Classical Universal horror met '70 blaxploitation last night on Saturday Night Live, and the result was Bride of Blackenstein, featuring Jesse Eisenberg and Nicki Minaj. First Jim Carrey's hilarious spoof of Black Swan, and now this... I'm sensing a pattern here, Lorne Michaels--keep it up! Anyway, just thought I'd share this little video with you, Vault dwellers. It's certainly the perfect post for a lazy Sunday (oh wait, that's an entirely different SNL clip...)
Showing posts with label Bride of Frankenstein. Show all posts
Showing posts with label Bride of Frankenstein. Show all posts
Sunday, January 30, 2011
Saturday, May 29, 2010
The Lucky 13: Week Two: Creature Features/Monster Movies
Technically speaking, if one were in the hair-splitting mood, these two can indeed be separated into distinct sub-subgenres, with monster movies implying more old-school humanoid beasties, and creature features referring to more of the giant-behemoth-on-the-loose premise. But for our purposes this week, we're taking an all-inclusive look at the bizarre, other-worldy abominations of nature that haunt the history of horror cinema!
This could very well be the most skillfully made horror film of them all--certainly of the so-called "classic era" of horror movies, in which, very often, they were treated as mere children's fare. Bride of Frankenstein is so much more than that. It's a sublime expression of cinema as art, wrapped subversively in the guise of a monster movie. For one thing, the film is tinged with a daring Christian allegory that only adds to the viewing experience. Who would've thought that the Frankenstein monster could become a Christ figure, yet this movie does it. Heavy stuff for a creature feature!
Bride of Frankenstein is filled with unforgettable scenes. Chief among these is the rightfully famous log cabin scene with the blind hermit. Parodied in Young Frankenstein almost as famously, this is nevertheless one of the truly immortal film scenes, and for my money may be the most emotionally moving one I've ever seen in a horror film. It's for moments like this one that the film totally transcends the genre.
Bride of Frankenstein is a film that is far more sublime and wonderful than it has any right to be. Filled with remarkable imagery and delightful performances, it is the kind of film you show to someone who has yet to appreciate the finer points of what genre entertainment has to offer. There is a handful of horror films of such high quality that one can literally classify them among the greatest movies ever made. Bride of Frankenstein is one of them. It's the shining triumph of the beloved Universal cycle of monster films.
These days I'm over moaning about remakes, but I used to get pretty angry about the entire notion. It just doesn't make any sense to me. While complaining about remakes, though, I would always conveniently forget that one of my favorite John Carpenter movies is, in fact, a remake in the most genuine sense of the word. Remakes often keep the general framework of the source material intact while taking giant liberties with the specifics, and that's pretty much what's happening in The Thing.
John Carpenter is a noted fan of the 1951 Howard Hawks film, The Thing From Another World, which is in turn based on a 1938 short story called Who Goes There. Hawks' film keeps the general idea of a frozen alien space ship, but throws out a lot of the short story's details in favor of casting a tangible villain with a hideous appearance. Carpenter's remake actually comes a lot closer to Who Goes There by setting the movie in a location as remote as you can get, Antarctica, and then pits a small arctic research team against a monster that it really can't even see. This is the weirdest part of choosing The Thing as my monster movie pick because when you get down to brass tacks, the titular Thing is actually a microbe that takes the form of the research team, occasionally revealing itself to be a nasty piece of bio-horror as it assimilates its victims. By the end of the movie, its true form is revealed to be a throbbing tower of flesh and teeth, but on the way, the monster--usually the draw to these monster movies--just looks like the rest of the cast.
Carpenter's flick is an examination of paranoia, and a spiral of horror that suggests that the craft they found may not even be The Thing but it's latest victim, and Earth is its latest conquest. Though the original Hawks picture is a monster movie by definition, Carpenter's version manages to fall just inside the confines because of its ambiguity. I'm in love with Rob Bottin's unbelievably nasty special effects, too. When the movie suddenly starts to feel like a body horror movie, someone's severed head sprouts legs and beats a hasty retreat. The Thing is colorful, completely nasty and is home to a brand of paranoia that is downright suffocating at times.
In the pantheon of giant monster movies, King Kong remains one of the reigning champions of the form, a king of the jungle in the most appropriate sense. It can’t be denied that this film seems to have it all: an engaging story, incredible special effects, and one of, if not THE, greatest scene of a giant creature’s rampage in a bustling metropolis. But there’s something that Kong possesses that other monster movies of its ilk seemed to have missed. King Kong has a wonderful sense of humanity, exhibited not only in the likable characters, but also in the monstrous form of Kong himself.
Willis O’Brien and his team of expert technicians worked wonders in their exciting world of stop-motion dinosaurs and beasts. The smallest of details were rendered by their deft hands. I’m still blown away every time I see tufts of Kong’s fur blown by the wind. But those are just superficial matters. Where the genius of the special effects crew truly shines through is during the brief but ever-so-intimate moments when the audience is able to look past Kong’s roaring terror into the warm heart that lies beneath his giant chest. This is especially seen during one of my personal favorite moments, when Kong innocently but curiously plucks off Fay Wray’s garments. The looks on Kong’s face appear so cleverly human. We can relate to him. A 25-foot jungle ape that we can sympathize with. How can you argue over the greatness of something like that?
But don’t for one moment be mistaken, dear reader. King Kong isn’t merely a sappy romantic comedy that has Tom Hanks replaced by a slightly more attractive lead. There’s red-blooded adventure and intrigue galore. And what’s a giant monster movie without scenes of terrible, wanton destruction and carnage? You’ll watch in rapt fear as Kong busts through the giant wooden gate that has kept him at bay for all these years. And who isn’t familiar with the instantly classic scene of Kong crushing his way through the skyscrapers of 1930s New York? Kong may be a softy at heart, but he never lets you forget that he is a titanic gorilla on a mission of death. He mercilessly stuffs humans into his mouth and grinds them into the earth under the weight of his colossal monkey foot. And as mentioned before, the craftsmanship of O’Brien is awesomely exhibited during the scenes where Kong wages hairy battle against the monsters of the island, most notably the snapping T-Rex.
This is the stuff that dreams of Saturday matinee boys and girls are made of. The climax atop the Empire State Building has just as much resonance now as it did over 70 years ago. It’s the last stand of a beast from a distant world against the forces of a realm it has no knowledge of. Don’t be surprised if you feel a lump develop in your throat as Kong languishes on the building as the airplanes rain their bullets upon him. This is more than just a monster movie. This is cinema at its finest.
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Head over to Brutal as Hell to see what Marc Patterson and his crew have come up with. And if you're interested in taking part in the future, just give Marc or myself a holler.
Join us next week for The Lucky 13, as we peer into the realm of Demons, Witches & The Devil...
Thursday, January 28, 2010
Tuesday, August 18, 2009
The Tuesday Top 10: Horror's Hottest Couples
An American Werewolf in London (1981)
Yes, he's an American stuck in a foreign land. Yes, he's recently been turned into a vicious lycanthrope. Yes, he's being visited by the mutilated corpse of his best friend. But David Kessler is also shacked up with super-hot nurse Alex Price and getting a steady diet of limey lovin'. Maybe it doesn't totally balance things out, but hey, you can't have everything.
Hellraiser (1987)
What would a Clive Barker story be with no sex? And in Barker's directorial debut, it's Frank and his sister-in-law Julia that provide all the illicit goings-on. Folks, this is lust that lasts beyond the grave, as is shown when Julia is willing to murder poor sap after poor sap, simply for a chance at one more romp. We look at Frank and see a walking rump roast with eyes; she sees desire personified. Love truly is blind!
The Hunger (1983)
So taken by Dr. Sarah Roberts is the ancient vampire Miriam, that instead of using her help to reverse the aging process of her vampire lover John, she decides to replace him with her. And it's a beautiful coupling--until, of course, Sarah discovers what she's become, and is compelled by extreme hunger to kill her own boyfriend. Those types of things typically put strain on any relationship, undead or otherwise.
True Blood (2007-present)
If you're looking for that other vampire couple on here, you're on the wrong blog. Today's coolest canoodling nosferatu is Bill Compton, who alongside his mortal beloved Sookie Stackhouse charts a treacherous course through the sex-drenched wilderness that is Bon-Temps, Louisiana. Will Bill eventually turn Sookie into one of his own kind? Or will she will be swayed to join Team Eric? Stay tuned to everyone's favorite horror soap to find out...
Cemetery Man (1994)
Before he became a go-to romantic comedy leading man for the remainder of the 1990s, Rupert Everett, as Francesco Dellamorte, got his groove on with the amazing Anna Falchi, known here only as She. Yes, knowing all we now know about Mr. Everett might make this love affair a bit unconvincing, but the smoldering scenes between these two go a long way toward the suspension of disbelief.
The Abominable Dr. Phibes (1971)
Believed dead, the mute Dr. Anton Phibes exacts a methodical, bloody vengeance against the team of surgeons who failed to save the life of his beloved wife Victoria. Even the allure of his quite fetching assistant Vulnavia is not enough to sway the unflappable Phibes from his string of elaborate, musically themed homicides. Now that's dedication. Screw "Till death do us part"--for Phibes, that was just the beginning.
The Addams Family (1964-66)
It was a tough call between them and Herman & Lily, but in the end, the unbridled lust of the Addamses won out over the Munsters' more bourgeois, domestic setup. At the center of the world's creepiest family, Gomez and Morticia actually have a healthier relationship than any of the supposedly "normal" couples they come into contact with. I guess that was the whole point, wasn't it? Gosh, I'm thick...
King Kong (1933)
Sure, one of them was a completely unwilling participant. And yes, they were completely physically incompatible. But hell, couldn't most of us say at least one of those things about our own parents? Kong and Fay Wray is one of cinema's most famous romantic entanglements--even if it did lead to the poor lovestruck lug's total downfall in the end. Welcome to the club, big guy.
Bram Stoker's Dracula (1992)
For all it's flaws, Francis Ford Coppola's take on the Bram Stoker classic gave us what may be the most powerful love affair ever seen in a horror film. Yes, it's a completely apocryphal addition to what was supposed to be a "completely faithful" adaptation of Stoker's novel, but nevertheless, Gary Oldman's Dracula and Winona Ryder's Mina Harker have a strong onscreen chemistry that justifies itself.
Bride of Frankenstein (1935)
They're only on screen together for a matter of minutes, and she's completely revolted by the big guy, but none of that matters. Boris Karloff's Creature and Elsa Lanchester's Bride will always be horror filmdom's most memorable, iconic and indelible couple. It's a pairing that has fascinated all of us for generations, burned into our minds like some kind of Jungian archetype. Maybe it strikes a chord within us on some basic level, the need to be loved, and the pain of rejection.
Monday, July 27, 2009
Tuesday, July 7, 2009
The Tuesday Top 10: Most Well-Made Horror Films
I know I may catch some flak for this one, and maybe be labeled a "film snob". So be it. Maybe I am one, a little. Let me explain what the concept behind this week's list is...
There is a big difference between a favorite movie and a great film. Just as when you're asked, "what's your favorite movie ever?", it's a very different question from, "what do you think is the best movie ever made?"
With that in mind, I'm putting together a list of the ten most well-made horror films ever. These are films that I would put up against any straight drama nominated for a Best Picture Oscar in its respective year--and, in fact, in some cases these films were actually nominated, or won. More than just great horror flicks, these are excellent films, period.
Let me explain the difference. As much as I love George Romero, and Dawn of the Dead is my favorite horror movie of all time, I can admit that I love it because it's a cool horror movie. It has flaws--the acting is often stiff, the editing sometimes sloppy, the soundtrack delightfully cheesy. That's all irrelevant to why I love it. As much as I adore it, if we look at the films nominated for Best Picture that year, we find movies like The Deer Hunter and Midnight Express. You can hurl tomatoes at me if you want, but I'm not going to put DOTD in a category with those movies.
On the other hand, if we look at a movie like The Exorcist, in my opinion, we're looking at a film that is superbly made from every aspect--apart from being a great horror movie, it is just a great film, plain and simple. And it was nominated right alongside films like American Graffiti and The Sting--and deserved to be. That's the difference I'm talking about. Film snob? So be it.
Got it? OK, let's proceed...
10. 28 Days Later (2002)
Before he became a mainstream darling with Slumdog Millionaire, Danny Boyle gave us this frenetically paced and brilliantly photographed picture. I remember seeing it at the time and thinking it was made with more quality than any horror films that had come along in a while, and I still stand by that opinion.
9. The Silence of the Lambs (1991)
Although I hesitate to call it a horror movie, it is generally considered as such, and thus it didn't seem right to leave it off. Jonathan Demme's masterwork became the first horror film to win Best Picture, and also took home statuettes for director, actor, actress and screenplay. This was truly horror's greatest moment in the sun.
8. The Haunting (1963)
Powerhouse director Robert Wise, who made his bones under Val Lewton in the 1940s, delivered this, the finest ghost movie ever made. Without ever showing us a thing, Wise creates an atmosphere of sheer terror. The editing is crisp, the camerawork restrained and effective. This is an awe-inspiring fright flick.
7. The Bride of Frankenstein (1935)
While I enjoy the first Frankenstein more (and ranked it higher on my '30s movies list), I have to agree with most critics that this is a film of slightly higher quality. Working from a clever, satirical script, James Whale imbued his sequel with rich symbolism and wit. The sets are gorgeous. And that cabin scene with the blind man is one of the finest scenes in any movie--ever.
6. Jaws (1975)
Another flick I never quite considered horror, but I am decidedly in the minority, apparently. This is Speilberg at the height of his powers, and it earned him a Best Picture nom. Some of the finest performances you'll ever find in the horror genre, courtesy of Roy Scheider, Richard Dreyfuss and the great Robert Shaw.
5. Alien (1979)
Ridley Scott turned what could've been your by-the-numbers alien critter-in-space B-flick into a superb piece of filmmaking. With a knockout cast, flawless effects, captivating set design and beautiful cinematography, it is a true pleasure to watch. And I stand by the opinion that James Cameron's sequel, while perhaps a more action-packed popcorn flick, is in every way inferior.
4. Let the Right One In (2008)
Folks have called this the finest vampire film ever made, and I'd say that's accurate. But beyond that, this is a work of heart-breaking beauty that literally transcends the genre. Without the vampirism, it would still be outstanding. In a few more years, with a little more perspective, it is entirely possible that I would put it into the number-one position (as BJ-C suggested).
3. The Exorcist (1973)
The 1970s was perhaps the greatest decade for film, and this was horror's greatest contribution to the new movement. William Friedkin's finest moment, it's characterized by an excellent script from novelist William Peter Blatty and incredible performances from Ellen Burstyn, Linda Blair and Jason Miller. Nominated for the big one, and deservedly so. Never gets old.
2. Psycho (1960)
Alfred Hitchcock's proto-slasher has become a film school standby, and one of the most revered films ever made. And it's not even Hitchcock's best. A true master of the medium, Hitch dazzles effortlessly with gorgeous composition and a pacing rhythm that gives you no choice but to watch. Anthony Perkins is a revelation, and the landmark Bernard Herrmann score needs no hype.
1. The Shining (1980)
This whole shebang is a matter of opinion, and in my opinion The Shining is the finest horror film ever made. Stanley Kubrick's cinematic jewel is a work of absolute genius from top to bottom. This is a film so rich in texture and flawless in execution that I find it a rewarding experience to watch every single time. More than a horror movie, this film is a work of art.
There is a big difference between a favorite movie and a great film. Just as when you're asked, "what's your favorite movie ever?", it's a very different question from, "what do you think is the best movie ever made?"
With that in mind, I'm putting together a list of the ten most well-made horror films ever. These are films that I would put up against any straight drama nominated for a Best Picture Oscar in its respective year--and, in fact, in some cases these films were actually nominated, or won. More than just great horror flicks, these are excellent films, period.
Let me explain the difference. As much as I love George Romero, and Dawn of the Dead is my favorite horror movie of all time, I can admit that I love it because it's a cool horror movie. It has flaws--the acting is often stiff, the editing sometimes sloppy, the soundtrack delightfully cheesy. That's all irrelevant to why I love it. As much as I adore it, if we look at the films nominated for Best Picture that year, we find movies like The Deer Hunter and Midnight Express. You can hurl tomatoes at me if you want, but I'm not going to put DOTD in a category with those movies.
On the other hand, if we look at a movie like The Exorcist, in my opinion, we're looking at a film that is superbly made from every aspect--apart from being a great horror movie, it is just a great film, plain and simple. And it was nominated right alongside films like American Graffiti and The Sting--and deserved to be. That's the difference I'm talking about. Film snob? So be it.
Got it? OK, let's proceed...
Before he became a mainstream darling with Slumdog Millionaire, Danny Boyle gave us this frenetically paced and brilliantly photographed picture. I remember seeing it at the time and thinking it was made with more quality than any horror films that had come along in a while, and I still stand by that opinion.
Although I hesitate to call it a horror movie, it is generally considered as such, and thus it didn't seem right to leave it off. Jonathan Demme's masterwork became the first horror film to win Best Picture, and also took home statuettes for director, actor, actress and screenplay. This was truly horror's greatest moment in the sun.
Powerhouse director Robert Wise, who made his bones under Val Lewton in the 1940s, delivered this, the finest ghost movie ever made. Without ever showing us a thing, Wise creates an atmosphere of sheer terror. The editing is crisp, the camerawork restrained and effective. This is an awe-inspiring fright flick.
While I enjoy the first Frankenstein more (and ranked it higher on my '30s movies list), I have to agree with most critics that this is a film of slightly higher quality. Working from a clever, satirical script, James Whale imbued his sequel with rich symbolism and wit. The sets are gorgeous. And that cabin scene with the blind man is one of the finest scenes in any movie--ever.
Another flick I never quite considered horror, but I am decidedly in the minority, apparently. This is Speilberg at the height of his powers, and it earned him a Best Picture nom. Some of the finest performances you'll ever find in the horror genre, courtesy of Roy Scheider, Richard Dreyfuss and the great Robert Shaw.
Ridley Scott turned what could've been your by-the-numbers alien critter-in-space B-flick into a superb piece of filmmaking. With a knockout cast, flawless effects, captivating set design and beautiful cinematography, it is a true pleasure to watch. And I stand by the opinion that James Cameron's sequel, while perhaps a more action-packed popcorn flick, is in every way inferior.
Folks have called this the finest vampire film ever made, and I'd say that's accurate. But beyond that, this is a work of heart-breaking beauty that literally transcends the genre. Without the vampirism, it would still be outstanding. In a few more years, with a little more perspective, it is entirely possible that I would put it into the number-one position (as BJ-C suggested).
The 1970s was perhaps the greatest decade for film, and this was horror's greatest contribution to the new movement. William Friedkin's finest moment, it's characterized by an excellent script from novelist William Peter Blatty and incredible performances from Ellen Burstyn, Linda Blair and Jason Miller. Nominated for the big one, and deservedly so. Never gets old.
Alfred Hitchcock's proto-slasher has become a film school standby, and one of the most revered films ever made. And it's not even Hitchcock's best. A true master of the medium, Hitch dazzles effortlessly with gorgeous composition and a pacing rhythm that gives you no choice but to watch. Anthony Perkins is a revelation, and the landmark Bernard Herrmann score needs no hype.
This whole shebang is a matter of opinion, and in my opinion The Shining is the finest horror film ever made. Stanley Kubrick's cinematic jewel is a work of absolute genius from top to bottom. This is a film so rich in texture and flawless in execution that I find it a rewarding experience to watch every single time. More than a horror movie, this film is a work of art.
Saturday, June 20, 2009
Scarlett Johannson to Play the Bride of Frankenstein?
That's right, the A-list starlet who recently proved she's more than just a (painfully) pretty face with some impressive performances in Woody Allen's Match Point and Vicky Christina Barcelona might be playing the Bride herself. It all started with a statement made by a Hollywood insder to the New York Post yesterday:
“The Bride of Frankenstein will be young this time. They’re looking for a person with great power and sex appeal. Someone along the lines of Scarlett Johansson or Anne Hathaway.”
And no, apparently whoever made the comment is not aware that Elsa Lanchester was a mere five years older than Johansson is now when she played the part. Nice to see the remake is in good hands...
"She has not been approached for this project. If anything changes, I'll let you know."
Of course, that's not to say she won't be approached. In fact, despite the fact that she's never exactly been considered a horror chick, it's a safe bet she probably will. And although I still vehemently oppose this remake, if it has to be done, they could do a whole helluva lot worse than Scarlett Johansson, who actually does seem quite suited to the role (he said begrudgingly).
Wednesday, June 17, 2009
Hump-Day Harangue: Bride of Frank Remake? Stop the Madness!!
I try. I really do. I try to keep a positive outlook. Hell, I'm tickled pink over the imminent Wolf Man remake coming this fall starring Benicio del Toro. But this morning I have to draw a line in the sand, dammit.
Because this morning I found out that Universal has greenlit a remake of The Bride of Frankenstein.
I've been trying to pinpoint exactly why I'm OK with the Wolf Man remake but not this one. Maybe it's because the original Bride is a much better film than the original Wolf Man. I can see the point in taking a new, fresh approach to the Lon Chaney film, with Rick Baker effects and a great, intense actor like del Toro. But Bride is about as perfect as film gets. In my mind, it's up there with the likes of The Godfather, Citizen Kane and The Exorcist as literally untouchable classics.
Hell, I'm even OK with the upcoming Creature from the Black Lagoon remake. I've always found that one a bit overrated amongst the Universal classics, and certainly see plenty of room for improvement in a modern remake. But not James Whale's masterpiece, please...
Simply put, there is absolutely no reason to remake this movie other than the cynical, obvious reason of raking in cash. Can't they find another way to fill their greedy, soulless pockets than raping and pillaging one of the absolute pinnacles of filmmaking? Are we to expect remakes of Casablanca and Gone with the Wind next? Yikes, I probably shouldn't say that too loud...
So you're doing a remake of a sequel, with no backstory, and possibly setting it in the present day. Why even call it The Bride of Frankenstein? Oh yeah, I forgot: To suck up cash the lazy way, banking off an established commodity rather than coming up with something on your own. How silly of me.
Set to write and direct is Neil Berger, the man who brought us the needlessly byzantine, pretentiously shot and utterly forgettable The Illusionist, with its wannabe M. Night Shyamalan ending.
It seems that Universal is now following in the footsteps of RKO, violating its collection of timeless classics for the almighty dollar. The studios are all-powerful here, and can basically do whatever they want to the properties we know and love. And once again, we fans are made to pay the price, quite literally.
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After reading this godawful news, just about the only thing that was able to cheer me up this morning was checking into Day of the Woman to find BJ-C's excellent interview with Living Dead Girlz frontwoman Amber Steele. Check it out, the woman really has a brain in her head... ;-)
Tuesday, May 5, 2009
The Tuesday Top 10: Favorite Horror Movie Characters
I was recently tagged by D.J. Heinlein (if that isn't your real name, it should be) over at Matte Havoc as part of his "Ten Favorite Movie Characters" blog meme. So I figured I'd tweak it just a bit for The Vault, and use it as an excuse to unveil my new weekly feature, the Tuesday Top 10 (sorry, BJ-C, not trying to steal your Tuesday thunder--it's all about the alliteration, kid.)
And so, without further ado, I give you my Top 10 Favorite Horror Movie Characters:
10. Capt. Spaulding
"Why don't you just take your momma home some chicken, and then I won't have to stuff my boot all up in your ass!"
Nearly as entertaining as the Groucho Marx character from which he takes his name, Sid Haig's character in Rob Zombie's House of 1,000 Corpses and The Devil's Rejects is a joy to behold. You can keep Freddy Krueger, Hannibal Lecter and Patrick Bateman--for my money, the good captain is horror's most charismatic psychopath.
9. Dr. Pretorius
"To a new world of gods and monsters!"
It takes a special kind of man to out-crazy Dr. Frankenstein. And by gum, Pretorius is that man. His bizarre experiments with tiny "homunculi", and unholy desire to continue Frankenstein's work on the reanimation of dead tissue even have ol' Henry himself calling for a time-out. And you have to love any guy who can sit down to a chicken dinner inside of a crypt.
8. Delbert Grady
"Perhaps they need a good talking-to, if you don't mind my saying so. Perhaps a bit more.
"
Is he a figment of Jack Torrance's warped imagination, or an honest-to-goodness phantasm? It's tough to know for sure--although the infamous food locker scene leans me toward the latter--but whatever he may be, ol' Grady is one hell of a riveting co-creation of King and Kubrick. And if you don't agree with that, I might just have to... correct you.
7. The Hitchhiker
"My family's always been in meat."
This backwoods wackjob did for roadside hitchers what Jaws did for sharks and Fatal Attraction did for side poon. Leatherface may hog all the glory when it comes to the TCM family, but I'll take this hand-slicing, weird facial birthmark-having, photo-burning fruitcake any day of the week. Too bad he was the only family member who didn't survive to make it to the sequel.
6. Eli
"Please Oskar... be me, for a little while."
Just for the record, if I was a 12-year-old boy and she moved next door to me, I would happily run off with her and become her pint-sized Renfield. Without looking back. Sorry, Mom and Dad... Thanks to an enigmatic and chill-inducing performance by remarkable child actress Lina Leandersson, Eli is the most fascinating movie vampire since Bela walked down those castle steps.
5. Tarman
"More brainsss!!"
By now, my unconditional love for all things Return of the Living Dead is a well-known fact (expect a big announcement pertaining to this soon). And hands down, the coolest thing in the whole movie (aside from Trash's graveyard dance) is this walking-and-talking gelatinous cadaver. The only thing that pissed me off is how easily Bert disposes of the big guy. Batter up!
4. Renfield (as played by Dwight Frye)
"I'm loyal to you Master, I'm your slave, I didn't betray you! Oh no, don't! Don't kill me! Let me live, please! Punish me, torture me, but let me live!"
One of the most criminally underrated character actors of the 1930s, Dwight Frye turns a minor character in Stoker's novel into arguably the character who steals the whole damn movie. You can live for a hundred years, but if you've seen Tod Browning's Dracula, you will never forget the image of Frye grinning from the below the deck of the Demeter, emitting that iconic laugh...
3. Bub
"Hello, Aunt Alicia."
Speaking as a connoisseur of all things Romero, I can say with confidence that this was the maestro's finest zombie creation. Ditto goes for makeup wizard Tom Savini. Day of the Dead has its problems as a movie, and may not quite be in the class of its two predecessors, but Howard Sherman's character makes it a must-watch, it's as simple as that.
2. Ashley J. Williams
"Gimme some sugar, baby."
Alright, so it's always cool to namedrop Ash for horror street cred, but you know what? There's a reason for that. The guy is legitimately the single greatest bad-ass in the history of fright flicks. I love him and his boom stick in Army of Darkness. I love him fighting his own hand in Dead By Dawn. Hell, I'll even take the more timid, boyish Ash of the first Evil Dead. That's how much I love him.
1. Count Orlock
"Blood! Your precious blood!"
It's been said before, but it may still very well be that F.W. Murnau's 1922 classic is the finest Dracula adaptation of them all. Yet, Max Schreck's Orlock is an entity all on his own, with a distinct persona and look that virtually transcends horror cinema, if not cinema as a whole. The rising out of the casket, the unforgettable shadow-walk up those stairs. This, readers, is the stuff of cinematic horror immortality. It gets no better.
And so, without further ado, I give you my Top 10 Favorite Horror Movie Characters:
10. Capt. Spaulding
"Why don't you just take your momma home some chicken, and then I won't have to stuff my boot all up in your ass!"
Nearly as entertaining as the Groucho Marx character from which he takes his name, Sid Haig's character in Rob Zombie's House of 1,000 Corpses and The Devil's Rejects is a joy to behold. You can keep Freddy Krueger, Hannibal Lecter and Patrick Bateman--for my money, the good captain is horror's most charismatic psychopath.
9. Dr. Pretorius
"To a new world of gods and monsters!"
8. Delbert Grady
"Perhaps they need a good talking-to, if you don't mind my saying so. Perhaps a bit more.
Is he a figment of Jack Torrance's warped imagination, or an honest-to-goodness phantasm? It's tough to know for sure--although the infamous food locker scene leans me toward the latter--but whatever he may be, ol' Grady is one hell of a riveting co-creation of King and Kubrick. And if you don't agree with that, I might just have to... correct you.
7. The Hitchhiker
"My family's always been in meat."
6. Eli
"Please Oskar... be me, for a little while."
Just for the record, if I was a 12-year-old boy and she moved next door to me, I would happily run off with her and become her pint-sized Renfield. Without looking back. Sorry, Mom and Dad... Thanks to an enigmatic and chill-inducing performance by remarkable child actress Lina Leandersson, Eli is the most fascinating movie vampire since Bela walked down those castle steps.
5. Tarman
"More brainsss!!"
4. Renfield (as played by Dwight Frye)
"I'm loyal to you Master, I'm your slave, I didn't betray you! Oh no, don't! Don't kill me! Let me live, please! Punish me, torture me, but let me live!"
3. Bub
"Hello, Aunt Alicia."
2. Ashley J. Williams
"Gimme some sugar, baby."
1. Count Orlock
"Blood! Your precious blood!"
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