightmares and the guests must figure out its mystery in order to survive.
Prediction: Another success for Jason Blum and the team which will connect with the cinema-going public. If it’s played right, it could offer a fresh take using a blend of fantasy and horror that could also spark a franchise
Feb 21 – Brahms: The Boy ll
This one is a bit of an oddity. Whilst its predecessor was a middle of the road affair and proved to be better than expected. It did feel like a one-off movie that didn’t necessarily warrant any further journey into the world of Brahms. A sequel is here though and will pick up with the doll being discovered by another family.
Prediction: A flop that will fall by the wayside and may not even make a blip on the radar.
Feb 27 – The Invisible Man
Another Blumhouse movie, this time in collaboration with Universal to resurrect their monsters franchise after the abysmal Tom Cruise vehicle from a few years ago. In what is potentially a ripe and current topic being explored in domestic violence as its central theme The Invisible Man boasts a cracking cast with Elisabeth Moss taking lead duties. It’s also in great hands with director Leigh Whannel steering the ship following his successful movie Upgrade from last year, plus Whannel is a storyteller, so expect a decent script to boot.
Prediction: The first big success of the year bringing the Universal monsters franchise back on track and paving the way for future projects with The Bride, Renfeld, The Invisible Woman, and Frankenstein.
Mar 20 – A Quiet Place Part 2
The question is whether director John Krasiniski can repeat the winning formula from the first movie. This War of the Worlds style feature with an audio twist is more sci-fi than horror, but with the family in plight scenario held a strong connection with the audience. How will this translate now that there is an absent father?
Prediction: Cillian Murphy will provide some much needed gravitas to the narrative which will be strong enough to lift the audience through with some decent ups and downs to wrench up the tension.
Apr 3 – The New Mutants
Since Disney took over Marvel operations, The New Mutants has been stuck in production, deemed a little dark for the House of Mouse questioning how to distribute it. The feature comes across as The Dream Warriors crossed with the X-Men and centres on 5 young mutants held in a secret facility against their will. It also boasts a cracking cast with Maisie Williams (Game of Thrones), Anya Taylor-Joy (The VVitch, Split), and Charlie Heaton (Stranger Things).
Prediction: Despite several delays I feel that this film is gonna connect in a big way and pull in a lot of people. It just depends on how dark Disney are willing to go with it.
Apr 17 – Antlers
Little is known about this movie other than it is based on a short story by Nick Antosca the creative mind behind the Channel Zero anthology series. The screenplay must have some potential to have caught the eye of Guillermo Del Toro and put his name down as producer.
Prediction: With Keri Russell in the cast to provide the fantasy elements in reality, this could well be the surprise hit of the year.
May 15 – Saw reboot
Currently titled The Organ Donor starring Chris Rock, Samuel L. Jackson and Max Minghella this reboot of the Saw franchise will see the return of the Jigsaw Killer, but without Tobin Bell… I think? With director Darren Lynn Bousman at the helm once more following his turn overseeing parts 2-4, he is no stranger to the world.
Prediction: Will put bums on seats for the shock gore factor alone, but will the buddy cop drama approach pay off? Time will tell.
Jun 11 – Candyman
This is gonna be a tough one to watch for me as I am such a huge fan of the original movie and like Freddy, Candyman would haunt my dreams for a long time after viewing. A lot of that has to do with the strength of Clive Barker’s short story coupled with Tony Todd’s personification of the titular character. Part of me is willing for this to be a success though as I can see room for the movie to be delivered to a modern audience using folklore and mythology at its core, and the storyline itself can transcend easily through the ages. It will be interesting to see a female perspective in director Nia DaCosta to follow Helen’s journalistic investigations.
Prediction: Jordan Peele has attached his name to this project and is clearly passionate about the story, but one can’t help but feel this is one step too far in rekindling the old flame that resides within the Candyman story.
Jul 2 – Ghostbuster: Afterlife
I know it’s technically not a horror film, but I’m including this in the mix for its nostalgic value in me the original movie paved the love of horror that I have and opened the door to many more glorious visions in the genre ever since. The original team will return in some shape or form, but primarily the film centres around a mother and her two children who set up on a farm only to discover something paranormal lurking in the town.
Prediction: Another film that will be resting on the merits of the first film, and while it’s great to see Jason Reitman take on the franchise following in his father’s footsteps, one can only hope that there will be enough comedy, horror and sci-fi to capture that old magic, but I think it will just be a glimmer rather than that sparkle.
Jul 10 – The Purge 5
Supposedly returning for the final instalment the 12 hour no holds-barred, crimefest ignited something in the movie-going audience. It has seen five feature length instalments and 2 seasons.
Prediction: More of the same, so if you’re a fan of the series, you’ll love it. I for one think the films are fun and enjoyable and it will be interesting to see how James DiMonaco will conclude things.
Jul 30 – Morbius
Sony has promised to take the Marvel universe into dark territory before with Venom and here they intend to do so again with Morbius, the Living Vampire. Jared Leto will no doubt bring the goods for the titular role and is in good company with Matt Smith, Jared Leto, and Tyrese Gibson.
Prediction: Director Daniel Espinosa provides great entertaining and solid movies, such as Safe House and Life, and I see no change here to his formula, but still question if they can go dark enough to make it compelling for horror fans.
Sep 11 – The Conjuring 3 aka The Conjuring: The Devil Made Me Do It
The Conjuring universe has progressed in leaps and bounds since its initial release in 2013. There has been the odd blips, but essentially the films continue to entertain and scare audiences. This latest film will once again see the Warrens at the centre of proceedings, this time with one of their most publicised cases that bore witness to Arne Cheyenne Johnson claiming that he was possessed when he murdered.
Prediction: Solid acting, tight storyline, but may fall down with its delivery and exposition. Unfortunately Director Michael Chaves didn’t deliver with The Curse of La Llorona, so I fear that this may end up in a similar way, but am still willing to give it a chance.
Sep 17 – Last Night In Soho
Not much known about this one, but Edgar Wright has a knack for tapping the pulse of classic films and adapting their essence for a modern audience. This time around the psychological horror is inspired by Don’t Look Now and Polanski’s Repulsion both high in my all-time favourite lists
Prediction: A killer cast in Anya Taylor-Joy, Matt Smith, Diana Rigg, and Terence Stamp, this could be the ‘big hit’ of the year.
Oct 15 – Halloween Kills
In 2018, David Gordon Green, Danny McBride and Jason Blum attempted the impossible, the resurrection of Michael Myers that would connect both fans of the original and connect with a new audience. By delving into the subject of trauma and the impact that this has on its victims, Myers became both topical and harrowing. His sheer brutality and the force in which he attacks his victims made his carnage all the more disturbing.
Prediction: The name and sheer presence of Myers will bring the audience to the screens, but can they still make him relevant? They can’t rest on the nostalgic nods this time around. It’s a fine line to walk on, for if they get it wrong, they could find their final instalment, Halloween Ends a tricky sell.
TBC – Army of the Dead
For sheer shits and giggles, and action-pumped mayhem from visual storyteller Zack Snyder, about a group of mercenaries who decide to rob a casino during a zombie outbreak, this film concludes our list.
Prediction: Starring Dave Bautista, Army of the Dead will be entertaining if nothing else. A perfect answer for those just wanting to get their kicks and not have to think too deeply.
THE BORIS KARLOFF / Bela Lugosi horror express kept on trucking along for Universal Pictures, but this was definitely Karloff’s showpiece and this lesser known film from the iconic duo probably deserves more recognition than it currently holds.
Karloff plays the eccentric scientist, Dr Janos Rukh, a man with a wild belief that he can use a telescope to reach out to the Andromeda Galaxy and use images of light to capture Earth’s past as seen from space.
Scoffed at by his colleagues, it is only when he is able to present his findings to Dr Benet (Lugosi) and Dr Stevens (Walter Kingsford) and is able to capture when a meteor had crashed into the Earth, that his skeptics sit up and take notice.
An expedition is planned where Rukh is charged with finding the fallen meteor.
When Rukh finds the meteor, he is unwittingly exposed to the radiation, Radium X, which effectively makes him glow in the dark with a fatal touch with skin to skin contact.
He is aided temporarily by Benet who discovers an antidote that can keep the radioactive poison at bay, but it’s not long before it starts to eat away at his mind and Rukh goes on a killer rampage fuelled with jealousy.
By this time, Rukh’s estranged wife has fallen in love with Ronald Drake, the nephew of Dr Stevens.
At first, Rukh reluctantly let’s her go, but this soon turns to hatred and moulds into his vicious plan to rid the world of those responsible (or so he believes) for his downfall.
Rukh succeeds in killing the Stevens’s and then ventures to off the remaining few.
As the film proceeds, it feels certain that the only person who can stop him is Benet, but even he is thwarted in a surprise move considering the casting of Lugosi attached to this character and perhaps more could have been done to play with this encounter.
Instead, it comes down to Rukh’s mother, (who is magnificently played by Violet Kemble Cooper)
to intervene and destroy the antidote, thus rendering Rukh to succumb to the radiation and go out in a blaze.
It’s a painful story, which treads a similar path to The Invisible Man, but in this instance there is more sympathy laid out to the central character, which is a testament to Karloff’s handling of such a role.
Special mention should go to Kemble Cooper, who almost steals the show with every scene that’s she’s in, deftly displaying a balance of eeriness with her psychic ability and blindness combined with the motherly love and protectiveness that she bestows upon Rukh.
Not a lot has been written about this movie and from what I have read, they err on the side of negativity, but I feel that there’s enough of a plot and structure to this movie that it warrants further scrutiny.
I found it a lot more engaging than Karloff and Lugosi’s previous outings and that The Invisible Ray could potentially be a forgotten classic as a result.
IN THEIR THIRD appearance together for Universal Pictures, Boris Karloff and Bela Lugosi have the routine down pat.
Lugosi oozes maniacal glee as the Poe-obsessed surgeon with a torture chamber in his basement.
And Karloff, (who was billed with just his surname for this picture, which goes to show how symbolic his name had become in the industry) plays a fugitive on the run from the police.
The film begins with an actress, Jean Thatcher (Irene Ware) hanging on for dear life after a car accident.
Her father and her betrothed seek the help of a retired surgeon, Richard Vollin (Lugosi) to pull her through.
Vollin then develops an unhealthy infatuation towards Jean, who is indebted to him for saving her life.
Vollin attempts to sway her much to the reluctance of Jean’s father.
A crazed plan only comes to light for Vollin when a chance encounter with Edmond Bateman (Karloff) seeking refuge with a proposed operation to change his appearance.
Bateman’s words hang firmly in the mind of Vollin when he mentions how being ugly may have led to him doing ugly things.
In what Bateman hopes will be a transformation for good, Vollin seizes upon this and turns him into a disfigure monster followed by a promise that he will aide him in exacting revenge on the Thatchers.
The conclusion of the movie centres on a dinner party which soon descends into the basement of torture, where one by one the guests face the likes of the pit and the pendulum, and the shrinking room.
It is Bateman’s tortured soul that wins the day though, as he searches for a good heart within and turns the tables on the fanatical Vollin, forcing him into the shrinking room and in turn his demise, but not without inflicting a fatal bullet wound in the process.
Upon release the movie received poor box office receipts, which is a shame, as I found the narrative and performances to be one of the strongest outside of the ‘monster’ features.
Both Lugosi and Karloff are particularly strong in their respective rolls, but it was deemed the subject matter of torture and disfigurement (themes that would be welcomed today among cinema-goers) too strong for the audience.
The following year would see Universal Pictures change hands, and the proprietors were less interested in the stories of the macabre and The Raven’s poor performance was evidence enough for them to make this decision. It not for long.
IT SEEMS ALMOST criminal that this movie has been somewhat forgotten albeit from the hardcore cinephile.
Werewolf of London will forever be cemented in history as the first mainstream Hollywood feature to centre on lycanthropy and as such contains all the ingredients that would inspire more well-known horror films down the track, chief among these would be An American Werewolf In London.
The film centres on Wilfred Glendon (Henry Hull), a wealthy English botanist who ventures into Tibet in search of the rare mariphasa plant.
Whilst on his expedition, Glendon is attacked by a werewolf but lives to tell the tale, but must carry the curse inflicted upon him.
Glendon’s quest was not a complete failure as he was able to obtain a sample of the mariphasa plant and as luck would have it contains the antidote (albeit a temporary one) to the traits of lycanthropy.
Upon his return to London, Glendon meets a fellow botanist, Dr Yogami, with a peculiar background, and just do happens to also be a werewolf.
A conflict arises between the two of them, particularly as Glendon learns that Yogami was the same werewolf that bit him in Tibet.
As his condition escalates, Glendon ventures transformed into the streets of London raising havoc and carnage and attacking and killing people along the way.
Glendon’s plight increases further when Yogami steals the plant sample for himself.
The rage boils over and an almighty clash arises, resulting in Glendon overpowering his foe.
Now succumbed to the curse, Glendon is drawn to his one true love, Lisa (Valerie Hobson) and is finally ploughed down when he is shot and killed in his attempt to murder her.
His dying words are ones of gratitude, as he transforms back to his former self, a tragic tale, which would be conveyed to its cinema going audience and many werewolf tales to come.
Hull’s performance is impeccably sound as Wilfred Glendon and captures both his profession and eventual transformation with great believability.
In fact, one could go on to argue that it is because of his performance and believability grounds this movie into reality and harnesses his despair even further.
Credit must also go to Jack Pierce, the man responsible for Boris Karloff’s make-up as The Monster in Frankenstein, and would produce the make-up here too, although a minimal version from what he had intended.
According to accounts from Hull’s family, he had insisted on pairing back effects so that his face could be more visible and recognisable.
Despite Pierce’s disapproval, Hull would succeed in getting what he wanted with the support of studio head, Carl Laemmle.
Pierce would however get to flex his creativity once more, six years later on Lon Chaney Jr in The Wolf Man, but event that didn’t go down too well and Pierce fast got a reputation that was unlikeable among his peers.
Despite all this, director Stuart Walker was able to steer the ship and deliver a solid movie as a result, which can feel a little dated by modern standards.
Classic horror enthusiasts may enjoy the trip back to where it all began, but it is tame compared to the films being generated today.
BACK IN 1999, Universal looked to resurrect The Mummy franchise with a fresh, new approach.
The last time the bandaged fiend had graced the screens for the picture company, was in 1955 accompanied by comedy icons Abbott and Costello.
Apparently the original premise for this remake had British horror/filmmaker Clive Barker at the helm with the offering of a much darker route that was sexually charged and filled with mysticism.
One can only wonder at the concept of Imhotep taking on the Hell Priest, Pinhead.
As it was, Universal decided on a different approach when hiring Stephen Sommers and for the next 10 years, a second wave of Mummy movies was formed.
THE MUMMY (1999)
Prior to stepping on board to write and direct the feature, Sommers had four movies under his belt with Catch Me If You Can, The Adventures of Huck Finn, The Jungle Book, and Deep Rising.
So enough charge to take the lead in a bold, new direction, one that was in complete contrast to Barker’s vision, dialing down the horror and injecting more action, special fx, and comedy.
The result saw an Indiana Jones style romp through Egypt, as the rogue-ish Rick O’Connell (Brendan Fraser), (who accidentally discovers the city of the dead, where the High Priest, Imhotep rests) teams up with the bookish Evelyn Carnahan (Rachel Weisz) and her bumbling buffoon of a brother, aptly played by John Hannah.
The trio head back to the city, despite being warned by an Egyptian warrior, Ardeth Bey not to intervene, to discover the Book of the Living.
As they discover the statue of Anubis, deep within the tomb, they also encounter the remains of Imhotep.
Meanwhile, their counterparts, a group of Americans led by the cowardly Beni discover the Book of the Dead among some jars, which carry the preserved organs o Anch-su-Namun, mistress of Pharaoh Seti I, and lover to the afore-mentioned Imhotep.
When Evelyn reads a page from the Book of the Dead, she unwittingly awakens the High Priest, who casts the 10 plagues back to Egypt.
One by one, the Americans are dispatched with great fashion, heightening the scare partially through darkened alleys, and all-out assault on the victims.
It is down to our trio of archaeologists to put an end to Imhotep’s reign of terror and entomb him once more.
It may be nearly twenty years on since it’s release now, but I think that it’s fair to say that The Mummy still stands the test of time, partly due to the great mix of comedy and action on display, plus the chemistry between Fraser and Weisz on screen is enjoyable to watch.
Credit should also be cast towards Arnold Vosloo, who portrays Imhotep with enough menace to make it the fear placed on our protagonists seem genuine and his performance has come close in signature to his predecessor Boris Karloff some 67 years prior.
The Mummy proved to be a perfect mix to entertain and generated a generous draw at the box office, which could only mean one thing. A sequel would be a certainty.
THE MUMMY RETURNS (2001)
The inevitably would occur a couple of years later and would see the return of O’Connell, Evelyn, (now married), Jonathan, Ardeth Bey and as the title suggests, the return of Imhotep.
The original players would come back to resurrect their roles and to ignite that much-loved chemistry once more for the silver screen.
Joining them in this movie is Alex O’Connell, the son of Rick and Evie, and the instigator of Imhotep’s rise from the grave.
With Alex’s life on the line, our intrepid heroes must try to save him within seven days, thus providing a tension of sorts to the mix.
Added to this is the unerring threat of Dwayne ‘The Rock’ Johnson as The Scorpion King, who vowed to give Anubis his soul for the power to defeat his enemies. Here is a hint of an inevitable showdown with two foes on the horizon.
Along the way, Evelyn is captured by the reincarnated Anck-su-namun, who is eventually released but not without discovering that she lived a previous life as the Princess Neferiti. Go figure – let’s just crowbar that subplot in there.
There’s more drama in the mix as Alex is kidnapped too, then Evelyn is killed, only to be resurrected when Jonathon and Alex recite from the Book of the Dead.
The final showdown sees our heroes triumph over evil, of course, and riding off into the sunset, but the paying audience couldn’t help but feel slightly cheated by the special fx overriding care towards the character and plot, and because of this, some of the magic wasn’t carried across from its predecessor.
That didn’t deter our filmmakers from a third installment though, but first…
A VAN HELSING HIATUS – VAN HELSING (2004)
The last attempt that Universal took to amalgamate their Monsters universe would arrive in 2004, and would once again see Sommers at the helm to deliver the success received at box office with his previous two outings.
However, any harsh criticism that The Mummy Returns received seemed to have fallen on deaf ears as the same mistakes were repeated and furthermore, delved deeper still in the dire and diabolical.
Sommers goes hell-bent to deliver a CGI in fuelled overload with little or no care factor for the characters involved.
The result is that despite the desire to thrust the ”Monsters’ front and centre in an adrenaline, action-packed thrill-ride, there is no audience connection to said creatures and the desired impact leaves us wanting.
The usual ticks are there, with the distraught Frankenstein’s at the loss of his father who not only carries more compassion than the entire cast combined, but also the key to life – one that the melodramatic Dracula (and all-out bad-guy in this movie) played by Richard Roxburgh.
In fact the whole movie screams at high volume and extreme velocity that there’s no time to stop and think, but this is perhaps the director’s ruse all along – a vein attempt to hide that there is no substance or heart to the film at all.
As much as they try to inject some humour into the mix, with David Wenham’s friar, Carl, it’s not enough to elevate Van Helsing.
It’s saving grace if we can call it that comes in the form of the film’s leads, Kate Beckinsale as Anna Velarious (hot off the back of Underworld) delivering attitude aplenty, and Hugh Jackman as the titular character, dialling his Wolverine shtick up to 10.
Ultimately though, Van Helsing was a doomed experiment that falls short of Universal expectations and with it, the audience satisfaction.
THE MUMMY: TOMB OF THE DRAGON EMPEROR (2008)
The final effort during this era would come to an end in 2008, which says a lot about how the movie was received.
However, there was a lot going for the final act in the trilogy that shouldn’t be so easily scoffed at.
But let’s look at these pros and cons with a little bit of further dissection.
Firstly, out of the picture goes Stephen Sommers, which may actually be a good thing when you scrutinise his last couple of efforts.
Sommers has since gone on to what exactly? Directing the start of another franchise with GI Joe: The Rise of Cobra before disappearing into Egyptian dust.
In his place steps Rob Cohen, who had overseen action fare with Dragon: The Bruce Lee Story, Daylight, The Fast and the Furious, and XXX.
Also out was Rachel Weisz, for supposedly ‘citing problems with the script’ and to look after her newborn son.
This already sparked debate, as part of the appeal of the original movies was the chemistry between the leads.
The role of Evelyn O’Connell went to Maria Bello, who as fine an actress she is, couldn’t capture Weisz’ magic on-screen.
The script-writers do go some way to replicate this obvious change in dynamic by having Rick O’Connell (Brendan Fraser who does return) and Evie bored with the lack of adventure in their lives, but the damage is already done.
The leads are left to claw their way out of an impossible sandstorm of dialogue to try find that gem or sparkle between them.
The last of the returnees is John Hannah as Jonathon, but despite he’s spot on comic ability struggles to haul the deadweight of a script to life.
The injection of youth to the fore rests solely on the shoulders of a now grown up Alex O’Connell played by Luke Ford an actor schooled on the Meisner technique (a form of Method acting) in which you can’t fault him on his approach to authenticate his character, but once again the humour is missing which you could look to the script for its fault here.
Ford is believable enough, and is able to pull off the action-based moves with ease, but his character simply isn’t engaging enough.
The strengths though do reside with the Eastern contingency of the movie.
The choice to move away from Egypt and set up in China was bold, but the right one.
The franchise could have been in danger of stagnating, and this choice allowed for fresh new life to enter the fold.
Likewise the performances from Jet Li as Emperor Han aka The Dragon Emperor helped to lift the action from page to screen
As does Michelle Yeoh as Zi Yuan who performs with such gravitas that she puts the other actors to shame, such is the strength of her delivery.
It’s hard though to look beyond the faults though.
Despite the cast and crews best efforts, the audience is left with feeling like they’ve just witnessed the story as a square peg being rammed into a round hole.
A shame, as the ideas were there, but with too many of the original players falling by the wayside, the whole notion of recreating the magic.
Despite talks of a fourth instalment and Luke Ford attached to another 3 movies in the cabin, the truth was written in the sand with the poor box office return.
– Paul Farrell
I remember first time that I watched this film guided by the critical praise that had been heaped upon it and feeling somewhat bewildered by this.
I couldn’t get beyond Doctor Pretorius’ invention of the little people, which the FX were incredibly convincing for it’s time, but I just found that it threw me out of the picture because it defied logic and reasoning.
The science behind the novel and indeed it’s predecessor were ground in reality, but this felt like it had crossed a line and into the world of fantasy.
Some people out there might suggest that this is a good thing, but despite Bride of Frankenstein being described as James Whale’s masterpiece, I struggled.
Fast forward to today, when I sat down to review the movie once more, I still stinted at Pretorius’ revelation, but pushed this aside to discover a new-found appreciation for the film.
The opening in particular was a refreshing nod to the inspiration, and creator behind the novel, Mary Shelley.
It recounts of the now infamous discussions between Mary Shelley, her husband Percy Shelley, and Lord Byron.
In this instance she recounts how the original story was only the tip of the iceberg and ventured to tell the tale of more monsters lurking within.
It is here that the story picks up where Frankenstein left off, with the supposed demise of the monster within the burning windmill and Dr Frankenstein (Colin Clive resurrecting his role) being rescued from the rubble.
When lo and behold the monster resurfaces and swiftly dispatches a local and his wife along the way.
Our maniacal Doctor Frankenstein has softened, seeing the error of his ways and is hell bent to put an end to his studies, but is lured back into the laboratory by a fellow scientist, the afore-mentioned Pretorius.
Pretorius seeps into a place of darkness, as he journeys into a mad new “world of Gods and Monsters” in order to see through his experiments.
The strength of the movie though doesn’t come from our protagonists but instead by our antagonist, The Monster, who is once more played by Boris Karloff.
This is his movie and his chance to shine, and shine he does as the script allows him to show more of the human, loving, and misrepresented character.
One of the most powerful scenes comes about when The Monster is stumbling around in the woods and happens to come across a blind man.
This man befriends The Monster and is not swayed by judging him by his appearance.
The friendship is a strong one, as they share in the delights of music and smoking, but this world of companionship would soon come crashing down as some passing hunters discover The Monster and he is forced to flee once more.
The subject of companionship is a strong one in this movie, and drives the plot line forward.
Pretorious seeks the companionship of a fellow scientist as he seeks to carry out his experiments; Frankenstein ultimately is willing to end this in favour of the love he has for his wife; and of course The Monster seeks friendship and when he stumbles upon Pretorius, his offer is all too great and he is willing to follow the mad man.
The cruelty would come at full force though, when The Bride (played by Elsa Lanchester, who also doubled up as Mary Shelley in the film’s prologue scene) is ‘awakened’ but finds the sight of The Monster too horrible to comprehend.
All hell breaks loose and the walls come tumbling down, crushing all but Frankenstein and his wife, who manage to escape just in time.
The film is beautifully shot with some of the framework simply stunning, and along the way has heralded some of the most iconic images to fall in the Universal Monsters universe.
Karloff hits the heart with perfect pain and angst, and his harrowing demise (albeit a rushed conclusion) is the only fitting way for his life to find closure…
Forced into a world that wouldn’t accept him and then just as swiftly dispatched from it, with a cold and abrupt end.
It is worthy successor to the original movie and probably one of the finer sequels to ever have been made.
PART OF ME so wanted to connect with this movie due to its strong placement in film history, pairing horror icons Bela Lugosi and Boris Karloff together for the first time.
They would do so again a further 8 times throughout their career.
Both Lugosi and Karloff would find fame through their roles in Dracula and Frankenstein respectively and each had a further outing of their own, with moderate success, so it was inevitable that these two powerhouses of their day would cross paths before too long.
It pains me to say that I really struggled with with watching this movie.
Loosely based on the short novel of the same name by Edgar Allen Poe, The Black Cat had all the hallmarks of a classic horror story.
Our central protagonists Peter and Joan find themselves as unwitting pawns in a game between psychiatrist Hjalmar Poelzig (Lugosi) and architect Dr. Vitus Werdegast (Karloff), both whom flirt with their own sanity throughout the proceedings, although Poelzig is marginally on the ‘right’ side of the tipping point.
He does at one point though try to plead for Peter and Joan’s freedom having been ensnared in Werdergasts abode, by playing a game of chess.
Werdergast certainly takes home the crazy awards though with his collection of dead women that he keeps in glass cases.
The history between these frenemies runs deep, turning all the more bitter when Poelzig is imprisoned during the war, during which time Werdergast settles down with Poelzig’s wife, who is now dead and has become a feature in one of the exhibits.
It’s something of a convoluted mess, with the drama wrenched up to the max that it feels strained and forced.
Both Karloff and Lugosi pull off all the stops as they race to the ultimate showdown between the two for the film’s climax, but by this point I’d gone past caring and simply wanted the movie to find it’s end note.
In fact, were it not for the performances from both its leads, The Black Cat wouldn’t have received the kind of recognition that fell its way upon its release.
This coupled with the music score keeps the audience barely onside and despite this being Universal’s biggest box office hit of the year, The Black Cat ends up looking more like a drowned cat than screeching for the high notes of hysteria and horror that it was clearly aiming for.
Surgeons of Horror 