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The original ending had Henry dying at the windmill but the studio changed it.
Feels like they could've met in the middle somewhere. Send him to jail or something.
Things did not go quite as well for him in Curse of Frankenstein (1957)
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Feels like they could've met in the middle somewhere. Send him to jail or something.
Things did not go quite as well for him in Curse of Frankenstein (1957)
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Favorite Movies
SEED OF CHUCKY
(2004, Mancini)
(2004, Mancini)
Seed of Chucky picks up some time after the events of Bride, as Glen (Billy Boyd) discovers he is the son of Chucky and Tiffany (Brad Dourif and Jennifer Tilly), and resurrects them sparking more chaos and mayhem. That is the gist of it, without getting much into how nuts it is, which means I'm leaving out pretty much 75% of the film.
How nuts it is, you say? The film opens with "doll sperm" traveling through a "doll uterus" (cue first reference, Look Who's Talking), Jennifer Tilly playing a fictionalized version of herself, who is willing to sleep her way into the lead role of the Virgin Mary in a film directed by Redman (yes, that Redman). Plus, you get a supporting role from John Waters as a peeping tom reporter, a gender-fluid doll, and countless more references to films that go from Psycho and The Shining to Rebel without a Cause and even Naked Gun.
Grade:
Full review on my Movie Loot
Any movie in which John Waters getting killed by having a jar of acid fall on top of his head - and then being made to pose in a family portrait - is actually one of its most conventional occurrences, is definitely one for the books! 
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"Well, it's what people know about themselves inside that makes 'em afraid" - Clint Eastwood as The Stranger, High Plains Drifter (1973)
"I'll let you be in my dream if I can be in yours" - Bob Dylan, Talkin' World War III Blues (1963)
"Well, it's what people know about themselves inside that makes 'em afraid" - Clint Eastwood as The Stranger, High Plains Drifter (1973)
"I'll let you be in my dream if I can be in yours" - Bob Dylan, Talkin' World War III Blues (1963)
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To this day, I'm not really quite sure what to make of this one! Any movie in which John Waters getting killed by having a jar of acid fall on top of his head - and then being made to pose in a family portrait - is actually one of its most conventional occurrences, is definitely one for the books!
Any movie in which John Waters getting killed by having a jar of acid fall on top of his head - and then being made to pose in a family portrait - is actually one of its most conventional occurrences, is definitely one for the books!
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The Bodyguard
(Mick Jackson, 1992)
I loved this movie when I was a kid. I thought it was so romantic and that Kevin Costner was such a badass in it. Now that I’m an adult, I think the movie is stupid. Whitney Houston‘s character is such a bitch that it’s hard to buy that someone would fall in love with her. And Costner’s attempts at badassery just come off as amusing in the wrong way. Yet somehow I still love this movie. I will always love this movie…. stupid though it may be.
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The Burmese Harp (1956)
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San Franciscan lesbian dwarves and their tomato orgies.
San Franciscan lesbian dwarves and their tomato orgies.
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Beauty and the Beast (1978) -
No matter how familiar I am with a fairy tale, I will watch a Czech or Slovak adaptation of one. Each one I have seen so far provides a fresh coat of paint and makes me think about it differently, with this one being no exception. It's certainly the darkest adaptation I've seen, the others being the Cocteau adaptation and the two Disney ones. While that does not mean it's my new favorite, mind you - that would still be Cocteau's - I enjoyed it a lot and credit it for indeed making me think differently about the tale for how it expounds on the darker aspects of the story.
So, just how dark is it? For one, the hometown of our beauty, Julia, (Studenkova) is definitely not the quaint Disney one. If the graphic animal slaughter in its butcher shops somehow doesn't get to you, the avarice of her betrothed sisters, each of whom only care about their dowries, surely will. If you're guessing the darkness extends to the beast's world, you are correct, whether it's his ruined castle or the surrounding woods that make the gloomy ones in The Neverending Story and The Princess Bride seem like, well, Disney attractions. As for the beast, he's much harder to like in this one at first, which I think is a good thing, and not just because of his chimera-like and not at all kid-friendly appearance. Speaking of, the movie wisely takes its time before revealing him and leaves how he became a beast up to your imagination. Luckily, all this doom and gloom pays off for how it makes Studenkova's very charming beauty a beacon in the darkness and the "moment of transition" feel all the more earned.
Not only is this the darkest adaptation I've seen, but it's also the shortest, which has its drawbacks. While the source is not exactly of epic length, there is Flanderization in nearly all the characters as a result. In other words, you will miss the rich characterizations in the 1991 Disney one. With that said, even if you have seen even more Beauty and the Beast adaptations than I have, watching this one will not be a redundant experience. This is especially true if you're a horror lover for it made me realize - and that Disney made us forget - that it is where the original story should be filed.
No matter how familiar I am with a fairy tale, I will watch a Czech or Slovak adaptation of one. Each one I have seen so far provides a fresh coat of paint and makes me think about it differently, with this one being no exception. It's certainly the darkest adaptation I've seen, the others being the Cocteau adaptation and the two Disney ones. While that does not mean it's my new favorite, mind you - that would still be Cocteau's - I enjoyed it a lot and credit it for indeed making me think differently about the tale for how it expounds on the darker aspects of the story.
So, just how dark is it? For one, the hometown of our beauty, Julia, (Studenkova) is definitely not the quaint Disney one. If the graphic animal slaughter in its butcher shops somehow doesn't get to you, the avarice of her betrothed sisters, each of whom only care about their dowries, surely will. If you're guessing the darkness extends to the beast's world, you are correct, whether it's his ruined castle or the surrounding woods that make the gloomy ones in The Neverending Story and The Princess Bride seem like, well, Disney attractions. As for the beast, he's much harder to like in this one at first, which I think is a good thing, and not just because of his chimera-like and not at all kid-friendly appearance. Speaking of, the movie wisely takes its time before revealing him and leaves how he became a beast up to your imagination. Luckily, all this doom and gloom pays off for how it makes Studenkova's very charming beauty a beacon in the darkness and the "moment of transition" feel all the more earned.
Not only is this the darkest adaptation I've seen, but it's also the shortest, which has its drawbacks. While the source is not exactly of epic length, there is Flanderization in nearly all the characters as a result. In other words, you will miss the rich characterizations in the 1991 Disney one. With that said, even if you have seen even more Beauty and the Beast adaptations than I have, watching this one will not be a redundant experience. This is especially true if you're a horror lover for it made me realize - and that Disney made us forget - that it is where the original story should be filed.
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Abracadabra
Before directing the Oscar-nominated Robot Dreams, Pablo Berger helmed this live-action masterpiece combining black comedy with heartfelt drama, and yet another marvelous performance from Maribel Verdú.
Verdú plays an ordinary Spanish housewife whose cousin performs a wedding-day trick on her husband that involves a combination of hypnosis and assorted hocus-pocus. The consequences are dramatic, involving the invocation of a dead murderer. Chaos - and sometimes hilarity - ensues.
MoviePass, MovieCrash
Even if you followed the disastrous saga of MoviePass back when it soared and then crashed, this documentary is still a fairly entertaining and illuminating narrative that takes an incisive look at all of the bad practices that led to the demise of the popular subscription service.
Heck, I thought I knew most of what had happened behind the scenes, but I definitely didn't know all of the details.
As entertaining as any documentary about a doomed subscription service has ever been.
A classic of British cinema. Nobody was as beautiful as Julie Christie.
Really enjoyed this extremely strange movie.
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I’m here only on Mondays, Wednesdays & Fridays. That’s why I’m here now.
Calamity Jane (1953) I have had this on dvd as part of a 4 disc Doris Day collection, but had never watched it for some reason. I watched it today and enjoyed it. Doris Day is wonderful in this fun and entertaining musical western. Hope it makes the musical countdown.
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Anthony Asquith's 1928 Shooting Stars is a most welcome view, in progress as i pause it and gather my wits, it's like that silent movie their watching in every movie and show from the 90's. So dreamy and jazz age cool as i'm tripping out in a stormy afternoon silvery glow in the living room, some incredible short silent films are being seen too through the 3 new collections in my ever growing collection.
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Junior Prom (1946) Watched this musical comedy on Tubi. It's only an hour and 9 minutes. There's a few laughs here and I liked the songs. If you enjoy good natured, old fashioned silliness, then you might think this movie is pretty swell.
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In a Violent Nature
This attempt to re-invent the horror genre is, not surprisingly, less than the sum of its parts (and there are quite a few body parts to choose from!).
Basically, it's filmed from the killer's POV, almost like if a documentary crew was following him along as he chops and maims anyone he comes across (this filming style has been called "borderline Malickian" in some reviews, and they're not wrong).
There is a curious lack of conventional "excitement" in the movie - it moves along leisurely, taking a long time just to follow the killer as he walks around in the forest, and as far as I can remember there isn't a soundtrack like in conventional horror movies. No jump scares, or build-up, either. Just slash, walk, slash, walk, and slash some more.
The film is also reminiscent of Saw in its extreme gore and of Blair Witch Project in its attempt at documentary-like naturalism, and this keeps it from feeling as fresh as the filmmakers might have intended it to.
Most strikingly, the movie has been filmed in 4:3 ratio, which makes it feel, oddly enough, like less of a theatrical experience than you might want it to be (don't ask me why, but some movies are able to pull it off).
The Little Mermaid
(Ron Clements and John Musker, 1989)
I shouldn't like this movie. A musical about a mermaid princess sure as shit should not appeal to me (and holy crap do they sing A LOT in this movie), but I was eight years old when it was released so it's got nostalgia on its side. It also benefits from my love of animation and the fact that at only 83 minutes, it doesn't last long enough to annoy me too much. I do have to admit it has a certain charm. Even with the nostalgia factor though, this has never really been a favorite. Eight year old me wasn't a fan of princesses or mermaids or musicals either, so this has always sort of existed as a movie that I kind of like.
Given my general opinion of musicals though, "kind of like" will probably be enough to secure it a spot on my ballot.
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In a Violent Nature
This attempt to re-invent the horror genre is, not surprisingly, less than the sum of its parts (and there are quite a few body parts to choose from!).
Basically, it's filmed from the killer's POV, almost like if a documentary crew was following him along as he chops and maims anyone he comes across (this filming style has been called "borderline Malickian" in some reviews, and they're not wrong).
There is a curious lack of conventional "excitement" in the movie - it moves along leisurely, taking a long time just to follow the killer as he walks around in the forest, and as far as I can remember there isn't a soundtrack like in conventional horror movies. No jump scares, or build-up, either. Just slash, walk, slash, walk, and slash some more.
The film is also reminiscent of Saw in its extreme gore and of Blair Witch Project in its attempt at documentary-like naturalism, and this keeps it from feeling as fresh as the filmmakers might have intended it to.
Most strikingly, the movie has been filmed in 4:3 ratio, which makes it feel, oddly enough, like less of a theatrical experience than you might want it to be (don't ask me why, but some movies are able to pull it off).
By www.moviegoods.com, Fair use, https://en.wikipedia.org/w/index.php?curid=21559772
Daddy Long Legs - (1955)
Jervis Pendleton III, if he's as old as the guy playing him (Fred Astaire), is approaching 60. The precocious Julie André (Leslie Caron) is fresh faced and she's just turned 18. I don't particularly like it, but this is the romance we have in Daddy Long Legs - which piles on the pain by having the word "Daddy" in it's title. You see, Pendleton is wowed by Julie when he spots her during a diplomatic trip, and he plans to get into her pants by becoming her secret benefactor, paying for her college education in the United States. Julie goes mad trying to find out who her saviour is, and little does she know it's her room-mate's uncle, who has been sweeping her off her feet regardless. The age issue does come up, and is the dividing wedge between them - but too late. With as much charm and riches Pendleton has, of course Julie is completely dazzled. The sickliness of all this is a shame, because this movie is simply so damned good. I was praying the two wouldn't kiss, and the movie almost apologetically only has them peck, despite them being engaged to marry each other. Pairing an ageing Astaire with a teenager (Caron was 22/23 while this was being filmed - the character is in her teens) is just more of the same I often see in these mid-20th Century musicals. I must say though, that the singing and dancing, production design, music, art direction and general dazzling brilliance confounds my senses. One of the best godawful movies I've ever seen.
6/10
By MoviePosterDB.com, Fair use, https://en.wikipedia.org/w/index.php?curid=34473909
El Infierno - (2010)
From the maker of Herod's Law, this surprisingly humorous movie, and story about one man's descent into crime, looks at the hell modern Mexico has become. It's long, but strikes a good balance between mirth and horror. Full review here, in my watchlist thread.
7/10
By Derived from a digital capture (photo/scan) of the Film Poster/DVD Cover (creator of this digital version is irrelevant as the copyright in all equivalent images is still held by the same party). Copyright held by the film company or the artist. Claimed as fair use regardless., Fair use, https://en.wikipedia.org/w/index.php?curid=37443437
Beau Travail - (1999)
This poetic film about the male form and masculinity uses rhythmic motion, dance and shots of men training to entrance us while a narrated tale of jealousy, envy and repressed desire unfolds - which is spellbinding, and lyrical. Full review here, in my watchlist thread.
8/10
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