- La tumba de la isla maldita
How is it that Young Hannah is 700 years old?, 4 February 2005
For the most part, Crypt of the Living Dead or Young Hannah: Queen of the Vampires or Vampire Women is a thoroughly retched movie. All you really need to know about the story is that 700 year old Hannah is released from her tomb on an almost uninhabited island. She bites a few locals and is then dispatched herself. There are so many negative things to say about this film that I'll just mention a few that really bothered me.
One, Hannah has got to be the slowest vampire in the history of movie vampires. I've heard complaints about the slow moving Bela Lugosi in Dracula. Bela is like Carl Lewis compared with Hannah.
Two, the characters do not act in a logical manner. I'm not talking about logic as you and I know it, but these people don't even act according to "horror movie logic". For example, a big deal is made about the effect of dog's bane(sp) on Hannah. In one scene, it is used to get Hannah to release the movie's hero. Once free of her clutches, he immediately goes after her. But, does he bother to take the dog's bane that was just used to save his life - NO.
Third, nothing really happens in the movie. I'm not talking about a slow story. Instead, I'm talking about no story. There is a great long section of the film (the first hour or so) where, literally, nothing happens. It's not till the slow moving Hannah is awakened to prey upon the illogical victims on the island that anything seems to happen.
2/10
Lugosi Grows a Beard, 4 February 2005
The basic story of the Ape Man is straight forward. Lugosi plays a scientist messing around with nature (these guys never learn). Through some experimentation he has turned himself into a half-ape (he had a heavy beard and walked stooped over). He, along with his gorilla assistant, must kill to get the spinal fluid he needs to reverse his previous experiment.
The Ape Man can be fairly entertaining if you don't take it too seriously. Lugosi is fine as the scientist - sometimes funny (as when trying to subdue his gorilla) and sometimes menacing (as when threatening the doctor who has been helping him). Henry Hall as the doctor and Minerva Urecal as Lugosi's sister are also worth mentioning. Typical of comedy/horror films from this period, some of the jokes work while some fall flat. Most of the jokes are delivered by Wallace Ford (Ford was also the comic relief in The Mummy's Hand and The Mummy's Tomb). The movie was made by Monogram and is a typical Monogram cheap-B-quickie.
5/10
- Vado... l'ammazzo e torno
Nice SW Parody, 4 February 2005
A group of bandits rob a train of the gold shipment it is carrying. In their escape, the bandits split up. The one thief who knows where the gold is hidden is killed before he is able to talk. Three men have a different part of the "clue" that will lead to the gold. Can the banker, the bandit, and the bounty hunter work together to locate the missing loot? Or, will they kill each other first? - The plot is an obvious take-off of Leone's The Good, the Bad, and the Ugly. Various scenes in the movie are also lifted from other films by Leone, Corbucci, and more. But, to me, it's done in a way that doesn't show disrespect to the original work. Instead, Any Gun Can Play lovingly parodies some of the biggest films in Spaghetti Western history. The opening scene of three men riding into town and the final face-off between the three main stars are a wonderful homage to the SWs that came before.
Castellari adds a lot of nice touches of his own - the reflection in the spilled wine, the Stranger's entrance with the vivid red background, and the playful way the gold is discovered in the end. Although highly unbelievable, many of the fight scenes are well staged and directed. Two fight scenes in particular (the market fight and the bath house fight) are very nicely done. He is also unafraid to try different things with his camera. Tight close-ups, overhead shots, and shots around corners are all common in Any Gun Can Play.
Another plus is the cast that Castellari had to work with. George Hilton is always good in these movies. Gilbert Roland is literally playing Gilbert Roland. And SW newcomer Edd Byrnes holds his own with the two SW veterans. The supporting cast features, among others, SW regular Gerard Herter.
Any Gun Can Play should not be taken too seriously. Nice touches of humor can be found throughout the movie. If this is possible with an SW, it's more of a "feel good" movie - very reminiscent of some of the Terence Hill / Bud Spencer films.
7/10
Loved It, 2 February 2005
I was recently given the House of 1000 Corpses DVD as a gift. I had heard such bad things about it that I had been afraid to buy it myself. I just knew I wasn't going to enjoy it. Now, I wish I would have seen it sooner. I watch movies for the sake of entertainment. And if it entertains me, then art, technical merit, or any other thing people like to complain about be damned. Bottom line - House of 1000 Corpses is one of the most entertaining new movies I've seen. I found myself playing along with Rob Zombie to spot all of the movie's influences. A lot of reviews I've read complain that Zombie "ripped" The Texas Chainsaw Massacre and other movies. Personally, I don't think "ripped" is the right word. I see it as Zombie's way of paying a loving tribute to the movies he enjoys.
There's nothing at all original about the plot. Two couples get lost in the backwoods and are set upon by a crazed family of killers. Sound familiar? But what makes this movie different from many of the others that have tried this same plot are the visuals and the characters. Zombie has filled every frame of this picture with some of the most gruesome eye-candy imaginable. I wanted to stop the movie every five minutes just to take it all in. Everything from the vintage t-shirts worn by Captain Spaulding to the mobile of shoes is a real joy to behold. Zombie must be a nut for detail.
As for the characters (and here, I'm referring to the killers), each is so over-the-top that I couldn't wait to see what they would do next. Much of this comes form Zombie's casting choices. Sig Haig, Bill Moseley, Karen Black, and Sheri Moon play their demented characters to perfection. Each is an absolute "scene stealer", often within the same scene. It's such a pleasure to watch people having this much fun making a movie.
The movie is not without its problems. As previously mentioned, the plot is all but non-existent. Many of the underground scenes toward the end of the movie were not necessary to me. Also, some of Zombie's editing style is not to my taste. But, these things are minor to my overall enjoyment of the movie.
8/10
- Küß mich, Monster
Possibly the worst Franco I've seen, 2 February 2005
I'm not sure how to describe a non-existent plot, but I'll give it a try. Two women, posing as a nightclub act, go to an island to investigate something. Everywhere they go, people (I have no idea who these people are) end up dying - sometimes stabbed in the back while in mid-sentence. Of course there's no sign of the killer. Eventually, I think they find whatever it is they're looking for because there is much rejoicing.
This movie is BAD. And, I don't mean bad in a way that can be enjoyable to make fun of. This is the kind of put-you-to-sleep-because-it-makes-no-sense bad. I got the impression that the story was being written at night on cocktail napkins for the next day's shoot. It's the only way I can explain it because I can't imagine anyone sitting down and writing something this bad unless they were drunk (either that or it was written by monkeys). I defy anyone to watch this movie and tell me exactly what's going on.
I'm not giving it a 1/10 because it does have a couple of redeeming qualities. What they are escapes me at the moment, but I distinctly remember enjoying at least one scene - it may have been a shot of palm trees. Plus, believe it or not, I've seen much worse.
2/10
I wish Carpenter could still make 'em like this, 30 January 2005
A new Lieutenant takes over a police precinct on its very last night. Almost everyone and everything has been moved into the new station. It should be an easy night - just direct all callers and visitors to the new precinct building. But a series of gang deaths will make this night anything but easy. The gang wants revenge and selects the almost abandoned precinct as their target. The gang members have taken a blood oath to die if they must, but someone's going to pay for killing members of their group. With two secretarial types and two death-row inmates, the Lieutenant must fight off the gang's siege on Precinct 13 if he is to survive the night.
Assault on Precinct 13 may start a little slow, but once the action starts, it's kick-ass action all the way. It's not a perfect movie by any means. For example, much of the acting and dialogue are near laughable. But, John Carpenter makes up for this with a gripping, suspenseful story that rarely lets up. Carpenter is able to build atmosphere and chemistry between the characters - things I find lacking in many newer movies. The shoot-outs as the gang members come in waves at the building are flawlessly choreographed. While some of the jokes don't work, many are laugh-out-loud funny.
While I've heard Carpenter say that Assault on Precinct 13 is his modern day Rio Bravo, I think the movie has much more in common with George Romero's Night of the Living Dead. The similarities are almost endless:
- Both movies have people trapped in a building.
- The people in both movies are lead by a black man, something still rare in 1976.
- The people are under attack by wave after wave of basically faceless hordes - be they zombie or gang member.
- A character in both movies tries to make a getaway in a nearby vehicle - both with disastrous results.
- Both movies feature a basically catatonic character that the others will protect for no real reason.
- Both movies mix characters from different socioeconomic standings into a cohesive fighting force.
- And so on.
While Assault on Precinct 13 may have its share of flaws, it's one helluva ride.
8/10
Not the best of the series, 30 January 2005
Stolen furs, a dead night watchman, insurance scams, and a killer with a hook for a hand named The Claw. It's up to Dick Tracy to unravel the mystery.
I have now seen four of these Dick Tracy movies from the 1940s and this is easily my least favorite. Dick Tracy's Dilemma seems tired and offers very few fresh ideas. It's a shame that a really nasty villain like The Claw wasn't in a movie with a better story. RKO probably did the right thing by ending the Dick Tray series with this movie.
If your interested in watching one of these older Dick Tracy movies, my recommendation goes to Dick Tracy Meets Gruesome with Boris Karloff.
5/10
Stop the Madness, 30 January 2005
Normally, I start with a brief (sometimes very brief) outline of the plot. With Friday the 13th Part VII, there's really no point in doing that. A group of young people is staying in a cabin on Crystal Lake. They have sex, smoke dope, and act incredibly stupid. Gee, I wonder what's going to happen to them? Imagine my surprise when Jason shows up and starts butchering everyone in sight.
I'll give the movie credit for trying to throw a new wrinkle into the Friday the 13th story. One of the people staying on the lake is a young girl with telekinetic powers. Think of it as Carrie vs. Jason. She actually proves to be one of the more equally matched foes Jason has faced and the highlight of the movie for me.
While not the lowest point in the Friday the 13th series, Part VII comes close. The biggest problem with the movie is the total lack of suspense. By the time Part VII came out, anyone with a pulse was already familiar with the basic premise. And even though Telekenetic Girl is present, the movie doesn't stray from the tried and true formula. We know Jason is going to show up and kill people. What kind of suspense is that? It doesn't help that we know absolutely nothing about most of the victims. I realize that the majority of Jason's victims are little more than cardboard cut-outs, but here they're even less than that. It's hard to have suspense when you don't really give a damn or know anything about the people in danger.
4/10
- L'assassino è costretto ad uccidere ancora
Underseen, 30 January 2005
Mainardi (George Hilton) would like to see his wife dead. By chance, he stumbles upon a killer as he is disposing of his latest victim. Mainardi hires the man to do away with his wife. The killer is able to gain access to the house and soon enough the wife is dead. He carries her body to his car and places it in the trunk. He goes back into the house to clean-up. But, when the killer returns to his car, he discovers it has been stolen by a joy riding couple. Unfortunately for the beach bound couple, they know nothing of the body in the trunk or the killer who is hot on their trail.
There is no mystery as to the killer's identity. We know who he is two minutes into the movie. Some may complain about the drawn out "chase" sequence, but it only adds to the tension. The time is taken to get to know the couple. So, when the killer finally catches up with them, these scenes are even more shocking because we actually know and care about the victims. I found these scenes of violence particularly disturbing. The long chase is necessary to build to this moment.
Unlike many of the films in the giallo subgenre, The Killer Must Kill Again actually has a plot that makes sense and is easy to follow. Cozzi abandons most of the tricks associated with this kind of movie. There are no characters introduced in the final moments of the movie or last minute flashbacks that make some gialli so frustrating. The straight forward style of story telling is a nice change of pace for fans of the subgenre.
The entire cast is wonderful. Antoine Saint-John makes a superb killer. He has one of the most menacing looks I've ever seen. George Hilton is his usual smarmy self. And the couple, particularly the innocent Cristina Galbo, are very believable as sympathetic pair of car thieves.
The new DVD from Mondo Macabro is a real treat. Image and sound are better than I expected for an almost unknown movie from 1975. They've also loaded the disc with some very nice features, including extensive interview sessions will Cozzi and a commentary with Cozzi. I am very happy with this purchase.
8/10
A Guilty Pleasure, 25 January 2005
A young girl seemingly commits suicide for no reason. Her sister Elizabeth (Pamela Franklin), feeling that something was terribly wrong, takes an assumed name and enrolls at the all-girls' school her sister attended. In short order, two more girls commit suicide. With the help of her friend Roberta (Kate Jackson) she is determined to get at the bottom of what's going on.
Most people I know do not care for this movie as much as I do. Oh, I certainly can see the problems with the movie, but I tend to overlook them. There are a few creepy scenes and I always get hooked by the story (what little story there is). It's kind of like a poor man's Suspiria. Most of the real plot points, however, can be seen a mile away. For example, do you really have to stretch your imagination to guess what might be going on at a 300 year old school in Salem, MA where eight of the former students were accused of being witches? I know it's a toughy, but just try to guess. Still, this doesn't take away from the fun I always have with Satan's School for Girls. Also, it's a real blast to see future Charlie's Angels Kate Jackson and Cheryl Ladd before they became famous.
For me, though, it may be more of a nostalgia thing than actually enjoying a good movie. I can remember seeing this when it originally aired in 1973. I was 9 years old when it aired that September. Satan's School for Girls scared me so bad I couldn't sleep. I really wish they still made TV movies like they did in the 70s.
7/10
Another example of Argento's genius, 17 January 2005
Plot: (As written on IMDb) Tenebre follows a writer who arrives to Rome only to find somebody is using his novels as the inspiration (and, occasionally, the means) of committing murder. As the death toll mounts the police are ever baffled, and the writer becomes more closely linked to the case than is comfortable.
Tenebre is certainly one of Argento's best films. Even though I've seen it before, it has lost none of its impact on me. Tenebre includes some wonderful examples of Argento's visual flair. While not as bold as Suspiria, it's a feast for the eyes. If you've seen it, have you noticed that almost every victim is wearing white? Why? Could it be that the red blood makes more of a visual impact on the white background. Tenebre also includes some of Argento's most suspense filled moments. The scene where the girl is chased by the dog only to end up seeking refuge in the killer's house is a genuine nail-biter.
If you've never seen a giallo or an Argento film, I highly recommend Tenebre as a jumping off point.
9/10
An incredible thrill ride, 17 January 2005
What do you get if you mix equal parts Alfred Hitchcock with Dario Argento? Answer: Brian De Palma's Dressed to Kill. I suppose you could categorize Dressed to Kill as an American giallo. This is one of those movies that would be difficult to discuss the plot without ruining a good portion of the movie, so I won't even try. If you really must know more about the plot, read it here: http://www.imdb.com/title/tt0080661/
I had not seen Dressed to Kill in about 20 years. I had completely forgotten what an effective movie it is. Several particular moments stand out. The first is the art gallery scene. It's basically a long drawn-out game of cat and mouse. Angie Dickinson is at first pursued and later pursues an unknown man. The way De Palma takes the camera around the twists and turns inside the gallery with only the briefest of glimpses of the mystery man is very effective at building tension. It is amazing that he is able to build this tension and then just let it go without the expected payoff.
The second scene that I find particularly well done is the famous elevator scene. Unlike the art gallery, there is very little in the way of build up. An elevator door opens and ...well you know what happens. The brutality on display in this scene rivals that of the best Italian giallo. The elevator scene was heavily "influenced" by Hitchcock's Psycho. And, the Hitchcock "influence" goes beyond the actual murder. It includes the whole idea of killing off your "star" within the first third of the movie. It must have taken real guts to tell the studio that now that you've hired Angie Dickinson as the star, you're killing her off before the movie is half over.
The third scene that I'll discuss (or not discuss) is the finale in the doctor's office. As I stated at the beginning, I don't want to give away too much of the movie. It is all but impossible to discuss this particular scene without doing just that. I'll just say that it's a joy to watch as De Palma plays tricks on the viewer. Not cheap tricks, but tricks that fit within the story.
The only real negatives to the movie are the scenes that take place immediately after the doctor's office finale. The need to explain everything in the finest detail is not necessary. Any viewer with an IQ of the average houseplant already knows what happened. These scenes just feel tacked on and hurt the overall flow of the movie.
8/10
- Il grande silenzio
Perfection, 17 January 2005
I know a lot of people do not agree with me, but other than Sergio Leone's Once Upon a Time in the West, this is, in my opinion, the finest Spaghetti Western ever made. I have now seen this movie on three different occasions and each time I am struck by the beauty of the film and the power of the final scene.
The Great Silence is the story of a snowbound Utah town plagued by bounty killers. The phrase "Wanted: Dead or Alive" seems to mean only "Wanted: Dead" as mo one has been brought in alive. One day, a stranger arrives. He has been summoned by one member of the community who seeks revenge for the death of her husband. The bounty killers are now the prey of the mute death machine known as Silence.
Loco (as played by Klaus Kinski) is one of the meanest, most vile characters to ever appear in film. He tells one grieving widow to bury her dead husband in the snow so he can pick him up later. Other scenes that are not easy to forget include Loco pulling dead bodies out of the snow to strap to the roof of the stage coach so they can be carried to town or Loco dragging people through the snow to get information from them only to shoot them when he learns what he wants. I doubt I've ever rooted so strongly against a film character.
The snow itself is really a character in this movie. It's not often that you see a Western set in the snow. And, when you do, it's only for a few moments and the snow is usually only a few inches deep. Here, the snow is non-stop. There is no escape. And, we're not talking about three or four inches. Try 30 to 40 inches. All of this snow must have provided REAL hardships for everyone involved in the making of the movie.
Earlier, I mentioned the ending of The Great Silence. I stated how powerful I find the ending of the movie. I'm not going to state why I feel this way as I don't want to ruin it for anyone wanting to see the movie, but I will say that is as unlikely an ending to a Western as you'll encounter. The first time I saw The Great Silence, the ending stuck with me for days. And to me, that's the sign of a sure winner.
10/10
- Die Schlangengrube und das Pendel
Not as good as I had hoped, 17 January 2005
I had heard such good things about Castle of the Walking Dead (aka The Torture Chamber of Dr. Sadism) that I've really been looking forward to seeing it. I was a little disappointed. The movie seemed to be little more than a series of interesting, but unrelated, ideas and scenes stuck together with a very flimsy plot. The castle scenes are basically one torture device after the other. Christopher Lee is underutilized. He plays a one-note character that highlights very little of his acting abilities.
One scene in particular points out many of the problems with the movie. As our unsuspecting heroes make their way to the castle, they must travel through a forest. This is no ordinary forest. The trees seem to have dead bodies actually growing out of their trunks and branches. Do they turn around and home like sensible people? NO. Dead bodies in trees must be a common sight in their part of the world.
Regardless of what I've written so far, it's not as if I didn't find something to enjoy. The rating I’ve given the movie (6/10) would indicate that. What I did find enjoyable were those very scenes that I've previously described as unrelated. Most are so over-the-top in their imaginative use of torture devices that I couldn't help but enjoy them. The scene of our hero tied helplessly as a ax blade pendulum slowly drops toward his body was truly an amazing sight. It's actually better than a similar scene in Corman's Pit and the Pendulum, a movie I actually enjoy.
6/10
So much more than Brooke Shields' first movie, 17 January 2005
A little girl is waiting in line to receive her first communion. Suddenly, she is grabbed from behind and murdered. All of the evidence seems to point toward the girl's sister, Alice. Next, Alice's Aunt is attacked in the stairwell of her apartment building. Again, the suspicion falls on Alice. Alice's parents have little choice - they commit her to a psychiatric hospital. Will this stop the killings?
Alice, Sweet Alice is an American style giallo. The identity of the killer is hidden behind a yellow raincoat and mask. In this kind of movie, I like to play along and try to guess who the killer is. When I'm wrong (which is the usual case), at least the killer turns out to be someone I had suspected at some point during the movie. When the killer is finally revealed in Alice, Sweet Alice, I must say that it was a total shock to me. The only problem with the revelation of the killer is that it comes a little too early. The suspense that the director has worked at building is dampened severely once we know who the killer is.
Paula E. Shepherd, in her first ever movie role, plays Alice. Seldom do you see someone with so little experience play a role so flawlessly. She is so deliciously evil as the crazed Alice. It's a shame she didn't make more of these kind of movies.
Unfortunately, Alice, Sweet Alice is best known as the first movie in which Brooke Shields appeared. It's a shame because the movie is so much more than that.
7/10
- Perché quelle strane gocce di sangue sul corpo di Jennifer?
MMMMM - Edwige, 9 January 2005
I've now seen this movie twice and I enjoyed it even more this time. It's a fairly standard, straightforward giallo – a series of murders in an apartment building committed by a gloved, black-cloaked figure. There are no shortage of suspects and the police are unable to do much other than find stamps for their collection (yes, that's right – stamps). But there are three things that really make The Case of the Bloody Iris stand out to me:
1. Cast – Any giallo with both George Hilton and Edwige Fenech is going to be a winner as far as I'm concerned. Hell, anything with Edwige is a "must see" for me.
2. Murder scenes – Each murder scene is very well handled. There's even one that takes place on busy sidewalk that is so well done that it seemed plausible to me.
3. The Score – I think Bruno Nicolai's score is one of the best I've heard. I'm especially fond of the main title music. So much so that I've burned it to a CD (with some music from 5 Dolls for an August Moon, Deep Red, and others) and listen to all the time on my way to and from work.
The Case of the Bloody Iris is part of Anchor Bay's The Giallo Collection. While I enjoyed some more than others, none of the four movies was what I consider bad.
8/10
- Seddok, l'erede di Satana
Not Bava, 9 January 2005
Having read comparisons between this movie and Mario Bava's films, I'd looked forward to seeing it for sometime. It's the story of a horribly disfigured woman who goes to a doctor for some unconventional treatments. It seems he has developed a serum that will restore the woman's beauty. But, the serum must be applied regularly and the supply soon runs out. As the doctor has fallen in love with the woman, he must do whatever it takes to get the ingredients to make more serum – even if that means killing other women.
Let's see, comparisons with Bava. 1. Black & white – so is Bava's Black Sunday. 2. Well, there really isn't a 2 as far as I'm concerned. Atom Age Vampire makes most other "slow" movies seem like roller coaster rides. I actually had to wake myself twice and rewind the movie. Also, while I'm generally one of those people that will defend dubbing in Italian movies, I can't do that here. This is one of the first times I can actually say that the dubbing got in the way of my enjoyment of a movie.
3/10
Not even Peter Cushing can save this one, 9 January 2005
Fear in the Night is a very seldom discussed Hammer film with Peter Cushing and Joan Collins. It's the story of a woman recently released from the hospital after suffering a nervous breakdown. She's just been married and is about to join her husband who teaches at an all-boys school. The night before she leaves, she is attacked in her apartment. When help arrives, there is no sign of an intruder. Did she imagine the attack or did it really happen? Soon after arriving at the school, she is attached again. No one believes her. Her husband leaves for an overnight trip to London. That night, she hears strange noises downstairs. She grabs her gun and carefully goes down the stairs. Suddenly, the lights come on and……..
There's a reason this movie is so seldom discussed – much of the movie is a complete and utter bore. A good portion of the screenplay consists of various characters walking around the school. Just walking. Nothing really happens to them. They just walk. The movie is not, though, without its good points. The finale presents a nice twist that, although fairly predictable, is well done.
I can't really recommend this to anyone other than Peter Cushing or Hammer completest. For what it's worth, I give this one a 5/10.
5/10
Not Lenzi's Best, 13 July 2004
To fully enjoy many of the gialli I've seen recently, the viewer must, as I call it, take a "leap of logic". What I mean is that if the viewer were to stop and think about how illogical things in the movie were, they probably wouldn't enjoy the movie as much. Well, with Spasmo the viewer is asked to take a Grand Canyon size leap of logic. The problem is, I only made it half way across. The illogical actions and reactions the character make throughout the movie ruined much of my enjoyment. When faced with a situation, in almost every instance the characters act and react in the most illogical manner possible in order to advance the storyline. A logical decision by any character at any time would have brought the movie to a screeching halt.
That's not to say that there weren't things I liked about the movie. The latex dummies hanging from trees were a nice touch. The way the murders are shown in flashback at the end of the movie was a fairly innovative idea. But, there weren't enough of these moments.
The acting is what you would expect. The score by Morricone, while good, is not one of his best. The revelation of the murderer is by far the best part of the movie. The DVD from Shriek Show is a mixed bag - good picture, but lots of hiss in spots on the soundtrack.
Overall, this is not one of the better gialli I've seen. If you want to see a far superior giallo by Lenzi, see Seven Blood-Stained Orchids. For what it's worth, I'll give Spasmo 5/10.
5/10
Just a couple of disclaimers that I wanted to get out up front. First, I'm not a writer. I'm a bank auditor. I do this because I enjoy it. So go easy on me if you don't care for my writing.Second, if you're looking at a rating I've given a movie, know that I rate primarily on entertainment value. And what I find entertaining, you might think of as crap. It's all okay. From time to time, I will take technical aspects or acting into account when rating a movie, but I try to save this for current, big Hollywood films. Third, I've seen so many dubbed movies that I rarely have a problem with it anymore. In general, I don't rate a movie poorly just becuase someone in a studio who had nothing to do with the actually making of a movie couldn't read their lines right.I'm sure other things will come up and I'll post them as they do.Oh yeah, one other thing - the name B2. If I were reading this I would be asking about that name. Well, it's short for bensonmum2 - the name I've used for years on IMDb message boards and other places.
On to more enjoyable things.
I had a blog once before, but decided it's probably best to start over. I've got a few ideas that will probably work best with a fresh start. So if you run across the old blog (that I haven't updated in about three years), skip on by. Anyway, I plan to use this space to post my thoughts on the movies I watch, lists of my favorite films, other movie related stuff, and whatever else I've got on my mind. I plan to port over the reviews I've already written that are posted on IMDb. I have this great fear of losing all that work. And with IMDb's track record of banning people on not much more than a whim, I think I'd like to save those reviews here. As for original content, mixed in with the movie reviews and comments on television shows, I'm planning on revisiting every single MST3K episode. This will definitely take a while so don't expect me to finish this in the next few weeks. I do have a job, a family, and other stuff taking up time in my life. Also, I'm only doing seasons 1 - 10. While I may throw in a few of the KTMA episodes, I'm not doing them all. And, I'm not doing these things in order. I may start with S1E1, but I will be skipping around. Anyway, hope you enjoy this. And just in case no one ever finds this and reads what I'm up to, it's all okay. I'm doing this more for myself than anyone else.
