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    Angry Birds

    Angry Birds

    Games and Entertainment

    7.3 (6 Ratings) Rate It

    App

    Use the unique powers of the Angry Birds to destroy the greedy pigs' defenses!

 The survival...

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Matthew Krueger (10051 KP) rated House of Frankenstein (1944) in Movies

Jun 18, 2020 (Updated Jun 18, 2020)  
House of Frankenstein (1944)
House of Frankenstein (1944)
1944 | Classics, Horror
8
7.5 (4 Ratings)
Movie Rating
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.
  
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Nick McCabe recommended Street Sounds Electro 5 by Various Artists in Music (curated)

 
Street Sounds Electro 5 by Various Artists
Street Sounds Electro 5 by Various Artists
1984 | Electronic
(0 Ratings)
Album Favorite

"There isn't really one definitive album in that series. We were completely addicted to those Electro albums when they first came out. One of us had one album and we used to trade them between the lot of us. I bought Electro 2 and I was a bit pissed off at the time, but it's one of my favourites now. Electro 5 has got some of the best tunes on it. And Crucial Electro has got 'Clear' by Cybertron, which is amazing. Jerry Calliste, Jr. is a genius I think. He was the man behind 'Al Naafiysh' and High-Fidelity Three's 'B Boys Breakdance'. That's one of my favourite tunes on Electro 5. 'Breaker's Revenge' [by Arthur Baker] is a killer. Beat Street – the film and the soundtrack – was huge for me. I was a terrible breakdancer. Embarrassingly bad. I had a couple of moves and I could barely do those, but I loved the culture of it. UK Electro was also a key record – I found out recently that it's all by one guy. It's perhaps easy to see this in retrospect, but there are lots of parallels between Detroit and Sheffield and Manchester. I can remember looking out at the cooling towers from my bedroom window. They were maybe two miles away. You could see a big urbanised bit to the side of it. It made the landscape magical listening to that music. I think this was probably what Kraftwerk were getting at originally. Talking about it now it seems obvious, but it adds magic to your own mundane landscape. You need that. That's what happened with Detroit techno. You've got this utterly bleak landscape and the only way to make it palatable is to lend it some kind of majesty. I think we were very lucky growing up when we did. We had lots of momentous moments. Things are very fractured now. Back then, everybody had an opinion on something like Star Wars – especially boys, well, men now. We all have this notion that we were privy to something amazing. It's very rare now that something is that omnipresent. The whole thing with the electro scene was that it was a bit left of centre. I got a lot of stick for it at school. I can see why, looking back now. It was such a huge thing. It pushed you in a certain direction. I've grown up a bit now, but it used to be quite extreme. Y'know, like, "If you don't share my taste in music you can fuck off.""

Source
  
    ArcherCat

    ArcherCat

    Games

    (0 Ratings) Rate It

    App

    Archer Cat is back!
 The Cat Kingdom suffering from the evil curse placed by a Witch. There just...

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Bob Mann (459 KP) rated Get Out (2017) in Movies

Sep 29, 2021  
Get Out (2017)
Get Out (2017)
2017 | Horror, Thriller
8
8.0 (208 Ratings)
Movie Rating Watch
“It really doesn’t matter if you’re ‘Black or White”.
Due to a mixture of holiday, work commitments and sickness (I would not wish to inflict my bronchial cough on ANY cinema audience for a while) I haven’t been to the cinema in over a month… shocking. But it has given me a chance to catch up on some of the films in 2017 (and a few from last year) that I hadn’t got to see. So this will be the first of a series of such “DVD” reviews.
“Get Out” was written and directed by Jordan Peele and was his directorial debut. And a hot item on his resume it is too.

Daniel Kaluuya (“Sicario”) plays African-American Chris Washington who, nervously, takes a trip ‘upstate’ to meet the parents of his cute white girlfriend Rose (Allison Williams). The parents, Dean (Bradley Whitford, best known as Josh Lyman from “The West Wing”) and Missy (Catherine Keener, “ Captain Phillips”), are extremely welcoming.

But the weekend coincides with an “annual gathering” of family and friends, and events quickly take a left turn into “The Twilight Zone”, with anti-smoking hypnosis and a bizarre game of Bingo where the win is so substantial that playing becomes a ‘no brainer’. Can Chris ‘Get Out’, with his mind still intact, before it’s too late?

This is a really clever script by Peele. The film baits you into thinking this is some redneck-inter-racial-revenge flick, but actually the colour of the skin is almost irrelevant. (Or is it? This angle is left deliciously vague). Some of the filming is spectacularly creepy, with the hypnosis scene being reminiscent to me of the excellent “Under The Skin”. And never has a teaspoon in a cup of tea been a more devastating weapon.

I seemed to have talked at length this year in this blog on the subject of the “physics of horror”: the story elements hanging together in a satisfying – albeit sometimes in an unbelievable – way. “Get Out” delivers this to perfection, keeping its powder dry until the closing moments of the film before delivering a series of satisfying “Ah!” relevatory moments.

While the ‘physics’ of the film is good the ‘biology’ is bonkers, featuring a plot point from the terrible first episode of the 3rd season of the original “Star Trek” (if you can be bothered to look that up!). But I’ll forgive this, parking my incredulity, to salute what I think is one of the year’s most novel and impressive low-budget indie horror films.