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Kevin Phillipson (10066 KP) rated The Old Dark House (1932) in Movies
Oct 22, 2020
Matthew Krueger (10051 KP) rated The Mummy (1932) in Movies
Oct 8, 2019 (Updated Mar 4, 2020)
Boris Karloff
The Mummy- is spooky, horrorfying, excellent, creepy and more . Boris Karloff is terrorfying as Ardath Bey / Imhotep / The Mummy. He is so creepy in this film, you will have nightmares.
The Plot: A team of British archaeologists led by Sir Joseph Whemple (Arthur Byron) discover the mummified remains of the ancient Egyptian prince Imhotep (Boris Karloff), along with the legendary scroll of Thoth. When one of the archaeologists recites the scroll aloud, Imhotep returns to life, but escapes. Several years later, Imhotep has taken on the guise of a wealthy man, as he searches Egypt for his lost love, who he believes has been reincarnated as the lovely Helen Grosvenor (Zita Johann).
I would highly reccordmend this movie.
The Plot: A team of British archaeologists led by Sir Joseph Whemple (Arthur Byron) discover the mummified remains of the ancient Egyptian prince Imhotep (Boris Karloff), along with the legendary scroll of Thoth. When one of the archaeologists recites the scroll aloud, Imhotep returns to life, but escapes. Several years later, Imhotep has taken on the guise of a wealthy man, as he searches Egypt for his lost love, who he believes has been reincarnated as the lovely Helen Grosvenor (Zita Johann).
I would highly reccordmend this movie.
Erika (17789 KP) rated The Mummy (1932) in Movies
Mar 25, 2018
Matthew Krueger (10051 KP) rated The Comedy of Terrors (1964) in Movies
Mar 30, 2020 (Updated Mar 30, 2020)
Vincent Price (1 more)
Boris Karloff
Price and Karloff
The Comedy of Terrors- It is a blend of comedy and horror which features several cast members from Tales of Terror, made by AIP the year before. Its funny, hilarious, laugh of loud, terrorfying and scary. Plus you have both Vincent Price and Boris Karloff which is a hugh plus in my books. Two iconic legend horror actors.
The plot: Waldo Trumbull (Vincent Price) is an amoral undertaker in 19th-century New England who takes to murdering people to have enough cash to support his drinking habit. Desperate for money after a widow stiffs him for a burial, Trumbull and his assistant, Gillie (Peter Lorre), decide to kill the wealthy Mr. Black (Basil Rathbone), their landlord, to whom they're indebted. But murdering Black proves to be quite a challenge, as he seems to keep recovering from death every time they do him in.
Its a classic movie, with two horror icons and mixs horror with comedy.
The plot: Waldo Trumbull (Vincent Price) is an amoral undertaker in 19th-century New England who takes to murdering people to have enough cash to support his drinking habit. Desperate for money after a widow stiffs him for a burial, Trumbull and his assistant, Gillie (Peter Lorre), decide to kill the wealthy Mr. Black (Basil Rathbone), their landlord, to whom they're indebted. But murdering Black proves to be quite a challenge, as he seems to keep recovering from death every time they do him in.
Its a classic movie, with two horror icons and mixs horror with comedy.
Matthew Krueger (10051 KP) rated The Raven (1963) in Movies
Aug 21, 2020
Vincent Price (2 more)
Boris Karloff
Jack Nicholson
Campy and Chessy
The Raven- is a excellent slapstick comic-horror film that is based off of Edgar Allen-Poe's Poem. The effects are cheesy meaning bad but those were effects back in the 60's. Now we have CGI. So looking back those were the effects that their had. And it got better overtime. I just love the campest of this film. Its horror but slapstick horror with cheesy effects.
The Plot: Magician Erasmus Craven (Vincent Price) is still deeply depressed two years after the death of his beloved wife, Lenore (Hazel Court). One day, he's visited by Adolphus Bedlo (Peter Lorre), who has been transformed into a raven after losing a duel to Dr. Scarabus (Boris Karloff), an evil wizard. After Craven transforms Bedlo back into a human, Bedlo claims to have seen Lenore's ghost at Scarabus' castle, prompting the two to head to Scarabus' castle to seek Craven's lost love.
I love the performaces by Vincent Price, Boris Karloff and Jack Nicholson. Three generations of actors right their. Plus Roger Corman directed it.
Its a cheesy campy film but got to love it cause of the slapstick.
The Plot: Magician Erasmus Craven (Vincent Price) is still deeply depressed two years after the death of his beloved wife, Lenore (Hazel Court). One day, he's visited by Adolphus Bedlo (Peter Lorre), who has been transformed into a raven after losing a duel to Dr. Scarabus (Boris Karloff), an evil wizard. After Craven transforms Bedlo back into a human, Bedlo claims to have seen Lenore's ghost at Scarabus' castle, prompting the two to head to Scarabus' castle to seek Craven's lost love.
I love the performaces by Vincent Price, Boris Karloff and Jack Nicholson. Three generations of actors right their. Plus Roger Corman directed it.
Its a cheesy campy film but got to love it cause of the slapstick.
Doug Jones recommended The Mummy (1932) in Movies (curated)
Matthew Krueger (10051 KP) rated Targets (1968) in Movies
Jun 18, 2020
Targeting Frankenstein: A Horror Icon
Targets- is a very suspenseful film that stars a old boris Karloff. His performance in this film is different. Usually he is type-cast in a horror movie. Targets is not the cast, its a more serious role for Karloff and I liked it alot. He is dramatic in Targets. It was Karloff's last appearance in a marjor american film, before he passed away in 1968.
The plot: After unhinged Vietnam vet Bobby Thompson (Tim O'Kelly) kills his wife and mother, he goes on a brutal shooting spree. Starting at an oil refinery, he evades the police and continues his murderous outing at a drive-in movie theater, where Byron Orlock (Boris Karloff), a retiring horror film icon, is making a promotional appearance. Before long, Orlock, a symbol of fantastical old-fashioned scares, faces off against Thompson, a remorseless psychopath rooted in a harsh modern reality.
Even Karloff's charcter is a retired horror film actor, so he can never get away from the horror genre/type-casting.
In the film's finale at a drive-in theater, Orlok – the old-fashioned, traditional screen monster who always obeyed the rules – confronts the new, realistic, nihilistic late-1960s "monster" in the shape of a clean-cut, unassuming multiple murderer.
Bogdanovich got the chance to make Targets because Boris Karloff owed studio head Roger Corman two days' work. Corman told Bogdanovich he could make any film he liked provided he used Karloff and stayed under budget. In addition, Bogdanovich had to use clips from Corman's Napoleonic-era thriller The Terror in the movie. The clips from The Terror feature Jack Nicholson and Boris Karloff. A brief clip of Howard Hawks' 1931 film The Criminal Code featuring Karloff was also used.
American International Pictures offered to release, but Bogdanovich wanted to try to see if the film could get a deal with a major studio. It was seen by Robert Evans of Paramount who bought it for $150,000, giving Corman an instant profit on the movie before it was even released.
Although the film was written and production photography completed in late 1967, it was released after the assassinations of Martin Luther King and Robert F. Kennedy in early 1968 and thus had some topical relevance to then-current events. Nevertheless, it was not very successful at the box office.
Quentin Tarantino later called it "the most political movie Corman ever made since The Intruder. And forty years later it’s still one of the strongest cries for gun control in American cinema. The film isn’t a thriller with a social commentary buried inside of it (the normal Corman model), it’s a social commentary with a thriller buried inside of it... It was one of the most powerful films of 1968 and one of the greatest directorial debuts of all time. And I believe the best film ever produced by Roger Corman.
Its a excellent mystery suspenseful thrilling starring Boris Karloff, last appearance in a marjor american film, before he passed away in 1968. A great film to end your career on.
The plot: After unhinged Vietnam vet Bobby Thompson (Tim O'Kelly) kills his wife and mother, he goes on a brutal shooting spree. Starting at an oil refinery, he evades the police and continues his murderous outing at a drive-in movie theater, where Byron Orlock (Boris Karloff), a retiring horror film icon, is making a promotional appearance. Before long, Orlock, a symbol of fantastical old-fashioned scares, faces off against Thompson, a remorseless psychopath rooted in a harsh modern reality.
Even Karloff's charcter is a retired horror film actor, so he can never get away from the horror genre/type-casting.
In the film's finale at a drive-in theater, Orlok – the old-fashioned, traditional screen monster who always obeyed the rules – confronts the new, realistic, nihilistic late-1960s "monster" in the shape of a clean-cut, unassuming multiple murderer.
Bogdanovich got the chance to make Targets because Boris Karloff owed studio head Roger Corman two days' work. Corman told Bogdanovich he could make any film he liked provided he used Karloff and stayed under budget. In addition, Bogdanovich had to use clips from Corman's Napoleonic-era thriller The Terror in the movie. The clips from The Terror feature Jack Nicholson and Boris Karloff. A brief clip of Howard Hawks' 1931 film The Criminal Code featuring Karloff was also used.
American International Pictures offered to release, but Bogdanovich wanted to try to see if the film could get a deal with a major studio. It was seen by Robert Evans of Paramount who bought it for $150,000, giving Corman an instant profit on the movie before it was even released.
Although the film was written and production photography completed in late 1967, it was released after the assassinations of Martin Luther King and Robert F. Kennedy in early 1968 and thus had some topical relevance to then-current events. Nevertheless, it was not very successful at the box office.
Quentin Tarantino later called it "the most political movie Corman ever made since The Intruder. And forty years later it’s still one of the strongest cries for gun control in American cinema. The film isn’t a thriller with a social commentary buried inside of it (the normal Corman model), it’s a social commentary with a thriller buried inside of it... It was one of the most powerful films of 1968 and one of the greatest directorial debuts of all time. And I believe the best film ever produced by Roger Corman.
Its a excellent mystery suspenseful thrilling starring Boris Karloff, last appearance in a marjor american film, before he passed away in 1968. A great film to end your career on.
Matthew Krueger (10051 KP) rated Son of Frankenstein (1939) in Movies
Oct 9, 2020
Boris Karloff (3 more)
Bela Lugosi
Basil Rathbone
Lionel Atwill
The Monster's Alive Once More
Son of Frankenstein- is a great continuation of the frankenstein franchise. Boris Karloff os back as the monster but this would be the last time he would play the monster in the universal monster universe. Its sad cause when you think of frankenstein, you think of Boris.
The plot: Baron Wolf von Frankenstein (Basil Rathbone) is determined to prove the legitimacy of his father's scientific work, thus rescuing the family name from disgrace. With the help of Ygor (Bela Lugosi), a grave robber, Wolf successfully reanimates the monster (Boris Karloff) his father originally brought back from the dead. But when several villagers are killed mysteriously, Wolf must find the culprit in order to vindicate his creation, or face the possibility that he may be responsible.
Universal's declining horror output was revitalized with the enormously successful Son of Frankenstein, in which the studio cast both stars.
After the ousting of the Laemmles from Universal and the British embargo on American horror films in 1936, Karloff and Lugosi found themselves in a career slump. For two years, horror films were out of favor at Universal Studios. On April 5, 1938, a nearly bankrupt theater in Los Angeles staged a desperate stunt by showing Frankenstein, Dracula and King Kong as a triple feature. The impressive box office results led to similarly successful revivals nationwide. Universal soon decided to make a big-budget Frankenstein sequel.
Son of Frankenstein marks changes in the Monster's character from Bride of Frankenstein. The Monster is duller and no longer speaks, explained by being injured by a lightning strike. The monster also wore a giant fur vest, not seen in the first two Frankenstein films, perhaps to add color to his appearance when the film was planned to be shot in color. He is fond of Ygor and obeys his orders. The Monster shows humanity in three scenes: first when he is disturbed by his image in a mirror, especially when compared to the Baron. Next, when he discovers Ygor's body, letting out a powerful scream, and later when he contemplates killing Peter but changes his mind. While the first two films were clearly set in the 1900s, this film appears to take place in the 1930s, judging by the appearance of a modern automobile.
Peter Lorre was originally cast as Baron Wolf von Frankenstein, but he had to leave the production when he became ill. Replacing Lorre was Basil Rathbone, who had scored a major triumph as Sir Guy of Gisbourne in The Adventures of Robin Hood, released the previous year.
According to the documentary Universal Horror (1998), the film was intended to be shot in color and some Technicolor test footage was filmed, but for artistic or budgetary reasons the plan was abandoned. No color test footage is known to survive, but a clip from a Kodachrome color home movie filmed at the studio and showing Boris Karloff in the green monster makeup, clowning around with makeup artist Jack Pierce, is included in the same documentary.
Its a excellent universal monster film.
The plot: Baron Wolf von Frankenstein (Basil Rathbone) is determined to prove the legitimacy of his father's scientific work, thus rescuing the family name from disgrace. With the help of Ygor (Bela Lugosi), a grave robber, Wolf successfully reanimates the monster (Boris Karloff) his father originally brought back from the dead. But when several villagers are killed mysteriously, Wolf must find the culprit in order to vindicate his creation, or face the possibility that he may be responsible.
Universal's declining horror output was revitalized with the enormously successful Son of Frankenstein, in which the studio cast both stars.
After the ousting of the Laemmles from Universal and the British embargo on American horror films in 1936, Karloff and Lugosi found themselves in a career slump. For two years, horror films were out of favor at Universal Studios. On April 5, 1938, a nearly bankrupt theater in Los Angeles staged a desperate stunt by showing Frankenstein, Dracula and King Kong as a triple feature. The impressive box office results led to similarly successful revivals nationwide. Universal soon decided to make a big-budget Frankenstein sequel.
Son of Frankenstein marks changes in the Monster's character from Bride of Frankenstein. The Monster is duller and no longer speaks, explained by being injured by a lightning strike. The monster also wore a giant fur vest, not seen in the first two Frankenstein films, perhaps to add color to his appearance when the film was planned to be shot in color. He is fond of Ygor and obeys his orders. The Monster shows humanity in three scenes: first when he is disturbed by his image in a mirror, especially when compared to the Baron. Next, when he discovers Ygor's body, letting out a powerful scream, and later when he contemplates killing Peter but changes his mind. While the first two films were clearly set in the 1900s, this film appears to take place in the 1930s, judging by the appearance of a modern automobile.
Peter Lorre was originally cast as Baron Wolf von Frankenstein, but he had to leave the production when he became ill. Replacing Lorre was Basil Rathbone, who had scored a major triumph as Sir Guy of Gisbourne in The Adventures of Robin Hood, released the previous year.
According to the documentary Universal Horror (1998), the film was intended to be shot in color and some Technicolor test footage was filmed, but for artistic or budgetary reasons the plan was abandoned. No color test footage is known to survive, but a clip from a Kodachrome color home movie filmed at the studio and showing Boris Karloff in the green monster makeup, clowning around with makeup artist Jack Pierce, is included in the same documentary.
Its a excellent universal monster film.
Doug Jones recommended Frankenstein (2007) in Movies (curated)
Matthew Krueger (10051 KP) rated The Body Snatcher (1945) in Movies
Oct 17, 2020
Boris Karloff (1 more)
Bela Lugosi
Invasion
The Body Snatcher- is not related to "The Body Snatchers". Yes it is confused. Cause i thought this was the oringal version of "Invasion of the Body Snatchers", just called "The Body Snatcher". Nope it turns out its two different things. Both based off of books. This film is based off of "The Body Snatcher" by Robert Louis Stevenson. While "Invasion of the Body Snatchers" is based off of Jack Finney's 1954 science fiction novel "The Body Snatchers". So yea not confusing at all.
The plot: Dr. Toddy MacFarlane (Henry Daniell) needs cadavers for his medical experiments, ultimately intended to treat a young disabled girl. However, they are not easy to come by, so he enlists the help of taxi driver John Gray (Boris Karloff) and his assistant, Joseph (Bela Lugosi), to unearth bodies from the cemetery. When Donald (Russell Wade), Dr. MacFarlane's assistant, recognizes one of the corpses Gray delivers, the true source of the bodies is called into question.
It is based on the short story "The Body Snatcher" by Robert Louis Stevenson. The film's producer Val Lewton helped adapt the story for the screen, writing under the pen name of "Carlos Keith". The film was marketed with the tagline "The screen's last word in shock sensation!" The frequent mentions of Burke, Hare, and Dr. Knox, all refer to the West Port murders in 1828.
The Body Snatcher was one of three films that Boris Karloff did with RKO Radio Pictures from 1945 to 1946, which were produced by Val Lewton. The other two films were Isle of the Dead (1945) and Bedlam (1946).
Bela Lugosi, who became famous with another Universal classic, Dracula (1931), also signed a deal with RKO. Lewton and MacDonald eventually wrote a small role for him; it became the last film Lugosi and Karloff made together.
Robert Wise – later best-known for his work in The Day the Earth Stood Still (1951), West Side Story (1961), The Sound of Music (1965), and The Sand Pebbles (1966) – was assigned to direct the film. Longtime film editor at RKO, he had replaced the original director on The Curse of the Cat People (1944) when it fell behind schedule and Lewton, who produced it, decided to promote him to his superiors.
Its a excellent film.
The plot: Dr. Toddy MacFarlane (Henry Daniell) needs cadavers for his medical experiments, ultimately intended to treat a young disabled girl. However, they are not easy to come by, so he enlists the help of taxi driver John Gray (Boris Karloff) and his assistant, Joseph (Bela Lugosi), to unearth bodies from the cemetery. When Donald (Russell Wade), Dr. MacFarlane's assistant, recognizes one of the corpses Gray delivers, the true source of the bodies is called into question.
It is based on the short story "The Body Snatcher" by Robert Louis Stevenson. The film's producer Val Lewton helped adapt the story for the screen, writing under the pen name of "Carlos Keith". The film was marketed with the tagline "The screen's last word in shock sensation!" The frequent mentions of Burke, Hare, and Dr. Knox, all refer to the West Port murders in 1828.
The Body Snatcher was one of three films that Boris Karloff did with RKO Radio Pictures from 1945 to 1946, which were produced by Val Lewton. The other two films were Isle of the Dead (1945) and Bedlam (1946).
Bela Lugosi, who became famous with another Universal classic, Dracula (1931), also signed a deal with RKO. Lewton and MacDonald eventually wrote a small role for him; it became the last film Lugosi and Karloff made together.
Robert Wise – later best-known for his work in The Day the Earth Stood Still (1951), West Side Story (1961), The Sound of Music (1965), and The Sand Pebbles (1966) – was assigned to direct the film. Longtime film editor at RKO, he had replaced the original director on The Curse of the Cat People (1944) when it fell behind schedule and Lewton, who produced it, decided to promote him to his superiors.
Its a excellent film.