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Matthew Krueger (10051 KP) rated Creature from the Black Lagoon (1954) in Movies
May 21, 2020
The Last Classic Monster
Creature From The Black Lagoon- is the last monster of the classic universal monsters. And its sad. Its sad, to see the classic universal monster, last movie. This creature is scary, terrorfying and horrorfying.
The plot: Remnants of a mysterious animal have come to light in a remote jungle, and a group of scientists intends to determine if the find is an anomaly or evidence of an undiscovered beast. To accomplish their goal, the scientists (Antonio Moreno, Richard Carlson, Richard Denning, Whit Bissell) must brave the most perilous pieces of land South America has to offer. But the terrain is nothing compared to the danger posed by an otherworldly being that endangers their work and their lives.
Creature from the Black Lagoon was filmed in 3D and originally projected by the polarized light method. The audience wore viewers with gray polarizing filters, similar to the viewers most commonly used today. Because the brief 1950s 3D film fad had peaked in mid-1953 and was fading fast in early 1954, many audiences actually saw the film "flat", in 2D. Typically, the film was shown in 3D in large downtown theaters and flat in smaller neighborhood theaters.
For marketing reasons, a comedic appearance with Abbott and Costello on an episode of The Colgate Comedy Hour aired prior to the film's release. The appearance is commonly known as Abbott and Costello Meet the Creature from the Black Lagoon. Ben Chapman reprised his role as the Gill-Man for the program.
The film is recognized by American Film Institute in these lists:
2001: AFI's 100 Years...100 Thrills – Nominated
2003: AFI's 100 Years...100 Heroes & Villains:
Gill-man – Nominated Villain
Iike i said a classic universal monster.
The plot: Remnants of a mysterious animal have come to light in a remote jungle, and a group of scientists intends to determine if the find is an anomaly or evidence of an undiscovered beast. To accomplish their goal, the scientists (Antonio Moreno, Richard Carlson, Richard Denning, Whit Bissell) must brave the most perilous pieces of land South America has to offer. But the terrain is nothing compared to the danger posed by an otherworldly being that endangers their work and their lives.
Creature from the Black Lagoon was filmed in 3D and originally projected by the polarized light method. The audience wore viewers with gray polarizing filters, similar to the viewers most commonly used today. Because the brief 1950s 3D film fad had peaked in mid-1953 and was fading fast in early 1954, many audiences actually saw the film "flat", in 2D. Typically, the film was shown in 3D in large downtown theaters and flat in smaller neighborhood theaters.
For marketing reasons, a comedic appearance with Abbott and Costello on an episode of The Colgate Comedy Hour aired prior to the film's release. The appearance is commonly known as Abbott and Costello Meet the Creature from the Black Lagoon. Ben Chapman reprised his role as the Gill-Man for the program.
The film is recognized by American Film Institute in these lists:
2001: AFI's 100 Years...100 Thrills – Nominated
2003: AFI's 100 Years...100 Heroes & Villains:
Gill-man – Nominated Villain
Iike i said a classic universal monster.
Chris Sawin (602 KP) rated The Black Phone (2022) in Movies
Jun 26, 2022
Ethan Hawke (2 more)
Madeleine McGraw
Leaves much of the horror to the audience's imagination
Writing is a bit silly at times (1 more)
Teases more story elements and horror than it reveals
A Juvenile Curtain Call of Death
Somewhere in North Denver in 1978, The Black Phone sees Finney (Mason Thames) and his sister Gwen (Madeleine McGraw) attempting to survive constant bullying at school and the abuse of an alcoholic father (played by Jeremy Davies). The missing kids in town are said to be a result of The Grabber (Ethan Hawke); a man who drives around in a black van with black balloons kidnapping and eventually killing kids. When Finney is suddenly taken by The Grabber, he’s told that the black phone in his room doesn’t work but then the phone rings.
Based on the short story of the same name by Joe Hill, The Black Phone is directed by Scott Derrickson (Doctor Strange, Sinister) and written by Derrickson and C. Robert Cargill (the two have been collaborating together on everything Derrickson has done since Sinister). What’s interesting is The Black Phone has mastered the art of subtlety and teasing its audience. The Grabber is introduced in the film similar to the shark in Jaws. You only see glimpses of him for the first third of the film. The black van will come into frame and the screen will immediately fade to black. The Grabber will park and get out of his van to abduct a kid, but he’ll purposely be out of focus. The Grabber lurks in the background like a shark waiting for that first drop of blood, which is essentially when Finney walks by alone.
The unfortunate aspect is that it feels like something is missing. The supernatural horror film keeps building and building that when the finale rolls around it feels like it isn’t a big enough payoff. Most of the violence and kills aren’t seen since the film deals with child and teenager victims. The audience is shown the end result instead; the wounds sustained by the victims that call Finney, The Grabber’s game of Naughty Boy, and Gwen being whipped with a belt by her father (you see him holding the belt and her crying, but we never see the contact). There’s artistry to leaving some things to the viewer’s imagination. In a time where horror has evolved into showing its audience every gruesome detail it’s become a forgotten art. It could also be a personal preference, but it feels like The Black Phone teases more than it reveals.
The writing of the film is as genius as it is ridiculous. Most of it is very good, especially with what Finney is building up to in the basement. The unveiling of the location of The Grabber’s house is silly though, especially since an entire police squad didn’t make the connection. Finney and Gwen’s mom is never seen since she’s passed during the events of the film, but she is mentioned. She apparently heard things and seen things that ended up in a fatal situation for her. Gwen has visions of The Grabber while she sleeps and Finney is able to receive phone calls from The Grabber’s victims because of the relation to their mom. This leads to one of the greatest lines in the film when Finney asks why no one has ever called before. “The phone rang, but no one heard it.”
Ethan Hawke’s performance is so mesmerizing that you wish he had more screen time. Even his motive behind what he intends to do with his victims is hinted at, but not really clarified. With all of the bodies piling up and the amount of phone calls Finney receives, the end result is always the same. The Grabber is slightly flamboyant in his demeanor and particular about how everything should play out. His mask and the fact that it resembles the comedy and tragedy masks that tend to symbolize the theater hint at this all being a performance for him. Things not going his way is like someone fumbling over their lines; it’s unforgivable.
Madeleine McGraw is not so secretly the best part of the film. Her career before The Black Phone has mostly been in voice acting (Cars 3, Toy Story 4, The Mitchells vs The Machines) and playing younger versions of other characters (Pacific Rim: Uprising, Ant-Man and the Wasp). McGraw gets a fair amount of screen time here and Gwen is an incredibly resourceful character and arguably the film’s biggest asset. McGraw’s performance is genuine as you believe every word she says. She’s hilarious as she has the best lines of dialogue in the film. Her portrayal of sadness and anguish is top notch as well as she has the most powerful and emotional sequence in the film that breaks your heart and only makes you sympathize with both her and Finney.
With supernatural dread lifted from the likes of Stir of Echoes and The Sixth Sense, The Black Phone features a breakthrough performance from Madeleine McGraw while Ethan Hawke’s hauntingly memorable turn as The Grabber is felt in a hair-raising sense; like someone who has unknowingly snuck up behind you and waits in your peripheral for that dramatic reveal. The Black Phone is a solid, pulse racing horror film that packs a punch, but seems like the type of film that simply won’t be as delectable on repeat viewings.
Based on the short story of the same name by Joe Hill, The Black Phone is directed by Scott Derrickson (Doctor Strange, Sinister) and written by Derrickson and C. Robert Cargill (the two have been collaborating together on everything Derrickson has done since Sinister). What’s interesting is The Black Phone has mastered the art of subtlety and teasing its audience. The Grabber is introduced in the film similar to the shark in Jaws. You only see glimpses of him for the first third of the film. The black van will come into frame and the screen will immediately fade to black. The Grabber will park and get out of his van to abduct a kid, but he’ll purposely be out of focus. The Grabber lurks in the background like a shark waiting for that first drop of blood, which is essentially when Finney walks by alone.
The unfortunate aspect is that it feels like something is missing. The supernatural horror film keeps building and building that when the finale rolls around it feels like it isn’t a big enough payoff. Most of the violence and kills aren’t seen since the film deals with child and teenager victims. The audience is shown the end result instead; the wounds sustained by the victims that call Finney, The Grabber’s game of Naughty Boy, and Gwen being whipped with a belt by her father (you see him holding the belt and her crying, but we never see the contact). There’s artistry to leaving some things to the viewer’s imagination. In a time where horror has evolved into showing its audience every gruesome detail it’s become a forgotten art. It could also be a personal preference, but it feels like The Black Phone teases more than it reveals.
The writing of the film is as genius as it is ridiculous. Most of it is very good, especially with what Finney is building up to in the basement. The unveiling of the location of The Grabber’s house is silly though, especially since an entire police squad didn’t make the connection. Finney and Gwen’s mom is never seen since she’s passed during the events of the film, but she is mentioned. She apparently heard things and seen things that ended up in a fatal situation for her. Gwen has visions of The Grabber while she sleeps and Finney is able to receive phone calls from The Grabber’s victims because of the relation to their mom. This leads to one of the greatest lines in the film when Finney asks why no one has ever called before. “The phone rang, but no one heard it.”
Ethan Hawke’s performance is so mesmerizing that you wish he had more screen time. Even his motive behind what he intends to do with his victims is hinted at, but not really clarified. With all of the bodies piling up and the amount of phone calls Finney receives, the end result is always the same. The Grabber is slightly flamboyant in his demeanor and particular about how everything should play out. His mask and the fact that it resembles the comedy and tragedy masks that tend to symbolize the theater hint at this all being a performance for him. Things not going his way is like someone fumbling over their lines; it’s unforgivable.
Madeleine McGraw is not so secretly the best part of the film. Her career before The Black Phone has mostly been in voice acting (Cars 3, Toy Story 4, The Mitchells vs The Machines) and playing younger versions of other characters (Pacific Rim: Uprising, Ant-Man and the Wasp). McGraw gets a fair amount of screen time here and Gwen is an incredibly resourceful character and arguably the film’s biggest asset. McGraw’s performance is genuine as you believe every word she says. She’s hilarious as she has the best lines of dialogue in the film. Her portrayal of sadness and anguish is top notch as well as she has the most powerful and emotional sequence in the film that breaks your heart and only makes you sympathize with both her and Finney.
With supernatural dread lifted from the likes of Stir of Echoes and The Sixth Sense, The Black Phone features a breakthrough performance from Madeleine McGraw while Ethan Hawke’s hauntingly memorable turn as The Grabber is felt in a hair-raising sense; like someone who has unknowingly snuck up behind you and waits in your peripheral for that dramatic reveal. The Black Phone is a solid, pulse racing horror film that packs a punch, but seems like the type of film that simply won’t be as delectable on repeat viewings.
Stephen Merchant recommended After Hours (1985) in Movies (curated)
Bob Mann (459 KP) rated I Care a Lot (2020) in Movies
Feb 27, 2021
Rosamund Pike - what Gone Girl did next (1 more)
Supporting cast: Peter Dinklage, Eiza Gonzáles and Dianne Wiest
An inky black comedy thriller
Maria Grayson (Rosamund Pike) and her colleague-cum-lover Fran (Eiza González) are running an extensive con. Through the manipulation of the Boston legal and medical systems, Maria arranges to be appointed the legal guardian for numerous older people. Packing them away to a drugged up life in a care home, the pair then plunder the estates of their wards, turning a tidy profit. The weatlhy and unattached Jennifer Peterson (Dianne Wiest) appears to be a "cherry" that can take their fortunes to a completely different level. But all is not as it seems, and Maria and Fran's evil but comfortable lives are about to be turned on their heads.
Positives:
- When I say the comedy is inky black, I mean it. It's unusual to find a movie without a single character that you can relate to or even remotely like. For some reason, it reminded me of the Michael Douglas / Kathleen Turner vehicle "The War of the Roses" in that regard. And yet, once you let the evilness of it sink in, it becomes a rip-roaring story that delights to the very end.
- Rosamund Pike delivers yet again another superb performance, making Maria an icy cold villain. The role could be summed up as "What Gone Girl did next".
- Peter Dinklage delights in portraying an evil character which, for reasons of spoiler avoidance, I shall say nothing further about. But it's a cracking performance and brilliant to see a script that steadfastly ignores his physical characteristics.
- Dianne Wiest ("The Mule") and Eiza González ("the sexy one" from "Baby Driver") also deliver strong supporting roles.
-J Blakeson - who did "The Disappearance of Alice Creed" - directs with style, and hopefully his truly novel screenplay will be suitably recognised through awards. There are some clever twists: one near the end which (Smug McSmuggerson from the University of Smugchester) I saw coming, and another one soon after that I didn't!
- Mark Canham - not a composer I know - delivers a really engaging and bouncy score that's top notch. Loved it.
Negatives:
- The plot is just SO inky black at the beginning, that some may get through the first 15 minutes and think "Nope, not for me". You should stick with it: after Peter Dinklage appears, the movie shifts up a gear and changes in tone.
- The plot occasionally stretches credibility beyond breaking point. In particular, all the characters seem to be wholly incompetent at 'dispatching people' when they have the opportunity to do so. The repetition of these failures I found to be a bit tiresome.
Summary: Finding a movie with a novel storyline is an unusual thing these days, and one that combines that with a taut and engrossing screenplay is a gem indeed. It's probably not one recommended for very elderly people to watch.... then again, perhaps with so many evil scammers around in real life, it might be considered required viewing! But, if you have one, you'll probably want to have a chat with your granny after watching this.
(For the full graphical review, check out the full review at One Mann's Movies here - https://bob-the-movie-man.com/2021/02/27/i-care-a-lot-an-inky-black-comedy-thriller/. Thanks).
Positives:
- When I say the comedy is inky black, I mean it. It's unusual to find a movie without a single character that you can relate to or even remotely like. For some reason, it reminded me of the Michael Douglas / Kathleen Turner vehicle "The War of the Roses" in that regard. And yet, once you let the evilness of it sink in, it becomes a rip-roaring story that delights to the very end.
- Rosamund Pike delivers yet again another superb performance, making Maria an icy cold villain. The role could be summed up as "What Gone Girl did next".
- Peter Dinklage delights in portraying an evil character which, for reasons of spoiler avoidance, I shall say nothing further about. But it's a cracking performance and brilliant to see a script that steadfastly ignores his physical characteristics.
- Dianne Wiest ("The Mule") and Eiza González ("the sexy one" from "Baby Driver") also deliver strong supporting roles.
-J Blakeson - who did "The Disappearance of Alice Creed" - directs with style, and hopefully his truly novel screenplay will be suitably recognised through awards. There are some clever twists: one near the end which (Smug McSmuggerson from the University of Smugchester) I saw coming, and another one soon after that I didn't!
- Mark Canham - not a composer I know - delivers a really engaging and bouncy score that's top notch. Loved it.
Negatives:
- The plot is just SO inky black at the beginning, that some may get through the first 15 minutes and think "Nope, not for me". You should stick with it: after Peter Dinklage appears, the movie shifts up a gear and changes in tone.
- The plot occasionally stretches credibility beyond breaking point. In particular, all the characters seem to be wholly incompetent at 'dispatching people' when they have the opportunity to do so. The repetition of these failures I found to be a bit tiresome.
Summary: Finding a movie with a novel storyline is an unusual thing these days, and one that combines that with a taut and engrossing screenplay is a gem indeed. It's probably not one recommended for very elderly people to watch.... then again, perhaps with so many evil scammers around in real life, it might be considered required viewing! But, if you have one, you'll probably want to have a chat with your granny after watching this.
(For the full graphical review, check out the full review at One Mann's Movies here - https://bob-the-movie-man.com/2021/02/27/i-care-a-lot-an-inky-black-comedy-thriller/. Thanks).
Adam Pally recommended The Cable Guy (1996) in Movies (curated)
LeftSideCut (3778 KP) rated Ready or Not (2019) in Movies
Sep 3, 2019
I saw Ready or Not earlier this evening as part of Odeon's Scream Unseen - so we went in with no idea of what movie we were about to see (apart from my friend @Neon's Nerd Nexus being bang on with his guess), and hadn't really seen much promo before hand.
And I'm glad he was right, because I found it to be a pretty good horror film (it reminded me of You're Next at times) with generous lashings of black comedy.
It made me laugh a good few times throughout whilst simultaneously making me wince at some of the gore on display.
Samara Weaving is really likable and easy to root for. In fact, I actually liked pretty much every character on display.
It's not the best horror movie you will see by a long way, but above all, Ready or Not is just extremely fun.
And I'm glad he was right, because I found it to be a pretty good horror film (it reminded me of You're Next at times) with generous lashings of black comedy.
It made me laugh a good few times throughout whilst simultaneously making me wince at some of the gore on display.
Samara Weaving is really likable and easy to root for. In fact, I actually liked pretty much every character on display.
It's not the best horror movie you will see by a long way, but above all, Ready or Not is just extremely fun.
Rob P (30 KP) rated Dog Soldiers (2002) in Movies
Jan 23, 2019
Great British cast (3 more)
Black/dark humour throughout
Great one liners
One of the last films I remember to use makeup, costumes, and what looks like actual sausages for special effects and gore.
There is no Spoon
Contains spoilers, click to show
This is just one of those films from my youth that will never look back on with anything but pure joy.
The plot has already been laid out here, the reasons to watch this movie aren't really based around storyline. It's more that a group of "everyman" type British soldiers are thrust into a bat sh*t crazy situation, fighting off seven foot werewolves inside an abandoned farmhouse in the Scottish highlands. Comedy is of course going to come with that.
If the premise doesn't grab you, come for Liam Cunningham (AKA Ser Davos Seaworth) playing a bad guy, it's such a brilliant thing to see his range. If that doesn't do it, come to hear Sean Pertwee say "We are now up against live, hostile targets. So, if Little Red Riding Hood should show up with a bazooka and a bad attitude, I expect you to chin the bitch."
The jokes and quotables are thick and fast, the makeup and costumes of the werewolves is still analogue, and the work put into them must have been immense. They are genuinely menacing, and it's nice to remind yourself that not everything needs to be computer generated to have impact.
As a last point, Id like to point out that besides the great cast, the comedy, and the quotes, this isn't really jump scare, or torture p*rn, it's just an old fashioned run and gun, action comedy horror. It also ends in a way I just haven't seen before, with the use of photographs in a particular "action shot" kind of way, set up during the movie. Excellent.
- Rob
The plot has already been laid out here, the reasons to watch this movie aren't really based around storyline. It's more that a group of "everyman" type British soldiers are thrust into a bat sh*t crazy situation, fighting off seven foot werewolves inside an abandoned farmhouse in the Scottish highlands. Comedy is of course going to come with that.
If the premise doesn't grab you, come for Liam Cunningham (AKA Ser Davos Seaworth) playing a bad guy, it's such a brilliant thing to see his range. If that doesn't do it, come to hear Sean Pertwee say "We are now up against live, hostile targets. So, if Little Red Riding Hood should show up with a bazooka and a bad attitude, I expect you to chin the bitch."
The jokes and quotables are thick and fast, the makeup and costumes of the werewolves is still analogue, and the work put into them must have been immense. They are genuinely menacing, and it's nice to remind yourself that not everything needs to be computer generated to have impact.
As a last point, Id like to point out that besides the great cast, the comedy, and the quotes, this isn't really jump scare, or torture p*rn, it's just an old fashioned run and gun, action comedy horror. It also ends in a way I just haven't seen before, with the use of photographs in a particular "action shot" kind of way, set up during the movie. Excellent.
- Rob
Awix (3310 KP) rated War on Everyone (2017) in Movies
Mar 6, 2018
Slightly baffling deadpan black comedy parody of American cop thrillers (probably - it's hard to be sure). A pair of incredibly corrupt New Mexico detectives discover previously unsuspected reserves of decency and honesty as they encounter a ruthless gang of thieves.
One of those movies which seems to be trying ridiculously hard to go over the top, but with an absolutely straight face: the main characters aren't just corrupt, they're absurdly corrupt, and the plot at times seems to be intentionally provocative and also absurd (the story relocates all the way to Iceland at one point, but only for about five minutes). It's so in-your-face extreme in some of its attitudes and jokes that it's quite hard to engage with as a story for much of the time. But McDonagh is too good a director to make an entirely bad movie and there are some impressive moments and sequences along the way. But still a strange and difficult-to-figure-out movie.
One of those movies which seems to be trying ridiculously hard to go over the top, but with an absolutely straight face: the main characters aren't just corrupt, they're absurdly corrupt, and the plot at times seems to be intentionally provocative and also absurd (the story relocates all the way to Iceland at one point, but only for about five minutes). It's so in-your-face extreme in some of its attitudes and jokes that it's quite hard to engage with as a story for much of the time. But McDonagh is too good a director to make an entirely bad movie and there are some impressive moments and sequences along the way. But still a strange and difficult-to-figure-out movie.
Awix (3310 KP) rated I, Tonya (2017) in Movies
Feb 20, 2018 (Updated Feb 20, 2018)
The most bad-assed ice skating movie in history blows the lid off the vicious, cut-throat world of people who whizz about on a rink all day wearing tulle. Reasonably true story of how Tonya Harding rose from wrong-side-of-the-tracks background to become top US ice dancer, suffered through various horrible relationships, briefly became infamous for (possible) involvement in an assault on her rival.
A smart movie that has fun with the grotesque outrageousness of much of the story, manages to avoid most sports movie clichés too. There's an extent to which serious issues are (wait for it) skated over in favour of very funny black comedy, but great performances and moments mean that doesn't feel like much of an issue. In the end, it manages to feel genuinely sympathetic to Harding as a person; the viewer likely will, as well. Movie is a contender; makes Margot Robbie look like one, too.
A smart movie that has fun with the grotesque outrageousness of much of the story, manages to avoid most sports movie clichés too. There's an extent to which serious issues are (wait for it) skated over in favour of very funny black comedy, but great performances and moments mean that doesn't feel like much of an issue. In the end, it manages to feel genuinely sympathetic to Harding as a person; the viewer likely will, as well. Movie is a contender; makes Margot Robbie look like one, too.
Awix (3310 KP) rated Legend (2015) in Movies
Jun 12, 2018 (Updated Jul 12, 2019)
Krays-y
Yet another movie glamourising the vicious real-life gangster siblings, with the principal gimmick of Tom Hardy playing both Krays through the wonders of something-or-other. Hardy is excellent as Reggie, the merely-psychotic brains of the outfit, but way over the top as Ronnie, who is portrayed as a slightly thick criminal maniac, and arguably played for laughs too. A friend of mine came out thinking this was intended to be a black comedy; she may not have been wrong.
There's a good supporting cast and it's quite well made, but the film seems much too keen to cut the Krays some slack, presenting them as roguish anti-heroes rather than the brutal thugs they actually were. The 1990 Peter Medak telling of the Krays' story was arguably more balanced - this is an uneasy combination of a 'those quaint old Brits' period drama and a modishly violent modern gangster film.
There's a good supporting cast and it's quite well made, but the film seems much too keen to cut the Krays some slack, presenting them as roguish anti-heroes rather than the brutal thugs they actually were. The 1990 Peter Medak telling of the Krays' story was arguably more balanced - this is an uneasy combination of a 'those quaint old Brits' period drama and a modishly violent modern gangster film.