The LEGO Movie 2: The Second Part
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Critics Consensus: No consensus yet.
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Critic Consensus: No consensus yet.
All Critics (14) | Top Critics (3) | Fresh (11) | Rotten (3) | DVD (1)
Like most good ghost stories, it's a lot of fun, even though you don't believe a word of it.
A real touch of class is present in James Wong Howe's magnificent photography, not to mention Carol Borland's stunning apparition as a vampire.
One of the classics of the horror genre.
The twist ending is a beaut and provides Lugosi with a treasured movie moment.
There isn't much in the story that one hasn't seen before, until the very end when Browning and the script turn everything on its ear.
The film gets tiresome and talky, even at its 61-minute length.
Scores high marks for creating a sense of otherworldly dread that depends very little on whether or not what we see makes any sense.
Suffering from a flagging pace and patchy script, the film has its plus points nevertheless -- notably a good use of visuals.
This amusing B&W film, with photography by James Wong Howe, captures the eerie atmosphere befitting a horror film.
wonderful gothic atmosphere but there's an odd tone to the film and you'll soon discover why. i still can't decide if the ending is clever or just ridiculous. not browning's finest hour but worth seeing
Super Reviewer
Godawful script (due, at least in part, to the numerous scenes that were never shot and a number of others which did not make the final cut) is somewhat redeemed by some decent atmosphere, a spectacular sequence (with some very impressive special effects) and a very creepy performance by Mr. Lionel Atwill. Is this a remake of "London After Midnight"?
Ultimately disappointing vampire story, whose only saving grace is Carol Borland, who really spooked me in her role as the female vampire.
One gets the distinct feel that Mark of the Vampire could and should have been really something, but sadly Browning's film fell prey to the fall-out of his own trend-setting. Mark was initially supposed to depict an incestuous relationship between the father and daughter vampires terrorising the town. But MGM were all over Browning after the controversy caused by his masterwork Freaks, that they immediately cut that out without any consideration for how it would affect the plot. As a result, Lugosi sports a bullet-wound throughout the film for seeingly no reason. Besides this, we endure some leaden acting and frightful staginess, irregardless of Browning's honest attempts at atmospherics. Exposition is also a problem, the events unfolding as if read from an instruction maual. Redeemingly, the picture does sport a delightfully unusual ending and features more comedy than you'd expect, making it at the very least entertaining.
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