silveragecentric

[silveragecentric]

Universal Classic Monsters: Complete 30 Film Collection PART SEVEN: ‘Dracula’s Daughter’ (1936) Blu-Ray Review

Picking up immediately following the events of the very first film from the original house of horror, one could wonder why Universal waited five years to release a sequel to ‘Dracula’ (1931)? Was it worth the wait for ‘Dracula’s Daughter’ (1936)? It’s a worthwhile question to explore.

The Film:

Fade in on patrol officers approaching Dracula’s lair. Unfortunate timing for sure, if they’d been there even moments sooner, they could have saved pitiful Renfield‘s life. The poor fellow was merely a deceived pawn in Dracula’s previous scheme, vanquished by his morbid master only minutes before help arrived. Such is the life for some, mistreated and discarded to the end.

As the officers inspect the ghastly scene, they find another surprise, not only is Renfield beyond saving, but there’s another corpse to be found. This skewered someone has been impaled with a stake. The perpetrator, Doctor Van Helsing, is not only present, but takes full responsibility for what they perceive as a cold blooded murder. Van Helsing’s defense, that the impaled individual was a vampire, is met with scoff and skepticism instead of appreciation.

News of the Count’s demise reaches Countess Marya Zaleska, a woman who has been plagued by the Count’s influence for oh so long. If in fact, Dracula is dead, it’s possible she is free to live her life as a woman again, not as a cursed, nocturnal parasite. To her dismay, she soon discovers that her cravings can not so easily be left behind.

The connective tissue to the story is Jeffrey Garth (Otto Kruger), the Psychiatrist in charge of Doctor Van Helsing’s defense. His theory that not only delusions, but blood sucking impulses can be overcome with therapy, sparks hope in the Countess. This hope inspires feelings for the good doctor. Feelings that will not be ignored.

Most sequels shine when they add to the mythology of the established universe in which they dwell. ‘Dracula’s Daughter’ is fascinating because it’s a counterpoint to the original. Dracula was a monster ruled by his his darkest impulses. His daughter, as it were, represents the resisting of these same impulses.

The strong implication in the subtext is that the film is about a woman’s struggle with her sexual orientation. There is one scene in particular, where the Countess has a woman brought home under the guise of painting her that pushes this point forward, but this interpretation really depends on the lens through which you see the movie. The way the scene plays out, It could just as easily be seen as a hunter stalking its next meal, male or female, sustenance is sustenance.

Certainly there was an intended meaning behind Marya’s fight, but to put a specific label on her plight is to limit its power. Leaving her struggle to interpretation, no matter the reason (likely, censorship) was the right move. For instance, her dilemma could mirror the inner demons of someone trying to resist their drug or alcohol addiction just as easily as it may depict a bout with carnal lust. Leaving the definition of her situation open-ended adds to the universal relatability and ultimately, the humanity of the Countess.

We’ve seen a sympathetic lead in the Universal Monster universe before, the creature in ‘Bride Of Frankenstein�� was painfully so. Reversing the gender and making the antagonist just as much a protagonist gives us mixed feelings and much to contemplate. In trying to examine complex characters and their inner workings to the full in just over an hour though, the filmmakers bit off more than they could chew. What we’re left with is great ideas only partially explored.

The limited runtime also forces a rushed finale. As mentioned before, the focus of the feature is Miss Zaleska’s compulsion and need to drain the living of their essence for her own survival. Her reservations about this part of her existence are fully realized. Her relationship with Sandor, her servant/caretaker/companion is convoluted at best. Only in the final act are we informed of the true nature of their alliance. This may have been by design, but it feels as though there was more to be explored. Given how fleshed out other characters are, a little more depth to their connection seemed warranted.

Humor and horror have long been established as common bedfellows, so, it’s no surprise that comedy found its way into ‘Daughter of Dracula’. That said, aside from a few clever quips of gallows humor, the shticky tone to the jokes detract more than they add to the proceedings. In fact, I’d say tone is a persistent problem here. Even when the comedy is in place, the drama overshadows the suspense more often than not. What we end up with is an uneven but cerebral experience.

You could draw a fair parallel to ‘Daughter of Dracula’ (1936) and ‘Bride of Frankenstein’ (1935). Both are arguably better than their predecessors, while it would be hard to define them as frightening.

Film Score: 7 out of 10

The Presentation:

When considering the picture and sound quality of a film from the 1930s, we need to speak in relative terms. Comparatively, the 1080p (1:33) full frame visuals are gorgeous.

The DTS-HD Master Audio lacks depth but dialogue is clear with minimal distortion. A welcome change after the atrocious mastering of ‘The Werewolf Of London’ (1935). Like that film, ‘Dracula’s Daughter’ share a disc with another film (Son of Dracula (1943) in this case). As such, I was afraid the transfer here would be equally as distorted. Count me surprised when both the picture and sound was crisp and clean

Final verdict? A masterful restoration.

Presentation Score: 8 out of 10

The Extras:

- Chapters

- Subtitles (English, Spanish, & French)

- Theatrical Trailer

Bare bones as can be when it comes to supplemental content. Strange given the critical reception of this film.

Extras Score: 2 out of 10

Next week, I’ll be taking a look at the lineage of the original mad scientist as I review ‘Son of Frankenstein’ (1939). I hope you’ll make the journey back to the lab with me.

Until next time, fright fans! I think I found my official sign off, at least for these reviews. What do ya think?

[silveragecentric]

Comic Talk: Dell Movie Classics “The Creature” (from the Black Lagoon)

I would like to take a slight detour from the standard Universal Monster movie talk for a little show and tell. This “Creature” book just got back from grading earlier this week. As you might imagine, it’s a single issue adaptation of the film ‘The Creature from the Black Lagoon’ (1954).

Hunting for a high grade copy of this book has been somewhat of a pet project of mine for years.

Seriously, years.

I started to wonder why I hadn’t been able to find a Very Fine (8.0 or better) copy. Turns out, they’re fairly rare. While the CGC census is not definitive proof, the fact there are only seventeen graded copies from them in circulation, strongly suggests that at least prime examples aren’t common. With the highest grade on record being a 9.2, a 6.0 isn’t too bad. My hunt for an 8.0+ copy continues.

It’s been years since I’ve seen the original source material, but if memory serves me correctly, the comic book version strays pretty far from the cinematic presentation. The main draw here is the incredible painted cover by Vic Prezio. If you find a copy with a nice glossy cover, it just pops, it’s lush and alive.

Please note that there are two printings of this book, the first print, as you might imagine, being the most desirable. The good news is, both printings are easy to differentiate. The second print is plainly labeled as such in the top left-hand side, just below the corner box. Here are examples of the first print (left) and second print (right).

Oddly enough, even though the second print was published a mere six months after the initial release, the second print is easier to find in decent shape. Great news if you just love the cover and you’re simply looking for a copy to hang on your wall.

But the gap in pricing between the two printings seems to be shrinking. It used to be that a nice second print could be had for $20 all day long. Now, even beat up copies go for that much. Recently, a beat up second print (maybe a 2.0?) sold for $50.

This is why I wanted to bring this book up. It certainly seems to be gaining momentum. If you can find a mid grade first print, or higher grade second print in around the $40 range, I’d highly recommend picking it up. Keep in mind, there are no guarantees when it comes to speculation, but the way things are going, this isn’t a book that’s getting easier to find. Plus, Hollywood loves their remakes. “The Creature” is bound for rebooting eventually. When this happens, the demand for this book is bound to spike.

Happy hunting!

I’ll return next week with a review of ‘Dracula’s Daughter’ (1936).

[silveragecentric]

Universal Classic Monsters: Complete 30 Film Collection PART SIX: ‘Werewolf of London’ (1935) Blu-Ray Review

Up until now, we’ve seen the undead by one means or another and flesh and blood turned invisible. Next, Universal turns their attention to new, untamed territory with ‘The Werewolf Of London’ (1935).

When we think of Universal Monsters and Werewolves, most of us think of ‘The Wolf Man’ franchise. Interestingly, ‘The Werewolf Of London’ predates that monster mainstay by six years. While included in the ‘Wolf-Man’ legacy collection, ‘Werewolf Of London’ is not technically connected to those films. They share similar pelts, but there’s no relation.

The Film:

The trouble starts when a Botanist and his acquaintance travel to India in search of a rare flower that “takes its life from the moon”.

The first red flag they encounter comes from the indigenous people who warn of “demons” that lurk in the valley where the flower grows, worse yet, no one has returned from there alive.

Scoffing at such superstitions, the duo presses on, only to find that something keeps pushing them away. Literally, they feel as if they’re being repelled from this valley. If you’ve already traveled halfway around the world, what’s a little uncanny interference anyway?

Once within reach of what they seek, Doctor Glendon is attacked by a furry fertile creature. In the struggle, the dogged explorer is bitten but survives. He returns home to England, unaware of the great price he has payed for his prized posy.

So, you’ve been given the bad news that you’re now infected with a case of Werewolfery, that sucks. Easy fix, right? During the full moon, you’ll just lock yourself inside. Not so fast. As it turns out, if you don’t kill at least one person each night of a full moon, the transformation will be permanent. If that isn’t bad enough, according to the rules we’re given, Werewolves are driven to kill whom ever they love most.

‘The Werewolf of London’ stands out in its originality. Much of the established Werewolf lore we now take for granted came from this film. The idea lycanthropy is infectious, transferable through the bite of a Werewolf came from this production. You can also draw a straight line from 1945 to modern day when it comes to the mythology of the full moon. This creature feature implanted into pop culture the idea this lunar cycle is the catalyst for transition from man to beast.

When creating fiction, there is a process that begins with setting the rules of the world you’re developing, in this case, a mythology. From there, the question becomes what does this world look like? Though there are few sets for this succinct seventy five minute outing, the designs are well crafted.

Doctor Glendon’s lab is full of sci-fi eye candy. The compact monitor that displays a live feed from his security camera comes to mind. Something that’s only commonplace now, some 80+ years later. Then there’s the spotlight he develops to mimic moonlight, a clever and original idea.

The star of the show of course is not the set dressing but the Werewolf. The filmmakers made the wise decision to give the eponymous beast a fair chunk of screen time, time spent stalking and slaying civilians. Something several previous Universal Monster productions failed to do. A welcome change for sure.

Speaking of change, the change from man to monster is achieved by famed makeup artist Jack Pierce. He gradually added the cosmetics in layers through intermittent film cuts. His work is impressive to be sure but I tip my hat to the editor here. Splicing frames of footage together from the reels was tedious work as it is. Editing special effects segments seamlessly was an even more delicate operation, essential to achieving the needed look and flow of the scene.

Where ‘The Werewolf of London’ slips is consistency. It’s never boring, but the second half is far more entertaining than the first. If the ride maintained its momentum instead of giving an uneven performance, this would have been one hell of a thriller for 1935.

Film Score: 5* out of 10

*NOTE: The poor transfer had a distracting impact on the viewing experience. So, keep the next section in mind when considering the score.

The Presentation:

For a 1080p presentation, the color palate is shallow with weak contrast. Not that this persists for the length of the film, but the picture quality at best is DVD quality, not blu-ray.

The 2.0 Mono audio crackles and hisses constantly, and higher pitch tones ping. far worse than any of the films reviewed so far. Keep in mind, this is the baseline, from there, it gets worse.

This is the first film from this collection that shares a disc with another movie (She Wolf Of London (1946)). Since the contents are limited to half the blu-ray’s capacity, it’s possible the restoration could not be as thorough. This is just a theory, but it could explain some of the flaws present here. However, Mono does not require all that much space, so, I could be wrong.

Presentation Score: 4 out of 10

Extras:

- The “extras” here are close to zero.

- Chapter Selection

- Subtitles (English, Spanish, French)

- Theatrical Trailer

So, you essentially get the move itself and the trailer. The other options are standard issue for any blu-ray.

This seems like an instance where the film has been thrown in for the sake of the completists. Universal treated the movie as an extra instead of a major attraction. Understandable given how popular the other Werewolf franchise is by comparison, but if you’re restoring a collection, why not go all the way?

Extras Score: 3 out of 10

I’ll be out of town this week, but don’t fret, I’ll post a little comic talk before we get back to the monsters.

Until next time, fright fans!

[silveragecentric]

Unboxing Amazon’s Second Marvel Collector Corps Box: Venom

Your less than friendly neighborhood symbiote is mere days away from a starring in his own feature film. It’s no coincidence, then, that the theme for this month’s Marvel Collector Corps box is ‘VENOM’!

Eddie Brock’s extra terrestrial companion has been a fan favorite since his debut in Amazing Spider-Man #300 back in 1988. Fans have been clamoring for a proper silver screen portrayal ever since. Early reviews suggest Venom enthusiasts will be left wanting, but only time will tell how the public will respond to this cinematic symbiote.

In the meantime, we have a host of goodies from the Marvel Collector Corps to tide us over.

The POP!:

Venom’s popularity, if measured by the number of Funko POP! variations available, leaves little room to question his marketability. An exclusive receives more scrutiny in this case, since there are already so many options. Any hope the exclusive might be a 6” version was dashed upon arrival, since the shipping box was far too small.

Still, for a standard ratio Pop!, the detail is excellent. His lashing tongue is a staple we expect and the dripping green saliva sets this POP! apart. Add the veiny texture around the legs and you have a premium sculpt.

The T-Shirt:

Venom’s villainous mug takes center stage here in a cool simple layout.

Marvel Collector Corps shirts typically come in a unisex design. Given my height (6’, 4”) I find that ordering one size larger than usual helps offset the contours for a proper fit. Pre-wash, this shirt appears perhaps slightly oversized (even for a 2x). This could change after a run through the spin cycle, but better too big than the alternative.

The Decal:

This 4” x 4” side profile portrait would be right at home on the back window of an SUV. As a collectible, however, it feels like filler.

The Pint Sized Hero:

While petite, this sinister, grinning figurine pops. The translucent plastic gives it a ghoulish flair.

The Stress Ball:

For a novelty stress ball, you’ve gotta appreciate the practical shape and level of detail.

As far as practically is concerned, I do wonder if anyone uses these things.

Final Thoughts:

Since this is only the second Marvel Collector Corps box since Amazon took over, it’s interesting to see how much improvement there has been.

We have the information card that was sorely lacking from the premiere Amazon Marvel box. This alone makes the box feel more complete, at least, to me. Not that it’s an earth shattering improvement. It just makes for a more professional presentation.

The addition of the wearable is also a return to form, this is the Marvel Collector Corps I know. The addition of clothes to the mix makes the expense easier to justify. Think about it, even if you don’t LOVE a T-shirt that’s included in one of these boxes, you can use it as a work shirt. Worse case scenario, you have a gift for a friend.

With these strides in mind, there is a lot of hope for future Marvel Boxes. Like the previous box, however, the contents on hand lack something. None of the pieces have the coveted “Wow Factor”. The issue being that none of the collectibles seem 100% unique.

If you weren’t subscribed to this service, you wouldn’t be able to find these exact items on the shelf in a retail store, sure. You wouldn’t have to look all that hard though to find incredibly similar merchandise.

The Score:

For people with an insatiable appetite for all things Venom, this box would probably be a home run. For casual fans, this box holds few surprises. I’d equate it to stuff you’d see on display at the mall. Products you’d pick up, check out and say “that’s cool”, before putting it back and walking away.

But progress is progress. Amazon has already proven that they know there’s room for improvement. As long as they continue to learn and grow, I’ll be here with them.

3 out of 5 stars.

The next addition to the Collector Corps will celebrate the 10 Year Anniversary of the Marvel Cinematic Universe. With such a diverse group of characters to choose from, this one has the potential to feature a real showstopper. I hope you’ll join me to find out what’s in store.

[silveragecentric]

Universal Classic Monsters: Complete 30 Film Collection PART FIVE: ‘Bride Of Frankenstein’ (1935) Blu-Ray Review

We open on an appropriately dark and stormy night on a castle, occupied by a rather snooty set. In their company, is none other than Mary Shelley herself, the author of the original ‘Frankenstein’ novel. With a little prodding, she humors her audience, assuring them that the story of Doctor Henry Frankenstein and his ill fated monster did not end within the binding of her book.

The Film:

We’re treated to a little revisionist history, in which Henry and his bride to be did not receive the saccharine sweet finale we saw in ‘Frankenstein’ (1931). Turns out, Doctor Frankenstein died in the fire that consumed his creation. Or did he?

The townspeople are presently clearing the wreckage from that fateful night, and it seems the Doctor has survived. This would be wonderful news but Hans, the local who lost his little girl at the hands of the monster, wonders: if a mortal man could live through the blaze, certainly the undead brute could still be breathing. Hans’ hunch proves true, but he pays dearly for the discovery.

‘Bride Of Frankenstein’ adds substantially to the lore of the monster. It’s his arc that makes this a worthy addition to Universal’s creature feature canon. While Karloff’s character is volatile, with a hair trigger temper, the leviathan is looking for anything but trouble.

There were moments in the original that showed the brute’s softer side, namely the scene with poor little Maria. Out of sheer innocence, she extended friendship to the creature and he wanted so badly to reciprocate. It was a lack of comprehension of consequence that lead to her drowning, there was no ill will on the creature’s part. The naïveté and needlessness of it all makes her death all the more tragic.

This installment eloquently builds off of this past trauma. Upon locking eyes with the monster, a young woman collapses out of fear, falling into a nearby body of water. Perhaps driven by the memory of Maria, the creature wades into the water, wanting to save her from drowning. Once the woman is conscious, however, her savior is met with screams. Frightened, the beast then tries to silence her, nearly snuffing out the life he just saved.

Previously, Frankenstein’s creation was unpredictable, anything could set him off. Here the creature is shown to be more complex, responding to kindness with tenderness and offense only when appropriate, or at least, more so. Why? He’s learning. Learning that not everyone is out to get him. Some have the capacity to see him as more than a monster.

While wandering wounded through the countryside, this patchwork man finds such a person, a kind hearted hermit who just happens to be blind. His impairment allows this lonesome soul to welcome the creature without the preconceptions his ghoulish appearance would incite in the sighted.

The addition of this compassionate character is a stroke of genius. His hospitality allows us to see the monster’s true nature. With just a touch of inviting interaction, we see growth, the monster even learns to speak! True, it’s only a few words, but “friend”, “good”, “bad” and “drink” are drastic improvements over grunts and growls. This nurturing influence stands in stark contrast to the manipulative way others continue to treat the creature.

Case in point: Doctor Pretorious, the unhinged hack hell bent on continuing Frankenstein’s work. When the reformed Frankenstein refuses to assist him in defacing the dead, Pretorious uses the so-called monster as a pawn.

‘Bride Of Frankenstein’ is, at its core, a dissection of the concept of nature versus nurture. Countless hours could be spent discussing the creature’s potential. What could it have been? What could it have achieved, if it were treated, from the beginning, with compassion and respect? Sadly, we’ll never know.

The film itself is precisely structured, bringing depth to the characters and true cause to their motivations. What the “Bride” adds to the last act is especially impactful.

For a sequel, ‘Bride Of Frankenstein’ is outstanding. On the other hand, I do wonder about the degree of replay value. But is it worth seeing? If you’re a fan of the genre? Absolutely.

Film Score: 8 out of 10

The Presentation:

For a Black and white film, the cinematography is gorgeous in 1080p. Though limited to Full Frame 1:33 ratio, the playful use of light and shadow sings.

The audio continues to be limited to 2.0 Mono. Even in DTS-HD Master Audio, the mild muffled effect I’ve mentioned with other films in this set persists. Better than Dracula (1931) but not as crisp as some others.

Presentation Score: 8 out of 10

The Extras:

- She’s Alive! Creating The Bride Of Frankenstein

- The Bride Of Frankenstein Archive (poster & stills gallery)

- Feature Commentary with Scott MacQueen

- Trailer Gallery

- 100 Years Of Universal: Restoring the Classics

To be honest, the extras are a little lean. Not a bare bones release, but minimal for what’s considered a benchmark sequel.

Extras Score: 7 out of 10

Next week, things will get hairy since I’ll be reviewing ‘Werewolf of London’ (1935).

[silveragecentric]

Universal Classic Monsters: Complete 30 Film Collection PART FOUR: ‘The Invisible Man’ (1933) Blu-Ray Review

‘The Invisible Man’ (1933) is a decidedly sci-fi slice of cinema from the mind of H.G. Wells, the prolific author of other classics such as ‘The Time Machine’ (1895) and ‘War of the Worlds’ (1898). Wells here poses a simple but unnerving question: how do you stop what you cannot see?

We open on a quaint inn being hammered by a snowstorm. In walks a stranger dressed for the cold. But wait, this traveler is wrapped in more than winter wear and an overcoat, the nosey residents soon discover he’s covered head to toe with bandages. Is he a burn victim? Has he been ravaged by some dreadful disease? Rumors begin to abound about the ill tempered, antisocial new arrival.

The truth is, our wandering, wrapped recluse, Doctor Jack Griffin, has reason to be snippy and solitary. Things just haven’t gone his way lately. He accomplished the impossible by developing a formula that rendered him invisible, only to discover the impossible couldn’t be undone.

But reversing his invisibility is only half the hardship. Griffin knows his formula but is woefully unaware that the main ingredient in his concoction, a rare flower, is not meant for consumption. Once ingested, it has the unique side effect of driving its recipient stark raving mad.

So, the stage is set. We aren’t dealing with your average citizen weighing the benefits and temptations invisibility would offer, we’re dealing with an invisible menace with deteriorating mental stability. A smart addition to the plot by Wells. A perfectly sane invisible man would probably sneak into concerts now and then. Where’s the scare in that? Chemically induced insanity just gives added fodder for fear.

Conveying a gradual and convincing descent into madness can be tricky even for veteran actors. As the Invisible Man, Claude Rains faced the added obstacle of acting sight unseen. He’s left with one outlet with which to emote- his voice.

Rain’s voice is a force of nature. It’s a full auditory assault as Jack Griffin escalates from irritable, to irate, to insane. His maniacal laugh is chilling, filled with condescension and purpose. He’s GOING to cause trouble. You may not be able to see him, but you’ll see the aftermath of his wake.

This aforementioned trouble starts as borderline juvenile mischief, from throwing bottles to tossing an old man’s hat off a bridge. The Invisible Man moves on from there to murder and musing about world domination in short order.

What this Invisible monster does is one thing, how it’s portrayed is another. Today, there’s little mystery in movie magic. Green screen and CGI is commonplace. The ingenuity in imitating the invisible in 1933 is at moments, mind-bending. Sure, fishing line and clever film edits explain away the wonder for certain scenes but more than once, you’ll find yourself asking “how did they do that without a computer”? If nothing else, ‘The Invisible Man’ (1933) is a milestone, a pinnacle for practical effects.

The only glaring issues appear in the final act. The final showdown with the murderous madman is built up to be something spectacular and it’s over in a flash. This is followed by a heavy-handed farewell that drives our moral lesson home with the subtlety of sledgehammer.

Maybe filming was behind schedule? Maybe they burned through their special effects budget and the finale was meant to have a little more flare and fanfare? Whatever the reason, the resolution doesn’t do the film justice. At least in this viewer’s eyes. I’m definitely in for the sequel though, I’m curious to see where the story goes from here.

Film Score: 9 out of 10

The Presentation:

For a 2.0 Mono mix, the soundtrack is fairly crisp. The audio is the best yet from this boxed set with only the occasional hiss & pop.

The picture quality also follows suit with great texture and contrast.

Presentation Score: 9 out of 10

Extras:

- How You See Him: The Invisible Man Revealed

- Production Photographs

- Feature Commentary with Film Historian Rudy Behlmer

- Trailer Gallery

- 100 Years Of Universal: Unforgettable Characters

A hardcore fan will find the extras here informative, but a little lean compared to other Legacy franchise collections.

Extras Rating: 7 out of 10

The next film up will be our first sequel, as Universal resurrects the Frankenstein legacy with ‘Bride Of Frankenstein’ (1935). If you’re as curious as I am about how it stacks up to the original, stop by next week!

[silveragecentric]

Universal Classic Monsters: Complete 30 Film Collection PART THREE: The Mummy (1932) Blu-Ray Review

Up until now, the Universal Monster universe was inspired by classic literature. ‘The Mummy’, however, was Inspired by the public’s fascination with the recent discovery of Tutankhamun’s tomb.

The Film:

Ancient superstitions are ripe for cinematic sensationalizing. Here, an ancient cursed scroll is opened, raising the mummified Imhotep from the dead.

Boris Karloff stars as the ancient antagonist, who spends surprisingly little time tangled up in his bandages. His heart, however, is all wrapped up, devoted to the modern incarnation of his past love. Oddly enough, he intends to kill her so that she can . . . live forever? In the context of ancient ritual jargon, it makes a little more sense. But again, just a little.

The finer points of the plot may get a little murky near the end, but what the film does well, it does exceedingly so. The lush, elaborate sets bring the exotic and enigmatic world of ancient Egypt to life. True, the previous films had convincing sets, this film just feels less claustrophobic, as if there is a living, breathing world outside the walls we see.

We also see some solid performances from the supporting cast. Karloff does the best he can with what he’s given. His trademark menacing gaze gets a workout this time around. The funny thing is, Karloff’s undead stare is more lively than that of his leading lady. His co-star Zita Johann almost sleepwalks through her role. Not just when she’s under her intended’s spell, but constantly.

She and Director Karl Freund were famously at odds during the production, so, maybe the hostile work environment contributed to her subdued presence on screen. Still, whatever the cause, her contribution is minimal.

Thinking back, “minimal” is a succinct way to describes the film as a whole. The plot, for instance is thin, but not in the cerebral conceptual style of “The Twilight Zone”. There’s a story to be told, and a fairly entertaining one, it just lacks substance and suspense for that matter.

Conflict is the core of good storytelling. It’s the driving force for the tension, the tension you need in any genre of film, especially Horror. Here, the conflict lacks weight. It feels more like a melodrama in search of scares.

While some may view it as sacrilege to say, this may be a rare instance of a remake improving on the original idea. I’m not saying the 1999 version starring Brendan Fraser was without its flaws. I’m simply saying it knew exactly what it wanted to be, an action-adventure in the ‘Indiana Jones’ vein and that is exactly what it delivered.

Universal knew how to make fright features, they had proven it two times over at this point. So, why the identity crisis? Well, when a movie is called ‘The Mummy’, there are expectations. Is a lurking, bandaged mummy causing havoc an unrealistic object of anticipation?

As mentioned earlier, Karloff spends mere minutes swaddled in ceremonial cloth. A few scenes of a bandaged corpse overtaking unsuspecting victims would have gone a long way to establish the intended tone.

Still, even with it’s faults, there are worse ways to spend your time. Come for the set pieces and earnest aesthetics. For a Golden Age period piece, It’s an amiable effort.

Film Score: 6 out of 10

The Presentation:

The DTS-HD Master Audio 2.0 Mono mix is substantially more subdued than the previous films I’ve reviewed in this set. You’ll have to turn up the volume even more this time to hear everything clearly.

The picture quality is on par with the other films and may even look better than expected given the film’s age. The restoration experts earned their paycheck restoring this print, the images are lively and beautifully realized.

So, a very nice presentation, I just have to take a point off for the muddled audio.

Presentation Score: 7 out of 10

The Extras:

- Mummy Dearest: A Horror Tradition Unearthed

- He Who Made Monsters: The Life and Art of Jack Pierce (a close look at Make-Up FX wizard Jack Pierce’s career).

- Unraveling The Legacy of The Mummy

- Feature Commentary with Rick Baker, Scott Essman, Steve Haberman, Bob Burns and Brent Armstrong

- Feature Commentary with Film Historian Paul M. Jensen

- Trailer Gallery

- 100 Years Of Universal: The Carl Laemmle Era

Nothing over-the-top, as far as extras but you definitely get your mummy’s worth. Sorry, I had to.

Extras Score: 8 out of 10

We’re only just getting started, ladies and gentlemen. I’ll reappear next week with a review of ‘The Invisible Man’ (1933).

[silveragecentric]

Universal Classic Monsters: Complete 30 Film Collection Part Two: Frankenstein (1931) Blu-Ray Review

Before we begin part two in this series, It has been brought to my attention that it may not have been made clear in the first review that this 30 Film Collection is made up of the smaller Universal Monsters Legacy sets, seven in all.

So, if you’re a fan of say, ‘The Wolf Man’ franchise, you can purchase just those movies in one tidy little package for a fraction of the cost of the of the complete collection. If you enjoy several different Universal Monsters, though, the larger definitive collection is certainly worth considering.

Okay, now to our feature presentation.

The Film:

Debuting the very same year as its predecessor ‘Dracula’, Universal Pictures’ ‘Frankenstein’ staggered into theaters a mere nine months later, in November of 1931

They find an ideal cadaver for the experiment but it’s a proper brain for the endeavor that proves a little more elusive. Fritz locates one, only to have it (pun intended) slip through his fingers. He makes off with a replacement but as it turns out, not all gray matter is created equal. The previous owner of this particular brain was a violent criminal. The Doctor’s experiment, at this point, goes from controversial, to a catastrophic.

If Frankenstein’s creation were given an average human brain, there would be no question as to who is the true “monster” in this story. Doctor Frankenstein isn’t fascinated with the altruistic idea of bringing new life to the lifeless. This is no humanitarian effort, this purveyor of science is a genuine megalomaniac.

In fact, one line in the film that proved the extent of Doctor Frankenstein’s literal God Complex was considered so blasphemous back in 1931, that it was censored, muted behind a roll of thunder. In this restored print of the film, we hear the offending character defining phrase clear as day. In a frenzy of hubris He shouts amidst his experiment, “now I know what it feels like to be God!”

Colin Clive plays Henry Frankenstein with gusto, giving the quintessential mad scientist performance. The manic and egotistical side of the character is the most memorable but there is a softer side to be seen as well, as the doctor comes to terms with what he has done. Both in creating a death dealing abomination and in alienating his fiancée and the rest of his family in the process. Monster or not, the doctor is human, after all.

Awareness of his errors, on the other hand, does not, or rather should not excuse Doctor Frankenstein from the consequences of his actions. Fritz notwithstanding, the entirely innocent suffer far more than the titular character. In this print of the film, anyway.

Perhaps the biggest failing with this release of the film is the happier Hollywood ending for the wayward Doctor. Originally, there was a tragic finale filmed for Henry. The powers that be at Universal, however, wanted a more uplifting resolution to the story. Sure Doctor Frankenstein destroyed a half dozen lives, but let’s let him live happily ever after. Ummmm, okay . . .

I suppose if the franchise ended here, it wouldn’t matter quite as much. But here’s the thing, not only did the Frankenstein legacy continue with ‘Bride Of Frankenstein’ (1935), but that film builds off of the original ending. This inconsistency in continuity is sure to cause some confusion.

Aside from the awkwardly sweet send off, Frankenstein (1931) is a well constructed creature feature. Director James Whale probably went a few rounds with the censors cutting this colossus together. He leaves less to the imagination than Tod Browning did in ‘Dracula’ (1931) and the impact is substantial in comparison. The threat of Boris Karloff’s creature is ever present. When He’s on screen, danger is imminent, it’s palpable as opposed to merely possible because we’ve seen so vividly this creature’s capacity for Carnage.

This second installment in Universal’s already impressive monster catalogue is a marked improvement over the inaugural release. While Dracula gave us the creeps with his sinister stalking, Frankenstein is unnerving because he is a near unstoppable brute force unto himself. It’s easy to see how this monstrous monolith became a classic.

Film Rating: 8 out of 10

The Presentation:

One thing I appreciate about the films that were made prior to the advent of the home theater is the fact that you can appreciate them to the full with only the essentials. Namely, a big screen T.V.. The black and white images are rich and sharp in 1:33 ratio full frame format.

The downside to Golden Age cinema being that if you do have a nice stereo, your surround sound system won’t get much of a workout. As it is, the DTS-HD 2.0 Mono mix is clear if somewhat muted.

Presentation Rating: 8 out of 10

The Extras:

It is unfortunate that the stark, thematically appropriate original ending is not included, at least as part of the supplemental material. Still, the extras here are respectable.

Featurettes:

- The Frankenstein Files: How Hollywood Made A Monster

- Karloff: The Gentle Monster

- 100 Years Of Universal: Restoring the Classics

- Frankenstein Archives (Art Gallery)

- Universal Horror Documentary

- Monster Tracks (annotations with insight into the film pop-up as you watch from start to finish

- Boo! A Pre-Code Slapstick Short Film

- Feature Commentary with Film Historian Rudy Baher

- Feature Commentary with Historian Sir Christopher Frayling

- Trailer Gallery

While incomplete, theres’s a fair amount of bonus content for the Frankenstein fiends out there.

Extras Rating: 7 out of 10

Next week, I’ll be reviewing ‘The Mummy’ (1932). If you’re lurking in this corner of the internet at the time, why not stop in and check it out?

[silveragecentric]

Universal Classic Monsters: Complete 30 Film Collection Part One: Dracula (1931) Blu-Ray Review

Before we begin our first foray into the world of Universal Picture’s Monster Legacy, it’s important to acknowledge the fact that we are dealing with classics. These are films that have shaped not just the Horror and Science Fiction films that followed, but impacted the industry as a whole and inspired filmmakers of every genre for close to a hundred years now.

As such, no critique is intended to diminish the significance of these films. Each of these reviews in the coming weeks and months are simply this guy’s humble opinion. This typically goes without saying, but when you’re discussing material that some hold as sacred, it’s worth acknowledging both the validity and relative insignificance of a single voice.

The Film:

The set-up is quick, the bookish Renfield arrives in Transylvania to cross the “T”s and dot the “I”s and finalize Count Dracula’s acquisition of an Abbey in London. The locals of course urge Renfield to leave, telling him specifically that Count Dracula is a vampire. Their warning falls on deaf ears and poor mister Renfield is made a pawn in Dracula’s Odyssey across the pond.

Though the film is bloodless aside from a paper cut (seriously, a paper cut) the Count leaves quite a few bodies in his wake. It’s only the keenly astute Van Helsing that stands between the menacing creature of the night the the object of his affection, the virginal young Mina.

One thing that stands out is the fact that Bella Lugosi IS Dracula. He gets the character and conveys both the looming threat and the seductive manipulation that cemented this blood sucking monster into popular culture.

The cinematography lends a hand here as well, giving Lugosi’s intense stare a glowing, otherworldly appearance. The ingenuity involved in adding texture and depth to black and white photography is no small feat and this achievement should not be ignored.

While it might be a stretch to call ‘Dracula’ (1931) “scary” to a jaded modern audience, the elements are clearly there and masterfully presented. Blood and gore, for example, was off the table at the time. As such, the “horror” of Dracula was attained through the building of suspense, leaving the acts of violence to the audience’s imagination.

Bella Lugosi builds the tension under the eye of Director Tod Browning by chewing the scenery. To say he creeps up on his victims is an understatement, inching is more like it. He overtakes sleeping or unconscious victims only after a gruelingly gradual approach.

Dracula’s gait is not the only thing that viewers may find daunting, to be honest, just about every line out of the Count’s mouth is creepy. In fact, creepy to the point that you wonder why anyone gets within twenty feet of the guy. A little foreshadowing here or there is one thing, but relentless red flags is another.

Reinfield seemed especially oblivious to the danger, despite direct warnings from others and implied peril from the Count himself. Reinfield had perhaps the most interesting arc in the film. He went from pathetic patsy, to weak minded drone, to a sympathetic and tragic figure.

All things considered, even if ‘Dracula’ isn’t the thrill ride it was back in 1931, it has very memorable performances in store and some striking images to behold. Moving at a brisk pace from end-to-end in only 75 minutes, there’s little chance it’s a ride you’ll regret taking.

Movie Rating: 7 out of 10.

The Presentation:

‘Dracula’ is presented here in full frame (1:33 ratio). I’m sure it looks the best a film from 1931 can possibly look, but periodically, the image is definitely washed out. I mention this simply so that no one expects absolute perfection from the HD upgrade.

The stats on the audio were initially perplexing, 2.0 Mono? Isn’t Mono, by definition, one channel? Then I realized they must have just simply fed the single channel of audio through both the front speakers. This assures that the sound isn’t out of balance.

When it comes to audio clarity, there’s a small snag, a persistent low level hiss and pop can be heard for the full running time of the film. To combat this, you may have to turn up the volume a bit to hear the dialogue clearly. Still, the audio is as clear as can be hoped for, for a movie from 80+ years ago.

Presentation Rating: 8 out of 10

The Extras

Perhaps the most interesting extra included is the Spanish language version of the film. This isn’t a Spanish dub of the movie, they actually filmed another cut of the film with different actors using the same sets. I’m considering a review of this adaptation after I finish the rest of the box set. It would be a fun way to cap the series.

*Other bonus material included is:

- The Road To Dracula Documentary

- Lugosi: The Dark Prince Featurette

- An alternate film score by Philip Glass

- Theatrical Trailers & Production Photos

*NOTE: The photo provided is from the back of the Dracula Legacy volume of the larger set, not just the first film in the series. Some of the material pictured does not apply directly to the film reviewed above.

Extras Rating: 8 out of 10

Next week I’ll be reviewing Frankenstein (1931). If you enjoyed this installment, I hope you’ll come back for the next creature feature critique.

[silveragecentric]

The Monsters Are Coming!

Tomorrow (8/28/2018) the monochrome nightmares of your youth will come clearly into focus when a complete 30 film collection of the classic Universal Monsters hits the shelves on Blu-Ray!

For many of these sinister cinema sensations, this will be their HD debut. The initial installments of these franchises have seen multiple releases over the years, and have at least received the Blu-Ray treatment once. This is not the case for most of the sequels. So, this set truly is unique, and for cinephiles, truly special.

To celebrate this release, I’ll be reviewing these movies in chronological order. One film a week for 30 weeks! First up will be ‘Dracula’ (1931). I hope you’re looking forward to this journey as much as I am.

Side note: this set was previously released on DVD in September of 2014, and it’s still available in this format for about half the price of the Blu-Ray version. A great option if you’d like to follow along and save some coin.

[silveragecentric]

Unboxing Amazon’s First Marvel Collector Corps Box: Deadpool

This box arrived on my doorstep two days ago. To be honest, I was initially disappointed with the contents of Amazon’s inaugural Marvel box. However, after further consideration, I’ve come to appreciate it quite a bit. I still have some concerns about the direction the Marvel Collector Corps may be heading in, but more about that later. For now, the contents:

The Funko POP! Figure

As usual, the major item this time around is the POP! figure. Namely, Deadpool riding a unicorn. That’s right, a unicorn.

While I’m picky about POP! figures and I don’t have a proper spot to display this one, it’s staying in the collection. What's great about it is, it taps into the eccentricity of Deadpool.  Sure, He’s an amoral assassin with a penchant for the profane, but given the opportunity, would He ride a unicorn? You bet your chimichanga He would!

The Luggage Tag

A luggage tag may not be an exciting addition to this box, but at least it’s a practical item, something that serves a purpose beyond sitting on a shelf. It is this area, in fact, where this box stands out. The same could also be said about our next item, especially if you enjoy  tacos as much as Wade Wilson.

The Taco Holder

This item caused some confusion during the unboxing (more on that later) but it is something you don’t see every day. For that, Amazon gets a few extra points in my book. I mean, the Merch with a Mouth serving up tacos at my next siesta? Seriously? Score!

The Keychain

It’s . . . It’s a keychain. If you need a keychain, cool. However, chances are, you already have one. So, nothing to write home about here.

Final Thoughts 

I was an early subscriber to the Marvel Collector Corps and kept my subscription active the entirety of its initial run. There were boxes that wowed and there were boxes that waned. It’s actually part of what makes subscription boxes fun, you never know how cool the next box is going to be. Of course, you hope it will be somewhere on the spectrum of awesome. You know, somewhere between kinda cool and truly epic.

These hopes were not always reached, but while not every box from the original run was mind blowing, there were things you could depend on. There were consistencies that put your mind at ease. You knew you were getting certain items, and the rest was a surprise. You knew you were getting a unique lapel pin and iron-on patch that matched the theme for each box. Both of these items are missing from this Amazon box and it kinda bummed me out.

Now, to be fair, these items made their way into a box and I  scarcely gave them a second look. So, what’s the big deal, right? Remember, every previous box had these two items. Every single one. So, as a collector by nature, it now leaves me feeling my collection is incomplete. This will only bother the completists out there, and if that is a word you would use to describe yourself, you’ve been warned. If not, it could be easily overlooked. Just take these omissions for what you will.

One thing that’s absent that I never thought I’d miss is the information card, the card stock printed breakdown that detailed the contents of each box. When the pieces inside are self-explanatory, which was typically the case, this little insert could be quickly discarded. When one of the collectibles strikes you as cryptic, however, it sure comes in handy.

This time around, the information card would have curbed some confusion about the taco holder. It was shipped in a plastic bag with no identifying marks, so, I was initially perplexed, staring at what looked like a hollowed out Tonka toy with stagnant wheels. It could have been any number of things, a popsicle mold, perhaps? In any case, Google cleared up the matter, and once I knew what I was holding, I was stoked. Okay, Sherlock Holmes I am not, but I can’t be the only one that had to hit a search engine to solve this mystery. As such, here’s hoping they add an info sheet to subsequent boxes.

There is one other way this box broke from Collector Corps tradition. No wearables. A T-shirt or similar swag would have rounded these items out quite nicely.

The Score

This box slips below epic for this Marvel fan, Amazon might have cut some corners for their first foray, so it doesn’t quite feel like a complete box. On the flip side, they gave us several functional items and added a flight of whimsy with the POP! figure. All things considered, I’d give Amazon’s first Collector Corps attempt 3 out of 5 stars.

But don’t go just yet! Amazon has announced the theme for October’s Marvel Collector Corps Box: VENOM!

I look forward to reviewing this box when it arrives in a mere two months. 

[silveragecentric]

The Etiquette of Negotiation

Whether you spend your weekends comic shop hopping or your Summers perusing the floor at fan conventions, the search for a bargain is a constant for collectors everywhere. It is part of the hunt, really. It's one thing to finally find that key issue that has evaded you for months, but to find it in the wild and feel like you got a deal? That just adds a little kick to the sweet taste of victory.

In the ideal situation, of course, the sticker price is below what you want to pay, You fill the pesky gap in your collection and the seller gets his full asking price. Everybody wins. In the more common circumstance, however, the retail price is at least a little bit over what your gut tells you that you should pay. So, the question becomes, should I haggle, or walk away?

It has become fairly commonplace to see people pull out their phones right there on the spot and compare prices to what they sell for online. In the convention setting, this is especially tempting because You're surrounded by fellow fans, other potential buyers who are likewise chomping at the bit for a good deal. This practice is not exclusive to the swelter of the Summer Con circuit, You'll see it at mom and pop comic shops and even flea markets. Resist the temptation to do this in front of the seller. They may be used to it, but it is rude. If you don't know the current market value of an item (what it consistently sells for in-store and online at the moment) walk away from the booth, or discreetly compare prices out of the view of the shopkeeper. Some may see this as unnecessary, but it is considerate.

If the sticker price is within a few dollars (for example, within ten percent) of what you've seen elsewhere, the seller is trying to be competitive. Remember that most of the time, a seller's asking price is based on a percentage of what they paid for said item and what they need to make back to simply stay in business. If we're taling about a dollar or two, ask yourself if it's worth the extra money to have it now? Instant gratification is occasionally worth that little bit extra.

That said, the retailer may have factored in a cushion for negotiation and if money is a little tight, a couple bucks could be the difference between drive-thru and dining out on your way home. The best way to begin the back and forth of bargaining is to ask the vendor if there is any flexability with the price. Use that phrase, "any flexability there?" Why? The number one rule in haggling is never be the first person to throw out a number. What if the merchant suggests an amount below your target price? Score! Additionally, by asking the merchant if the price is "flexible", you're avoiding any unsightly buzz words. In fact, you haven't even mentioned the word "price", or "discount".

A seasoned retailer may toss the ball back to you, asking you to make an offer. What now? Everybody wants a bargain but at what point are you asking for a steal as opposed to a deal? If the price is double what you consider fair, it is probably best to walk away. Offering half price is insulting. In most situations, a good general rule is to ask for no more than twenty percent off the asking price. If you're good at Division without a pen and paper, just divide the price by five. There's your twenty percent.

If the original price isn't a nice round number, however, this could prove to be tricky, especially if the pressure is on. Logic and excitement don't seem to mix very well. In this case, it may be easier to break the number down in a few steps. A quick calculation for ten percent is to drop a zero from the end. For example, ten percent of $75.00 would be $7.50. Simply double this number (now 20%, or $15.00), subtract it from the price tag of $75.00 and you have a reasonable opening offer of $60.00.

This offer gives you somewhere to start, If the merchant scoffs at your suggestion, take your business elsewhere. The most important thing at this point in the process is for both parties to be fair-minded. If the salesperson is unreceptive to your offer and does not at least suggest a compromise, they are proving unreasonable.

Again, it is up to both involved to be considerate. Weigh any counteroffer you receive with care. If it is within a fair margin of what you offered, accept it with a smile. This will avoid any implication of appearing petty and help establish you as a serious buyer.

Of course, there are very few strict rules when it comes to negotiation, these guidelines are intended to ease what can be a daunting process while preserving the dignity of everyone involved. There is plenty of room to develop an approach of your own and as long as a mutual respect is shared, there can certainly be winners on both sides of the counter.

[silveragecentric]

A Simple Hello

As a means of introduction, my name is Ryan, and I have been collecting comics for a little over twenty years.

Pop in from time to time to read my musings on the latest comic book movie, or Summer Blockbuster. I’ll also be sharing the latest addition to my personal collection and from time to time, recommending things to my fellow hobbyists.

If nothing else, I hope you enjoy the ride!