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Steve Fearon (84 KP) rated Sadako Vs Kayako (2016) in Movies
Oct 2, 2018
Versus movies claim another victim
I love Ringu.
And I love Ju-on.
So although I was skeptical about this movie (Damn you Alien v Predator: Requiem), I was intrigued by how it would work.
How does Sadako, a well dwelling ghost of a psychic little girl, that killed people through terror, end up battling with the curse/spirit of a murdered woman who now makes cricking noise and crawls down stairs and under sheets.
Both combatants kill via terror/mental means, so what does this mean in terms of this movie?
Well an hour or so of the film is basically a mediocre version of Ringu and Ju-On, with some good tension, and a skill for unsettling moments in that way J-Horror still possesses, and I was very much enjoying the ride.
However, as the two titular characters meet...it all starts to get a bit...well silly really.
I won't spoil anything specific, but the final act is a mess of new mythos, old mythos, off-screen battling and really, REALLY weird choices.
I was left feeling frustrated, and that the film had cheapened the brands with their choice of resolution, which though surprising, failed to really add anything to either franchise.
Not a terrible film, but not a great either.
And I love Ju-on.
So although I was skeptical about this movie (Damn you Alien v Predator: Requiem), I was intrigued by how it would work.
How does Sadako, a well dwelling ghost of a psychic little girl, that killed people through terror, end up battling with the curse/spirit of a murdered woman who now makes cricking noise and crawls down stairs and under sheets.
Both combatants kill via terror/mental means, so what does this mean in terms of this movie?
Well an hour or so of the film is basically a mediocre version of Ringu and Ju-On, with some good tension, and a skill for unsettling moments in that way J-Horror still possesses, and I was very much enjoying the ride.
However, as the two titular characters meet...it all starts to get a bit...well silly really.
I won't spoil anything specific, but the final act is a mess of new mythos, old mythos, off-screen battling and really, REALLY weird choices.
I was left feeling frustrated, and that the film had cheapened the brands with their choice of resolution, which though surprising, failed to really add anything to either franchise.
Not a terrible film, but not a great either.
Matthew Krueger (10051 KP) rated House of Frankenstein (1944) in Movies
Jun 18, 2020 (Updated Jun 18, 2020)
Get The Gang All Together: The Crossover
House of Frankenstein- is the ultimate monster crossover. It has Frankenstein, Dracula played by John Carradine, the Hunchback and the Wolf-Man played by Lon Chaney Jr. and a mad scientist played by Boris Karloff.
This "monster rally" approach would continue in the following film, House of Dracula, as well as the 1948 comedy Abbott and Costello Meet Frankenstein.
The plot: After escaping from prison, the evil Dr. Niemann (Boris Karloff) and his hunchbacked assistant, Daniel (J. Carrol Naish), plot their revenge against those who imprisoned them. For this, they recruit the powerful Wolf Man (Lon Chaney), Frankenstein's monster (Glenn Strange) and even Dracula himself (John Carradine). Niemann pursues those who wrong him, sending each monster out to do his dirty work. But his control on the monsters is weak at best and may prove to be his downfall.
Frankenstein Meets the Wolf Man (1943) had been the first on-screen pairing of two Universal Studios monsters, but The House of Frankenstein was the first multi-monster movie. Early drafts of the story reportedly involved more characters from the Universal stable, including the Mummy, the Ape Woman, the Mad Ghoul, and possibly the Invisible Man. Working titles—which included Chamber of Horrors (a reference to Lampini's travelling horror show) and The Devil's Brood—emphasized the multi-monster nature of the story.
The multi-monster approach, which emphasized box office appeal over continuity, was used in House of Dracula the following year and later in Abbott and Costello Meet Frankenstein. The House of Frankenstein marked Glenn Strange's debut as the monster. Strange, a former cowboy, had been a minor supporting player in dozens of low-budget Westerns over the preceding 15 years. He reprised the role in House of Dracula and Abbott and Costello Meet Frankenstein, and cemented the popular image of the monster as shambling, clumsy, and inarticulate. Boris Karloff, who had moved on from playing the monster to playing the mad scientist, reportedly coached Strange on how to play the role.
Some continuity errors are evident in the finished film. After Dracula is thrown from the carriage, he looks over to where his coffin has landed; in a close-up, part of his mustache is gone. Also, when Talbot transforms into the Wolf Man for the final time, his hands lack fur.
Karloff's performance in this film is his last in Universal's classic horror cycle.
Its a fun entertaining movie starring the uninversal monsters.
This "monster rally" approach would continue in the following film, House of Dracula, as well as the 1948 comedy Abbott and Costello Meet Frankenstein.
The plot: After escaping from prison, the evil Dr. Niemann (Boris Karloff) and his hunchbacked assistant, Daniel (J. Carrol Naish), plot their revenge against those who imprisoned them. For this, they recruit the powerful Wolf Man (Lon Chaney), Frankenstein's monster (Glenn Strange) and even Dracula himself (John Carradine). Niemann pursues those who wrong him, sending each monster out to do his dirty work. But his control on the monsters is weak at best and may prove to be his downfall.
Frankenstein Meets the Wolf Man (1943) had been the first on-screen pairing of two Universal Studios monsters, but The House of Frankenstein was the first multi-monster movie. Early drafts of the story reportedly involved more characters from the Universal stable, including the Mummy, the Ape Woman, the Mad Ghoul, and possibly the Invisible Man. Working titles—which included Chamber of Horrors (a reference to Lampini's travelling horror show) and The Devil's Brood—emphasized the multi-monster nature of the story.
The multi-monster approach, which emphasized box office appeal over continuity, was used in House of Dracula the following year and later in Abbott and Costello Meet Frankenstein. The House of Frankenstein marked Glenn Strange's debut as the monster. Strange, a former cowboy, had been a minor supporting player in dozens of low-budget Westerns over the preceding 15 years. He reprised the role in House of Dracula and Abbott and Costello Meet Frankenstein, and cemented the popular image of the monster as shambling, clumsy, and inarticulate. Boris Karloff, who had moved on from playing the monster to playing the mad scientist, reportedly coached Strange on how to play the role.
Some continuity errors are evident in the finished film. After Dracula is thrown from the carriage, he looks over to where his coffin has landed; in a close-up, part of his mustache is gone. Also, when Talbot transforms into the Wolf Man for the final time, his hands lack fur.
Karloff's performance in this film is his last in Universal's classic horror cycle.
Its a fun entertaining movie starring the uninversal monsters.
Acanthea Grimscythe (300 KP) rated The Chalk Man in Books
May 16, 2018
It’s hard to believe that The Chalk Man by C. J. Tudor is a debut; it’s even harder to believe that it’s not considered horror. Though the book focuses primarily on a whodunnit sort of plot, it borrows heavily from my favorite genre. Certain elements of The Chalk Man are downright grisly, which is a welcoming change from many of the mystery books I tend to read. Then again, I love gore and that’s no secret.
The Chalk Man bounces flawlessly between past and present as the story of an unfortunate girl’s murder unravels. Normally, I find back and forth plots confusing. Tudor approaches this not by labeling each shift as a new chapter, but by naming the chapters with the year they take place. This weaving of the plot creates a sense of urgency, with each chapter ending on the cusp of a new discovery. When all the cards are on the table, nothing is as it seems. The popular, snarky definition of the word “assume” definitely plays a heavy-handed role in this book and Tudor pulls it off well.
Creating complex characters appears to be another forte of Tudor’s. By complex, I mean that his cast, much like the plot, has as several layers to it. In some cases, this can make a story difficult to comprehend, but Tudor exercises some caution in giving any of his characters too many traits.
The Chalk Man is a quick, entertaining read which is always a plus. The constant action kept the book from becoming a chore and thus I was able to devour it in a few days. I’d like to thank Penguin’s First to Read program for providing me with a free copy of this book. This review reflects my own opinion.
The Chalk Man bounces flawlessly between past and present as the story of an unfortunate girl’s murder unravels. Normally, I find back and forth plots confusing. Tudor approaches this not by labeling each shift as a new chapter, but by naming the chapters with the year they take place. This weaving of the plot creates a sense of urgency, with each chapter ending on the cusp of a new discovery. When all the cards are on the table, nothing is as it seems. The popular, snarky definition of the word “assume” definitely plays a heavy-handed role in this book and Tudor pulls it off well.
Creating complex characters appears to be another forte of Tudor’s. By complex, I mean that his cast, much like the plot, has as several layers to it. In some cases, this can make a story difficult to comprehend, but Tudor exercises some caution in giving any of his characters too many traits.
The Chalk Man is a quick, entertaining read which is always a plus. The constant action kept the book from becoming a chore and thus I was able to devour it in a few days. I’d like to thank Penguin’s First to Read program for providing me with a free copy of this book. This review reflects my own opinion.
The Thief: A Novel of the Black Dagger Brotherhood Book 16
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