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House of Dracula (1945)
House of Dracula (1945)
1945 | Horror, Sci-Fi
8
6.8 (4 Ratings)
Movie Rating
Get The Gang All Together: The Crossover II
House of Dracula- was a direct sequel to House of Frankenstein, and continued the theme of combining Universal's three most popular monsters: Frankenstein's monster (Glenn Strange), Count Dracula (John Carradine), and the Wolf Man (Lon Chaney Jr.).

The plot: This monster movie focuses on the iconic vampire, Count Dracula (John Carradine), and Lawrence Talbot (Lon Chaney), better known as the Wolf Man. Both beings of the night are tired of their supernatural afflictions, so they seek out Dr. Franz Edelmann (Onslow Stevens) for cures for their respective curses. While trying to aid the imposing creatures, Edelmann himself develops a transformative condition, adding to the many ghouls lurking around the foreboding landscape.

The working titles for the film were Dracula vs. the Wolf Man or The Wolf Man vs. Dracula.

Although Glenn Strange appears as the Monster in most of the film, footage of Chaney as the Monster from The Ghost of Frankenstein and Boris Karloff from Bride of Frankenstein was recycled; Karloff appears in a dream sequence, while Chaney, as well as his double Eddie Parker, are seen in footage in a fire scene.

Strange recounts that a scene with the Monster stuck in quicksand was particularly arduous for him. On top of three hours of getting into makeup, Strange spent the rest of the day buried in cold sand, including during the lunch break, and was so cold by midafternoon that he could barely feel his legs. Lon Chaney Jr. attempted to help Strange keep warm by passing him a bottle of scotch, with the result that Strange was so drunk that after getting out of costume and makeup, he had difficulty dressing himself in his street clothes. Chaney's drinking contributed to his reputation as being difficult to work with, and probably was the reason Universal let him go after the film was completed.

The film, which was the seventh Universal film to feature Frankenstein's monster, as well as the fourth with Count Dracula and the Wolf Man, was a commercial success, but was one of the last Universal movies featuring Frankenstein's monster, vampires, and werewolves, with the exception of the comedy Abbott and Costello Meet Frankenstein (1948), in which all three appear.

Its a fun entertaing horror film starring the universal monsters.
  
Inmate #1: The Rise of Danny Trejo (2020)
Inmate #1: The Rise of Danny Trejo (2020)
2020 | Documentary
9
8.5 (2 Ratings)
Movie Rating
I don't think there's anyone who would be able to say "Danny who?" unless they were living in a cave somewhere. Whether it's Machete, Navajas in Desperado or the voice of Jaguar in Rick and Morty, there's something for everyone to click with out there. (3-Headed Shark Attack for the classiest of you out there.)

There's always something amazing around Danny Trejo, I love seeing him pop up in films. It wasn't until watching this that I realised just how many roles he's done and has coming up, it's even gone up a significant amount since they put this together. It also made me realise that I have a lot of things I need to watch. I'm at a measly 5% watched according to Letterboxd.

With several documentaries I've watched recently there are fundamental pieces that they've tweaked to try and change things up, Inmate #1 has kept to quite a traditional setup and it works tremendously well. We have interviews, old video footage of locations and sets and photos from Danny's life, the archival footage gives you a very clear image of what is being narrated and it helps to take you through the timeline.

The only slight drawback to the interview portion is the sheer variety of people that they include. Trejo's children, friends and colleagues have recurring parts and a significant portion is them recounting stories. It's all interesting content, but it's not always personally relevant to them and that seemed a little odd. It was really only a small point on the whole thing but I wouldn't have said no to more Trejo moments.

Seeing Danny Trejo's personality come across is wonderful to behold, he has an addictive humour to him and seeing him laugh at memories will make you smile back. But you also get to see remorse and emotion in such an honest way. The Kermit story broke me.


Overall, the documentary handles change in tone and situations well. All the transitions you see are smooth and there was no jarring change at any point which meant I was engaged for the whole 1hr and 47 minutes. It's compiled wonderfully and the mix between old and new content is balanced, the fact that it brings you full circle and shows you how hard he works on his career and his community is a joy.

Originally posted on: https://emmaatthemovies.blogspot.com/2020/06/inmate-1-rise-of-danny-trejo-movie.html
  
Borderlands 3: Bounty of Blood
Borderlands 3: Bounty of Blood
Action, Fighting, Shooter
The third DLC for Borderlands 3 has arrived and Bounty of Blood serves up more of the action, guns, and mayhem that fans of the series have become accustomed to.

Answering a call for a Bounty Hunter; the Vault Hunter(s) arrive on the planet of Gehenna which has been largely forgotten after being exploited by one of the big companies in years past.

The planet is a hybrid of the Old West and current Borderlands technology and is populated with all manner of dangerous creatures; many which resemble Dinosaurs.

Upon arriving at the town of Vestige’ players learn that the town is under attack by a vicious gang known as the “Devil Riders”. You are then tasked with eliminating the threat and taking down their leader to collect the Bounty.

Naturally there is much more in play as a larger threat is revealed and players will have to fight their way through various areas to get to the bottom of the mystery and save the day.

The game has lots of action and introduces many new characters while omitting appearances from any past characters in the series. There are abundant new weapons as one would expect in a Borderlands game and the Western theme offered up some great locales and visuals as well as some great music. The game has a narrator which adds a new dimension to the game as it is fun to hear how some of your actions become known as events such as the “Bathhouse Massacre” as an example.

The DLC did not seem as long as the past two did and did not seem as challenging as I was able to complete the campaign on my own and did not have any areas where I was challenged to complete.

There are side missions as well and some will present themselves after the game and credits end so players who want to continue to explore will have many opportunities to do so.

There are also new environmental weapons that players can use to cause destruction or briefly control enemies which adds a new dimension to the game.

Bounty of Blood is a solid and highly-enjoyable DLC for the game and I look forward to seeing what the next DLC offers up.

4 stars out of 5.
  

"It's a film that my parents introduced me to when I was younger that's by a director called Pasolini. It's a black and white film about the life and times of Jesus Christ. The only words on screen are words from the Bible. So it's a quite direct representation of that particular gospel story, according to Matthew, but it's a really inventive film. The director may have taken the story direct from the Bible, but what he does with the music and editing, as well as the use of non-actors in the film, it's just a really original and moving film. It features scenes where at points you're hearing a gospel song by Odetta, and she's singing a song called, 'Sometimes I Feel Like a Motherless Child' which is this amazing gospel tune. She's singing that to accompany scenes of the children being killed by Herod. The music in the film is very raw. It'll use a song that's going to spell something out literally. I don't know how Pasolini chose all these songs for the film or who was in charge of the music selection. You've got Blind Willie Johnson - the old blues artist - accompanying some of the miracle scenes where people are getting their sight back. It's an exercise in juxtaposing very disparate elements that actually really enhance each other. You have to second guess it though, because of the way it's edited, a scene will suddenly just be chopped really harshly, and the film will move on to something else. All of these things are very powerful - and unusual - devices in film-making. In a way, if it's not too pretentious to say it, some of that harsh editing and juxtaposing with disparate elements on screen with music is something that I feel inspired by in terms of making a record. Things don't always have to fit together neatly, or as you'd expect them to. If you think about it in terms of the Alex Chilton record I mentioned earlier, that album is kind of a guide through rock & roll, country and soul music or Americana if you like, and this one is a guide to raw, blues and gospel as well as a classical take on the gospel. It's a very eclectic soundtrack with music that definitely enhances what's going on on the screen. It's very powerful music in its own right."

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