4 Shots From 4 Horror Films: The 1950s Part 3


This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films.  I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.

Today, we reach the end of the 50s and the rise of British horror.

4 Shots From 4 Horror Films

Night of the Demon (1957, dir by Jacques Tourneur)

Night of the Demon (1957, dir by Jacques Tourneur)

The Curse of Frankenstein (1957, dir by Terence Fisher)

The Curse of Frankenstein (1957, dir by Terence Fisher)

 Horror of Dracula (1958, dir by Terence Fisher)

Horror of Dracula (1958, dir by Terence Fisher)

The Mummy (1959, dir by Terence Fisher)

The Mummy (1959, dir by Terence Fisher)

4 Shots From 4 Horror Films: Special Terence Fisher Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.

Today’s director: one of the masters of Hammer horror and the director who brought back to life both Dracula and Baron von Frankenstein, Terence Fisher!

4 Shots From 4 Terrence Fisher Films

The Curse of Frankenstein (1957, dir by Terence Fisher, DP: Jack Asher)

The Horror of Dracula (1958, dir by Terence Fisher, DP: Jack Asher)

The Mummy (1959, dir by Terence Fisher, DP: Jack Asher)

The Devil Rides Out (1968, dir by Terence Fisher)

 

 

4 Shots From 4 Films: Special Terence Fisher Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today, we celebrate the 120th anniversary of the birth of the great British film director, Terence Fisher.  Though Fisher worked in all genres, he is best remembered for the horror films that he directed for Hammer Studios.  Along with proving that there was still an audience for horror, he also helped to make stars out of Peter Cushing and Christopher Lee.

It’s time for….

4 Shots From 4 Terence Fisher Films

The Curse of Frankenstein (1957, dir by Terence Fisher, DP: Jack Asher)

Horror of Dracula (1958, dir by Terence Fisher, DP: Jack Asher)

The Mummy (1959, dir by Terence Fisher, DP: Jack Asher)

The Devil Rides Out (1968, dir by Terence Fisher, DP: Arthur Grant)

Frankenstein vs. Dracula vs. The Mummy: Who Would Win?


If the next presidential election were held today and the major candidates were Frankenstein, Dracula, and The Mummy, who would win?

I know that’s a question that has been on everyone’s mind and, in order to find out, I went to the Internet Archive and ran the scenario through a game called President Elect.  President Elect was developed as an election simulator in the 80s and it is still considered to be one of the best and most accurate games of its type.  Over the years, President Elect has correctly predicted the results of almost every election since 1988.

After setting the game to duplicate both the fragile state of the American economy and the uncertain outlook of our current place in the world, I then selected my three nominees.  Frankenstein’s Monster ran as the Democratic candidate.  He had no platform, beyond more funds for fire prevention.  As a public speaker, I had to give him a low rating and I also had to admit that he wasn’t good at maintaining his cool under pressure.  However, I did give him high marks on the “personal magnetism” scale because people have been fascinated by the monster for over two hundred years.  Frankenstein’s Monster may seemed like the underdog but perhaps voters would be moved by his personal story and his refusal to take definite positions on the issues.

Running for the Republicans was Dracula.  As for as public speaking, personal magnetism, and staying calm under pressure, Dracula got the highest rating available.  But his platform was undeniably extreme, with absolutely no concern for human rights.  Dracula was the only candidate to be opposed to the agendas of the Religious Right, the National Organization for Women, and the NRA.  (The last thing that a vampire would want would be for everyone to have access to silver bullets.)  Would he be too extreme for the voters?

Finally, running as an independent was the Mummy.  The Mummy had roughly the same platform as Dracula but little of the personal magnetism.  In fact, the Mummy could not even speak.  But he was determined to get what he wanted and again, he scored high on the personal magnetism because he’s been in so many movies despite spending all of his time under wraps.

I allowed the game to simulate the 9 weeks between Labor Day and the election.  Not surprisingly, Frankenstein’s Monster refused to debate Dracula.  As a third party candidate, the Mummy struggled to keep up financially.  I was expecting a close election with a lot of fireworks but instead, it was clear from week one who was going to win.  Dracula led in the polls from the start and, within the first hour of election night, he had the 270 electoral votes necessary to claim the presidency.  He went on to win a lot more than just 270 though.

Here are the votes by state:

America went full Dracula, not only giving him 60% of the popular vote but also 535 electoral votes.  Frankenstein’s Monster won only the District of Columbia and, even then, he only received 67% of the vote in this Democratic stronghold.  After D.C., Frankenstein’s best states were Minnesota and Rhode Island, in which he took 47% of the vote.  The Mummy turned out not to be a factor at all, despite winning 5% of the vote in Florida.  Frankenstein’s Monster may have had the most compassionate platform but Dracula had the charisma.  His best states were Idaho and Utah, both of which he won with 71% of the vote.

See you at the inauguration!

8 Shots From 8 Horror Films: The Late 50s


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

This October, I’m going to be doing something a little bit different with my contribution to 4 (or more) Shots From 4 (or more) Films.  I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.

Today, we take a look at the late 50s!

8 Shots From 8 Horror Films: The Late 50s

The Curse of Frankenstein (1957, dir by Terence Fisher, DP: Jack Asher)

Plan 9 From Outer Space (1957, dir by Edward D. Wood, Jr., DP: William C. Thompson)

Not Of This Earth (1957, dir by Roger Corman DP: John J. Mescall)

Horror of Dracula (1958, starring Christopher Lee as the Count, Dir by Terence Fisher, DP: Jack Asher)

Night of the Ghouls (1959, dir by Edward D Wood, Jr. DP: William C. Thompson)

War of the Colossal Beast (1958, dir by Bert I. Gordon, DP: Jack A. Marta)

House on Haunted Hill (1959, dir by William Castle, DP: Carl E. Guthrie)

The Mummy (1959, dir by Terence Fisher, DP: Jack Asher)

8 Shots From 8 Horror Films: The 1930s


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

This October, I’m going to be doing something a little bit different with my contribution to 4 (or more) Shots From 4 (or more) Films.  I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.

Today, we take a look at the 1930s.

8 Shots From 8 Horror Films

Dracula (1931, starring Bela Lugosi as the Count, Dir by Tod Browning, DP: Karl Freund)

Frankenstein (1931, dir by James Whale, DP: Arthur Edeson)

White Zombie (1932, directed by Vincent Halperin, DP: Arthur Martinelli)

The Mummy (1932, directed by Karl Freund, DP: Charles Stumar)

The Invisible Man (1933, dir by James Whale, DP: Arthur Edeson)

Bride of Frankenstein (1935, dir James Whale, DP: John J. Mescall)

Mark of the Vampire (1935, dir by Tod Browning, DP: James Wong Howe)

Son of Frankenstein (1939, directed by Rowland V. Lee, DP: George Robinson)

And, finally, here are the nominations of the St. Louis Film Critics Association!


As soon as I post this, I will be caught up on sharing all of the precursor awards here on the Shattered Lens (or, at the very least, all of the precursor awards that have been announced so far.  There’s several more to come).  It’s not a minute to soon either!  Tomorrow, the SAG Nominations will be announced.  That’s one of the biggest of the precursors.

Anyway, the St. Louis Film Critics Association announce their nominations yesterday.  The winners will be announced on December 17th.

Here are the nominees!

BEST PICTURE

  • “Get Out”
  • “Lady Bird”
  • “The Shape of Water”
  • “The Post”
  • “Three Billboards outside Ebbing, Missouri”

BEST DIRECTOR

  • Greta Gerwig, “Lady Bird”
  • Jordan Peele, “Get Out”
  • Denis Villeneuve, “Blade Runner 2049”
  • Guillermo del Toro, “The Shape of Water”
  • Steven Spielberg, “The Post”

BEST ACTRESS

  • Kristen Stewart, “Personal Shopper”
  • Saoirse Ronan, “Lady Bird”
  • Sally Hawkins, “The Shape of Water”
  • Meryl Streep, “The Post”
  • Frances McDormand, “Three Billboards outside Ebbing, Missouri”

BEST ACTOR

  • Daniel Day-Lewis, “Phantom Thread”
  • Daniel Kaluuya, “Get Out”
  • James Franco, “The Disaster Artist”
  • Tom Hanks,”The Post”
  • Gary Oldman, “Darkest Hour”

BEST SUPPORTING ACTRESS

  • Kristin Scott Thomas, “Darkest Hour”
  • Holly Hunter, “The Big Sick”
  • Laurie Metcalf, “Lady Bird”
  • Hong Chau, “Downsizing”
  • Octavia Spencer, “The Shape of Water”

BEST SUPPORTING ACTOR

  • Michael Shannon, “The Shape of Water”
  • Sam Rockwell, “Three Billboards outside Ebbing, Missouri”
  • Richard Jenkins, “The Shape of Water”
  • William Dafoe, “The Florida Project”
  • Woody Harrelson, “Three Billboards outside Ebbing, Missouri”

BEST ORIGINAL SCREENPLAY

  • “The Big Sick”
  • “Lady Bird”
  • “Get Out”
  • “Three Billboards outside Ebbing, Missouri”
  • “The Shape of Water”

BEST ADAPTED SCREENPLAY

BEST CINEMATOGRAPHY

BEST SOUNDTRACK

BEST EDITING

  • “Darkest Hour”
  • “The Post”
  • “Baby Driver”
  • “The Shape of Water”
  • “Dunkirk”

BEST PRODUCTION DESIGN

BEST VISUAL EFFECTS

BEST SCORE

BEST DOCUMENTARY

  • “Jane”
  • “Last Man in Aleppo”
  • “Never Say Goodbye: The Kshe Documentary”
  • “Whose Streets?”
  • “City of Ghosts”

BEST ANIMATED MOVIE

  • “Despicable Me 3”
  • “Loving Vincent”
  • The LEGO Batman Movie”
  • “Coco”
  • “Captain Underpants: The First Epic Movie”

BEST FOREIGN FILM

  • “Frantz”
  • “The Square”
  • “Graduation”
  • “Land of Mine”
  • “First They Killed My Father”

BEST SCENE

  • Harlem Shuffle Opening, “Baby Driver”
  • Elio’s Dad’s Monologue, “Call Me By Your Name”
  • Stairway Fight, “Atomic Blonde”
  • Coach Directing The Tempest, “Lady Bird”
  • ‘Oh, hi, Mark,’ “The Disaster Artist

WORST FILM

Horror Film Review: The Mummy (dir by Alex Kurtzman)


Oh, where to start?

The Mummy was promoted as being the first entry in Universal’s new Dark Universe, a shared cinematic universe that would supposedly do for the classic monsters what the MCU did for super heroes.  (Of course, horror fans with a good memory remember that Dracula Untold was originally supposed to be the first part of the Dark Universe franchise but, after that film bombed with both critics and audiences, Universal announced, “We were just kidding.  The Dark Universe starts with The Mummy.”)  The Mummy was released in June and it got absolutely decimated by critics.  That wasn’t too surprising.  One could tell from the commercials that, even with 2017 being a good year from horror, The Mummy was not going to be a critical favorite.  But then, audiences rejected it as well, throwing the whole future of the Dark Universe franchise into limbo.

To be honest, I think The Mummy could have been a fun little movie if it had only been 90 minutes long and hadn’t gotten bogged down with all that Dark Universe nonsense.  There are a few moments that actually do work, though they are few and far between.  The film stars Tom Cruise, who is a veteran at handling nonsense and who gives a somewhat lighter version of his standard Mission Impossible performance.  Jake Johnson shows up as a talking corpse and he has a way with a sarcastic line.  Some of the special effects are effective, though The Mummy is often far too dependent upon them.

The plot is damn near incoherent and it didn’t take long for me to give up on trying to follow it.  The film started with a bunch of crusaders moving in slow motion and then it jumped forward to modern-day Iraq, where Sgt. Nick (Cruise) and Cpl. Chris (Johnson) uncovered an ancient tomb.  Apparently, opening the tomb unleashes Princess Ahmanet (Sofia Boutella), who is thousands of years old and is still alive because she was cursed to be both immortal and buried alive.  So, now, she’s free and apparently, she wants Nick to merge with Set, the Egyptian god of all things evil.  But Nick doesn’t want to be evil.  He just wants to save the lives of Chris and Jenny (Annabelle Wallis), an archeologist who basically has the same role that Natalie Portman had in the first Thor film.

Meanwhile, Russell Crowe is wandering around as Dr. Jekyll.  This is where the whole Dark Universe things kicks.  Dr. Jekyll is in charge of this secret organization that keeps tabs on all the paranormal stuff that’s happening in the world.  However, if Dr. Jekyll doesn’t regularly get his injection, he turns into evil Mr. Hyde.  In this movie, that means that Crowe suddenly starts talking with a cockney accent.  I’m assuming that, much like Samuel L. Jackson did for the MCU, Russell Crowe is meant to link all of the Dark Universe films together.  Of course, the difference is that the early MCU films usually only had Jackson show up at the end of the movie, often in a post-credits scene.  Crowe, on the other hand, pops up out of nowhere, takes over a huge chunk of the film, and then vanishes.  I was already having enough trouble trying to keep up with the Mummy’s schemes without having to deal with a random Mr. Hyde sighting.

The Mummy is a mess.  When it starts, it’s a likable mess, with Cruise and Johnson exchanging silly lines.  But then the movie gets caught up in trying to launch a franchise and it all goes downhill from there.  There’s even a scene where Ahmanet stands in the middle of a London streets and starts throwing cars around.  It’s such an MCU scene that I was surprised Robert Downey, Jr. didn’t come flying by.  If The Mummy had just been a content to be a silly monster movie, it could have been fun.  But instead, The Mummy tried to launch an entire universe and it just wasn’t up to the task.

4 Shots From 4 Films: Special Terence Fisher Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.

This October, I am going to be using our 4 Shots From 4 Films feature to pay tribute to some of my favorite horror directors, in alphabetical order!  That’s right, we’re going from Argento to Zombie in one month!

Today’s director: one of the masters of Hammer horror, Terence Fisher!

4 Shots From 4 Films

The Curse of Frankenstein (1957, dir by Terence Fisher)

The Horror of Dracula (1958, dir by Terence Fisher)

The Mummy (1959, dir by Terence Fisher)

The Gorgon (1964, dir by Terence Fisher)