I went into this one not expecting to like it. I didn't care for Jurassic World, and frankly I only saw this one because it was showing at a time that was convenient for a babysitter. But, to my surprise, I liked it. Well, part of it.
My problem with Jurassic Park as a franchise, is that there's no need for it. Films pitting modern humans against dinosaurs go back to the silent era. Check out The Lost World,King Kong, The Valley of Gwangi, One Million Years BC, King Dinosaur, etc, etc. Jurassic Park was a step ahead of all of those movies technically. But in terms of story all it really added to the 'humans vs dinosaurs' canon was 'in an amusement park.' And that was fine, and it really was a good movie and deserves the love it gets.
I usually start these essays by summarising the plot, but as Frankenstein Chronicles is a meandering six episode series, it's probably not a great idea to go into it in too much depth. Even so, there may be spoilers. Basically, Sean Bean is Inspector Merritt of the Thames Water Police in 1827. While investigating a crime, he discovers a body – or rather parts of several bodies that have been stitched together into a single body. He is ordered to investigate by Sir Robert Peel (Tom Ward) himself, who feels that the murder is an attempt to derail the Anatomy Act of 1830. His investigation leads him to learn about the story of Frankenstein. But is the patchwork body just a mad killer's whim or an actual attempt to raise the dead?
It's a very atmospheric piece. Sean Bean is excellent as the stolid Marlott, a dogged, guilt-ridden and slowly dying man. The rest of the cast is almost as impressive and the filming is absolutely gorgeous. After all, British TV seldom fails to do right by nineteenth century period pieces. On the downside, the pace is not just slow, it's glacial. More frustratingly, the show brings up a laundry list of interesting ideas, it doesn't do anything satisfying with them. ...continue reading "The Frankenstein Chronicles Season 1 (2015)"
Let me start by saying that this wasn't completely awful. Maybe all the terrible reviews I read had the effect of managing my expectations, but bottom line is I didn't hate this movie. I assumed -- rightly -- that it would be a pretty standard action runnaround through CG effects, like so many big budget movies nowadays. In fact, there were a couple of genuinely creepy horror moments, which I honestly didn't expect. The decision to have the Mummy discovered in Iraq rather than Egypt makes not a lick of sense in terms of realism, but thematically 'America goes to Iraq, unleashes horror' is surprisingly close to the original Mummy idea of 'Britain goes to Egypt, unleashes horror.'
Honestly, if this was a one off Mummy movie, I'd say it was adequate, if not especially memorable. Yes, the ending is awful for a whole lot of reasons. Yes, the gender politics are even worse than most horror movies. Yes, if I were ranking movies I'd seen titled 'The Mummy' it would probably come in forth. Even so, if this is the worst movie I see this year, I'll consider myself lucky. ...continue reading "The Mummy (2017) Review"
Cold open on Bigfoot. You heard me. Clear, unambiguous footage of three sasquatches walking along, while Nimoy gives us time, date and place. He then says that they're just guys in suits, but still – bold opening. Nimoy assures us that these figures are exact duplicates of real sasquatches, but the wasp waist on what I assume is the female sasquatch seems a little out of place.
This episode is looking at the people who spend their time out in the woods, looking for Sasquatch. That's pretty familiar ground for supernaturally themed shows nowadays, but I think it was a fairly fresh topic when this was first broadcast.
Now we're at… Loch Ness. Is this the third or forth time We've heard the In Search Of Sonata for Electronic Pseudo-Bagpipes? I've lost count. Anyway, Nimoy talks about the Loch Ness Monster. Again. Same footage as before. Oh god, the music's even worse this time. The narration then blatantly misrepresents the Loch Ness Monster episode and claims that In Search Of took the 'most authenticated' photo of Nessie ever. Cut to Surgeon's Photo.
Victor Frankenstein (Samuel West) makes his Monster (Shuler Hensley), just as the angry torch-wielding mob arrives. We learn that Frankenstein's experiments have been funded by Count Dracula (Richard Roxburgh), who wants the Monster for an undisclosed purpose. Dracula kills Frankenstein, but the Monster escapes, only to seemingly die in a burning windmill.
Meanwhile, Van Helsing (Hugh Jackman) – a warrior for a interdenominational holy anti-monster order – is sent to defeat Dracula. He travels with Carl (David Wenham), basically a monkish version of Q. In Transylvania, van Helsing meets Anna Valerious (Kate Beckinsdale) a warrior woman whose brother recently died fighting the Wolf Man. ...continue reading "Van Helsing — 2004"
Last time we had a sort of general look at Metropolis as it relates to early Frankenstein cinema. It's a big subject, and honestly I'm not going to cover all of it even with a supplementary essay, but I did want a closer look at two things. Firstly, religious symbolism and secondly the role of women in Fritz Lang's Metropolis and James Whale's Frankenstein and Bride of Frankenstein.
The novel Frankenstein is fascinating in that it is full of conscious religious imagery, but contains little sign of God's actual presence. The Monster is compared frequently to both Adam and Satan. Both are creations that rebel against their creator, with the difference being that neither of them is a match for God. However, the Monster is a match for Victor Frankenstein. This is why the various attempts to make Frankenstein into a Christian parable tend to be perfunctory. A story in which a being is angry at its creator, and able to stand eye to eye with said creator is simply unprecedented in the Bible. Imagine if Job could just get tired of arguing with God and just kick him in the shins. Completely different story.
This, ultimately, is the point of not only Frankenstein, but a huge chunk of the whole science fiction genre: how do we deal with the themes and ideas invoked by religion without invoking God? ...continue reading "Metropolis – 1927 (Part 2)"
I usually like to give a fairly thorough synopsis of movies I review, but let's face it: this one is just too damned long. Even the shortened version is long.
So: Joh Fredersen (Alfred Abel) is the leader and architect of a seemingly utopian art deco city. His son, Freder (Gustav Froehlich), is a feckless gadabout who does nothing but hang out in the pleasure gardens. When a woman named Maria (Brigette Helm) brings a group of grimy children into the garden, Freder learns for the first time that poverty exists.
Freder goes in pursuit of Maria, and finds himself in the underground factories that drive the Metropolis. There he views an industrial accident, and has a vision of the vast machines as a temple to the demon Moloch, and the workers as sacrifices. Horrified, he confronts his father, who turns out to be perfectly aware of the appalling work conditions and content to keep things that way. He's more worried about mysterious plans turning up in his workers' clothes. ...continue reading "Metropolis – 1927"
We open on footage of trees reflected in swamp water. Nimoy waxes lyrical about the terrors to be found in a swamp. We're told that an 'experience guide' went into the swamp in '73. "His outing became the stuff that nightmares are made of".
In medieval Prague, the learned Rabbi Löw (Albert Steinrück) predicts that the Jewish Ghetto will be threatened by the Emperor, who wants to drive out or kill the Jews. Sure enough, the Emperor (Otto Gebühr) gives just such a decree to his douchiest knight, Florian (Lothar Müthel). Florian takes the message to the Ghetto, falling in (requited) love with the Rabbi's daughter, Miriam (Lyda Salmonova).
Rabbi Löw builds a man out of clay. With the help of his assistant Famulus (Ernst Deutsch), he forces the dark spirit Astaroth to give him the magic word to animate the clay man. This word is placed in an amulet which is put around the neck of the clay man and it comes to life as the Golem (Paul Wegener). The Golem is clearly not happy at being ordered around and knocks Famulus over, but Löw discovers that he can deactivate the monster by removing its amulet. ...continue reading "The Golem: How He Came into the World (1920)"
I'll just race through the synopsis of Frankenstein: Day of the Beast quickly. This is because, while there's lots of running and screaming in this movie, not a lot actually happens. What does happen is pretty icky. Just thought I should warn you. On the other hand, it does give a convenient -- if awful -- jumping-on point to talk about the character of Elizabeth Lavenza.
Frankenstein and some soldiers are tracking the Monster through the snow. The Monster is seen by the daughter of the old blind man. We have a little look into their family dramas, then the Monster kills them all, the daughter last of all. We see the dying daughter being stitched back together in a darkened room. ...continue reading "Frankenstein: Day of the Beast – 2011"