Reviews

Karloff's classic 60's 'Thriller' was a rare, haunting gem of some of the scariest horror stories, written by the best authors of the genre. It's 'trademark' was its logo lines that would come in and out before and after the commercial breaks.

Veteran directors such as John Brahm ("Hangover Square") employed dark, baroque german expressionism to evoke a creepy, ominous mood of paranoia. Newcomer, Jerry "Alien" Goldsmith's eerie soundtracks were unsettling and morbidly effective. (Wish it was available on CD).

Karloff's intros were congenial and sinister, and helped to set the stage for the truly suspenseful and frightening tales. He also appeared in a few episodes such as 'Premature Burial', 'Last of the Sommerviles' (with Martita Hunt from "Brides of Dracula") and 'Incredible Dr. Markeson' with Dick "Bewitched" York. The zombies and dank atmosphere of 'Markesan' seemed like a pre-cursor to "Night of the Living Dead." Ending was truly terrifying.

A pre-Kirk William Shatner appeared in two outstanding episodes; 'The Hungry Glass' with Russell "professor" Johnson and 'The Grim Reaper with Natalie "Lovey" Shaffer. Both were written by Robert "Psycho" Bloch and were genuine supernatural classics.

Robert Arthur wrote 'Prisoner in the Mirror' where researcher Lloyd Bochner ends up trapped in a mirror by evil magician Henry "The Body Snatcher" Daniell. The conclusion was unexpected and quite disturbing - something Hollywood would never have the balls to do today with all its "play it safe" and PC crap.

Feminists may find it interesting to know that THRILLER was one of the first shows that had a woman director. It was Ida Lupino, who did a marvelous job on superb episodes like 'La Strega'; that featured a pre-Bond Ursula Andress and Jeanette "The Big Heat" Nolan, who convincingly played the most horrifying witch imaginable. Had a very hard-hitting surprise ending that was not easily forgotton.

Mz. Lupino also created Hitchcockian suspense in Cornell "Rear Window" Woolrich's 'Guilotine', which has a true kicker ending. Fine performance from Robert Middleton as the sensitive romantically jilted executioner.

'Trio for Terror' was another great Lupino-entry which was a trilogy of three short horror tales; among them, "The Extra Passenger" which had the chilling atmosphere of J. Tourneau's "Curse of the Demon." Clever use of subtlety, which we no longer have today.

John "One Step Beyond" Newland directed Robert E. Howard's 'Pigeons from Hell' with Brandon De Wilde, who, with his young brother, spend a memorable night in a old run-down southern mansion. A true terrifying classic and a masterpiece of atmosphere.

There were many more exceptional episodes that need to be re-discovered due to their great, timeless classic merits.

THRILLER was a genuine one-of-a-kind show, and a soaring tribute to the horror genre. There were also many memorable crime episodes that are worth your attention as well; written by top people such as John D. MacDonald ("Cape Fear"), Lionel White ("The Killing"), Fredric Brown, Philip McDonald; etc. Some of the darkest film noir with the most downbeat of endings. Also, there were occasions where episodes would do a criss-cross of the crime and horror genres to great suspenseful effect.

Make it a top priority to check out this remarkable classic series which Stephen King also had the highest praise for.

THRILLER was (and still is) the best of its kind. Needs a revival and full DVD release. Check the thread on the 'Classic TV' message board.

Now it is my turn to roll up the sleeves. THIS SUCKED!!! A perfect example of the current trend in moviemaking: THE LOST OPPORTUNITY. What really bugged me (besides Lady Heather, the latest has been) about this pretentious mess was that it initially had a strong, promising IDEA, then gallently set out to destroy it. (Does anyone recall REIGN OF FIRE?).

Sure, the IDEA of the unseen menace can be compelling and even inevitably scary, BUT this class room assignment was in the wanna be mitts of the clueless. I won t hark on all the structural flaws, for I prefer not to bore you with common knowledge. If I was in their predicament (which was all their own stupid doing: BAD WRITING!), I might have uttered a few F words, but I would have bored myself after a number of seconds, and then would have followed that stream and pay note to the position of the sun and when & where it sets. Ever been a scout? (I would have also brained that jerk who lost the map, but that's another story). I'll even overlook the no-cell phone motif.

HOWEVER, this non-entity is so "subtle" that the most incredible thing happens: NOTHING! I do like subtlety in suspense and horror, but the tension has to keep consistently mounting in order for it to create the shocks and scares. Obviously, the makers never saw a Hitchcock film. Two true classic horror films, CURSE OF THE DEMON and THE ABOMINABLE SNOWMAN effectively achieved these crucial means by keeping the monsters off screen, but you could always sense their lurking presense slowly closing in and entrapping you, AND they did finally reveal something and delivered brilliant stories that really shocked and left you wondering later. Both horror gems are highly recommended.

Too bad that THE BORING WITCH didn't know how to run with the big ball. Ideas are like notes, if they are not effectively strung together, then the song will not rock. Back to FILM 101 boys and annoying girls.

Both admirers and detractors should read the short story, "The Wendigo" (and I don't mean that disappointingly insulting film "adaptation") by Algernon Blackwood, for that was actually the scary story that these clowns beautifully ruined. (Now, THAT is a true horror tale). It was about two hunters in the northern Canadian woods who are plagued by an unseen legendary forest demon. Does it really exist or are they flipping out from their isolation and fear? That was the film that should have been made, BUT NOT BY THESE DISPOSABLE JERKS!

MORAL Never get too uptight over a bundle of sticks.

I am reviewing this movie from the perspective of someone who was never a big fan of the comic. It is not that I didn't like the comic, but I never had the urge to get into it. I preferred Fantastic Four, Spiderman, Superman, and the Hulk as opposed to the slightly more intellectual and sophisticated X-men. Somehow my view of the x-men as a dull comic was just doubly reinforced by this exceedingly tiresome, pointless, and boring film. It was not funny, the plot stunk, and even the action was insipid in todays climate of ultra-special effects. Film-making, is still an art form and this movie was completely artless even in the context of making a movie based on a comic strip. The best scene was the opening scene with Night Crawler, by far the most intriguing character in the film. Wolverine was utterly predictable, lackluster and had no edge like the comic apparently had, and storm was lame as well, including her stupid storm power.

The movie took on an endless drone of a plot which no one could possibly care about. I didn't even care about the surprise in the film. Superman for instance, had funny interesting characters, such as the great Gene Hackman and Ned Beatty playing Lex Luther and his stupid sidekick, as well as Reeve who was quite humorous and enjoyable as the dorky Clark Kent. The special effects were also somewhat ground breaking at the time but really the smarmy humor, story and characters made it enjoyable. Not one actor in the x-men was worth a dime or given a chance to show any talent. Did I mention Wolverine sucked? Even the musical score was outstanding in Superman. The x-men, not groundbreaking in its special effects, lacked any semblance of humor and didn't make up for it with intensity. It had a completely forgettable score and was filmed in this modern day plastic, generic style that put me to sleep.

As I said before, the only decent thing in the film was Night Crawler. To all you die=hard adult x-men fans who give a crap about these comic book characters and their powers, etc., get a life, and don't let your loyalty drive you to spend a dime on this moron film unless you yourself are an artless moron.

What to say that hasn't already been said. This astonishing cinematic work of art (no kidding) unquestionably is the GREATEST FILM EVER - bar none. I deeply and passionately LOVE this brilliant early Kubrick production. Congratulations to expert screenwriters (and unique pulp writers of the 5O's) Calder Willingham (who also penned his own excellent adaptation of "The Strange One"; highly recommended) and Jim Thompson ("The Grifters" "The Killer Inside Me"; which strongly influenced Tarantino), who both present a superbly incisive script with powerfully effective dialogue that really rings more than true. If only we had more real writers and scripts like this remarkable achievement, we'd be writing far more favorable reviews. "Paths of Glory", alone, would serve as anyone's lifetime achievement award.

I don't care how much you HATE B&W films - put this one on your MUST-SEE. Compelling cinema-verite photography creates astounding visuals from a varity of incisive angles; like the famous mobile wide-angle tracking shot of Dax (probably Kirk Douglas's most stirring and important performance) moving through the squalid and horrifying trenches as the battle begins with explosions breaking out all over. The suspense and tension is frightening, but almost beautifully eerie in the most compelling ways as Kubrick takes us through the deadly limbo of no-man's land - the 'paths of glory' which finally leads to the grave. The action, skillfully combined with powerful moral and existential themes are amazingly conveyed through the bleak yet articulately stunning visuals. THIS IS A FILMMAKER'S FILM!

The moral outrage of the sadistic injustice of the military courtmartial never fails to make my blood fully boil. The hypocrisy and corruption is degradingly infuriating. If anything will make a cynic out of you, it's this appropriately pessimistic and depressing cinema chronical based on a true stupid incident in WWI. What's even worse is how POG, in many perceptive ways, serves as an allegory for all the B.S. in real life: Pig-headed leadership in the parasitic hands of the superior greed freaks, two-faced deceptive manipulations, double-standards, backstabbings, social bigotry, arm-chair warriors, egotism, corrupt politics, the militaries's abuse of too much power - and it's destructive desire at satisfying it's lust for vainglory (sounds a little like Hollywood) - Did I leave anything out? You name it, POG has it - and I'm not being sarcastic.

The entire ensemble cast is superb with special mention to George Macready as the utterly pompous power-mad glory-seeking "soldier", General Mireuo (who thinks nothing about ordering his troops to open fire on his own men for not charging out of the trenches and dying for his "country"; which smells a bit like ME ME ME). Don't worry, you'll throughly hate his guts. It truly is true method acting. Again, kudos to Macready, a fine actor who was always too good at playing highly unethical villians. (Incidently, this was a favorite film of a young 195O's Marlon Brando and old salty Winston Churchill, who praised Kubrick's incisive authenticity in the exciting battle scene, which does resemble news footage).

Timothy Carey (also ultra-offbeat-cool in Kubrick's other exceptional early flick, "The Killing") is morbidly humorous and gut-wrenching as one of the poor fools coldly picked to be executed; all in the ruthless 'patriotic' name (and amoral game) of 'glory'. ARE ANY OF OUR LEADERS LISTENING? Too bad that Carey's memorable talents were so underused by Hollywood, but that always seems to be the unfortunate norm. A little like what ironically happens to him in this intriguing but downbeat story.

Ralph Meeker (who was also memorable as the brutal and ruthless Mike Hammer in the 5O's cult gem "Kiss Me Deadly" - a complete opposite role that shows a true range of his acting abilities) delivers another wretching performance as the true brave soldier unjustly sentenced for "Cowardice in the Face of the Enemy". (Maybe he should have turned 'about face', but it would have still been 'damned if he did and damned if he didn't' - another grim moral theme here). His breakdown scene right before he is to be taken out and shot is terribly heartbreaking, for I felt so wanting, but helplessly unable, to come to his help.

Take my word for it, everyone else is awesome; a true actor's dramatic show with dark satirical overtones. POG goes beyond the mere preaching anti-war diatribe (though it does convey that almost naturally, like going without having to say). It's a great classic morality play that will really make you stop (many, many times) and truly make you think (many many times). Airheads not allowed. Moreover, this haunting and disturbing masterpiece is top entertainment, something too many art films aren't. >

It will really make you question things about our troubled, convoluted world and how things are to often immorally and inhumanly run all in the sick name of greed and destructive power. Not too lovely, for the director pulls no punches. This film really has grown more profound (and currently pertinent) since its initial release. Also the editing is taut and concise; there isn't a single wasted moment. Count the number of films on one hand that has accomplished that miraculous feat; that most critics and user commentators are always rightfully harking on. I'll shut up now. Go see this one-of-a-kind film, then see it again - and again, etc. >

This interesting little abomination is easily the evil twin of BEAST FROM HAUNTED CAVE, another Corman low-budgeter from this memorable late 5O's drive-in golden era. There were many major and minor film gems, but not all were so bad, they're great. Some were interesting failures (like this Putrid Preciousness) and some simply sucked (like everyones' personal favorite, "The Cape Canaveral Monsters", whose prints need to be honorably enshrined - in embalming fluid).

NIGHT OF THE BLOOD BEAST (As a kid, I just loooooved titles like that, fearfully imagining what that monster from the dark really looked like), due to its early scenes of eerie paranoia mood and subtle moments of terror, managed to humbly and very economically achieve this kid-scare trick, thus being reprieved from the embalming fluid fate. That impressivly irritating cheesey-weird organ (also used in SISTER BEAST'S HAUNTED CAVE) evoked the proper creepy atmosphere, which Corman was an efficient wiz at.

Those scary shots in the isolated woods in the Bronson Cave hilled area (interesting location with strange, silent mood as if there is some other lurking ominous presense nearby, watching) were nightmarish. That moment when something moved up right before the camera, blocking everything out was a surprising frightful moment - and those dark chilling shots of the woods, as something moves through the bushes - and that shadow of something very unworldly moving across the ground (actually the first monster 'Shadow Shot' filmed from that particular angle) - that shot of a giant shape moving outside along the window and that quick glimpse of IT! creeping down that dark claustrophobic hallway - BRRRRRRRRRRRRRR!!!!!!!!

At 2:OO AM, in pitch black, that can cause those under-the -cover shivers (all I need is the proper female companion to hold dearly to). Then when poor old kindly Dr. Wymann loses his head - LITERALLY - when the two male leads find his body slumped over the bunk, with a fresh supply of high volume blood spilling down with major drip-drips. UGH! That was an early decapitation scene that really freaked me out. Maybe a life of crime would be safer than being an adventuresome scientist.

Then the "ALIEN" scene, with the mysteriously revived "deceased" astronaut standing behind one of those 5O's Whateverscopes, revealing utterly revolting animated parasites being bred in his body. (Are there any other kinds?) The alien blood beast is sure having its night: It impregnated the trespassing, intrepid astronaut - and made him bear its delightfully disgusting offsprings. Planned Parenthood miserably backfired with the worst grim forms of total dysfunction. What do you think of that? Any "hmmmmmmmm's" out there - or just prowling alien blood beast rapists. (AHHHH!!! NOOOOOW I GET THE TITLE! - DUH!!!). This is true science-fiction horror on its own gruesome little B-minus terms.

Well, I won't go on. You'll just have to see for yourself as to the mysterious fate of our scientific ground crew - and that enormously rude and overbearing blood beast. It's an old cheap B&W minus-B, but interesting if you happen to be in that certain 2:OO AM monster mood. LONG SHOCK THE BEAST BROTHERS!

P.S. That college age lady scientist was quite personally appealing to me at that formative late show age. The blood beast attacks her in the woods - maybe IT got infected by all that human contact - OR maybe it really does possess superior intelligence! Perhaps that's why this was her one and only film appearance. That's BEAST BIZ BABY! It's back to that bloody haunted night cave. GIVE BEAST A CHANCE!

Why is it that Hollywood today is so obsessed with producing so many MISSED OPPORTUNITIES?

This so-so enterprise begins with a compelling opening scene (reminiscent of the beginning of "Five Million Years to Earth" - a highly recommended Science-Fiction classic): In an underground excavation site in London, a dragon is unearthed after millions of years of slumber, and escapes. So far, promising.

THEN, for whatever stupid reason (lazy screenwriting, not fully up to the occasion or just rush job), the director immediately cuts to newspaper clippings with voiceover, telling how hordes of more dragons have destroyed all civilization and wiped-out most of mankind. STOP! CUT!

Let's rewind a moment and allow me to ask a really dumb

question: HOW COME THAT WASN'T THE STORY? Doesn't sound too dull to me. Isn't that what the poster ads conveyed? Isn't that what most of us expected? Isn't THAT what brings in TONS OF CASH!!! Instead we get stuck with this so-so Cable TV-like movie that more resembles a third or fourth faded sequal (after the original producers have moved to Paradise Isle): REIGN OF BURN.

Wouldn't it had been suspenseful to have seen what happened right after the first dragon escaped from its dark lair hibernation? Then we'd see where all the others came from (O.K. So we must indulge some pseudo movie science here. I'm not Einstein), and how they start to launch their massive attacks against the world (they must also possess great intelligence - GO! DRAGONS! GO! KICK MANKINDS BUTT FOR WHAT HE'S DONE TO THE WORLD - AND ESPECIALLY TO DRAGON MOVIES! GET YOUR DRAGON UNION TOGETHER, PRONTO!). Those ominously creepy newspaper clippings "Dragon Sitings Confirmed" and that teasing TIME magazine cover illustrating NYC in flames - THE END?.

A group, consisting of the main characters, try to escape as the world burns. Then the shocking revelation when the scientists realize it was the predatory fire-breathers that annhiliated the dinosaurs. OH!-OH! Imagine a surreal flashback that actually SHOWS THIS instead of just mentioning it in passing. Then, the shocking crucial scenes when the militaries are not only unable to stop them, but also end up succumbing to the dragons' global devastation.

The story frightfully concludes with the characters tense and terrifying flight to imagined safety, towards that castle in the country miles from London, as they hear radio reports telling of the final destruction of all life on Earth. (Terrifying eerie montage and gruesome sounds would work really effectively at this shattering climax).

We are left with the disturbing mystery as to what their future, if any, for will be, as the ominous sounds of the dragons, who know rule the Earth, loom on the dark horizon.

FADE OUT (Where my million dollar paycheck?)

(Pity that Hollywood is so scared of downbeat and profound ambiguous endings. That's what they're suppose to do, aren't they? The 5O's through the late seventies, we had filmmakers and producers who had the balls to take some gutsy risks. Isn't that what the creative arts is all about?)

Isn't THAT, essentially, what great B-plus classics are made of? I'd stand all night out in the rain to be the first in line on opening day (wouldn't you?) - and I usually don't do crazy things like that. (Do you?) And who cares if it isn't an Oscar magnet, won't garnish any Pauline Kael awards (I'm not moaning) or be honored at any Scientific Perfectionist Conventions. Would that be the end-of-the-world?

Anyways, I had to propose INDEPENDENCE DRAGON, for I felt, in all brutal honesty, and from all my nightmarish screenwriting struggles, that WAR OF THE DRAGONS (aka AS THE WORLD BURNS) would have truly rocked and delivered - and made you later trip on THE END!

This would be a REAL REIGN OF FIRE. I welcome real responses.

Prequel, Anyone?

P.S. I wasn't that keen on INDEPENDENCE DAY, which was another wasted opportunity. Talk about tiresome trends.