Starring Steve Terrell, Gloria Castillo, Frank Gorshin, Raymond Hatton, Lyn Osborn
Directed by Edward L. Cahn
(actor & director credits courtesy IMDB.com)
After an alien spaceship lands near a small town, a pair of eloping teenagers hit one of the little green men with their car, and the others make trouble for the couple.
A unique sci-fi comedy from American International Pictures that hits upon the same themes of teenagers not being trusted by adults revisited a year later in The Blob, this is a fun picture, highlighted by Paul Blaisdell's iconic designs for the alien creatures. With round craniums, bulging eyes, and needles protruding from their fingers when they attack, the aliens are both fearsome and comical, well-echoed by Ronald Stein's mirthful musical theme for them. Actor Frank Gorshin would go on to greater fame playing the Riddler on the 1960s Batman TV series.
Friday, February 5, 2016
Thursday, February 4, 2016
Half Human (1958)
Starring John Carradine, Russell Thorson, Robert Karnes, Morris Ankrum, Momoko Kochi
Directed by Kenneth G. Crane & Inoshiro Honda
(actor & director credits courtesy IMDB.com)
An American anthropologist relates to his colleagues the story of a Japanese expedition that encountered an actual Abominable Snowman in the frozen mountains.
We have here an American repackaging of a 1955 Japanese science fiction film directed by Gojira's Ishiro Honda, with Carradine narrating the story and discussing the creature in newly filmed framing sequences with Karnes, Thorson, and Ankrum. Although the filmmakers completely eliminate the Japanese dialogue, the Toho production is still well on display, with handsome sets for the creature's mountain cave, as well as the village of the men and women who worship the beast. The creature makeup is also of quality, with convincing masks and realistic fur. It's regrettable that with the removal of the dialogue, the Japanese actors' complete performances are no longer intact, but cinematographer Tadashi Iimura's strong visuals help drive the story along, making the framing sequences and Carradine's narration largely unnecessary.
Directed by Kenneth G. Crane & Inoshiro Honda
(actor & director credits courtesy IMDB.com)
An American anthropologist relates to his colleagues the story of a Japanese expedition that encountered an actual Abominable Snowman in the frozen mountains.
We have here an American repackaging of a 1955 Japanese science fiction film directed by Gojira's Ishiro Honda, with Carradine narrating the story and discussing the creature in newly filmed framing sequences with Karnes, Thorson, and Ankrum. Although the filmmakers completely eliminate the Japanese dialogue, the Toho production is still well on display, with handsome sets for the creature's mountain cave, as well as the village of the men and women who worship the beast. The creature makeup is also of quality, with convincing masks and realistic fur. It's regrettable that with the removal of the dialogue, the Japanese actors' complete performances are no longer intact, but cinematographer Tadashi Iimura's strong visuals help drive the story along, making the framing sequences and Carradine's narration largely unnecessary.
Tuesday, February 2, 2016
The Gamma People (1956)
Starring Paul Douglas, Eva Bartok, Leslie Phillips, Walter Rilla, Philip Leaver
Directed by John Gilling
(actor & director credits courtesy IMDB.com)
While traveling in Europe, a newspaper reporter and his cameraman become stranded in a socialist country where they find a notorious scientist is engaged in sinister experiments.
This British import is a very unusual picture, with a wonderful surprise in the casting of the craggy middle-aged Douglas as the reporter instead of a young handsome lead. While Douglas was an American star of some renown, from movies like Angels In The Outfield and Clash By Night, he would have hardly been the first choice for a film of the type and is a refreshing fit in the part, and although he doesn't get the beautiful Bartok, he carries the film most capably. Director John Gilling, who's probably better known for Hammer film productions like The Reptile and The Mummy's Shroud, has a brisk entertaining thriller to his credit here, which he also co-wrote. It's not a deep or penetrating expose of socialism, but it is very enjoyable, aided by an energetic musical score and Phillips' fine support as the photographer who seems to be always on the run.
Directed by John Gilling
(actor & director credits courtesy IMDB.com)
While traveling in Europe, a newspaper reporter and his cameraman become stranded in a socialist country where they find a notorious scientist is engaged in sinister experiments.
This British import is a very unusual picture, with a wonderful surprise in the casting of the craggy middle-aged Douglas as the reporter instead of a young handsome lead. While Douglas was an American star of some renown, from movies like Angels In The Outfield and Clash By Night, he would have hardly been the first choice for a film of the type and is a refreshing fit in the part, and although he doesn't get the beautiful Bartok, he carries the film most capably. Director John Gilling, who's probably better known for Hammer film productions like The Reptile and The Mummy's Shroud, has a brisk entertaining thriller to his credit here, which he also co-wrote. It's not a deep or penetrating expose of socialism, but it is very enjoyable, aided by an energetic musical score and Phillips' fine support as the photographer who seems to be always on the run.
Monday, February 1, 2016
From The Earth To The Moon (1958)
Starring Joseph Cotten, George Sanders, Debra Paget, Don Dubbins, Henry Daniell
Directed by Byron Haskin
(actor & director credits courtesy IMDB.com)
In 19th century America, a brilliant inventor plans to test a powerful new explosive by firing it at the moon, but when persuaded otherwise, he modifies his plans to travel there in a spaceship.
Based on a novel by Jules Verne, this is a rather disappointing misfire considering the quality of the source material and the talent in front of and behind the camera. Although the picture starts out with promise, setting up a worthy conflict between Cotten and Sanders as well as an impressive demonstration of the "Power X" explosive, and introducing us to a well-designed rocketship, once the characters take off on the rocket, the film takes a turn for the worse. Lackluster special effects, overly technical explanations that are difficult to follow, and the ill-conceived re-use of "electronic tonalities" from Forbidden Planet take over from that point on, robbing the film of the excitement the screenplay had built up. According to Wikipedia, the film's studio, RKO Radio Pictures, went into bankruptcy and had to sell the film off to Warner Brothers for its release, so perhaps budgetary concerns played some role in the finished product.
Directed by Byron Haskin
(actor & director credits courtesy IMDB.com)
In 19th century America, a brilliant inventor plans to test a powerful new explosive by firing it at the moon, but when persuaded otherwise, he modifies his plans to travel there in a spaceship.
Based on a novel by Jules Verne, this is a rather disappointing misfire considering the quality of the source material and the talent in front of and behind the camera. Although the picture starts out with promise, setting up a worthy conflict between Cotten and Sanders as well as an impressive demonstration of the "Power X" explosive, and introducing us to a well-designed rocketship, once the characters take off on the rocket, the film takes a turn for the worse. Lackluster special effects, overly technical explanations that are difficult to follow, and the ill-conceived re-use of "electronic tonalities" from Forbidden Planet take over from that point on, robbing the film of the excitement the screenplay had built up. According to Wikipedia, the film's studio, RKO Radio Pictures, went into bankruptcy and had to sell the film off to Warner Brothers for its release, so perhaps budgetary concerns played some role in the finished product.
Saturday, January 30, 2016
Forbidden Planet (1956)
Starring Walter Pidgeon, Anne Francis, Leslie Nielsen, Warren Stevens, Jack Kelly
Directed by Fred McLeod Wilcox
(actor & director credits courtesy IMDB.com)
In the distant future, a spaceship commander travels to an alien planet to check up on a human colony, and finds them all dead save for the enigmatic Dr. Morbius and his beautiful daughter.
One of the best science fiction films of all time, in my opinion, with Oscar-nominated and dazzling special effects that are still impressive, the picture, per Wikipedia was based on Shakespeare's The Tempest, and it's not difficult to see how it influenced a good deal of science fiction to come, most notably Star Trek and Star Wars. The opening credits indicate Disney animator Joshua Meador was borrowed by MGM for the production, and it's clearly his work during a show-stopping battle between the spaceship's crew and the film's until-then invisible monster, but the rest of the effects, from painted mattes to the monster's formidable footprints, to the memorable design of Robby The Robot, are just as expert. Passing on an orchestral music score, the filmmakers utilize "electronic tonalities" by Louis & Bebe Barron to create an eerie mood to accompany to the alien landscape, and although it's not my cup of tea, it certainly is as striking as the rest of the film. Although the film is not often cited for its acting, Pidgeon, Nielsen, and Francis are perfect in roles which may well have become science fiction archetypes.
Directed by Fred McLeod Wilcox
(actor & director credits courtesy IMDB.com)
In the distant future, a spaceship commander travels to an alien planet to check up on a human colony, and finds them all dead save for the enigmatic Dr. Morbius and his beautiful daughter.
One of the best science fiction films of all time, in my opinion, with Oscar-nominated and dazzling special effects that are still impressive, the picture, per Wikipedia was based on Shakespeare's The Tempest, and it's not difficult to see how it influenced a good deal of science fiction to come, most notably Star Trek and Star Wars. The opening credits indicate Disney animator Joshua Meador was borrowed by MGM for the production, and it's clearly his work during a show-stopping battle between the spaceship's crew and the film's until-then invisible monster, but the rest of the effects, from painted mattes to the monster's formidable footprints, to the memorable design of Robby The Robot, are just as expert. Passing on an orchestral music score, the filmmakers utilize "electronic tonalities" by Louis & Bebe Barron to create an eerie mood to accompany to the alien landscape, and although it's not my cup of tea, it certainly is as striking as the rest of the film. Although the film is not often cited for its acting, Pidgeon, Nielsen, and Francis are perfect in roles which may well have become science fiction archetypes.
Thursday, January 28, 2016
Fingers At The Window (1942)
Starring Lew Ayres, Laraine Day, Basil Rathbone, Walter Kingsford, Miles Mander
Directed by Charles Lederer
(actor & director credits courtesy IMDB.com)
An out-of-work actor comes to the rescue of a lady stalked by a man with an ax, the latest would-be victim in a series of murders by different killers, and he tries to determine how they're connected.
MGM delivers a fun and entertaining thriller with many talented thespians in the cast, highlighted by Ayres' charming and selfless hero, Day's slightly daffy leading lady, and Rathbone's sinister villain. Although the subject matter is rather grisly and disturbing, with ax murders and the exploitation of the mentally ill central to the screenplay, the film does not come of as such with plenty of light hearted moments balancing out the grim ones. This is a fun and diverting picture.
Directed by Charles Lederer
(actor & director credits courtesy IMDB.com)
An out-of-work actor comes to the rescue of a lady stalked by a man with an ax, the latest would-be victim in a series of murders by different killers, and he tries to determine how they're connected.
MGM delivers a fun and entertaining thriller with many talented thespians in the cast, highlighted by Ayres' charming and selfless hero, Day's slightly daffy leading lady, and Rathbone's sinister villain. Although the subject matter is rather grisly and disturbing, with ax murders and the exploitation of the mentally ill central to the screenplay, the film does not come of as such with plenty of light hearted moments balancing out the grim ones. This is a fun and diverting picture.
Tuesday, January 26, 2016
Diary Of A Madman (1963)
Starring Vincent Price, Nancy Kovack, Chris Warfield, Elaine Devry, Ian Wolfe
Directed by Reginald LeBorg
(actor & director credits courtesy IMDB.com)
A French magistrate doesn't believe a condemned man who claims a spirit took over his body and made him commit murder, but after the man's death, the judge is possessed by the evil Horla.
In my opinion, this picture offers one of Vincent Price's more under-appreciated roles, and is a fun horror movie to boot, based on the stories of Guy de Maupassant, and scripted and produced by the prolific Robert E. Kent. Price has to play not only the tormented judge, as well as a mindless killer, but also a third persona oblivious to his crimes, all within the same character, and he pulls it off well. Price's scenes with Kovack's beautiful but gold-digging model are charming, as he excels with the romantic dialogue written by Kent, proving Price was more than just a horror actor. The invisible Horla voiced by Joseph Ruskin, although we never really see him, is an effective spectre, flinging open the doors to Price's study and challenging the magistrate in a battle of mental trickery. Veteran director LeBorg pulls all the elements together to assemble an entertaining contest of man versus an evil he cannot control.
Directed by Reginald LeBorg
(actor & director credits courtesy IMDB.com)
A French magistrate doesn't believe a condemned man who claims a spirit took over his body and made him commit murder, but after the man's death, the judge is possessed by the evil Horla.
In my opinion, this picture offers one of Vincent Price's more under-appreciated roles, and is a fun horror movie to boot, based on the stories of Guy de Maupassant, and scripted and produced by the prolific Robert E. Kent. Price has to play not only the tormented judge, as well as a mindless killer, but also a third persona oblivious to his crimes, all within the same character, and he pulls it off well. Price's scenes with Kovack's beautiful but gold-digging model are charming, as he excels with the romantic dialogue written by Kent, proving Price was more than just a horror actor. The invisible Horla voiced by Joseph Ruskin, although we never really see him, is an effective spectre, flinging open the doors to Price's study and challenging the magistrate in a battle of mental trickery. Veteran director LeBorg pulls all the elements together to assemble an entertaining contest of man versus an evil he cannot control.
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