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Universal Classic Monsters: The Essential Collection (Blu-Ray)



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Universal Classic Monsters: The Essential Collection (Blu-Ray)Starring Bela Lugosi, Boris Karloff, Lon Chaney, Jr., Claude Rains, Elsa Lanchester, and others

Directed by Tod Browning, James Whale, and others

Just in time for Halloween, Universal Pictures has taken the horror movie-watching experience to the next level with its release of Universal Classic Monsters: The Essential Collection. For true horror movie aficionados, this digitally-re-mastered collection of the eight most revered classic horror movies in history, appearing together for the first time in a Blu-ray box set, is a must-have.

Even more than three quarters of a century after the release of the first movie in the set, Dracula, Frankenstein, The Mummy, The Invisible Man, The Bride of Frankenstein, The Wolf Man, The Phantom of the Opera (1943 version) and The Creature from the Black Lagoon all prove that, when it comes to capturing our terror-loving hearts, our grandparents’ monsters have what it takes to compete against the computer-generated modern nightmares of today.

Love and Horror
One element of storytelling that really sets the above-mentioned horror movies of yore apart from the cinematic terror experiences of the current generation is that of character development. Dracula, Frankenstein and their other counterparts from Universal all had feelings and were all driven by a desire for something they could not have. We could empathize with them. They may have sucked your blood, strangled you with their massive hands or mauled you in the woods, but they were led to do so via an agonizing internal pain and deprivation that you could relate to.

Furthermore, they all experienced the strongest motivational force of all: love. Each of these creatures fell in love and acted accordingly. The result was an undeniable magic that results whenever horror and love are woven together on the big screen. Nowadays, horror films are so overpowered by computer-generated imagery that it is refreshing to take a step back and appreciate a movie for its deeper meaning and the genuine artistry that went into it.

Another important aspect of these movies, and one which any fan would be remiss not to mention, is the astounding makeup artistry that transformed these movies from simple stories about monsters to gripping, fear-inducing, edge-of-your-seat horror flicks. We have pioneering makeup genius Jack Pierce to thank for that, especially when you consider that, during this time, the makeup artist had to bear all the weight of transforming an ordinary human into a believable, mythical villain, without the aid of computers and sophisticated special effects.

The stars of these movies, Béla Lugosi, Boris Karloff, Lon Chaney, Jr., Claude Rains and Elsa Lanchester, had an on-screen magnetism and lovability that has never been replicated by horror movie actors that succeeded them.

How it all Started
We have all seen at least one variation of Dracula or the many other vampire movies it has influenced, but the one that started it all is Tod Browning’s Dracula (1931). This horror classic is the first of many to recreate Bram Stoker’s Dracula novel on-screen.

Brought astoundingly back to life in this set, this movie, originally released on Valentine’s Day 1931, is as much romance as it is horror. The love Dracula has for Mina, played by actress Helen Chandler, is the lifeblood of this vampire phenomenon. The storyline can be confusing and tough to follow at times, but the acting is engrossing, the cinematography is intense and the set designs, all filmed on stages at Universal City, bring a sense of realism to the movie.

Other versions of Dracula that came later, most notably the 1992 version directed by Francis Ford Coppola, have been remarkable in their own right, but they all lack something that the Browning version has in abundance: the talent of Béla Lugosi. While Lugosi’s Dracula was forced to walk instead of glide, due to the technology restraints of the era in which he lived, and even though we don’t get to see smatterings of bright red blood color the black-and-white screen, the use of lighting in the original movie, combined with Lugosi’s film-defining facial expressions, make him the only true Dracula. Of note, the Spanish Language Dracula was filmed on the same sets during nights through the production of the English-Language version.

Everyone’s Favorite Science Experiment Gone Wrong
James Whale’s Frankenstein (1931) has to be the most visceral monster of them all. Makeup artist Pierce took his skills to a whole new level with Frankenstein. Combine that with Boris Karloff’s top-notch horror acting, and the two men truly created a monster. The film is terrifying, not only due to the cryptic presence of the monster himself, but because of the dark and gloomy sets, most of which were on stages at Universal, plus a few key locations in Southern California. The Blu-ray version really allows you to experience the laboratory in all its horrific glory and the overall cinematography creates a very urgent viewing experience.

Another Boris Karloff Role
Boris Karloff really shows his range when it comes to playing monsters by switching from a terrifying creature made out of the body parts of dead people in Frankenstein to a dead man come to life the very next year in The Mummy (1932). This movie has a very similar storyline to Dracula, in that both men come back from the dead, fall in love and are, sadly, defeated in the end. It also compares to Dracula in that it is, by far, the first and best of its kind. No other mummy movie has surpassed the achievements of this engrossing film.

Im Ho Tep, the mummy, uses his ancient powers to put a spell on Helen Grosvenor, played by Zita Johann. Once again, Karloff’s facial expressions and the way he acts with his eyes make the monster come to life, so to speak. The way love is portrayed in this movie brings a sense of heartfelt drama to The Mummy, just as in Dracula.

The Mummy has a certain richness to it that sets it apart from the previous two movies in the collection. The production design is spectacular and really brings Egypt to life. Although the movie has aged into grainy black-and-white, the Blu-ray enhancements make it essential viewing once again. Everything from picture quality to sound is at its best – as it should be for this classic film.

Enter Visual Effects
One of the first Universal horror films to use visual effects is The Invisible Man and, to this day, it is a great example of how to not let special effects overtake your movie. This is one of the most comical, yet suspenseful horror films ever created; and the Blu-ray disc really brings out the genius in story plot, use of John P. Fulton’s visual effects and acting, with no flaws.

The genius in this movie, which is really exacerbated in the Blu-ray version, is the way you couldn’t see where Dr. Jack Griffin, the doctor who discovered how to become invisible, was going to be next, but you could hear the extreme anger in Claude Rains’ voice. We are in constant fear of what is going to happen next due to Rains’ indelible performance.

Every Monster Needs a Bride
This classic horror film box set would not be complete without The Bride of Frankenstein or, shall we say, Frankenstein’s better half. This movie, far from being just a sequel to Frankenstein, is a brilliant, heartwarming masterpiece in its own right. Few viewers thought Frankenstein could get any better, but James Whale and Boris Karloff take the monster to a whole new level in The Bride of Frankenstein.

If you don’t think a horror movie can melt your heart, watch the scene in which the monster and the blind hermit become friends. That is the scene that many feel officially brought Frankenstein’s monster to life. At this moment he learns to speak, love, and think for himself. Having this classic digitally restored for Blu-ray leaves no room for distracting bad quality images or bad sound typical of older films, resting the experience instead on the strength of the movie and its characters.

As if it Couldn’t Get Any Better
Just when we think Jack Pierce’s makeup artistry can’t get any better, he surprises us in The Wolf Man (1941), where he is at the very top of his game. Remakes and re-imaginings of this movie have the man turn into a werewolf onscreen using animatronic effects and computer-generated images. One of our favorite things about this classic version is how The Wolf Man is just what his name implies: half man and half wolf. Lon Chaney still works as the tormented Larry Talbot who slowly accepts his accursed state. Pierce hits another home run with the character, one of his last truly great originals during his 19 years as makeup department head (1928-1947).

The Phantom of the Box Set
The only movie in this entire collection that doesn’t seem to add something valuable to the set is Phantom of the Opera (1943). While not discrediting its worth as a movie, it does not fit in with the rest of these classic horror films. Though the color film contains a beautiful image quality and powerful music, it is somewhat of a lesser imitation of the superior 1925 version starring Lon Chaney. That film, now in the public domain, featured the stunning makeup created and applied by Chaney himself. Jack Pierce was admonished to tone down his Phantom using the canvas of Claude Rains; this surely disappointed Pierce and fans alike, relegating the film to more opera and less Phantom.

If the 1925 Phantom was unavailable for this Blu-ray set, it might have been nice to see Dracula’s Daughter, Man Made Monster or even Abbott and Costello Meet Frankenstein included instead.

Last but Not Least
Creature from the Black Lagoon (1954) is another example of a monster who falls in love, dramatically, with a beautiful girl and will do anything to have her. The detail from his face and suit, created by a renowned team including Chris Mueller, Milicent Patrick and Jack Kevan, all working in Bud Westmore’s department, is so vivid and evident due to the rich quality of this film on Blu-ray. We get to see this monster in a way we never have before, especially in the underwater sequences filmed in Florida whose footage looks better and clearer than ever.

Universal Classic Monsters: The Essential Collection (Blu-Ray)

Bonus Features
One of the best reasons to buy this box set is the bonus features, which almost challenge the movies themselves as the highlight of the set. The best bonus is the amazing collectible color book that is exclusive to this set.

If you truly want to learn more about this groundbreaking time in movie history, including how each of these monster roles made stars of their lead actors and how the films’ pioneering makeup artistry, cinematography and effects set the course of horror movie history, the 12 hours of bonus features really open your eyes and allow you to view these horror films like you’ve never seen them before.

An absolute must buy!

Special Features

Dracula (1931)
• Dracula, the 1931 Spanish version, with Introduction by Lupita Tovar Kohner
• The Road to Dracula
• Lugosi: The Dark Prince
• Dracula: The Restoration – New Featurette Available for The First Time!
• Monster Tracks: Interactive Pop-Up Facts About the Making of Dracula
• Dracula Archives
• Score by Philip Glass performed by the Kronos Quartet
• Feature Commentary by Film Historian David J. Skal
• Feature Commentary by Steve Haberman, Screenwriter of Dracula: Dead and Loving It
• Trailer Gallery

Frankenstein (1931)
• The Frankenstein Files: How Hollywood Made a Monster
• Karloff: The Gentle Monster
• Monster Tracks: Interactive Pop-Up Facts About The Making of Frankenstein
• Universal Horror
• Frankenstein Archives
• Boo!: A Short Film
• Feature Commentary with Film Historian Rudy Behlmer
• Feature Commentary with Historian Sir Christopher Frayling
• 100 Years Of Universal: Restoring the Classics
• Trailer Gallery

The Mummy (1932)
• Mummy Dearest: A Horror Tradition Unearthed
• He Who Made Monsters: The Life and Art Of Jack Pierce
• Unraveling the Legacy of The Mummy
• The Mummy Archives
• Feature Commentary by Rick Baker, Scott Essman, Steve Haberman, Bob Burns and Brent Armstrong
• Feature Commentary by Film Historian Paul M. Jensen
• 100 Years Of Universal: The Carl Laemmle Era
• Trailer Gallery

The Invisible Man (1933)
• Now You See Him: The Invisible Man Revealed
• Production Photographs
• Feature Commentary with Film Historian Rudy Behlmer
• 100 Years of Universal: Unforgettable Characters

Bride of Frankenstein (1935)
• She’s Alive! Creating The Bride Of Frankenstein
• The Bride Of Frankenstein Archive
• Feature Commentary with Scott MacQueen
• 100 Years of Universal: Restoring the Classics
• Trailer Gallery

The Wolf Man (1941)
• Monster by Moonlight
• The Wolf Man: From Ancient Curse to Modern Myth
• Pure in Heart: The Life and Legacy of Lon Chaney, Jr.
• He Who Made Monsters: The Life and Art of Jack Pierce
• The Wolf Man Archives
• Feature Commentary with Film Historian Tom Weaver
• 100 Years of Universal: The Lot
• Trailer Gallery

Phantom of the Opera (1943)
• The Opera Ghost: A Phantom Unmasked
• Production Photographs
• Feature Commentary with Film Historian Scott MacQueen
• 100 Years of Universal: The Lot
• Theatrical Trailer

Creature from the Black Lagoon (1954)
• The Creature From The Black Lagoon in 3D
• Back to The Black Lagoon
• Production Photographs
• Feature Commentary with Film Historian Tom Weaver
• 100 Years of Universal: The Lot
• Trailer Gallery


5 out of 5

Special Features:

5 out of 5

Discuss Universal Classic Monsters: The Essential Collection in our comments section below!

Research Assistance by Jacqueline Bastawroos

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American Psycho Meets Creep – Strawberry Flavored Plastic Review



Starring Aidan Bristow, Nicholas Urda, Andres Montejo

Directed by Colin Bemis

Recently I wrote up an article here on Dread Central which was basically an open letter to anyone who was listening called “I Miss Found Footage.” Well, it seems like someone WAS listening, as I was then sent the link to an all-new found footage film called Strawberry Flavored Plastic from first-time writer-director Colin Bemis.

The film follows the “still-at-large crimes of Noel, a repentant, classy and charming serial killer loose in the suburbs of New York.” Basically, you could think of the flick as American Psycho meets Mark Duplass and Partick Brice’s Creep. That, or you could think of it as “Man Bites Dog in color!” However you choose to label Colin Bemis’ psychological thriller, just make sure you check out the film once it hits in the future.

As I alluded to above, the film is basically a found footage version of American Psycho. But that said, the film sports a twist on the charming serial killer subgenre that I have yet to see play out in any of the above-mentioned classics. I’m not going to go into spoiler territory here, but I will say that the film introduces an element to the tale that spins it into much more of a character drama than a straight horror film. Not that there is anything wrong with that!

Truth be told, the film’s turn from serial killer flick into a layered character study might have been its kiss of death, but this slight genre switch is rendered a minor issue as the film’s central narcissistic antagonist is played by Aidan Bristow. Bristow is an actor you may not have heard of before this review, but you will hear his name more and more over the years to come, I promise. The guy gives (no pun intended) a killer performance as the film’s resident serial killer Noel Rose, and time after time surprised me with how chilling, charming, or downright vulnerable he chose to play any given scene.

Bristow’s performance is, in the end, the major element the film has going for it. But that said, as a fan of found footage, I was smiling ear to ear at first-time director Colin Bemis’ understanding of what makes a found footage suspense sequence work.

In Strawberry Flavored Plastic director Colin Bemis is confident and content to allow full emotional scenes to play out with the camera directed at nothing more than a character’s knees. Why is this so important? Because it keeps the reality of the film going. Too many found footage directors would focus on the actors’ faces during such emotional scenes – no matter how contrived the camera angle was. In this film, however, Bemis favors the reality that says, “If you were really in this emotional state and holding a camera, you would let it drop to your side.” I agree, and it is small touches like that which make the film feel authentic and thus – once the shite hits the fan – all the scarier.

On the dull side of the kitchen knife, the film does feel a bit long even given it’s short running time, and there doesn’t seem too much in the way of visceral horror to be found within. Again, graphic blood and gore aren’t a must in a fright flick, but a tad more of the old ultra-violence would have gone a long way in selling our main psychopath’s insanity and unpredictability. But all the same, the film does feature a rather shocking sequence where our main baddie performs a brutal home invasion/murder that puts this film firmly in the realm of horror. In fact, the particular POV home invasion scene I’m talking about holds about as much horror as you’ll ever wish to witness.

In the end, Colin Bemis’ Strawberry Flavored Plastic is a must-see for fans of found footage and serial killer studies such as American Pyscho, Creep, and Man Bites Dog. I recommend giving it a watch once it premieres. If only to be able to point to Aidan Bristow in the near future and tell all your friends that you watched (one of) his first movies.

Until then, check out the film’s trailer HERE, and follow the movie on Facebook.

  • Strawberry Flavored Plastic


Lead actor Aidan Bristow turns in a star-making performance in Colin Bemis’ Strawberry Flavored Plastic, a found footage film that plays out like Man Bites Dog in Color before introducing a new element to the charming-serial-killer subgenre and becoming more character study than a straight horror. Think American Psycho meets Creep.

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Who Goes There Podcast: Ep 148 – Inside (2017 Remake)



We’ve all heard the old saying, “in this world nothing can be said to be certain, except death and taxes.” Well, I’m here to tell you that’s only partially true. It seems there is a third certainty that had been omitted from the original quote, “It is certain, if you enjoy a movie, at some point someone will remake that movie.” Now is the time when one of my favorite movies gets reimagined, “for an American audience”.

In the late 2000’s an explosion of “French extreme” horror films was released. Martyrs and or High Tension can often be found on any number of lists of the “most fucked up horror movies ever”. Unfortunately, the vastly superior Inside is often forgotten (as well as Frontier(s), but that’s a whole ‘nother rant). Now, ten years after it’s initial release, Inside has been Americanized. Don’t worry, we watched it so you don’t have to. You’re welcome.

Mommy says you’re not dead. Is that true? It’s the Who Goes There Podcast episode 148!

If you like what you hear, please consider joining our Patreon subscribers. For less than the cost of a beer, you get bonus content, exclusive merchandise, special giveaways, and you get to help us continue doing what we love.

The Who Goes There Podcast is available to subscribe to on iTunes right here. Not an iTunes user? You can listen on our Dread Central page. Can’t get enough? We also do that social media shit. You’ll find us on FacebookTwitterInstagramTwitch, and YouTube.

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Totem Review – It’s Not Always A Bad Thing To Look Up From The Bottom Level, If You Like That View



Starring Kerris Dorsey, James Tupper, Ahna O’Reilly

Directed by Marcel Sarmiento

Following the untimely death of a family’s matriarchal figure, a young woman finds out that managing to hold all of the pieces in place becomes increasingly more difficult when otherworldly infiltrators make their presence felt. We’re going to have to work our way up this Totem, as

17 year old Kellie is the leading lady of the home following the passing of her mother Lexy, and with a needy father and tiny tot of a baby sister, she still keeps things in working order, regardless of the rather large hole that’s been left in the dynamic due to the death. Kellie’s dad after a while decides to ask his lady-friend to move in with the family, so that everyone can move onto a more peaceful existence…yeah, because those types of instances always seem to work seamlessly. As fate would have it, Kellie’s sense of pride is now taking a beating with the new woman in the mix, and her little sister’s new “visitor” is even more disturbed by this intruder – only question is, exactly who is this supernatural pal of sorts? Is it the spirit of their dead mother standing by to keep watch over the family, or is it something that’s found its way to this group, and has much more evil intentions at hand?

What works here is the context of something innately malicious that has found its way into the home – there are only a couple moments that come off as unsettling, but the notion of having to weave through more than half the film acting as a sullen-teen drama is rather painful. The presentation of the “broken family” is one that’s been done to death, and with better results overall, and that’s not to say that the movie is a complete loss, it just takes far too much weeding through at times stale performances and even more stagnant pacing to get to a moderately decent late-stage conclusion to the film. Under the direction of Marcel Sarmiento (Deadgirl), I’d truly hoped for something a bit more along the lines of a disturbing project such as that one, but the only thing disturbing was the time I’d invested in checking this one out. My best advice is to tune into the Lifetime channel if you want a sulky teen-melodrama with a tinge of horror, or you could simply jump into this one and work your way up…but it’s a LONG way to the top.

  • Film


Sulky, moody, and ridden with teen-angst buried in the middle of a supernatural mystery – SOUNDS like a decent premise, doesn’t it?

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