A thick fog envelops London. A mysterious killer strangles several men in the shadowy streets. We learn the killer is targeting officers in a particular WWI unit. The setting shifts to a manor house. Roland Young delivers a charming, wry performance as the story settles into a closed-circle mystery. Then Dorothy Sebastian and Boris Karloff burst in. Sebastian over-emotes and struggles to maintain her ludicrous accent. Karloff struggles with his own invented accent and looks lost. The tonal shift proves fatal as the film limps along to an elaborate climax with a cheat ending. Great title, poor execution. The archive.org print—sourced from TCM—is passable.
Bela Lugosi’s first talkie. He plays a sharp-dressed police inspector investigating a mysterious murder at a British estate in colonial India. I always assumed a) Lugosi and director Tod Browning first worked together on Dracula and b) Dracula was Lugosi’s first significant talkie. Wrong on both counts. Back to this movie. It’s an atmospheric mystery undone by a convoluted ending that reveals a slew of information the audience couldn’t have intuited. Disappointing, but Lugosi’s performance remains strong. The Warner Archive DVD print is watchable.
If The Quatermass Xperiment marked Hammer Horror’s conception, this marks its birth. Dean Jagger plays a scientist battling a radioactive blob spewed forth from the earth’s core. Unlike the other blob movie (that came two years later), Jimmy Sangster’s screenplay—his first produced—plays more grown-up, remixing the Quatermass essence into an efficient thriller exploiting the era’s atomic-age fears. Engaging performances and gruesome makeup effects offset the budget-constrained miniature work. Love the pervasive hints of cold, from the ice in the mud to the foggy puffs of breath in every outdoor shot. The Scream Factory print looks great, though not as good as the Kino Lorber Quatermass.
So many reviewers savaged Denise Richards’ casting, yet the script called for a nuclear scientist named Christmas Jones capable of passing for a high-class prostitute to a Russian black-market gangster. To those reviewers, I ask: Who would you have cast?
Reminds me of a great bit from Austin Powers:
Dr. Evil: Are we ready to release our new software?
Number 2: Yes, sir. As requested, it’s full of bugs, which means people will be forced to upgrade for years.
Dr. Evil: Outstanding.
Except that’s in this movie. Both hit theaters in 1997, so that’s… something? I dunno. Everything looks cheap: the sets, the car, the effects, even the clothes. Makes a compelling case for Worst Bond Movie. Insert joke about Ricky Jay wishing he could disappear from this turkey. Followed by The World Is Not Enough.
Pierce Brosnan’s James Bond debut. Loved it back in ‘95. On revisiting, it still entertains. The mix of action and light humor harkens back to Roger Moore’s better installments. Director Martin Campbell may prove more journeyman than auteur, but he delivers an entertaining product. Followed by Tomorrow Never Dies.
Watched on the same site I found Charming Sinners. A better quality print of a lesser quality film.
William Powell plays a Broadway producer carrying a torch for chorus girl Fay Wray, but she loves struggling composer Phillips Holmes. Wray and Holmes marry, cutting Holmes off from the family funds and regulating them to a shabby apartment abutting perpetual construction. Powell finances a vanity project for the newlyweds, but it doesn’t go well. Wray leaves Holmes. Powell makes a pass at her, realizes she still loves Holmes, and gets them back together. Continue reading...
I wanted this to be weirder, darker, or funnier. It’s fine, but I wanted this to be weirder, darker, or funnier.
First time seeing the “Special Edition” since its theatrical run in 1997. Once was enough.
Disappointing follow-up to The Canary Murder Case has William Powell reprising his role as dilettante sleuth Philo Vance investigating a wealthy family where the last surviving heir stands to inherit a fortune. Continue reading...