The Colossus of New York (1958)

The Colossus of New York (Dir: Eugène Lourié, 1958). 

Low budget sci fi shocker of the ‘good scientist gone bad’ variety, from Paramount Pictures. 

With story aspects and visuals borrowed liberally from the likes of Der Golem (Paul Wegener & Carl Boese, 1920) and Frankenstein (James Whale, 1931) The Colossus of New York tells of acclaimed scientist Dr Jerry Spensser (Ross Martin); cut down in his prime on the eve of collecting an International Peace Prize. After relieving the dead body of its brain, his surgeon father (Otto Kruger) and automation expert brother (John Baragrey) promptly insert the cranium into that of a 8 foot metal man and, with some incredible shortsightedness, inexplicably fit the robot with death ray laser eyes! Lamenting the lack of a soul and understandably upset at his brother's romancing of his widow (Mala Powers), Dr Jerry breaks free of the laboratory that binds him, and heads cityward, all eyes blazing! But not before a weirdly touching reunion with his fatherless young son Billy (Charles Herbert). 

The Colossus of New York is an incredibly silly movie, but it is not at all bad. Its title is misleading; there certainly is a colossus and he is definitely in New York, or at least in front of a back projection of New York. But those expecting to see a titanic tin man rampaging through Times Square will be bitterly disappointed. It takes until the final reel for the colossus to rock up in the Big Apple and then he causes little actual destruction. Still, much of the movie is moodily atmospheric and the 'bot itself would be pretty intimidating in a dark alley. 

Director Eugène Lourié does his best with what limited resources he has but, as usual, is hampered by a small budget. Also a noted art director Lourié, would direct only four movies, all of which were sci-fi/horror genre flicks. While he certain displayed a flair for the subjects, he sadly never graduated from second features and would not repeat the success of his directorial debut, creature feature classic The Beast from 20,000 Fathoms (E. Lourié, 1953). 

Despite its obvious flaws (mainly due to budgetary constraints) The Colossus of New York is well worth a watch. It is no masterpiece, but is well directed and entertaining. With some unintentional giggles along the way. The moral of the tale? Automation is a wonderful thing, but don’t go putting human brains in robots.

Attack of the 50 Foot Woman (1958)

Attack of the 50 Foot Woman (Dir: Nathan Hertz, 1958). 

Proto-feminist text or trash classic? As much as some film historians claim it’s the former, I think sci-fi/horror Attack of the 50 Foot Woman is probably the later. 

The previous year Universal hit big with seminal sci-fi shocker The Incredible Shrinking Man (Jack Arnold, 1957); independent producer Bernard Woolner was quick to spot a spot a bandwagon and promptly jumped aboard, flipping that movies concept for one of a giant woman! In the process delivering a cheap and cheerful exploitation film aimed squarely at the drive-in, double feature market.  

After arguing with her two-timing husband, heiress and owner of the world's most expensive diamond Nancy Archer (Alison Hayes) has a run in with an extra-terrestrial satellite, inexplicably inhabited by a 30 foot bald-headed behemoth (Michael Ross, doubling as Tony the bartender). Radiation exposure results in Nancy growing to a whopping 50 feet in height. Meanwhile husband Harry (William Hudson) takes the opportunity to steal her diamond and ensconce with fancy-lady Honey (Yvette Vickers). Soon the police are on their tail as, more worryingly, is Nancy who wants her diamond and her man back!

Cheap and cheerful The Attack of the 50 Foot Woman may be, but it isn't without a peculiar charm. The special effects are naive, to put it politely. From see through process shots to large papier-mâché limbs, budget restrictions are glaringly obvious, yet this all adds to the fun.

 

It is helped immeasurably by a game cast who play the whole thing absolutely straight, with performances that are not at all bad considering the schlocky nature of the material. Working under the pseudonym of Nathan Hertz is talented director Nathan Juran, perhaps understandably not wanting his name on an end product hampered by a minuscule budget. Yet, within the obvious monetary restraints, he delivers a tightly plotted, well paced and highly enjoyable movie. 

Those expecting a gal Godzilla maybe disappointed. The rampaging is saved for the final moments, while the publicity image of a mini-skirted, enormous Nancy straddling the highway and picking up cars like Tonka toys is sadly not recreated in the feature. Yet there is still much to enjoy in this movie which has deservedly become a cult favourite.

It is fair to suggest that a larger budget and more convincing special effects would have made Attack of the 50 Foot Woman a slicker, more professional movie. But in all honesty I don’t think it would have made a more entertaining one. 

Rather than the adequate, serious shocker it may have been, Attack of the 50 Foot Woman is a campy cinematic treat! A drive-in classic and a lot of fun! 

The Dead Don’t Die (2019)

The Dead Don’t Die (Dir: Jim Jarmusch, 2019).

Writer/director Jim Jarmusch pays homage to George A Romero in the zombie comedy (zomedy?) The Dead Don’t Die. 

Rural small town Centerville finds itself in the midst of of zombie uprising somehow linked to the altering of the Earth's rotation due to polar fracking (?). At the centre of the action are local police chief Cliff Robertson (Bill Murray) and his partner, officer Ronnie Peterson (Adam Driver), who must attempt to hold off the meat hungry horde from consuming the community.

Although, its roots are firmly planted in Romero’s Night of the Living Dead (George A Romero, 1968) and its subsequent sequels, with or without a knowledge of the Romero oeuvre, The Dead Don’t Die is still a fun, albeit grizzly Zombie fest. All the ingredients are present to make a classic comedy horror in the vein of say, Shaun of the Dead (Edgar Wright, 2004), and this it very nearly achieves. But ultimately, while it’s nicely atmospheric with gore to spare, something it about doesn’t quite gel. If it has any flaws it is that it tries a little too hard to be quirky; as if a cult movie by design. It’s never quite as funny as it should be, while attempts to break the fourth wall and references to movie’s script seem a little laboured and too self-conscious.  

With Jim Jarmusch as director and an outstanding cast the movie was never going to be a total loss. Of the cast, Adam Driver stands out; proving with each role that there is more to him than brooding bad guy Kylo Ren. Master of deadpan Bill Murray is, well, Bill Murray being deadpan. This, however, should be enough for most viewers. Meanwhile, Tilda Swinton is a welcome addition as a samurai sword wielding undertaker,  although her character is a little underused and seems likely added to up the quirky quotient. 

The Dead Don’t Die is a good movie. I just get the feeling it could have been better. While it must be regarded as a minor entry on Jarmusch’s CV it is still a worthwhile watch. Especially for lovers of the living dead. 

The Black Scorpion (1957)

The Black Scorpion (Dir: Edward Ludwig, 1957).

Swapping atomic ants for subterranean scorpions and the Los Angeles sewers for the caverns of the Mexico desert, The Black Scorpion shamelessly hitches a ride on the coattails of monster movie masterpiece Them! (Gordon Douglas, 1954).

An undistinguished B-movie cast of little charisma cannot help but be overshadowed by the giant scorpions rampaging the southern portion of North America. The second hand plot finds the enormous arachnids chowing down on the San Lorenzo locals. Luckily some US scientists are on hand to make sure the pesky critters do not hop the border. Yup, the plot really is as lazy as my description of it.  

Surprisingly for a 1950s creature feature, the beasts of The Black Scorpion are not the result of radiation exposure. Rather, they are a species of underground primeval predators who nip up to surface for a little human snacking after some volcanic activity. This matter aside, the movie is pretty much Them! 2 (or Them! Again!). Yet while it doesn't live up to its superior predecessor, the movie isn’t a total loss. 

The giant scorpions are the work of the granddaddy of stop motion animation, Willis O’Brien. O’Brien is, of course, the special effects legend who gave life to the mighty King Kong (Merian C Cooper & Ernest B Schoedsack, 1933). This is late in his career and it is clear O’Brien is working on a budget. Yet even within the restraints of a B-Movie budget the effects are largely satisfying. The model work is good, especially when seen at a distance. Less successful are the oft-repeated close up of a scorpion's drool dripping face; more likely to raise a laugh than instil fear in the audience. Some unfortunate process shots, in which the scorpions are superimposed in silhouette over the action, are also below standard and are reportedly the result of cost-cutting. Compensation comes in the form of a spectacular showdown in a football stadium which ramps up the schlock value to great effect 

Ultimately, The Black Scorpion is little more than a Them! knock off. It isn’t a bad movie, but neither is it a particularly good movie. Neither is it so bad it’s good. The scorpion attacks are entertaining, but in its quieter moments the film is a little dull. The tension building that made Them! such a terrific thriller is absent here and without that movie’s moral take on atomic energy it is less a snapshot of 1950s fears and anxieties. While the film is of value to 50s creature feature freaks like me, it is definitely a monster movie also ran; worth a watch for Willis O’Brien’s effects work but little else. 

House (1985)

House (Dir: Steve Miner, 1985).

From Sean S Cunningham, producer/director of Friday the 13th (1980) and Steve Miner, director of Friday the 13th Part II (1981) comes House, a shocker of a markedly lighter tone than the slasher movies for which either was known. 

Promoted as a comedy horror, House stars William Katt as horror author Roger Cobb (presumably modeled after Stephen King) a Vietnam vet who is mourning the recent suicide of a beloved aunt and the mysterious disappearance of his young son. Both events are somehow connected to the creepy house which his aunt has left to Cobb in her will. Retreating to his aunt's abode to write a biographical novel based upon his wartime experiences, he is haunted by all manner of apparitions, included that of comrade Big Ben (Richard Moll) who died in Vietnam. Naturally folks think Cobb is crazy. Enlisting the help of amiable neighbour Harold (George Wendt), Cobb battles to overcome both inner-demons and the curse of the house of horrors. 

Missing kids and suicidal aunts may seem an odd choice of subject for a comedy, even one with horror elements. However, what seems even odder is how a comedy about a war veteran evidently suffering from PTSD was ever greenlit in the first place. While I am pretty sure this raised zero eyebrows in ‘85, three decades later it leaves a decidedly nasty taste. I do acknowledge that this was almost certainly not the intention of the filmmakers and is, instead, indicative of changing (for the better) attitudes. 

Unfortunately the genre straddling in House is not particularly successful, as the film has no firm footing in either comedy or horror. Aside from from some neat satirical swipes on the relationship between author and fanbase, viewers are presented with a comedy which is light on laughs and a horror with no real frights. Gore fans in the audience will be disappointed as this is pretty much a blood and guts free affair, which is fine with me.  

In many respects, House is the cinematic equivalent of a fairground haunted house or ghost train; every so often a rubber creature pops up to offer a jump scare but there is little for genre aficionados to really sink their teeth into. Serviceable special effects enhance the mild thrills but are not particularly groundbreaking and the movie can't help but feel just a little generic. The ‘Nam flashbacks are fairly well mounted but their seriousness feels out of sync with the otherwise comic tone. While they eventually have their payoff, these scenes also feel a little like an attempt to bring the movie runtime up to feature length. 

William Katt is a little bland in the lead; likeable enough but never quite convincing as a man experiencing some major traumas. Although sadly underused, it was nice to see George Wendt in a fairly substantial feature film role. Best known as Norm on TV's long running sitcom Cheers (1982-93), Wendt plays another affable beer drinking everyman type which, let's be honest, doesn't really tax his talents.

Early on in the movie, a ghostly apparition proclaims “Leave while you can!” and I can’t help but feel that this is a warning to the audience. Yet it was popular enough in ‘85 to spawn an incredible 3 sequels, so maybe I am being too harsh on the movie. I am sure that House has its fans, but I imagine that these are largely those who enjoyed it back in the 80s. I can’t really see it having any wide appeal to newcomers. I wouldn't say House is entirely without entertainment value, it plodded along well enough but it was a little underwhelming. It is certainly not the worst movie I have seen, or even one of the worst. However, when the Clint Ballard classic ‘You’re No Good’ plays over the end credits, it’s hard to disagree. 

The Beast from 20,000 Fathoms (1953)

The Beast from 20,000 Fathoms (Dir: Eugène Lourié, 1953). 

This sci-fi classic from the heyday of the monster movies marked the cinematic pairing of fantasy titans and lifelong friends, author Ray Bradbury and stop-motion animator Ray Harryhausen. 

Based upon Bradbury's short story The Fog Horn, The Beast from 20,000 Fathoms tells of the mighty Rhedosaurus, a 200 foot, disease-ridden, carnivorous dinosaur frozen in suspended animation for millions of years and unwittingly thawed by an experimental Arctic atomic explosion, Awakened from his frosty slumber, old Rhed proceeds south to North America's east coast and the warmer waters of the Atlantic. En route to New York he overturns a fishing boat and destroys an innocent lighthouse, before rocking up in the Big Apple to wreck havoc in the city, culminating in an awesome Coney Island showdown between monster and military.

Five minutes into the movie you would be forgiven for mistaking it for a serious minded and somewhat dry science documentary. Yet this somber tone sets the mood for what is to follow. Unlike many 1950s creature features, The Beast from 20,000 Fathoms is no schlock horror. Of course the science is hokum but the movie takes its self seriously and thanks to superior storytelling and subtle performances from its cast, the audience does too.

For modern viewers the cast is a little less than star-studded, but effective nonetheless. Leading man Paul Christian (sometimes billed as Paul Hubschmid), is believable as the witness whose claims are dismissed by all but a pretty paleontologist, the appealing Paula Raymond. Together they exhibit a natural chemistry and make a likeable screen couple. Genre regular Kenneth Tobey crops up in a supporting role as an initially skeptical colonel. However, the real star of the show is the magnificent Rhedosaurus brought to life via some terrific stop-motion animation courtesy of special effects legend Ray Harryhausen. Harryhausen fills the movie with seemingly endless iconic moments; dino fans will be in reptile rapture as the monster raises its head above the New York docks and rampages down Wall Street, munching on a cop for breakfast! Best of all is the sight of the full length beast tearing down a lighthouse, as the keepers attempt to exit the crumbling structure via spiral staircase. Such is the personality present in the animation that monster fans like me may find their sympathies lie with the beast. After all the poor fella didn't ask to be defrosted.

The Beast of 20,000 Fathoms' superior spectacle makes for a visual experience bettered by little else of its era. Credit also to director Eugène Lourié who keeps the tension mounting in the atmospheric non-action sequences. Surprisingly, the movie takes less of a critical view of nuclear energy than many of its contemporaries, notably atomic ant fest Them! (Gordon Douglas, 1954). While the action in some respects revisits King Kong (Merian C Cooper & Ernest B Schoedsack, 1933), it does so without the moral concerns of the ape exploitation tale. In essence, The Beast from 20,000 Fathoms is pulp cinema in its purist form; exquisitely made and enormously entertaining. Subsequent monster movies from Godzilla (Ishiro Honda, 1954) to Jurassic Park (Steven Spielberg, 1993) to Cloverfield (Matt Reeves, 2008) and beyond all owe a debt to this original masterpiece.

For pedantic pre-hisorians in the audience, no the Rhedosaurus is not a real dinosaur; but surely no one is here for a lesson in paleohistory, just sit back enjoy the carnage!