Laia Costa will also star in Lee Cronin’s The Mummy, the Atomic Monster/Blumhouse production for New Line that just started shooting in Ireland. Cronin’s Doppelgängers banner is also producing. Costa joins Jack Reynor, who was recently announced, in the film.
The film, which is still keeping its logline under wraps, is written and directed by Cronin, and marks the first collaboration for the recently combined companies, helmed by James Wan and Jason Blum, with Warner Bros. Motion Picture Group. The film will be released on April 17, 2026.
Laia Costa starred in the critically-acclaimed, single-take film, Victoria, for which she won the LOLA (Germany’s equivalent of the Oscar®) for “Best Actress” and was nominated for a European Film Award for “Best European Actress” and the prestigious BAFTA EE Rising Star Award. Film credits include Only You with Josh O’Connor, Newness with Nicholas Hoult, Miguel Arteta’s Duck Butter, Nicolas Pesce’s Piercing, and Dan Fogelman’s Life Itself. Currently starring in Prime Video’s The Wheel of Time, additional TV credits include Devils for Sky Atlantic, AMC’s Soulmates and HBO Spain’s limited series Foodie Love from creator Isabel Coixet. Costa won the Goya Award for “Best Lead Actress” for Lullaby (aka Cinco Lobitos), which premiered at the Berlin Film Festival. She was nominated the following year for another Goya Award for “Best Lead Actress” for Un Amor.
Costa is represented by Gersh, Anonymous Content and Hamilton Hodell.
Lee Cronin first garnered attention with his debut feature film, The Hole in the Ground, which premiered at the Sundance Film Festival in 2019 to critical acclaim. His sophomore feature, Evil Dead Rise, was theatrically released through New Line Cinema in April 2023. The movie made a significant impact, debuting at SXSW and grossing $147 million worldwide, showcasing Cronin’s talent for creating intense and captivating horror films.
Atomic Monster and Blumhouse are co-financing the film. James Wan, Jason Blum and John Keville are producers on the film. Michael Clear and Judson Scott are executive producers. Alayna Glasthal is the executive overseeing the project for Atomic Monster.
Christopher Lee, born on this day in 1922, had an amazing career of fantastic performances and remains the greatest villain actor in film history. He was the last classic horror star and WAMG thanks him for all the monster memories.
Christopher Lee was married to his wife Birgit (Gitte) for 54 years.
Here, according to Movie Geeks Jim Batts, Dana Jung, Sam Moffitt, and myself, are Christopher Lee’s ten best roles.
10. FRANKENSTEIN
It’s only fitting that THE CURSE OF FRANKENSTEIN, the film that truly began England’s Hammer Studios’ theatrical run of full color gothic horror epics, should team (well, they’re both in the 1948 HAMLET, but have no scenes together) their greatest stars, Peter Cushing as Baron Victor Frankenstein and Christopher Lee as his monster (or, as he’s referred to in the credits,”the Creature”). This was the first big screen incarnation of the monster after Universal’s 30’s and 40’s classics with Lon Chaney Jr., Bela Lugosi, Glenn Strange, and, of course, Boris Karloff. Because the Jack Pierce make-up is owned by that studio, Hammer’s make-up man Phil Leakey had to create an original look for Mr. Lee. When the camera zoomed in for the big unveiling (or unwrapping, as he was covered with bandages from head to toe) audiences gasped in terror at his gruesome visage. He truly looked like something from the grave with stringy mop-like black hair (Hmm, maybe it inspired those Liverpool lads), glazed-over white right eye, and flayed, scarred flesh (it’s mentioned that birds had gotten to the body before it went to the lab). Victor has given him the brain of a brilliant medical mentor, but later damage to it had left the creature a murderous near mute. After he’s outfitted with a jet black coat and pants, the monster is left chained in a locked room next to the lab, all alone until Victor needs the creature to eliminate a problem: the Baron’s chambermaid mistress (played by Valerie Gaunt, who would be cast as Lee’s vampire bride in HORROR OF DRACULA a year later). This version of the doctor’s experiment is truly pathetic and nearly elicits the same sympathy as Karloff until we see its brutality in an attack on a blind man in the forest (no soup and cigars this time!). This viciousness is rewarded with a bullet to the eye (a shocking bit of gore for the time), then it’s back to the slab where he’s made to look more revolting and wretched! When Hammer continued the series they decided to concentrate on Victor (perhaps the true monster), but none of the succeeding patchwork people had the impact of the marvelous Mr. Lee.
9. RASPUTIN
RASPUTIN THE MAD MONK (1966) is one strange film and has one of the best villains Lee ever got to play, in a resume teeming with evil and scurrilous bastards. The movie exists because Hammer films had access to footage shot for ANASTASIA, a 1956 film about the phony daughter of Nicholas and Alexandra, the last Czar of Russia. The footage was in Cinemascope which resulted in Hammer shooting Rasputin in that process which was already outmoded and replaced by Panavision. We meet Rasputin in a monastery, follow him all over Russia as he eats, drinks and fornicates way too much, causing carnage and havoc everywhere he goes. Eventually, if you know your history, he ends up way too close to the Czar and his family. Claiming to be a healer Rasputin almost gains control of Russia. Interestingly this movie actually shows him healing people “with these two hands” as Lee ominously proclaims. In Lee’s talents Rasputin becomes an elemental force of nature, he roars through the movie, frightening women and children and causing all manner of scandals and bullying anybody who gets in his way. It is one of the best performances Lee gave at Hammer which was not in any way supernatural. Even that could be argued, Rasputin seems to have hypnotic as well as healing powers. In one of the most prolonged murder scenes committed to film, (historically accurate by the way) Rasputin is poisoned, shot, stabbed, strangled, stabbed again, beaten senseless, thrown out a window and drowned in an icy river! And the movie hints that he might still be alive! Unlike Dracula there was no sequel to Rasputin. And this is one son of a bitch that we are glad to see the last of, Rasputin is the embodiment of pure evil, no redeeming qualities what so ever.
8. ROCHEFORT
THE THREE MUSKETEERS (1973) and THE FOUR MUSKETEERS (1974) are easily the best version of Dumas’ classic adventure novel. An ensemble film, where every one of the actors, and the director, are at the very top of their form and obviously having a blast. Any film that would include Michael York, Faye Dunaway, Oliver Reed, Christopher Lee, Charlton Heston and many others as well as Spike Milligan and Raquel Welch has some kind of record for great casting! In what has to be an in joke Spike Milligan and Raquel Welch are a married couple! Michael York’s D’artagnan changes that. In a great cast and a wonderful story Lee brings a great deal to the main villain, Rochefort, described as Cardinal Richelieu’s living sword blade. Lee looks absolutely killer with his eye patch,(“You Sir! Without the eye!” yells young D’artaganan at one point) long hair and scarlet uniform, worn by all the Cardinal’s guards, the main group out to thwart the Musketeer’s who are sworn to protect the King, a complete idiot (not far from the truth, most crowned heads of Europe in those days were, but that is another story.) It is Lee and M’Lady DeWinter (Faye Dunaway) who cause all the action to proceed, at the instigation of Cardinal Richelieu, involving missing diamonds belonging to the Queen. In any adventure story it is the villain who makes things happen and Rochefort, in Lee’s capable hands is quite a piece of work. Lee has fenced his whole life and in an interview with Filmfax said that all the swords and knives in the film were absolutely real and sharp. Lee and all the other actors were wounded at some point. In an effort to make the sword fighting look real they made every effort to do some damage and very often did! The sword fighting in these films is some of the best ever captured on camera. Without a word of dialog indicating Rochefort’s feelings Lee lets us know, with facial expressions and body language that Rochefort is one world weary and bone tired son of a bitch. In one key scene with Heston Lee lets us know that Rochefort is sick and tired of the Cardinal’s nefarious machinations. Damn I like that phrase! I’ll write it again, Rochefort is sick and tired of the Cardinal’s nefarious machinations! But he has pledged his talents to supporting the Cardinal and not the King and has to play out his hand to the bitter end. It’s his job after all! You get the notion, especially in the second film, that poor old Rochefort might like to put the swords away and have a drink with the Musketeers, join them in some wenching and hell raising, give a little fatherly advice to D’Artaganan, and relax a little. In the climactic showdown we are seriously sorry to see Rochefort get his payback. In the Three and Four Musketeers Lee gives us something more interesting and complex than a tragic hero, a tragic villain.
7. KHARIS THE MUMMY
In 1959, Hammer Films completed remaking the Universal monster “big three” of Dracula, Frankenstein’s monster, and this last, the Mummy. Amazingly, Christopher Lee played the monster in all three—the first (and possibly only) person to perform this feat. Made at the height of the studio’s popularity, THE MUMMY is one of the best films Hammer ever produced. Co-starring Peter Cushing and the beautiful Yvonne Furneaux as the Ananka lookalike Isobel, and directed by Hammer’s ace Terence Fisher, THE MUMMY is dominated by Lee’s towering performance of vengeance unleashed. Wearing heavy bandages, driving his large body forward with choppy but powerful steps, Lee uses his physical presence to convey the menace of the monster. With only his eyes visible through the makeup, Lee also expresses an intensity that other movie mummys have lacked. And notice how his eyes change to a softer appearance when he sees Furneaux’s Isobel/ Ananka character. And if this wasn’t enough to cement this classic portrayal, we are treated to a long flashback sequence of Lee as the Egyptian priest Kharis conducting the burial ritual of Ananka in his most hypnotic tones. Lee himself had mixed feelings about THE MUMMY; on one hand, he admired the handsome production values and regarded it as one of his favorite Hammer films. However, the shoot proved to be a grueling physical challenge for the actor, and he suffered several injuries during production. For example, Lee had to not only maneuver through a muddy bog in full makeup, but do it carrying Furneaux. He later claimed that he pulled every muscle in his back during this scene. But, like all exceptional actors, Lee made the pain work for him through his performance, and the result is a memorable portrait that rivals the best films in the canon of the Egyptian undead myth.
6. COUNT DOOKU
No one really likes the three Star Wars prequels. They were sort of popular when new and it was okay to like them then, but they’ve aged so horribly that geekdom is investing their hopes in Disney to get it right next time. Light sabers are cool. Yoda is cool. Chewbacca is cool.But everyone can agree that the coolest thing about STAR WARS EPISODE II: ATTACK OF THE CLONES (2002), and STAR WARS EPISODE III: REVENGE OF THE SITH (2005) was the casting of Christopher Lee as Count Dooku, a Jedi Master who fell to the dark side of the Force and became a Dark Lord of the Sith, known as Darth Tyranus. It has been said that George Lucas is not a great director of actors, yet that couldn’t slow down Lee,the only actor in the series to exude real menace. Whenever he was on screen, those movies came alive. He made audiences cheer when he and Yoda squared off for their big battle and when he gleefully escaped from the Jedi Master on an intergalactic jet ski. As for the overblown trilogy as a whole, it was all too clearly a product of George Lucas’s production giant Industrial Light and Magic. No magic, little light, but an awful lot of industry.
5. LORD SUMMERISLE
“Come. It is time to keep your appointment with the Wicker Man”. Christopher Lee, who agreed to appear in THE WICKER MAN (1973) for free has claimed it was the greatest film he was ever part of. For good reasons, as this is one of the most unusual and original cinematic masterpieces ever brought to screen and an absolute must-see for everybody interested in movies. The unique greatness of THE WICKER MAN combines elements from a variety of genres; Horror, Thriller, Mystery, Fantasy, Drama, and even Musical, but it cannot really be limited to one particular genre. Scottish police sergeant Howie (Edward Woodward) is called by an anonymous letter to investigate the disappearance of a young girl on the remote Scottish island Summerisle. Upon his arrival, nobody seems to have ever heard of the girl. The deeply religious Sergeant Howie, however, is shocked to find out that the residents of the island, above all the sophisticated but mysterious Lord Summerisle (Christopher Lee), are practicing pagan customs and free sexuality as they await their next human sacrifice…… The final moments of THE WICKER MAN must rank amongst the finest ever committed to film. As Christopher Lee leads the crazed inhabitants of Summerisle in a chorus of ‘Summer Is A Comin’ In,’ Edward Woodward’s cries of anguish and frantic prayers are intermingled with the death throes of the sacrificed animals. The moment when Woodward first casts eyes on the giant Wicker Man of the title never fails to send a chill down the spine.
4. FU MANCHU
The character of Fu Manchu was first created by British author Sax Rohmer in 1912. Boris Karloff played the Chinese villain in 1932’s MASK OF FU MANCHU but after the 1940 serial Drums of Fu Manchu, film adaptations ceased. In 1965 movie producer Harry Alan Towers saw the novels as well- known enough to provide name recognition and signed Christopher Lee to the title role with a six-film deal. Despite being a 6’5” Brit, the actor seemed somehow perfectly suited to the role of the evil Chinaman (Karloff was English as well, though 6 inches shorter than Lee) and the make-up man simply taped up his eyelids for that slanty Asian look. The first film, FACE OF FU MANCHU (1965) directed by Hammer vet Don Sharp was a lively mix of Sherlock Holmes and James Bond concerning the kidnapping of a German scientist who Fu Manchu forces to develop a super weapon. FACE underperformed financially so the next two installments, BRIDES OF FU MANCHU (1966) and VENGEANCE OF FU MANCHU (1967) were filmed with considerably lower budgets, though Towers did take the crew to Hong Kong for some location flavor. In 1968 Towers met Spanish cult director Jess Franco and hired him to film the fourth entry BLOOD OF FU MANCHU (1968) in Brazil, which marked the beginning of the series’ decline. By the next year, Franco and Towers were working on elaborate erotica and sleazy women-in-prison films, and the Fu Manchu series was a dead weight. The final film in the series, CASTLE OF FU MANCHU (1969), was a dismal affair, bringing the series to a premature halt.
3. SARUMAN
When casting was announced for the first LORD OF THE RINGS film, Christopher Lee fans were both excited and a little apprehensive. The character of Saruman, like many a character in Tolkien’s books, is referred to often, but has very few “active” storylines. RINGS director Peter Jackson recognized that one of the weakest parts of the RINGS saga was its lack of a strong visual villain. Sure, Sauron is the Big Bad that pervades every page of the books and every scene of the films, but audiences also need something or someone to focus on as the personification of that evil. Fortunately for both readers and cinephiles alike, Jackson knew how to make use of Lee’s commanding screen persona. With his steely gaze and resonant voice, Lee imbues Saruman with all the self-righteous ego and persuasive yet treacherous charm that is only hinted at in the books. With a more expanded and enhanced role, Lee also has at least one pivotal sequence in each of the three RINGS films. In FELLOWSHIP OF THE RING, the wizard’s duel between Saruman and Gandalf is a key reveal as to who is the embodiment of the evil Sauron. The sequence also emphasizes the sheer physical presence Lee has, which is sometimes overlooked when compared to his magnificent vocal delivery. In TWO TOWERS, Saruman’s storyline adheres fairly closely to the book, as Lee organizes and directs the war machine he has helped create as Sauron’s advocate. And in RETURN OF THE KING, although some fans disliked the new resolution for Saruman that Jackson’s team came up with–which differs quite a bit from the book– Jackson probably made the correct decision, as the book’s ending does seem to drag on unnecessarily. Unfortunately, Saruman’s ending was cut from the initial release print of RETURN OF THE KING, but is available on the Extended Edition DVD/Blu-Ray release. It is difficult to understand Jackson’s reasons for leaving out this sequence, because it is quite spectacular—even by RINGS standards—and gives closure to Lee’s perfect depiction of corrupted power.
2. SCARAMANGA
In 1974, the James Bond movie series was a dozen years old. For Roger Moore’s second outing as 007, the producers wanted to find a foe that could be his very equal. While recent tiles were comic riffs on well-known adages (YOU ONLY LIVE TWICE, LIVE AND LET DIE, etc.) the new film’s title, like two of the early classics (DR. NO and GOLDFINGER) refers to the villain, the master assassin Francisco Scaramanga, THE MAN WITH THE GOLDEN GUN. While Bond kills for Queen and country, Scaramanga’s does it for the cash (“a million a shot” as the opening song says). Sure he’s got a load of henchmen on his gorgeous island hideaway, but no need for any muscled leg-breakers like Oddjob and Jaws. Mr. S is deadly enough (although his manservant Nick Nack played Herve Villachaize, yep it’s TV’s Tatoo, helps and sometimes taunts his boss). As the 1970’s began Lee was expanding beyond the horror genre and appearing in bigger budgeted studio fare such as JULIUS CAESAR, THE PRIVATE LIFE OF SHERLOCK HOLMES, and THE THREE MUSKETEERS. This film was a wonderful showcase for his talents and introduced him to an even larger audience (hey, we monster fans already knew he was wonderful!). For the film’s pre-title sequence we see his physical side as he turns the tables on a ruthless American gangster (the great Marc Lawrence). Later the romantic Mr. Lee appears as he beds (but no biting!) the alluring Maud Adams (back to that song, “Love is required, whenever he’s hired…”). In the final showdown Moore faces his greatest (up to that point) screen battle as the two engage in a deadly duel to the death. It’s was a wonder that producers Saltzman and Broccoli waited so long to cast him (Lee is the step-cousin of Bond creator Ian Fleming!), but Christopher Lee elevates this, the ninth 007 epic, with his cultured deep baritone and imposing presence, and makes this high-priced hired gun one of the most memorable adversaries in the fifty-plus years of the greatest film franchise ever.
1. DRACULA
Christopher Lee, with is deep, commanding voice and six-foot, five-inch frame was the perfect choice for the role of Dracula. His Count is an imposing presence, stately and cool, with the gentlemanly manner that belies a lurking, evil presence. He is able to imbue his character with both erotic charm and animalistic fury at the same time and was much more terrifying than Bela Lugosi’s romantic seducer. After the international box-office success of THE CURSE OF FRANKENSTEIN, Hammer Studios decided to reunite its two key actors from that film, Peter Cushing and Lee. Hammer turned to another Universal Studios staple, Dracula which by then Universal Studios had little use for, last using him for a role in ABBOTT AND COSTELLO MEET FRANKENSTEIN. While only fitfully faithful to Stoker’s novel, Hammer Studios first version of Dracula, known in the U.S. as HORROR OF DRACULA (1958), remains the epitome of the English gothic horror film, complete with lavishly dressed sets, a vivid use of color, art and production design that effectively used Technicolor’s oversaturated color scheme, fluid, but never obtrusive camerawork, and compelling characters. Ironically enough, Lee is only on the screen a total of seven minutes in HORROR OF DRACULA yet his frightening presence is felt through the film. It would be seven more years before Lee would reprise the role for DRACULA, PRINCE OF DARKNESS, but his screen time in the series for Hammer never got any longer. Playing the role of Count Dracula for the second time, Christopher Lee was superbly menacing even though he does not utter a single word. The resurrection sequence in DRACULA, PRINCE OF DARKNESS, in which Dracula’s creepy manservant slashes one of the guests at Dracula’s castle and uses his blood to revive the long-dead Count still retains its shock value. DRACULA HAS RISEN FROM THE GRAVE (1968) saw Oscar winning cinematographer Freddie Francis taking over the directorial reins from Terence Fisher and put an unusually strong emphasis on religion. Christopher Lee delivered another memorable performance as the man in the red-lined black cape. In TASTE THE BLOOD OF DRACULA (1970), the Count is revived by a Devil worshiper and three middle-aged men making a thrill-seeking pact. Chris Lee’s screen time is again brief, and he’s not given much to do except be the orchestrator for revenge as he makes the children of the businessmen kill their parents for him. SCARS OF DRACULA (1970) focused more on the actions of Dracula himself and affords Christopher Lee more screen time than in any other Hammer Dracula film. It was filmed on a lower budget, and while this shows, it does not prevent this from being one of the most memorable and unfairly derided of the long-running vampire series. DRACULA, A.D. 1972 (1972) found the Count in (then) modern day. Hippy kids “out for kicks” dabble in the Black Mass summon the great Count back to swinging London. The swinging ‘70s scene was dated when the film was released but its aged well and marked the return of Peter Cushing to the series. SATANIC RITES OF DRACULA (1973), the final installment of the Hammer Dracula saga, is different because it uses Lee’s scant appearances to its advantage, keeping Dracula aloof and mysterious, concerning itself with the disease of vampirism, which is compared to a plague. Because of its science fiction overtones, SATANIC RITES OF DRACULA felt more like an installment of The Avengers than a typical Hammer film. Lee played Dracula several times outside of Hammer studios. In COUNT DRACULA (1970) Lee looked just like the description of the Count in Bram Stoker’s novel and even he considered it his most accurate performance as the Count. He’s given more of a human side that is missing in the Hammer films, and delivers a good deal of dialog. COUNT DRACULA benefited from superior atmosphere and direction by Spanish cult figure Jess Franco and a deranged Klaus Kinski as the insane Renfield! Lee cameoed as the Count in the Peter Sellers comedy THE MAGIC CHRISTIAN (1969) and the Jerry Lewis directed ONE MORE TIME (1970) starring Sammy Davis Jr. Lee played Dracula for the last time in DRACULA AND SON (1976) a comedic take on the legend shot in France and Yugoslavia in French which ended up having Lee’s distinctive voice dubbed by another actor for the English-language dub. Christopher Lee has played many roles in his career but it will Dracula for which he will always be best remembered.
Much of this article was originally posted in 2008
(L-R) Boris Karloff with fellow horror star Vincent Price, in a publicity photo. BORIS KARLOFF: THE MAN BEHIND THE MONSTER is a documentary about the career and life of Karloff. Courtesy of Abramarama and Shout Studios
BORIS KARLOFF: THE MAN BEHIND THE MONSTER is a gloriously enjoyable retrospective of the legendary actor, who is forever tied to the horror genre and the monster role of Frankenstein’s monster, which first brought him fame. The film, directed by Thomas Hamilton, is thoroughly enjoyable but, despite its subtitle, it is less a personal biography than a review of this career, with an emphasis on how his work influenced future filmmakers and the horror genre. Karloff fans and serious film history buffs will find little that was not already known about the man but it is a wonderful introduction and retrospective on Boris Karloff.
If ever there was an iconic Hollywood figure who deserves a biopic, it is Boris Karloff. Everyone knows his name, whether as the star of the classics FRANKENSTEIN or THE MUMMY, or the voice narrating HOW THE GRINCH STOLE CHRISTMAS. Despite his fame, Karloff has been long dismissed as only character actor, the result of having primarily worked in horror genre films. But Karloff’s is more complicated story, with acting experience grounded in the theater, a story that warrants a new, deeper look at the man and his work. Something this documentary touches on is Karloff’s ethnicity and what that meant in an earlier, more racist era and in early Hollywood.
Boris Karloff was not Russian nor was that his real name, but an Englishman named William Pratt, the youngest of nine children of a Anglo-Indian man, who had been in civil service in Indian, and his much younger wife. Young Billy Pratt was well-read and well-educated. but he and his brothers faced racism comments at school. Family expectations were that he would follow his older brothers into the diplomatic service, yet he fell in love with theater. Leaving college early, he immigrated to Canada, adopting the stage name Boris Karloff. His partly East Indian heritage gave him a darker complexion and led to him being often cast in ethnic roles. He had appeared on stage and in over 80 silent and sound movies by the time he was cast as the Monster in James Whale’s ground-breaking FRANKENSTEIN.
It is an intriguing story and the above details are among the personal background offered by the documentary. However, the documentary’s greater focus is on Karloff’s career. This fine, long-overdue documentary has admiring commentaries from such name directors as Guillermo Del Toro, along with John Landis, Roger Corman and Peter Bogdanovich. Del Toro in particular, speaks at length about the influence Karloff’s films had on him. Interviewees are a mix of directors, actors and film historians, including Christopher Plummer, Stefanie Powers, Lee Grant, Sir Christopher Frayling and Kevin Brownlow. There are also interview footage with Karloff’s only child, daughter Sara Karloff, and a few who knew him or worked with him. Not many of the latter left, given that Karloff died in 1967.
Besides the interviews, there is plenty of footage from Karloff’s many films, and analysis by critics and film historians. The footage include Karloff’s biggest hits and most iconic roles, FRANKENSTEIN with director James Whale, and THE MUMMY with director Karl Freund. There are insightful discussions of the films, tidbits on their filming and an examination of performance details. The discussions often turn on how Karloff’s performances, which gave the monsters a sympathetic aspect, riveted audiences, shaped the genre and influenced films and directors far beyond that role itself.
But the documentary also offers footage and discussions of perhaps less famous but influential films Karloff appeared in, like THE OLD DARK HOUSE and THE BODY SNATCHER, and an appreciation of his skill in lesser-known films and dramatic roles. These discussions are among the most intriguing for serious film buffs.
The footage, and the film-by-film analysis, are the best parts of the film, putting Karloff’s work in perspective of the times and tracing his mix of work, with included silent and sound films, stage performances, radio, and television. A highlight is the focus on the way HOW THE GRINCH STOLE CHRISTMAS re-vitalized Karloff’s career and introduced him to a new generation of fans, as did “monster movie” archival TV shows of the ’60s and ’70s. The documentary covers Karloff’s hit Broadway debut in “Arsenic and Old Lace,” winkingly playing a crook who is angry that botched plastic surgery left him looking like Boris Karloff. The role led to a return to other stage roles, and, as the e documentary highlights. Karloff’s role in “The Lark,” which won him a Tony nomination.
All the old film footage and career highlights are delightful. Where the documentary falls a bit short is in the biographical, where the information is thinner and often leaves the audience with questions. Serious fans will already know the details but the less well-informed are left to wonder when the actor actually adopted the stage name Boris Karloff, and exactly when he arrived in Hollywood. Of course, like many actors of his era in particular, Karloff had a tendency to re-write his own history, which makes uncovering his past a bit difficult. One re-writing of the past the film does note is that Karloff used to tell people his parents died when he was very young, which was not true, to avoid questions about them. Partly this may have been to conceal his Anglo-East Indian heritage, in an era rife with open racism, but perhaps it was partly to save his family, all respectable members of the diplomatic corps or other professions, from embarrassment over having an actor in the family.
Another unexpected detail of the actor’s life is how many times he was married, at least five (there may have been more) but only some of the wives even get a mention. Despite all the marriages, Karloff had only one child, Sara. The story of her birth during the filming of one of the Frankenstein movies and on his birthday, along with still photos, provides some of the best moments in the documentary. Sara Karloff herself is a great asset to the film, often giving those personal insights the subtitle promises.
This enjoyable documentary is an fine introduction to Boris Karloff and particularly his career, which reaches beyond his most familiar roles and deepens appreciation of his work.
BORIS KARLOFF opens Friday, Sept. 17, at theaters in select cities, expanding to others over the coming weeks.
No other actor in the long history of horror has been so closely identified with the genre as Boris Karloff, yet he was as famous for his gentle heart and kindness as he was for his screen persona. William Henry Pratt was born on November 23, 1887, in Camberwell, London, England. He studied at London University in anticipation of a diplomatic career; however, he moved to Canada in 1909 and joined a theater company where he was bit by the acting bug. It was there that he adopted the stage name of “Boris Karloff.” He toured back and forth across the USA for over ten years in a variety of low-budget Theater shows and eventually ended up in Hollywood. Needing cash to support himself, Karloff landed roles in silent films making his on-screen debut in Chapter 2 of the 1919 serial The Masked Rider. His big break came when Howard Hawks cast him as a creepy convict in THE CRIMINAL CODE in 1930. Producers at Universal were looking for an actor to play the monster in their upcoming adaption of Mary Shelley’s Frankenstein. Their main horror star Lon Chaney had died the year before and Bela Lugosi, starring in their hit DRACULA, turned down the role, so Karloff was offered the part. FRANKENSTEIN became an enormous success for the studio, and for its newest star whose name was not revealed until the final credits of the picture, and then only as “KARLOFF”. The role made Karloff a major box-office draw, the king of horror, heir to Lon Chaney’s throne, and he followed it up with THE MUMMY, THE MASK OF FU MANCHU, THE OLD DARK HOUSE, THE GHOUL, TOWER OF LONDON, and of course two sequels as the monster: BRIDE OF FRANKENSTEIN and SON OF FRANKENSTEIN. His star never faded and for the next several decades he reigned as Hollywood’s undisputed horror king. In the 1960’s, he teamed up with Roger Corman , Vincent Price and Peter Lorre for THE RAVEN and with Price and Lorre again for COMEDY OF TERRORS. Karloff continued working up until the very end, even while physically impaired and infirm, often performing from a wheelchair or with a cane. His last involvement of consequence came in 1968 with the critically acclaimed TARGETS. Karloff was well known as a genuinely kind and gentle soul off the screen.
Boris Karloff appeared in over 200 films in his five decades as an actor and here, according to We Are Movie Geeks, are his ten best:
10. THE DEVIL COMMANDS
One of Karloff’s least-known films until it became a staple of late-nite TV–and DVD – decades later, this taut thriller also boasts one of his most compelling performances. In THE DEVIL COMMANDS, Karloff portrays Dr. Julian Blair, at first glance a “mad scientist” type whose personal tragedy leads to experiments combining scientific method and the occult. But in Blair’s obsession to communicate with his dead wife, Karloff once again creates a character who is at once extremely sympathetic and a bit scary. And unlike similar roles requiring tons of makeup, here Karloff wears none, so the intensity of his anguish, and yes, his madness, becomes almost heartbreaking. Even though it was a Columbia B-feature, DEVIL COMMANDS rarely shows it. Director Edward Dmytryk (who later moved to the A-list to direct Bogie in THE CAINE MUTINY and Gable in SOLDIER OF FORTUNE), working with a solid supporting cast, fills the spare 65 minute running time with eerie narration and hypnotically creepy laboratory scenes. By the time the villagers storm the castle– I mean, home– of the scientist, we know we’ve been treated to Hollywood studio production at its best, with one of the great unsung performances by a screen legend.
9.THE SORCERORS
Boris Karloff was 80 in 1967 when he starred in THE SORCERORS, his last film shot in his native land of England. The story, adapted from John Burke’s novel, follows an aging couple, Marcus and Estelle Monserrat (Karloff and Catherine Lacey), inventors of a device that allows them to control the minds of others and vicariously experience the world through their eyes. They focus on a swinging young Londoner Michael (Ian Ogilvy) to experiment on. As the Monserrats play audience to his living scenarios, they soon add violence and crime to the mix. As Estelle goes crazy with power; she begins making Michael steal furs for her, then leads him to murder. Karloff’s Marcus is the film’s moral center and the actor delivers his last great starring performance. Ancient, arthritic, stumbling on a wooden cane behind white hair and wild eyebrows, he is sadly forced to watch as his device is perverted by the woman he loves. Despite the film’s low-budget, its hip psychedelic Swinging Sixties look provides some definite eye candy (and Susan George in a mini-skirt). The mix of 60’s period atmosphere and music with sci-fi concepts is exciting and the shocks are frightening. THE SORCERORS was directed by 23-year old Michael Reeves and while his next film, the Vincent Price classic WITCHFINDER GENERAL, is considered his masterpiece, THE SORCERORS is outstanding as well, though a bit tough to find (it’s MIA on DVD in the U.S.). In February of 1969, just nine days before director Reeves died of a (possibly intentional) drug overdose at age 25, Karloff passed away at 81.
8. THE RAVEN
“I like to torture!” says Bela Lugosi in THE RAVEN (1935), a great film full of painful devices, secret rooms, disfigured murderers and damsels in distress. Lugosi plays Dr. Richard Vollin, a famed plastic surgeon obsessed with Edgar Allen Poe. Boris Karloff is Edmond Bateman, a criminal that comes to Dr. Vollin for a change of appearance. Vollin disfigures him in order to blackmail him into helping torture another doctor. THE RAVEN runs just 61 minutes hardly lets up for a second, from the car crash which sets the plot in motion, to the exciting climax which takes place in Vollin’s torture chamber. Though the gruesome make-up gave Karloff another monstrous role, THE RAVEN really belongs to Lugosi and the great joy of the film is watching the glee with which the Hungarian actor relishes the sadism in the role. Whether pining for a lost love, skinning his nemesis alive, or using his devices like the pendulum and the room where the walls start closing in, Lugosi is arrogant, imposing, and insane and it may be his most unhinged performance. Karloff, unusually, is the weaker of the duo this time out. His Bateman is a slow-witted, relatively dim, character. It is sad that Lugosi’s career started its slow downfall after THE RAVEN and that he was overshadowed by his “rival” Karloff, due to his own limitations and poor career choices. Karloff would go on to star in another film called THE RAVEN in 1965 opposite Vincent Price and Peter Lorre, a Roger Corman-directed film that just barely failed to make this list.
7. THE MUMMY
Noted German cinematographer (METROPOLIS, DRACULA) Karl Freund made his American directing debut with THE MUMMY, a classic tale that, unlike Universal’s other monster films, had no literary origins. Influenced in part by its horror predecessors, but more so by the huge popularity of anything Egyptian at the time (the excavation of King Tut’s tomb had been completed just a few years earlier), THE MUMMY remains one of Karloff’s greatest roles. Already so popular he was billed on the movie’s poster by last name only (as “Karloff the Uncanny”), his performance as Imhotep is one of horror cinema’s most accomplished creations. Even hindered by strenuous full-body makeup that took up to 8 hours (!) to apply, Karloff’s physicality exudes an otherworldly menace in his scenes as the title character. And as the unbandaged Imhotep, his penetrating gaze and understated delivery overcome lesser but no less restricting makeup applications to make the character almost sad in his desperate attempts to reclaim his lost love. Due in large part to Karloff’s haunting portrayal, the Mummy character proved so popular that it spawned not only many sequels from Universal , but a Hammer Films series, an Abbot & Costello entry, several Mexican films (remember the Aztec Mummy?), and the recent trilogy.
6. BLACK SABBATH
Boris Karloff served as the master of ceremonies for the memorable 1963 anthology BLACK SABBATH and performed as a vampire in the film’s third and final vignette. In “The Wurdulak“Â, Karloff is excellent as Gorka, the vampire-hunting patriarch in rural Russia who returns home just minutes after his self-imposed deadline for being allowed to live. But his family loves him too well to kill him, much to their peril, and they soon fall victim to his thirst. The suspense in this moody and atmospheric story, directed by Italian horror maestro Mario Bava (his sole collaboration with Karloff), builds steadily as it proceeds, and there is an ever-increasing sense of inevitable doom. Bava throws in a lot of mist, baying dogs, glowing color,and creaking doors here, all splendidly amplified at the proper moments to add to an increasing sense of claustrophobia. In his only role as a vampire,, Karloff created one of his more memorable characters which, at this late phase in his long career, demonstrated his professionalism and commitment to the horror genre. The DVD of BLACK SABBATH available from Anchor Bay is the original Italian language version (“I Tre volti della paura“, which means “The Three Faces of Fear” ) which not only has the three stories in a different order than the American release but the viewer is unable to hear Karloff’s real voice (dubbed here). But unlike the U.S. cut, it ends with Karloff atop a phony horse facade as Bava withdraws from a closeup to a startling wide shot of Karloff surrounded by props and a group of small Italian men waving phony tree branches past his face. Bava was offered BLACK SABBATH after the success of BLACK SUNDAY (1960), his first big hit for American International Pictures, and Karloff was part of the deal. BLACK SABBATH is almost 50 years old but it still has the power to terrify.
5. TARGETS
In TARGETS, his last American film role, Karloff comes the closest to playing himself. As the retiring (and similarly-named) horror actor Byron Orlok, Karloff radiates a warmth and sincerity in every scene, whether dealing with fans, friends, or snarky business people. Written (with uncredited help from Samuel Fuller) and directed (his debut) by Peter Bogdanovich, TARGETS is actually two stories that rather brilliantly converge at a drive-in theatre. In one half of the movie, Bogdanovich uses a stark, documentary-style– with no musical score – ”to portray the modern horror story of a Charles Whitman-inspired sniper killing random innocents. The other part of the film is more or less a loving tribute to Boris Karloff, using clips from his films CRIMINAL CODE and THE TERROR, along with references to his long and storied career. Much has been written about the film’s themes juxtaposing the greatest horror movie icon against the violent real-life monsters of today, but in the end, as the London Times stated, it’s a movingly appropriate farewell to a great star.
4. THE BODY SNATCHER
With this performance Karloff proved that he didn’t require an elaborate make-up job to portray a truly scary, sinister character. Of course he’s aided here by the inspired direction of Robert Wise and the expertise of producer Val Lewton ( this, along with Karloff in ISLE OF THE DEAD and BEDLAM, would be the final jewels in Lewton’s horror legacy at the RKO Studios that began with THE CAT PEOPLE ). The film is based on a short story by Robert Louis Stevenson and very much inspired by the story of Burke and Hare, the legendary grave robbers. Karloff is John Gray, a cabman who moonlights as a procurer of corpses for medical study, exclusively for “old pal ” Dr. MacFarlane. Gray is seething menace as he taunts ‘Toddy’ on his nightly visits to the kindly physician’s practice. Seems Gray never gave up Toddy’s name when he was arrested and served time many years ago for his special services. Now the old ghoul will never let the doc forget it! And if there’s not enough of the newly deceased to collect, then John’s got no problem taking the initiative. In one of the great Lewton/ Wise sequences, Gray’s coach clip clops down the cobble road toward a blind street singer. Out of frame, the hoof beats stop, and her voice is abruptly silenced. Later the doc’s simple-minded servant Joseph ( Bela Lugosi ) unwisely decides to blackmail Gray. A friendly drink becomes a great cat-and-mouse game as Gray entertains Joseph by singing an old melody with a killer finish. This would be the last time the two horror icons ( and some say rivals ) would share the screen. Karloff would continue on through the horror rebirth of the 1960’s, while Lugosi, after donning his Dracula cape in ABBOTT AND COSTELLO MEET FRANKENSTEIN, would end his days as the big draw in Ed Wood, Jr. low-budgeters. The entire cast is superb, but this is a real showcase for Boris. In THE BODY SNATCHER, Karloff is the ultimate bogey man in one of his last truly great horror films of Hollywood’s Golden Age.
3. FRANKENSTEIN
Ah, the film classic that made Karloff an over night sensation ( this after more than 70 screen appearances ). And he’s not even listed in the cast credits ( ” The Creature…? ). No photos of him in makeup were released prior to the film’s opening save for a publicity still of Karloff ( his visage hidden by a burlap sack ) being lead to the set, hand in hand, by the guru of grease paint, Jack Pierce. And what an impact he made in the finished film after slowly turning to the camera ( followed by close-up jump-cuts ). No wonder there were reports of patrons fainting in the aisles. But then Karloff’s acting skills truly kicked in. He was able to connect emotionally with audiences. They looked past the putty and powder, the bolts and scars, and sympathized with this flat-topped, pathetic hulk. The monster reaches for the sunlight like a curious child before being tormented by the cruel Fritz. This was a creature more worthy of pity than fear. That is until he lashes at those who would harm him, to the point of punishing his creator, Henry Frankenstein ( Karloff’s so powerful that most people assumed that the monster’s name was simply Frankenstein ). With the film’s restoration in recent years, we see the monster’s despair at the conclusion of the lakeside scene with the little girl and her daisies. Director James Whale along with Pierce created an immortal movie monster and firmly placed Boris Karloff in the pantheon of screen icons.
2. THE BLACK CAT
This tale of American honeymooners (David Manners and Julie Bishop) trapped in the Hungarian home of a Satan- worshiping priest has nothing to do with Edgar Allen Poe’s story. THE BLACK CAT (1934) is about evil, madness, necrophilia, and obsession. It’s the first and best of the eight collaborations between Boris Karloff and Bela Lugosi and both actors are at the top of their game here. This is one film where both actors dish out pure magic and madness for the fans, and there’s not one moment of disappointment anytime either of them are on screen. Every moment they are shown together is intense, whether it’s in the strange, cruel dialog or the brawl between the two in the finale. In 65 minutes, Edgar G. Ulmer proves his potential as a fantastic visual director (his next most famous film was the 1945 noir DETOUR). The introduction of Karloff and Lugosi’s characters (Hjalmar Poelzig and Vitus Werdegast – those names!) is brilliant, as are the secrets that are revealed as the film progresses. For a very long time, you’re not sure which one of them is good or crazy, or if both of them are in fact, completely insane. The scene of Karloff walking through his dimly lit dungeon lair underneath his mansion is the most eerie moment in THE BLACK CAT. The actor walks slowly, holding a black cat firmly in his arms petting it ever so gently, going up to each glass coffin staring at his female corpses as if they were the most beautiful forms of art ever conceived. With its unique art deco design and costumes, THE BLACK CAT is one of the very best from Universal’s Golden Age.
1. BRIDE OF FRANKENSTEIN
” Warning! The monster demands a mate “, so screamed the movie posters. But truthfully, audiences demanded a sequel to the 1931 classic. And boy, did Universal ( with original director James Whale at the helm ) deliver! Colin Clive was back as the tortured Dr. Henry Frankenstein, and, more importantly, so was his lumbering creation played by Karloff ( that’s how he’s listed in the credits, no Boris, but it’s quite a step up from ” ? ” ). The fire from the previous film’s finale has taken its toll on the creature, and makeup wizard Jack Pierce augments his classic original designs with several painful-looking burn scars. This may amp up the audience sympathies for the monster even as he murders an old enemy in the film’s opening scenes. Soon pathos is emphasized over horror as the creature embarks on a series of encounters in the forest ( particularly a long stay with a lonely, blind hermit who educates him ). This leads to another of the poster’s tag lines, ” The monster speaks ” ( supposedly Karloff was none too keen on this development ). Soon those pesky villagers and constables destroy his peace and capture him ( there’s much crucifixion imagery as he’s subdued ). Later he meets the delightfully wicked Dr. Pretorius ( the great Ernest Thesiger ) , who promises to make a mate for him if he helps persuade poor Henry to collaborate ( they even enjoy a couple of cigars ). Then the monster becomes an enforcer ( as he would continue to be in many lower-budgeted follow-ups ) until he meets his bride. Her rejection of him shocks the creature ( his attempts to connect with her by caressing her hand are heart-wrenching ). Ultimately his nobility shines through in the explosive final scenes. Although he would wear those bulky boots on screen one more time, BRIDE OF FRANKENSTEIN was Karloff’s greatest performance as the creature. And the film is on the short list of the very best sequels ever produced.
Christopher Lee, born on this day in 1922, had an amazing career of fantastic performances and remains the greatest villain actor in film history. He was the last classic horror star and WAMG thanks him for all the monster memories.
Christopher Lee was married to his wife Birgit (Gitte) for 54 years.
Here, according to Movie Geeks Jim Batts, Dana Jung, Sam Moffitt, and myself, are Christopher Lee’s ten best roles.
10. FRANKENSTEIN
It’s only fitting that THE CURSE OF FRANKENSTEIN, the film that truly began England’s Hammer Studios’ theatrical run of full color gothic horror epics, should team (well, they’re both in the 1948 HAMLET, but have no scenes together) their greatest stars, Peter Cushing as Baron Victor Frankenstein and Christopher Lee as his monster (or, as he’s referred to in the credits,”the Creature”). This was the first big screen incarnation of the monster after Universal’s 30’s and 40’s classics with Lon Chaney Jr., Bela Lugosi, Glenn Strange, and, of course, Boris Karloff. Because the Jack Pierce make-up is owned by that studio, Hammer’s make-up man Phil Leakey had to create an original look for Mr. Lee. When the camera zoomed in for the big unveiling (or unwrapping, as he was covered with bandages from head to toe) audiences gasped in terror at his gruesome visage. He truly looked like something from the grave with stringy mop-like black hair (Hmm, maybe it inspired those Liverpool lads), glazed-over white right eye, and flayed, scarred flesh (it’s mentioned that birds had gotten to the body before it went to the lab). Victor has given him the brain of a brilliant medical mentor, but later damage to it had left the creature a murderous near mute. After he’s outfitted with a jet black coat and pants, the monster is left chained in a locked room next to the lab, all alone until Victor needs the creature to eliminate a problem: the Baron’s chambermaid mistress (played by Valerie Gaunt, who would be cast as Lee’s vampire bride in HORROR OF DRACULA a year later). This version of the doctor’s experiment is truly pathetic and nearly elicits the same sympathy as Karloff until we see its brutality in an attack on a blind man in the forest (no soup and cigars this time!). This viciousness is rewarded with a bullet to the eye (a shocking bit of gore for the time), then it’s back to the slab where he’s made to look more revolting and wretched! When Hammer continued the series they decided to concentrate on Victor (perhaps the true monster), but none of the succeeding patchwork people had the impact of the marvelous Mr. Lee.
9. RASPUTIN
RASPUTIN THE MAD MONK (1966) is one strange film and has one of the best villains Lee ever got to play, in a resume teeming with evil and scurrilous bastards. The movie exists because Hammer films had access to footage shot for ANASTASIA, a 1956 film about the phony daughter of Nicholas and Alexandra, the last Czar of Russia. The footage was in Cinemascope which resulted in Hammer shooting Rasputin in that process which was already outmoded and replaced by Panavision. We meet Rasputin in a monastery, follow him all over Russia as he eats, drinks and fornicates way too much, causing carnage and havoc everywhere he goes. Eventually, if you know your history, he ends up way too close to the Czar and his family. Claiming to be a healer Rasputin almost gains control of Russia. Interestingly this movie actually shows him healing people “with these two hands” as Lee ominously proclaims. In Lee’s talents Rasputin becomes an elemental force of nature, he roars through the movie, frightening women and children and causing all manner of scandals and bullying anybody who gets in his way. It is one of the best performances Lee gave at Hammer which was not in any way supernatural. Even that could be argued, Rasputin seems to have hypnotic as well as healing powers. In one of the most prolonged murder scenes committed to film, (historically accurate by the way) Rasputin is poisoned, shot, stabbed, strangled, stabbed again, beaten senseless, thrown out a window and drowned in an icy river! And the movie hints that he might still be alive! Unlike Dracula there was no sequel to Rasputin. And this is one son of a bitch that we are glad to see the last of, Rasputin is the embodiment of pure evil, no redeeming qualities what so ever.
8. ROCHEFORT
THE THREE MUSKETEERS (1973) and THE FOUR MUSKETEERS (1974) are easily the best version of Dumas’ classic adventure novel. An ensemble film, where every one of the actors, and the director, are at the very top of their form and obviously having a blast. Any film that would include Michael York, Faye Dunaway, Oliver Reed, Christopher Lee, Charlton Heston and many others as well as Spike Milligan and Raquel Welch has some kind of record for great casting! In what has to be an in joke Spike Milligan and Raquel Welch are a married couple! Michael York’s D’artagnan changes that. In a great cast and a wonderful story Lee brings a great deal to the main villain, Rochefort, described as Cardinal Richelieu’s living sword blade. Lee looks absolutely killer with his eye patch,(“You Sir! Without the eye!” yells young D’artaganan at one point) long hair and scarlet uniform, worn by all the Cardinal’s guards, the main group out to thwart the Musketeer’s who are sworn to protect the King, a complete idiot (not far from the truth, most crowned heads of Europe in those days were, but that is another story.) It is Lee and M’Lady DeWinter (Faye Dunaway) who cause all the action to proceed, at the instigation of Cardinal Richelieu, involving missing diamonds belonging to the Queen. In any adventure story it is the villain who makes things happen and Rochefort, in Lee’s capable hands is quite a piece of work. Lee has fenced his whole life and in an interview with Filmfax said that all the swords and knives in the film were absolutely real and sharp. Lee and all the other actors were wounded at some point. In an effort to make the sword fighting look real they made every effort to do some damage and very often did! The sword fighting in these films is some of the best ever captured on camera. Without a word of dialog indicating Rochefort’s feelings Lee lets us know, with facial expressions and body language that Rochefort is one world weary and bone tired son of a bitch. In one key scene with Heston Lee lets us know that Rochefort is sick and tired of the Cardinal’s nefarious machinations. Damn I like that phrase! I’ll write it again, Rochefort is sick and tired of the Cardinal’s nefarious machinations! But he has pledged his talents to supporting the Cardinal and not the King and has to play out his hand to the bitter end. It’s his job after all! You get the notion, especially in the second film, that poor old Rochefort might like to put the swords away and have a drink with the Musketeers, join them in some wenching and hell raising, give a little fatherly advice to D’Artaganan, and relax a little. In the climactic showdown we are seriously sorry to see Rochefort get his payback. In the Three and Four Musketeers Lee gives us something more interesting and complex than a tragic hero, a tragic villain.
7. KHARIS THE MUMMY
In 1959, Hammer Films completed remaking the Universal monster “big three” of Dracula, Frankenstein’s monster, and this last, the Mummy. Amazingly, Christopher Lee played the monster in all three—the first (and possibly only) person to perform this feat. Made at the height of the studio’s popularity, THE MUMMY is one of the best films Hammer ever produced. Co-starring Peter Cushing and the beautiful Yvonne Furneaux as the Ananka lookalike Isobel, and directed by Hammer’s ace Terence Fisher, THE MUMMY is dominated by Lee’s towering performance of vengeance unleashed. Wearing heavy bandages, driving his large body forward with choppy but powerful steps, Lee uses his physical presence to convey the menace of the monster. With only his eyes visible through the makeup, Lee also expresses an intensity that other movie mummys have lacked. And notice how his eyes change to a softer appearance when he sees Furneaux’s Isobel/ Ananka character. And if this wasn’t enough to cement this classic portrayal, we are treated to a long flashback sequence of Lee as the Egyptian priest Kharis conducting the burial ritual of Ananka in his most hypnotic tones. Lee himself had mixed feelings about THE MUMMY; on one hand, he admired the handsome production values and regarded it as one of his favorite Hammer films. However, the shoot proved to be a grueling physical challenge for the actor, and he suffered several injuries during production. For example, Lee had to not only maneuver through a muddy bog in full makeup, but do it carrying Furneaux. He later claimed that he pulled every muscle in his back during this scene. But, like all exceptional actors, Lee made the pain work for him through his performance, and the result is a memorable portrait that rivals the best films in the canon of the Egyptian undead myth.
6. COUNT DOOKU
No one really likes the three Star Wars prequels. They were sort of popular when new and it was okay to like them then, but they’ve aged so horribly that geekdom is investing their hopes in Disney to get it right next time. Light sabers are cool. Yoda is cool. Chewbacca is cool.But everyone can agree that the coolest thing about STAR WARS EPISODE II: ATTACK OF THE CLONES (2002), and STAR WARS EPISODE III: REVENGE OF THE SITH (2005) was the casting of Christopher Lee as Count Dooku, a Jedi Master who fell to the dark side of the Force and became a Dark Lord of the Sith, known as Darth Tyranus. It has been said that George Lucas is not a great director of actors, yet that couldn’t slow down Lee,the only actor in the series to exude real menace. Whenever he was on screen, those movies came alive. He made audiences cheer when he and Yoda squared off for their big battle and when he gleefully escaped from the Jedi Master on an intergalactic jet ski. As for the overblown trilogy as a whole, it was all too clearly a product of George Lucas’s production giant Industrial Light and Magic. No magic, little light, but an awful lot of industry.
5. LORD SUMMERISLE
“Come. It is time to keep your appointment with the Wicker Man”. Christopher Lee, who agreed to appear in THE WICKER MAN (1973) for free has claimed it was the greatest film he was ever part of. For good reasons, as this is one of the most unusual and original cinematic masterpieces ever brought to screen and an absolute must-see for everybody interested in movies. The unique greatness of THE WICKER MAN combines elements from a variety of genres; Horror, Thriller, Mystery, Fantasy, Drama, and even Musical, but it cannot really be limited to one particular genre. Scottish police sergeant Howie (Edward Woodward) is called by an anonymous letter to investigate the disappearance of a young girl on the remote Scottish island Summerisle. Upon his arrival, nobody seems to have ever heard of the girl. The deeply religious Sergeant Howie, however, is shocked to find out that the residents of the island, above all the sophisticated but mysterious Lord Summerisle (Christopher Lee), are practicing pagan customs and free sexuality as they await their next human sacrifice…… The final moments of THE WICKER MAN must rank amongst the finest ever committed to film. As Christopher Lee leads the crazed inhabitants of Summerisle in a chorus of ‘Summer Is A Comin’ In,’ Edward Woodward’s cries of anguish and frantic prayers are intermingled with the death throes of the sacrificed animals. The moment when Woodward first casts eyes on the giant Wicker Man of the title never fails to send a chill down the spine.
4. FU MANCHU
The character of Fu Manchu was first created by British author Sax Rohmer in 1912. Boris Karloff played the Chinese villain in 1932’s MASK OF FU MANCHU but after the 1940 serial Drums of Fu Manchu, film adaptations ceased. In 1965 movie producer Harry Alan Towers saw the novels as well- known enough to provide name recognition and signed Christopher Lee to the title role with a six-film deal. Despite being a 6’5” Brit, the actor seemed somehow perfectly suited to the role of the evil Chinaman (Karloff was English as well, though 6 inches shorter than Lee) and the make-up man simply taped up his eyelids for that slanty Asian look. The first film, FACE OF FU MANCHU (1965) directed by Hammer vet Don Sharp was a lively mix of Sherlock Holmes and James Bond concerning the kidnapping of a German scientist who Fu Manchu forces to develop a super weapon. FACE underperformed financially so the next two installments, BRIDES OF FU MANCHU (1966) and VENGEANCE OF FU MANCHU (1967) were filmed with considerably lower budgets, though Towers did take the crew to Hong Kong for some location flavor. In 1968 Towers met Spanish cult director Jess Franco and hired him to film the fourth entry BLOOD OF FU MANCHU (1968) in Brazil, which marked the beginning of the series’ decline. By the next year, Franco and Towers were working on elaborate erotica and sleazy women-in-prison films, and the Fu Manchu series was a dead weight. The final film in the series, CASTLE OF FU MANCHU (1969), was a dismal affair, bringing the series to a premature halt.
3. SARUMAN
When casting was announced for the first LORD OF THE RINGS film, Christopher Lee fans were both excited and a little apprehensive. The character of Saruman, like many a character in Tolkien’s books, is referred to often, but has very few “active” storylines. RINGS director Peter Jackson recognized that one of the weakest parts of the RINGS saga was its lack of a strong visual villain. Sure, Sauron is the Big Bad that pervades every page of the books and every scene of the films, but audiences also need something or someone to focus on as the personification of that evil. Fortunately for both readers and cinephiles alike, Jackson knew how to make use of Lee’s commanding screen persona. With his steely gaze and resonant voice, Lee imbues Saruman with all the self-righteous ego and persuasive yet treacherous charm that is only hinted at in the books. With a more expanded and enhanced role, Lee also has at least one pivotal sequence in each of the three RINGS films. In FELLOWSHIP OF THE RING, the wizard’s duel between Saruman and Gandalf is a key reveal as to who is the embodiment of the evil Sauron. The sequence also emphasizes the sheer physical presence Lee has, which is sometimes overlooked when compared to his magnificent vocal delivery. In TWO TOWERS, Saruman’s storyline adheres fairly closely to the book, as Lee organizes and directs the war machine he has helped create as Sauron’s advocate. And in RETURN OF THE KING, although some fans disliked the new resolution for Saruman that Jackson’s team came up with–which differs quite a bit from the book– Jackson probably made the correct decision, as the book’s ending does seem to drag on unnecessarily. Unfortunately, Saruman’s ending was cut from the initial release print of RETURN OF THE KING, but is available on the Extended Edition DVD/Blu-Ray release. It is difficult to understand Jackson’s reasons for leaving out this sequence, because it is quite spectacular—even by RINGS standards—and gives closure to Lee’s perfect depiction of corrupted power.
2. SCARAMANGA
In 1974, the James Bond movie series was a dozen years old. For Roger Moore’s second outing as 007, the producers wanted to find a foe that could be his very equal. While recent tiles were comic riffs on well-known adages (YOU ONLY LIVE TWICE, LIVE AND LET DIE, etc.) the new film’s title, like two of the early classics (DR. NO and GOLDFINGER) refers to the villain, the master assassin Francisco Scaramanga, THE MAN WITH THE GOLDEN GUN. While Bond kills for Queen and country, Scaramanga’s does it for the cash (“a million a shot” as the opening song says). Sure he’s got a load of henchmen on his gorgeous island hideaway, but no need for any muscled leg-breakers like Oddjob and Jaws. Mr. S is deadly enough (although his manservant Nick Nack played Herve Villachaize, yep it’s TV’s Tatoo, helps and sometimes taunts his boss). As the 1970’s began Lee was expanding beyond the horror genre and appearing in bigger budgeted studio fare such as JULIUS CAESAR, THE PRIVATE LIFE OF SHERLOCK HOLMES, and THE THREE MUSKETEERS. This film was a wonderful showcase for his talents and introduced him to an even larger audience (hey, we monster fans already knew he was wonderful!). For the film’s pre-title sequence we see his physical side as he turns the tables on a ruthless American gangster (the great Marc Lawrence). Later the romantic Mr. Lee appears as he beds (but no biting!) the alluring Maud Adams (back to that song, “Love is required, whenever he’s hired…”). In the final showdown Moore faces his greatest (up to that point) screen battle as the two engage in a deadly duel to the death. It’s was a wonder that producers Saltzman and Broccoli waited so long to cast him (Lee is the step-cousin of Bond creator Ian Fleming!), but Christopher Lee elevates this, the ninth 007 epic, with his cultured deep baritone and imposing presence, and makes this high-priced hired gun one of the most memorable adversaries in the fifty-plus years of the greatest film franchise ever.
1. DRACULA
Christopher Lee, with is deep, commanding voice and six-foot, five-inch frame was the perfect choice for the role of Dracula. His Count is an imposing presence, stately and cool, with the gentlemanly manner that belies a lurking, evil presence. He is able to imbue his character with both erotic charm and animalistic fury at the same time and was much more terrifying than Bela Lugosi’s romantic seducer. After the international box-office success of THE CURSE OF FRANKENSTEIN, Hammer Studios decided to reunite its two key actors from that film, Peter Cushing and Lee. Hammer turned to another Universal Studios staple, Dracula which by then Universal Studios had little use for, last using him for a role in ABBOTT AND COSTELLO MEET FRANKENSTEIN. While only fitfully faithful to Stoker’s novel, Hammer Studios first version of Dracula, known in the U.S. as HORROR OF DRACULA (1958), remains the epitome of the English gothic horror film, complete with lavishly dressed sets, a vivid use of color, art and production design that effectively used Technicolor’s oversaturated color scheme, fluid, but never obtrusive camerawork, and compelling characters. Ironically enough, Lee is only on the screen a total of seven minutes in HORROR OF DRACULA yet his frightening presence is felt through the film. It would be seven more years before Lee would reprise the role for DRACULA, PRINCE OF DARKNESS, but his screen time in the series for Hammer never got any longer. Playing the role of Count Dracula for the second time, Christopher Lee was superbly menacing even though he does not utter a single word. The resurrection sequence in DRACULA, PRINCE OF DARKNESS, in which Dracula’s creepy manservant slashes one of the guests at Dracula’s castle and uses his blood to revive the long-dead Count still retains its shock value. DRACULA HAS RISEN FROM THE GRAVE (1968) saw Oscar winning cinematographer Freddie Francis taking over the directorial reins from Terence Fisher and put an unusually strong emphasis on religion. Christopher Lee delivered another memorable performance as the man in the red-lined black cape. In TASTE THE BLOOD OF DRACULA (1970), the Count is revived by a Devil worshiper and three middle-aged men making a thrill-seeking pact. Chris Lee’s screen time is again brief, and he’s not given much to do except be the orchestrator for revenge as he makes the children of the businessmen kill their parents for him. SCARS OF DRACULA (1970) focused more on the actions of Dracula himself and affords Christopher Lee more screen time than in any other Hammer Dracula film. It was filmed on a lower budget, and while this shows, it does not prevent this from being one of the most memorable and unfairly derided of the long-running vampire series. DRACULA, A.D. 1972 (1972) found the Count in (then) modern day. Hippy kids “out for kicks” dabble in the Black Mass summon the great Count back to swinging London. The swinging ‘70s scene was dated when the film was released but its aged well and marked the return of Peter Cushing to the series. SATANIC RITES OF DRACULA (1973), the final installment of the Hammer Dracula saga, is different because it uses Lee’s scant appearances to its advantage, keeping Dracula aloof and mysterious, concerning itself with the disease of vampirism, which is compared to a plague. Because of its science fiction overtones, SATANIC RITES OF DRACULA felt more like an installment of The Avengers than a typical Hammer film. Lee played Dracula several times outside of Hammer studios. In COUNT DRACULA (1970) Lee looked just like the description of the Count in Bram Stoker’s novel and even he considered it his most accurate performance as the Count. He’s given more of a human side that is missing in the Hammer films, and delivers a good deal of dialog. COUNT DRACULA benefited from superior atmosphere and direction by Spanish cult figure Jess Franco and a deranged Klaus Kinski as the insane Renfield! Lee cameoed as the Count in the Peter Sellers comedy THE MAGIC CHRISTIAN (1969) and the Jerry Lewis directed ONE MORE TIME (1970) starring Sammy Davis Jr. Lee played Dracula for the last time in DRACULA AND SON (1976) a comedic take on the legend shot in France and Yugoslavia in French which ended up having Lee’s distinctive voice dubbed by another actor for the English-language dub. Christopher Lee has played many roles in his career but it will Dracula for which he will always be best remembered.
Rest in peace, Sir Christopher Lee. Your talent and professionalism will never be forgotten.
When an ancient evil rises up to seek revenge on our world, relive the epic saga in The Mummy, unleashed onto Digital on August 22, 2017, and on 4K Ultra HD, Blu-ray, DVD and On Demand on September 12, 2017 from Universal Pictures Home Entertainment. Packed with over an hour of special bonus content, experience never-before-scene footage and hidden secrets The Mummy has within with stars Tom Cruise, Sofia Boutella, Annabelle Wallis, Russell Crowe, and Jake Johnson.
Now you can own THE MUMMY on Blu-ray. We Are Movie Geeks has four copies to give away.All you have to do is leave a comment answering this question: What is your favorite movie about Mummys? (mine is BLOOD FROM THE MUMMY’S TOMB!). It’s so easy!
Good Luck!
OFFICIAL RULES:
1. YOU MUST BE A US RESIDENT. PRIZE WILL ONLY BE SHIPPED TO US ADDRESSES. NO P.O. BOXES. NO DUPLICATE ADDRESSES.
2. WINNERS WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES.
An ancient evil is unleashed after centuries of captivity and her lust for revenge threatens to destroy the world in The Mummy, a spectacular saga coming to Digital onAugust 22, 2017 and 4K Ultra HD, Blu-ray™, DVD and On Demand on September 12, 2017 from Universal Pictures Home Entertainment. Tom Cruise (Mission: Impossible franchise, Top Gun) battles the ultimate evil in a breathtaking version of the legendary and mystical monster that has captivated and terrified humankind for centuries. With more than an hour of never-before-seen bonus features, The Mummy 4K Ultra HD, Blu-ray™ and DVD reveal the deepest secrets behind this sumptuous and wonder-filled epic.
Thought safely entombed deep beneath the desert, an ancient princess (Sofia Boutella, Star Trek Beyond,Kingsman: The Secret Service) whose destiny was unjustly taken from her is awakened in our current day. Her malevolence has grown over millennia and with it come terrors that defy human comprehension. From the sands of the Middle East through modern-day London, The Mummy balances wonder, thrills, and imagination.
The latest action-packed entry from director and producer Alex Kurtzman (Star Trek Into Darkness, Now You See Me) and producer Chris Morgan (Fast & Furious franchise), The Mummy also stars Oscar®winner Russell Crowe (Gladiator, A Beautiful Mind), Jake Johnson (Jurassic World, “New Girl”), Annabelle Wallis (King Arthur: Legend of the Sword, “Peaky Blinders”), and Courtney B. Vance (“American Crime Story: The People v. O.J. Simpson,” Terminator Genisys). BONUS FEATURES EXCLUSIVE TO 4K ULTRA HD, BLU-RAY™ AND DVD:
Deleted and Extended Scenes
Cruise & Kurtzman: A Conversation Rooted in Reality– Tom Cruise and Alex Kurtzman discuss the making of The Mummy.
Rooted in Reality – Filmmakers and cast reveal how they broke away from old tropes and traditions to create a dynamic and realistic 21st century monster movie.
Life in Zero-G: Creating the Plane Crash– Watch Tom Cruise, Annabelle Wallis, and the crew shoot the incredible plane sequence.
Meet Ahmanet – Sofia Boutella shares the excitement of reinventing a monster icon.
Cruise in Action– A behind-the-scenes look at Tom Cruise’s most memorable Mummy stunts.
Becoming Jekyll and Hyde – Find out how the casting of Russell Crowe brought a bold new dimension to the roles of Jekyll and Hyde.
Choreographed Chaos– Watch as cast and filmmakers create an epic outdoors clash between ancient and modern worlds.
Nick Morton: In Search of a Soul– Tom Cruise describes what drew him to play a man seemingly without a soul.
Ahmanet Reborn Animated Graphic Novel – Witness Ahmanet’s descent into the monstrous underworld as she is reborn into the Goddess of Chaos and Wrath.
Feature Commentary with director and producer Alex Kurtzman, and cast members Sofia Boutella, Annabelle Wallis and Jake Johnson
FILMMAKERS: Cast: Tom Cruise, Annabelle Wallis, Sofia Boutella, Jake Johnson, Courtney B. Vance, Marwan Kenzari, Russell Crowe Casting By: Francine Maisler CSA Music By: Brian Tyler Costume Designer: Penny Rose Edited By: Paul Hirsch ACE, Gina Hirsch, Andrew Mondshein ACE Production Designers: Dominic Watkins, John Hutman Director of Photography: Ben Seresin BSC ACE Executive Produced By: Jeb Brody, Roberto Orci Produced By: Alex Kurtzman p.g.a, Chris Morgan, Sean Daniel p.g.a, Sarah Bradshaw Story By: Jon Spaihts, Alex Kurtzman, Jenny Lumet Screenplay By: David Koepp, Christopher McQuarrie, Dylan Kussman Directed By: Alex Kurtzman DOLBY ATMOS® SOUNDTRACK The Mummy Blu-ray™ and 4K Ultra HD will feature a Dolby Atmos® soundtrack remixed specifically for the home theater environment to place and move audio anywhere in the room, including overhead. To experience Dolby Atmos at home, a Dolby Atmos enabled AV receiver and additional speakers are required, or a Dolby Atmos enabled sound bar. Dolby Atmos soundtracks are also fully backward compatible with traditional audio configurations and legacy home entertainment equipment.
TECHNICAL INFORMATION – 4K Ultra HD: Street Date:September 12, 2017 Copyright: 2017 Universal Pictures Home Entertainment. All Rights Reserved. Selection Number: 61188191 (US)/ 61188192 (CDN) Running Time: 1 hour, 50 minutes Layers: BD-66 Aspect Ratio: Widescreen 2.40:1 Rating: PG-13 for violence, action and scary images, and for some suggestive content and partial nudity Language/Subtitles: English SDH, French and Spanish Sound: English Dolby Atmos, Spanish and French DTS Digital Surround 5.1
TECHNICAL INFORMATION – BLU-RAY™: Street Date:September 12, 2017 Copyright: 2017 Universal Pictures Home Entertainment. All Rights Reserved. Selection Number: 61168754 (US)/ 61168764 (CDN) Running Time: 1 hour, 50 minutes Layers: BD-50 Aspect Ratio: Widescreen 2.40:1 Rating: PG-13 for violence, action and scary images, and for some suggestive content and partial nudity Language/Subtitles: English SDH, French and Spanish Sound: English Dolby Atmos/Dolby Digital 2.0, Spanish and French DTS Digital Surround 5.1
TECHNICAL INFORMATION – DVD: Street Date:September 12, 2017 Copyright: 2017 Universal Pictures Home Entertainment. All Rights Reserved. Selection Number: 61168755 (US)/ 61168765 (CDN) Running Time: 1 hour, 50 minutes Layers: DVD 9 Aspect Ratio: Anamorphic Widescreen2.40:1 Rating: PG-13 for violence, action and scary images, and for some suggestive content and partial nudity Language/Subtitles: English SDH, French and Spanish Sound: English Dolby Digital 5.1, Spanish and French Dolby Digital 5.1 The film will be available on 4K Ultra HD in a combo pack which includes Ultra HD Blu-ray™, Blu-ray™ and Digital. The 4K Ultra HD will include all bonus features on the Blu-ray™ disc.
4K Ultra HD is the ultimate movie watching experience. 4K Ultra HD features the combination of 4K resolution for four times sharper picture than HD, the color brilliance of High Dynamic Range (HDR) with immersive audio delivering a multidimensional sound experience.
Blu-ray™ unleashes the power of your HDTV and is the best way to watch movies at home, featuring 6X the picture resolution of DVD, exclusive extras and theater-quality surround sound.
DIGITAL lets fans watch movies anywhere on their favorite devices. Users can instantly stream or download.
When an ancient evil rises up to seek revenge on our world, relive the epic saga in The Mummy, unleashing onto Digital on August 22, 2017, and on 4K Ultra HD, Blu-ray, DVD and On Demand on September 12, 2017 from Universal Pictures Home Entertainment. Packed with over an hour of special bonus content, experience never-before-scene footage and hidden secrets The Mummy has within with stars Tom Cruise, Sofia Boutella, Annabelle Wallis, Russell Crowe, and Jake Johnson.
An ancient evil is unleashed after centuries of captivity and her lust for revenge threatens to destroy the world in The Mummy, a spectacular saga coming to Digital onAugust 22, 2017 and 4K Ultra HD, Blu-ray™, DVD and On Demand on September 12, 2017 from Universal Pictures Home Entertainment. Tom Cruise (Mission: Impossible franchise, Top Gun) battles the ultimate evil in a breathtaking version of the legendary and mystical monster that has captivated and terrified humankind for centuries. With more than an hour of never-before-seen bonus features, The Mummy 4K Ultra HD, Blu-ray™ and DVD reveal the deepest secrets behind this sumptuous and wonder-filled epic.
Thought safely entombed deep beneath the desert, an ancient princess (Sofia Boutella, Star Trek Beyond,Kingsman: The Secret Service) whose destiny was unjustly taken from her is awakened in our current day. Her malevolence has grown over millennia and with it come terrors that defy human comprehension. From the sands of the Middle East through modern-day London, The Mummy balances wonder, thrills, and imagination.
The latest action-packed entry from director and producer Alex Kurtzman (Star Trek Into Darkness, Now You See Me) and producer Chris Morgan (Fast & Furious franchise), The Mummy also stars Oscar®winner Russell Crowe (Gladiator, A Beautiful Mind), Jake Johnson (Jurassic World, “New Girl”), Annabelle Wallis (King Arthur: Legend of the Sword, “Peaky Blinders”), and Courtney B. Vance (“American Crime Story: The People v. O.J. Simpson,” Terminator Genisys). BONUS FEATURES EXCLUSIVE TO 4K ULTRA HD, BLU-RAY™ AND DVD:
Deleted and Extended Scenes
Cruise & Kurtzman: A Conversation Rooted in Reality– Tom Cruise and Alex Kurtzman discuss the making of The Mummy.
Rooted in Reality – Filmmakers and cast reveal how they broke away from old tropes and traditions to create a dynamic and realistic 21st century monster movie.
Life in Zero-G: Creating the Plane Crash– Watch Tom Cruise, Annabelle Wallis, and the crew shoot the incredible plane sequence.
Meet Ahmanet – Sofia Boutella shares the excitement of reinventing a monster icon.
Cruise in Action– A behind-the-scenes look at Tom Cruise’s most memorable Mummy stunts.
Becoming Jekyll and Hyde – Find out how the casting of Russell Crowe brought a bold new dimension to the roles of Jekyll and Hyde.
Choreographed Chaos– Watch as cast and filmmakers create an epic outdoors clash between ancient and modern worlds.
Nick Morton: In Search of a Soul– Tom Cruise describes what drew him to play a man seemingly without a soul.
Ahmanet Reborn Animated Graphic Novel – Witness Ahmanet’s descent into the monstrous underworld as she is reborn into the Goddess of Chaos and Wrath.
Feature Commentary with director and producer Alex Kurtzman, and cast members Sofia Boutella, Annabelle Wallis and Jake Johnson
FILMMAKERS: Cast: Tom Cruise, Annabelle Wallis, Sofia Boutella, Jake Johnson, Courtney B. Vance, Marwan Kenzari, Russell Crowe Casting By: Francine Maisler CSA Music By: Brian Tyler Costume Designer: Penny Rose Edited By: Paul Hirsch ACE, Gina Hirsch, Andrew Mondshein ACE Production Designers: Dominic Watkins, John Hutman Director of Photography: Ben Seresin BSC ACE Executive Produced By: Jeb Brody, Roberto Orci Produced By: Alex Kurtzman p.g.a, Chris Morgan, Sean Daniel p.g.a, Sarah Bradshaw Story By: Jon Spaihts, Alex Kurtzman, Jenny Lumet Screenplay By: David Koepp, Christopher McQuarrie, Dylan Kussman Directed By: Alex Kurtzman DOLBY ATMOS® SOUNDTRACK The Mummy Blu-ray™ and 4K Ultra HD will feature a Dolby Atmos® soundtrack remixed specifically for the home theater environment to place and move audio anywhere in the room, including overhead. To experience Dolby Atmos at home, a Dolby Atmos enabled AV receiver and additional speakers are required, or a Dolby Atmos enabled sound bar. Dolby Atmos soundtracks are also fully backward compatible with traditional audio configurations and legacy home entertainment equipment.
TECHNICAL INFORMATION – 4K Ultra HD: Street Date:September 12, 2017 Copyright: 2017 Universal Pictures Home Entertainment. All Rights Reserved. Selection Number: 61188191 (US)/ 61188192 (CDN) Running Time: 1 hour, 50 minutes Layers: BD-66 Aspect Ratio: Widescreen 2.40:1 Rating: PG-13 for violence, action and scary images, and for some suggestive content and partial nudity Language/Subtitles: English SDH, French and Spanish Sound: English Dolby Atmos, Spanish and French DTS Digital Surround 5.1
TECHNICAL INFORMATION – BLU-RAY™: Street Date:September 12, 2017 Copyright: 2017 Universal Pictures Home Entertainment. All Rights Reserved. Selection Number: 61168754 (US)/ 61168764 (CDN) Running Time: 1 hour, 50 minutes Layers: BD-50 Aspect Ratio: Widescreen 2.40:1 Rating: PG-13 for violence, action and scary images, and for some suggestive content and partial nudity Language/Subtitles: English SDH, French and Spanish Sound: English Dolby Atmos/Dolby Digital 2.0, Spanish and French DTS Digital Surround 5.1
TECHNICAL INFORMATION – DVD: Street Date:September 12, 2017 Copyright: 2017 Universal Pictures Home Entertainment. All Rights Reserved. Selection Number: 61168755 (US)/ 61168765 (CDN) Running Time: 1 hour, 50 minutes Layers: DVD 9 Aspect Ratio: Anamorphic Widescreen2.40:1 Rating: PG-13 for violence, action and scary images, and for some suggestive content and partial nudity Language/Subtitles: English SDH, French and Spanish Sound: English Dolby Digital 5.1, Spanish and French Dolby Digital 5.1 The film will be available on 4K Ultra HD in a combo pack which includes Ultra HD Blu-ray™, Blu-ray™ and Digital. The 4K Ultra HD will include all bonus features on the Blu-ray™ disc.
4K Ultra HD is the ultimate movie watching experience. 4K Ultra HD features the combination of 4K resolution for four times sharper picture than HD, the color brilliance of High Dynamic Range (HDR) with immersive audio delivering a multidimensional sound experience.
Blu-ray™ unleashes the power of your HDTV and is the best way to watch movies at home, featuring 6X the picture resolution of DVD, exclusive extras and theater-quality surround sound.
DIGITAL lets fans watch movies anywhere on their favorite devices. Users can instantly stream or download.
With a property like THE MUMMY, you could take it in a couple of different directions. You have the horror route: Universal and Hammer Studios both went this route in the 1930s and 50s, proving that the schlocky idea of a looming curse can be presented in a sophisticated and chilling manner. You have the adventure route: The 1999 MUMMY remake gave us a fun, Indiana Jones character in a pulpy page-turning excursion. As Universal begins its journey to create their own cinematic universe like Marvel – currently titled Dark Universe – an attempt is made to go in both directions at that same time, without successfully capturing either experience very well.
When Nick Morton (Tom Cruise) and Chris Vail (Jake Johnson) aren’t slinging jokes (bad ones, at that) during missions for the Army, the duo like to steal antiquities to sell on the Black Market. A treasure map leads the pair to a town overrun by enemy fire, but thankfully, their old day job comes in handy and a team of soldiers rescues them. In doing so, they discover a hidden burial temple beneath the town. Cut to Nick and Chris now partnering with archaeologist Jenny Halsey (Annabelle Wallis) to investigate the tomb of Ahmanet. After killing her family centuries ago and attempting to partner with the dark Egyptian god Set, Ahmanet was buried alive for her sins. Now, as the trio excavate her tomb to bring her back to London, Nick begins to have weird visions and a special connection to this undead bachelorette.
THE MUMMY (2017) feels like a Hollywood product instead of a cinematic escape into a Dark Universe. You have the current blockbuster color palette of juxtaposing blue and orange throughout, as well as the old “villain getting caught and put in prison” trick, which leads to a dramatic monologue (think films like SKYFALL and THE DARK KNIGHT). What’s most egregious though is the over explanation in the script and the overuse of flashbacks to make sure that the audience understands everything along the way. It treats the audience like they’re stupid, constantly reminding us of what happened in the mummy’s past and harping on the fact that this dot connects to this dot – yes, we know that the red stone has to go with the knife and that they need to be rejoined.
The person that seems the most confused by all of the action is Tom Cruise. In what might be his most miscast role yet, Cruise struggles to find the direction of where to take the character (again, like the film itself). One minute he is a smart aleck thief, the next he’s a standard hero saving the girl, and then he even has to serve as the cursed and confused victim. Because the script and story is attributed six people, the push and pull of the narrative has made Cruise feel as if he’s just coasting through this one.
Yet, for all the bad elements incorporated into it, at least a few elements come across as fresh and not dusted-off ideas. The role reversal of the man being the one that’s possessed by the Mummy and not the woman is different enough to warrant some merit. Not to mention, having Jenny be the smarter and stronger leader that superstar Tom Cruise is equally as refreshing. Annabelle Wallis seems up to the task, even if her performance feels a little too dry.
What works the best in the film is the occasionally fun horror aesthetics. There’s an EC Comics flair going on at times with musty tombs, English graveyards, and the undead rising from their tombs. Watching Tom Cruise punch and kick his way through an undead Knights Templar army just makes for fun Sam Raimi-esque horror. Aside from some haunted house visuals and a few nods to other horror classics – though some inclusions like AN AMERICAN WEREWOLF IN LONDON and LIFEFORCE feel more like borrowed elements than homages – THE MUMMY doesn’t serve as a satisfying horror film. The dead air from unfunny jokes and forced one-liners also means that it doesn’t act a satisfying comedy or buddy film either. Finally, the action scenes fall far short of anywhere near the word thrilling, so it fails as an adventure film as well. As much as I love the idea of these Universal Monsters coming together again on the big screen, these classic tragic creatures deserve an entrance that feels more classic than contrived.
Scary films and monster movies are not only meant for the month of October, and this summer’s selection is proof – IT, ANNABELLE: CREATION, IT COMES AT NIGHT and THE MUMMY.
The evolution of creature technology and the fundamental role technology have played a huge part in shaping monster movies.
From the evolution of creature technology beginning with KING KONG (1933), BRIDE OF FRANKENSTEIN (1935), CREATURE FROM THE BLACK LAGOON (1954), HORROR OF DRACULA (1958), ONE MILLION YEARS B.C. (1966), PLANET OF THE APES (1968), THE EXORCIST (1973), AN AMERICAN WEREWOLF IN LONDON (1981) and ALIENS (1986) through the digital age of JURASSIC PARK (1993), ZATHURA: A SPACE ADVENTURE (2005) and KING KONG (2005), audiences love the monsters that grace the silver screen.
In honor of Universal’s THE MUMMY, opening in theaters this Friday June 9th, we decided to look back at one of our lists of those creepy, loveable characters that fill our dreams and create those nightmares during that 3am block when every creak in the house can be heard.
By Travis Keune
I grew up watching Godzilla, the Universal Monsters, the Harryhausen creations and a whole slew of b-movie creations. I have spent hours at a time, and still could, staring wide-eyed into the television at these creatures of the imagination. Those were the days, but these days we have a different standard of what’s cool and scary in the monster world. Here is my list of the top ten movie monsters, from 1980 to the present.
The Thing (1982) was director John Carpenter’s remake of the 1951 classic The Thing from Another World. While definitely falling comfortably into the scarce category of superior remakes, the fact is that this movie was an incredible horror thrill-ride. Kurt Russell plays MacReady, a researcher leading a group of scientists on an Antarctic expedition, when they are confronted by a mysterious alien presence that can shift its shape to that of who or what it just killed. The search is on to discover who is really the alien before they’re all dead. The Thing is full of nail-biting jump-outta your seat suspense, has a well-structured plot and the special effects are convincingly scary as hell. I would even go so far as to say the special effects were ground-breaking for their time.
Hellraiser (1987) was written and directed by Clive Barker, based on his own novel. Hellraiser introduced audiences to a new type of monsters. The story centers on a man and his wife who move into an old house, but soon discover the house holds an evil. This evil being turns out to be the woman’s former lover who has lost his earthly form to a group of torturous demons. Hellraiser brings a new style of demonic terror to the screen in the form of Pinhead and his masochistic Cenobites. The film would spawn a hugely popular franchise with several sequels, each of them introducing new Cenobites and altogether new and more gruesome ways to torture their victims.
Wes Craven’s A Nightmare on Elm Street (1984) created one of the most fun and original movie monsters of all-time in Freddy Krueger. The story introduces the character after having been killed by the small town’s residents for being a child killer. Freddy Krueger, played by Robert Englund, returns in the town’s teens dreams to terrify and kill them one by one. Krueger turns his reign of terror on the town’s teens into a vivid, creative and often humorous carnival of absurdity while still maintaining its frightening nature. The film’s massive success would spawn a franchise with eight sequels and a television series. Englund would return to portray his trademark character in each and every sequel, including the television series.
An American Werewolf in London (1981) was directed by John Landis. Considered by most fans of the genre to be the greatest werewolf movie ever made [I agree], Landis perfectly combined shocking horror, dark comedy and some truly awesome special effects to create a literal horror masterpiece. The story follows two American tourists who are backpacking through England when they’re attacked by a werewolf. One of the two tourists escapes, but his friend Jack, played by Griffin Dunne, does not and is brutally mauled and killed … sort of. His friend Jack returns in the movie as an undead entity, taunting his living friend and warning him of what has and will happen. The movie is lots of fun and the creature effects, especially during the transformation from human to werewolf, were revolutionary in design.
Ridley Scott’s Alien (1979) introduced the audience to the concept of these nomadic alien killing machines to audiences world-wide. However, Scott’s initial film was much more of a psychological horror film, whereas the concept of the alien threat and danger it presented was much more the antagonist than that of the alien itself. It wasn’t until James Cameron’s Aliens (1986) that H.R. Giger’s legendary alien design took hold with movie audiences as the popular movie monster we know it to be. Predator (1987) actually would not have made the top ten, but I paired it with Aliens due to its connected history and fan-base. While the predators are very cool, I never thought of them as scary monsters.
Ringu / The Ring & The Ring (2002), referring to the American remake by Gore Verbinski, may have you wondering why it made my top ten list. The truth is, I actually enjoyed both the original Japanese film Ringu (1998) and the American version. The Korean remake, The Ring Virus (1999) wasn’t bad, but it didn’t do anything new for me. The reason I’ve included The Ring in my top ten is due to its influence on the genre in America.
Since its success, we’ve been inundated with Hollywood remakes of Japanese and Korean horror films, which are usually far creepier than their American counterparts. Daveigh Chase was great as Samara Morgan, a young girl who returns as an evil spirit through the video tape. I only hope I never have a daughter capable of being that freakin’ scary, even as an actress.
Director Danny Boyle made waves with 28 Days Later (2002), a wholly new take on the zombie genre that bucks the boat on the traditional concept of zombies being lumbering, mindless masses that suck brains. Instead, Boyle’s film recreates them as hyper-aggressive, almost super-human killing machines, rampaging as though they’ve all gotten into some really strong PCP. In turn, it made for a much more exciting zombie film and also delivers it’s central message with a much more powerful punch. The film speaks to what the human race could ultimately face if we continue on our paths of selfish technological and intellectual progress, despite the clear and inevitable circumstances. How far do we go to achieve ‘perfection’ if by doing so we risk our own health and happiness?
Personally, Guillermo del Toro’s Blade II (2002) is the best of the three blade movies. His direction invoked a dark and mysterious atmosphere, the story carried some great supporting roles including Ron Perlman (one of my favorite character actors) as Reinhardt, and del Toro developed the coolest vampire interpretation I have ever had the pleasure of enjoying. The reapers are a mutated species of vampire that feed on other vampires, thus leading Blade to reluctantly team-up with the vampire council to eradicate their mutual threat. The reaper’s creature design, combined with the action and dialogue, make for one helluva fun vampire killing spree, loaded with great fight choreography and some cool vampire-killing weapons. Yes, I am a huge fan of del Toro, but can you blame me?
Guess who? That’s right … my boy del Toro makes the list again. Hellboy (2004) is based on a comic book about a child demon that is adopted by a human, who raises it with Christian morals to become a soldier against evil. Actually, Hellboy is technically the least qualified movie to make my list, but it does for two reasons: Sammael, the hound of resurrection that simply wouldn’t die and Karl Ruprecht Kroenen, the invincible animated sand-filled puppet assassin. This movie is so much fun and so dark and creepy at the same time. Well, I have to I I
I admit that Hellboy also made this list with the help of its sequel due out in 2008, which looks to be an even bigger monster-fest than the original. I suppose Hellboy cheated a little in making this list, but that’s alright with me.
The two most recent qualifiers for my list, these films share the final spot for another reason; they are both a return to the giant monster genre that we’ve lacked for so long. Sure, we had Godzilla (1998) but does that really count? The especially nifty thing is that they’re both original works and they are both super cool. The Host (2006) is a Korean film that speaks to humans polluting the Earth through occupying American scientists discarding massive amounts of formaldehyde down the drain, resulting in a giant amphibian creature with a taste for humans. The Host is stylish and fun, with great action and special effects, often humorous and occasionally poking fun at itself. As for Cloverfield (2008), refer to my review of the film.
* Honorable mention is given to the following: Candyman, the Tall Guy and his spheres from Phantasm, Pumpkinhead, Cronenberg’s The Fly and Ghostbusters’ Stay Puft marshmallow man.
Welcome to a New World of Gods and Monsters – THE MUMMY arrives in theaters, RealD 3D and IMAX 3D on June 9.
Tom Cruise headlines a spectacular, all-new cinematic version of the legend that has fascinated cultures all over the world since the dawn of civilization: The Mummy.
Thought safely entombed in a tomb deep beneath the unforgiving desert, an ancient princess (Sofia Boutella of Kingsman: The Secret Service and Star Trek Beyond) whose destiny was unjustly taken from her is awakened in our current day, bringing with her malevolence grown over millennia and terrors that defy human comprehension.
From the sweeping sands of the Middle East through hidden labyrinths under modern-day London, The Mummy brings a surprising intensity and balance of wonder and thrills in an imaginative new take that ushers in a new world of gods and monsters.
Cruise is joined by a cast including Annabelle Wallis (King Arthur, television’s Peaky Blinders), Jake Johnson (Jurassic World), Courtney B. Vance (TV’s American Crime Story: The People V. O.J. Simpson), Marwan Kenzari (The Promise) and Oscar winner Russell Crowe (Gladiator).
WAMG invites you to enter for the chance to win TWO (2) seats to the advance screening of THE MUMMY on June 6 at 7PM in the St. Louis area.
Answer the following questions:
Frankenstein’s Monster. Creature from the Black Lagoon. The Wolf Man. The Invisible Man. The Mummy. Those are but a few of the names of Universal Pictures’ iconic monsters from days past and present that conjure up unforgettably haunting cinematic images…ones that stay with us for a lifetime.
Who is your favorite movie monster?
TO ENTER, ADD YOUR NAME, ANSWER AND EMAIL IN OUR COMMENTS SECTION BELOW.
OFFICIAL RULES:
1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.
2. No purchase necessary. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house. The theater is not responsible for overbooking.
THE MUMMY has been rated PG-13(Parents Strongly Cautioned – Some Material May Be Inappropriate for Children Under 13) for violence, action and scary images, and for some suggestive content and partial nudity.
THE MUMMY opens in theaters nationwide on JUNE 9, 2017.
