Key Largo (1948)

"The wind blows so hard the ocean gets up on its hind legs and walks right across the land.", 10 August 2005

There may be other Bogart/Huston collaborations that are better known and it may not be the first movie people think of when Bogart/Bacall are mentioned, but Key Largo is a fine movie in its own right. Bogart is an Army Captain visiting the wife and father of one of the dead soldiers who served under him. The wife and father run a little hotel on Key Largo. Bogart's not the only guest at the hotel, though. A group of gangsters has decided to hold up there for a while. But the gangsters aren't the only threat to Bogart and the others. A hurricane is blowing on shore that threatens everyone - even the guys with the guns.

Bogart and Bacall are good as ever. Lionel Barrymore is a pleasure to watch. And Claire Trevor's Academy Award was deserving. But I want to spend the rest of this review discussing Edward G. Robinson's performance. Robinson has never been a particular favorite of mine. But, it's difficult not to enjoy him in Key Largo. To be a man of such slight stature, on screen he comes across like a giant. His character, Johnny Rocco, dominates almost every scene - even scenes he's not in. Before we meet Rocco, he's already on of the biggest characters in the movie. All his hired stooges have to do is point to the bedroom door and say something like "He's in there, taking a nap" and Rocco immediately becomes the most important person in the movie. Robinson is amazing to watch as he demonstrates his dominance by threatening everyone (even his own men). But Robinson saves the best for last. As the hurricane hits, he changes and becomes like a frightened child. That Robinson was capable of playing the heavy so convincingly in one scene and the weakling so perfectly in the next is evidence of his wonderful abilities. It's really a joy to behold.

8/10

Q: The Winged Serpent (1982)

Excellent performance from Moriarty, 9 August 2005

Jimmy Quinn (Michael Moriarty) is a small time crook who gets mixed up in a botched jewel heist. He escapes and makes his way to the top of the Chrysler Building. There, he discovers what appears to be a giant egg. Jimmy soon realizes that he's discovered the nesting spot of the giant serpent that's been terrorizing the city. Now, how to use that information to his advantage?

I love this stuff! Q has it all – police drama, jewelry heist, murderous cult, Shaft, and blackmail. Oh yeah, I forgot, Q also has a giant, flying serpent that's been brought back to life by some whacked-out cult that skins people as a sacrifice to the serpent. When the serpent isn't out biting the heads off of construction workers or nude sunbathers, it finds time to make a home and lay an egg in, of all places, the Chrysler Building. While Q's plot may seem far-fetched (How does a flying monster remain unseen for so long in New York? Does no one ever look up?), it's a lot of fun. It would be difficult to pack more cheese into a movie and still have it be coherent.

It's a shame that movies like Q don't receive more critical regard. Michael Moriarty is wonderful as the weak and slow-witted Jimmy Quinn. I'm serious when I say that Moriarty's work in Q should have gotten him an Academy Award nomination. He's that good. You might not like the character, but there should be no denying the brilliance of the performance. But then again, movies with flying clay monsters rarely get taken seriously.

The rest of the main cast is, for the most part, good. Any movie with both Richard Roundtree and David Carradine gets bonus points just for that casting decision. My only complaint is how underutilized Roundtree is. I would have loved to see him lay down some Shaft-style justice on the cult members. Carradine is solid and his scene with Moriarty in the diner is one of the real highlights of the movie.

If you're looking for a fun, 50s style monster movie, Q may be just right. Don't take it too seriously and you'll probably have a lot of fun.

7/10

Prime Evil (1988)

The Worst, 9 August 2005

Over the years, I've seen my fair share of really bad movies. But none can compare with Prime Evil. I bow down before thee oh King of Garbage. It's the worst of the worst. I literally despise this movie with every fiber of my being.

The story, although it doesn't really matter, starts with a 13th Century monk who turns to Satanism in exchange for immortality. He slaughters the other monks who refuse to join him. Switch to present day and the monk, now in the persona of Father Seaton (get it, Seaton/Satan - oh how clever), oversees a large cult of followers. Each is also promised immortality in 13 year blocks if they are willing to give Father Seaton a "pure" blood relation for sacrifice to Satan. The 13 year period for one member is coming to an end. He has a "pure" granddaughter that would make an ideal candidate for sacrifice. But the Church and the police are onto the cult's activities. Can they stop Father Seaton before another person dies?

Every aspect of this movie is bad. I've racked my brain and I cannot come up with one positive thing to say. The acting is terrible, the story is lame, the muppet Satan is ridiculous, and the whole thing is a complete and utter bore. And none of it is bad in that so bad it's good sort of way. I defy anyone to find a scrap of entertainment in Prime Evil.

1/10

The Mummy (1932)

"He went for a little walk!", 7 August 2005

Throughout the great length of his career, Boris Karloff played a number of horror cinema's most memorable characters. But I've always been of the opinion that his work in Universal's The Mummy is his best.

The story in The Mummy is, in many respects, almost identical to Universal's earlier Dracula movie. Exchange a mummy for a vampire and Cairo for Transylvania and the rest is quite comparable. Both movies are basically love stories - regardless of how twisted the "love" may seem. Ardath Bay's sole purpose in life (or should that be afterlife) is to resurrect the spirit of his long dead love, Princess Anckesen-Amon. His 3,000 year obsession and devotion is demonstrated in the line, "Anckesen-Amon, my love has lasted longer than the temple of our gods. No man ever suffered as I did for you." The response he receives a few scenes later, "No. No, I'm alive. I'm young. I won't die. I loved you once, but now you belong with the dead. I am Anckesen-Amon, but I'm somebody else too. I want to live, even in this strange new world", is heartbreaking.

Other obvious and less obvious examples of how the two movies are similar include: the use of religious symbols to repel the monsters, the use of hypnosis, the close-up shots of the eyes, and cast members who play basically the same roles (Edward Van Sloan and David Manners appear in both films in almost identical roles). Finally, a similarity that I've always noticed that I've not read anywhere else concerns the Renfield character from Dracula and poor Ralph Norton in The Mummy. Both become stark-raving, hysterical-laughing, mad lunatics. And whether intentional or not, both assist their respective monsters with their plans – Renfield by actively helping Dracula and Norton by accidentally bringing the mummy back to life.

Karloff is perfect as Imhotep/Ardath Bay. I've said a number of times that Karloff was born to play this role. His slim, long body looks like what I imagine a mummy might look like after 3,000 years in the hot, drying desert. Karloff's face, with the help of Jack Pierce's make-up, looks like it would turn to dust at the slightest touch. And, as most would agree, Karloff's voice has an otherworldly quality that sounds as if it were coming from the grave. Karloff's acting abilities also add to the illusion that he is the mummy. Whether his decision or that of director Karl Freund I don't know, but Karloff gives a very understated performance that is necessary if he is to be believed. The understated performance without wild, exaggerated movements is perfect for a 3,000 year old mummy. His carriage suggests a very fragile being that fears crumbling with any strenuous action. To me, Karloff simply is The Mummy.

Every time I watch The Mummy, I'm amazed at how little screen time Karloff has as Imhotep. To think that he spent 8 hours a day getting the full-body mummy treatment only to appear for a few minutes in the final film (and never a full body shot) shows an amazing amount of restraint on the part of Freund. If you're a believer in the "what's not shown is more frightening that what is" theory of horror, you'll appreciate Freund's decision. But the few shots where Imhotep does appear are, for me, the definition of movie magic. I'll never forget the first time I saw The Mummy. The scene where Imhotep slowly opens his eye to reveal for the first time that he is alive immediately became (and remains) for me one of the most memorable moments in horror history.

9/10

Mummy Dearest: A Horror Tradition Unearthed (1999) (V)

Interesting, 7 August 2005

Universal gave the classic horror fan a real treat with their series of short documentaries. While I don't necessarily think that Mummy Dearest is the best of the bunch, it's informative and entertaining. My only complaint is that not enough time was spent on the sequels to The Mummy. I would have loved to see more on these lesser known films.

Through interviews with film experts and surviving relatives, Mummy Dearest presents some fascinating insights into the making of The Mummy. One of my favorites was the story of the feud between star Zita Johann and director Karl Freund. Good stuff. Another highlight is the interview segments with special effects wizard Rick Baker. His insights into what Karloff went through to be made-up as the mummy are very interesting.

Mummy Dearest, and the other documentaries in the series, are some of the best DVD extras I've seen. Good work Universal!

7/10

Gambling City (1975)

- La città gioca d'azzardo
A Bore, 7 August 2005

It's probably unfair, but I can't help but compare Gambling City with Almost Human. Both movies were released at the same time by NoShame Films and I watched them almost back-to-back. Where Almost Human was a thrill a minute sadistic ride into the depravity of man, Gambling City is a dull, lifeless bore.

My problems with Gambling City started almost from the first frame. The music is terrible. The score just never seemed appropriate or fitting to the action on screen. And the music that was played over the love scenes was so syrupy sweet that it's nauseating. It's just plain bad. Another weakness comes shortly after the lead character Luca (Luc Merenda) was introduced. He never comes across as a sympathetic figure. It's really difficult to care for him. One minute he's playing the clown, the next he's a fighter, and the next he's getting the stuffing beaten out of him. And none of it had an effect on me because it's difficult to feel for someone you care so little about.

But the real problem lies in the plot. It's all too predictable. It's way to easy to see the outcome of this movie from a mile away. I defy anyone to watch Gambling City and be genuinely surprised about what happens to Luca and his woman. The complete lack of surprises in the story made the entire film an absolute bore.

With all the negatives, I will admit that the movie looks good. The cinematography, set design, and locations are beautiful. It's too bad that Gambling City isn't as good as it looks – and isn't near as good as Almost Human.

3/10

Smokey and the Bandit (1977)

"Atlanta to Texarkana and back in twenty eight hours? That ain't never been done before.", 6 August 2005

Back in 1977, I was 13 years old. I suppose that I fit right into the movies target market. If I remember correctly, I saw it 4 times in the theater. Years later, I dismissed the movie as too sophomoric and beneath me. But as I grow older, I see Smokey and the Bandit for what it really is – a nice piece of brainless fun. After all, this isn't rocket science, it's a car chase movie.

The movie works for me because it is so ridiculous. The whole idea of a Texas sheriff chasing a Trans Am all the way to Georgia is completely silly. But the car stunts, jokes, Jackie Gleason, Big & Little Enos, and even Jerry Reed's music make it a very fun watch. My biggest complaint is the way Burt Reynolds insists on mugging for the camera.

7/10