Movie Lists: The STAR WARS movies

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Empire Strikes Back poster

Welcome back to the MOVIE LIST column, where we look at lists pertaining to the movies.

Up today, the STAR WARS franchise.  Yep, with the latest STAR WARS film STAR WARS: THE LAST JEDI (2017) set to hit theaters today, December 14, 2017, here’s a look at how the previous films in the series rank:

  1. THE EMPIRE STRIKES BACK (1980)

For my money, this first STAR WARS sequel is the best of the lot.  Following upon the heels of the original, EMPIRE is darker, bolder, and more innovative and exciting than its predecessor. All three leads- Mark Hamill, Harrison Ford, and Carrie Fisher grew into their roles here, and much more is revealed about one of the screen’s greatest villains, Darth Vader (David Prowse, with James Earl Jones providing the voice).  John Williams’ iconic Darth Vader theme, the Imperial March, is introduced here, making it hard to believe it didn’t exist in the first movie.

In a brilliant stroke, to keep things fresh, George Lucas stepped out of the director’s chair in favor of Irvin Kershner, something Lucas would stumble over in the second trilogy with his ill-fated decision to direct all three films.  EMPIRE also has the best script in the series, written by Leigh Brackett and Lawrence Kasdan.  Before ROGUE ONE came along, EMPIRE had the darkest ending in the series, with its now infamous reveal about the relationship between Luke Skywalker and Darth Vader.  Also the film that introduced Yoda.

Star Wars poster

2. STAR WARS (1977)

The movie that started it all.  I still remember when this one first hit the theaters, back in the summer of 1977.  When I saw this on the big screen that summer at the age of 13, I was blown away. Having grown up watching STAR TREK and LOST IN SPACE on TV, I had never seen such amazing special effects before.

Instantly drawn into the story of Luke Skywalker, Princess Leia, and Han Solo, I was along for the ride from the get-go, and I still haven’t forgotten the awe and wonder I felt entering the strange alien worlds and spaceship of this ultra imaginative movie.  Also featured my all-time favorite actor, Peter Cushing, playing the villain, Grand Moff Tarkin, which gave me the second opportunity to see Cushing on the big screen, the first being the inferior Amicus adventure AT THE EARTH’S CORE (1976).

Rousing iconic score by John Williams, and brilliant directing by George Lucas make this one a classic for the ages.  It’s now called STAR WARS: EPISODE IV: A NEW HOPE to fit in with the entire trilogy, but back in the day when it first came out, it was just STAR WARS, and rightly so.

3. STAR WARS: THE FORCE AWAKENS (2015)

After a sub par and inferior second trilogy, STAR WARS returned to the top with this energetic and exciting new entry by writer/director J.J. Abrams, who earlier achieved similar success with his excellent STAR TREK reboots.  The spirit of STAR WARS seemed to be missing in the previous trilogy, but it’s back and stronger than ever here.

With the return of familiar characters like Han Solo, Chewbacca, and Princess Leia, and newcomers like Rey (Daisy Ridley) and Finn (John Boyega), this sequel which takes place thirty years after the events of RETURN OF THE JEDI, completely recaptures the magic of the original STAR WARS movies.  My only gripe is that Luke Skywalker (Mark Hamill) doesn’t appear until the very end.

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4. ROGUE ONE – A STAR WARS STORY (2016)

The first stand-alone STAR WARS movie was a mixed bag for me the first time around.  I thought the film did a poor job with character development which was a major deal here since the film contains nearly all new characters.  But I liked this one much better upon a second viewing.  Its story, the tale of how the rebels stole the Death Star plans used by Luke Skywalker and the rebels in the original STAR WARS film, is a good one, and it even addresses the long-standing joke of how inept the Empire must have been to have built the Death Star with a glaring weakness that the rebels could expose so easily.  ROGUE ONE makes it clear that this supposed weakness was not by accident.

Excellent storytelling gets better as the movie goes along as it moves towards its powerhouse finale, the darkest by far in the entire series.  Also notable for its sometimes impressive CGI re-creation of Peter Cushing playing Grand Moff Tarkin.  On the big screen, I thought he looked cartoonish, but at home on my TV screen he looked a bit more genuine.

 

5. STAR WARS: EPISODE III: REVENGE OF THE SITH (2005)

I am really not a fan of this second series, but I do like the third and final film in which we learn how Anakin Skywalker becomes Darth Vader.  Part of the problem with this series is it’s a prequel. Another part is that it simply takes too long to tell its story.  The three movie arc was unnecessary.  Had REVENGE OF THE SITH been a standalone film, it would have been better received.

Other problems with this series: a lack of imagination and fun.  They are about as cold and lifeless as one can get in a supposed adventurous science fiction fantasy tale.  They also feature a stoic unimaginative actor in the lead as young Anakin, Hayden Christensen.

But I do like this third film, mostly because it succeeds in convincingly telling its tale of just why Anakin Skywalker chose the Dark Side in the first place.  In short, the Jedi were jerks to him, while the Emperor filled his head with flattery.  Most of the film is uneven, but the final reel is the best part and well worth the wait.

 

6. STAR WARS: EPISODE II: ATTACK OF THE CLONES (2002)

Completely unnecessary movie in the STAR WARS canon, notable mostly for Christopher Lee’s presence as Count Dooku, and Natalie Portman’s portrayal of the increasingly tragic Padme.

 

7. RETURN OF THE JEDI (1983)

I know, a lot of people love this one, but I’ve disliked it since I first saw it at the theater.  Following the masterful EMPIRE STRIKES BACK, JEDI is clunky in its story telling, struggles with pacing, and doesn’t come close to capturing the awe and magic of the first two movies.  When the film should have been reaching new heights in its tale of light vs. dark, it instead reverts to cutesiness, introducing us to huggable Ewoks, who do nothing but take away valuable screen time from Luke and Darth Vader.

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Darth Maul, one of the few good things about THE PHANTOM MENACE (1999).

8. STAR WARS: EPISODE I: THE PHANTOM MENACE (1999)

My least favorite of the series.  Did we really need an entire movie about Anakin Skywalker’s life as a little boy?  In a word, no.

Notable for Liam Neeson’s presence as Qui-Gon Jinn, and the very cool villain Darth Maul.  Yep, Qui-Gon and Darth Maul are by far the two best characters in this movie, and they are both promptly killed off.  Shows you how good this movie is.

And there you have it.  A quick take on the STAR WARS movies.  I’ll be sure to update this list shortly to include the latest movie, STAR WARS: THE LAST JEDI (2017).

Until then, thanks for reading!

—Michael

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BLADE RUNNER 2049 (2017) – Ambitious Sequel Overlong and Lifeless

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I guess I’m just not a fan of the BLADE RUNNER movies.

I was never all that into the original BLADE RUNNER (1982) film starring Harrison Ford and directed by Ridley Scott, based on the Philip K. Dick novel Do Androids Dream of Electric Sheep? —- now, the novel I do like— that has a huge loyal following among science fiction fans.  The 1982 film just never moved me.

Now, here comes BLADE RUNNER 2049 (2017),  starring Ryan Gosling and again Harrison Ford, a bigger and badder sequel to the 1982 movie, receiving high praise from both critics and fans alike.

I’ve finally been swayed, right?  This film is so good I’ve finally overcome my apathy for BLADE RUNNER, right?

Wrong.

Which is why I said, I guess I just don’t like these movies.

“K” (Ryan Gosling) is a blade runner, the name given to officers who hunt down and “retire” (yes, that means “kill”) replicants, the artificial life forms that the powers that be fear because they are becoming too human.  His latest target is somewhat of an unusual one, and it leads him on a search for Rick Deckard (Harrison Ford), the blade runner and main character in the first BLADE RUNNER movie, who’s been missing for thirty years.

Denis Villeneuve directed BLADE RUNNER 2049, which is another reason I’m surprised I didn’t like this one more than I did.  Villeneuve directed ARRIVAL (2016) and SICARIO (2015), two movies I liked a lot, and PRISONERS (2013), which was also very good.

There’s no shortage of ambition here.  This is a massive movie, filled with eye-popping special effects and a futuristic landscape that rivals the one created by Ridley Scott in the original.  All the technical stuff is there and works.

The story also has a lot to say.  Hampton Fancher and Michael Green wrote the screenplay, and it covers a lot of ground.  The best part of the Philip K. Dick novel is the exploration of the line between human and replicant, and the idea that a thinking sentient being, albeit an artificially created one, would fight for its own survival and not take kindly to the idea that it had an expiration date.  This has always been my favorite part of the BLADE RUNNER universe, and it’s more applicable today as great strides have been made in the field of artificial intelligence, and I believe that soon this concept will leave the realm of science fiction and become science fact.

And yet the problem I had with the original BLADE RUNNER, I have again here with BLADE RUNNER 2049, and that is the film has no soul.  It’s cold and lifeless, and its story, in spite of the scientific and ethical ramifications, fails to resonate.  Nothing that happens in this movie moved me one iota.

Which is too bad because a lot happens in this movie.  So much that it takes a whopping 2 hours and 43 minutes to tell its story.  That’s a long time to sit through a movie that doesn’t resonate, which is another reason I really did not enjoy BLADE RUNNER 2049.

There were parts I did like.  Its opening scene, for example, where “K” hunts down a replicant, Sapper Morton (Dave Bautista) is a good one.  The fight sequence between the two is a rough and violent as they get.

Nearly all the scenes between “K” and his holographic girlfriend Joi (Ana de Armas) are not only watchable but for me were flat-out the best scenes in the movie, but their storyline is secondary to the main one in the film.  The scene in particular where technology enables Joi to enter the body of a prostitute Mariette (Mackenzie Davis) so she can physically love “K” is probably the best scene in the film

And the first encounter between “K” and Rick Deckard is memorable, but it’s an hour and 40 minutes into the movie before this meeting takes place.

So, for me, pacing was certainly an issue, but the larger problem was that the story never grabbed me, the characters never won me over, and so I sat there for nearly three hours being visually stimulated but that was about it.  The story and characters fell flat for me and pretty much bored me to tears.

I like Ryan Gosling a lot, and he’s certainly good here, but “K” is just such dull boring character I just never found myself all that excited about him.

In a strange way, I actually enjoyed Harrison Ford more in this movie than in the original BLADE RUNNER.  It’s too bad he doesn’t show up until 1 hour and 40 minutes into the film.  He’s got some good lines, though, and his character is integral to the main plot and main mystery of this one.

But hands down the two best performances in BLADE RUNNER 2049 belong to two of the women actresses in the film.

First, there’s Ana de Armas as Joi, who happened to be my favorite character in the movie.  Joi is a holographic creation, and yet through de Armas’ performance, she’s more lifelike and possesses more genuine emotion than any other character in the movie.  She previously starred in WAR DOGS (2016) and HANDS OF STONE (2016),  a film about boxer Roberto Duran that was panned by critics but was one of my favorite movies that year.  Ana de Armas was excellent in HANDS OF STONE, and she’s better here in BLADE RUNNER 2049.

Then there’s Sylvia Hoeks as Luv.  She’s the most effective villain in the movie.  It’s a dominating performance, one that I enjoyed more than Jared Leto’s.  He plays the main baddie in the film, Niander Wallace, and he just doesn’t resonate.  While I enjoyed Hoeks’s scenes, Leto’s scenes sadly put me to sleep.

Robin Wright has a couple of compelling moments as the stone cold police Lieutenant Joshi, and there are some other veteran actors on hand who add to the mix as well. There’s Barkhad Abdi, the Oscar-nominated actor for CAPTAIN PHILLIPS (2013) who we just saw in GOOD TIME (2017), and there’s Lennie James, who plays Morgan on TV’s THE WALKING DEAD.

And both Edward James Olmos and Sean Young reprise their roles from the original BLADE RUNNER, but their presence is reduced to nothing more than brief cameos.

BLADE RUNNER 2049 is ambitious, cinematic, and loud, but it’s also cold, lifeless, and terribly long and dull, which is a shame because its main premise, the examination of the line between replicants and humans, and its exploration of the idea that artificially created replicants are so close to life that it’s nearly impossible to tell the difference between them and humans, which ultimately leads to the discussion of just what it is that constitutes life, is a thought-provoking idea that is worthy of an epic movie.

Unfortunately, BLADE RUNNER 2049 isn’t that movie.

And that’s because while technologically it scores points on all fronts, emotionally, it’s as barren as its futuristic landscape, filled with eye-popping visuals and ear-shattering noises, but without any life whatsoever.

The replicants deserve better.

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In Memoriam: TOBE HOOPER

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Acclaimed horror film director Tobe Hooper passed away on August 26, 2017 at the age of 74.

Most known for THE TEXAS CHAINSAW MASSACRE (1974), Hooper directed a bunch of horror movies, but none more famous or influential than this 1974 classic.

I know a lot of horror writers who not only swear by THE TEXAS CHAINSAW MASSACRE but view it as the best horror movie ever made.  While I don’t share this opinion, I agree that it’s certainly one of the most iconic horror movies of all time.

Just as many writers I know choose it as their favorite horror movie.  Others cite it as the movie that inspired them to write horror.  All this attention and love poured onto THE TEXAS CHAINSAW MASSACRE, that’s saying something.

But Tobe Hooper made more horror movies than just THE TEXAS CHAINSAW MASSACRE.  Here’s a partial look at Tobe Hooper’s film career:

EGGSHELLS (1969) – Hooper’s first feature-length directorial credit, an allegorical fantasy involving hippies and a big house in the woods.

THE TEXAS CHAINSAW MASSACRE (1974) – Tobe Hooper’s signature film, and the movie that introduced Leatherface to the world.  Some good old-fashioned fun in Texas when a group of teens run afoul a family of psychopathic cannibals.  Yikes!  Some folks call this the greatest horror movie ever made.  I’m not one of them. Still, it’s classic, iconic horror.

EATEN ALIVE (1976) – Murderous psychopath feeds his victims to his pet crocodile.  Yummy!

SALEM’S LOT (1979) – Hooper’s made-for-TV adaptation of Stephen King’s frightening vampire novel might be my personal favorite Hooper film.  Scary in all the right places, it’s not as good as the novel and is somewhat dated today, but still worth a look.  James Mason steals all his scenes as the evil Mr. Straker.

THE FUNHOUSE (1981) –  a poor man’s HALLOWEEN, this slasher flick which takes place at a carnival is must-see summer viewing, even if at the end of the day, it’s really not all that scary.

POLTERGEIST (1982) – a huge hit back in the day, but not a film I ever liked all that much.  The debate rages on.  Who directed this one?  Hooper or producer Steven Spielberg?  I’ve read compelling evidence that it was Spielberg, and it certainly seems like a Spielberg-directed picture, which is one of the reasons at the time I was lukewarm to it.

LIFEFORCE (1985)- wild, crazy science fiction thriller about a female alien/vampire who spends most of her time naked and killing everyone she encounters.  A truly insane movie which I happen to like a lot.  Somewhat of a cult favorite today.  Written by ALIEN screenwriter Dan O’Bannon.

INVADERS FROM MARS (1986) – remake of 1953 science fiction movie of the same name tells the story of a Martian invasion seen through a boy’s eyes.

THE TEXAS CHAINSAW MASSACRE 2 (1986)- Hooper’s sequel to his horror classic has never been well received by either fans or critics.

THE MANGLER (1995) – this one’s about a laundry folding machine possessed by a demon.  Stars Freddy Krueger himself, Robert Englund.

TOOLBOX MURDERS (2004) – Evil inside a historic hotel.

DJINN (2013) – Hooper’s final film.  This time it’s an apartment that’s haunted.

There’s no doubt that Tobe Hooper had an influential career, as I know writers and filmmakers who cite Hooper as inspiring their own horror careers.  I’ve never been a big Tobe Hooper fan, but he did make an impressive number of horror movies.  Regardless of how you feel about his movies, you’d be hard-pressed to watch them and not have a strong reaction to them, which for some folks, is what horror is all about.

Tobe Hooper – January 25, 1943 – August 26, 2017.

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IN THE SHADOWS: EDWARD VAN SLOAN

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Edward Van Sloan as Professor Van Helsing in DRACULA’S DAUGHTER (1936).

 

Welcome back to IN THE SHADOWS, the column where we look at character actors in the movies, especially horror movies.

Character actors add so much to the movies they’re in, it’s hard to imagine these movies without them. Never receiving the praise heaped upon the major actors and stars of the genre, these folks nonetheless are often every bit as effective as the big name leads.

Up today, an actor known to horror fans for three key roles in three classic horror movies, and that actor is Edward Van Sloan.

Edward Van Sloan played three similar roles in three of Universal’s best horror movies from the 1930s.  He played Professor Van Helsing in DRACULA (1931), Dr. Waldman in FRANKENSTEIN (1931), and Dr. Muller in THE MUMMY (1932).

As Dr. Van Helsing, a role he had played earlier on stage opposite Bela Lugosi’s Dracula, he’s one of the best.  While Peter Cushing is my all time favorite movie Van Helsing, Edward Van Sloan came closer to the Stoker interpretation than Cushing did, but even he deviated from the way Stoker wrote the character.  Probably the closest I’ve seen an actor capture the literary Van Helsing on-screen would be Frank Finlay’s performance as the vampire hunter/professor in the BBC production COUNT DRACULA (1977), starring Louis Jordan as the Count.

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Van Sloan and Lugosi square off in DRACULA (1931)

But for Edward Van Sloan, it’s all about presence and authority, something he definitely wields in DRACULA.  Bela Lugosi is absolutely mesmerizing as Dracula, and his performance dominates the movie.  Yet Van Sloan is up to the task of matching wits with Lugosi, and his Van Helsing is a worthy opponent for the vampire king.  The scene where Dracula tries to use hypnosis to overpower Van Helsing is one of the strongest scenes in the film, acted so expertly by Van Sloan, as you can see it in his eyes as he’s resisting Dracula’s powers, and for a split-second, Van Sloan’s eyes go blank, and at this instant the audience shudders, begging that he doesn’t succumb to Dracula’s powers, and when he rallies and resists Dracula, it’s a great moment in the movie.

As Dr. Waldman in FRANKENSTEIN, Van Sloan plays Henry Frankenstein’s former professor, who for most of the movie, acts as the voice of reason.  He tries throughout to talk sense to Henry Frankenstein and is constantly urging caution.  As Dr. Waldman, he gets one of the best lines in the movie, when he warns young Henry.  “Your success has intoxicated you!  Wake up!  And look facts in the face!—  You have created a monster, and it will destroy you!”

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Edward Van Sloan as Dr. Waldman in FRANKENSTEIN (1931).

Prophetic words.  Actually, they were more on the money regarding Waldman’s fate, because later in the movie, the Monster (Boris Karloff) kills the professor.  In fact, Professor Waldman’s death is one of the more shocking moments in FRANKENSTEIN, a film which contains more than a few of them, and it’s a testament to Edward Van Sloan’s screen presence.  Van Sloan was so effective as Professor Van Helsing in DRACULA, so convincing when he destroys Dracula, it strikes audiences as an absolute shock when he doesn’t do the same in FRANKENSTEIN, when in fact it’s the Monster who kills Professor Waldman, and not the other way around.

And Edward Van Sloan is one of only two actors— the other being Dwight Frye who played Renfield in DRACULA and Fritz in FRANKENSTEIN— to star in both DRACULA and FRANKENSTEIN.

In THE MUMMY (1932), Van Sloan plays Dr. Muller, a variation of his Van Helsing/Waldman characters.  This time, he’s an expert on Egyptology, and he matches wits with Boris Karloff’s Mummy, Imhotep.  THE MUMMY is an excellent horror movie, as good if not better than DRACULA and FRANKENSTEIN.  Once again, Van Sloan nails the role of the heroic professor and is completely believable as the knowledgable scholar who takes on the supernatural Imhotep.

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Edward Van Sloan takes on Boris Karloff’s Imhotep in THE MUMMY (1932).

As for the rest of  Edward Van Sloan’s career, here’s a partial look at his 88 screen credits, focusing mostly on his horror film roles:

SLANDER (1916) – Joseph Tremaine – Edward Van Sloan’s first film credit is in this silent movie from 1916, the only silent film Van Sloan made.

DRACULA (1931) – Professor Van Helsing – probably Van Sloan’s most famous role, and the role he is most remembered for.  Van Sloan’s work as Van Helsing in this movie is as memorable as Lugosi’s Dracula and Dwight Frye’s Renfield.

FRANKENSTEIN (1931) – Dr. Waldman – Another famous role for Van Sloan, this time playing Henry Frankenstein’s former professor and the man who tries to convince Frankenstein to destroy his creation.  We all know how that turned out.

BEHIND THE MASK (1932) – Dr. August Steiner/Dr. Alec Munsell/Mr. X – a crime drama marketed as a horror movie due to the presence of Boris Karloff in a small role.  Van Sloan plays the villain here, in a role that Karloff probably would have played had this movie been made a few years later.

THE DEATH KISS (1932) – Tom Avery – a comedy/mystery notable for reuniting three cast members from DRACULA:  Bela Lugosi, David Manners, and Edward Van Sloan.

THE MUMMY (1932) – Doctor Muller – takes on Boris Karloff’s evil Imhotep in this horror classic.

DELUGE (1933)- Professor Carlysle – early “disaster” film as New York City is threatened by an earthquake and tidal wave.

AIR HAWKS (1935) – Professor Schulter – weird hybrid of drama and science fiction. Ralph Bellamy plays the owner of an airline company who hires a mad scientist— played by Edward Van Sloan— to build a death ray to force down his competitors’ planes.

THE LAST DAYS OF POMPEII (1935) – Calvus – Historical adventure set in the doomed Roman city, directed by KING KONG directors Ernest B. Schoedsack and Merian C. Cooper. With Basil Rathbone as Pontius Pilate.  A box office flop.

DRACULA’S DAUGHTER (1936) – Professor Van Helsing – reprises his Van Helsing role in this well-made sequel to DRACULA.  The movie starts right where DRACULA left off, and Van Helsing finds himself arrested for the murders of Dracula and Renfield.  Before he can be officially charged, however, the bodies disappear, whisked away by Countess Zaleska (Gloria Holden) who happens to be Dracula’s daughter, and who’s now in London with an agenda of her own. Smart horror film, well-written, acted, and directed.

THE PHANTOM CREEPS (1939) – Jarvis – Science fiction serial from Universal reunites Van Sloan with Bela Lugosi, as Lugosi plays a scientist hell-bent on taking over the world.

BEFORE I HANG (1940) – Dr. Ralph Howard – This time Van Sloan is reunited with Boris Karloff, as Karloff plays a doctor on death row for mercy killings, who injects himself with a serum that turns him into a Hyde-like villain.

THE MASK OF DIIJON (1946) – Sheffield – Erich von Stroheim plays a magician who uses his hypnotic powers to seek vengeance.

SEALED VERDICT (1948) – Priest – Edward Van Sloan’s final screen credit in a World War II war drama starring Ray Milland.

THE UNDERWORLD STORY (1950) – Minister at Funeral – Edward Van Sloan’s final film appearance, an uncredited bit as a minister at a funeral in this film noir crime drama.

There you have it, an abbreviated look at the film career of Edward Van Sloan.

Edward Van Sloan died on March 6, 1964 at the age of 81 in San Francisco, California.

While he enjoyed a long and successful career as a character actor in the movies, for horror fans, he will always be remembered for his roles in three of Universal’s best horror movies from the 1930s:  DRACULA, FRANKENSTEIN, and THE MUMMY.  Van Sloan made for a fine hero in all three of these films.

Edward Van Sloan -November 1, 1882 – March 6, 1964.

I hope you enjoyed this IN THE SHADOWS column.  Join me again next time when we look at the career of another notable character actor.

Thanks for reading!

—Michael

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

 

Memorable Movie Quotes: THEM! (1954)

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Welcome back to another edition of MEMORABLE MOVIE QUOTES, that column where we look at cool quotes from cool movies, especially horror movies.  Up today, it’s THEM! (1954), the classic science fiction horror movie about giant ants on the prowl first in the deserts of New Mexico and then in the sewers of Los Angeles.  THEM! is arguably the best of the 1950s giant monster movies.  It also one of the finest horror movies ever made.

One of its strengths is its well-written and very smart screenplay by Ted Sherdeman.  It tells a compelling story, the first half of which plays like a hard-hitting crime drama and mystery, as people are disappearing, and the New Mexico State Police and the FBI work together to find out why.  The second half, when the giant ants are revealed, becomes a classic 1950s horror fest.  The entire film is chilling throughout.

The script also includes many memorable lines.  And on that note, let’s have a look at some of these lines from THEM!, screenplay by Ted Sherdeman.

Early on, the dialogue drives the suspense and sets the tone.  Like in this early scene where the coroner details the cause of death of one of the victims:

CORONER:  Well, Old Man Johnson could’ve died in any one of five ways.  His neck and back were broken, his chest was crushed, his skull was fractured… and here’s one for Sherlock Holmes – there was enough formic acid in him to kill twenty men.

Later, when FBI agent Robert Graham (James Arness) and police sergeant Ben Peterson (James Whitmore) are in search of clues, they investigate a large sugar theft from a railway yard, a theft that has gotten the night watchman arrested, since he claimed he didn’t see a thing.  Of course, Graham and Peterson know sugar is just the thing on the giant ants’ menu, and so they are intrigued and question the night watchman.

GRAHAM:  Is this the only job you ever had?

NIGHT WATCHMAN:  Yes, sir. I’ve been with the railroad thirty years and never a blot against my record.

GRAHAM:  Well, the yard cop seems to think you made a deal not to see that car broken into.

NIGHT WATCHMAN:  What kind of sense does that make? Is sugar a rare cargo? Is there a black market for it? Did you ever hear of a fence for hot sugar? If I was gonna make a deal with crooks to steal something, it wouldn’t be for forty tons of sugar. And I’ll swear I didn’t hear a thing Friday night.

Smart, realistic, writing.  And there’s also plenty of humor, too.  Like when the railroad yard cop asks Sergeant Peterson why the FBI is so interested in a sugar theft.  Peterson’s reply?

PETERSON:  He’s got a sweet tooth.

In fact, there’s a lot of humorous lines in THEM!  And they’re necessary.  For a film as tense as THEM!, moments of comic relief are very welcome.

Let’s have a look.

When they are preparing to saturate the massive ant nest with cyanide, a nervous Graham quips:

GRAHAM:  If I can still raise an arm when we get out of this place, I’m gonna show you just how saturated I can get.

When Graham and Peterson first meet the attractive daughter of Dr. Harold Medford (Edmund Gwenn), Dr. Patricia Medford (Joan Weldon), they have this exchange:

GRAHAM:  I shoulda had this suit pressed.

PETERSON: She’s quite a doctor, eh?

GRAHAM: Yeah. If she’s the kind that takes care of sick people, I think I’ll get a fever real quick.

One of the funnier bits in the film occurs when Peterson and Dr. Medford ride together in a helicopter and Dr. Medford attempts to talk to his daughter via the radio.  Of course, Edmund Gwenn, who played Dr. Medford, was no stranger to comedic roles during his career. Gwenn is probably most famous today for playing Kris Kringle in the original MIRACLE ON 34TH STREET (1947).

DR. MEDFORD:  Search Able to Search Baker.

PETERSON: Say “Over.”

DR. MEDFORD: Huh?

PETERSON: Then say “Over.”

DR. MEDFORD:  “Over?”

PATRICIA MEDFORD:  Medford in Baker to Medford in Able: Go ahead, Dad. Over.

DR. MEDFORD: Have you found anything yet?

PETERSON: Say “Over.”

DR. MEDFORD: I just said it.

PETERSON: I know. Say it again.

DR. MEDFORD: Oh. “Over!”

PATRICIA MEDFORD: Baker to Able: Not yet. We’re about three-quarters of the way across our sector. We’re now at coordinates Charlie-Six. Over.

DR. MEDFORD: Well, don’t pass up any possibilities. Let me know the moment you find anything.

PETERSON: If you’re finished, say “Over and out.”

DR. MEDFORD: But she knows I’m through talking with her.

PETERSON: I know she does, Doctor. It’s a rule, though. You gotta say it.

DR. MEDFORD: Ah…

PETERSON: Isn’t that right, General?

GENERAL O’BRIEN: Right, Sergeant.

DR. MEDFORD: This is ridiculous! A lot of good your rules are gonna do us if we don’t locate the…

PETERSON (over the headset): Over and out.

DR. MEDFORD: Oh, now you’re happy!

them!-whitmore-gwen-helicopter

And when they’re examining the wall of the ant nest:

DR. PATRICIA MEDFORD: Look! Held together with saliva!

PETERSON: Yeah! Spit’s all that’s holding me together right now, too.

One of the most famous lines from the film, and if you’ve seen it, you no doubt remember it, is when Peterson and Graham travel to a local hospital to interview a drunk who may or may not have seen the giant ants.  It turns out, the drunk, Jensen, has seen the ants and gives them some valuable information which leads them to the ants’ whereabouts, but not before he has this lively and memorable exchange:

JENSEN:  General, I’ll make a deal with you. You make me a sergeant in charge of the booze and I’ll enlist. Make me a sergeant in charge of the booze! Make me a sergeant in charge of the booze!

And of course, the film gets its title from the screams of the little girl who Sgt. Peterson finds roaming the desert in the film’s opening moments.  She’s in a catatonic state of shock, but later, when Professor Medford revives her, she screams out:

LITTLE GIRL:  Them!  Them! Them!!!

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In spite of his comedic background, Edmund Gwenn as Dr. Medford also has some of the more somber and poignant lines from the movie.  Like here, when FBI Agent Graham reacts to the news the ant they just killed was only one of many.

GRAHAM:  And I thought today was the end of them.

MEDFORD: No. We haven’t seen the end of them. We’ve only had a close view of the beginning of what may be the end of us.

And as Dr. Medford, Edmund Gwenn also gets to have the final say at the end of the movie:

GRAHAM: Pat, if these monsters got started as a result of the first atomic bomb in 1945, what about all the others that have been exploded since then?

PATRICIA MEDFORD: I don’t know.

DR. MEDFORD: Nobody knows, Robert. When Man entered the atomic age, he opened a door into a new world. What we’ll eventually find in that new world, nobody can predict.

Cue end credits.

THEM! is a superior horror movie, taut, well-acted, well-written, with decent special effects.  It succeeds because the ants aren’t the main focus of the movie.  It’s the characters in the film and their reactions to the events around them that make THEM! a classic of 1950s giant monster cinema.

I hope you enjoyed these quotes from THEM! and join me again next time on the next MEMORABLE MOVIE QUOTES when we look at memorable quotes from another memorable movie.

Thanks for reading!

—Michael

WAR FOR THE PLANET OF THE APES (2017) – The Best of The New APES Movies

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The new PLANET OF THE APES series keeps getting better and better.

RISE OF THE PLANET OF THE APES (2011) was an okay reboot, solid yet uninspiring. Its sequel DAWN OF THE PLANET OF THE APES (2014) was better. I liked it but I didn’t love it.

Now comes WAR FOR THE PLANET OF THE APES (2017) a thoroughly engrossing tale that is equal parts futuristic science fiction, epic adventure, and prisoner of war drama. All three parts work well to comprise a story that is captivating from start to finish, so much so, that this third film is clearly the best entry of the series thus far.

Of course, it helps to have a talented director at the helm.  Matt Reeves, who also directed DAWN OF THE PLANET OF THE APES, is one of the more talented directors working today. He’s directed some of my favorite horror movies in recent years, films like CLOVERFIELD (2008) and LET ME IN (2010), and now WAR FOR THE PLANET OF THE APES. I only wish he’d make more movies.

When WAR FOR THE PLANET OF THE APES opens, we find Caesar (Andy Serkis) and his band of apes still hiding in the woods, still trying to avoid the humans who are out to conquer them.  This time around, the advancing human military is led by a charismatic officer known as The Colonel (Woody Harrelson).

A small military unit locates the apes and attack, but they are defeated.  Caesar spares the lives of a couple of prisoners and sends them back as a peace-offering, but this doesn’t stop the Colonel, who returns and raids the apes’ camp, killing Caesar’s wife and son.

Found out, the apes have to move, but Caesar announces that he’s not accompanying them, as he is intent on finding and killing the Colonel.   Eventually, all the apes, Caesar included, are captured by the Colonel’s forces, setting the stage for the second half of the movie, which plays out as a riveting prisoner of war tale, where the apes attempt to plan a daring escape, even as another military contingent moves in, one that is at odds with the Colonel and plans on wiping out all the occupants at the base, including the apes.

There is so much to like about WAR FOR THE PLANET OF THE APES.  I liked how Caesar evolved here.  In the first film, he barely spoke, saying one word here, one word there. In the second film, he spoke more, but not entirely fluently.  Here, he speaks effortlessly, which makes him an even stronger character.

The storyline of the disease which wiped out humans and gave intelligence to apes continues to evolve in this movie and remains compelling.  This time around, we learn that the disease is changing, that the remaining humans are gradually losing the ability to speak, and are slowly becoming more beast-like, while the apes are becoming more intelligent.  This plot point hearkens back to the original series, where apes were intelligent, and humans were mute animals.

We first get a hint of this change when Caesar and friends find a young girl (Amiah Miller) who cannot speak.  Orangutan Maurice (Karin Konoval) eventually names her Nova, in a nod to the Linda Harrison character from the 1968 original film PLANET OF THE APES.

And more apes than just the ones with Caesar were affected, as they meet another chimpanzee who goes by the name Bad Ape (Steve Zahn) and who tells them his story.

There are a lot of nods to the original series here.  The soldiers wear the symbols for Alpha and Omega on their helmets, which is a nod to the Alpha/Omega bomb which destroyed the Earth in BENEATH THE PLANET OF THE APES (1970).  The line is used, “the only good ape is a dead ape,” which is a reference to General Ursus’ line “The only good human is a dead human,” also from BENEATH THE PLANET OF THE APES.

Again, there’s the character of Nova, and I liked how they came up with the name, as she finds a grille from a Chevy Nova.  Also, when Maurice says her name, “Nova,” he says it the same way and with the same cadence as Charlton Heston said it in BENEATH THE PLANET OF THE APES, so much so that I wonder if they dubbed in Heston’s voice here.

Speaking of Maurice, his name is a nod to the actor Maurice Evans who played the orangutan Dr. Zaius in the original films.  And Caesar’s little son is named Cornelius, who was the character played by Roddy McDowall in the original films, and in those films Cornelius was Caesar’s father.

There are also just some funny monkey references. The back of one of the soldier’s helmets reads BEDTIME FOR BONZO, a reference to the Ronald Reagan movie, a comedy which featured a chimpanzee. Also, the apes who work for the Colonel are called “donkeys,” a reference to Donkey Kong.

The special effects are amazing. The apes look phenomenal. They’re so good it’s easy to forget that nearly every character in this movie is a CGI creation.  The only main human character is Woody Harrelson’s Colonel, and the rest of the humans are nameless soldiers, and yet the film doesn’t suffer for it at all. You don’t watch this movie and feel like you’re watching an animated cartoon.  These characters seem genuine and real, more so than some of the human characters we see in other movies.  And their story is compelling.  You really do feel for the apes and want them to escape from the prison.

Andy Serkis, who’s become the king of motion capture performances, is excellent once again here as Caesar. I don’t think they give Oscars yet for this category, but if they did, he should get one.  And he’s not alone here.

Both Karin Konoval as Maurice and Terry Notary as Caesar’s other loyal friend Rocket have also been in all three APES movies, and they’ve been excellent each time as well.  Also of interest, both Serkis and Notary have played King Kong.  Serkis played Kong in the Peter Jackson remake KING KONG (2005), and Notary played Kong in KONG: SKULL ISLAND (2017).

Two newcomers also really stand out.  Steve Zahn as Bad Ape nearly steals the movie with his humorous and touching performance as the ape who had survived on his own all these years before meeting Caesar and his band of apes.  The best part about Bad Ape is that he’s funny without being annoying, and he’s scared without being a coward.  He steps up when needed.

Likewise, young Amiah Miller is superb as Nova, in a role that is even more impressive considering she doesn’t speak any lines as Nova cannot talk.  Her scenes with Caesar are especially moving.  Once Nova and then Bad Ape enter the storyline, the film really takes off.  Miller reminded me somewhat of a very young Amanda Seyfried.

And Woody Harrelson does what he has to do as the evil Colonel.  The role isn’t as fleshed out as the apes’ characters, but it doesn’t really need to be.  He’s the villain, and Harrelson gives the guy real presence, so much so that things always feel disturbing when he’s on-screen. And we do get some background on him, as we learn what happened to his son.

The script by Mark Bomback and director Reeves is excellent.  I loved the story it tells, and the ape characters are all fleshed out to the point where you forget you’re watching CGI creations.  I especially liked the story, which is essentially divided into three parts. The first part picks up where DAWN left off, and features apes and humans battling in the jungle.  The second part becomes an epic adventure, where the apes migrate from the jungle, and where Caesar and his small band of friends go off on their own across beaches and eventually into a wintry mountain terrain as they seek out the Colonel.  It’s this sequence where they find Nova and meet Bad Ape.

And then there’s the third part, the gripping grueling prisoner of war tale, where Caesar must lead the apes on a daring escape.  This part plays like the classic war movies of yesteryear, films like STALAG 17 (1953) and THE GREAT ESCAPE (1963).  With each chapter of the story, the film gets stronger, as each story is better than the previous one.

I’m a huge Matt Reeves fan, and he does a phenomenal job here.  His films CLOVERFIELD and LET ME IN are among my favorite horror movies period.  WAR FOR THE PLANET OF THE APES now joins that list.  Of course, the true test for Reeves is his next movie, as he’s writing and directing the upcoming THE BATMAN, the standalone Batman film starring Ben Affleck. Good luck, Matt!

And WAR FOR THE PLANET OF THE APES features yet another powerful music score by Michael Giacchino, who we just talked about last week as he scored SPIDER-MAN: HOMECOMING (2017).  I liked his score for APES here even better than his SPIDER-MAN score.  It reminded me a lot of the score he wrote for LET ME IN.  It’s potent, militaristic, and haunting.

I really liked WAR FOR THE PLANET OF THE APES. Everything about it works.

It’s easily the best of the rebooted APES series.

—END—

 

 

THE HORROR JAR: Genre Films Where PETER CUSHING Did NOT Play A Doctor/Scientist/Professor

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Peter Cushing and the Skull in THE SKULL (1965), a horror film in which Cushing did not play a doctor.

 

Welcome back to THE HORROR JAR, that column where we look at lists of odds and ends pertaining to horror movies.

Up today, my all time favorite horror movie actor, Peter Cushing.

When you think of Peter Cushing, his two most famous roles immediately come to mind, Baron Frankenstein and Dr. Van Helsing, two characters who were also both doctors.  In fact, a lot of Cushing’s roles in horror movies were of medical doctors, professors, or scientists.  So much so, that I thought:  when did he not play a doctor?

Turns out— many times.

Here’s a look at those roles, the times Peter Cushing starred in a horror or science fiction film but did not play a doctor or scientist.

THE HOUND OF THE BASKERVILLES (1959) – Sherlock Holmes.  Technically not a horror film, but that being said, Hammer Films added plenty of horror elements to their rendition of the Sir Arthur Conan Doyle tale.  Directed by Terence Fisher, with Cushing as Sherlock Holmes and Christopher Lee as Sir Henry Baskerville.  Superior little movie, atmospheric and full of thrills, with Cushing’s energetic Holmes leading the way.

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Cushing as Holmes in THE HOUND OF THE BASKERVILLES (1959).

 

NIGHT CREATURES (1962) – Rev. Dr. Blyss – even though the character is identified in the credits as “Dr. Blyss” he’s really the vicar of the small village of Dymchurch— check that, he’s actually the infamous pirate Captain Clegg, hiding out, posing as the vicar, while secretly smuggling rum in this rousing adventure/horror tale by Hammer Films.  Cushing at his energetic best.

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Peter Cushing delivers one of his best performances, as Captain Clegg/Dr. Blyss in NIGHT CREATURES (1962).

 

SHE (1965) – Major Holly – lost cities, a supernatural woman, and lots of action in this fantasy adventure by Hammer Films.

THE SKULL (1965) – Christopher Maitland – plays a private collector interested in the occult who purchases the skull of the Marquis de Sade with deadly results.  Christopher Lee co-stars as Cushing’s rival in this fine horror film by Hammer’s rival, Amicus Productions.

TORTURE GARDEN (1967) – Lancelot Canning – another film by Amicus, this one an anthology film featuring five horror stories based on the works of Robert Bloch.  Cushing appears in the fourth segment, “The Man Who Collected Poe,” once more playing a collector of the macabre.  Jack Palance co-stars with Cushing in this segment.

THE BLOOD BEAST TERROR (1968) – Inspector Quennell-  One of Peter Cushing’s worst movies.  In fact, Cushing himself considered it his worst.  Produced by Tigon Films, a company that tried to join Hammer and Amicus as a voice in British horror but ultimately failed.  The monster is a woman who turns into a giant moth that preys on men’s blood, and Cushing plays the police inspector (in a role originally written for Basil Rathbone) who tries to stop her.

SCREAM AND SCREAM AGAIN (1970) – Major Heinrich Benedek – pretty much just a cameo in this film, famous for being the first time Peter Cushing, Christopher Lee, and Vincent Price all starred together in the same movie.  A bizarre flick, perfect for 1970, but ultimately a disappointment as Cushing and Lee only appear briefly, while Price gets a bit more screen time.

THE VAMPIRE LOVERS (1970) – General von Spielsdorf – Cushing finally appears in a vampire movie where he’s not a doctor or a professor!  This time he’s a general, but he’s still hunting vampires in this atmospheric and very sensual vampire film from Hammer, starring Ingrid Pitt as the vampire Carmilla.  The first of Hammer’s “Karnstein” vampire trilogy.

THE HOUSE THAT DRIPPED BLOOD (1971) – Philip Grayson – Another anthology film by Amicus.  Cushing stars in the second segment “Waxworks” and plays a retired stockbroker who runs afoul of a nefarious wax museum.  Director Peter Duffell once said in an interview that Peter Cushing’s entire segment in this film was simply a contrivance to place his head on a platter, which remains one of the more shocking images from the film.

TWINS OF EVIL (1971) – Gustav Weil – Cushing is excellent (as he always is) in this vampire film from Hammer, playing a different kind of vampire hunter.  He leads the Brotherhood, a fanatical group of men seeking out witches in the countryside, a group that is every bit as deadly as the vampires.  As such, when the vampire threat becomes known, and the Brotherhood turn their attention to the undead, it makes for a much more interesting dynamic than the typical vampire vs. heroes.  It’s one of Cushing’s most conflicted roles.  There’s a scene where he laments that he only wanted to do the right thing, that really resonates, because for most of the film, he’s been doing the very worst things.  The third “Karnstein” vampire film.

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Peter Cushing as the fanatical Gustav Weil in TWINS OF EVIL (1971).

 

I, MONSTER (1971) – Utterson – plays a lawyer in this version of the Dr. Jekyll and Mr. Hyde tale by Amicus, which changed the names of Jekyll and Hyde to Marlowe and Blake, played here by Christopher Lee.

TALES FROM THE CRYPT (1972) – Arthur Edward Grimsdyke – famous Cushing role in yet another anthology film by Amicus.  Cushing appears in the third segment, “Poetic Justice” where he plays an elderly junk dealer who is terrorized into suicide by his neighbors, but a year later, and this is why the role is famous, he returns from the grave.

DR. PHIBES RISES AGAIN (1972) – Captain – cameo in this Vincent Price sequel.  Blink and you’ll miss him.

ASYLUM (1972) – Smith – appears in the segment “The Weird Tailor” in this anthology film by Amicus.

FEAR IN THE NIGHT (1972) – The Headmaster – plays a sinister headmaster, in this thriller written and directed by Jimmy Sangster, and also starring Joan Collins and Ralph Bates.

FROM BEYOND THE GRAVE (1974) – The Proprietor – plays the owner of an antique shop, and the man in the wraparound story in this Amicus anthology horror vehicle.

MADHOUSE (1974) – Herbert Flay – plays a screenwriter in this one, and best friend to Vincent Price’s horror actor Paul Toombes.  Toombes is having a rough go of it, as the character he played in the movies- Dr. Death – seems to be committing murders in real life.  A really interesting movie, not a total success, but definitely worth a look, mostly because Price and Cushing share equal and ample screen time in this one.

TENDRE DRACULA – Macgregor – bizarre ill-conceived French horror comedy, notable for featuring Cushing’s one and only performance as a vampire.

LAND OF THE MINOTAUR (1976) – Baron Corofax – plays the villain to Donald Pleasence’s heroic priest in this tale of devil worship and demons.

STAR WARS (1977) – Grand Moff Tarkin – aside from his work in Hammer Films, the role which Cushing is most known for.  As Tarkin, he’s the one character in the STAR WARS universe who bossed Darth Vader around and lived to tell about it.

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Peter Cushing as Grand Moff Tarkin in STAR WARS (1977).

 

SHOCK WAVES (1977) – SS Commander – Nazi zombies attack!    Nuff said.  With John Carradine.

THE UNCANNY (1977) – Wilbur – Cushing plays a writer who learns that cats are a little more “active” than he first imagined in yet another horror anthology film.

MYSTERY ON MONSTER ISLAND (1981) – William T. Kolderup – plays the “richest man in America” in this bizarre horror comedy.

HOUSE OF THE LONG SHADOWS (1983) – Sebastian Grisbane – famous teaming of Peter Cushing, Christopher Lee, Vincent Price, and John Carradine in the same movie for the first (and only) time ever, this really isn’t a very good movie.  It tries hard, and ultimately isn’t all bad, but could have been so much better.  Price and Lee fare the best.

SHERLOCK HOLMES AND THE MASKS OF DEATH (1984) – Sherlock Holmes – Holmes comes out of retirement to solve a case.   Again, not horror, per se, but since this film was directed by Roy Ward Baker, written by Anthony Hinds, and of course starred Peter Cushing, there is a definite Hammer Films feel about this movie.  John Mills plays Dr. Watson.

There you have it.  A list of genre films starring Peter Cushing where he did not play a doctor, scientist or professor.  Perhaps next time we’ll have a look at those films where he did don a lab coat or carry a medical bag.

That’s it for now.  Thanks for reading!

—Michael