Carib Gold.

Review #1799: Carib Gold.

Cast:  

Ethel Waters (Mom), Coley Wallace (Ryan), Peter Dawson (Neely), Cecil Cunningham (Barb), William T. Hill (Cap), George Renna (Bartender), Cicely Tyson (Dottie), Diana Sands (Bar Girl), Richard Ward (Lechock), Ruth Sawyer (Baby), Henry Hayward (Willie), and Geoffrey Holder (Voo Doo Dancer) Directed by Harold Young (#511 - The Three Caballeros)

Review: 

Admittedly, this film might have slipped through the cracks in any other time of day, partly because it is quite obscure. In fact, it was believed to have been lost for decades, since it was a B-movie that had a limited release (playing to segregated audiences in Key West, Florida). The screenplay and story were done by Charles Gossett and D. Lyle Kretsinger, their first and only screenplay; it was the last film directed by Harold Young, a system director if there ever was one (of course, he did direct the live-action sequences of The Three Caballeros, but still). It was shot independently by the Splendora Corporation. But there is something to discover in the curiosity of an integrated cast that features the film debut of four actors: Diana Sands, Cicely Tyson, Diana Sands, Richard Ward and Geoffrey Holder (the latter two had previous experience in television). Ethel Waters is likely the most notable name among the experienced cast, if only because she was a notable presence among Broadway and concerts for jazz and swing to go with acting roles for numerous decades. Of course, Tyson would have a lengthy career of seven decades in film and television, while the detective-turned-actor in Ward had two decades of film/TV roles with his distinct voice, and Holder was just as distinct. Wallace was more known for his amateur boxing career than as an actor, as this was his second of six overall roles (half of them had him play Joe Louis).

Well, there isn't exactly much to grapple with this movie, to be honest. It barely makes the best of its hour, since the story could really be told in probably less than half the time, one mostly shot at the Miami Seaquarium (recently built in 1955, one of the oldest oceanariums still running) and Key West, Florida. All that happens in the film is a mild expedition for gold, a title song done by Waters, one "action scene", a brief chase, voodoo, and a brief confrontation. At least one can't say the film is exploitative, if only because there is barely anything to really exploit in a film that seems lacking in suspense. Even the title song seems more like an obligation than anything. You would think a movie about sunken treasure and greed would be something else, but it is telegraphed very, very, very easily, with one-note folks everywhere you go. Tyson is the character with a mysterious disease, while Ward has an obvious chip on the shoulder, while others are just "there" (Dawson in particular). Heck, the voodoo part seems unnecessary, since it really seems like the chase segment comes to a close by sheer coincidence of the fact that town seems really small to begin with. I suppose the message of the film is something about greed...or fate? Hell, I love that there is a brief scene after the one fight sequence where two characters debate if one should stay inside (having beaten up the villain)...right before an off-screen arrest. Depth is one thing the film has exactly zero of, unless one counts sea action, but it amuses me that you can sometimes see fish swim right by the camera. Honestly, if the film hadn't languished in obscurity to the point of being thought to be lost, it might have just slipped by the radar with nary an objection, because it is really, really average. If you need an hour to kill with a few curious young presences, one could probably do better or worse, so take that for what it is worth.

Overall, I give it 6 out of 10 stars.

Next Time: The Learning Tree.

The Creature Walks Among Us.

Review #1737: The Creature Walks Among Us.

Cast: 

Jeff Morrow (Dr. William Barton), Rex Reason (Dr. Thomas Morgan), Leigh Snowden (Marcia Barton), Gregg Palmer (Jed Grant), Maurice Manson (Dr. Borg), Ricou Browning (Gill-man – In water), Don Megowan (Gill-man – On land), James Rawley (Dr. Johnson), Paul Fierro (Morteno), Lillian Molieri (Mrs. Morteno), and David McMahon (Captain Stanley) Directed by John Sherwood.

Review: 

If you recall, Creature from the Black Lagoon (as thought of by producer William Alland and writers Harry Essex, Arthur Ross, and Maurice Zimm) was a worthy monster movie for its time of 1954 that still stands tall today, one that seemed to spook the last terror that Universal had yet to strike in its hodgepodge of literary manipulations and other creative ventures: the terror of the sea. Granted, it did something that felt different (aside from the 3D effect, which you wouldn't really notice unless you actually did see in a theater), in that it was a movie where the creature was (for the most part) provoked in its actions, as opposed to something that came onto us, and it made for a riveting movie for its era. In short: in a time where the monsters of yesteryear were tired, the Creature (as designed by Millicent Patrick) seemed like a fresh step worth taking from the Universal line, whether on water or on land. Of course, one really could learn something from the attempts to continue the Gill-man from where we left it in the first film (i.e. being shot a bunch of times after his attempts at wooing a woman fail): alone, or perhaps in the company of fresher perspective. Revenge of the Creature (1955) only managed to accomplish that one could make seeing a Gill-man in a tank for several minutes with boring characters seem like an experience in dullness, mostly because one seems to feel just as stuck in that tank like the Gill-man (and in Florida, no less). Jack Arnold, who directed the first two films, did not return for this one, and in his place came John Sherwood, a long-time second unit director for Universal, with this being the second of three films he directed (he would die at the age of 55 in 1959 after contracting pneumonia while working on a film). 

You won't find much to particularly draw favor for with the third and final film of the Creature series (as written in story by Ross), mostly because it manages to squander whatever half-baked idea they thought was going to rock scares in new inventive ways by simply not doing anything useful with whatever it was trying to pull with trying to take the creature onto land. Sure, it is a better movie than the previous one, but only by a slim margin, and ultimately one would be better saved by just sticking with the first film. So yes, one wonders how we got to this point: Well, somebody wants to see the Gill-man and do stuff with it (i.e. mutate it in some sort of attempt to get man ready to go to space). Heaven forbid folks learn about what happened the last two times the Creature saw humans, and yet here we are. The problems start to crack into place from the very moments they start their little expedition: it is a tedious affair to find the Creature, and it is especially dull when there are points attempted to be brought up about ethics that wander to where you can't take it seriously (something something the stars or the jungle). Morrow plays a jealous kook who wants to see just where the human chain can go by studying the creature, while the others aren't exactly 100%. By all measures, he is the only interesting presence in the film, which goes against the usual hope for interesting rational acting in its 77 minute run-time (which Reason can't help, considering that the Gill-man, intentionally or not, seems more of the hero in this film anyway). Snowden gets to act against kooky jealousy in Morrow for scenes that range from awkward to "rolling the hands along". Maybe there was supposed to be a point made about how they take the creature down in the middle of the film, because it is such a weak sequence that dulls the reasoned senses, since the Gill-man just happens to bump and slip into being set on fire by these bumblers while they try to track him in the water. At any rate, the title seems more like a trick than anything, since the only time the creature actually walks among the humans on land is when they put him in a cell on a waterside ranch with a bunch of animals and near the ocean. Criminy, that sentence does sound depressing when you think about it, as if the real horror is humans being odd enough to think that one could live with accidentally torching a creature, "fix" it, and they would be just fine. But hey, it turns out that doing so means the Gill-man has become six inches taller and heavier! I suppose shedding gills makes one a bit bigger, and it actually is quite amusing to consider the difference between the sea and land creature, as if making him more imposing was really going to help problems. Perhaps cutting the cast down to just Morrow and the creature would have helped, but maybe I am just spit-balling.

By the time the inevitable happens with the Gill-ish man, it is already too late. Imagine making two quickly made minute movies with the same fundamental trouble of simply wasting a monster with material beneath what it means to make worthy scares or even tragedy. And yet, here we are with a movie that can't establish a useful debate nor a useful body count to go with stuff that seems like the dying throes of a company past its prime in creating spooks for the public. At any rate, there have been several attempts at remaking the series that have seen a revolving door of directors and ideas (including one take from Guillermo del Toro that you might recognize in The Shape of Water), and one can only wonder what will be floated around in the next decade or two. Regardless, the lasting legacy of the Creature series is one of middling curiosity, where a strong and memorable opening film is nearly sunken in what its follow-ups failed to accomplish, although at least this one has a suitable ending to close it all out.

Overall, I give it 6 out of 10 stars.

Next Time: Return of the Fly.

Around the World in 80 Days.

Review #1393: Around the World in 80 Days.

Cast: 
David Niven (Phileas Fogg), Cantinflas (Passepartout), Shirley MacLaine (Princess Aouda), and Robert Newton (Inspector Fix), with appearances from Edward R. Murrow (Prologue narrator), Finlay Currie (Andrew Stuart), Robert Morley (Gauthier Ralph), Noël Coward (Roland Hesketh-Baggott), Sir John Gielgud (Foster), Charles Boyer (Monsieur Gasse), Sir Cedric Hardwicke (Sir Francis Cromarty), Melville Cooper (Mr. Talley), John Carradine (Col. Stamp Proctor of San Francisco), Jack Oakie (Captain of the SS Henrietta), in addition to Fernandel, Cesar Romero, Reginald Denny, Peter Lorre, George Raft, Red Skelton, Marlene Dietrich, Frank Sinatra, Buster Keaton, Col. Tim McCoy, Joe E. Brown, Andy Devine, and various others. Directed by Michael Anderson (#717 - Logan's Run)

Review: 
"Do not refer to Around the World in 80 Days as a movie. It's not a movie. Movies are something you can see in your neighborhood theatre and eat popcorn while you're watching them....Show Around the World in 80 Days almost exactly as you would present a Broadway show in your theatre."

It should only prove fitting that a film like this was meant to be treated as a major event for the masses, since this was an experience like no other for a decade that had plenty of spectacle to show in a time that desired entertainment that manage to receive accolades for itself. No expense would be spared in making such a monumental exercise of excess, with six million being spent for over 60,000 extras and 70,000 costumes made/rented alongside thousands of actors and plenty of miles traveled to show something to try and impress the viewer, which should only prove appropriate for its producer in Mike Todd. He worked in a variety of jobs after dropping out of high school, such as selling shoes, drugstore soda jerk, and construction businessman before eventually finding interest in Broadway in the late 1930s. Over the course of the next few years, Todd would produce several shows on the stage that ranged from burlesques to musical comedy revues to even an operetta. In the 1950s, he found himself involved with film when he got involved in getting behind Fred Wallers' widescreen process Cinerama, which was featured most notably with This is Cinerama (1952). He soon moved to another venture involving a widescreen process that would bore his name in Todd-AO with Robert Naify in 1953, which would become a theater sound leader for films in the next few decades that simplified its setup to one camera and lens, with the Todd-AO widescreen process being debuted in Oklahoma! (1955).  Todd would reap plenty of benefits from producing this film, winning an Academy Award for Best Picture to go along with four other awards for color cinematography, editing, scoring, and adapted screenplay (which had three writers, including John Farrow, who directed a bit of footage before quitting). Tragically, Todd would die just two years after the film's release in a plane crash at the age of 48.

This was based off Jules Verne's 1872 novel of the same name, which has been adapted to several forms of media alongside film over the past century. Interestingly enough, this film begins by showing snippets from another adaptation of a Jules Verne work in A Trip to the Moon (1902), likely one of the most influential films of its time from noted director Georges Méliès. Both do a fine job when it comes to showing a sense of wonder and imagination, this much is true. In the case of Todd's production, he surely wanted to keep people's attention for 182 minutes with a travelogue around the world that is worth one look for the curiosity of it all, particularly whether to see if it has lost any of its luster to time, which does sometimes seem the case. One cannot deny that Niven and Cantinflas do a tremendous job together, inspiring curiosity and humor at times when together. Niven does his part with the type of dignity and composure that one enjoys for an adventure. Cantinflas, a Mexican icon for comedy then as now, proves to be quite amusing with his antics, such as when gets into a bullfight (as performed by the actor himself). MacLaine (in her third role of her film career) shows up somewhere in the middle of all this, and she nearly becomes lost with all theses presences around, where Newton's bluster proves effective as a foil to all of this. One may very well play a game of spot-the-international star when trying to pass the time when it seems the film is flying up its own ego, whether that means a wordless piano performance from Sinatra or hammy times with Raft and Carradine or one-shot turns like Lorre or Keaton, where half don't even have names to go with their "role", although at least it is nice to see Hardwicke and Gielgud. The film is nice to look upon at times, whether through a costume or some scenery to view upon. It is a film aiming for light-heart entertainment that succeeds on fair craftsmanship in the parts that matter without becoming a complete shell of arrogance that could kill a more pompous ambition. Adventures like this can be fun if one is in the mood for what it is trying to sell and have three hours to spend with spectacle.

Overall, I give it 7 out of 10 stars.

The Searchers.

Review #1392: The Searchers.

Cast: 
John Wayne (Ethan Edwards), Jeffrey Hunter (Martin Pawley), Vera Miles (Laurie Jorgensen), Ward Bond (Rev. Capt. Samuel Johnson Clayton), Natalie Wood (Debbie Edwards), John Qualen (Lars Jorgensen), Olive Carey (Mrs. Jorgensen), Henry Brandon (Chief Cicatriz - Scar), Ken Curtis (Charlie McCorry), Harry Carey, Jr. (Brad Jorgensen), Antonio Moreno (Emilio Gabriel Fernández y Figueroa), and Hank Worden (Mose Harper) Directed by John Ford (#398 - The Last Hurrah, #1324 - 3 Bad Men, #1349 - Stagecoach, and #1372 - Fort Apache)

Review: 
Every director surely wants to have one masterpiece in their lifetime, or at the very least wants to have their name or films endure even after their death. John Ford is certainly one man who achieved both with making numerous classics, particularly with John Wayne. It should prove no surprise that this film has endured as a classic in the eyes of many, with Wayne calling it his favorite role and one of his favorite films, and numerous directors have been inspired by the film that ranged from David Lean to Jean-Luc Godard. The film was adapted from novelist/screen-writer Alan Le May's 1954 novel of the same name by Frank S. Nugent. There had been cases where Native American had abducted children and raised them as members of their tribe only to be rescued later, most notably with the Fort Parker massacre in 1836 Texas. This is a film that features familiar aspects of a Western for its director with Wayne and Monument Valley as a primary filming location to view throughout its 119 minute run-time.

This is an interesting film in the middle of Ford's penultimate decade of directorial work, one that grew considerably in reputation over the past six decades (going from receiving no award nominations to best-of lists), which can be attributed to a stellar cast and an injection of darker hues in terms of realism when it comes to telling its story in ways more complex than the usual standards for a Western were. We are intrigued by the characters that come across this vast barren landscape, particularly when it comes to Wayne. He excels with displaying such obsession over his pursuit for vengeance that burns with plenty of conviction that drives the climax in wondering just how far one man is willing to go to finish a quest as grisly as this one is. Hunter does just as well as a foil for this rough quest that we see plainly in his calm eyes, someone who grows as the film does that make him a key for how the tension is built so well for the climax, since our focus is on these two for most of the film and the child-turned-teenage star Wood has only so much time to be on screen (basically ten minutes) that she pulls off with resolve. Miles and Bond each lend a hand as counterparts to the main duo for moments on the lighter side, whether filled with a few wisecracks or something else. The other members of the cast (some of whom were part of numerous films with Ford) do their part in filling things out neatly, whether that means a sequence involving a marriage fight or the buildup to the climax with a nervous soldier. In any case, this is an entertaining film with plenty to say of the harsh realities of the Old West on numerous angles, where losses were suffered on both sides by innocents and warriors alike that went hand in hand with the attempts of trying to build a life for themselves in vast and dangerous territory. Life can be hard if one is not up to the challenge of standing up to what may come their way, whether that involves conflict with oneself or with prejudice from others or something else entirely when it comes a wanderer and coming home. In any case, The Searchers does fairly well with making an attempt at a darker Western with an intense Wayne at the helm to sell itself off beautifully by the time it gets to its enduring last shot. Six decades of time have left plenty to shine in this Western now more than ever as a rewarding film for the ages for all who take it upon themselves to get on the frontier and find themselves watching the film for themselves.

Overall, I give it 10 out of 10 stars.

The Werewolf (1956).

Review #1279: The Werewolf.

Cast: 
Steven Ritch (Duncan Marsh), Don Megowan (Sheriff Jack Haines), Joyce Holden (Amy Standish), Eleanore Tanin (Helen Marsh), Kim Charney (Chris Marsh), Harry Lauter (Deputy Ben Clovey), Larry J. Blake (Hank Durgis), Ken Christy (Dr. Jonas Gilchrist), James Gavin (Mack Fanning), S. John Launer (Dr. Emery Forrest), and George Lynn (Dr. Morgan Chambers) Directed by Fred F. Sears (#255 - The Giant Claw, #265 - Earth vs. the Flying Saucers, and #671 - The Night the World Exploded)

Review: 
The film was certainly helmed by a few pros when it comes to making quick films for entertainment. This is the fourth film I've covered of Sears that was produced by Sam Katzman, who had produced films from 1934 to 1972 that ranged from a variety of genres such as adventure, jukebox musicals, and horror (Robert E. Kent, writer for the film, also wrote for some of Katzman's films), primarily done on the cheap. In a decade where science fiction could certainly mingle with horror on occasion, it shouldn't be surprising that this film tries to mix the two together (after all, this was released as a double bill with Earth vs. the Flying Saucers), with the cause of the lycanthropy this time around being irradiated wolf serum than anything supernatural. Also, he doesn't merely transform in the night-time only, he just turns into a wolf if he is under emotional stress. In any case, this turns out to a be a passably okay movie that does fine with entertainment if one does not have high expectations or just wants to have some sort of horror for the night, unless one could watch something like The Wolf Man (1941), of course. It doesn't have too much in terms of compelling drama, which clearly tries to shake things up with the wolfman actually having a wife and son - for which they share just one scene together. Of the group of actors here, Ritch is likely the highlight, and he proves just fine in showing some anguish, mostly because the rest seem a bit too stock to really make an impact. It moves at a careful pace for 79 minutes while being occasionally hokey, but at least the film looks like it wants to move frights forward. Honestly, if you take out the werewolf part, this could just be a fugitive film, complete without weirdo scientists who like to give people serums and do coverups. Imagine thinking the best way to survive an apocalypse is to give people radiated serum - was their second idea to give them super hemlock? At least the film doesn't skimp out on giving us a shot of the wolf in action (which isn't just only for the dark), which looks okay. It just seems that the wolf should really just be seen in the night, as opposed to a big fur man being seen out in the daylight. The fact that the climax shoots shots of the wolf in day-for-night doesn't really help, either. Naturally, in a film with a weird setup to get a werewolf, of course the creature is taken down by a bunch of bullets by a posse. I'm almost surprised he didn't just faint from exhaustion or something else. Sometimes you really need something weird to make it go. Ultimately, this is a pretty average movie, not quite a winner for my eyes, but it does enough on the horror angle to at least make it seem a worthy curiosity.

Overall, I give it 6 out of 10 stars.

Fire Maidens from Outer Space.

Review #1266: Fire Maidens from Outer Space.

Cast: 
Anthony Dexter (Luther Blair), Susan Shaw (Hestia), Paul Carpenter (Capt. Larson), Jacqueline Curtis (Duessa), Harry Fowler (Sydney Stanhope), Sydney Tafler (Dr. Higgins), Owen Berry (Prasus), Rodney Diak (Anderson), Maya Koumani (Fire Maiden), Richard Walter (The Creature), Norma Arnould (Fire Maiden), and Sylvia Burrows (Fire Maiden) Directed and Written by Cy Roth.

Review: 
Fire Maidens from Outer Space (released in the US as Fire Maidens of Outer Space, because...I shrug as to why the name change) is certainly an interesting curiosity. How often do you see a implantation of classical music in a science fiction film? Sure, maybe a few films come to mind, but this is probably the silliest sci-fi film this side of the United Kingdom. The man behind the film is Cy Roth, who directed, produced and wrote the film while collaborating with a small production company in Criterion Films, with separate distribution companies for the two regions. What can I expect from a film that starts with narration about a secret US-UK project that is designated plan thirteen (I take it the ninth plan from outer space wasn't successful) - having ten minutes of exposition before the ridicule to follow in the next seventy minutes sure is something, though. How many times can you cover dreck and write about silly moments before it gets old? Watching terrible films does tend to make one feel a bit better, as if seeing misery makes the hope of finding something better to do seem fruitful. That, or it gives me a chance to write some silly highlights and make fun of things. Whooshing meteors should be an early indicator. One particular favorite is when the space crew are trying to land the rocket in a forest (while on the 13th moon of Jupiter) and they superimpose stock footage of a V-2 rocket landing (or perhaps launch in reverse) onto a shot of some trees, which is about as convincing as the space set itself. Wait a minute or two, and you'll get a shot of the rocket (where the trees are seen through the tail-fin) that looks hysterical, and the fact that the crew gets out of the space rocket through a everyday ladder makes me giggle internally. Do you want to see a sequence of the crew hearing a scream and then hiding in the bushes while someone takes a photo of the space maiden (who lives among the rest in what they call "New Atlantis" - yes I am serious)? You are in luck, then, particularly with the silly creature that we know is probably going to be a treat to see later up close. Nobody really seems to come out of this with too much dignity, as if they have already reached the stage of acceptance (if one replaces grief with bad movie appearances, anyway), although maybe the fire maidens seem to have a fine time being in "New Atlantis" garb and dancing on occasion. There never seems to be a moment where one can really take this seriously, and when it comes to space women, even Cat-Women of the Moon (1953) seems preferable. The fact that the monster is a slender beast in a dark costume (with zippers) that can't be shot is just as funny as the growl noises and his final fate - being hit by a gas grenade that makes him stumble onto some flames. As one would expect from silly films like this, they actually decide to bring back one of the maidens with them to Earth, with the idea of future missions to fulfill the "promise" from their "father" for mates for the maidens (or something like that). On the whole, this reads like a joke to a science-fiction fan, belonging in the cellar with other dreck aptly fit for MST3K mocking but also aptly fit for a laugh if in the right mood. It isn't the worst by any means, but it sure is a stinker.

Overall, I give it 1 out of 10 stars.

Godzilla, King of the Monsters! (1956)

Review #1223: Godzilla, King of the Monsters!

Cast: 
Raymond Burr (Steve Martin), Takashi Shimura (Dr. Yamane; dubbed by Sammee Tong), Momoko Kōchi (Emiko), Akira Takarada (Ogata; dubbed by James Hong), Akihiko Hirata (Dr. Serizawa; dubbed by James Hong), Sachio Sakai (Hagiwara), Fuyuki Murakami (Dr. Tabata), Ren Yamamoto (Seiji), Toyoaki Suzuki (Shinkichi), Tadashi Okabe (Dr. Tabata's Assistant), Toranosuke Ogawa (President of Company), and Frank Iwanaga (Security Officer Tomo), with Haruo Nakajima and Katsumi Tezuka (Godzilla) Directed by Terry Morse, as originally directed by Ishirō Honda (#167 - Godzilla, #711 - Mothra, and #1092 - Gorath)

Review: 
The original Godzilla was a success upon release in 1954. Over nine million tickets were sold in Japan upon initial run in Japan (which remain the second most attendance for a Godzilla film in Japan) - it soon found its way to being distributed to the United States - in Japanese-American neighborhoods. In 1955 (the same year that Toho would release Godzilla Raids Again), the international rights for the film would be sold to an American group interested in adapting it for further audiences in America, led by Joseph E. Levine, who was involved in over 400 films in his life-tiem as either producer, distributor, or financier (ranging from Santa Claus Conquers the Martians to The Producers). 20 minutes of footage with Burr, alongside stand-ins were edited into the feature, trying (for 1956 standards) to make it seem that he is part of the action, with a bit of dubbing involved when not having Burr just ask someone that he knows to help translate what is going on. The run-time is obviously different from before, with Gojira running at 96 minutes and this lasting 80 minutes. It feels strange to see this one after nearly seven years since I viewed the original - so it is interesting to see what I viewed once again (for the most part), if only to remember how serious it had taken itself (such as shots involving people trapped under rubble), with the black-and-white cinematography helping to make the sequences with Godzilla really stand out in terror. A good deal of the subtext involving the horrors of nuclear testing (along with character elements) is cut out, which admittedly does make for a more stream-lined movie, which I suppose is preferable to dubbing the whole dialogue - even if it does undercut the ultimate decision made in the climax a bit. Burr gives a fairly wooden performance with such a strange role of being in the background of impactful events in the film and occasional dialogue to other characters (one sequence amusingly having him talk to the back of someone's head) that would probably work better for an audio play than anything. He doesn't really get in the way of enjoying the actual film, which in its own right still holds up well. If given the choice between watching the original film with subtitles, a dub, or this, the easy choice for me is still the film in its original 1954 film, but this manages to be a fair second choice. After all, this is the version that audiences outside of Japan were introduced to, lingering as a drive-in favorite and in TV syndication for years on end. It treats the original (and its cast members) with respect, letting them be in the forefront (beside sequences with Godzilla, naturally) just as before.

Believe it or not, this isn't the last time the film would receive edits for release in another country. Italian filmmaker Luigi Cozzi made further edits in 1977 to this film, colorizing the film (hence why it the credits list it as presented as in Spectorama 70) along with adding new scenes (such as Godzilla destroying a train and various stock footage) that made it last 105 minutes; it is referred to as "Cozzilla" in most circles, with limited availability besides the Internet Archive. In 1985, New World Pictures released Godzilla 1985, a re-edit of Toho's The Return of Godzilla (1984) that served as a follow-up to the original film, including additional footage with Burr reprising his role of Martin from this feature. It shouldn't be forgotten that Godzilla, King of the Monsters! soon found its way to Japan, being released in 1957 under the title Kaiju Ō Gojira (translating to "Monster King Godzilla"). In any case, while this film loses some of the underlying structure that made the original Gojira a riveting monster movie, it holds itself well enough with its foundation to make for an interesting piece of entertainment nonetheless.

Overall, I give it 7 out of 10 stars.

The Black Sleep.

Review #1179: The Black Sleep.

Cast: 
Basil Rathbone (Sir Joel Cadman), Akim Tamiroff (Udu the Gypsy), Herbert Rudley (Dr. Gordon Ramsay), Patricia Blake (Laurie Munroe), Phyllis Stanley (Daphnae), Lon Chaney Jr. (Dr. Munroe aka Mungo), John Carradine ("Bohemund"), Bela Lugosi (Casimir), and Tor Johnson (Mr. Curry) Directed by Reginald Le Borg.

Review: 
With horror films, there surely is an expectation for terror and suspense with some sort of capable cast of characters to make something worth watching as entertainment. With this film, that statement isn't too particularly true, since the only thing that drives the film is its cast. It has an occasional shocking moment or two, but there isn't enough energy present in its story to make something other than just a fairly forgettable piece in a decade filled with films with frights and schlock that stand out much clearer. When the most interesting thing to view is one shot of an exposed brain seeping cerebral fluid (second place going to Rathbone's hand double used for the surgery being an actual neurosurgeon), perhaps your movie needs a bit more noteworthy things to go around. Undeniably, the one thing that does shine above all else for this feature is Rathbone, who manages to give his role a fair bit of dignity that goes past being just the madman scientist who values results over things such as not operating on living patients and their brains, balancing a bit of tragedy with scientific ambition. Alas, not even he can save this film from falling into the world of blandness. Perhaps the story from Gerald Drayson Adams and screenplay by John C. Higgins (both of whom were mostly writers for adventure or mystery films) is to blame a bit. The dilemma involving the use of live brains would probably work better for a film with a bit more action to it, or at the very least would work better in a film that had a more compelling second lead than Rudley. He isn't too particularly interesting, and his chemistry with Blake is cursory at best, so there isn't too much driving drama (or much suspenseful horror, for that matter) besides occasional moments with Rathbone until the climax. It doesn't help that Chaney is tasked to simply growl, either. Lugosi appears in the film, although he has no spoken lines. Sadly, this was the last film of his to be released during his lifetime, as Lugosi died on August 16, 1956, just two months after the film's premiere. Tamiroff, playing a role originally intended for Peter Lorre (prior to disputes over salary rates) is alright, but he falls into the background for a good chunk of it. When the film finally decides to arrange an ending, what better way than to have Carradine chew a bit of scenery as a character who believes he is a legendary crusader from the 11th/12th century? It may be a bit ridiculous to see him (along with Johnson and another actor playing people affected by the brain surgery) run amuck on the people doing the experiments, but at least it is something to give the film a bit of a jolt, even if it is a bit on the over-the-top side, what with Carradine chanting "Kill!" and all. On the whole, it isn't a terrible experience, and the 82 minute run-time isn't too interminable to go through, but it really is only worth it for people willing to look past the lack of suspense and look more at the atmospheric moments and a fairly game performance from Rathbone. I don't think that the film does enough to prove a winner, but it is at the least a curious little horror film that serves its purpose better than some other horror films of its time (such as The Beast of Hollow Mountain (1956) for example), so take it for what it's worth.

Overall, I give it 6 out of 10 stars.

Warning from Space.

Review #1126: Warning from Space.

Cast: 
Keizô Kawasaki (Dr. Toru Itsobe), Toyomi Karita (Hikari Aozora / Ginko), Bin Yagisawa (No. 2 Pairan), Shôzô Nanbu (The Elder Dr. Itsobe), Bontarô Miake (Dr. Kamura), Mieko Nagai (Taeko Kamura), Kiyoko Hirai (Mrs. Matsuda), and Isao Yamagata (Dr. Matsuda) Directed by Koji Shima.

Review: 
Warning from Space (also known as Uchūjin Tokyo ni arawaru) is a film that is a science fiction tokusatsu (a term to describe a film that uses many special effects) that came after the popularity of Gojira (1954). It is loosely adapted from a novel by Gentaro Nakajima, with the creatures being designed by avant-garde arist Tarō Okamoto, which had a starfish resemblance with one eye. It was produced and distributed by Daiei Film, which produced films such as Rashomon and the Gamera film series prior to its merger with Kadokawa Pictures in 2002. In a decade that brought the first color feature for Japan with Carmen Comes Home (1951), this happens to be the first Japanese color science fiction film. I can't say that this film comes out a winner, but I will give it credit for occasional sparks of imagination. The sequences with the creatures (which contrary to the posters are human scale and not large) certainly lend themselves attention, since they stick out in their own way from usual films with creatures, having a weird but amusing look to them. Any time the aliens are on screen makes the film have some sort of energy and life. Actually, one other sequence is amusing, involving an alien trying to disguise herself as a human, complete with leaping ten feet in the air when playing tennis and materializing wherever she wants.

However, the film likes to focus more on its plot (much like another film that took influence from it - Gorath, released six years later), there is a certain feeling of boredom that levels in due to the resulting scenes not being particularly compelling. The cast don't do a terrible job with what they're given, with Yamagata being a fair standout, although this is more of a movie that strolls to its destinations. Nobody is too particularly over-the-top, not too underplayed, but it's the kind of performances that play to the sci-fi cliches without really giving too much life to the film. Oddly enough, this film has slipped into the public domain, which makes it readily available on the Internet. The version I watched was dubbed in English, which was produced at Titra Sound Studios by Jay H. Cipes and Edward Palmer. If one is curious to view the film, I would advise to try and fine a good quality print, as opposed to prints that have a washed out look (as is the case with some films in the public domain) that hurt the viewing experience since it is in color. The film as a whole has a decent look, but it isn't anything that shines over other sci-fi films of its ilk. However, it, along with other sci-fi films of its time had an influence on Stanley Kubrick, who made 2001: A Space Odyssey twelve years later. On the whole, this isn't a terrible experience, in part because of the effects that shine on occasion. At 87 minutes, it may move a sluggish kind of pace, but it may prove worth it for people looking for something to pass some time with sparks of curiosity.

Overall, I give it 5 out of 10 stars.

The Beast of Hollow Mountain.

Review #1124: The Beast of Hollow Mountain.

Cast: 
Guy Madison (Jimmy Ryan), Patricia Medina (Sarita), Carlos Rivas (Felipe Sanchez), Eduardo Noriega (Enrique Rios), Julio Villarreal (Don Pedro), Mario Navarro (Panchito), Pascual García Peña (Pancho), and Lupe Carriles (Margarita) Directed by Edward Nassour and Ismael Rodríguez.

Review: 
What can one really say about a movie that combines a Western with dinosaurs? For the first hour, the only thing you can think is surprise that it takes so long to show the beast, and then the last twenty minutes the only thing you can think about is the sheer strange nature of a dinosaur being in a Western and share some sort of joy. Nothing says a good introduction like a faceless narrator telling us about this supposed hollow mountain in a back country that is supposedly evil - spooky, I suppose.  Filmed with an animation process called "Nassour Regiscope", the best parts of the film are obviously near the end with the monster, which certainly appeals to monster lover along with anyone looking for more than the conventional cattle rancher rival story presented for most of its 81 minute run-time. The idea for the film came from Willis O'Brien, who you may remember for his effects work on King Kong (1933) and Mighty Joe Young (1949), among others, although he was not involved with the film besides just giving the idea. This was an co-production between the USA and Mexico, filmed in CinemaScope (combined with stop-motion animation) while having English and Spanish versions filmed simultaneously.

Nobody from the cast generates too much excitement or interest. Madison and Medina fit the mold of conventional people in a movie that would've been just fine for prior decades. This can also apply to the generic adversary played by Noriega or the mildness of the kid played by Navarro. Everybody has a standard feel to them that is incredibly stale when faced with the fact that they dominate our attention for over an hour with barely a hint of a "beast", with the highlight moment to make fun of being a brawl between two characters that comes out of nowhere. Actually, I take that back, the sequence where footage of cattle stampeding is sped up to look more menacing is pretty amusing. The effects for the beast is interesting to look at, in a Saturday morning cartoon kind of way, complete with a large tongue. Four people provided effects work, with Louis DeWitt and Jack Rabin doing photographic effects, while Henry Lyon did model work and Nassour did the stop-motion animation work. The monster doesn't look too imposing in certain shots, and the minimal body count associated with it doesn't make for a particularly riveting experience, but on a basic level there is some enjoyment to be had with a dinosaur stalking a bunch of people. The climax is a bit abrupt, in that it just ends quickly without much closure given to these characters - for better or worse. One has a few options to watching this film - they could watch the film all the way as intended, or they could watch the 2017 riffing by Mystery Science Theater 3000, or they could simply watch the last 20 minutes with the dinosaurs. This isn't a good movie in any sense, but it will provide a basic mode of entertainment if one is in the mood for some junk.

Overall, I give it 5 out of 10 stars.

Bigger Than Life.

Review #928: Bigger Than Life.

Cast: 
James Mason (Ed Avery), Barbara Rush (Lou Avery), Walter Matthau (Wally Gibbs), Robert F. Simon (Dr. Norton), Christopher Olsen (Richie Avery), Roland Winters (Dr. Ruric), and Rusty Lane (Bob LaPorte) Directed by Nicholas Ray (#181 - Rebel Without a Cause)

Review: 
For the time this was made (in the middle of the 1950s), this certainly stood among movies that revolved around the life of a family, especially considering its subject matter (based off a 1955 story in The New Yorker named Ten Feet Tall by Berton Roueché). While it does serve as a cautionary tale about overuse of medications (with cortisone - discovered less than a decade prior to the release of this film), it also manages to weave a tale about conformity and family life. Granted, the highlight is undeniably Mason (who also produced the film), showing different kinds of emotions through the film that seems convincing; these range from being a caring family man to being in pain to being infused with megalomania, and he does it without going over the top (I do wonder if this could be cut into a horror film, especially the ending). Matthau does an understated job in a supporting role, playing the role neatly enough. Rush also does a good job in the movie as well, neither just being the other lead in a movie with a character as larger than life as Mason plays; she manages to show us her side of what she sees in the life of her household. It's strange how a scene involving a broken mirror can work so well in showing both Mason and Rush at their best, but it just helps with showing the fractured nature of the things to come. Olsen is the weak link of the three (but being a child actor, I'll cut some slack), but he does a well enough job in being as natural as one can be, and he also does a fine job in the climax. In a movie that flows well at 95 minutes, the climax is given fine buildup while also delivering in delivering drama along with suspense. This isn't a movie that relents nor allows any easy kind of cheap critiques, merely allowing this drama to play out. It has its moments of fine drama that will assuredly work for anyone looking for a film that doesn't hold judgement.

Happy May Day, folks.

Overall, I give it 8 out of 10 stars.

Invasion of the Body Snatchers (1956).

Review #920: Invasion of the Body Snatchers.

Cast:
Kevin McCarthy (Dr. Miles Bennell), Dana Wynter (Becky Driscoll), Larry Gates (Dr. Dan Kauffman), King Donovan (Jack Belicec), Carolyn Jones (Theodora "Teddy" Belicec), Jean Willes (Nurse Sally Withers), Ralph Dumke (Police Chief Nick Grivett), Virginia Christine (Wilma Lentz), and Tom Fadden (Uncle Ira Lentz) Directed by Don Siegel (#893 - Dirty Harry)

Review:
What is it about science fiction that entertains us so much? What is it about horror and and aliens that lure us so much to watch? The 1950s definitely had a great deal of entertainment with these things, but this film (based of the novel "The Body Snatcher" by Jack Finney) manages to shine on its own, becoming a film worth discussing in part because of how it constructs himself. Even if one treats it as just a horror flick (as what the director and writers have stated they were intending), It's an interesting horror film in how it invokes fear and fright from how little you really see of the terror. The film also has decent cinematography by Ellsworth Fredericks, with the shadows and lighting working nicely with the sets. McCarthy is a good lead, fitting as a storyteller and hero like a glove. Wynter is also pretty decent, having some chemistry with McCarthy while also proving to be capable for some scenes. Donovan and Jones do a pretty fine job as well in accompanying the others in a movie that always seems doing something beneath the surface. Nobody is killed on screen, nor is there much in terms of what the pod people are (aside from a part near the climax), but it has a great degree of layers within this thriller. Numerous things have been written about it being an allegory for things in the 1950s (this was the Cold War era after all), but the easiest one can be the way that people can act towards cultural things with a sense of unfeeling. While the nature of how the narrative is set up may be a bit clunky (in short, it's a flashback narrative), the movie is at least swift enough to never cop itself out too much. There is something really interesting about the way it speaks about conformity and autonomy in this film, and it doesn't bash you over the head with any sort of overwrought kind of nature. On the whole, this is an entertaining film that inspires fear along with thought in part due to a fine cast and fine direction that work together to make a critical film from the 1950s.

Overall, I give it 9 out of 10 stars.

X the Unknown.

Review #837: X the Unknown.

Cast
Dean Jagger (Dr. Adam Royston), Leo McKern (Mac McGill), Edward Chapman (John Elliott), William Lucas (Peter Elliott), Peter Hammond (Lieutenant Bannerman), Anthony Newley (Lance Corporal "Spider" Webb), Ian MacNaughton (Haggis), Michael Ripper (Sergeant Harry Grimsdyke), Michael Brooke (Willie Harding), Frazer Hines (Ian Osborne), Norman Macowan (Old Tom), and John Harvey (Major Cartwright) Directed by Leslie Norman.

Review
This was a Hammer production that was distributed by Warner Brothers set in Scotland (filmed in England) released nearly 60 years ago in 1956, written by the same person behind The Curse of Frankenstein, Dracula (1958), The Revenge of Frankenstein, and The Pirates of Blood River (#593). It's evident that there was effort to make a competent science fiction flick, with a well rounded cast and some fine thrills presented about something lurking in a crack shaped like a Y. By the time the movie's half over, a theory (pretty much confirmed later on) on what the creature may be is presented that is competently delivered, for a sci-fi plot anyway. Radioactive muddy ooze is par for the course for the time period, though there isn't a sense of light-hearted tone to it nor the acting, which works well for its time. Jagger does a good job as a scientist, feeling believable enough. McKern and Chapman are also okay. The rest of the cast is serviceable enough for the plot, with no random side characters involved. The effects are pretty decent as well (what with it essentially being giant mud), and the stuff in the pit are also pretty well done. The ending is a bit weird, ending with some sort of ambiguity. On the whole, X the Unknown manages to flow well enough at 81 minutes that keeps itself in focus with a strange but useful premise. There are endless amount of science fiction films (British or not), but this might be right enough for someone looking for something decent of the genre.

On a unrelated note, my heart goes out those affected by the recent events in Italy, Turkey and Myanmar. I wish them the best of luck in recovering from these tragedies. 

Overall, I give it 7 out of 10 stars.

Movie Night: It Conquered the World.

Review #684: It Conquered the World.

Cast
Peter Graves (Dr. Paul Nelson), Lee Van Cleef (Dr. Tom Anderson), Beverly Garland (Claire Anderson), Sally Fraser (Joan Nelson), Russ Bender (General James Pattick), and Taggart Casey (Sheriff N.J. Shallert) Directed by Roger Corman (#368 - The Little Shop of Horrors)

Review
With less than three days left in the year, why not review a monster mash flick from the 1950s? And from Roger Corman, no less. Only this time the monster draws laughs not because it's meant to, but because it looks like an ice cream cone with dopey looking eyes for good measure. At least the cast tries to seem less than ready to laugh at the monster (Garland notably laughed at the monster when she first saw it on the set, kicking it over, which led to it being made 3 feet taller...which only made it about 5 feet). I like Peter Graves in this film, though no one could make the last line "man is a feeling creature, and because of it, the greatest in the universe" sound anything but overblown, though the lines that precede and follow it aren't as silly. The movie is quick (save your complaints about me saying that all the time), which makes for an easy film to breeze through. It's tough to determine if this is a good movie, but if you're looking for a 50s monster mash movie to gawk (or laugh) at, I'd recommend it. Or the MST3K version.

Overall, I give it 6 out of 10 stars.

Movie Night: Lust for Life.

Review #620: Lust for Life.

Cast
Kirk Douglas (Vincent van Gogh), Anthony Quinn (Paul Gauguin), James Donald (Theo van Gogh), Pamela Brown (Christine), Everett Sloane (Dr. Gachet), Henry Daniell (Theodorus van Gogh), Madge Kennedy (Anna Cornelia van Gogh), Noel Purcell (Anton Mauve), and Niall MacGinnis (Roulin) Directed by Vincente Minnelli (#405 - The Reluctant Debutante and #510 - Father of the Bride)

Review
Vincent Willem van Gogh was a very talented painter who suffered a very tormented life, he painted many things, but he didn't have much success until after his death. There have been a few movies based off his life (and one episode of a certain television show revolving around one of his paintings...Alright, I admit, "Vincent and the Doctor" was a fine episode, go watch it.), but we're (I mean me, but let's just say 'we' to make you readers feel like you're involved in this review, if you don't feel like you are already) focusing on the 1956 version with Kirk Douglas, who does looks like Gogh, especially with his red flowing hair, and he delivers a really great performance, you empathize with this poor guy, and even watching Douglas painting is fun to observe. Anthony Quinn doesn't has much screen time, but he certainly does leave an impression on you, which is good and all; honestly I was surprised he won an Oscar for this role, it takes an hour for him to appear, even Donald is seen first, but oh well. Lust for Life lists credit to the various galleries (along with collectors) that allowed the works of Gogh to be photographed for the film, and it helps the film with its artistic edge, it makes the movie more colorful and it just shows the genius that was Vincent van Gogh. This is a powerful movie that is sometimes slow, but mostly cool to watch, especially with its paintings, seriously, go google Vincent van Gogh (or go to an art museum), and look at the colorful and vividness of his paintings, they are magical, just like the film.

Overall, I give it 9 out of 10 stars.

Movie Night: Earth vs. the Flying Saucers.

Review #265: Earth vs. the Flying Saucers.

Cast
Hugh Marlowe (Russell A. Marvin), Joan Taylor (Carol Marvin), Donald Curtis (Major Huglin), Morris Ankrum (John Hanley), John Zaremba (Professor Kanter), and Paul Frees (Voice of the Aliens) Directed by Fred F. Sears (#255 - The Giant Claw)

Review
This film is noted for its special effects done by Ray Harryhausen, who I have covered before in Clash of the Titans (#064) and Jason and the Argonauts (#111). And like those films, the effects here are excellent. The flying saucer design made by Harryhausen works so well because they move in a way not seen before. This film is compared to another saucer-ish film reviewed here, Independence Day (#193. Then again any movie that involves invaders with saucers coming from an alien planet to Earth could be a comparison.) But the film is different and better than the other because it uses its premise to make a better than expected film combined with excellent effects once again by Harryhausen. Truly a good "B-movie"

Overall, I give it 8 out of 10 stars.

Movie Night: Forbidden Planet.

Review #199: Forbidden Planet.

Cast
Walter Pidgeon (Dr. Edward Morbius), Anne Francis (Altaira "Alta" Morbius), Leslie Nielsen (Commander John J. Adams), Robby the Robot, Warren Stevens (Lt. "Doc" Ostrow), Jack Kelly (Lt. Jerry Farman), Richard Anderson (Chief Quinn), Earl Holliman (Cook), George D. Wallace (Steve) Directed by Fred M. Wilcox.

Review
What can I say but wow. This film is still dynamic, still classic after 56 years (56 years ago in 1956...huh) The acting is good, with Pidgeon and Nielson doing the best out of the cast. I must mention Robby the Robot. He is more then just a robot that beeps and bops, he is an important feature that is the pinnacle of science-fiction in the 1950's. Is he the best robot in film? That's very debatable. Some say Gort, some say R2-D2, and some whatever they think is their favorite. Anyway, the story is good, keeping you interested all throughout in this 98 minute tale. But the main importance is the effects. True to this day, they are grand in look and showcase the best in Science Fiction. The last thing I will mention is the electronic music score. It was ahead of its time, before synthesisers took hold, and the music sets the tone for this film. A great film in all. Countdown to 200: 10, 9, 8, 7, 6, 5, 4, 3, 2, 1.

Overall, I give it 10 out of 10 stars.