Merry Christmas... Mo-Mo-Mo!
(May pecan pie be upon him.)
Monday, December 20, 2010
Wednesday, December 15, 2010
Picture Perfect Wednesday:
Ten Days to Christmas!
Ten Days to Christmas!
Janet Leigh reminds everyone that you have ten days to get Christmas cards and presents to the people you love (or even me, your kind host).
Tuesday, December 14, 2010
'The Moth' is not worth catching
The Moth (1934)
Starring: Sally O'Neil, Paul Page, Wilfred Lucas, Rae Dagget, Fred Kelsey, and Duncan Renaldo
Director: Fred C. Newmeyer
Rating: Four of Ten Stars
Wild-child heiress Diane Wyman (O'Neil) loses her fortune when her guardian (Lucas) invokes a morality clause in her father's will following one media scandal too many. The lecherous old man helped engineered the scandal, hoping to force her completely under his power, but she runs off to New Orleans, where she naively falls in with a pair of jewel thieves (Dagget and Renaldo). The thieves pretend to be her friends, but they are just setting her up to take the fall for their latest heist and make a detective who has pursued them from New York that the disgraced socialite is actually the mysterious jewel thief known as "The Moth." Will George (Page), the handsome engineer who has become infatuated with her, manage to save Diane from the many sinister forces arrayed against her?
"The Moth" is an almost inappropriately light-hearted movie, given the fairly vile characters that are set to destroy the naive young woman who is its focal character, be it the dirty old man who is supposed to be looking out for her best interests but really just wants to possess her; or the cold-hearted thieves, who take advantage of her to cover their escape. Of course, given that it's so sloppily written movie that relies on coincidence after coincidence to keep the plot going, fails to be funny in most places where it's supposed to be, and the straight-forwardness of the plot makes the build-up of suspense nearly non-existent, it's hard to tell if its creators failed to make a drama or created one of the least funny comedies ever made.
The film is especially unfunny in the sense that the disgusting character who is Diane's guardian is supposed to be comic relief, and the screen writers and director blow both their key moments of suspense--when it looks like Diane is going to be caught with the stolen jewels, and when one of the thieves wants to turn to murder to insure his get-away--by introducing the threats and disposing of them before the audience even has time to grow concerned about them. It's rare to find a movie as brief as this one where the pacing is off, but that is the major flaw here.
Another flaw is the directing and the acting, both of which were more suitable to the silent movies where the director and much of the cast got their starts. While it's easy to see why the very pretty Sally O'Neil was a big star, it's equally easy to understand why she couldn't make a successful transition to the talkies. While she had charisma and beauty, she had an acting style more suitable for theatre or the always larger-than-life pantomimes needed to convey action and emotion in silent films. By 1937, her screen career was over, and O'Neil returned to theatre where her career had started.
Despite my criticism of her performance, O'Neil and her character of Diane Wyman are the only thing that makes this movie worth watching. She is by far the most interesting performer in the film, and even the most cynical viewer will want this likable, if none-to-bright, character to somehow recognize that the only person around who cares at all for her well-being is George, the one person she keeps pushing away and abusing.
Still, this is not a movie that's really worth seeking out. It's one of those films that's been from oblivion and once again put in front of the public by the advent of digital media and the relative ease of manufacturing DVDs, but unlike so many hidden treasures found in the Alpha Video catalogue, I doubt anyone would have missed "The Moth" had vanished forever. (Although I must congratulate the art department at Alpha Video for coming up with a cover design far more interesting than the movie; it was the cover alone that prompted me to buy the disc. It's got nothing at all to do with the movie, but it's pretty cool... almost like the days of the exploitation films where the crappier the movie, the more exciting the poster. The Roger Corman Marketing Team Spirit is alive and well in DVD Land!)
Starring: Sally O'Neil, Paul Page, Wilfred Lucas, Rae Dagget, Fred Kelsey, and Duncan Renaldo
Director: Fred C. Newmeyer
Rating: Four of Ten Stars
 |
"The Moth" is an almost inappropriately light-hearted movie, given the fairly vile characters that are set to destroy the naive young woman who is its focal character, be it the dirty old man who is supposed to be looking out for her best interests but really just wants to possess her; or the cold-hearted thieves, who take advantage of her to cover their escape. Of course, given that it's so sloppily written movie that relies on coincidence after coincidence to keep the plot going, fails to be funny in most places where it's supposed to be, and the straight-forwardness of the plot makes the build-up of suspense nearly non-existent, it's hard to tell if its creators failed to make a drama or created one of the least funny comedies ever made.
The film is especially unfunny in the sense that the disgusting character who is Diane's guardian is supposed to be comic relief, and the screen writers and director blow both their key moments of suspense--when it looks like Diane is going to be caught with the stolen jewels, and when one of the thieves wants to turn to murder to insure his get-away--by introducing the threats and disposing of them before the audience even has time to grow concerned about them. It's rare to find a movie as brief as this one where the pacing is off, but that is the major flaw here.
Another flaw is the directing and the acting, both of which were more suitable to the silent movies where the director and much of the cast got their starts. While it's easy to see why the very pretty Sally O'Neil was a big star, it's equally easy to understand why she couldn't make a successful transition to the talkies. While she had charisma and beauty, she had an acting style more suitable for theatre or the always larger-than-life pantomimes needed to convey action and emotion in silent films. By 1937, her screen career was over, and O'Neil returned to theatre where her career had started.
Despite my criticism of her performance, O'Neil and her character of Diane Wyman are the only thing that makes this movie worth watching. She is by far the most interesting performer in the film, and even the most cynical viewer will want this likable, if none-to-bright, character to somehow recognize that the only person around who cares at all for her well-being is George, the one person she keeps pushing away and abusing.
Still, this is not a movie that's really worth seeking out. It's one of those films that's been from oblivion and once again put in front of the public by the advent of digital media and the relative ease of manufacturing DVDs, but unlike so many hidden treasures found in the Alpha Video catalogue, I doubt anyone would have missed "The Moth" had vanished forever. (Although I must congratulate the art department at Alpha Video for coming up with a cover design far more interesting than the movie; it was the cover alone that prompted me to buy the disc. It's got nothing at all to do with the movie, but it's pretty cool... almost like the days of the exploitation films where the crappier the movie, the more exciting the poster. The Roger Corman Marketing Team Spirit is alive and well in DVD Land!)Monday, December 13, 2010
Mohammad Monday: Correcting Islam's Image
Here's another sampling of the long-running strip "Jesus and Mo". I think there are "holy men" out there once again saying exactly what Mo is reporting, given the adherent of the Islamic Death Cult who failed at his attempted mass-murder in Stockholm this weekend.
Sunday, December 12, 2010
Shaheed Sunday: Celebrating brave Jihadists!
You can read all about the glorious strike for the honor of Islam and the Prophet Mohammed (may peas be upon him) made yesterday in Sweden by clicking here.
And here are cartoons presented in celebration of this grand martyr's achievement (as well as providing another image of the Prophet Mohammed (may pinatas be upon him) in all his glory!
For images guarenteed suitable for all your idol-worshiping needs, be sure to stop by for Mohammed Mondays.
And here are cartoons presented in celebration of this grand martyr's achievement (as well as providing another image of the Prophet Mohammed (may pinatas be upon him) in all his glory!
For images guarenteed suitable for all your idol-worshiping needs, be sure to stop by for Mohammed Mondays.
Thursday, December 9, 2010
'The Ghost Ship' is an offbeat thriller
The Ghost Ship (1943)
Starring: Russell Wade, Richard Dix, Skelton Knaggs, Ben Bard, Edmund Glover, and Edith Barrett
Director: Mark Robson
Rating: Seven of Ten Stars
During the 1940s, producer Val Lewton made a string of landmark horror films for RKO, films with humble origins--he was given small budgets, titles picked in advance by the marketing people, and in many cases additional requirements that he had use certain specific standing sets. Yet, it was in these movies that many of the tricks that horror filmmakers still use to this very day were either first used or perfected. And while Lewton didn't actually direct any of the films, those who did credit him with defining the style and their trail-blazing filmmaking vocabulary.
With "The Ghost Ship," Lewton was given the task to make a horror movie using a ship set left over from the 1938 production "Pacific Liner". As was typical, he more than rose to the task and created a psychological thriller dripping with atmosphere and that keeps viewers guessing about the outcome until the very end. It also features moments of horror that few (if any) directors and producers will never be able to get up on the screen even in their wildest dreams.
In "Ghost Ship", young Tom Merriam (Wade) signs on as third officer of the Altair, a ship under the command of the respected and well-known Captain Stone (Dix). Tom quickly realizes that Stone is gradually going insane, becoming obsessed with power and believing the crew is plotting against him. He tries to call the attention of his fellow officers to this fact, but their loyalty to the captain blinds them to his growing and evermore dangerous eccentricities. Tom finds himself the target of the captain's deadly resentment, but manages to end his contract and leave the ship, safely escaping his clutches. Or so he thinks... as a series of misunderstandings places him right back on the Altair as it leaves for an extended cruise. A cruise that Tom is not likely to survive.
Simple both in story and execution, "Ghost Ship" is nonetheless a tense, character-driven thriller that keeps viewers engaged by placing its sympathetic and reluctant hero at the mercy of a madman that no one but he recognizes for what he is. Further, by demonstrating the homicidal nature of Captain Stone in a couple of very well-staged scenes of horror--the foremost of these being the one where Stone locks a crewman in the housing for the anchor chain as the anchor is being lifted--director Mark Robson makes it seem more than likely that Tom won't live as far as the end credits.
Of course, the tight script and moody cinematography wouldn't have seemed half as effective if the cast hasn't been so good. Russell Wade is a bit bland, but he works well in the part of the earnest officer who finds his idealism crashing headlong into a nightmare, while Richard Dix is almost brilliant in the part of the insane captain, switching from menacing to stern to bat-shit maniacal to coldly rational within short order... and coming across equally convincing in all modes of behavior. Dix's performances makes it absolutely plausible that Stone's insanity could go completely unnoticed by everyone else in his life and under his command, and this is what makes the movie so very scary.
Six decades after it was made, "Ghost Ship" remains a film that would-be makers of horror movies and thrillers should be forced to study and write 2,000 word essays on... especially if their last names are Argento, Zombie, or De Palma. Maybe their film-craft would improve.
Has anyone out there seen "Ghost Ship"? What do you think is the scariest moment in the film? For me, it's the life-and-death struggle during the climax that happens mere feet from a group of unaware sailors happily singing Calypso music.
Interesting Fact: Shortly after the release of "Ghost Ship", a pair of play-wrights claimed Val Lewton had stolen their story and took Lewton and RKO to court. Although an out-of-court settlement offer was made, Lewton didn't want the accusation of him being plagerist hanging out there, so he insisted the case go to trail. The courts found against Lewton and RKO, and the film was was withdrawn from distribution. It was not seen again by the public for over 50 years.
Starring: Russell Wade, Richard Dix, Skelton Knaggs, Ben Bard, Edmund Glover, and Edith Barrett
Director: Mark Robson
Rating: Seven of Ten Stars
During the 1940s, producer Val Lewton made a string of landmark horror films for RKO, films with humble origins--he was given small budgets, titles picked in advance by the marketing people, and in many cases additional requirements that he had use certain specific standing sets. Yet, it was in these movies that many of the tricks that horror filmmakers still use to this very day were either first used or perfected. And while Lewton didn't actually direct any of the films, those who did credit him with defining the style and their trail-blazing filmmaking vocabulary.
With "The Ghost Ship," Lewton was given the task to make a horror movie using a ship set left over from the 1938 production "Pacific Liner". As was typical, he more than rose to the task and created a psychological thriller dripping with atmosphere and that keeps viewers guessing about the outcome until the very end. It also features moments of horror that few (if any) directors and producers will never be able to get up on the screen even in their wildest dreams.
In "Ghost Ship", young Tom Merriam (Wade) signs on as third officer of the Altair, a ship under the command of the respected and well-known Captain Stone (Dix). Tom quickly realizes that Stone is gradually going insane, becoming obsessed with power and believing the crew is plotting against him. He tries to call the attention of his fellow officers to this fact, but their loyalty to the captain blinds them to his growing and evermore dangerous eccentricities. Tom finds himself the target of the captain's deadly resentment, but manages to end his contract and leave the ship, safely escaping his clutches. Or so he thinks... as a series of misunderstandings places him right back on the Altair as it leaves for an extended cruise. A cruise that Tom is not likely to survive.
Simple both in story and execution, "Ghost Ship" is nonetheless a tense, character-driven thriller that keeps viewers engaged by placing its sympathetic and reluctant hero at the mercy of a madman that no one but he recognizes for what he is. Further, by demonstrating the homicidal nature of Captain Stone in a couple of very well-staged scenes of horror--the foremost of these being the one where Stone locks a crewman in the housing for the anchor chain as the anchor is being lifted--director Mark Robson makes it seem more than likely that Tom won't live as far as the end credits.
Of course, the tight script and moody cinematography wouldn't have seemed half as effective if the cast hasn't been so good. Russell Wade is a bit bland, but he works well in the part of the earnest officer who finds his idealism crashing headlong into a nightmare, while Richard Dix is almost brilliant in the part of the insane captain, switching from menacing to stern to bat-shit maniacal to coldly rational within short order... and coming across equally convincing in all modes of behavior. Dix's performances makes it absolutely plausible that Stone's insanity could go completely unnoticed by everyone else in his life and under his command, and this is what makes the movie so very scary.
Six decades after it was made, "Ghost Ship" remains a film that would-be makers of horror movies and thrillers should be forced to study and write 2,000 word essays on... especially if their last names are Argento, Zombie, or De Palma. Maybe their film-craft would improve.
Has anyone out there seen "Ghost Ship"? What do you think is the scariest moment in the film? For me, it's the life-and-death struggle during the climax that happens mere feet from a group of unaware sailors happily singing Calypso music.
Interesting Fact: Shortly after the release of "Ghost Ship", a pair of play-wrights claimed Val Lewton had stolen their story and took Lewton and RKO to court. Although an out-of-court settlement offer was made, Lewton didn't want the accusation of him being plagerist hanging out there, so he insisted the case go to trail. The courts found against Lewton and RKO, and the film was was withdrawn from distribution. It was not seen again by the public for over 50 years.
Wednesday, December 8, 2010
Monday, December 6, 2010
Mohammed Monday:
What Would Mohammed Drive?
What Would Mohammed Drive?
In December of 2002, editorial cartoonist Doug Marlette answered the question "What would Mohammed drive?" with the following cartoon:
He got the usual threats of murder and mutilation from Mohammed death cultists and other followers of the Religion of Peace.
It's interesting how the idolators of the Prophet Mohammed (may peaches be upon him) automatically assumed that the cartoon referred to the Prophet Mohammed (may peas be upon him). Why would they have such an idea? There were no Ryder trucks or missiles in the day of their beloved and most perfect Prophet. And there are all sorts of guys named Mohammed who want to murder people.
Take for example Mohamed O. Mohamud, devout Muslim (according to his friends) and typical Lion of Islam slacker terrorist/mass-murderer wanna-be. In November 2010, Mohmamud provided his own answer to the question "what would Mohamed drive?" and it's the same that the cartoonist came up with. Does this mean that Mohamed O. Muhamud is a Prophet? Or does it mean he is like unto the Prophet Mohammed (may pleats be upon him), carrying on as he would and as he commands in the Most Holy Koran?
The lesson here is that the idolators (and perhaps even the "faithful Muslims") seem to know exactly what Mohammed would drive, whether it be the Prophet Mohammed (may peat be upon him) or Mohamed O. Mohamud, the MOM of all Mohammedans!
In fairness, at least one Imam disavowed Mohamed O. Mohamud, so I suppose this means there is at least ONE Muslim who is peaceful. This also indicates that he is smarter than a lot of Oregonians, many of whom seemed to blame the FBI for MOM's murderous intentions.
(The Mohammed Mondays series will continue on a weekly basis through the end of the year, after which it will become a bi-weekly feature. Submissions are welcomed. Click here for links to background and details.)
He got the usual threats of murder and mutilation from Mohammed death cultists and other followers of the Religion of Peace.
It's interesting how the idolators of the Prophet Mohammed (may peaches be upon him) automatically assumed that the cartoon referred to the Prophet Mohammed (may peas be upon him). Why would they have such an idea? There were no Ryder trucks or missiles in the day of their beloved and most perfect Prophet. And there are all sorts of guys named Mohammed who want to murder people.
Take for example Mohamed O. Mohamud, devout Muslim (according to his friends) and typical Lion of Islam slacker terrorist/mass-murderer wanna-be. In November 2010, Mohmamud provided his own answer to the question "what would Mohamed drive?" and it's the same that the cartoonist came up with. Does this mean that Mohamed O. Muhamud is a Prophet? Or does it mean he is like unto the Prophet Mohammed (may pleats be upon him), carrying on as he would and as he commands in the Most Holy Koran?
The lesson here is that the idolators (and perhaps even the "faithful Muslims") seem to know exactly what Mohammed would drive, whether it be the Prophet Mohammed (may peat be upon him) or Mohamed O. Mohamud, the MOM of all Mohammedans!
In fairness, at least one Imam disavowed Mohamed O. Mohamud, so I suppose this means there is at least ONE Muslim who is peaceful. This also indicates that he is smarter than a lot of Oregonians, many of whom seemed to blame the FBI for MOM's murderous intentions.
(The Mohammed Mondays series will continue on a weekly basis through the end of the year, after which it will become a bi-weekly feature. Submissions are welcomed. Click here for links to background and details.)
Sunday, December 5, 2010
'Werewolf by Night' goes out howling
Essential Werewolf by Night, Vol. 2 (Marvel Comics, 2007)
Writer: Doug Moench
Artists: Don Perlin, et. al.
Rating: Seven of Ten Stars
"Werewolf By Night" was one of several titles published by Marvel Comics that played off a mixture of classic movie monsters and 1970s exploitation movie fare. Following the exploits of reluctant werewolf Jack Russell, it was perhaps the most successful of the titles from a pure story-telling point of view, with a direction and tone set in the first few tales in "Marvel Spotlight" that continued with only a minor adjustment up to the title's cancellation with issue #42.
In this massive, low-cost black-and-white reprint book, Marvel Comics presents the second half of one of their greatest horror series, "Werewolf By Night", with the 20 issues of the regular comic benefiting from the presence of a single creative team of writer Doug Moench and artist Don Perlin, and a steadiness of story focus almost unmatched in Marvel's horror titles. Although the title passed through the hands of three different editors, Moench and Perlin seemed to be holding steadily to the same path the series had been following all along, avoiding the numerous re-inventions that kept causing Ghost Rider's motorcycle to sputter, as well as avoiding getting tangled up in too many subplots as Marv Wolfman did on "Tomb of Dracula". There are a number of story threads running through the book--including some that started in the previous volume, one or two of which were unceremoniously dropped by previous writers--and Moench and Perlin keep them all flowing and tie them up very neatly at exactly the right moment every time. They even managed to almost successfully usher the Werewolf into a position of viable superhero as Marvel's horror wave crashed, creating in the process a character that would go onto become one of the more interesting Batman knock-offs comicdom has ever seen, Moon Knight. Moench and Perlin may not have been the original creative team on the title, but they were certainly the greatest.
In addition to the 20 issues of the regular series, the book collects four issues of "Giant-Sized Werewolf" and an issue of "Marvel Premiere". The one thing these additions have in common is that they are the weakest points of the book, not only disrupting the flow of the main story as you read the collection, with forced meetings between the Werewolf and other Marvel horror characters (like Frankenstein's Monster and Mobius the Living Vampire) and stories that just aren't as interesting as the ones in the main title. The exception is the tale from "Giant-Sized Werewolf #3" which reintroduces characters and story elements last seen around the middle of "Essential Werewolf By Night, Vol. 1" and starts a ball rolling that eventually brings us to some of the most effective of Marvel's horror tales.
Basically, as was the case with most of Marvel's horror characters, "Werewolf By Night" was at its best when it stood apart from the greater Marvel Universe. Most cross-overs simply didn't work, including those featuring other horror characters, such as Frankenstein's Monster.
Superhero flair and classic/exploitation horror aren't easy to mix--as my comments regarding the "Giant-Sized Werewolf" reprints implies--but Moench and Perlin tried it with "Werewolf By Night" as the last dozen or so issues of the title moved steadily in a more traditional Marvel direction, with Jack Russell gaining control of his transformations and even coming up against Iron Man in the final issue. But, as Moench and Perlin worked to transition the title, they gave us some of the most effective horror stories Marvel ever published.
In their efforts to tie up Jack Russell's horror past, the werewolf first savagely mauled Jack's best friend, Jack's sister is transformed into a hideous monster when a villain triggers the dormant werewolf within her; long-time supporting cast members Taboo and Topaz return during a show-down with the downright Lovecraftian villain Glitternight; Brother Voodoo shows up to help put Jack's legal problems behind him in one of the most effective appearances of that inherently goofy character ever, a final showdown takes place against the downright Lovecraftian villain Glitternight; and Jack and friends are trapped in a haunted house where the title manages to surpass even the horrific Tom Sutton-illustrated Tatterdaemallion stories of Volume One.
But, as excellent as these stories were, the Marvel Age of Monsters was over. As the 1970s came to a close, so did Werewolf By Night. However, it ended on a very strong note, and the two volumes collecting all the early stories of Marvel Comics' reluctant werewolf are worthy of attention from comics and horror fans alike.
Writer: Doug Moench
Artists: Don Perlin, et. al.
Rating: Seven of Ten Stars
"Werewolf By Night" was one of several titles published by Marvel Comics that played off a mixture of classic movie monsters and 1970s exploitation movie fare. Following the exploits of reluctant werewolf Jack Russell, it was perhaps the most successful of the titles from a pure story-telling point of view, with a direction and tone set in the first few tales in "Marvel Spotlight" that continued with only a minor adjustment up to the title's cancellation with issue #42.
In this massive, low-cost black-and-white reprint book, Marvel Comics presents the second half of one of their greatest horror series, "Werewolf By Night", with the 20 issues of the regular comic benefiting from the presence of a single creative team of writer Doug Moench and artist Don Perlin, and a steadiness of story focus almost unmatched in Marvel's horror titles. Although the title passed through the hands of three different editors, Moench and Perlin seemed to be holding steadily to the same path the series had been following all along, avoiding the numerous re-inventions that kept causing Ghost Rider's motorcycle to sputter, as well as avoiding getting tangled up in too many subplots as Marv Wolfman did on "Tomb of Dracula". There are a number of story threads running through the book--including some that started in the previous volume, one or two of which were unceremoniously dropped by previous writers--and Moench and Perlin keep them all flowing and tie them up very neatly at exactly the right moment every time. They even managed to almost successfully usher the Werewolf into a position of viable superhero as Marvel's horror wave crashed, creating in the process a character that would go onto become one of the more interesting Batman knock-offs comicdom has ever seen, Moon Knight. Moench and Perlin may not have been the original creative team on the title, but they were certainly the greatest.
In addition to the 20 issues of the regular series, the book collects four issues of "Giant-Sized Werewolf" and an issue of "Marvel Premiere". The one thing these additions have in common is that they are the weakest points of the book, not only disrupting the flow of the main story as you read the collection, with forced meetings between the Werewolf and other Marvel horror characters (like Frankenstein's Monster and Mobius the Living Vampire) and stories that just aren't as interesting as the ones in the main title. The exception is the tale from "Giant-Sized Werewolf #3" which reintroduces characters and story elements last seen around the middle of "Essential Werewolf By Night, Vol. 1" and starts a ball rolling that eventually brings us to some of the most effective of Marvel's horror tales.
Basically, as was the case with most of Marvel's horror characters, "Werewolf By Night" was at its best when it stood apart from the greater Marvel Universe. Most cross-overs simply didn't work, including those featuring other horror characters, such as Frankenstein's Monster.
Superhero flair and classic/exploitation horror aren't easy to mix--as my comments regarding the "Giant-Sized Werewolf" reprints implies--but Moench and Perlin tried it with "Werewolf By Night" as the last dozen or so issues of the title moved steadily in a more traditional Marvel direction, with Jack Russell gaining control of his transformations and even coming up against Iron Man in the final issue. But, as Moench and Perlin worked to transition the title, they gave us some of the most effective horror stories Marvel ever published.
In their efforts to tie up Jack Russell's horror past, the werewolf first savagely mauled Jack's best friend, Jack's sister is transformed into a hideous monster when a villain triggers the dormant werewolf within her; long-time supporting cast members Taboo and Topaz return during a show-down with the downright Lovecraftian villain Glitternight; Brother Voodoo shows up to help put Jack's legal problems behind him in one of the most effective appearances of that inherently goofy character ever, a final showdown takes place against the downright Lovecraftian villain Glitternight; and Jack and friends are trapped in a haunted house where the title manages to surpass even the horrific Tom Sutton-illustrated Tatterdaemallion stories of Volume One.
But, as excellent as these stories were, the Marvel Age of Monsters was over. As the 1970s came to a close, so did Werewolf By Night. However, it ended on a very strong note, and the two volumes collecting all the early stories of Marvel Comics' reluctant werewolf are worthy of attention from comics and horror fans alike.
Friday, December 3, 2010
'The Giant Claw' is attached to a fun turkey
The Giant Claw (1957)
Starring: Jeff Morrow and Mara Corday
Director: Fred F. Sears
Rating: Five of Ten Stars
An electrical engineer who happens to be dabble in molecular physics on the side (Morrow) and his mathematician Girl Friday (Corday) work with the United States military to find a way to defeat an invulnerable giant anti-matter bird from outer space that has come to Earth to nest (and eat planes, trains, the United Nations Building, and joyriding teenagers).
"The Giant Claw" is a film that demonstrates that the cheesy science fiction movie hasn't changed in 50 years. I'll leave it up to you to decide if that means this film was ahead of its time, or if it means we should be sad over the state of the art of the genre film. Me, I enjoyed this movie the same way I enjoy the goofy monster films that appear on Sci-Fi Channel during "the most dangerous night of television."
The pacing, tone, and quality of acting of this movie is almost identical to "Monster Ark", a Sci-Fi Channel Original Picture that I saw a while back. Heck, the monsters in the two films are equally goofy looking and they're both animated through the cheapest possible effects of the day. (The alien buzzard in "The Giant Claw" is a marionette attacking miniatures, while the creature in "Monster Ark" is a CGI creature of dubious quality attacking similarly dubiously animated targets or actors performing with bad gore effects.)
If you've enjoyed any of the Sci-Fi Channel's monster movies, you should also give this film a try. Even if you haven't, it's worth a look if your monster movie viewing experience isn't ruined by a little silliness. Unlike many 1950s low-budget monster movies, "The Giant Claw" wastes no time getting started and it keeps going at a fast clip for its entire 76-minute running time.
As silly as the giant space buzzard looks, the crunching sounds as it eats the crew of a plane who attempted to parachute to safety and the anti-matter death-from-above it visits upon a carload of teenagers are actually some pretty good monster movie moments by any standard. Jeff Morrow and Mara Corday also make a good on-screen team.
Check out "The Giant Claw". At the very least, slate it for inclusion in a Bad Movie Night line-up. It's almost tailor-made for such an event!
Starring: Jeff Morrow and Mara Corday
Director: Fred F. Sears
Rating: Five of Ten Stars
An electrical engineer who happens to be dabble in molecular physics on the side (Morrow) and his mathematician Girl Friday (Corday) work with the United States military to find a way to defeat an invulnerable giant anti-matter bird from outer space that has come to Earth to nest (and eat planes, trains, the United Nations Building, and joyriding teenagers).
"The Giant Claw" is a film that demonstrates that the cheesy science fiction movie hasn't changed in 50 years. I'll leave it up to you to decide if that means this film was ahead of its time, or if it means we should be sad over the state of the art of the genre film. Me, I enjoyed this movie the same way I enjoy the goofy monster films that appear on Sci-Fi Channel during "the most dangerous night of television."
The pacing, tone, and quality of acting of this movie is almost identical to "Monster Ark", a Sci-Fi Channel Original Picture that I saw a while back. Heck, the monsters in the two films are equally goofy looking and they're both animated through the cheapest possible effects of the day. (The alien buzzard in "The Giant Claw" is a marionette attacking miniatures, while the creature in "Monster Ark" is a CGI creature of dubious quality attacking similarly dubiously animated targets or actors performing with bad gore effects.)
If you've enjoyed any of the Sci-Fi Channel's monster movies, you should also give this film a try. Even if you haven't, it's worth a look if your monster movie viewing experience isn't ruined by a little silliness. Unlike many 1950s low-budget monster movies, "The Giant Claw" wastes no time getting started and it keeps going at a fast clip for its entire 76-minute running time.
As silly as the giant space buzzard looks, the crunching sounds as it eats the crew of a plane who attempted to parachute to safety and the anti-matter death-from-above it visits upon a carload of teenagers are actually some pretty good monster movie moments by any standard. Jeff Morrow and Mara Corday also make a good on-screen team.
Check out "The Giant Claw". At the very least, slate it for inclusion in a Bad Movie Night line-up. It's almost tailor-made for such an event!
Subscribe to:
Posts (Atom)
.jpg)
