FRANKENSTEIN (1931) d. James Whale (USA)
BRIDE OF FRANKENSTEIN (1935) d. James Whale (USA)
SON OF FRANKENSTEIN (1939) d. Rowland V. Lee (USA)
THE GHOST OF FRANKENSTEIN (1942) d. Erle C. Kenton (USA)
The legacy of Frankenstein is one of the most influential in the history of horror. Released by Universal Pictures in 1931 and directed by James Whale, the film helped define what audiences now recognize as the classic Hollywood monster movie. Drawing from Mary Wollstonecraft Shelley’s novel and filtered through several stage productions, the film transformed into a powerful visual and emotional experience that changed cinema forever.
Showing posts with label Boris Karloff. Show all posts
Showing posts with label Boris Karloff. Show all posts
Friday, March 20, 2026
Friday, October 17, 2025
BRIDE OF FRANKENSTEIN & WEREWOLF OF LONDON: THE UNIVERSAL LEGENDS TURN 90!
BRIDE OF FRANKENSTEIN (1935) d. James Whale (USA)
WEREWOLF OF LONDON (1935) d. Stuart Walker (USA)
Tonight, we open the creaking doors to celebrate a pair of Universal classics that both turn 90 this year: Werewolf of London and Bride of Frankenstein, released in that golden year of genre cinema, 1935. While not always mentioned in the same breath, these two films mark an important moment in Universal Pictures’ legendary horror cycle, one building on an already iconic legacy, and the other attempting to carve out a new path through uncharted territory.
WEREWOLF OF LONDON (1935) d. Stuart Walker (USA)
Tonight, we open the creaking doors to celebrate a pair of Universal classics that both turn 90 this year: Werewolf of London and Bride of Frankenstein, released in that golden year of genre cinema, 1935. While not always mentioned in the same breath, these two films mark an important moment in Universal Pictures’ legendary horror cycle, one building on an already iconic legacy, and the other attempting to carve out a new path through uncharted territory.
Friday, May 2, 2025
THE BODY SNATCHER & ISLE OF THE DEAD - BORIS KARLOFF + VAL LEWTON IN 1945
THE BODY SNATCHER (1945) d. Robert Wise (USA)
ISLE OF THE DEAD (1945) d. Mark Robson (USA)
Producer Val Lewton, the master of atmospheric horror, collaborated with legendary actor Boris Karloff in 1945 on two memorable films: The Body Snatcher and Isle of the Dead. Both films showcase Lewton’s signature blend of psychological tension and poetic visuals, while allowing Karloff to deliver some of his most nuanced performances. They remain standout entries in both men's careers and in the horror genre at large.
ISLE OF THE DEAD (1945) d. Mark Robson (USA)
Producer Val Lewton, the master of atmospheric horror, collaborated with legendary actor Boris Karloff in 1945 on two memorable films: The Body Snatcher and Isle of the Dead. Both films showcase Lewton’s signature blend of psychological tension and poetic visuals, while allowing Karloff to deliver some of his most nuanced performances. They remain standout entries in both men's careers and in the horror genre at large.
Friday, December 13, 2024
UNWRAPPING THE MUMMY!!! (1932, 1959, 1999)
THE MUMMY (1932) d. Karl Freund (USA)
THE MUMMY (1959) d. Terence Fisher (UK)
THE MUMMY (1999) d. Stephen Sommers (USA)
One of the most enduring classic horror archetypes, The Mummy has appeared on film almost since the inception of cinema, with numerous silent efforts preceding Universal's landmark production in 1932 starring Boris Karloff.
THE MUMMY (1959) d. Terence Fisher (UK)
THE MUMMY (1999) d. Stephen Sommers (USA)
One of the most enduring classic horror archetypes, The Mummy has appeared on film almost since the inception of cinema, with numerous silent efforts preceding Universal's landmark production in 1932 starring Boris Karloff.
Friday, May 10, 2024
THE BLACK CAT (1934): A TRUE UNIVERSAL CLASSIC TURNS 90!!
THE BLACK CAT (1934) d. Edgar G. Ulmer (USA)
Bearing no resemblance to the original story by Edgar Allan Poe, Universal’s atmosphere-drenched 1934 offering, The Black Cat, from Austrian expatriate Edgar G. Ulmer, is a superior piece of filmmaking, made all the more historic for marking the first and finest on-screen teaming of horror icons Boris Karloff and Bela Lugosi.
Bearing no resemblance to the original story by Edgar Allan Poe, Universal’s atmosphere-drenched 1934 offering, The Black Cat, from Austrian expatriate Edgar G. Ulmer, is a superior piece of filmmaking, made all the more historic for marking the first and finest on-screen teaming of horror icons Boris Karloff and Bela Lugosi.
Friday, February 2, 2024
SON OF FRANKENSTEIN (1939) / YOUNG FRANKENSTEIN (1974) ANNIVERSARY SPECIAL!!
SON OF FRANKENSTEIN (1939) d. Rowland V. Lee (USA)
YOUNG FRANKENSTEIN (1974) d. Mel Brooks (USA
From the moment the original Frankenstein from Universal Studios was released in November of 1931, the landscape of cinema changed forever as Mary Shelley’s creation became a household word overnight. Unsurprisingly for Hollywood, further adventures featuring the Frankenstein monster followed, some critically acclaimed, others derided, while the fan base grew, passed on through generations of horror fans.
YOUNG FRANKENSTEIN (1974) d. Mel Brooks (USA
From the moment the original Frankenstein from Universal Studios was released in November of 1931, the landscape of cinema changed forever as Mary Shelley’s creation became a household word overnight. Unsurprisingly for Hollywood, further adventures featuring the Frankenstein monster followed, some critically acclaimed, others derided, while the fan base grew, passed on through generations of horror fans.
Saturday, January 6, 2024
THE TERROR (1963) / TARGETS (1968) BORIS KARLOFF DOUBLE FEATURE!!!
THE TERROR (1963) d. Roger Corman (and others) (USA)
TARGETS (1968) d. Peter Bogdanovich (USA)
1963’s THE TERROR, celebrating its 60th anniversary, is a legendary curiosity item from producer/director Roger Corman, more famous for its origins than the finished product. According to legend, when Corman wrapped shooting on The Raven ahead of schedule, he took advantage of Boris Karloff’s two extra contracted days to slap together this tale of a reclusive baron with a dark secret.
1963’s THE TERROR, celebrating its 60th anniversary, is a legendary curiosity item from producer/director Roger Corman, more famous for its origins than the finished product. According to legend, when Corman wrapped shooting on The Raven ahead of schedule, he took advantage of Boris Karloff’s two extra contracted days to slap together this tale of a reclusive baron with a dark secret.
Wednesday, October 25, 2023
BORIS KARLOFF: THE MAN BEHIND THE MONSTER (2021) Round Table Movie Review
BORIS KARLOFF: THE MAN BEHIND THE MONSTER (2021) d. Thomas Hamilton
Join AC and his awesome panel of guests (Chad Hawks, Anna Maurya, Grant Kuchan, Alan Tromp, Jon Kitley) for an amazing discussion about the amazing new Rondo Award-winning documentary about The Gentleman of Horror, Boris Karloff. From his early years in England to his theatrical trials and travails in Canada to his journeyman days in Hollywood to his star-making turn as the Frankenstein Monster, Hamilton and a cadre of distinguished talking heads regale this legendary genre icon. Fun facts abound!
Join AC and his awesome panel of guests (Chad Hawks, Anna Maurya, Grant Kuchan, Alan Tromp, Jon Kitley) for an amazing discussion about the amazing new Rondo Award-winning documentary about The Gentleman of Horror, Boris Karloff. From his early years in England to his theatrical trials and travails in Canada to his journeyman days in Hollywood to his star-making turn as the Frankenstein Monster, Hamilton and a cadre of distinguished talking heads regale this legendary genre icon. Fun facts abound!
Wednesday, September 13, 2023
MARIO BAVA'S BLACK SABBATH (1963) TURNS 60!!!
BLACK SABBATH (1963) d. Mario Bava (Italy)
Following the success of Roger Corman’s comic exploration of Edgar Allan Poe’s The Raven in 1963, Boris Karloff found himself in high demand with American International Pictures. In addition to The Terror, notoriously shot in two days on the Raven’s sets, the horror icon appeared in The Comedy of Terrors for Jacques Tourneur (alongside Raven co-stars Vincent Price and Peter Lorre), and tonight’s selection, the masterful anthology Three Faces of Fear, or, as it was better known for its Stateside release, BLACK SABBATH.
Following the success of Roger Corman’s comic exploration of Edgar Allan Poe’s The Raven in 1963, Boris Karloff found himself in high demand with American International Pictures. In addition to The Terror, notoriously shot in two days on the Raven’s sets, the horror icon appeared in The Comedy of Terrors for Jacques Tourneur (alongside Raven co-stars Vincent Price and Peter Lorre), and tonight’s selection, the masterful anthology Three Faces of Fear, or, as it was better known for its Stateside release, BLACK SABBATH.
Friday, October 25, 2019
THE HAUNTED STRANGLER (1958) Movie Review
Scare-A-Thon Totals to Date:
Total Movies Watched: 23
Total First Time Views: 11
Amount raised for AMAZON WATCH: $1,903.48
The Haunted Strangler (1958) d. Robert Day (UK) (78 min) (1st viewing)
Newgate Prison, 1860. The notorious serial killer Edward Styles, also known as “The Haymarket Strangler,” is hanged to death before a bloodthirsty crowd, denying with his last breath that he is guilty of the crimes. 20 years later, novelist James Rankin (Boris Karloff) sets out to prove that Styles was, in fact, innocent and that the surgeon who signed all the victims’ death certificates, Dr. Tennant, is actually the Strangler. With trusty companion Dr. Kenneth McColl (Tim Tuner), Rankin explores dusty hospital records filled with abandoned medical bags and raucous dance halls filled with saucy cancan girls, but the truth they uncover is more shocking than anyone could anticipate.
Wednesday, July 3, 2019
THE RAVEN (1935) Blu-ray review
The Raven (1935) d. Lew Landers (as Louis Frielander) (USA) (61 min)
While screenwriter David Boehm’s potboiler is hardly a faithful adaptation of Edgar Allan Poe’s most famous literary work (welcome to Hollywood, folks), Universal’s second teaming of its titans of terror, Boris Karloff and Bela Lugosi, still provides a hearty dose of Boston’s favorite literary son in the form of the various torture devices residing in the basements and behind the scenes of polite society.
Thursday, June 27, 2019
THE BLACK CAT (1934) Blu-ray Review
The Black Cat (1934) d. Edgar G. Ulmer (USA) (65 min)
Bearing no resemblance to the original story by Edgar Allan Poe, this atmosphere-drenched offering from Austrian expatriate Ulmer is a superior piece of filmmaking, made all the more historic for marking the first and finest on-screen teaming of horror icons Boris Karloff and Bela Lugosi.
Saturday, March 23, 2019
THE BODY SNATCHER (1945) Blu-ray review
The Body Snatcher (1945) d. Robert Wise (USA) (78 min)
Arguably Boris Karloff’s finest onscreen performance, this is another great-looking piece of atmospheric horror from producer Val Lewton. Karloff’s Cabman Gray, oozing ill-intentions and menace while remaining innately likeable, emerges as one of the most intriguing characters in film, regardless of genre. Gray has been employed as a grave robber to provide cadavers for Dr. Wolfe “Toddy” MacFarlane (Henry Daniell) to use at his medical institute. When there are too few corpses to satisfy demands, Gray goes about supplying them through “other means.”
Thursday, November 22, 2018
THE BORIS KARLOFF COLLECTION (2018) DVD review
Before we dive into the reviews proper, we pause now for a little background information, courtesy of Phil Hardy’s Overlook Film Encyclopedia: Science Fiction:
“Just before his death in 1969, Karloff acted in scenes for four films by Mexican producer Enrique Vergara. According to Jack Hill, the production circumstances of these pictures were disastrous. Karloff had rejected the four scripts sent to him by Vergara, and Hill, who shared the services of Karloff’s lawyer, was asked to rewrite them. Karloff then agreed to do them provided all scenes involving him would be shot in Hollywood because it was exceedingly painful for him to move about. The scenes were shot [by Hill] in 1968. Shortly afterwards, Karloff died, but so did Vergara.
“All the remaining scenes were shot later in Mexico without Hill’s knowledge and the finished products, released in 1971, bore little relation to the scripts Hill had used to do the Karloff scenes. Apparently American International tried to buy the shots with Karloff in order to make other films with them, but the legal and copyright problems due to Vergara’s death made this impracticable. This Mexican episode put a sad end on Karloff’s long and distinguished career. Some credits list Juan Ibañez as being responsible for the scenes added after Karloff’s death, but since many of these credits contain pseudonyms, it may be an injustice to include his name as director.”
So, there you go.
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| "That was very well said, young man..." |
Friday, November 21, 2014
THE COMEDY OF TERRORS (1963) Blu-ray review
The Comedy of Terrors (1963) d. Jacques Tourneur (USA)
After the success of The Raven, AIP attempted to tap the comic vein a second time but with decidedly diminished returns, both artistically and financially. The premise of a funeral home recycling its one coffin and occasionally helping the town’s populace into them is an amusingly dark one, but despite its terrific veteran cast, the comedy feels much more forced and mean-spirited, with Price’s tyrannical drunken lout snarking at underling Lorre and wife Joyce Jameson (who had memorably appeared opposite the two stars in “The Black Cat” episode of that year’s Tales of Terror).
Thursday, November 20, 2014
THE RAVEN (1963) Blu-ray Review
The Raven (1963) d. Roger Corman (USA)
A childhood fave that continues to hold up half a century later, thanks to the game comic performances from screen scream veterans Boris Karloff, Vincent Price, and Peter Lorre. Concerned that they might be repeating themselves, Corman and screenwriter Richard Matheson opted to spin the dark and forlorn premise of Poe’s best-known poem into an extravagant slapstick romp involving quarreling wizards, magic spells, duplicitous wives, and warnings from beyond the grave.
Thursday, January 23, 2014
DIE, MONSTER, DIE! (1965) Blu-ray Review
Die Monster Die! (1965) d. Daniel Haller (UK/USA)
Having wrapped up their extremely successful run of Roger Corman-directed Edgar Allan Poe adaptations – fondly referred to as the “AIPoes” – American International Pictures set their sights on another highly influential horror writer, H.P. Lovecraft. (In actuality, they’d already adopted his “The Case of Charles Dexter Ward” in 1963 and turned it into Edgar Allan Poe’s The Haunted Palace, but I digress.) Corman’s able art director Daniel Haller took the helm for screenwriter Jerry’s Sohl’s reworking of “The Colour Out of Space,” whose drive-in ready retitling of Die, Monster, Die! was only the first of its many woes.
Monday, October 7, 2013
THE OLD DARK HOUSE (1932) movie review
The Old Dark House (1932) d. James Whale (USA)
Almost forgotten in the Universal collection of horrors, this gem of a flick is often overshadowed by its more popular monster rally brethren. Director Whale’s follow-up to Frankenstein is well worth seeking out for its sheer atmospheric wackiness and gale-force acting from the entire ensemble, several of whom would turn up again for Whale in Bride of Frankenstein.
Wednesday, June 26, 2013
THE WALKING DEAD (1936) movie review
Walking Dead, The (1936) d. Curtiz, Michael (USA)
A real disappointment, even for Karloff fans (and especially for those thinking they're picking up source material for the AMC zombie series). Boris stars as an ex-convict framed for murder who is then put to death in the electric chair. But as his innocence becomes apparent, semi-mad doc Edmund Gwenn brings him back to life…with a Lindbergh heart? (There’s a mildly amusing bit with Gwenn uttering, “He’s ALIVE.”) But then Karloff develops some sort of extrasensory ability to recognize those that railroaded him, and begins to show up at their places in the middle of the night.
Tuesday, June 11, 2013
THE BLACK CASTLE (1952) movie review
Black Castle, The (1952) d. Juran, Nathan (USA)
Boris Karloff and Lon Chaney, Jr. receive prominent billing in this middling Universal effort, but neither is really given much to do: Chaney turns in another one of his patented “drooling idiot” roles, while Boris skulks in the shadows much of the picture, which could hardly be called a horror film to begin with. Instead, it concerns itself primarily with the dashing Richard Greene’s search for the killers of his companions, leading him to the door of evil count Stephen McNally.
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