The most foreboding title among the horror and science fiction lexicon, besides perhaps IT or They (which is just a cheap knockoff of the more impressive film we’re about to discuss), is the 1954 masterpiece known as Them! Among the many different creature features, be it swamp critters or critters from space or super mutant hybrids, bugs freak me out the most. As defined by the omnipotent Wikipedia, “Entomophobia (also known as insectophobia) is a specific phobia characterized by an excessive or unrealistic fear of one or more classes of insect, and classified as a phobia by the DSM-5. More specific cases included apiphobia (fear of bees) and myrmecophobia (fear of ants).” Now, that being said…I think my “fear” can be measured by mass. The smaller the insect, the less I get “freaked out.” Hence, small little pests like flies and mosquitoes are simply put…pests, easily swatted or shooed away. But on the other spectrum, the bigger they get, the more I’m apted to run away screaming. If someone were to make a monster movie with the intention of provoking the mass amount of fear from yours truly, Them! would be the quintessential experience.
But it cannot be done in a silly way. If you want a serious reaction, the movie will need to have a serious undertone. Them! is a perfect example of this. As a fan of most dubbed “classics,” basically timeless pieces of cinematic history, be it 1930s or 40s or 50s or 60s or even those in the Silent Era, I took double pleasure in the fact that this now 63 year old movie can still capture that tension, that wonderful feeling of dread so fantastically. Them!, not too sound too fan-girlish, is utterly amazing. By modern standards, Them! easily tops what producers consider to be blockbusters in not just storytelling and characterization, but also special effects. It makes me curious what original audiences thought when they first sat in their parked fin-tailed red and chrome Chrysler’s at the local drive-in, WITHOUT having been desensitized by years of modern computer generated graphics.
Alas, those day’s are gone forever.
All we can do now is cherish the time we had.
For those who have not had the pleasure, here is a quick synopsis of Them!
“The earliest atomic tests in New Mexico cause common ants to mutate into giant man-eating monsters that threaten civilization.”
Boom. You don’t really need anything more than that, do you? Needless to say, IMDb isn’t wrong. In a nut shell, those are the stakes. A mutated strain of ants are multiplying in the New Mexico desert and could very well threaten civilization. And not just any mutated ant species, but a mutation of the Cataglyphis genus, better known as Desert Ants. These sand dwellers are among the most aggressive of ant. The perfect bugs to supersize for a horror/science fiction movie, right?
One of the fun aspects of Them! is how the movie starts off and is treated more or less throughout the entirety as a “detective” story. The movie opens with a patrol car doing their normal patrol and pickup a little girl, no more than six years old, strolling through the desert alone dressed in a nightgown and cradling a broken doll. They try talking to her but she is catatonic, speechless, staring blankly out at the brown sand. That feeling of dread we talked about begins to weave slowly into the movie and as the policemen investigate a nearby trailer, finding it mostly destroyed, pulled apart from the outside (they deduce) the tension builds even further.
The next scene certainly adds to not only the mystery but also the horror when police sergeant Ben Peterson’s (played by the very awesome James Whitmore) partner “disappears” off screen investigating a strange sound. He get’s off a couple of shots and then screams, that kind of scream that sends chills down your spine. The sound the officer investigates permeates throughout the entire movie. A familiar nature melody for anyone living in suburbia or out in the country. The sound of cicada or crickets singing in trees or in tall grass. Come summer, that sound is still quite pleasant to me, despite this film’s attempt to ruin it. Though, there is a lingering feeling of “what’s really making that sound? Are they, Them! watching me?”
And I love how, despite the excellent movie art on the poster, knowing there will be giant ants in this movie, the story stalls the BIG reveal, forgive the pun, until the absolute right moment. And that moment, much how the newly brought on character, FBI agent, Robert Graham (played by man’s man James Arness), to its frustrating conclusion through the “comic relief” of sorts Professor Harold Medford (played by Santa himself Edmund Gwenn) and his “if a boy can do it a girl can do it too” daughter Dr. Patrica Medford (Joan Weldon). The Dr. Medord’s are not really that comedic, the old man is sort of how we might think brilliant old men are, a tad absent minded to every day tasks, but a genius in their preferred fields of study. And the female Dr. Medford, despite her strong grace of femininity, wasn’t overpowering or preachy. She was meek but smart and willing to go places most men wouldn’t dare go. In a decade before feminism really took off in America, it’s hard to place the purpose of her character. Regardless, I was and am very pleased with her performance, second to her father perhaps, how she was not the ditsy romance how most other movies place actresses. Harold may have been love struck, but everyone else called her Pat, a genderless name, and I prefer it that way.
The reveal was perfect, as I said. A sandstorm kicks up and everyone’s goggled and stumbling around for clues. Somehow Pat get’s separated from the group. That chilling buzzing, ringing, clicking cicada sound starts again, getting louder and louder, and everyone is looking around wondering what that noice is and where it’s coming from. Above Pat on a dune, emerges a large black head with giant orb eyes long furry antenna and large sharp looking mandibles. She screams, alerting the others who begin opening fire, destroying the ant’s antenna (to the suggestion of Dr. Medford). The ant is killed and while the others are staring at this impossible horror, Dr. Medford makes a statement, the inspiration and message of the entire movie, I think. He says, “We may be witnesses to a Biblical prophecy come true – ‘And there shall be destruction and darkness come upon creation, and the beasts shall reign over the earth.'” He says something very similar towards the end of the movie, stating, “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.”
The Atomic Age…
Full of sparking large logos and flashy gadgets and a new generation of fast food and drive-in theaters and modern jazz and rock-in-roll, but this was also an era of uncertainty. Hiroshima and Nagasaki awakened something in humanity. Something more than just awe and dread. Something darker and more pious than religion. The Atomic Age was this new fear of the bomb. Uncertainty over world powers, the growth of the Cold War, and a horizon in modern science to which many did not understand. Not knowing is the greatest fear of all, at least according to H.P. Lovecraft. The Atomic Age also gave birth to this very feature we find ourselves enjoying (hopefully), the birth of unnatural monsters such as Godzilla and Them! Better known as Creature Features.
Them! acts as a cautionary tale. Be warned, what will await us on the other side of the door. Will science bring upon us destruction and darkness? Will man’s ignorance? Them! isn’t about the dangers of real giant bugs, its about consequences. That in everything we do or strive to bring about, for every action there is an equal and opposite reaction, as Newton had once said. Its a message every new generation hears, right? Cautionary warnings from the old folks rocking on the porch, talking about how things used to be.
The rest of Them! takes on that similar detective story we were introduced to in the beginning. They hunt down the hive and destroy the giant ants with poison, only to discover a few queens had escaped prior. Now the once localized investigation turns into a global event. Hush hush, of course, to avoid widespread panic, the team with the added benefit of the military and select government officials quickly work to destroy Them! But the movie doesn’t end like some monster movies with the creatures being destroyed…there is a feeling of uncertainty, astute given the era, and we are left wondering if perhaps there are more giant mutated ants out in the desert thanks to atomic weaponry. And as Dr. Wedford said, “nobody can predict.”
My rating: 5 out of 5
Who doesn’t love a good story? From great works such as, All Quiet on the Western Front and Salem’s Lot, Thomas S. Flowers has a passion to create similar character-driven stories of dark fiction ranging from Shakespearean gore fests to paranormal thrillers. Residing in the swamps of Houston, Texas, with his wife and daughter, Thomas has published several novels, including, Reinheit, The Incredible Zilch Von Whitstein, Apocalypse Meow, Lanmò, The Hobbsburg Horror, Beautiful Ugly and other Weirdness, Feast, and PLANET OF THE DEAD. In 2008, Thomas was honorably discharged from the U.S. Army where he served 3 tours in Operation Iraqi Freedom as a Military Police Officer. In 2014, Thomas graduated from University of Houston-Clear Lake with a Bachelors in History. He blogs at http://www.machinemean.org, where he contributes reviews on movies and books along with a gambit of guest writers who discuss a wide range of strange yet oddly related topics. Follow Thomas on his website www.ThomasSFlowers.com.
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Godzilla is one of the best examples of how science fiction and horror can relate certain fears within society and that they (the movies) are not just kids movies or nonsensical. I mean, sure, there are plenty of nonsensical movies out there, especially within the genre of horror and science fiction, but if I could be so brash as to say that a majority actually do serve a purpose. Storytelling has always been our way of relating concern or passing on wisdom, teaching the new generation our fears and our struggles and what threats, missteps, whatever, to look out for. Watching the original televised trailer for Godzilla (1954), it definitely begs the question of what Godzilla really symbolizes. The very first screenshot shows audiences a “once peaceful city of Tokyo, now laid in ruins…,” but given the historical context, I had to ask myself just what city was I really looking at, a fictional Tokyo, or a literal Hiroshima or maybe a literal Nagasaki? What is it that Japan seems to be afraid of? Thankfully, our guest author is here to help explain some of these things in his review. Please welcome, Kurt Thingvold.
Two notable things stand out in World War II: the bombing of Pearl Harbor and the attacks on Nagasaki and Hiroshima. Why should they stand out? Easy, they were the beginning and the end point in our conflict with the Japanese. Both conflicts ended in multiple deaths, a beginning, and an end to the horrors of war. Millions dead—countries in shambles. America recovered, Japan recovered, but not before having to surrender their military forces in order to prevent Japan from re-arming and starting another war. This marked the end of World War II, the world remained in peace.
When Japan surrendered their forces it made the country feel weak and they feared invasion, while the invasion would never come—the fear remained—only in the last twenty years, or so have the Japanese fought to regain a glimmer of military presence. A second horror remained in the eyes of the Japanese people. Two Atomic bombs had obliterated their fellow countrymen and woman. The horrors of the war had never escaped the small country. Even through the decade following the war—the fear of nuclear weapons haunted their dreams—who was to defend their country, now, that a small defense force was in charge of keeping the invaders out, what if, they had to deal with a situation that had never become the small country?
In the1950’s, a Japanese film company wanted to make a film about the horrors of war— the original idea never came to fruition (based on the invasion of Indonesia, the Japanese refused visas). When producer Tomoyuki Tanaka was flying back to Japan after failed negotiations with the Indonesian government to shoot the film, he looked out at the ocean, and thought about a monster that comes from the sea and attacks the mainland! While the idea seemed to be a ludicrous idea, it would serve the film company well. The film company was known as Toho Studios. The Film would come to be known as Gojira (Godzilla).
The movie starts out in the ocean, we see a boat, the crew seems to be having a grand old time, singing, dancing and joking around, suddenly, a flash of lights, the boat begins to sink in a fiery mess, slowly, sinking below the ocean floor. Shortly after the sinking, a second boat is sent to investigate, the same flashes are seen, and the second boat has a meeting with the ocean floor, with few survivors. A fishing boat from the nearby island is also destroyed, causing the residents of the nearby island to venture into Tokyo to seek aid and relief as the fishing near the island have plummeted down to near threatening levels. Once the locals arrive they describe a large creature destroying their villages, the Japanese concerned they decide to send renowned paleontologist Dr. Kyohei Yamane to investigate the islander’s claims. Once he and his team arrive on the island– they discover the village in almost ruins—Dr.Yahmane discovers a giant footprint of the massive creature, with a trilobite embedded within the footprint, which turns out to be radioactive. The village bell rings out and the creature finally reveals itself—the villagers dub it Gojira (Godzilla). After this horrifying discovery Yamane returns back to Japan and presents his findings that “Gojira” is a remnant of dinosaurs slumbering beneath the waves and the testing of atomic bombs have disturbed his sleep. The Japanese government responds by sending a fleet of ships to deploy bombs and try to destroy Godzilla. Which, causes the creature to rise and head towards the mainland.
Dr. Yamane’s daughter Emiko, who is engaged to a colleague. Dr. Serizawa, she does not love the man as she loves a young trawler operator Hideto Ogata, a young reporter arrives to interview Serizawa and he refuses. He does show Emiko, a secret project he is working on. In which, the air is removed from the water, causing fish and sea life to disintegrate. This Horrifies Emiko. “Gojira” begins to attacks the mainland, after a few short minutes the attack is over and he returns to the ocean. After the attack, the government consults with the Japanese Self-Defense Force (JDSF) to build a 100 ft. electrical tower to kill the creature. Dr. Yamane is distraught that they plan to kill the creature rather than studying it. Emiko and Ogata are waiting for her father, so they may have permission to wed. Ogata and Dr. Yamane, engage in a fierce vocal battle about the fate of the creature and Yamane orders Ogata to leave. “Gojira” Emerges again in Tokyo bay and attacks the city a second time. Ripping through the trap the JDSF had set, breathing his radioactive, melting the steel like wax. Godzilla continues his rampage destroying and killing thousands of citizens. After, the attack, we are introduced to the horrors of the previous night. The dead and wounded overcrowd the hospitals. Emiko runs to Ogata and tells him of Serizawa’s weapon the “Oxygen Destroyer” Both go to Serizawa and plead with him to use the Oxygen Destroyer on Godzilla and stop him once and for all. Serizawa hesitant to use the weapon, he decides to use the weapon, but not before destroying the documents. Ogata and Serizawa travel to where Godzilla was last spotted, both of them dive to the bottom of the ocean. Once they spot Godzilla, Serizawa plants the bomb, he motions for Ogata to surface. Serizawa cutting his own oxygen supply detonates the bomb. Destroying Godzilla and the secrets to the weapon with him.
We catch a glimpse of Godzilla rising from the ocean as he melts away. We are left with a quote from Yamane, as they mourn for their friend, Serizawa.
“I can’t believe that Godzilla was the only surviving member of its species… But if we continue conducting nuclear tests, it’s possible that another Godzilla might appear somewhere in the world again.”
While the plot may seem silly, it portrays its dark tones rather well—Godzilla being an allegory for nuclear threat/invasion, the characters interact with the creature with either horror or admiration. And a key scene that plays into this is where Yamane is describing the creature and its possible origins, and why it is so intent on destroying Tokyo. While, other players in that scene want it destroyed with no question. We see people struggling in awe on how to deal with a threat that seems new, but now have to deal with it at half their normal strength. Another scene that shows a real struggle and emulates of the idea that something of this magnitude (using nuclear technology) is where Emiko tells her father she plans to marry Ogata, and he agrees that Godzilla should be destroyed. These two scenes show a man struggling to convince others that what he wants is for the best. Knowing the power of what has occurred and what could occur. A nuclear attack was still a possibility in the 1950’s—not by intention, of course. Americans were still close enough to the country to accidentally cause more damage, an incident did occur, The Lucky Dragon No.7 was close enough to Bikini Atoll during a test to receive fallout from the explosion, causing major concern for the Japanese. (The first boat attacked in the movie was based on Lucky Dragon No.7). Another scene, which, we should play close attention to is when Godzilla first starts attacking Tokyo, setting the buildings on fire, destroying everything in his path. The JDSF is useless in stopping him. This plays homage to the attacks on Nagasaki and Hiroshima; there is even a brief mention of the attacks. A mother holder her children and trying to comfort them tells them in sobbing words. “We will be with father soon.” Indicating he was one of the victims of the bomb. Godzilla is a powerful force that relentlessly attacks the people of Japan, and themselves feel useless in stopping him.
Two years after the first film was made—an Americanized version of the starring Raymond Burr was released. While this version of the film feels is not as dark as the Japanese version. It still shows the horror of the Atomic bombs through the view of an American reporter, while the plot is the same, this version is still rated highly. The American version is a great companion, for a different view of the film. Just two years ago, we released another American Godzilla film, dealing with a different nuclear threat, plants going into meltdowns—this version also plays into the social effect of how we as people are ignorant to the dilemmas and threats that happen across our globe on a single day.
The music also emulated the themes of the film. Heroic and dingy sounds to expand the scenes, and draw you into the moment. While most of the music is accompanied by the monster’s roar, and footsteps it has the rare ability to summon the emotions and fears of the viewer. (Akira Ifukube went on composing for the series up until the mid-90’s). The scores themselves are memorable and are a joy to listen to on their own.
Godzilla is a movie everyone should see, regardless if you’re a historian or film buff. The movie portrays a lot of themes dealing with the atomic age and war, in general. While Godzilla has spawned off from the original message and horror of the first film, it still portrays a message of anti-nuclear weapons. During the sixties and seventies, the Godzilla films took over as a protector of people. All Godzilla films portray a message whether it’s from one of the sillier movies, or the dark depressing atmosphere of the first: We need to find a way to protect ourselves, we need to take a look at what we do on a daily basis and think about how it is going to affect ourselves, or the land and people around us. Overall, Godzilla may have changed over the last sixty years, but the message itself still remains the same.
Kurt Thingvold, no stranger to Machine Mean, was born and raised in IL. He finds passion in writing, that helps calm his demons. He grew up in a tough household that encouraged reading and studying. He spends his time writing in multiple of genres. His published short story, Roulette, can be found on Amazon. When not writing he can be found playing games, reading, or attempting to slay the beast known as “Customer Service”, which, he fails at almost every day. As mentioned, Kurt is a frequent flyer here on Machine Mean, you can also check out his previous review on Ridley Scott’s legacy movie Alien here.
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Welcome one and all to the wildest show on earth…okay, maybe not that wild, but speaking of wild, on today’s chopping block we’ll be taking a closer look at one of the more fascinating monsters in Universal’s classic monster roster, The Creature from the Black Lagoon (1954). About a month back, during the X-Mas season, the Universal Monsters DVD box-set was set at a ridiculously low price on Amazon, so I did what any honorable horror junkie would do, I ordered the set as an earlier birthday present. Getting the box-set also gave me an idea. Why not review the movies? I’ve watched and reviewed some, but not all of the old classics. Why not? So, I did a little polling on my Facebook page. I wanted some advice and opinion on how I should go about reviewing all these classics. In all seriousness, 30 films is quite a lot to take on, plus, they’re all characters that’ve played important roles in developing future monster makers and writers and fans alike. It goes without further explanation how important these films are. In the polling, I asked basically two questions:
- Should I review in groups of monster or individually?
- Which monster should I start with?
And the pollers have spoken. Individual review and Creature from the Black Lagoon won the vote. 30 TOTAL movie reviews…thanks for that! In all humility, I cannot do this alone. So, I’ve called in an excellent cast of bloggers and authors alike, to take on an individual monster for review. Fair enough, right? You’ll see opinions globally, not just stagnate in one pond, but across all ponds and walks of life. You’ll be reading reviews from the twisted and fantastic minds of Duncan Ralston, Daniel Marc Chant, Jeffery X. Martin, Dawn Cano, and Kit Power to name a few. Its going to be a blast and I hope you all enjoy as we walk through the treasure trove of classic horror monsters.
Now that I’ve wandered off the path of actually reviewing The Creature from the Black Lagoon, how about we get back to it, shall we?
The Creature from the Black Lagoon was filmed in 1954 with Jack Arnold at the helm, a rather well known movie and television director, of such 1950s sci-fi works as: The Incredible Shrinking Man, Tarantula, It Came from Outer Space, and the sequel to Black Lagoon, Revenge of the Creature. And speaking of “It Came from Outer Space,” there seems to be a few carry overs from that film into Black Lagoon, including a very charismatic Richard Carlson. Some of the screenwriters and stage hands were also carried over from “Outer Space,” along with other 1950s atomic age monster flicks I’m sure. And, with that said, we’re getting to what intrigues me the most with this Lagoon film. The movie is very much a film born within the atomic age, the 1950s was a golden era filled with mutated creatures and space alien invaders, however, The Creature from the Black Lagoon, aka The Gill-man, was not a “atomic” creation. The Gill-man was not alien either; rather, terrestrial. In the opening credits, this terrestrial affirmation is given in a very brief albeit accurate depiction of the earth and the process of evolution, thus from the get-go, we learn this is a creature that comes to us by natural selection and not through atomic tomfoolery or by any other supernatural means. As the last pillar of the classic Universal monsters, this makes the Gill-man a very unique addition to the roster, don’t you think? Frank, Drac, Mummy, Wolf-man, they’re all supernatural characters, whereas Creature is not. With Creature, we’re given a monster completely bred from the natural world, from our environment, as it is, without all the glitter and glamour of some kind of special effect or something imaginative. The only imagination used here is believing such a creature could exist, a gnarled branch of homo erectus or perhaps homo sapiens, or even further back in our illustrious family tree. And this aspect of the story gives us some insight or foreshadowing at what we’ll be watching, what themes will be tackled, and maybe what questions will be asked.
Here’s a quick fire synopsis:
Remnants of a mysterious animal have come to light in a remote South American jungle. A group of scientists intending to determine if the find is an anomaly or evidence of an undiscovered beast find themselves cut off in a remote section of the jungle, simply known as, The Black Lagoon. To accomplish their goal, the scientists (Antonio Moreno, Richard Carlson, Richard Denning, and Whit Bissell) must brave the most perilous pieces of land South America has to offer. But the terrain is nothing compared to the danger posed by an otherworldly being that endangers their work and their lives.
Or something like that. I think perhaps the “otherworldly” part included in this synopsis is a bit misleading.
As said before, this was my first screening of The Creature from the Black Lagoon. I watched it once as any typical movie goer would, with an open mind and a bag full of popcorn. I enjoyed the movie, as I would probably many classics. There were moments that came into question, mostly the scientific approach these so-called university scientists were taking. Call me a layman, but ripping a bone out of the mud and taking it into the city for examination seems like we’re missing a few important steps. But then again, i’m more of a historian than I am a scientist. There were also some more laughable moments, namely the obvious sexism with the ONLY female cast member, Julie Adams (playing Kay Lawrence). There were only a few bits of that though, mostly between her and the perhaps not-so obvious antagonist, Richard Denning (playing Mark Williams) who is often quick to remind Kay that she is in fact a woman and should not put herself in danger and thus should stay on the boat, the boat here I’m assuming symbolizing “the home.” And when she does as she pleases and goes for a swim, she is again rebuked. Though sexism is non-excusable, we must be careful of egocentrism and ethnocentrism by not judging these older pictures by taking them out of the culture in their own place in time and putting them into our own. Moving on, there were also harrowing and frightful moments, especially for those poor local expedition helpers…and speaking of which, all the deaths in the movie were of the indigenous and one white cast member, Richard Denning. Everyone else survived, more-or-less, unscathed. The first kill scene was rather horrifying, though not much is actually seen. But this works well for the movie, given its place in history. Besides, sometimes less is more. Not very characteristic for a flick in the Atomic Age of Cinema, I must say. But its all for the better.
What I found to be most impressive was the cinematography. The moment when Kay is out for a swim and the Creature sees her and though has no dialogue whatsoever, you can tell the beast is intrigued with her and becomes attracted to her. The part with Kay swimming and the Creature directly below her, following parallel upside down is mesmerizing. All of the under water scenes are impressive, now that we’re talking about it, for the day and age of production. The acting, I thought, was also on par with those scenes, though marred a bit in cultural sentimentality. The sea captain was humorous. The practical effects for the Creature were surprisingly fantastic. Having never seen this flick before, I was rather timid. I thought it’d be a stereotypical “King Kong” movie. And though there are certain “King Kong-isms,” the story is still all its own. The way David Reed (played by Richard Carlson) fought to keep a rational approach to their escalating nightmare was out of characteristic of these types of movies. Dr. Reed, despite his crazed counterpart, Dr. Williams, insistence of capturing the Creature, wanted nothing more than to obscure the Creature in its natural habitat and not leaving any more of a footprint then what they had already left within the monsters environment. This is where during my second screening, while listening to the film historian’s notes, something odd came to me. What exactly is this movie about? Looking at it from its place in history, this is the first Monster movie to take place post-WWII. Though not resembling a Atomic Age flick, it certainly grew out of those films. Well, as we have already deduced, this is not a supernatural nor a cosmic story. The science in the film is generic. So what? What could it be? I think The Creature from the Black Lagoon is a movie about naturalism, asking a very general albeit profound question regarding the hubris of mans ignorance and places within the terrestrial realm humanity does not fully understand.
The best part of movies like this is that they do not give away the answers to the questions they insinuate. Some things can be readily deduced. The Creature was not monstrous, but rather acted monstrously when provoked. The so-called elder in the scientific team was for the most part silenced by the more loud-mouthed Mark Williams, who wanted to capture the Creature, dead or alive, as some kind of sideshow attraction and fame. The only reason the others followed his lead, for a time, was because of his position in society, his wealth and standing in the unnamed university. The only level-headed member on the cast was David Reed, who wanted to leave the Creature alone and observe, if they could, but was, in the end, forced to destroy the very thing he wanted to protect. It was a very tragic ending, slow and painful to watch, but one that certainly left a lasting impression. If you haven’t had the opportunity to see this pillar of the Universal Monsters, please do. And if you’ve had the opportunity, but decided against it, please reconsider. Who knows, you might find yourself pleasantly surprised.
If you liked what you read here, why not give us a “like” on that button below. You can also keep up by subscribing the blog here. Universal Monsters in Review will be posted weekly, on Wednesdays. Next week, you’ll have the pleasure of reading Dan Marc Chant’s insights into The Mummy (1932).
My Review: 4/5