COLORIZING OLD MOVIES

The colorization controversy began quite a few years ago, with sounds of outrage heard from certain quarters, and others overjoyed to find that some of their favorite films would now be in color. Then there were middle-of-the-roaders. It was one thing to colorize the Christmas-y It's a Wonderful Life, but another to colorize film noir -- that wasn't fair, people felt, to the original cinematographers who carefully arranged compositions of light and shadow (of course this would not necessarily be lost with the colorizing process).

Over the years there have been many colorized films on DVD. There are more than one channel on youtube that specialize in colorized versions of old movies. The best is probably Colorized Cinema, which also has its own website. You can sign up to get email alerts for new colorized films, many of which you can watch for free on youtube, while others you can buy on their website. 

The other channels on youtube are catch as catch can. Sometimes the colorizing is extremely well-done while at other times it looks like it was done in somebody's garage. There are cliffhanger serials that look great in color and others that simply have mediocre coloring jobs impressed on prints that were already fuzzy. (It's better to watch a clear black and white print than a colorized print that causes eyestrain).

You will notice that I have been reviewing a number of colorized films on both this blog and my brother blog B Movie Nightmare. Others are free to disagree but I happen to think that some monster movies and cliffhanger serials look great in color and increase my enjoyment of them. 

One has to remember that even if a film is colorized, you don't have to watch that version. The original black and white versions are still available. The DVDs of most movies that have been colorized give you the option of watching in color or black and white anyway. It reminds me of what (I believe) Raymond Chandler said when someone remarked that the movies were ruining his books. He pointed to his bookshelf and replied that the books were still there, unchanged, regardless of how good or bad the film versions were. 

Ditto for colorization. You can enjoy it -- or ignore it. 

GOODBYE TO MR. B.I.G.

Bert I. Gordon

GOODBYE TO "MR. BIG:" BERT I. GORDON (1922 - 2023). 

Filmmaker Bert I. Gordon lived to be a hundred and directed his last film. Secrets of a Psychopath, when he was in his nineties! Gordon may not have been a brilliant director along the lines of Hitchcock or Wyler, but his low-budget movies -- especially the giant monster movies which earned him the nickname of Mr. Big (taken from his initials, of course) -- were at their best fun, fast-paced and entertaining. 

Some of Gordon's movies were genuinely good. These included The Amazing Colossal Man with a fine performance from Glenn Langan, The Food of the Gods with Ida Lupino and Ralph Meeker, The Magic Sword with Basil Rathbone and Estelle Winwood, and The Cyclops starring Gloria Talbot and Lon Chaney -- with The Spider and Beginning of the End as runners-up. Considering how low the budgets were it's amazing that some of the movies turned out as well as they did. Gordon even directed no less than Orson Welles (!) in the film Necromancy, a fact that is slightly mind-boggling to contemplate! Imagine the same man who dropped grasshoppers onto photographs to simulate an attack by giant locusts on Chicago advising the great Orson Welles in a movie, although it's probable that he just sat back and let Orson do his thing. 

Thanks Bert for giving many genre fans a big amount of pleasure. (I can't tell you how many times I've watched The Cyclops!)

THE BLOB

THE BLOB (1958). Director: Irvin S. Yeaworth, Jr.

An old man (Olin Howlin/Howland) finds a piece of meteor that has fallen near his cabin and discovers it is filled with a flesh-eating substance that quickly begins engulfing his arm. He is picked up off the roadway by two "teens:" Steve (Steve McQueen of The Towering Inferno); and his kind of drippy date, Jane (Aneta Corsaut of The Toolbox Murders), who initially thinks he's just a masher. Alerted to the danger represented by the blob, they try to warn the police and the town as the creature floats through suburbia and finally enters a movie theater during its midnight matinee. The Blob isn't well-directed and isn't the fright classic it could have been, but it has enough creepy moments and tense sequences, such as a bit with a meat locker and the climax in a diner completely covered by the blob, to make an effective enough monster movie. The two leads offer more than competent performances, although you might not have guessed that major stardom was in the cards for McQueen. The Blob itself seems to be brought to life in certain sequences with stop-motion, and its a neat touch how it often transforms into a kind of slithering tongue or powerful club. Slow-paced for the most part, this is a Teen Thriller decked out in widescreen and TechniColor. A crazy scene has a doctor persistently asking Steve what's wrong with the old man's arm instead of simply taking off the jacket the arm is wrapped in and seeing for himself. This was remade thirty years later but it was not that big an improvement. Followed by Beware! The Blob. This was undoubtedly inspired by The Creeping Unknown even as it influenced Caltiki, the Immortal Monster. Yeaworth also directed 4D Man; he made few films. For more on this and other monster movies see Creature Features: Nature Turned Nasty in the Movies.

Verdict: Not bad, but not nearly as much fun as Attack of the 50 Foot Woman. ***.

THE CAT GIRL

Barbara Shelley

THE CAT GIRL (aka Cat Girl/1957). Director: Alfred Shaughnessy.

Leonora Johnson (Barbara Shelley) is married to the unfaithful Richard (Jack May), but is secretly in love with former paramour, Dr. Brian Marlow (Robert Ayres of Battle Beneath the Earth), who is now married to Dorothy (Kay Callard of The Flying Scot). If that weren't enough of a mess, Leonora's crazy uncle (Ernest Milton), who keeps a leopard in the house, has convinced his niece that she is under a family curse and can turn into a leopard, or that she has a bond with it that can cause it -- or her -- to kill. Who the hell knows? In any case, when Brian tries to convince Leonora that she isn't really crazy and isn't growing claws, she decides it would be best to rid the world of her rival, Dorothy. This confusing mish mosh is a blatant rip off of Cat People, and while it's all overwrought and entertaining in a modest fashion, its chief strength is an excellent, intense performance by Barbara Shelley [The Gorgon] as the highly unlikable Leonora. Lily Kann is also effective as the uncle's housekeeper, Anna, and the various supporting performances are adept. But the movie is not really worth much in the long run.

Verdict: A monster movie with a most disappointing "monster." **.

KONG: SKULL ISLAND

Kong expresses his opinion of this movie

KONG: SKULL ISLAND
(2017). Director: Jordan Vogt-Roberts.

A prologue set in 1944 shows two soldiers -- one Japanese, one American -- fighting on Skull Island until King Kong (or at least his paws) interrupts. Thirty years later an expedition is going to Skull Island for resources, and it's quite awhile until the title character shows up in all of his glory. Sergeant Packard (Samuel L. Jackson) wants to blow Kong away for destroying many of his men, but others argue that Kong protects the natives on the island from much worse monsters. While the two opposing camps try to persuade the other, they must fight off all manner of hungry and horrible creatures. This reboot of Kong is more successful than the most recent Godzilla, but despite some outstanding special effects -- and an impressive leading man in Kong -- the movie just lacks that certain sense of wonder. Having the trip to Skull Island be a military operation sort of strips it of romance, and Kong: Skull Island is merely another loud, cold-blooded (if not necessarily more cold-blooded than the original King Kong), slick, forgettable, modern-day monster flick with a typically flip, often cutesy approach and a mediocre screenplay. The actors are competent enough, but they are pretty much lost in a sea of FX, and sympathetic characters get dismissed even as they're eaten. Kong is much, much bigger in this than he was in the 1933 film, and his climactic battle with a huge reptilian creature -- not to mention the post-credit epilogue that most people didn't wait around in the theater to see -- suggests there may be a remake of King Kong vs Godzilla in the offing. Despite all the action, the movie has slow stretches, and not just in the first quarter. The two best scenes in the movie have nothing to do with Kong at all: the soldiers are attacked by a humongous and deadly tree spider; and a touching coda involving the surviving WW2 sailor from the prologue as he returns home to his family. As the guide and nominal hero of the piece, Tom Hidddleston makes much less of an impression than he does as the villainous Loki in Thor.

Verdict: The original King Kong is still the best and likely to remain so. **1/2.

ALIEN 3

Alien checks out Sigourney Weaver

ALIEN 3 (1992). Director: David Fincher. NOTE; This review is of the special expanded edition/assembly cut.

After the end of Aliens, Lt. Ellen Ripley (Sigourney Weaver) escaped from LV-426 with the child, Newt, and Corporal Hicks. Unfortunately, it turns out that there was an alien on board, and the ship crash lands on Fury 161, a closed prison planetoid whose inhabitants have chosen to remain on this dismal world. As if she hadn't enough heartbreak, Ripley learns that Newt and Hicks have died, and discovers something even more horrifying about her medical condition. The company is still after a specimen of that dreadful alien species, and nothing else seems to matter, leading Ripley to make a moving sacrifice to save the lives of millions. Not overly loved at the time of its release, and with undeniable flaws, Alien 3 is actually a very good horror sci-fi flick with some excellent performances, interesting psychological elements, and adroit characterizations in the screenplay by Giler, Hill and Ferguson. The supporting characters include the medical officer, Clemens (Charles Dance), who has his own secrets; Dillon (Charles S. Dutton), who has turned the other cons into religious converts; the crazy Golic (Paul McGann), who sort of "bonds" with the alien; Aaron (Ralph Brown), a kind of warden who only wants to get back to his wife and kids; and others, who are vividly brought to life both by the script and the performances. Some creepy and suspenseful sequences as well. Elliot Goldenthal contributed an effective score; a nice touch is the way the 20th Century Fox fanfare at the opening ends on an ominous, sinister and sustained down-note. Followed by Alien: Resurrection.  Fincher also directed Gone Girl and Zodiac.

Verdict: A highly interesting mix of genres and characters with some fine performances. ***1/2.

THE CREEPING TERROR

Vic Savage

THE CREEPING TERROR (1964). Director: "A. J. Nelson" (Vic Savage).

Sheriff Martin Gordon (Vic Savage, who also directed) discovers that a spaceship containing two very weird creatures has landed in his figurative backyard. One of these creatures, who resembles a shambling carpet with vacuum hoses on top, shuffles around devouring people whole, victims who never seem  to have the common sense to just run away from the slow-moving alien.  Martin and his wife, Brett (Shannon O'Neil) are newlyweds who would rather be spending their time alone but Martin and his deputy Barney (Brendon Boone), as well as Dr. Bradford (William Thourlby) and Colonel Caldwell (John Caresio), must investigate all of the disappearances. The creature attacks a dance at a gymnasium and seems to consume virtually all of the souls there (at least the film might have suggested the victims were hypnotized). There is some minor suspense at the end when the protagonists try to stop the alien ship's computer from broadcasting info about earthlings and their weaknesses back to the home planet. Much of the soundtrack to The Creeping Terror was lost, which is why the movie is practically narrated. It's by no means a good movie, but it has a workable plot and might have amounted to something had it been directed by Roger Corman. Savage and the making of the film were examined in the docudrama The Creep Behind the Camera. Some of the actors in Terror actually went on to have decent careers.

Verdict: Oy vey! *1/2.        

MEGA PIRANHA

Paul Logan 

MEGA PIRANHA (2010 telefilm). Writer/director: Eric Forsberg.

Down in Venezuela genetics scientist Sarah Monroe (Tiffany), for utterly unaccountable reasons, has helped create a species of "sturdier" piranha fish. Naturally, these fish escape from the lab and begin to wreak havoc along the Amazon. Worse, the fish keep getting bigger and bigger -- at one point they're large enough to take down a battleship! -- and it develops that they can live in fresh water as well, letting them rampage in the ocean and attack Miami. Secretary of State Bob Grady (Barry Williams) assigns Jason Fitch (Paul Logan) to track down and destroy the piranha which, understandably, takes some doing. Although mostly played straight, Mega Piranha is a zany, somewhat amusing monster flick with competent acting, cheesy FX, and a degree of suspense, and you have to see a host of giant piranha literally leaping out of the water to believe it. On the other hand, there's a little too much running around by the principles, mostly consisting of scenes of Monroe and Fitch being chased by angry Venezuelan authorities, and the pace -- which is generally pretty fast -- begins to drag. David Labiosa is fine as Colonel Antonio Diaz, however, and the movie is fun in a limited way. While gruesome at times, it is never as vomitous as its obvious inspiration, Piranha 3D. There is no real attempt at characterization in the movie -- no surprise given the Syfy Channel's usual offerings.

Verdict: You can't keep a good piranha down! **1/2.

VARAN THE UNBELIEVABLE

VARAN THE UNBELIEVABLE aka Daikaiju Baran Japanese version/1958. Director: Ishiro Honda.

Two scholarly students looking for a rare species of butterfly in the "Tibet of Japan," are found dead after coming upon a monstrous something. Yuriko (Ayumi Sonoda), the journalist sister of one of the scholars, goes to investigate the region with handsome Kenji (Kozo Nomura) and a buddy. The natives fear a god named Baradgi, but their problems are actually caused by a species of prehistoric creature known as varanpodi that rises out of a bucolic lake to cause death and destruction. Varan has a more interesting design than Godzilla, and is a fairly lively "suitmation" creature. The opening scenes are creepy, and the photography is moody and atmospheric. All told, this is no world-beater but it isn't totally terrible, either. Four years later footage was added with Myron Healey as an Army officer with a sub-plot involving both U.S. and Japanese forces experimenting on salt water. Oddly this version is five minutes shorter than the original. Ishiro Honda also directed Gojira (Godzilla) and Rodan, both of which were better than this.

Verdict: One of the better Japanese monster movies, which may not be saying too much. **1/2.

DEEP RISING

The monster tries to make a treat out of Treat Williams

DEEP RISING (1998). Writer/director: Stephen Sommers.

John Finnegan (Treat Williams) and his crew have been hired to take a group of men out to an unknown spot in the South Pacific. What Finnegan doesn't know is that they are heading for the huge cruise ship, the Argonautica, to loot it on its maiden voyage. But when these pirates arrive, they find that hardly anyone is left alive on the ship, discovering mostly bloody skeletons. Apparently a gargantuan, voracious sea creature with a zillion tentacles (with maws on the end of them) has devoured just about everyone -- hundreds of passengers -- and now wants to make dessert out of the pirates; Finnegan and his crew; a pretty thief named Trillian (Famke Janssen), who was locked in the hold; and the duplicitous, slimy owner Simon Canton (Anthony Heald), who wanted to blow up the ship for the insurance. Deep Rising has some excellent and very gruesome special effects, but its tone is too flippant by half, at times turning it into more of a black comedy than a horror film and dissipating the considerable tension. However, the movie is generally fast-paced, slick, creepy and exciting -- more of an action-disaster-creature flick than a horror film -- and features a highly dangerous and rather engaging monster. One scene wherein the survivors discover an abattoir filled with skeletons is especially macabre. Williams [Prince of the City] strikes the right note; Jannsen is competent; Heald is way over the top. Jason Flemyng makes an impression as Mulligan, the handsomest of the pirates; and Kevin J. O'Connor, despite how irritating this actor can be in certain roles (including this one), is good and strangely appealing as Finnegan's engineer, Joey. The few moments of humanism don't quite come off in a movie this callous. The ending left room for a sequel that never materialized. Sommers also wrote and directed the dreadful -- and dreadfully campy -- Van Helsing.

Verdict: Well, it's not It Came from Beneath the Sea, but what is? *** out of 4.

MOTHRA VS GODZILLA

Yuriko Hoshi, Akira Takarada, Hiroshi Koizumi

MOTHRA VS GODZILLA (aka Mosura tai Gojira/Godzilla vs. Mothra/1964). Director: Ishiro Honda. Dubbed version released in the United States as Godzilla vs the Thing.

A gigantic egg is found floating offshore and a greedy entrepreneur decides to claim it and exhibit it, even though the tiny little twins from Infant island tell him it is the giant moth Mothra's egg and it must be returned to avoid "problems." Concurrently, Godzilla reawakens from his recent burial [in Godzilla Raids Again, perhaps?] and goes on another rampage. Professor Miura (Hiroshi Koizumi), reporter Ichiro (Akira Takarada), and pretty photographer Yoka (Yuriko Hoshi) appeal to the islanders to send Mothra to battle Godzilla, as the former's egg is threatened by the big lizard. The battle between the big bug and a flabby-jawed Godzilla is pathetic, the process work is decidedly uneven (with a few effective shots), and even children probably found this to be ultimately tedious. There is some majestic music as well as the twins' awful songs to Mothra. Akira Takarada, known as "Mr. Handsome" in Japan for good reason, was also in the original Godzilla/Gojira. FX by Eiji Tsuburaya. At least Mothra is a colorful and "attractive" creation.

Verdict: For Godzilla completists only. **.

SHARKNADO

Sharks fly through the air in Sharknado

SHARKNADO (2013 telefilm). Director: Anthony C. Ferrante.

A hurricane picks sharks right up out of the water and sends them flying inland where they cause havoc. Leading the charge against the sharks are Fin Shepard (Ian Ziering), feisty if annoying Nova (Cassie Scerbo), and grizzled "old" George (John Heard). This Syfy channel original may have a unique premise but it's sunk by a bad script and mostly mediocre acting, with fair-to-middling computer FX. A scene when Fin attacks a shark falling out of the air with a chainsaw makes little sense since it's unlikely the shark would even survive the drop. Even if you love monster movies there's absolutely no reason to go out of your way to see this one. Gore-geeks will be disappointed that there are no grisly beheadings or disembowelments.

Verdict: For the most part clumsy and stupid. **.

PROPHECY

Talia Shire, Richard Dysart and Robert Foxworth

PROPHECY (aka Prophecy: The Monster Movie/1979). Director: John Frankenheimer.

Dr. Robert Vern, who usually works in the ghettos of Washington D.C., accepts an assignment to do a survey for the Environmental Protection Agency in the timber lands of Maine, where a dispute is raging between the Original People [Indians] and factions in the lumber industry. Not only does Vern discover that the natives are being seriously affected by something in the area, with an alarming number of still-births and deformed babies, but he suspects a huge mutant creature has already resulted from toxicity caused by the sawmill on the river. To make matters worse, his wife Maggie (Talia Shire) hasn't yet told him of her pregnancy, but she's eaten the same fish the Indians have; it contains a poison that "jumps the placental barrier" and lodges in the fetus. Then that monster comes a'calling ... David Seltzer's paperback novelization of his own screenplay for Prophecy was released several months before the film came out, and it was such an excellent horror novel that monster movie fans awaited the movie with anticipation. The trouble is, there hasn't been a more disappointing monster since The Giant Claw. The FX people came up with a mere lumpy and unconvincing disfigured bear instead of the creature described in the book or depicted in the movie's poster, something that bore traces of every step of the evolutionary ladder. But despite this serious deficit, Prophecy is not a complete waste because the story pulls the viewer along, the acting is solid, and the movie has genuine suspense in good measure. Along with Foxworth [Falcon Crest] and Shire, Richard Dysart [The Thing] is notable as a lumber man and Armand Assante [Human Target] scores as a militant Native American known as John Hawks. In real life methyl mercury poisoning did have very adverse effects on Indians in Canada, though so far no monsters have been sighted. John Frankenheimer also directed Seconds and other first-rate movies. NOTE: You can read more about movies like this in Creature Features: Nature Turned Nasty in the Movies.

Verdict: Good in spite of itself. ***.

CREATURE FEATURES REDUX

Now in [trade] paperback!

CREATURE FEATURES: NATURE TURNED NASTY IN THE MOVIES. William Schoell. McFarland.

Shameless plug:

McFarland has just issued an inexpensive trade paperback edition of my book Creature Features: Nature Turned Nasty in the Movies. It can be ordered on their website and from amazon. 

The hardcover edition of Creature Features got some interesting reviews. One gal apparently thought the book was too cerebral, while another fellow thought it wasn't cerebral enough. These were two diametrically-opposed critiques, with one basically saying that there's no point in subjecting these kinds of movies to serious analysis, and the other going on pretentiously about the lack of "sub-texts." [I see nothing wrong in looking at the performances in say, giant bug movies, but nothing will get me to say that The Giant Behemoth is actually a study of post-Freudian separation anxiety or something like that.] What can you do with reviewers like those but laugh?

On the other hand, Monster Memories magazine called it "A must read ... Schoell knows his stuff ... Schoell has done a superb job in offering a fresh slant on a genre we thought we knew everything about." American Reference Books Annual listed it as a "critical, informative review."

While published by a scholarly press, Creature Features is written in an accessible, popular and not stereotypically "academic" style.

In other words, it's informative but fun.

End of shameless plug.

ISLAND CLAWS

One Might Big Crab! Note two men at lower right.

ISLAND CLAWS (1980). Director: Herman Cardenas.

Pete Adams (Steve Hanks) is a teaching assistant and researcher working with Dr. McNeal (Barry Nelson), who hopes to increase the size of crabs as, presumably, a food source. Pete is attracted to a woman, Jan (Jo McDonnell), who is doing a story on McNeal's work, but, implausibly, is unaware that her father was driving the car in which his parents died years ago. Pete's surrogate parents are Moody (Robert Lansing) and Rosie (Nita Talbot), the former of whom owns the tavern where Rosie works as barmaid. Meanwhile, an accident at a nearby reactor unleashes radioactive waste into the water. The combination of growth hormones and radioactivity engenders bizarre behavior in ordinary crabs, as well as creates a crab of especially humongous stature. Island Claws combines a "nature turned nasty" plot about killer animals running amok with a giant monster on the loose. The scenes with the small crabs moving en masse toward potential victims are creepy, with the crustaceans being good little actors, but they never really seem to be "attacking." The big crab -- yes, there's only one [at least Attack of the Crab Monsters had two crabs] -- appears to be a full-size mechanical model that lacks great mobility but is efficient enough and is generally masked in darkness. A sub-plot involves a family of Haitians who sneak ashore and are at first blamed for some of the strange deaths in the area. There is some attempt at creating three-dimensional characters, and the acting is generally good. Bill Justis' eerie music is a plus. Island Claws holds the attention and isn't badly done, but ultimately there's not enough of the monster. Ricou Browning, who played the Gill Man in The Creature from the Black Lagoon and its sequels, was co-scripter along with Jack Cowden.

Verdict: Has its moments, but can't beat Corman's Attack of the Crab Monsters. **1/2.

ISLAND OF TERROR

Dangerous tentacle of silicate

ISLAND OF TERROR (1966). Director: Terence Fisher.

When the body of a man is discovered with all of his insides somehow sucked out on an isolated island, Dr. Brian Stanley (Peter Cushing) and Dr. David West (Edward Judd of First Men in the Moon) are called in for consultation by the local constable, John Harris (Sam Kydd). There the two men discover more dessicated corpses, and learn that researchers attempting to create living matter to counteract cancer cells only succeeded in creating silicon-based tentacled creatures ["silicates"] that feed on humans and animals by leeching away bone via osmosis. While the monsters themselves aren't the most frightening things in the world, Island of Terror is still quite creepy, has good performances from the leads, Kydd, and Carole Gray [Curse of the Fly] as West's plucky date, and offers some fairly unusual beasties in the bargain. There are a couple of illogical moments, such as when one character takes an axe to another's arm instead of chopping at the tentacle that ensnared it, and the idea of herding everyone on the island into one place so the monsters can congregate and feed on them is also a boner, especially when they've already herded some animals together for that purpose. Cushing is as marvelous as ever.

Verdict: Fun monster movie despite some dumb moments. ***.

CALTIKI, THE IMMORTAL MONSTER

John Merivale and Didi Sullivan

CALTIKI, THE IMMORTAL MONSTER (aka Caltiki, Il mostro immortale/1959). Director: Robert Hampton [Riccardo Freda]. NOTE: Cinematographer Mario Bava is said to have finished directing the film.

In Mexico Dr. John Fielding (John Merivale) and Max Gunter (Gerard Herter) are investigating ancient Mayan ruins with associates, when they come across an underground temple with a pool and a strange flesh-eating mass inside of it. This mass eats away Max's arm and drives him insane (although he was already slightly crazy), and breaks out of containment in a laboratory. This "immortal" menace -- an ageless, legendary and uni-cellular being -- reacts to radiation from a passing comet, and threatens to grow to tremendous size. Caltiki is a fairly entertaining picture even if the monster resembles a writhing, glistening carpet, and it has an exciting climax. Undoubtedly influenced by such earlier films as The Creeping Unknown, Enemy from Space/Quatermass 2 and The Blob, Caltiki was influential in its own right. It's hard to judge the performances due to the dubbing, but the actor who does the voice for Max makes him sound like a sneering Snidley Whiplash even before he loses his mind! Didi Sullivan is Fielding's wife, and Daniela Rocca is Linda, who is madly in love with Max, who continually mistreats her. Max's death scene is a grisly stand-out and the opening scenes in the ruins are rather creepy.

Verdict: As Blob movies go this one isn't bad. **1/2.

PACIFIC RIM

Indistinct baby monster pursues scientist

PACIFIC RIM (2013). Director: Guillermo del Toro.

In the future a breach in the floor of the Pacific Ocean lets loose gargantuan monsters, called Kaiju [Japanese for monster],  that begin to decimate civilization. To combat them huge robots called Jeagers are built, which require two pilots, whose minds meld with each other and with the robot, as they go after the Kaiju. One pilot, Raleigh (Charlie Hunnam) lost his brother during a battle, and now is teamed with pretty young Mako Mori (Rinko Kikuchi). Then there's the father/son team of Herc (Max Martini) and his obnoxious son, Chuck (Robert Kazinsky). Overseeing them all -- including two nerdy scientists named Newt (Charlie Day) and Gottlieb (Burn Gorman) -- is Stacker Pentecost (Idris Elba). The scientists attempt a mind-meld with one of the Kaiju's brains so they can pick up important information, but this nearly backfires on them. Of course the mostly one-dimensional human characters hardly matter in this kind of FX movie, although the overly weird-looking monsters are never as impressive as even the lesser efforts of Ray Harryhausen, and many sequences simply look cluttered, messy, and indistinct. Meant as a homage to Japanese movies about monsters and giant robots, Pacific Rim is a macho militaristic monster movie along the lines of Starship Troopers but without the extreme gore of that picture. There are a couple of somewhat memorable scenes: one of the monsters breaks into an underground shelter after the terrified people hear it thumping just above them; and a dead but pregnant Kaiju unleashes a smaller but still hungry baby monster. Otherwise the movie sort of holds the attention without ever really knocking you out on any level. The acting in this isn't bad, with a charismatic Elba [Prometheus] and intense Martini taking top honors; Martini, in particular, has some very good moments. Ron Perlman also gives a flavorful performance as a man who makes money selling various parts of deceased kaiju. Most of the sentimental scenes in the movie fall flat because the movie has no depth at all. Chiefly for nerds who grew up adoring Godzilla movies. I mean, I normally love creature features but I could hardly wait for this rather long movie to finally end. For my money there's nothing in this as eye-popping as, say,  the tentacles of the huge octopus in It Came from Beneath the Sea jutting out of San Francisco Bay and wiggling over the docks and freeway. Director del Toro's big bug movie Mimic is a much, much better, scarier, and more entertaining picture. He also directed Hellboy. Giant robots with human pilots inside were also the stars of Robot Jox [aka Robojox] in 1989.

Verdict: It Came from Beneath the Sea is more fun, has better effects, and is only half as long. **.

IT THE TERROR FROM BEYOND SPACE

Peekaboo! The Martian monster on the loose

IT, THE TERROR FROM BEYOND SPACE (1958). Director: Edward L. Cahn. Screenplay by Jerome Bixby.

An expedition to Mars picks up the sole survivor, Lt. Carruthers (Marshall Thompson), of the first team to reach the planet. Carruthers is suspected of murdering his team mates so the food would last longer, but he insists they were actually decimated by a ferocious monster [but what about that bullet hole in a skull? everyone wonders]. Said monster becomes a stowaway on  the voyage back to Earth, and pretty soon this new crew discovers Carruthers was telling the truth. The creature absorbs all of the bodily fluids from his victims via osmosis, and is amazingly strong as well. It, an obvious forerunner of Alien, is a taut, adroit little B movie that builds up suspense as the surviving crew members do everything they can think of to stay alive and destroy the monster. Bixby wrote the classic horror story "It's a Good Life" that was adapted by The Twilight Zone. The competent cast members [who sometimes seem to be holding back laughter]  include Shawn Smith [The Land Unknown], Ann Doran, Kim Spalding as the captain, and Dabbs Greer [The Vampire] as a science officer. Thompson appeared in First Man Into Space and many other films of various genres. Cahn directed 125 movies; Bixby wrote a lot for television but did only a few full-length screenplays.

Verdict: Lively, low-budget sci fi horror. ***.

GREAT OLD MOVIES -- EXTRA # 3: GODZILLA AND COMPANY

Godzilla vents!

GODZILLA AND COMPANY.

Whether you're a fan of the Big Green Galoot, or think a love of Godzilla movies indicates the intellectual capacity of a flea [I'm somewhere in between], the fact remains that the beloved icon is here to stay: a new American remake of the original fifties film is due in 2014. Let us not forget the 1998 American version with Matthew Broderick [although many would like to forget it] and the many sequels of the original Japanese feature. There has even a scholarly book on the Big Green Giant. Below you'll find reviews of the original Japanese Gojira and other items of interest. Enjoy!