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Awix (3310 KP) rated X: The Man with the X-Ray Eyes (1963) in Movies
May 24, 2019 (Updated May 24, 2019)
Ray Milland brings a touch of class to Roger Corman's horror-sci-fi fable. The same old story: brilliant scientist is consumed by his own hubris, experiments on himself and meets a sticky end as a result: after initially being able to look through paper and cloth, his vision develops until he can see through the fabric of the universe itself, beholding something enigmatically terrible.
Not exactly over-burdened with plot, but the script is effective, and Milland brings all his presence to the film (nice supporting performances too). Some striking special effects, especially as the film goes on; not sure the final shot of the film really does the business but the film is very watchable regardless.
Not exactly over-burdened with plot, but the script is effective, and Milland brings all his presence to the film (nice supporting performances too). Some striking special effects, especially as the film goes on; not sure the final shot of the film really does the business but the film is very watchable regardless.
Kim Newman recommended The Uninvited (1944) in Movies (curated)
Awix (3310 KP) rated The Uncanny (1977) in Movies
Mar 7, 2020 (Updated Mar 7, 2020)
So-so horror anthology would almost certainly be totally unwatchable without the presence of fine actors like Peter Cushing, Ray Milland and Donald Pleasence doing their damnedest to lift some rather dubious material. The frame story concerns a conspiracy by cats to secretly run the world, but the different segments are all about vengeance-by-cat: various people get their comeuppances at the paws of our whiskered friends.
First story (maid murders her employer over an amended will) is okay but nothing special; second one (orphan with witchy tendencies finds her cat is not welcome in her new home) is let down by iffy special effects and iffier child acting; third (rum goings-on in 30s Hollywood) is the best, being a rather tongue-in-cheek look at the horror film industry (the suspiciously-named company 'Hemorrhage Films' is involved). None of them are honestly what you'd call great, though, and there is perhaps too much reliance on actors standing around while stage-hands throw stuffed cats at them. A bit more graphic and nasty than you tend to find in films from this genre, but only relatively speaking. Passes the time decently enough if low-budget horror portmanteaus from the 70s are your thing.
First story (maid murders her employer over an amended will) is okay but nothing special; second one (orphan with witchy tendencies finds her cat is not welcome in her new home) is let down by iffy special effects and iffier child acting; third (rum goings-on in 30s Hollywood) is the best, being a rather tongue-in-cheek look at the horror film industry (the suspiciously-named company 'Hemorrhage Films' is involved). None of them are honestly what you'd call great, though, and there is perhaps too much reliance on actors standing around while stage-hands throw stuffed cats at them. A bit more graphic and nasty than you tend to find in films from this genre, but only relatively speaking. Passes the time decently enough if low-budget horror portmanteaus from the 70s are your thing.
LoganCrews (2861 KP) rated Dial M for Murder (1954) in Movies
Sep 20, 2020
A mid-tier episode of "Law & Order" from the 50s that's as mildly rousing as it is boring in a nearly 1:1 ratio. Yes the writing is impressively airtight, and always leaves you looking for some sort of holes to no avail - one of those films where you play a fun little guessing game in your head every time a character says or does something. Could they have slipped up? Do the other characters know that? But here's my main problem with this: it's so DRY holy shit. Yes the story is rigorously optimized for this sort of deal, but that's all there is to chew on here - nothing else. The characters in this movie exist only to explain and inform each other about the story as it happens - outside of the first couple scenes there are no little moments of interpersonal interaction between characters that involves anything else besides telling people what just happened, no moments of humor outside of a bad gay joke and a couple telegraphed duds, no personality building beyond how they react in relation to - again - the singular crime narrative. That's virtually every single scene, so it quickly feels like you're just watching the same thing over and over again. This goes straight past staunchly formal and almost into rudimentary, but Grace Kelly and Ray Milland are wonderful enough to carry this very talky one-trick pony along with the sheer attention to detail of the plot. Still definitely fair but way too straightforward, I can't act like dozens of better ones have been done even if this did potentially pave the way for a lot of them.
Andy K (10821 KP) rated Dial M for Murder (1954) in Movies
Sep 15, 2019
An unsavory proposition
When ranking Hitchcock's elite films, Dial M For Murder doesn't usually get mentioned in the top 5 including Psycho, Rear Window, Vertigo North By Northwest and maybe The Birds, but it should be. I went through a Hitchcock phase myself a few years back (I would think most serious film fans would at some point). Although, I still have several to go, most still hold up as suspense/thriller classics definitely including this film.
Ex tennis pro Tony Wendice, now married to beautiful and wealthy Margot, has discovered her secret, she's been seeing another man. Months earlier he discovered a love letter from her lover in her handbag and secretly blackmailed for with this information.
Tony decides to invite an old college acquaintance, currently an unsavory character over to their home to explain his plot for this man killing his wife. He would then stand to inherit her fortunes as he is the beneficiary of her will. The man agrees so the plot is set.
The next evening, Tony is out with friends (to ensure his alibi) and phones Margot late in the evening so she rises to answer with the perpetrator waiting for her. After he slips a stocking around her neck to strangle her, a struggle ensues. Instead of her murder, Margot manages to stab the assailant in the back with a pair of nearby scissors. The man falls to the ground in pain driving the scissors deeper within finishing the job for him instead.
The ensuing police investigation initially feels the facts just don't add up since there was no break in and the man did not have a key on him, but he did have the love letter Tony planted on him before the police initially arrived. Fingers eventually point toward Margot as the killer since the facts seem to lead that way.
The 3rd act is brilliant in the way the eventual plot is discovered and how the police ensure Tony incriminates himself as the true antagonist.
Hitchcock's use of camera framing and movement to reveal certain scene elements only when he wants you to see them is one of my favorite elements of his films. He obviously chose source materials which suited his natural abilities to tell sinister or suspenseful stories and this one works just as well as some of his more famous classics.
Ray Milland is charming and diabolical as Tony, never letting on to his beautiful wife (the gorgeous Princess Grace Kelly) the dastardly scheme he has cooked up for her demise or his initial deeds of blackmail. The reveal at the beginning of the murder plot takes the audience on maybe a typical Hitchcock suspense route, but you never know where or when the twists are going to come, but you are willing to go along for the ride.
Your emotions turn from shock having seen the murder to disgust when Margot is eventually blamed for it and then finally to delight when Tony performs just as the police want him to in the end.
Ex tennis pro Tony Wendice, now married to beautiful and wealthy Margot, has discovered her secret, she's been seeing another man. Months earlier he discovered a love letter from her lover in her handbag and secretly blackmailed for with this information.
Tony decides to invite an old college acquaintance, currently an unsavory character over to their home to explain his plot for this man killing his wife. He would then stand to inherit her fortunes as he is the beneficiary of her will. The man agrees so the plot is set.
The next evening, Tony is out with friends (to ensure his alibi) and phones Margot late in the evening so she rises to answer with the perpetrator waiting for her. After he slips a stocking around her neck to strangle her, a struggle ensues. Instead of her murder, Margot manages to stab the assailant in the back with a pair of nearby scissors. The man falls to the ground in pain driving the scissors deeper within finishing the job for him instead.
The ensuing police investigation initially feels the facts just don't add up since there was no break in and the man did not have a key on him, but he did have the love letter Tony planted on him before the police initially arrived. Fingers eventually point toward Margot as the killer since the facts seem to lead that way.
The 3rd act is brilliant in the way the eventual plot is discovered and how the police ensure Tony incriminates himself as the true antagonist.
Hitchcock's use of camera framing and movement to reveal certain scene elements only when he wants you to see them is one of my favorite elements of his films. He obviously chose source materials which suited his natural abilities to tell sinister or suspenseful stories and this one works just as well as some of his more famous classics.
Ray Milland is charming and diabolical as Tony, never letting on to his beautiful wife (the gorgeous Princess Grace Kelly) the dastardly scheme he has cooked up for her demise or his initial deeds of blackmail. The reveal at the beginning of the murder plot takes the audience on maybe a typical Hitchcock suspense route, but you never know where or when the twists are going to come, but you are willing to go along for the ride.
Your emotions turn from shock having seen the murder to disgust when Margot is eventually blamed for it and then finally to delight when Tony performs just as the police want him to in the end.