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Underrated late Hammer film, one of the best of the Frankenstein cycle.
Well-crafted and very engaging.
Too many visual experiments simply do not work and, at 132 minutes, it wears out its welcome long before the credits roll. Still, there's a lot to like here. There's still more fantastic than goofy art here. Beagle's screenplay is faithful, efficient and clearly influential on the Peter Jackson films. Had it been intended as three films rather than two, and the live action elements limited to rotoscope, it might really have been something.
Very solid, bonkers widestroke humor, but lacking the little subtleties that might have made it a cult classic.
A more-is-more remake of a less-is-more film. It is obvious, then, why it hasn't aged half as well.
All atmosphere--but what atmosphere.
A weaker Lewton-RKO effort, but still worth seeing.
Not one of Lewton-RKO's finest, but still solid.
Karloff and Lugosi meet Burke and Hare.
Everyone loves one half of this movie. There will never be a consensus about which.
One of my least favorite John Waters films, though by no means one of his worst.
Charming and sweet, though perhaps the least-Coen Coen Brothers film to date.
The Coen Brothers' most underrated film, which I suspect will eventually be remembered as their greatest.
A lot of forgettable dialogue, but very few forgettable images.
It spends a lot of time drifting into cliche, but it looks amazing, has sparks of genuine wit and is generally one of Lewton's more noteworthy efforts.
As the ultimate cinephile fantasy, this should have been Waters' best film. Disappointing, then, that it's plagued by an ironic hipness and a repeat gag about celibacy that is run into the ground in spite of the fact that it never for even the briefest moment works. In the end, it is probably his weakest effort.
The screenplay is bad, the performances are wooden, but the images are mesmerizing.
Christmas to Cat People's Halloween.