This was me. I kept going who? what? why? And then there were about half a dozen times that roughly 1/3 of the packed house laughed where I could see nothing funny. --- I'm guessing it was a type of inside joke.if a person not familiar and up to date with most of the movies in the Marvel universe they could easily get lost/confused.
I found "new Thor" interesting and probably a bit too pron to show his emotions. My 35 year old daughter...HATED the New Thor, I think partly because his body morphed into something not very sexy.Love the new Thor
I rode the bandwagon right into Avengers: Endgame. It was worth it.
That looks like fun, and I see they included one from my locality. Dr. E. Nick Witty was a Saturday staple when I was a kid. He hosted Monster Movie Matinee, my introduction to Frankenstein (1931), Dracula (1931), The Creature from the Black Lagoon, The Thing (From Another World), Them and a whole lot of other ones. All you ever saw of him was his arm and a hand with long nails, but Alan Milair, who played him, had a beautiful baritone voice that he knew how to use, and a willing foil in Epal, played by Bill Lape (get it, Epal?). The set became more and more elaborate over the years, including some lab equipment and what not, and Milair and Lape started to have little story lines develop from week to week, at least a few of which contributed to Epal's growing number of scars.AMERICAN SCARY (2006), a documentary on the late night TV horror film hosts, such as Elvira & Vampira. Good ol' Prime!
Interesting. I bet both were inspired by the 1928 case of Ruth Snyder, accused and found guilty of killing her husband. Cameras weren't allowed in the chamber, but a reporter smuggled one in and the resulting picture became a sensation.Escape from Crime (1942) remake of The Picture Snatcher, but w/o James Cagney. The newspaper offers a photographer a large sum, if he can snap a photo of a condemned woman being put to death in the electric chair. The photographer was just recently released from prison.
Woman on the Run
It was Noir Alley. I saw it last weekend. Really it's a noir crime coating around the nougat of examining marriage as it should be according to then current society. Sheridan is a lot of fun at first, when you can't tell if she cares about her husband or not while she zips off one one-liner after another to the cops and the nosy reporter, the epitome of the tough, able American woman during WWII. Over the course she becomes a post-WWII wife; is there a female version of the word, emasculated? That bit of snark aside, it's a well-done little thriller, smartly scripted and filmed. But I do think if someone were studying social attitudes pre-WWII, during and after, it would make for an informative artifact from the after.(1950) the wife Eleanor Johnson (Ann Sheridan) of a witness Frank Johnson (Ross Elliott) against a murderer is pursued by the gang, which believes she knows her husband's whereabouts. An overly helpful reporter Daniel Legget (Dennis O'Keefe) accompanies when she solves the clues her husband left.
I don't remember if this was Noir Alley.
Count me as one of those who is addicted to these things.Lady Frankenstein (1971) Joseph Cotten's shame that he was in this, as Dr. F., whose daughter returns from university/medical school, & wants to help daddy with his experiments. After creating a monster using a murderer's brain, the monster breaks free, kills Dr. F., and goes on a rampage. Daughter loves the assistant doctor's mind, but wants to put his brain in the moron servant's body, and have him / them/ it as her lover.
Unless you love these silly films, skip this one.
Lady Frankenstein (1971)
Directed by Mel Welles and Aureliano Luppi (uncredited); written by Dick Randall and Edward Di Lorenzo.
Having recently seen Frankenstein's Daughter (1958), which features no female relative of Frankenstein at all (the title is strictly a metaphor for the monster), as well as Jesse James Meets Frankenstein's Daughter (1966), which actually features Frankenstein's granddaughter, it was refreshing to finally see a film which actually involves Frankenstein's daughter. (In fact, the Italian title for this Spaghetti Gothic is La figlia di Frankenstein.) It seems appropriate that this variation on the Frankenstein theme resembles something created from various bits and pieces, then somehow brought to life. I found it to be more entertaining than I expected.
(Trival conincidence: Not too long ago I happened to hear the Rob Zombie song "Living Dead Girl" on the radio. It began with this sampled quote: "Who is this irresistible creature who has an insatiable love for the dead?" I wondered what this was from, and I was going to ask the smart folks around here, but the IMDB reveals that it is from the trailer for Lady Frankenstein.)
We begin with typical Frankenstein stuff, as some graverobbers deliver their wares to the Baron and his assistant Charles. (As in the Hammer series, Frankenstein is a titled aristocrat. In fact, most of the first part of this film resembles a Hammer movie.) It turns out that Frankenstein needs a body no more than six hours dead to procede with his plan to revive a corpse. Amazingly, the graverobbers do not murder somebody to get the body. Instead, they wait until a condemned murderer is hanged and then grab his body out of the grave. The revival involves transplanting the murderer's heart and brain into another corpse, then raising the body, in typical Universal horror movie style, to the castle's skylight so it can get zapped by lightning.
(A word here on the heart and brain transplantion theme. This movie seems to imply that the heart is literally the seat of emotions, as the brain is the seat of thought. This odd notion reminds me of the movie Doctor Blood's Coffin (1961), where the dead are brought back to life after heart transplants, even one which has been rotting in the grave for quite a long time.)
MAJOR SPOILERS AHEAD
During the lightning-induced revival (a scene which also includes a bunch of bats flying around, I suppose just to make things a little more spooky) the monster gets zapped in the face and starts to burn. This happens just so it will look ugly. The makeup used here reminds me a lot of the kind of thing that used to show up in Famous Monsters of Filmland long ago, where some kid would send in a photograph of himself (nearly always himself, of course) in his homemade monster face. In other words, gruesome but not very professional or convincing. A few minutes after the monster comes to life, it kills Frankenstein. (Charles told him not to use a brain with a damaged hypothalamus, particularly one from a murderer!) Exit Joseph Cotton, who actually makes a pretty good Peter Cushing.
You'll notice that I have not yet mentioned Lady Frankenstein. (Since she's the daughter of a Baron, I suppose the title is appropriate enough.) She's shown up by this time, but doesn't yet play much of a role in the story. Tania Frankenstein (who has a first name which seems rather unlikely to me, given the vaguely 19th Century England setting of this thing; the characters all have names like Jim Turner and Jack Morgan) is played by Italian exploitation actress Rosalbi Nori, under the pseudonym Sara Bay. Nori is strikingly beautiful, and is quite delightful to watch in her Victorian gowns. (Many gentlemen may prefer the two brief scenes where she is wearing nothing.) In particular, her aristocratic profile is a thing of joy. Lady Frankenstein is played as a very intelligent, strong-willed woman, who has just returned from the University with her degree in surgery.
The movie changes from early Hammer horror to later, sexed-up Hammer horror when the monster begins its rampage. The first victims are a couple making out by a stream. Sadly, the man is completely clothed and the woman is stark naked. The female nudity in this movie is extremely gratuitous, and rather out of place, given the PG level of violence. Lady Frankenstein's two nude scenes, it must be admitted, are more relevant to the plot.
As expected, Lady Frankenstein sets out to continue her father's experiments, not only to destroy the monster who is decimating the village, but, in an interesting plot twist, to create the perfect man for herself. She admires Charles for his mind, but prefers a simple-minded but strong and handsome servant for his body. Charles is so smitten with Lady Frankenstein that he agrees to have his brain transplanted into the servant's body. In the movie's kinkiest scene, Lady Frankenstein seduces the servant and has Charles suffocate him with a pillow while she's having sex with him. (Mind you, by this time she is actually married to Charles, and is called Mrs. Marshall by everybody. Poor Charles puts up with a lot for the object of his affections.)
(Remember that thing about the heart transplant that I mentioned? We find out here that it won't be necessary to transplant Charles's heart into his new body, because the servant already has a kind heart!)
Long story short, this all leads up to the final battle between the monster and the new Charles. The movie ends with an scene which reminds me of nothing so much as the old article from National Lampoon "How to Write Good," which suggested that you end your story with "Then they were all hit by a truck." No trucks are involved, but the final fate of Lady Frankenstein is just as sudden and unexpected.
Surprisingly, this movie has some interesting characters (I liked the cynical graverobber Lynch), some sharp dialogue ("On Earth, Man is God."), and some decent acting. Many outdoor scenes are filmed in the snow, adding an interesting touch. Mickey Hargitay, of all people, is pretty much wasted as the police captain investigating the murders, but it's interesting to compare his sanity here compared to his role in Bloody Pit Of Horror (1965). I think you might enjoy spending some time with this lovely and talented Lady.