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header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\n\n<h3 style=\"text-align: center;\"><strong><em>BloodRayne 2: Deliverance</em> (Uwe Boll, 2007, 99 min.)</strong></h3>\n<p>Instead of a simple angry rant about Uwe Boll\'s <b><i>BloodRayne 2: Deliverance</i></b>, which is about a half-vampire fighting against a vampiric Billy the Kid in the Wild West, I wrote poems: one sonnet (Shakespearean, not Italian), two limericks, a villanelle, and a sestina.</p>\n<p><b>Shall I Compare Thee to an Uwe Boll Film?</b></p>\n<p>The vampire outlaw William Bonney wreaks<br />a trail of carnage spread across the West<br />(but of his Slavic accent we\'ll not speak).<br />But he\'s just <i>BloodRayne 2</i>\'s especial guest:<br />Natassia Malthe is the \"dhamphir\" Rayne;<br />be-sworded, bosomed, clad in leather cloak,<br />she\'s out for vengeance, dealing death and pain<br />to Bill the Kid and his undead cowpokes.<br />Director Uwe Boll is widely booed:<br />\"incompetent\"? Inadequately cruel.<br />Anachronism reigns! Ineptitude<br />of acting, scripting, lensing is the rule.<br />This film\'s a minor cinematic crime<br />entirely unworthy of my rhymes.</p>\n<p><b>The Lass from Oslo</b></p>\n<p>There once was an actress named Malthe.<br />In <i>BloodRayne</i> her presence is paltry.<br />Her waist is quite slim<br />but her acting is grim<br />and quite limited her career shall be.</p>\n<p>She\'s entirely too soft-spoken.<br />She pales next to Kristanna Lokken.<br />She\'s not half as pretty,<br />her accent is shitty,<br />and her ass-kicking skills appear broken.</p>\n<p><b>Do Not Go Gentle Into an Uwe Boll Film</b></p>\n<p>My eyes! God damn that Uwe Boll to hell<br />for bringing forth another <i>BloodRayne</i> flick!<br />Such horrors from my mind I can\'t dispel!</p>\n<p>I\'d rather choose to face armed personnel,<br />or Montresor to wall me up with bricks.<br />My eyes! God damn that Uwe Boll to hell!</p>\n<p>Each line the actors speak is a death knell;<br />the overacting hams lay it on thick.<br />Such horrors from my mind I can\'t dispel.</p>\n<p>Film art is absent, vision, skill as well;<br />technique\'s the very opposite of slick.<br />My eyes! God damn that Uwe Boll to hell!</p>\n<p>I\'d vote to give this film a Prix Nobel<br />but there\'s no prize for cinematic ick.<br />Such horrors from my mind I can\'t dispel!</p>\n<p>At nothing does the cast or crew excel.<br />Just watching left me feeling vaguely sick. <br />My eyes! God damn that Uwe Boll to hell!<br />Such horrors from my mind I can\'t dispel!</p>\n<p><b>There Are No Well-Known Sestina Titles to Infest with Uwe Boll</b></p>\n<p>You\'ll say I\'m too hard on this movie<br />and perhaps you\'re right.<br />It\'s not, after all, trying to be great cinema;<br />it\'s just a straight-to-video sequel<br />that appeals to a certain collection<br />of people who will excuse its flaws.</p>\n<p>But should they excuse those flaws?<br />Did they? It\'s in the bottom 100 movies<br />on the IMDB, an illustrious collection,<br />and while I\'m not sure its placement there is right,<br />it\'s certainly a pointless and unskilled sequel<br />to a film that was itself a blight on the cinema.</p>\n<p>(I don\'t understand the subset of cinema<br />that\'s \"supposed to be bad\"; if the flaws<br />of this <i>BloodRayne</i> sequel<br />are intentional, why is the movie<br />not funny? Because comedy is the only right<br />venue for intentional gaffes; this collection</p>\n<p>of gaffes is unfunny.) So is a growing collection<br />of <i>BloodRayne</i> films inevitable, then? Will the cinema,<br />or at least home video, support Uwe Boll\'s right<br />(backed up by his fists) to slather his directorial flaws<br />on the screen in another half-dressed half-vampire movie?<br />Can he find a distributor for another sequel?</p>\n<p>What a stupid question. Another sequel<br />likely featuring Malthe and a collection<br />of has-beens will bore and annoy movie<br />audiences in 2009. I\'m sure the cinema<br />will survive; it\'s survived more disastrous flaws<br />than Uwe Boll can perpetrate. That\'s right:</p>\n<p>Uwe Boll is harmless. People in their right<br />minds ignore him. Real damage comes from mindless sequels<br />bolstered by kadillion-dollar budgets and a flawed,<br />strictly commercial mindset. The collected<br />films of Brett Ratner, Michael Bay, et al. do more harm to the cinema<br />because studios hold up as triumphs their shitbag movies.</p>\n<p>So let Uwe Boll make movies. Let him do a hundred <i>BloodRayne</i> sequels.<br />It\'s his right (plus he\'ll beat you up if you argue). Cinema\'s<br />real enemies perpetrate worse flaws. Michael Bay is in the Criterion Collection.</p>\n\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','BloodRayne 2: Deliverance (2007)','','inherit','closed','closed','','274-autosave-v1','','','2019-07-26 00:59:58','2019-07-26 00:59:58','',274,'http://itcamefrombeyondpulp.com/uncategorized/274-autosave-v1/',0,'revision','',0);
INSERT INTO `wp6h_posts` VALUES (280,1,'2019-07-26 01:06:53','2019-07-26 01:06:53','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" custom_margin=\"||11px|||\" next_background_color=\"#000000\" global_module=\"74\"][et_pb_row global_parent=\"74\" custom_padding=\"0px||0px|||\" custom_margin=\"|auto|-66px|auto||\" _builder_version=\"3.26.3\"][et_pb_column type=\"4_4\" global_parent=\"74\" _builder_version=\"3.26.3\"][et_pb_image global_parent=\"74\" src=\"http://itcamefrombeyondpulp.com/wp-content/uploads/2019/07/header.jpg\" url=\"http://itcamefrombeyondpulp.com\" _builder_version=\"3.26.3\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" 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header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>The Cat and the Canary</em> (Paul Leni, 1927, 82 min.)</strong></h3><p>John Willard\'s play <i>The Cat and the Canary</i> opened on Broadway in 1922 and ran for 148 performances; it was part of a mini-trend of \"old dark house\" melodramas in which unsuspecting innocents (and not-so-innocents) gather in a spooky old mansion replete with monsters and ghosts that turn out in the end to have been human beings in devious disguises. As might be obvious, these plays and their popular film descendents inspired the cartoon <i>Scooby-Doo</i>, whose semi-ridiculous trapdoors, hidden passages, and criminals in elaborate masks don\'t seem so ridiculous after seeing the very same things in this film, one of the most popular \"horror\" films of the silent period.</p><p>If one can call it horror. There are certainly some chilling images in Paul Leni\'s 1927 screen adaptation of the hit play, and I\'m guessing that to a contemporary audience, some of them might have been quite shocking. But even granting the film\'s deliberate efforts to frighten, there\'s more of an effort to reassure the viewer that this is just a silly diversion, that you can scream if you want to—it makes the proceedings more enjoyable—but everything will turn out all right in the end. For starters, nearly a third of the credited cast are there as comic relief, and an inordinate amount of screen time is devoted to their exaggerated reactions to real and imagined shocks. So it\'s not exactly a horror film, at least by any strict definition. But it is a great deal of fun.</p><p>Twenty years ago, Cyrus West, driven insane by his scheming relatives\' obsession with his considerable fortune, wrote a will that was not to be opened until tonight at midnight. His surviving relatives have gathered at his spooky old mansion for the reading. Among them are the milquetoast Paul Jones (Creighton Hale), the brooding Harry (Arthur Edmund Carewe), the handsome Charlie (Forrest Stanley), the highstrung Aunt Sillsby (Flora Finch) and her pretty neice Cecily (Gertrude Astor), and Cyrus\'s beautiful neice Annabelle, played by silent star Laura La Plante. When lawyer Roger Crosby (Tully Marshall) reads the will, it turns out that Annabelle will inherit the riches, but only if she\'s deemed sane by a psychiatrist; if she\'s insane, the person whose name appears in another envelope gets the dough. This sets off a chain of surprising disappearances, shocking appearances, gnarled clawlike hands emerging from hidden compartments in the walls, and related shenanigans as circumstances, an escaped lunatic, and perhaps a relative or two conspire to render Annabelle insane before dawn.</p><p>Leni, already a gifted director and set designer before he came to the United States in 1927, and cinematographer Gilbert Warrenton (whose few triumphs in a career of undistinguished films convince me that his directors did the bulk of the shot setups) use a fluidly moving camera and elaborate, expressionist sets and lighting to achieve some of the most memorable shots in silent film, from the extraordinary opening multiple exposures of Cyrus West trapped in medicine bottles and menaced by cats, to the amazing tracking shots down the curtain-lined main hallway, to the dramatic zooms and pans that accompany the film\'s shocks. These visual creations are ingeniously coupled with a wide palette of tinting to provoke gasps and laughter in equal measure. And unlike many silent films, which relied too much on redundant intertitles, Leni and company not only eschew all but the most important titles, but they often do more than simply provide words on a screen: these titles dance, wiggle, and melt off the screen, happy to be put to more use than simply imparting information.</p><p>In fact, the film is so atmospheric and lively that it makes me doubly sad that its director, Paul Leni, made so few films—including <em>The Man Who Laughs</em> and <em>The Last Warning</em>—before he died in 1929 at the age of 45. Could his career have survived the talkie transition? It\'s tantalizing to wonder whether his version of <em>Dracula</em>, planned but never completed because of his untimely death and the return of his chosen star, Conrad Veidt, to Germany, would have been better than Tod Browning\'s stodgy, unimaginative potboiler, but after viewing this film, the answer is manifestly apparent—of course it would have been better.</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Cat and the Canary (1927)','','publish','closed','closed','','the-cat-and-the-canary-1927','','','2019-07-26 01:06:53','2019-07-26 01:06:53','',0,'http://itcamefrombeyondpulp.com/?p=280',0,'post','',0),(281,1,'2019-07-26 01:06:34','2019-07-26 01:06:34','','canary','','inherit','closed','closed','','canary','','','2019-07-26 01:06:34','2019-07-26 01:06:34','',280,'http://itcamefrombeyondpulp.com/wp-content/uploads/2019/07/canary.jpg',0,'attachment','image/jpeg',0),(282,1,'2019-07-26 01:06:53','2019-07-26 01:06:53','[et_pb_section bb_built=\"1\" 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box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" text_text_shadow_horizontal_length=\"text_text_shadow_style,%91object Object%93\" text_text_shadow_vertical_length=\"text_text_shadow_style,%91object Object%93\" text_text_shadow_blur_strength=\"text_text_shadow_style,%91object Object%93\" link_text_shadow_horizontal_length=\"link_text_shadow_style,%91object Object%93\" link_text_shadow_vertical_length=\"link_text_shadow_style,%91object Object%93\" link_text_shadow_blur_strength=\"link_text_shadow_style,%91object Object%93\" ul_text_shadow_horizontal_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_vertical_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_blur_strength=\"ul_text_shadow_style,%91object Object%93\" ol_text_shadow_horizontal_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_vertical_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_blur_strength=\"ol_text_shadow_style,%91object Object%93\" quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>The Cat and the Canary</em> (Paul Leni, 1927, 82 min.)</strong></h3><p>John Willard\'s play <i>The Cat and the Canary</i> opened on Broadway in 1922 and ran for 148 performances; it was part of a mini-trend of \"old dark house\" melodramas in which unsuspecting innocents (and not-so-innocents) gather in a spooky old mansion replete with monsters and ghosts that turn out in the end to have been human beings in devious disguises. As might be obvious, these plays and their popular film descendents inspired the cartoon <i>Scooby-Doo</i>, whose semi-ridiculous trapdoors, hidden passages, and criminals in elaborate masks don\'t seem so ridiculous after seeing the very same things in this film, one of the most popular \"horror\" films of the silent period.</p><p>If one can call it horror. There are certainly some chilling images in Paul Leni\'s 1927 screen adaptation of the hit play, and I\'m guessing that to a contemporary audience, some of them might have been quite shocking. But even granting the film\'s deliberate efforts to frighten, there\'s more of an effort to reassure the viewer that this is just a silly diversion, that you can scream if you want to—it makes the proceedings more enjoyable—but everything will turn out all right in the end. For starters, nearly a third of the credited cast are there as comic relief, and an inordinate amount of screen time is devoted to their exaggerated reactions to real and imagined shocks. So it\'s not exactly a horror film, at least by any strict definition. But it is a great deal of fun.</p><p>Twenty years ago, Cyrus West, driven insane by his scheming relatives\' obsession with his considerable fortune, wrote a will that was not to be opened until tonight at midnight. His surviving relatives have gathered at his spooky old mansion for the reading. Among them are the milquetoast Paul Jones (Creighton Hale), the brooding Harry (Arthur Edmund Carewe), the handsome Charlie (Forrest Stanley), the highstrung Aunt Sillsby (Flora Finch) and her pretty neice Cecily (Gertrude Astor), and Cyrus\'s beautiful neice Annabelle, played by silent star Laura La Plante. When lawyer Roger Crosby (Tully Marshall) reads the will, it turns out that Annabelle will inherit the riches, but only if she\'s deemed sane by a psychiatrist; if she\'s insane, the person whose name appears in another envelope gets the dough. This sets off a chain of surprising disappearances, shocking appearances, gnarled clawlike hands emerging from hidden compartments in the walls, and related shenanigans as circumstances, an escaped lunatic, and perhaps a relative or two conspire to render Annabelle insane before dawn.</p><p>Leni, already a gifted director and set designer before he came to the United States in 1927, and cinematographer Gilbert Warrenton (whose few triumphs in a career of undistinguished films convince me that his directors did the bulk of the shot setups) use a fluidly moving camera and elaborate, expressionist sets and lighting to achieve some of the most memorable shots in silent film, from the extraordinary opening multiple exposures of Cyrus West trapped in medicine bottles and menaced by cats, to the amazing tracking shots down the curtain-lined main hallway, to the dramatic zooms and pans that accompany the film\'s shocks. These visual creations are ingeniously coupled with a wide palette of tinting to provoke gasps and laughter in equal measure. And unlike many silent films, which relied too much on redundant intertitles, Leni and company not only eschew all but the most important titles, but they often do more than simply provide words on a screen: these titles dance, wiggle, and melt off the screen, happy to be put to more use than simply imparting information.</p><p>In fact, the film is so atmospheric and lively that it makes me doubly sad that its director, Paul Leni, made so few films—including <em>The Man Who Laughs</em> and <em>The Last Warning</em>—before he died in 1929 at the age of 45. Could his career have survived the talkie transition? It\'s tantalizing to wonder whether his version of <em>Dracula</em>, planned but never completed because of his untimely death and the return of his chosen star, Conrad Veidt, to Germany, would have been better than Tod Browning\'s stodgy, unimaginative potboiler, but after viewing this film, the answer is manifestly apparent—of course it would have been better.</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Cat and the Canary (1927)','','inherit','closed','closed','','280-revision-v1','','','2019-07-26 01:06:53','2019-07-26 01:06:53','',280,'http://itcamefrombeyondpulp.com/uncategorized/280-revision-v1/',0,'revision','',0),(283,1,'2019-07-26 01:09:16','2019-07-26 01:09:16','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" custom_margin=\"||11px|||\" 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quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\n\n<h3 style=\"text-align: center;\"><strong><em>The Cat and the Canary</em> (Paul Leni, 1927, 82 min.)</strong></h3>\n<p>John Willard\'s play <i>The Cat and the Canary</i> opened on Broadway in 1922 and ran for 148 performances; it was part of a mini-trend of \"old dark house\" melodramas in which unsuspecting innocents (and not-so-innocents) gather in a spooky old mansion replete with monsters and ghosts that turn out in the end to have been human beings in devious disguises. As might be obvious, these plays and their popular film descendents inspired the cartoon <i>Scooby-Doo</i>, whose semi-ridiculous trapdoors, hidden passages, and criminals in elaborate masks don\'t seem so ridiculous after seeing the very same things in this film, one of the most popular \"horror\" films of the silent period.</p>\n<p>If one can call it horror. There are certainly some chilling images in Paul Leni\'s 1927 screen adaptation of the hit play, and I\'m guessing that to a contemporary audience, some of them might have been quite shocking. But even granting the film\'s deliberate efforts to frighten, there\'s more of an effort to reassure the viewer that this is just a silly diversion, that you can scream if you want to—it makes the proceedings more enjoyable—but everything will turn out all right in the end. For starters, nearly a third of the credited cast are there as comic relief, and an inordinate amount of screen time is devoted to their exaggerated reactions to real and imagined shocks. So it\'s not exactly a horror film, at least by any strict definition. But it is a great deal of fun.</p>\n<p>Twenty years ago, Cyrus West, driven insane by his scheming relatives\' obsession with his considerable fortune, wrote a will that was not to be opened until tonight at midnight. His surviving relatives have gathered at his spooky old mansion for the reading. Among them are the milquetoast Paul Jones (Creighton Hale), the brooding Harry (Arthur Edmund Carewe), the handsome Charlie (Forrest Stanley), the highstrung Aunt Sillsby (Flora Finch) and her pretty neice Cecily (Gertrude Astor), and Cyrus\'s beautiful neice Annabelle, played by silent star Laura La Plante. When lawyer Roger Crosby (Tully Marshall) reads the will, it turns out that Annabelle will inherit the riches, but only if she\'s deemed sane by a psychiatrist; if she\'s insane, the person whose name appears in another envelope gets the dough. This sets off a chain of surprising disappearances, shocking appearances, gnarled clawlike hands emerging from hidden compartments in the walls, and related shenanigans as circumstances, an escaped lunatic, and perhaps a relative or two conspire to render Annabelle insane before dawn.</p>\n<p>Leni, already a gifted director and set designer before he came to the United States in 1927, and cinematographer Gilbert Warrenton (whose few triumphs in a career of undistinguished films convince me that his directors did the bulk of the shot setups) use a fluidly moving camera and elaborate, expressionist sets and lighting to achieve some of the most memorable shots in silent film, from the extraordinary opening multiple exposures of Cyrus West trapped in medicine bottles and menaced by cats, to the amazing tracking shots down the curtain-lined main hallway, to the dramatic zooms and pans that accompany the film\'s shocks. These visual creations are ingeniously coupled with a wide palette of tinting to provoke gasps and laughter in equal measure. And unlike many silent films, which relied too much on redundant intertitles, Leni and company not only eschew all but the most important titles, but they often do more than simply provide words on a screen: these titles dance, wiggle, and melt off the screen, happy to be put to more use than simply imparting information.</p>\n<p>In fact, the film is so atmospheric and lively that it makes me doubly sad that its director, Paul Leni, made so few films—including <em>The Man Who Laughs</em> and <em>The Last Warning</em>—before he died in 1929 at the age of 45. Could his career have survived the talkie transition? It\'s tantalizing to wonder whether his version of <em>Dracula</em>, planned but never completed because of his untimely death and the return of his chosen star, Conrad Veidt, to Germany, would have been better than Tod Browning\'s stodgy, unimaginative potboiler, but after viewing this film, the answer is manifestly apparent—of course it would have been better.</p>\n\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Cat and the Canary (1927)','','inherit','closed','closed','','280-autosave-v1','','','2019-07-26 01:09:16','2019-07-26 01:09:16','',280,'http://itcamefrombeyondpulp.com/uncategorized/280-autosave-v1/',0,'revision','',0),(284,1,'2019-07-26 01:13:06','2019-07-26 01:13:06','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" custom_margin=\"||11px|||\" 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quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>The Children</em> (Max Kalmanowicz, 1980, 93 min.)</strong></h3><p>One can only imagine what awful child-related experience prompted Carlton Albright and Edward Terry to write a screenplay as horrific as <i>The Children</i>; perhaps he suspects his kids of being the mailman\'s progeny. The \"scary little kid\" subgenre has never been scarier or more nihilistic than this incredibly effective and incredibly nasty bargain-basement shockfest. Its premise is simple: a busload of kids drives through a toxic fog and turns into... into what? They still look like apple-cheeked, sweet-faced munchkins, except their fingernails are black, and if they touch you, they melt the flesh from your bones. To paraphrase the song, I believe the children are our future, and there ain\'t no future here.</p><p>After a prologue that establishes the source of the toxic fog, we follow the sheriff (Gil Rogers) as he tries to figure out why the school bus would be sitting empty on the side of the road. After he finds the first victim (the bus driver), his immediate concern is again with the children: who will protect them from whatever did this to the driver? It takes everyone concerned an inordinately long time to decide, finally, that the kids are the reason behind the rapidly accumulating bodies. But that\'s natural: we know we\'re watching a horror film called <i>The Children</i>, but it\'s almost against our instincts to suspect children of being capable of killing.</p><p>The acting and dialogue are standard for the horror genre, meaning that they\'re basically sub-par, but that fact doesn\'t detract from the movie\'s effectiveness a whit. Director Max Kalmanowicz\'s staging of scenes is nothing special during the first two acts, when it\'s still daylight and the adults are still trying to figure out what\'s going on. But once night falls, his true gifts come into play. Under cover of near-darkness, he exhibits an almost supernatural mastery of simple, evocative, and scary-as-hell shot framing, shock reveals, and pacing. He doesn\'t make the mistake, common in the slasher genre, of overlighting his shots: the lighting here is the familiar blindness-inducing pitch black of a moonless night, in which headlights, flashlights, and candles illuminate just enough to remind you of how cavern-dark everything else is. It\'s here, in the dark, where he uses his scary kids brilliantly. Smiling, arms outstretched, calling \"mommy, mommy\" in their piping voices, they loom out of the blackness like pretty little angels of death: this is the single scariest image I can remember from any horror film.</p><p>And if the soul-destroying horror of children turned into monsters weren\'t enough, the film bravely (if that\'s the right word; \"sadistically\" would fit too) follows through on its premise by making the destruction of the children necessary (i.e., there\'s no cure) and even more awful than the children themselves: only chopping off their hands will stop them. Both hands. That the camera pulls away from the scene of greatest carnage is no salve: the camera tracks slowly, sinuously out of a barn, into the yard, through a house, through the woods, as unearthly screams prompt our imaginations to supply pictures more nauseating than any makeup artist could create. And that\'s not even the most disturbing, or nihilistic, of the film\'s little horrors—it saves its biggest kick for last.</p><p>The unfair 5.1 rating on IMDB could reflect any number of things: disgust with <i>The Children</i>\'s awful nihilism, or failure to look past the low-budget aesthetics to the brilliant way Kalmanowicz and company embrace and twist the genre\'s conventions and limitations. It\'s certainly not for everybody. It\'s probably not for most people. You know who you are.</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Children (1980)','','publish','closed','closed','','the-children-1980','','','2019-07-26 01:13:06','2019-07-26 01:13:06','',0,'http://itcamefrombeyondpulp.com/?p=284',0,'post','',0),(285,1,'2019-07-26 01:11:51','2019-07-26 01:11:51','','children','','inherit','closed','closed','','children','','','2019-07-26 01:11:51','2019-07-26 01:11:51','',284,'http://itcamefrombeyondpulp.com/wp-content/uploads/2019/07/children.jpeg',0,'attachment','image/jpeg',0),(286,1,'2019-07-26 01:12:50','2019-07-26 01:12:50','','children','','inherit','closed','closed','','children-2','','','2019-07-26 01:12:50','2019-07-26 01:12:50','',284,'http://itcamefrombeyondpulp.com/wp-content/uploads/2019/07/children.jpg',0,'attachment','image/jpeg',0),(287,1,'2019-07-26 01:13:06','2019-07-26 01:13:06','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" 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ol_text_shadow_blur_strength=\"ol_text_shadow_style,%91object Object%93\" quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>The Children</em> (Max Kalmanowicz, 1980, 93 min.)</strong></h3><p>One can only imagine what awful child-related experience prompted Carlton Albright and Edward Terry to write a screenplay as horrific as <i>The Children</i>; perhaps he suspects his kids of being the mailman\'s progeny. The \"scary little kid\" subgenre has never been scarier or more nihilistic than this incredibly effective and incredibly nasty bargain-basement shockfest. Its premise is simple: a busload of kids drives through a toxic fog and turns into... into what? They still look like apple-cheeked, sweet-faced munchkins, except their fingernails are black, and if they touch you, they melt the flesh from your bones. To paraphrase the song, I believe the children are our future, and there ain\'t no future here.</p><p>After a prologue that establishes the source of the toxic fog, we follow the sheriff (Gil Rogers) as he tries to figure out why the school bus would be sitting empty on the side of the road. After he finds the first victim (the bus driver), his immediate concern is again with the children: who will protect them from whatever did this to the driver? It takes everyone concerned an inordinately long time to decide, finally, that the kids are the reason behind the rapidly accumulating bodies. But that\'s natural: we know we\'re watching a horror film called <i>The Children</i>, but it\'s almost against our instincts to suspect children of being capable of killing.</p><p>The acting and dialogue are standard for the horror genre, meaning that they\'re basically sub-par, but that fact doesn\'t detract from the movie\'s effectiveness a whit. Director Max Kalmanowicz\'s staging of scenes is nothing special during the first two acts, when it\'s still daylight and the adults are still trying to figure out what\'s going on. But once night falls, his true gifts come into play. Under cover of near-darkness, he exhibits an almost supernatural mastery of simple, evocative, and scary-as-hell shot framing, shock reveals, and pacing. He doesn\'t make the mistake, common in the slasher genre, of overlighting his shots: the lighting here is the familiar blindness-inducing pitch black of a moonless night, in which headlights, flashlights, and candles illuminate just enough to remind you of how cavern-dark everything else is. It\'s here, in the dark, where he uses his scary kids brilliantly. Smiling, arms outstretched, calling \"mommy, mommy\" in their piping voices, they loom out of the blackness like pretty little angels of death: this is the single scariest image I can remember from any horror film.</p><p>And if the soul-destroying horror of children turned into monsters weren\'t enough, the film bravely (if that\'s the right word; \"sadistically\" would fit too) follows through on its premise by making the destruction of the children necessary (i.e., there\'s no cure) and even more awful than the children themselves: only chopping off their hands will stop them. Both hands. That the camera pulls away from the scene of greatest carnage is no salve: the camera tracks slowly, sinuously out of a barn, into the yard, through a house, through the woods, as unearthly screams prompt our imaginations to supply pictures more nauseating than any makeup artist could create. And that\'s not even the most disturbing, or nihilistic, of the film\'s little horrors—it saves its biggest kick for last.</p><p>The unfair 5.1 rating on IMDB could reflect any number of things: disgust with <i>The Children</i>\'s awful nihilism, or failure to look past the low-budget aesthetics to the brilliant way Kalmanowicz and company embrace and twist the genre\'s conventions and limitations. It\'s certainly not for everybody. It\'s probably not for most people. You know who you are.</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Children (1980)','','inherit','closed','closed','','284-revision-v1','','','2019-07-26 01:13:06','2019-07-26 01:13:06','',284,'http://itcamefrombeyondpulp.com/uncategorized/284-revision-v1/',0,'revision','',0),(292,1,'2019-07-26 02:06:43','2019-07-26 02:06:43','[et_pb_section fb_built=\"1\" _builder_version=\"3.26.3\" custom_margin=\"||11px|||\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" global_module=\"74\"][et_pb_row custom_padding=\"0px||0px|||\" custom_margin=\"|auto|-66px|auto||\" _builder_version=\"3.26.3\"][et_pb_column type=\"4_4\" _builder_version=\"3.26.3\"][et_pb_image src=\"http://itcamefrombeyondpulp.com/wp-content/uploads/2019/07/header.jpg\" url=\"http://itcamefrombeyondpulp.com\" _builder_version=\"3.26.3\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\"][/et_pb_image][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built=\"1\" fullwidth=\"on\" _builder_version=\"3.26.3\" width=\"1080px\" module_alignment=\"center\" inner_module_alignment=\"center\" custom_padding=\"0px||0px||false|false\" z_index_tablet=\"500\" hover_enabled=\"0\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" global_module=\"175\" width_last_edited=\"on|tablet\" width_phone=\"100%\" width_tablet=\"100%\"][et_pb_fullwidth_menu menu_id=\"2\" submenu_direction=\"downwards\" fullwidth_menu=\"off\" dropdown_menu_text_color=\"#ffffff\" _builder_version=\"3.26.3\" menu_font=\"|800||on|||||\" menu_text_color=\"#ffffff\" menu_font_size=\"22px\" menu_letter_spacing=\"5px\" background_color=\"#e02b20\" border_width_bottom=\"5px\" text_orientation=\"center\" background_layout=\"dark\" custom_margin=\"0px||||false|false\" custom_padding=\"1px||0px||false|false\" z_index_tablet=\"500\" menu_text_shadow_horizontal_length_tablet=\"0px\" menu_text_shadow_vertical_length_tablet=\"0px\" menu_text_shadow_blur_strength_tablet=\"1px\" border_width_bottom_tablet=\"5px\" border_width_bottom_phone=\"5px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\"][/et_pb_fullwidth_menu][/et_pb_section][et_pb_section fb_built=\"1\" _builder_version=\"3.26.3\" background_color=\"#e02b20\" width=\"1080px\" module_alignment=\"center\" custom_padding=\"10px||0px|||\" hover_enabled=\"0\" width_last_edited=\"on|tablet\" width_phone=\"100%\" width_tablet=\"100%\"][et_pb_row custom_padding=\"10px|10px||\" _builder_version=\"3.26.3\" background_color=\"#ffffff\" border_width_bottom=\"5px\" border_color_bottom=\"#e02b20\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\"][et_pb_column type=\"4_4\" _builder_version=\"3.0.47\" custom_padding=\"|||\" custom_padding__hover=\"|||\"][et_pb_text _builder_version=\"3.26.3\" z_index_tablet=\"500\" text_text_shadow_horizontal_length_tablet=\"0px\" text_text_shadow_vertical_length_tablet=\"0px\" text_text_shadow_blur_strength_tablet=\"1px\" link_text_shadow_horizontal_length_tablet=\"0px\" link_text_shadow_vertical_length_tablet=\"0px\" link_text_shadow_blur_strength_tablet=\"1px\" ul_text_shadow_horizontal_length_tablet=\"0px\" ul_text_shadow_vertical_length_tablet=\"0px\" ul_text_shadow_blur_strength_tablet=\"1px\" ol_text_shadow_horizontal_length_tablet=\"0px\" ol_text_shadow_vertical_length_tablet=\"0px\" ol_text_shadow_blur_strength_tablet=\"1px\" quote_text_shadow_horizontal_length_tablet=\"0px\" quote_text_shadow_vertical_length_tablet=\"0px\" 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box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\"]<h1 style=\"text-align: center;\">Movies &amp; TV Reviews</h1>\r[/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row _builder_version=\"3.26.3\" background_color=\"#ffffff\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" column_structure=\"1_3,1_3,1_3\"][et_pb_column type=\"1_3\" _builder_version=\"3.0.47\" custom_padding=\"|||\" custom_padding__hover=\"|||\"][et_pb_text _builder_version=\"3.26.3\" z_index_tablet=\"500\" text_text_shadow_horizontal_length_tablet=\"0px\" text_text_shadow_vertical_length_tablet=\"0px\" text_text_shadow_blur_strength_tablet=\"1px\" link_text_shadow_horizontal_length_tablet=\"0px\" link_text_shadow_vertical_length_tablet=\"0px\" link_text_shadow_blur_strength_tablet=\"1px\" ul_text_shadow_horizontal_length_tablet=\"0px\" ul_text_shadow_vertical_length_tablet=\"0px\" ul_text_shadow_blur_strength_tablet=\"1px\" ol_text_shadow_horizontal_length_tablet=\"0px\" ol_text_shadow_vertical_length_tablet=\"0px\" ol_text_shadow_blur_strength_tablet=\"1px\" quote_text_shadow_horizontal_length_tablet=\"0px\" quote_text_shadow_vertical_length_tablet=\"0px\" quote_text_shadow_blur_strength_tablet=\"1px\" header_text_shadow_horizontal_length_tablet=\"0px\" header_text_shadow_vertical_length_tablet=\"0px\" header_text_shadow_blur_strength_tablet=\"1px\" header_2_text_shadow_horizontal_length_tablet=\"0px\" header_2_text_shadow_vertical_length_tablet=\"0px\" header_2_text_shadow_blur_strength_tablet=\"1px\" header_3_text_shadow_horizontal_length_tablet=\"0px\" header_3_text_shadow_vertical_length_tablet=\"0px\" header_3_text_shadow_blur_strength_tablet=\"1px\" header_4_text_shadow_horizontal_length_tablet=\"0px\" header_4_text_shadow_vertical_length_tablet=\"0px\" header_4_text_shadow_blur_strength_tablet=\"1px\" header_5_text_shadow_horizontal_length_tablet=\"0px\" header_5_text_shadow_vertical_length_tablet=\"0px\" header_5_text_shadow_blur_strength_tablet=\"1px\" header_6_text_shadow_horizontal_length_tablet=\"0px\" header_6_text_shadow_vertical_length_tablet=\"0px\" header_6_text_shadow_blur_strength_tablet=\"1px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\"]<h3 style=\"text-align: center;\">Sci-Fi</h3>\r\n<p style=\"text-align: center;\"><strong><a href=\"http://itcamefrombeyondpulp.com/movies/children-of-men-2006/\">Children of Men (2006)</a><br /></strong><strong><a href=\"http://itcamefrombeyondpulp.com/movies/cloverfield-2008/\">Cloverfield (2008)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-dark-knight-2008/\">The Dark Knight (2008)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-fountain-2006/\">The Fountain (2006)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/hardware-1990/\">Hardware (1990)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/harry-potter-and-the-chamber-of-secrets-2002/\">Harry Potter and the Chamber of Secrets (2002)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/harry-potter-and-the-sorcerers-stone-2001/\">Harry Potter and the Sorcerer\'s Stone (2001)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/maniac-1934/\">Maniac (1934)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-phantom-planet-1961/\">The Phantom Planet (1961)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/predator-1987/\">Predator (1987)</a><br /></strong><a href=\"http://itcamefrombeyondpulp.com/movies/serenity-2005/\"><strong>Serenity (2005)</strong></a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/x-men-the-last-stand-2006/\"><strong>X-Men: The Last Stand (2006)</strong></a></p>\r[/et_pb_text][/et_pb_column][et_pb_column type=\"1_3\" _builder_version=\"3.0.47\" custom_padding=\"|||\" custom_padding__hover=\"|||\"][et_pb_text _builder_version=\"3.26.3\" z_index_tablet=\"500\" text_text_shadow_horizontal_length_tablet=\"0px\" text_text_shadow_vertical_length_tablet=\"0px\" text_text_shadow_blur_strength_tablet=\"1px\" link_text_shadow_horizontal_length_tablet=\"0px\" link_text_shadow_vertical_length_tablet=\"0px\" link_text_shadow_blur_strength_tablet=\"1px\" ul_text_shadow_horizontal_length_tablet=\"0px\" ul_text_shadow_vertical_length_tablet=\"0px\" ul_text_shadow_blur_strength_tablet=\"1px\" ol_text_shadow_horizontal_length_tablet=\"0px\" ol_text_shadow_vertical_length_tablet=\"0px\" ol_text_shadow_blur_strength_tablet=\"1px\" quote_text_shadow_horizontal_length_tablet=\"0px\" quote_text_shadow_vertical_length_tablet=\"0px\" quote_text_shadow_blur_strength_tablet=\"1px\" header_text_shadow_horizontal_length_tablet=\"0px\" header_text_shadow_vertical_length_tablet=\"0px\" header_text_shadow_blur_strength_tablet=\"1px\" header_2_text_shadow_horizontal_length_tablet=\"0px\" header_2_text_shadow_vertical_length_tablet=\"0px\" header_2_text_shadow_blur_strength_tablet=\"1px\" header_3_text_shadow_horizontal_length_tablet=\"0px\" header_3_text_shadow_vertical_length_tablet=\"0px\" header_3_text_shadow_blur_strength_tablet=\"1px\" header_4_text_shadow_horizontal_length_tablet=\"0px\" header_4_text_shadow_vertical_length_tablet=\"0px\" header_4_text_shadow_blur_strength_tablet=\"1px\" header_5_text_shadow_horizontal_length_tablet=\"0px\" header_5_text_shadow_vertical_length_tablet=\"0px\" header_5_text_shadow_blur_strength_tablet=\"1px\" header_6_text_shadow_horizontal_length_tablet=\"0px\" header_6_text_shadow_vertical_length_tablet=\"0px\" header_6_text_shadow_blur_strength_tablet=\"1px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\"]<h3 style=\"text-align: center;\">Horror</h3><p style=\"text-align: center;\"><a href=\"http://itcamefrombeyondpulp.com/movies/bloodrayne-2-deliverance-2007/\"><strong>BloodRayne 2: Deliverance (2007)</strong></a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-cat-and-the-canary-1927/\"><strong>The Cat and the Canary (1927)</strong></a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-children-1980/\"><strong>The Children (1980)</strong></a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/masters-of-horror-the-black-cat-2007/\"><strong>Masters of Horror: The Black Cat (2007)</strong></a></p>\r[/et_pb_text][/et_pb_column][et_pb_column type=\"1_3\" _builder_version=\"3.0.47\" custom_padding=\"|||\" custom_padding__hover=\"|||\"][et_pb_text _builder_version=\"3.26.3\" z_index_tablet=\"500\" text_text_shadow_horizontal_length_tablet=\"0px\" text_text_shadow_vertical_length_tablet=\"0px\" text_text_shadow_blur_strength_tablet=\"1px\" link_text_shadow_horizontal_length_tablet=\"0px\" link_text_shadow_vertical_length_tablet=\"0px\" link_text_shadow_blur_strength_tablet=\"1px\" ul_text_shadow_horizontal_length_tablet=\"0px\" ul_text_shadow_vertical_length_tablet=\"0px\" ul_text_shadow_blur_strength_tablet=\"1px\" ol_text_shadow_horizontal_length_tablet=\"0px\" ol_text_shadow_vertical_length_tablet=\"0px\" ol_text_shadow_blur_strength_tablet=\"1px\" quote_text_shadow_horizontal_length_tablet=\"0px\" quote_text_shadow_vertical_length_tablet=\"0px\" quote_text_shadow_blur_strength_tablet=\"1px\" header_text_shadow_horizontal_length_tablet=\"0px\" header_text_shadow_vertical_length_tablet=\"0px\" header_text_shadow_blur_strength_tablet=\"1px\" header_2_text_shadow_horizontal_length_tablet=\"0px\" header_2_text_shadow_vertical_length_tablet=\"0px\" header_2_text_shadow_blur_strength_tablet=\"1px\" header_3_text_shadow_horizontal_length_tablet=\"0px\" header_3_text_shadow_vertical_length_tablet=\"0px\" header_3_text_shadow_blur_strength_tablet=\"1px\" header_4_text_shadow_horizontal_length_tablet=\"0px\" header_4_text_shadow_vertical_length_tablet=\"0px\" header_4_text_shadow_blur_strength_tablet=\"1px\" header_5_text_shadow_horizontal_length_tablet=\"0px\" header_5_text_shadow_vertical_length_tablet=\"0px\" header_5_text_shadow_blur_strength_tablet=\"1px\" header_6_text_shadow_horizontal_length_tablet=\"0px\" header_6_text_shadow_vertical_length_tablet=\"0px\" header_6_text_shadow_blur_strength_tablet=\"1px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\"]<h3 style=\"text-align: center;\">Whatnot</h3>\r[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Movies','','inherit','closed','closed','','45-revision-v1','','','2019-07-26 02:06:43','2019-07-26 02:06:43','',45,'http://itcamefrombeyondpulp.com/uncategorized/45-revision-v1/',0,'revision','',0),(288,1,'2019-07-26 01:13:43','2019-07-26 01:13:43','[et_pb_section bb_built=\"1\" 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header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h1 style=\"text-align: center;\">Movies &amp; TV Reviews</h1>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row _builder_version=\"3.26.3\" background_color=\"#ffffff\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" z_index_tablet=\"500\"][et_pb_column type=\"1_3\" custom_padding__hover=\"|||\" custom_padding=\"|||\"][et_pb_text _builder_version=\"3.26.3\" text_text_shadow_horizontal_length=\"text_text_shadow_style,%91object Object%93\" text_text_shadow_horizontal_length_tablet=\"0px\" text_text_shadow_vertical_length=\"text_text_shadow_style,%91object Object%93\" text_text_shadow_vertical_length_tablet=\"0px\" text_text_shadow_blur_strength=\"text_text_shadow_style,%91object Object%93\" text_text_shadow_blur_strength_tablet=\"1px\" link_text_shadow_horizontal_length=\"link_text_shadow_style,%91object Object%93\" link_text_shadow_horizontal_length_tablet=\"0px\" link_text_shadow_vertical_length=\"link_text_shadow_style,%91object Object%93\" link_text_shadow_vertical_length_tablet=\"0px\" link_text_shadow_blur_strength=\"link_text_shadow_style,%91object Object%93\" link_text_shadow_blur_strength_tablet=\"1px\" ul_text_shadow_horizontal_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_horizontal_length_tablet=\"0px\" ul_text_shadow_vertical_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_vertical_length_tablet=\"0px\" ul_text_shadow_blur_strength=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_blur_strength_tablet=\"1px\" ol_text_shadow_horizontal_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_horizontal_length_tablet=\"0px\" ol_text_shadow_vertical_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_vertical_length_tablet=\"0px\" ol_text_shadow_blur_strength=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_blur_strength_tablet=\"1px\" quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_horizontal_length_tablet=\"0px\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length_tablet=\"0px\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength_tablet=\"1px\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length_tablet=\"0px\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length_tablet=\"0px\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength_tablet=\"1px\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length_tablet=\"0px\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length_tablet=\"0px\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength_tablet=\"1px\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length_tablet=\"0px\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length_tablet=\"0px\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength_tablet=\"1px\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length_tablet=\"0px\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length_tablet=\"0px\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength_tablet=\"1px\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length_tablet=\"0px\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length_tablet=\"0px\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength_tablet=\"1px\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length_tablet=\"0px\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length_tablet=\"0px\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength_tablet=\"1px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" z_index_tablet=\"500\"]\r\n\r\n<h3 style=\"text-align: center;\">Sci-Fi</h3>\r\n<p style=\"text-align: center;\"><strong><a href=\"http://itcamefrombeyondpulp.com/movies/children-of-men-2006/\">Children of Men (2006)</a><br /></strong><strong><a href=\"http://itcamefrombeyondpulp.com/movies/cloverfield-2008/\">Cloverfield (2008)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-dark-knight-2008/\">The Dark Knight (2008)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-fountain-2006/\">The Fountain (2006)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/hardware-1990/\">Hardware (1990)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/harry-potter-and-the-chamber-of-secrets-2002/\">Harry Potter and the Chamber of Secrets (2002)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/harry-potter-and-the-sorcerers-stone-2001/\">Harry Potter and the Sorcerer\'s Stone (2001)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/maniac-1934/\">Maniac (1934)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-phantom-planet-1961/\">The Phantom Planet (1961)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/predator-1987/\">Predator (1987)</a><br /></strong><a href=\"http://itcamefrombeyondpulp.com/movies/serenity-2005/\"><strong>Serenity (2005)</strong></a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/x-men-the-last-stand-2006/\"><strong>X-Men: The Last Stand (2006)</strong></a></p>\r\n\r\n[/et_pb_text][/et_pb_column][et_pb_column type=\"1_3\" custom_padding__hover=\"|||\" custom_padding=\"|||\"][et_pb_text _builder_version=\"3.26.3\" text_text_shadow_horizontal_length=\"text_text_shadow_style,%91object Object%93\" text_text_shadow_horizontal_length_tablet=\"0px\" text_text_shadow_vertical_length=\"text_text_shadow_style,%91object Object%93\" text_text_shadow_vertical_length_tablet=\"0px\" text_text_shadow_blur_strength=\"text_text_shadow_style,%91object Object%93\" text_text_shadow_blur_strength_tablet=\"1px\" link_text_shadow_horizontal_length=\"link_text_shadow_style,%91object Object%93\" link_text_shadow_horizontal_length_tablet=\"0px\" link_text_shadow_vertical_length=\"link_text_shadow_style,%91object Object%93\" link_text_shadow_vertical_length_tablet=\"0px\" link_text_shadow_blur_strength=\"link_text_shadow_style,%91object Object%93\" link_text_shadow_blur_strength_tablet=\"1px\" ul_text_shadow_horizontal_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_horizontal_length_tablet=\"0px\" ul_text_shadow_vertical_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_vertical_length_tablet=\"0px\" ul_text_shadow_blur_strength=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_blur_strength_tablet=\"1px\" ol_text_shadow_horizontal_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_horizontal_length_tablet=\"0px\" ol_text_shadow_vertical_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_vertical_length_tablet=\"0px\" ol_text_shadow_blur_strength=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_blur_strength_tablet=\"1px\" quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_horizontal_length_tablet=\"0px\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length_tablet=\"0px\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength_tablet=\"1px\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length_tablet=\"0px\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length_tablet=\"0px\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength_tablet=\"1px\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length_tablet=\"0px\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length_tablet=\"0px\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength_tablet=\"1px\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length_tablet=\"0px\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length_tablet=\"0px\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength_tablet=\"1px\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length_tablet=\"0px\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length_tablet=\"0px\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength_tablet=\"1px\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length_tablet=\"0px\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length_tablet=\"0px\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength_tablet=\"1px\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length_tablet=\"0px\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length_tablet=\"0px\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength_tablet=\"1px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" z_index_tablet=\"500\"]\r\n\r\n<h3 style=\"text-align: center;\">Horror</h3><p style=\"text-align: center;\"><a href=\"http://itcamefrombeyondpulp.com/movies/bloodrayne-2-deliverance-2007/\"><strong>BloodRayne 2: Deliverance (2007)</strong></a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-cat-and-the-canary-1927/\"><strong>The Cat and the Canary (1927)</strong></a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-children-1980/\"><strong>The Children (1980)</strong></a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/masters-of-horror-the-black-cat-2007/\"><strong>Masters of Horror: The Black Cat (2007)</strong></a></p>\r\n\r\n[/et_pb_text][/et_pb_column][et_pb_column type=\"1_3\" custom_padding__hover=\"|||\" custom_padding=\"|||\"][et_pb_text _builder_version=\"3.26.3\" text_text_shadow_horizontal_length=\"text_text_shadow_style,%91object Object%93\" text_text_shadow_horizontal_length_tablet=\"0px\" text_text_shadow_vertical_length=\"text_text_shadow_style,%91object Object%93\" text_text_shadow_vertical_length_tablet=\"0px\" text_text_shadow_blur_strength=\"text_text_shadow_style,%91object Object%93\" text_text_shadow_blur_strength_tablet=\"1px\" link_text_shadow_horizontal_length=\"link_text_shadow_style,%91object Object%93\" link_text_shadow_horizontal_length_tablet=\"0px\" link_text_shadow_vertical_length=\"link_text_shadow_style,%91object Object%93\" link_text_shadow_vertical_length_tablet=\"0px\" link_text_shadow_blur_strength=\"link_text_shadow_style,%91object Object%93\" link_text_shadow_blur_strength_tablet=\"1px\" ul_text_shadow_horizontal_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_horizontal_length_tablet=\"0px\" ul_text_shadow_vertical_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_vertical_length_tablet=\"0px\" ul_text_shadow_blur_strength=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_blur_strength_tablet=\"1px\" ol_text_shadow_horizontal_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_horizontal_length_tablet=\"0px\" ol_text_shadow_vertical_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_vertical_length_tablet=\"0px\" ol_text_shadow_blur_strength=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_blur_strength_tablet=\"1px\" quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_horizontal_length_tablet=\"0px\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length_tablet=\"0px\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength_tablet=\"1px\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length_tablet=\"0px\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length_tablet=\"0px\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength_tablet=\"1px\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length_tablet=\"0px\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length_tablet=\"0px\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength_tablet=\"1px\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length_tablet=\"0px\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length_tablet=\"0px\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength_tablet=\"1px\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length_tablet=\"0px\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length_tablet=\"0px\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength_tablet=\"1px\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length_tablet=\"0px\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length_tablet=\"0px\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength_tablet=\"1px\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length_tablet=\"0px\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length_tablet=\"0px\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength_tablet=\"1px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" z_index_tablet=\"500\"]\r\n\r\n<h3 style=\"text-align: center;\">Whatnot</h3>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Movies','','inherit','closed','closed','','45-revision-v1','','','2019-07-26 01:13:43','2019-07-26 01:13:43','',45,'http://itcamefrombeyondpulp.com/uncategorized/45-revision-v1/',0,'revision','',0),(299,1,'2019-07-26 03:11:48','2019-07-26 03:11:48','[et_pb_section fb_built=\"1\" fullwidth=\"on\" 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menu_text_shadow_blur_strength_tablet=\"1px\" border_width_bottom_tablet=\"5px\" border_width_bottom_phone=\"5px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\"][/et_pb_fullwidth_menu][/et_pb_section]','nav bar','','inherit','closed','closed','','175-revision-v1','','','2019-07-26 03:11:48','2019-07-26 03:11:48','',175,'http://itcamefrombeyondpulp.com/uncategorized/175-revision-v1/',0,'revision','',0),(300,1,'2019-07-26 03:12:59','2019-07-26 03:12:59','[et_pb_section fb_built=\"1\" _builder_version=\"3.26.3\" custom_margin=\"||11px|||\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" global_module=\"74\"][et_pb_row custom_padding=\"0px||0px|||\" custom_margin=\"|auto|-66px|auto||\" _builder_version=\"3.26.3\"][et_pb_column type=\"4_4\" 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text_text_shadow_blur_strength_tablet=\"1px\" link_text_shadow_horizontal_length_tablet=\"0px\" link_text_shadow_vertical_length_tablet=\"0px\" link_text_shadow_blur_strength_tablet=\"1px\" ul_text_shadow_horizontal_length_tablet=\"0px\" ul_text_shadow_vertical_length_tablet=\"0px\" ul_text_shadow_blur_strength_tablet=\"1px\" ol_text_shadow_horizontal_length_tablet=\"0px\" ol_text_shadow_vertical_length_tablet=\"0px\" ol_text_shadow_blur_strength_tablet=\"1px\" quote_text_shadow_horizontal_length_tablet=\"0px\" quote_text_shadow_vertical_length_tablet=\"0px\" quote_text_shadow_blur_strength_tablet=\"1px\" header_text_shadow_horizontal_length_tablet=\"0px\" header_text_shadow_vertical_length_tablet=\"0px\" header_text_shadow_blur_strength_tablet=\"1px\" header_2_text_shadow_horizontal_length_tablet=\"0px\" header_2_text_shadow_vertical_length_tablet=\"0px\" header_2_text_shadow_blur_strength_tablet=\"1px\" header_3_text_shadow_horizontal_length_tablet=\"0px\" header_3_text_shadow_vertical_length_tablet=\"0px\" header_3_text_shadow_blur_strength_tablet=\"1px\" header_4_text_shadow_horizontal_length_tablet=\"0px\" header_4_text_shadow_vertical_length_tablet=\"0px\" header_4_text_shadow_blur_strength_tablet=\"1px\" header_5_text_shadow_horizontal_length_tablet=\"0px\" header_5_text_shadow_vertical_length_tablet=\"0px\" header_5_text_shadow_blur_strength_tablet=\"1px\" header_6_text_shadow_horizontal_length_tablet=\"0px\" header_6_text_shadow_vertical_length_tablet=\"0px\" header_6_text_shadow_blur_strength_tablet=\"1px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\"]<h3 style=\"text-align: center;\"><strong><em>Children of Men</em> (Alfonso Cuaron, 2006, 109 min.)</strong></h3>\r\n<p>Every day, <i>Children of Men</i> looks not only more possible, but more probable, at least in its vision of a future that has its roots in the present. But Alfonso Cuaron\'s chilling vision of the future goes one step beyond those things we can already see growing today; it\'s 2027, and it\'s been 18 years since the last human gave birth. It\'s a hell of a setup, and for the most part Cuaron and company deliver on that promise.</p>\r\n<p>Although the cast features such names as Clive Owen and Julianne Moore, the main attraction is Cuaron\'s direction, favoring restless handheld cameras and amazing, nearly impossibly choreographed tracking shots. Cuaron\'s genius for movement is one of the things that made <i>Y Tu Mama Tambien</i> so entrancing, and the main thing that made <i>Harry Potter and the Prisoner of Azkaban</i> so much more watchable than the first two installments. He has a knack for rushing things along without making them feel rushed; we feel swept along with the narrative or within a scene without feeling out of control. The highlights are surely the magnificent tracking shots, especially the ones in the film-closing sequence in the refugee camps, where Cuaron\'s camera takes us through battles in progress, the lens becoming spattered with blood in the controlled mayhem.</p>\r\n<p>On the day of the death of the youngest person in the world, Theo (Owen) is kidnapped by the Fish, a revolutionary group headed by his ex-wife Julian (Moore), who wants Theo to use his connections to secure safe passage to the coast for a young refugee named Kee (Claire-Hope Ashitey). After Julian is killing by a seemingly random attack by thugs, co-leader Luke (Chiwetel Ejiofor) and the matronly Miriam (Pam Ferris) take Theo and Kee to a Fish hideout, where Theo learns that Kee is pregnant and that Luke has his own plans for the baby that don\'t necessarily include leaving it with Kee. Theo, Kee, and Miriam flee in hopes that they can get Kee and her unborn child to the Human Project (a shadowy sort of leftist collective), with Luke and the rest of the Fish in hot pursuit. Along they way they seek aid from Theo\'s friend Jasper (Michael Caine) and a corrupt and probably insane cop named Syd (Peter Mullan), until they end up in a walled-in refugee city, caught in the middle of a battle between the army and the revolutionaries.</p>\r\n<p>Owen is the classic anti-hero, the reluctant savior whose gruff and resigned exterior conceals a big heart. Up until the very end, his heroics are of the decidedly average kind; he\'s presented as being able to help not because he\'s particularly adept, but because he\'s lucky. But then he\'s shot, and unlike every single other character in the film who is shot (they all drop, well, like they\'ve been shot), he\'s able to persevere to the end, apparently unmindful of a hole in his stomach until his sacred duty is performed. It\'s one of the film\'s few lapses of internal logic. Another comes during the attack in which Julian is killed; we learn later that one of the Fish used the attack as cover to assassinate Julian, which seems more than foolhardy—they knew Kee was in the car, and with all the shooting and fire-bombing, weren\'t they worried that maybe she or her baby would be harmed? But for the most part the film is well constructed and acted; its limitations are apparent on a different level. It\'s a very good film, but there are many things about it that keep me from joining in the ecstatic praise that has greeted it.</p>\r\n<p>Although the film\'s politics are mostly in the right place, there\'s ample room to criticize many of its underlying assumptions. A scholar friend sighed, saying that <i>Children of Men</i> seemed like the story of a white man saving a brown baby from the government, a sort of white man\'s burden for the left. There\'s something to that, and although I don\'t think it was intentional, it\'s obvious that Cuaron and company didn\'t think it through. And I\'ll add to that by pointing out that it\'s not just about a white man saving a brown baby, but about a white man saving a brown baby from, among others, a brown man. I\'m only halfheartedly advancing this theory; I don\'t for a minute think that Cuaron and company meant any of this. I\'d like to believe that the principle of colorblind casting was at work here: that Chiwetel Ejiofor is such a marvelous actor, and the role of Luke such a rich role, that they deserved to go together. I don\'t think Cuaron and company considered any alternate readings, which is a disappointment from a film that\'s so smart about other things.</p>\r\n<p>It fails again in its sexual politics. There\'s a kind of casual and distressingly typical misogyny at work. Women are the root cause of the infertility (of course men wouldn\'t have become infertile). There are only three types of women here, the helpless, the nurturers, and the ones who end up dead. And then there\'s that word in the title, \"men,\" which I\'m sure we\'re supposed to read in a more universal \"all mankind\" way, but which is actually a good description of the film\'s attitude about women. The entire film is about men fighting over a woman\'s child: over its existence, over its meaning, even over its sex. One of the finest moments comes when Ejiofor, spouting off about how important \"he\" will be, falls into dumbfounded silence when he learns that the baby is a girl; his face relaxes from anger to wonder, and he says, \"A girl? I had a sister.\" But in the end, it\'s really about the children of men, and women don\'t factor in except as carriers of those children. (And I\'m coming around to another friend\'s notion that the song over the end credits, \"Running the World\" by Jarvis Cocker, is another example of the filmmakers failing to think things through. The chorus, \"the cunts are still running the world,\" initially seemed to me to be a sort of wry admission that, even if the ending is a happy one, its happiness is muted by the fact that the government is still engaged in its slash-and-burn policies, and that maybe things won\'t be any better if the Human Project wins out. But there\'s that word, \"cunt,\" which was probably intended as a tossed-off British slang term devoid of sexual connotations, but given the weight of the film\'s sexual politics, is simply an unconscionable gaffe.)</p>\r\n<p>And then there\'s the utopian ending, which, although it worked for me sitting there in the theater—indeed, I would have been furious had it ended any other way—now strikes me as naive. Maybe the film\'s desperate hope for a better world clouded its filmmakers\' vision, a reading that\'s perfectly compatible with the resolution. Throughout, Owen is protecting the baby against the oppressive government, which would misuse the baby as a symbol, and the revolutionaries, who also want to misuse the baby as a symbol (they even call her a \"flag,\" something to rally behind). I\'d love to agree with the film\'s utopian hope that the members of the Human Project will be above such things, that \"society\'s greatest minds\" won\'t use the mother as a lab rat, that they wouldn\'t dream of separating the baby from her mother, but the entire history of scientific research advises against such hopes. I didn\'t think so at the time, but maybe the film would have ended better with Owen and the mother waiting in the fog for a boat that might never come. Uncertainty strikes me as a more honest ending to this story than does blind hope.</p>\r\n<div> </div>\r\n<div>Note that I wrote this shortly after seeing the film in the theater on its opening weekend. In the years since then, over repeated viewings, it has grown in my estimation, and I think it\'s one of the great films of the 21st century.</div>\r[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Children of Men (2006)','','inherit','closed','closed','','117-revision-v1','','','2019-07-26 03:12:59','2019-07-26 03:12:59','',117,'http://itcamefrombeyondpulp.com/uncategorized/117-revision-v1/',0,'revision','',0),(305,1,'2019-07-26 14:31:09','2019-07-26 14:31:09','[et_pb_section bb_built=\"1\" fullwidth=\"on\" _builder_version=\"3.26.3\" width=\"1080px\" width_tablet=\"100%\" width_last_edited=\"on|phone\" module_alignment=\"center\" inner_module_alignment=\"center\" custom_padding=\"0px||0px||false|false\" z_index_tablet=\"500\" hover_enabled=\"0\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" prev_background_color=\"#000000\" next_background_color=\"#e02b20\" 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header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>Colin</em> (Marc Price, 2008, 97 min.)</strong></h3><p>Struggling filmmaker manages to create a wildly popular, word-of-mouth triumph using only his ingenuity, his friends\' willingness to help for nothing, and about $75 for food and tea. It\'s a great story, even if it\'s mostly fiction—even if we factor in the in-kind donations, you also have to consider tape cost, etc. But that doesn\'t really matter: that\'s just the hook to get you in the door. The real question is whether the film manages to be any good, either because of or in spite of its micro-budget. The answer is, sort of.</p><p>It certainly has an interesting premise, a zombie\'s-eye view of becoming and being a zombie... mostly. We meet Colin (Alastair Kirton) as he enters an apartment, looking for a friend who quickly appears, zombified, and tries to eat our hero. After a thrilling closed-space battle in the kitchen, Colin wins, but then we realize that he\'s been bitten. It\'s zombie time for Colin, and we accompany him on his shambolic way (once he manages to escape the house) as he tries to make it in the big, cruel, competitive zombie world.</p><p>The film works best when it flirts with comedy: Colin\'s inability to work a door handle, his clumsiness, his basic suckiness at feeding off fleet-footed humans, and the idea of a couple of chavs robbing zombies for their tennis shoes. It\'s acceptable when it\'s providing gruesome gut-munching setpieces—leftover makeup and improvised effects, according to the press kit. But too much of the film is occupied by tiresome lurching and moaning, as we follow Colin on his perambulations. A plot inserts itself when Colin is captured by a girl who turns out to be his sister (Daisy Aitkens); she\'s determined to reawaken her beloved brother\'s memory, or at least his conscience, but we know that\'s impossible (or is it?), and other films and books (the superb comic series <i>The Walking Dead</i>, for example) have dealt with familial grief to better effect.</p><p>There are unnecessary subplots that do little but pad the running time and the body count, such as an ill-fated attempt by some random strangers to make a documentary about the undead (you can imagine how that turns out) and a completely inexplicable setpiece that apparently details a sadistic guy who traps girls in his basement, blinds them, and then lets the zombies get at them (although I might have the order mixed up). These sequences only serve to raise more questions than they answer, such as \"why do we care about these people, as our narrator-zombie Colin is nowhere to be found?\" and \"Would it have killed the filmmakers to use some freaking lights?\"</p><p>This is not a slam on the field of ultra-low-budget filmmaking, as I\'m a dabbler in that myself. Instead, it\'s a slam on cinematic laziness: as I\'ve said elsewhere, just because you don\'t have to use lights doesn\'t mean you shouldn\'t, and just because you can do everything handheld doesn\'t mean you should. The former, I suppose, is excused a bit by the premise: we\'re seeing things basically from Colin\'s point of view, even if it\'s not strictly second-person, and if the picture is muddy, washed out, and generally indecipherable, well, that\'s a zombie for you. Still, come on: plug in a lamp. The latter, however, is inexcusable: much better to turn on the stabilizer and achieve somewhat smoother movements, because these zombies aren\'t exactly moving fast. I think the distracting shaky-cam effects have more to do with other recent zombie movies than with the needs of the story.</p><p>The entire project feels like a decent short film blown up to feature length. At one point it comes to an absolutely perfect ending, one that would go a long way toward excusing some of the weaknesses early on—and then it continues for at least fifteen more minutes. Yes, it answers some questions, and it develops one of the plot points raised earlier, but it deprives the film of a truly memorable ending, and of a place in the zombie-movie canon. A place, that is, that has nothing to do with how much it ostensibly cost to make.</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Colin (2008)','','inherit','closed','closed','','304-revision-v1','','','2019-07-26 14:34:33','2019-07-26 14:34:33','',304,'http://itcamefrombeyondpulp.com/uncategorized/304-revision-v1/',0,'revision','',0),(394,1,'2019-08-03 21:28:22','2019-08-03 21:28:22','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" custom_margin=\"||11px|||\" next_background_color=\"#000000\" global_module=\"74\"][et_pb_row global_parent=\"74\" custom_padding=\"0px||0px|||\" custom_margin=\"|auto|-66px|auto||\" _builder_version=\"3.26.3\"][et_pb_column type=\"4_4\" global_parent=\"74\" _builder_version=\"3.26.3\"][et_pb_image global_parent=\"74\" 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header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>Disturbia</em> (D.J. Caruso, 2007, 104 min.)</strong></h3><p>The great American pastime of snooping on one\'s neighbors gets a high-tech DIY upgrade in <i>Disturbia</i>, and it\'s about time. Hearkening back to the 1950s and <em>Rear Window</em>, Alfred Hitchcock\'s paean to aiming telescopes not at the stars, but at the bedroom window of the house across the street, this film rephrases Tom Waits\'s immortal question, \"what\'s he building in there?\" as \"who\'s he killing in there?\" The end result is a surprisingly enjoyable film, efficiently made and featuring a strong young cast and some clever references to its cinematic forefathers. The most obvious influence is the aforementioned <em>Rear Window</em>, but to call it a \"remake\" is to miss the more contemporary influence of Tom Holland\'s brilliant 1985 scarefest <em>Fright Night</em>, which is one of the best vampire movies ever made (and which itself owes a lot to Hitchcock\'s film). The premise—a guy stuck in his house thinks his neighbor is a murderer—is straight out of the Hitchcock film, but the details are borrowed heavily from the Holland film.</p><p>A year after his father\'s tragic death in a horrific opening-scene car accident, sullen Kale (Shia LaBeouf) punches his Spanish teacher (one might argue that the teacher deserved it, but it\'s probably not a good idea to act on these impulses) and is sentenced to house arrest. He can\'t go farther than 100 feet from the kitchen, where the transmitter is located, and after his mom (Carrie-Anne Moss, looking sad to be so far from Trinity) cuts off his Xbox and iTunes accounts, his world is as constrained as James Stewart\'s was in <i>Rear Window</i>. But he\'s got the advantage of living in the early 21st century, so he has dozens of technological gewgaws that help him spy on his neighbors, including videocameras with night-vision lenses and fancy binoculars. One neighbor cheats on his wife with the maid; a trio of preadolescents play ding-dong-ditch and watch porn when their mom isn\'t around; his pretty new neighbor Ashley (Sarah Roemer) undresses with the lights on and her shades up; and his quiet neighbor Turner (David Morse) just might be a serial killer. Of course, nobody will believe him, so Kale, his annoying sidekick Ronnie (Aaron Yoo), and Ashley decide to do some investigating of their own, eventually establishing that Turner is not just a serial killer, he\'s a serial killer who knows they\'ve been watching. Cue the Bernard Hermann-influenced horror-movie music.</p><p>A lot of the film\'s success is due to Shia LaBeouf, who used to be a potentially great actor. He\'s got loads of affable, stammery charm, which director D.J. Caruso smartly lets him display; he\'s best in a scene where he has to explain to Ashley that his pseudo-stalking behavior is in fact charming and kiss-worthy, a point she acknowledges when she observes that he\'s either incredibly sweet or incredibly creepy (but why can\'t he be both?). If there\'s one thing he can\'t sell, it\'s the MO: he\'s supposed to turn to voyeurism out of desperated boredom, but he seems too well-adjusted to convince us. Thankfully the film mostly eschews clunky psychological motivations. The cast\'s biggest letdown is David Morse as Turner, the friendly neighborhood serial killer. Maybe it\'s because I was stuck on the <i>Fright Night</i> comparisons, but he just didn\'t bring the necessary levels of charm and dangerous attractiveness. Because I was comparing him to Chris Sarandon, who was never again as good as he was as the bisexual vampire Jerry Dandridge, Morse just wasn\'t convincing. He\'s imposing, yes, and he manages to ramp up the creepiness during the scene when he obliquely threatens Ashley, but for the most part he\'s just a stock baddie, his menace depending on the ominous soundtrack more than on anything in him.</p><p>Let me expound on my <i>Fright Night</i> theory. Both main characters have an annoying sidekick and a pretty girlfriend who\'s menaced by the bad guy. The murderer is a serial killer whom the protagonist links to a series of disappearances. There\'s a scene where the sidekick pretends to be dead to frighten the main character; later, the sidekick is the first one of the trio the bad guy attacks. There\'s an ominous visit by the murderer to flirt with the main character\'s mother; the dialogue even sounded the same, although it\'s been a while since I saw <i>Fright Night</i>. The protagonist\'s concrete proof comes as an unwelcome interruption to a makeout session with his girlfriend. Maybe I should make a table comparing the influences. Maybe you should run out and rent the film.</p><p>Cinematic progenitors aside, <i>Disturbia</i> is a smart, efficient little thriller that wears its heredity proudly; I was especially charmed by Geoff Zanelli\'s score, which inserts clever shades of Bernard Hermann compositions into the scary scenes—I couldn\'t identify specific influences, but the <i>feel</i> was spot-on. The film fades a bit toward the end into overly excitable horror-movie tropes and an emphasis on gore that was absent during the rest of the film, and Morse proves unable to rise above the inexorable laws of cinema that force him to stalk around, stonefaced, with a butcher knife. Still, for most of its running time it was a solid entry in the genre.</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Disturbia (2007)','','publish','closed','closed','','disturbia-2007','','','2019-08-03 21:28:22','2019-08-03 21:28:22','',0,'http://itcamefrombeyondpulp.com/?p=394',0,'post','',0),(304,1,'2019-07-26 14:34:33','2019-07-26 14:34:33','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" custom_margin=\"||11px|||\" next_background_color=\"#000000\" global_module=\"74\"][et_pb_row global_parent=\"74\" custom_padding=\"0px||0px|||\" custom_margin=\"|auto|-66px|auto||\" _builder_version=\"3.26.3\"][et_pb_column type=\"4_4\" global_parent=\"74\" _builder_version=\"3.26.3\"][et_pb_image global_parent=\"74\" 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header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>Colin</em> (Marc Price, 2008, 97 min.)</strong></h3><p>Struggling filmmaker manages to create a wildly popular, word-of-mouth triumph using only his ingenuity, his friends\' willingness to help for nothing, and about $75 for food and tea. It\'s a great story, even if it\'s mostly fiction—even if we factor in the in-kind donations, you also have to consider tape cost, etc. But that doesn\'t really matter: that\'s just the hook to get you in the door. The real question is whether the film manages to be any good, either because of or in spite of its micro-budget. The answer is, sort of.</p><p>It certainly has an interesting premise, a zombie\'s-eye view of becoming and being a zombie... mostly. We meet Colin (Alastair Kirton) as he enters an apartment, looking for a friend who quickly appears, zombified, and tries to eat our hero. After a thrilling closed-space battle in the kitchen, Colin wins, but then we realize that he\'s been bitten. It\'s zombie time for Colin, and we accompany him on his shambolic way (once he manages to escape the house) as he tries to make it in the big, cruel, competitive zombie world.</p><p>The film works best when it flirts with comedy: Colin\'s inability to work a door handle, his clumsiness, his basic suckiness at feeding off fleet-footed humans, and the idea of a couple of chavs robbing zombies for their tennis shoes. It\'s acceptable when it\'s providing gruesome gut-munching setpieces—leftover makeup and improvised effects, according to the press kit. But too much of the film is occupied by tiresome lurching and moaning, as we follow Colin on his perambulations. A plot inserts itself when Colin is captured by a girl who turns out to be his sister (Daisy Aitkens); she\'s determined to reawaken her beloved brother\'s memory, or at least his conscience, but we know that\'s impossible (or is it?), and other films and books (the superb comic series <i>The Walking Dead</i>, for example) have dealt with familial grief to better effect.</p><p>There are unnecessary subplots that do little but pad the running time and the body count, such as an ill-fated attempt by some random strangers to make a documentary about the undead (you can imagine how that turns out) and a completely inexplicable setpiece that apparently details a sadistic guy who traps girls in his basement, blinds them, and then lets the zombies get at them (although I might have the order mixed up). These sequences only serve to raise more questions than they answer, such as \"why do we care about these people, as our narrator-zombie Colin is nowhere to be found?\" and \"Would it have killed the filmmakers to use some freaking lights?\"</p><p>This is not a slam on the field of ultra-low-budget filmmaking, as I\'m a dabbler in that myself. Instead, it\'s a slam on cinematic laziness: as I\'ve said elsewhere, just because you don\'t have to use lights doesn\'t mean you shouldn\'t, and just because you can do everything handheld doesn\'t mean you should. The former, I suppose, is excused a bit by the premise: we\'re seeing things basically from Colin\'s point of view, even if it\'s not strictly second-person, and if the picture is muddy, washed out, and generally indecipherable, well, that\'s a zombie for you. Still, come on: plug in a lamp. The latter, however, is inexcusable: much better to turn on the stabilizer and achieve somewhat smoother movements, because these zombies aren\'t exactly moving fast. I think the distracting shaky-cam effects have more to do with other recent zombie movies than with the needs of the story.</p><p>The entire project feels like a decent short film blown up to feature length. At one point it comes to an absolutely perfect ending, one that would go a long way toward excusing some of the weaknesses early on—and then it continues for at least fifteen more minutes. Yes, it answers some questions, and it develops one of the plot points raised earlier, but it deprives the film of a truly memorable ending, and of a place in the zombie-movie canon. A place, that is, that has nothing to do with how much it ostensibly cost to make.</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Colin (2008)','','publish','closed','closed','','colin-2008','','','2019-07-26 14:34:33','2019-07-26 14:34:33','',0,'http://itcamefrombeyondpulp.com/?p=304',0,'post','',0),(308,1,'2019-07-26 14:38:07','2019-07-26 14:38:07','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" custom_margin=\"||11px|||\" next_background_color=\"#000000\" global_module=\"74\"][et_pb_row global_parent=\"74\" custom_padding=\"0px||0px|||\" custom_margin=\"|auto|-66px|auto||\" _builder_version=\"3.26.3\"][et_pb_column type=\"4_4\" global_parent=\"74\" _builder_version=\"3.26.3\"][et_pb_image global_parent=\"74\" 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header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\n\n<h3 style=\"text-align: center;\"><strong><em>Colin</em> (Marc Price, 2008, 97 min.)</strong></h3>\n<p>Struggling filmmaker manages to create a wildly popular, word-of-mouth triumph using only his ingenuity, his friends\' willingness to help for nothing, and about $75 for food and tea. It\'s a great story, even if it\'s mostly fiction—even if we factor in the in-kind donations, you also have to consider tape cost, etc. But that doesn\'t really matter: that\'s just the hook to get you in the door. The real question is whether the film manages to be any good, either because of or in spite of its micro-budget. The answer is, sort of.</p>\n<p>It certainly has an interesting premise, a zombie\'s-eye view of becoming and being a zombie... mostly. We meet Colin (Alastair Kirton) as he enters an apartment, looking for a friend who quickly appears, zombified, and tries to eat our hero. After a thrilling closed-space battle in the kitchen, Colin wins, but then we realize that he\'s been bitten. It\'s zombie time for Colin, and we accompany him on his shambolic way (once he manages to escape the house) as he tries to make it in the big, cruel, competitive zombie world.</p>\n<p>The film works best when it flirts with comedy: Colin\'s inability to work a door handle, his clumsiness, his basic suckiness at feeding off fleet-footed humans, and the idea of a couple of chavs robbing zombies for their tennis shoes. It\'s acceptable when it\'s providing gruesome gut-munching setpieces—leftover makeup and improvised effects, according to the press kit. But too much of the film is occupied by tiresome lurching and moaning, as we follow Colin on his perambulations. A plot inserts itself when Colin is captured by a girl who turns out to be his sister (Daisy Aitkens); she\'s determined to reawaken her beloved brother\'s memory, or at least his conscience, but we know that\'s impossible (or is it?), and other films and books (the superb comic series <i>The Walking Dead</i>, for example) have dealt with familial grief to better effect.</p>\n<p>There are unnecessary subplots that do little but pad the running time and the body count, such as an ill-fated attempt by some random strangers to make a documentary about the undead (you can imagine how that turns out) and a completely inexplicable setpiece that apparently details a sadistic guy who traps girls in his basement, blinds them, and then lets the zombies get at them (although I might have the order mixed up). These sequences only serve to raise more questions than they answer, such as \"why do we care about these people, as our narrator-zombie Colin is nowhere to be found?\" and \"Would it have killed the filmmakers to use some freaking lights?\"</p>\n<p>This is not a slam on the field of ultra-low-budget filmmaking, as I\'m a dabbler in that myself. Instead, it\'s a slam on cinematic laziness: as I\'ve said elsewhere, just because you don\'t have to use lights doesn\'t mean you shouldn\'t, and just because you can do everything handheld doesn\'t mean you should. The former, I suppose, is excused a bit by the premise: we\'re seeing things basically from Colin\'s point of view, even if it\'s not strictly second-person, and if the picture is muddy, washed out, and generally indecipherable, well, that\'s a zombie for you. Still, come on: plug in a lamp. The latter, however, is inexcusable: much better to turn on the stabilizer and achieve somewhat smoother movements, because these zombies aren\'t exactly moving fast. I think the distracting shaky-cam effects have more to do with other recent zombie movies than with the needs of the story.</p>\n<p>The entire project feels like a decent short film blown up to feature length. At one point it comes to an absolutely perfect ending, one that would go a long way toward excusing some of the weaknesses early on—and then it continues for at least fifteen more minutes. Yes, it answers some questions, and it develops one of the plot points raised earlier, but it deprives the film of a truly memorable ending, and of a place in the zombie-movie canon. A place, that is, that has nothing to do with how much it ostensibly cost to make.</p>\n\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Colin (2008)','','inherit','closed','closed','','304-autosave-v1','','','2019-07-26 14:38:07','2019-07-26 14:38:07','',304,'http://itcamefrombeyondpulp.com/uncategorized/304-autosave-v1/',0,'revision','',0),(309,1,'2019-07-26 14:41:16','2019-07-26 14:41:16','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" custom_margin=\"||11px|||\" next_background_color=\"#000000\" global_module=\"74\"][et_pb_row global_parent=\"74\" custom_padding=\"0px||0px|||\" custom_margin=\"|auto|-66px|auto||\" _builder_version=\"3.26.3\"][et_pb_column type=\"4_4\" global_parent=\"74\" _builder_version=\"3.26.3\"][et_pb_image global_parent=\"74\" 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header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>Dark Water</em> (Walter Salles, 2005, 105 min.)</strong></h3><p>Is there really such a place as Roosevelt Island in the real New York City, or is this a place created by the filmmakers? Here, it\'s a place where it rains all the time, except for when it\'s merely overcast; the buildings, constructed \"in the Brutalist style,\" as John C. Reilly helpfully explains, are all oppressive remnants of failed social-engineering schemes—the best intentions, gone to seed and slowly crumbling because everybody agrees that they were a bad idea. Dahlia (Jennifer Connelly), in the middle of a divorce from her husband (Dougray Scott), needs a cheap apartment in the city, and she and her daughter Ceci (Ariel Gade) have come to Roosevelt Island because the rent is cheap and the local school is good. \"It\'s not the city,\" young Ceci informs her mother, and an ordinarily taciturn New Yorker on the tram breaks the silent public-transportation covenant to agree with her.</p><p>\"It\'s yucky,\" says Ceci about the apartment building, and we agree with her. It\'s a dismal, impersonal building, poorly lit, and painted in that horror-movie/urban-angst palette somewhere between <em>Seven</em> and <em>Fight Club</em>. As the sleazy building manager, Mr. Murray, Reilly is a prototypical used car salesman: he promises patch-ups and explains obvious faults as bits of personality. In addition to the horror-taupe paint, the low ceilings, and the lack of illumination, the building features the scariest elevator this side of <em>Angel Heart</em>, a creepy handyman named Veeck who refuses to be handy (Pete Postlethwaite), and a nasty leak in one corner of what will be Ceci\'s bedroom. Ceci hates the place, and Dahlia isn\'t impressed either, but she changes her mind after Ceci finds a Hello Kitty backpack on the roof and decides she really likes it after all.</p><p>At first, the horrors seem run-of-the-mill. Dahlia is plagued by migraines, and they seem to occur more often in the new apartment. Of course, it doesn\'t help that her soon-to-be-ex sues her for custody of Ceci, claiming that Dahlia is unbalanced. At first, we don\'t believe him: she\'s a little vague, yes, and her frequent silences speak of a propensity for distraction, but she seems normal enough when she\'s interacting with Ceci. There are problems with the apartment that will make any city-dweller nostalgic: nobody seems to have the authority or the will to fix that leak in the ceiling, the neighbors upstairs are too noisy, and the elevator keeps wanting to take her to the floor above hers. The faucets spurt brackish water more often than not, and there are aggressively insolent teenagers about. Typical city living, until Ceci meets a new imaginary friend named Natasha, Dahlia learns that the people who lived upstairs disappeared, and Veeck\'s explanation that teenage vandals are causing the ever-increasing leak and noise seems less and less believable. Under pressure from her spiteful husband and an increasingly bizarre array of phenomena, Dahlia starts to lose her grip on herself.</p><p>Because it\'s not a festival of horrors, there\'s time for viewers to notice how well-made it is. Walter Salles, the director of such high-minded fare as <em>The Motorcycle Diaries</em> and <em>Central Station</em>, might seem to be an odd pick for a genre film, but he uses the genre well. The cinematography, by longtime Pedro Almodovar collaborator Affonso Beato, is Oscar-caliber, a beautiful and oppressive blend of light and shadow, murky colors and fuzzy edges. Rafael Yglesias\'s screenplay avoids the horror-movie-cliche overdose that scuttled the awful <em>The Ring</em>: this film seems stripped bare, to its essential parts, without a lot of unnecessary exposition. Perhaps he understood that he could entrust volumes of exposition to a single shot of Jennifer Connelly, who is riveting here, as she has been in everything she\'s appeared in since 2000, or even before. When did she become so good, and how did she sneak up on us like that? She\'s got all-star support, too: John C. Reilly, Pete Postlethwaite, and Tim Roth (as Dahlia\'s lawyer, who focuses on her case to avoid thinking about his own) are all perfect, and Ariel Gade is pretty darned good for a child actor. She doesn\'t seem like a miniaturized adult; she\'s not disturbingly precocious like, say, that distubing cherub Dakota Fanning.</p><p>The other main character, which Salles and Beato use brilliantly, is the building. The central storyline—basically, about a little girl whom everyone forgot—is externalized by the setting. The building in which the film takes place, and indeed the entirety of Roosevelt Island we\'re allowed to see, is part of 1970s urban renewal, and can be seen as a sort of favored child of the city planners, but now it\'s sitting, forgotten, rotting. Aerial views of the building confirm its isolation: it\'s in a huge E-shape with its back to the city, the courtyards facing inward, so residents see only other, similar buildings. Reilly grudgingly admits that the entire project was a failure of planning. Even the film\'s major surprise—when the discovery of the little girl\'s body doesn\'t appease the ghost; that is, doesn\'t solve the essential problem—finds a parallel in the modern city. In the 1990s and today, city planners, realizing that enormous high-rise housing projects were an utter failure, \"solved\" them by tearing the buildings down, burying the problem like one would bury a dead child. But it doesn\'t address the essential issues—the crime, the poverty, the hopelessness—and in the film, burying the body doesn\'t solve the basic issue, which is the abandonment. I haven\'t seen the original Japanese film of which this is a remake, but I wouldn\'t be surprised if the modernist architecture of the setting is a major factor.</p><p>Viewers familiar with Japanese horror films will not be too surprised that the combination of a single mom, brackish water, and little girls with long, dark hair turns out badly. There\'s a trend in films like this of the sins of past generations being visited on the current generation, but it\'s not really as easy as that: the vengeance, if you want to call it that, doesn\'t follow bloodlines, because anyone who happens to be present will do just fine. It doesn\'t always make sense, because it places a higher premium on dread than on logic. The film has to do a tricky balancing act: lacking major, grisly horrors, it has to build slowly, relishing its surprises as it increases the tension to the breaking point. If I have a major complaint about it, it\'s that the buildup is too mild, the payoff too slight—it\'s the stuff of slightly scary campfire stories, not of screams and nightmares.</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Dark Water (2005)','','publish','closed','closed','','dark-water-2005','','','2019-07-26 14:41:16','2019-07-26 14:41:16','',0,'http://itcamefrombeyondpulp.com/?p=309',0,'post','',0),(310,1,'2019-07-26 14:40:39','2019-07-26 14:40:39','','dark water','','inherit','closed','closed','','dark-water','','','2019-07-26 14:40:39','2019-07-26 14:40:39','',309,'http://itcamefrombeyondpulp.com/wp-content/uploads/2019/07/dark-water.jpg',0,'attachment','image/jpeg',0),(311,1,'2019-07-26 14:41:16','2019-07-26 14:41:16','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" 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quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>Dark Water</em> (Walter Salles, 2005, 105 min.)</strong></h3><p>Is there really such a place as Roosevelt Island in the real New York City, or is this a place created by the filmmakers? Here, it\'s a place where it rains all the time, except for when it\'s merely overcast; the buildings, constructed \"in the Brutalist style,\" as John C. Reilly helpfully explains, are all oppressive remnants of failed social-engineering schemes—the best intentions, gone to seed and slowly crumbling because everybody agrees that they were a bad idea. Dahlia (Jennifer Connelly), in the middle of a divorce from her husband (Dougray Scott), needs a cheap apartment in the city, and she and her daughter Ceci (Ariel Gade) have come to Roosevelt Island because the rent is cheap and the local school is good. \"It\'s not the city,\" young Ceci informs her mother, and an ordinarily taciturn New Yorker on the tram breaks the silent public-transportation covenant to agree with her.</p><p>\"It\'s yucky,\" says Ceci about the apartment building, and we agree with her. It\'s a dismal, impersonal building, poorly lit, and painted in that horror-movie/urban-angst palette somewhere between <em>Seven</em> and <em>Fight Club</em>. As the sleazy building manager, Mr. Murray, Reilly is a prototypical used car salesman: he promises patch-ups and explains obvious faults as bits of personality. In addition to the horror-taupe paint, the low ceilings, and the lack of illumination, the building features the scariest elevator this side of <em>Angel Heart</em>, a creepy handyman named Veeck who refuses to be handy (Pete Postlethwaite), and a nasty leak in one corner of what will be Ceci\'s bedroom. Ceci hates the place, and Dahlia isn\'t impressed either, but she changes her mind after Ceci finds a Hello Kitty backpack on the roof and decides she really likes it after all.</p><p>At first, the horrors seem run-of-the-mill. Dahlia is plagued by migraines, and they seem to occur more often in the new apartment. Of course, it doesn\'t help that her soon-to-be-ex sues her for custody of Ceci, claiming that Dahlia is unbalanced. At first, we don\'t believe him: she\'s a little vague, yes, and her frequent silences speak of a propensity for distraction, but she seems normal enough when she\'s interacting with Ceci. There are problems with the apartment that will make any city-dweller nostalgic: nobody seems to have the authority or the will to fix that leak in the ceiling, the neighbors upstairs are too noisy, and the elevator keeps wanting to take her to the floor above hers. The faucets spurt brackish water more often than not, and there are aggressively insolent teenagers about. Typical city living, until Ceci meets a new imaginary friend named Natasha, Dahlia learns that the people who lived upstairs disappeared, and Veeck\'s explanation that teenage vandals are causing the ever-increasing leak and noise seems less and less believable. Under pressure from her spiteful husband and an increasingly bizarre array of phenomena, Dahlia starts to lose her grip on herself.</p><p>Because it\'s not a festival of horrors, there\'s time for viewers to notice how well-made it is. Walter Salles, the director of such high-minded fare as <em>The Motorcycle Diaries</em> and <em>Central Station</em>, might seem to be an odd pick for a genre film, but he uses the genre well. The cinematography, by longtime Pedro Almodovar collaborator Affonso Beato, is Oscar-caliber, a beautiful and oppressive blend of light and shadow, murky colors and fuzzy edges. Rafael Yglesias\'s screenplay avoids the horror-movie-cliche overdose that scuttled the awful <em>The Ring</em>: this film seems stripped bare, to its essential parts, without a lot of unnecessary exposition. Perhaps he understood that he could entrust volumes of exposition to a single shot of Jennifer Connelly, who is riveting here, as she has been in everything she\'s appeared in since 2000, or even before. When did she become so good, and how did she sneak up on us like that? She\'s got all-star support, too: John C. Reilly, Pete Postlethwaite, and Tim Roth (as Dahlia\'s lawyer, who focuses on her case to avoid thinking about his own) are all perfect, and Ariel Gade is pretty darned good for a child actor. She doesn\'t seem like a miniaturized adult; she\'s not disturbingly precocious like, say, that distubing cherub Dakota Fanning.</p><p>The other main character, which Salles and Beato use brilliantly, is the building. The central storyline—basically, about a little girl whom everyone forgot—is externalized by the setting. The building in which the film takes place, and indeed the entirety of Roosevelt Island we\'re allowed to see, is part of 1970s urban renewal, and can be seen as a sort of favored child of the city planners, but now it\'s sitting, forgotten, rotting. Aerial views of the building confirm its isolation: it\'s in a huge E-shape with its back to the city, the courtyards facing inward, so residents see only other, similar buildings. Reilly grudgingly admits that the entire project was a failure of planning. Even the film\'s major surprise—when the discovery of the little girl\'s body doesn\'t appease the ghost; that is, doesn\'t solve the essential problem—finds a parallel in the modern city. In the 1990s and today, city planners, realizing that enormous high-rise housing projects were an utter failure, \"solved\" them by tearing the buildings down, burying the problem like one would bury a dead child. But it doesn\'t address the essential issues—the crime, the poverty, the hopelessness—and in the film, burying the body doesn\'t solve the basic issue, which is the abandonment. I haven\'t seen the original Japanese film of which this is a remake, but I wouldn\'t be surprised if the modernist architecture of the setting is a major factor.</p><p>Viewers familiar with Japanese horror films will not be too surprised that the combination of a single mom, brackish water, and little girls with long, dark hair turns out badly. There\'s a trend in films like this of the sins of past generations being visited on the current generation, but it\'s not really as easy as that: the vengeance, if you want to call it that, doesn\'t follow bloodlines, because anyone who happens to be present will do just fine. It doesn\'t always make sense, because it places a higher premium on dread than on logic. The film has to do a tricky balancing act: lacking major, grisly horrors, it has to build slowly, relishing its surprises as it increases the tension to the breaking point. If I have a major complaint about it, it\'s that the buildup is too mild, the payoff too slight—it\'s the stuff of slightly scary campfire stories, not of screams and nightmares.</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Dark Water (2005)','','inherit','closed','closed','','309-revision-v1','','','2019-07-26 14:41:16','2019-07-26 14:41:16','',309,'http://itcamefrombeyondpulp.com/uncategorized/309-revision-v1/',0,'revision','',0),(312,1,'2019-07-26 14:41:42','2019-07-26 14:41:42','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" custom_margin=\"||11px|||\" next_background_color=\"#000000\" global_module=\"74\"][et_pb_row global_parent=\"74\" custom_padding=\"0px||0px|||\" custom_margin=\"|auto|-66px|auto||\" _builder_version=\"3.26.3\"][et_pb_column type=\"4_4\" 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header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\n\n<h3 style=\"text-align: center;\"><strong><em>Dark Water</em> (Walter Salles, 2005, 105 min.)</strong></h3>\n<p>Is there really such a place as Roosevelt Island in the real New York City, or is this a place created by the filmmakers? Here, it\'s a place where it rains all the time, except for when it\'s merely overcast; the buildings, constructed \"in the Brutalist style,\" as John C. Reilly helpfully explains, are all oppressive remnants of failed social-engineering schemes—the best intentions, gone to seed and slowly crumbling because everybody agrees that they were a bad idea. Dahlia (Jennifer Connelly), in the middle of a divorce from her husband (Dougray Scott), needs a cheap apartment in the city, and she and her daughter Ceci (Ariel Gade) have come to Roosevelt Island because the rent is cheap and the local school is good. \"It\'s not the city,\" young Ceci informs her mother, and an ordinarily taciturn New Yorker on the tram breaks the silent public-transportation covenant to agree with her.</p>\n<p>\"It\'s yucky,\" says Ceci about the apartment building, and we agree with her. It\'s a dismal, impersonal building, poorly lit, and painted in that horror-movie/urban-angst palette somewhere between <em>Seven</em> and <em>Fight Club</em>. As the sleazy building manager, Mr. Murray, Reilly is a prototypical used car salesman: he promises patch-ups and explains obvious faults as bits of personality. In addition to the horror-taupe paint, the low ceilings, and the lack of illumination, the building features the scariest elevator this side of <em>Angel Heart</em>, a creepy handyman named Veeck who refuses to be handy (Pete Postlethwaite), and a nasty leak in one corner of what will be Ceci\'s bedroom. Ceci hates the place, and Dahlia isn\'t impressed either, but she changes her mind after Ceci finds a Hello Kitty backpack on the roof and decides she really likes it after all.</p>\n<p>At first, the horrors seem run-of-the-mill. Dahlia is plagued by migraines, and they seem to occur more often in the new apartment. Of course, it doesn\'t help that her soon-to-be-ex sues her for custody of Ceci, claiming that Dahlia is unbalanced. At first, we don\'t believe him: she\'s a little vague, yes, and her frequent silences speak of a propensity for distraction, but she seems normal enough when she\'s interacting with Ceci. There are problems with the apartment that will make any city-dweller nostalgic: nobody seems to have the authority or the will to fix that leak in the ceiling, the neighbors upstairs are too noisy, and the elevator keeps wanting to take her to the floor above hers. The faucets spurt brackish water more often than not, and there are aggressively insolent teenagers about. Typical city living, until Ceci meets a new imaginary friend named Natasha, Dahlia learns that the people who lived upstairs disappeared, and Veeck\'s explanation that teenage vandals are causing the ever-increasing leak and noise seems less and less believable. Under pressure from her spiteful husband and an increasingly bizarre array of phenomena, Dahlia starts to lose her grip on herself.</p>\n<p>Because it\'s not a festival of horrors, there\'s time for viewers to notice how well-made it is. Walter Salles, the director of such high-minded fare as <em>The Motorcycle Diaries</em> and <em>Central Station</em>, might seem to be an odd pick for a genre film, but he uses the genre well. The cinematography, by longtime Pedro Almodovar collaborator Affonso Beato, is Oscar-caliber, a beautiful and oppressive blend of light and shadow, murky colors and fuzzy edges. Rafael Yglesias\'s screenplay avoids the horror-movie-cliche overdose that scuttled the awful <em>The Ring</em>: this film seems stripped bare, to its essential parts, without a lot of unnecessary exposition. Perhaps he understood that he could entrust volumes of exposition to a single shot of Jennifer Connelly, who is riveting here, as she has been in everything she\'s appeared in since 2000, or even before. When did she become so good, and how did she sneak up on us like that? She\'s got all-star support, too: John C. Reilly, Pete Postlethwaite, and Tim Roth (as Dahlia\'s lawyer, who focuses on her case to avoid thinking about his own) are all perfect, and Ariel Gade is pretty darned good for a child actor. She doesn\'t seem like a miniaturized adult; she\'s not disturbingly precocious like, say, that distubing cherub Dakota Fanning.</p>\n<p>The other main character, which Salles and Beato use brilliantly, is the building. The central storyline—basically, about a little girl whom everyone forgot—is externalized by the setting. The building in which the film takes place, and indeed the entirety of Roosevelt Island we\'re allowed to see, is part of 1970s urban renewal, and can be seen as a sort of favored child of the city planners, but now it\'s sitting, forgotten, rotting. Aerial views of the building confirm its isolation: it\'s in a huge E-shape with its back to the city, the courtyards facing inward, so residents see only other, similar buildings. Reilly grudgingly admits that the entire project was a failure of planning. Even the film\'s major surprise—when the discovery of the little girl\'s body doesn\'t appease the ghost; that is, doesn\'t solve the essential problem—finds a parallel in the modern city. In the 1990s and today, city planners, realizing that enormous high-rise housing projects were an utter failure, \"solved\" them by tearing the buildings down, burying the problem like one would bury a dead child. But it doesn\'t address the essential issues—the crime, the poverty, the hopelessness—and in the film, burying the body doesn\'t solve the basic issue, which is the abandonment. I haven\'t seen the original Japanese film of which this is a remake, but I wouldn\'t be surprised if the modernist architecture of the setting is a major factor.</p>\n<p>Viewers familiar with Japanese horror films will not be too surprised that the combination of a single mom, brackish water, and little girls with long, dark hair turns out badly. There\'s a trend in films like this of the sins of past generations being visited on the current generation, but it\'s not really as easy as that: the vengeance, if you want to call it that, doesn\'t follow bloodlines, because anyone who happens to be present will do just fine. It doesn\'t always make sense, because it places a higher premium on dread than on logic. The film has to do a tricky balancing act: lacking major, grisly horrors, it has to build slowly, relishing its surprises as it increases the tension to the breaking point. If I have a major complaint about it, it\'s that the buildup is too mild, the payoff too slight—it\'s the stuff of slightly scary campfire stories, not of screams and nightmares.</p>\n\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Dark Water (2005)','','inherit','closed','closed','','309-autosave-v1','','','2019-07-26 14:41:42','2019-07-26 14:41:42','',309,'http://itcamefrombeyondpulp.com/uncategorized/309-autosave-v1/',0,'revision','',0),(313,1,'2019-07-26 14:47:16','2019-07-26 14:47:16','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" custom_margin=\"||11px|||\" next_background_color=\"#000000\" global_module=\"74\"][et_pb_row global_parent=\"74\" custom_padding=\"0px||0px|||\" custom_margin=\"|auto|-66px|auto||\" _builder_version=\"3.26.3\"][et_pb_column type=\"4_4\" 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header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>The Devil\'s Daughter</em> (Jeannot Szwarc, 1973, 74 min.)</strong></h3><p>Early in this made-for-TV horror film, a kindly old priest tells the distraught Alice Shaw, \"Nothing\'s so bad that God won\'t forgive it.\" She knows better, and we know better, because we\'ve seen enough horror films to know that not only the sinner, but the sinner\'s progeny, are punished for transgressions. Especially in a movie called <i>The Devil\'s Daughter</i>.</p><p>It opens with a bang: the devil\'s henchmen corner Alice (Diane Ladd), demanding that she deliver on the promise she made 20 years before: the soul of her daughter, whose father we already know (hint: it\'s there in the title). When she tries to renege, the devil himself comes to collect, and it\'s here that we realize there\'s something special about this low-budget shocker: the devil, whose face we don\'t see, comes shuffling into her room supporting himself on two of those metal canes you can buy at your local Walgreens. It\'s a nice, original touch, showing that the filmmakers are using their heads, realizing that they\'re working within a genre with firmly established conventions but able to carve out a little niche for themselves.</p><p>At the funeral, we meet our two principals: there\'s Diane Shaw (Belinda Montgomery), who doesn\'t yet know who her daddy is, and Lilith (Shelly Winters), who was mom\'s friend back in the day. Soon, Diane is living at Lilith\'s, where she begins to demonstrate that trait that is indispensible in a horror-movie heroine: she remains blissfully ignorant of mounting evidence of supernatural chicanery, unable to draw the conclusions that would be obvious to a child. Take her mother\'s ring, which Lilith gives to her and which just so happens to bear the same insignia as the one on the staff in <i>the huge painting of the devil that hangs over the fireplace</i>. Even after this insignia shows up on Lilith\'s favored brand of cigarettes, and on the cover of a demonic baby book—which is concealed in a secret compartment—that contains an extremely detailed record of her childhood, it\'s not enough to do more than put a slight furrow in her brow. Where most people would have been in Federal Witness Protection by the 20-minute mark of the film, she, like other horror movie protagonists, gamely sticks it out, because otherwise we wouldn\'t have feature-length horror films.</p><p>Maybe the problem is that Montgomery isn\'t a very good actress (her time on <i>Doogie Howser, MD</i> notwithstanding—that was years later); perhaps there was something going on inside (like, you know, fear or suspicion) that she was unable to communicate. Even after she discovers that her mom\'s ring gives her the power to hynotize children and send them into traffic, her face registers only mild alarm, not \"Oh my god my mom\'s ring grants me Satan\'s evil power to destroy.\" She\'s certainly surrounded by heavy hitters: the high-profile supporting cast\'s trophy shelf contains two Oscars from eight nominations, but once you get away from Ladd (unrecognizable), Joseph Cotten (really great as a kindly, helpful judge), and Winters (enjoyably bonkers), the pickings get slim. The filmmaking prowess is lacking, too: cinematographer J.J. Jones has obviously seen Dutch (tilted) angles in other horror films, but he hasn\'t figured out exactly <i>why</i> those shots work sometimes and not at others, so he sprinkles them through the film at random, sometimes switching to one in the middle of a shot.</p><p>Overall, though, this is a fine, often inventive diversion. The filmmakers have seen enough horror films to know which ones are worth stealing from, and their primary influence is the uneasy horror/comedy blend of Roman Polanski\'s <em>Rosemary\'s Baby</em>; this film could be seen as a continuation of that deliciously nihilistic cornerstone of the genre. But there are creative borrowings from other notable films (I detect a bit of Aldo Lada\'s giallo <em>Short Night of Glass Dolls</em>, for example), along with enough originality to make me surprised this never saw a theatrical run.</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Devil\'s Daughter (1973)','','publish','closed','closed','','the-devils-daughter-1973','','','2019-07-26 14:47:16','2019-07-26 14:47:16','',0,'http://itcamefrombeyondpulp.com/?p=313',0,'post','',0),(314,1,'2019-07-26 14:46:44','2019-07-26 14:46:44','','Devils-Daughter','','inherit','closed','closed','','devils-daughter','','','2019-07-26 14:46:44','2019-07-26 14:46:44','',313,'http://itcamefrombeyondpulp.com/wp-content/uploads/2019/07/Devils-Daughter.jpg',0,'attachment','image/jpeg',0),(315,1,'2019-07-26 14:47:07','2019-07-26 14:47:07','','Devils-Daughter','','inherit','closed','closed','','devils-daughter-2','','','2019-07-26 14:47:07','2019-07-26 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ul_text_shadow_vertical_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_blur_strength=\"ul_text_shadow_style,%91object Object%93\" ol_text_shadow_horizontal_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_vertical_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_blur_strength=\"ol_text_shadow_style,%91object Object%93\" quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>The Devil\'s Daughter</em> (Jeannot Szwarc, 1973, 74 min.)</strong></h3><p>Early in this made-for-TV horror film, a kindly old priest tells the distraught Alice Shaw, \"Nothing\'s so bad that God won\'t forgive it.\" She knows better, and we know better, because we\'ve seen enough horror films to know that not only the sinner, but the sinner\'s progeny, are punished for transgressions. Especially in a movie called <i>The Devil\'s Daughter</i>.</p><p>It opens with a bang: the devil\'s henchmen corner Alice (Diane Ladd), demanding that she deliver on the promise she made 20 years before: the soul of her daughter, whose father we already know (hint: it\'s there in the title). When she tries to renege, the devil himself comes to collect, and it\'s here that we realize there\'s something special about this low-budget shocker: the devil, whose face we don\'t see, comes shuffling into her room supporting himself on two of those metal canes you can buy at your local Walgreens. It\'s a nice, original touch, showing that the filmmakers are using their heads, realizing that they\'re working within a genre with firmly established conventions but able to carve out a little niche for themselves.</p><p>At the funeral, we meet our two principals: there\'s Diane Shaw (Belinda Montgomery), who doesn\'t yet know who her daddy is, and Lilith (Shelly Winters), who was mom\'s friend back in the day. Soon, Diane is living at Lilith\'s, where she begins to demonstrate that trait that is indispensible in a horror-movie heroine: she remains blissfully ignorant of mounting evidence of supernatural chicanery, unable to draw the conclusions that would be obvious to a child. Take her mother\'s ring, which Lilith gives to her and which just so happens to bear the same insignia as the one on the staff in <i>the huge painting of the devil that hangs over the fireplace</i>. Even after this insignia shows up on Lilith\'s favored brand of cigarettes, and on the cover of a demonic baby book—which is concealed in a secret compartment—that contains an extremely detailed record of her childhood, it\'s not enough to do more than put a slight furrow in her brow. Where most people would have been in Federal Witness Protection by the 20-minute mark of the film, she, like other horror movie protagonists, gamely sticks it out, because otherwise we wouldn\'t have feature-length horror films.</p><p>Maybe the problem is that Montgomery isn\'t a very good actress (her time on <i>Doogie Howser, MD</i> notwithstanding—that was years later); perhaps there was something going on inside (like, you know, fear or suspicion) that she was unable to communicate. Even after she discovers that her mom\'s ring gives her the power to hynotize children and send them into traffic, her face registers only mild alarm, not \"Oh my god my mom\'s ring grants me Satan\'s evil power to destroy.\" She\'s certainly surrounded by heavy hitters: the high-profile supporting cast\'s trophy shelf contains two Oscars from eight nominations, but once you get away from Ladd (unrecognizable), Joseph Cotten (really great as a kindly, helpful judge), and Winters (enjoyably bonkers), the pickings get slim. The filmmaking prowess is lacking, too: cinematographer J.J. Jones has obviously seen Dutch (tilted) angles in other horror films, but he hasn\'t figured out exactly <i>why</i> those shots work sometimes and not at others, so he sprinkles them through the film at random, sometimes switching to one in the middle of a shot.</p><p>Overall, though, this is a fine, often inventive diversion. The filmmakers have seen enough horror films to know which ones are worth stealing from, and their primary influence is the uneasy horror/comedy blend of Roman Polanski\'s <em>Rosemary\'s Baby</em>; this film could be seen as a continuation of that deliciously nihilistic cornerstone of the genre. But there are creative borrowings from other notable films (I detect a bit of Aldo Lada\'s giallo <em>Short Night of Glass Dolls</em>, for example), along with enough originality to make me surprised this never saw a theatrical run.</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Devil\'s Daughter (1973)','','inherit','closed','closed','','313-revision-v1','','','2019-07-26 14:47:16','2019-07-26 14:47:16','',313,'http://itcamefrombeyondpulp.com/uncategorized/313-revision-v1/',0,'revision','',0),(317,1,'2019-07-26 14:48:09','2019-07-26 14:48:09','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" custom_margin=\"||11px|||\" next_background_color=\"#000000\" global_module=\"74\"][et_pb_row global_parent=\"74\" custom_padding=\"0px||0px|||\" 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quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\n\n<h3 style=\"text-align: center;\"><strong><em>The Devil\'s Daughter</em> (Jeannot Szwarc, 1973, 74 min.)</strong></h3>\n<p>Early in this made-for-TV horror film, a kindly old priest tells the distraught Alice Shaw, \"Nothing\'s so bad that God won\'t forgive it.\" She knows better, and we know better, because we\'ve seen enough horror films to know that not only the sinner, but the sinner\'s progeny, are punished for transgressions. Especially in a movie called <i>The Devil\'s Daughter</i>.</p>\n<p>It opens with a bang: the devil\'s henchmen corner Alice (Diane Ladd), demanding that she deliver on the promise she made 20 years before: the soul of her daughter, whose father we already know (hint: it\'s there in the title). When she tries to renege, the devil himself comes to collect, and it\'s here that we realize there\'s something special about this low-budget shocker: the devil, whose face we don\'t see, comes shuffling into her room supporting himself on two of those metal canes you can buy at your local Walgreens. It\'s a nice, original touch, showing that the filmmakers are using their heads, realizing that they\'re working within a genre with firmly established conventions but able to carve out a little niche for themselves.</p>\n<p>At the funeral, we meet our two principals: there\'s Diane Shaw (Belinda Montgomery), who doesn\'t yet know who her daddy is, and Lilith (Shelly Winters), who was mom\'s friend back in the day. Soon, Diane is living at Lilith\'s, where she begins to demonstrate that trait that is indispensible in a horror-movie heroine: she remains blissfully ignorant of mounting evidence of supernatural chicanery, unable to draw the conclusions that would be obvious to a child. Take her mother\'s ring, which Lilith gives to her and which just so happens to bear the same insignia as the one on the staff in <i>the huge painting of the devil that hangs over the fireplace</i>. Even after this insignia shows up on Lilith\'s favored brand of cigarettes, and on the cover of a demonic baby book—which is concealed in a secret compartment—that contains an extremely detailed record of her childhood, it\'s not enough to do more than put a slight furrow in her brow. Where most people would have been in Federal Witness Protection by the 20-minute mark of the film, she, like other horror movie protagonists, gamely sticks it out, because otherwise we wouldn\'t have feature-length horror films.</p>\n<p>Maybe the problem is that Montgomery isn\'t a very good actress (her time on <i>Doogie Howser, MD</i> notwithstanding—that was years later); perhaps there was something going on inside (like, you know, fear or suspicion) that she was unable to communicate. Even after she discovers that her mom\'s ring gives her the power to hynotize children and send them into traffic, her face registers only mild alarm, not \"Oh my god my mom\'s ring grants me Satan\'s evil power to destroy.\" She\'s certainly surrounded by heavy hitters: the high-profile supporting cast\'s trophy shelf contains two Oscars from eight nominations, but once you get away from Ladd (unrecognizable), Joseph Cotten (really great as a kindly, helpful judge), and Winters (enjoyably bonkers), the pickings get slim. The filmmaking prowess is lacking, too: cinematographer J.J. Jones has obviously seen Dutch (tilted) angles in other horror films, but he hasn\'t figured out exactly <i>why</i> those shots work sometimes and not at others, so he sprinkles them through the film at random, sometimes switching to one in the middle of a shot.</p>\n<p>Overall, though, this is a fine, often inventive diversion. The filmmakers have seen enough horror films to know which ones are worth stealing from, and their primary influence is the uneasy horror/comedy blend of Roman Polanski\'s <em>Rosemary\'s Baby</em>; this film could be seen as a continuation of that deliciously nihilistic cornerstone of the genre. But there are creative borrowings from other notable films (I detect a bit of Aldo Lada\'s giallo <em>Short Night of Glass Dolls</em>, for example), along with enough originality to make me surprised this never saw a theatrical run.</p>\n\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Devil\'s Daughter (1973)','','inherit','closed','closed','','313-autosave-v1','','','2019-07-26 14:48:09','2019-07-26 14:48:09','',313,'http://itcamefrombeyondpulp.com/uncategorized/313-autosave-v1/',0,'revision','',0),(319,1,'2019-07-26 14:52:31','2019-07-26 14:52:31','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" custom_margin=\"||11px|||\" next_background_color=\"#000000\" global_module=\"74\"][et_pb_row global_parent=\"74\" custom_padding=\"0px||0px|||\" 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next_background_color=\"#e02b20\" global_module=\"175\"][et_pb_fullwidth_menu global_parent=\"175\" menu_id=\"2\" submenu_direction=\"downwards\" fullwidth_menu=\"off\" dropdown_menu_text_color=\"#ffffff\" _builder_version=\"3.26.3\" menu_font=\"|800||on|||||\" menu_text_color=\"#ffffff\" menu_font_size=\"22px\" menu_letter_spacing=\"5px\" background_color=\"#e02b20\" border_width_bottom=\"5px\" text_orientation=\"center\" background_layout=\"dark\" custom_margin=\"0px||||false|false\" custom_padding=\"1px||0px||false|false\" z_index_tablet=\"500\" menu_text_shadow_horizontal_length_tablet=\"0px\" menu_text_shadow_vertical_length_tablet=\"0px\" menu_text_shadow_blur_strength_tablet=\"1px\" border_width_bottom_tablet=\"5px\" border_width_bottom_phone=\"5px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" /][/et_pb_section][et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" background_color=\"#e02b20\" width=\"1080px\" module_alignment=\"center\" custom_padding=\"10px||0px|||\" hover_enabled=\"0\" width_last_edited=\"on|tablet\" width_phone=\"100%\" width_tablet=\"100%\" prev_background_color=\"#ffffff\"][et_pb_row custom_padding=\"10px|10px||\" _builder_version=\"3.26.3\" background_color=\"#ffffff\" border_width_bottom=\"5px\" border_color_bottom=\"#e02b20\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\"][et_pb_column type=\"4_4\" _builder_version=\"3.0.47\" custom_padding=\"|||\" custom_padding__hover=\"|||\"][et_pb_text _builder_version=\"3.26.3\" z_index_tablet=\"500\" text_text_shadow_horizontal_length_tablet=\"0px\" text_text_shadow_vertical_length_tablet=\"0px\" text_text_shadow_blur_strength_tablet=\"1px\" link_text_shadow_horizontal_length_tablet=\"0px\" link_text_shadow_vertical_length_tablet=\"0px\" link_text_shadow_blur_strength_tablet=\"1px\" ul_text_shadow_horizontal_length_tablet=\"0px\" ul_text_shadow_vertical_length_tablet=\"0px\" ul_text_shadow_blur_strength_tablet=\"1px\" ol_text_shadow_horizontal_length_tablet=\"0px\" ol_text_shadow_vertical_length_tablet=\"0px\" ol_text_shadow_blur_strength_tablet=\"1px\" quote_text_shadow_horizontal_length_tablet=\"0px\" quote_text_shadow_vertical_length_tablet=\"0px\" quote_text_shadow_blur_strength_tablet=\"1px\" header_text_shadow_horizontal_length_tablet=\"0px\" header_text_shadow_vertical_length_tablet=\"0px\" header_text_shadow_blur_strength_tablet=\"1px\" header_2_text_shadow_horizontal_length_tablet=\"0px\" header_2_text_shadow_vertical_length_tablet=\"0px\" header_2_text_shadow_blur_strength_tablet=\"1px\" header_3_text_shadow_horizontal_length_tablet=\"0px\" header_3_text_shadow_vertical_length_tablet=\"0px\" header_3_text_shadow_blur_strength_tablet=\"1px\" header_4_text_shadow_horizontal_length_tablet=\"0px\" header_4_text_shadow_vertical_length_tablet=\"0px\" header_4_text_shadow_blur_strength_tablet=\"1px\" header_5_text_shadow_horizontal_length_tablet=\"0px\" header_5_text_shadow_vertical_length_tablet=\"0px\" header_5_text_shadow_blur_strength_tablet=\"1px\" header_6_text_shadow_horizontal_length_tablet=\"0px\" header_6_text_shadow_vertical_length_tablet=\"0px\" header_6_text_shadow_blur_strength_tablet=\"1px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\"]\r\n\r\n<h1 style=\"text-align: center;\">Movies &amp; TV Reviews</h1>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row _builder_version=\"3.26.3\" background_color=\"#ffffff\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" column_structure=\"1_3,1_3,1_3\"][et_pb_column type=\"1_3\" _builder_version=\"3.0.47\" custom_padding=\"|||\" custom_padding__hover=\"|||\"][et_pb_text _builder_version=\"3.26.3\" z_index_tablet=\"500\" text_text_shadow_horizontal_length_tablet=\"0px\" text_text_shadow_vertical_length_tablet=\"0px\" text_text_shadow_blur_strength_tablet=\"1px\" link_text_shadow_horizontal_length_tablet=\"0px\" link_text_shadow_vertical_length_tablet=\"0px\" link_text_shadow_blur_strength_tablet=\"1px\" ul_text_shadow_horizontal_length_tablet=\"0px\" ul_text_shadow_vertical_length_tablet=\"0px\" ul_text_shadow_blur_strength_tablet=\"1px\" ol_text_shadow_horizontal_length_tablet=\"0px\" ol_text_shadow_vertical_length_tablet=\"0px\" ol_text_shadow_blur_strength_tablet=\"1px\" quote_text_shadow_horizontal_length_tablet=\"0px\" quote_text_shadow_vertical_length_tablet=\"0px\" quote_text_shadow_blur_strength_tablet=\"1px\" header_text_shadow_horizontal_length_tablet=\"0px\" header_text_shadow_vertical_length_tablet=\"0px\" header_text_shadow_blur_strength_tablet=\"1px\" header_2_text_shadow_horizontal_length_tablet=\"0px\" header_2_text_shadow_vertical_length_tablet=\"0px\" header_2_text_shadow_blur_strength_tablet=\"1px\" header_3_text_shadow_horizontal_length_tablet=\"0px\" header_3_text_shadow_vertical_length_tablet=\"0px\" header_3_text_shadow_blur_strength_tablet=\"1px\" header_4_text_shadow_horizontal_length_tablet=\"0px\" header_4_text_shadow_vertical_length_tablet=\"0px\" header_4_text_shadow_blur_strength_tablet=\"1px\" header_5_text_shadow_horizontal_length_tablet=\"0px\" header_5_text_shadow_vertical_length_tablet=\"0px\" header_5_text_shadow_blur_strength_tablet=\"1px\" header_6_text_shadow_horizontal_length_tablet=\"0px\" header_6_text_shadow_vertical_length_tablet=\"0px\" header_6_text_shadow_blur_strength_tablet=\"1px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\"]\r\n\r\n<h3 style=\"text-align: center;\">Sci-Fi</h3>\r\n<p style=\"text-align: center;\"><strong><a href=\"http://itcamefrombeyondpulp.com/movies/children-of-men-2006/\">Children of Men (2006)</a><br /></strong><strong><a href=\"http://itcamefrombeyondpulp.com/movies/cloverfield-2008/\">Cloverfield (2008)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-dark-knight-2008/\">The Dark Knight (2008)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-fountain-2006/\">The Fountain (2006)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/hardware-1990/\">Hardware (1990)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/harry-potter-and-the-chamber-of-secrets-2002/\">Harry Potter and the Chamber of Secrets (2002)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/harry-potter-and-the-sorcerers-stone-2001/\">Harry Potter and the Sorcerer\'s Stone (2001)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/maniac-1934/\">Maniac (1934)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-phantom-planet-1961/\">The Phantom Planet (1961)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/predator-1987/\">Predator (1987)</a><br /></strong><a href=\"http://itcamefrombeyondpulp.com/movies/serenity-2005/\"><strong>Serenity (2005)</strong></a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/x-men-the-last-stand-2006/\"><strong>X-Men: The Last Stand (2006)</strong></a></p>\r\n\r\n[/et_pb_text][/et_pb_column][et_pb_column type=\"1_3\" _builder_version=\"3.0.47\" custom_padding=\"|||\" custom_padding__hover=\"|||\"][et_pb_text _builder_version=\"3.26.3\" z_index_tablet=\"500\" text_text_shadow_horizontal_length_tablet=\"0px\" text_text_shadow_vertical_length_tablet=\"0px\" text_text_shadow_blur_strength_tablet=\"1px\" link_text_shadow_horizontal_length_tablet=\"0px\" link_text_shadow_vertical_length_tablet=\"0px\" link_text_shadow_blur_strength_tablet=\"1px\" ul_text_shadow_horizontal_length_tablet=\"0px\" ul_text_shadow_vertical_length_tablet=\"0px\" ul_text_shadow_blur_strength_tablet=\"1px\" ol_text_shadow_horizontal_length_tablet=\"0px\" ol_text_shadow_vertical_length_tablet=\"0px\" ol_text_shadow_blur_strength_tablet=\"1px\" quote_text_shadow_horizontal_length_tablet=\"0px\" quote_text_shadow_vertical_length_tablet=\"0px\" quote_text_shadow_blur_strength_tablet=\"1px\" header_text_shadow_horizontal_length_tablet=\"0px\" header_text_shadow_vertical_length_tablet=\"0px\" header_text_shadow_blur_strength_tablet=\"1px\" header_2_text_shadow_horizontal_length_tablet=\"0px\" header_2_text_shadow_vertical_length_tablet=\"0px\" header_2_text_shadow_blur_strength_tablet=\"1px\" header_3_text_shadow_horizontal_length_tablet=\"0px\" header_3_text_shadow_vertical_length_tablet=\"0px\" header_3_text_shadow_blur_strength_tablet=\"1px\" header_4_text_shadow_horizontal_length_tablet=\"0px\" header_4_text_shadow_vertical_length_tablet=\"0px\" header_4_text_shadow_blur_strength_tablet=\"1px\" header_5_text_shadow_horizontal_length_tablet=\"0px\" header_5_text_shadow_vertical_length_tablet=\"0px\" header_5_text_shadow_blur_strength_tablet=\"1px\" header_6_text_shadow_horizontal_length_tablet=\"0px\" header_6_text_shadow_vertical_length_tablet=\"0px\" header_6_text_shadow_blur_strength_tablet=\"1px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" text_text_shadow_horizontal_length=\"text_text_shadow_style,%91object Object%93\" text_text_shadow_vertical_length=\"text_text_shadow_style,%91object Object%93\" text_text_shadow_blur_strength=\"text_text_shadow_style,%91object Object%93\" link_text_shadow_horizontal_length=\"link_text_shadow_style,%91object Object%93\" link_text_shadow_vertical_length=\"link_text_shadow_style,%91object Object%93\" link_text_shadow_blur_strength=\"link_text_shadow_style,%91object Object%93\" ul_text_shadow_horizontal_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_vertical_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_blur_strength=\"ul_text_shadow_style,%91object Object%93\" ol_text_shadow_horizontal_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_vertical_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_blur_strength=\"ol_text_shadow_style,%91object Object%93\" quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\">Horror</h3><p style=\"text-align: center;\"><a href=\"http://itcamefrombeyondpulp.com/movies/bloodrayne-2-deliverance-2007/\"><strong>BloodRayne 2: Deliverance (2007)</strong></a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-cat-and-the-canary-1927/\"><strong>The Cat and the Canary (1927)</strong></a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-children-1980/\"><strong>The Children (1980)</strong></a><br /><strong><a href=\"http://itcamefrombeyondpulp.com/movies/colin-2008/\">Colin (2008)</a></strong><br /><strong><a href=\"http://itcamefrombeyondpulp.com/movies/dark-water-2005/\">Dark Water (2005)</a></strong><br /><strong><a href=\"http://itcamefrombeyondpulp.com/movies/the-devils-daughter-1973/\">The Devil\'s Daughter (1973)</a></strong><br /><a href=\"http://itcamefrombeyondpulp.com/movies/masters-of-horror-the-black-cat-2007/\"><strong>Masters of Horror: The Black Cat (2007)</strong></a></p>\r\n\r\n[/et_pb_text][/et_pb_column][et_pb_column type=\"1_3\" _builder_version=\"3.0.47\" custom_padding=\"|||\" custom_padding__hover=\"|||\"][et_pb_text _builder_version=\"3.26.3\" z_index_tablet=\"500\" text_text_shadow_horizontal_length_tablet=\"0px\" text_text_shadow_vertical_length_tablet=\"0px\" text_text_shadow_blur_strength_tablet=\"1px\" link_text_shadow_horizontal_length_tablet=\"0px\" link_text_shadow_vertical_length_tablet=\"0px\" link_text_shadow_blur_strength_tablet=\"1px\" ul_text_shadow_horizontal_length_tablet=\"0px\" ul_text_shadow_vertical_length_tablet=\"0px\" ul_text_shadow_blur_strength_tablet=\"1px\" ol_text_shadow_horizontal_length_tablet=\"0px\" ol_text_shadow_vertical_length_tablet=\"0px\" ol_text_shadow_blur_strength_tablet=\"1px\" quote_text_shadow_horizontal_length_tablet=\"0px\" quote_text_shadow_vertical_length_tablet=\"0px\" quote_text_shadow_blur_strength_tablet=\"1px\" header_text_shadow_horizontal_length_tablet=\"0px\" header_text_shadow_vertical_length_tablet=\"0px\" header_text_shadow_blur_strength_tablet=\"1px\" header_2_text_shadow_horizontal_length_tablet=\"0px\" header_2_text_shadow_vertical_length_tablet=\"0px\" header_2_text_shadow_blur_strength_tablet=\"1px\" header_3_text_shadow_horizontal_length_tablet=\"0px\" header_3_text_shadow_vertical_length_tablet=\"0px\" header_3_text_shadow_blur_strength_tablet=\"1px\" header_4_text_shadow_horizontal_length_tablet=\"0px\" header_4_text_shadow_vertical_length_tablet=\"0px\" header_4_text_shadow_blur_strength_tablet=\"1px\" header_5_text_shadow_horizontal_length_tablet=\"0px\" header_5_text_shadow_vertical_length_tablet=\"0px\" header_5_text_shadow_blur_strength_tablet=\"1px\" header_6_text_shadow_horizontal_length_tablet=\"0px\" header_6_text_shadow_vertical_length_tablet=\"0px\" header_6_text_shadow_blur_strength_tablet=\"1px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\"]\r\n\r\n<h3 style=\"text-align: center;\">Whatnot</h3>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Movies','','inherit','closed','closed','','45-revision-v1','','','2019-07-26 14:52:31','2019-07-26 14:52:31','',45,'http://itcamefrombeyondpulp.com/uncategorized/45-revision-v1/',0,'revision','',0),(320,1,'2019-07-26 14:59:40','2019-07-26 14:59:40','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" custom_margin=\"||11px|||\" next_background_color=\"#000000\" 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header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>The Adventures of Sherlock Holmes</em> (Alfred L. Werker, 1939, 88 min.)</strong></h3>\r\n<p>Basil Rathbone and Nigel Bruce return for the second time as Sherlock Holmes and Dr. Watson in this enjoyable, suspenseful film, the last in the series to be set in Victorian England. For their second outing, they face off against Dr. Moriarty himself (George Zucco), Holmes\'s arch-enemy. The film is the perfect blend of mystery and comedy, showing off the series\'s potential for both. The only real problem with this film is a rather disappointing Moriarty; Zucco looks a tad too... ordinary. For master criminals of the Victorian era, I want flowing overcoats, black hair in a widow\'s peak, and fiendish laughter, not some guy who looks like... well, like a professor.</p>\r\n<p>The film opens with the diabolical Moriarty defeating justice yet again. A jury grudgingly finds him not guilty of some horrific crime or another just seconds before Holmes rushes in with damning evidence. The best scene in the film comes as the two bitter enemies leave the courtroom; the two share a cab home while discussing their mutual hatred and desire for revenge, and Moriarty promises that his next caper will be so brilliant that it defeats even the mind of Holmes.</p>\r\n<p>As Holmes and Watson settle down to wait for clues to Moriarty\'s next plan, Moriarty concocts not one but two mysteries, one of them designed to distract Holmes from the real caper. Knowing Holmes\'s attraction to women in peril, he devises a diabolical, murderous plot that resurrects a decades-old murder—surely a lot of trouble to go through just to distract Holmes, but then again, Moriarty\'s not a very nice guy, and he doesn\'t care who thinks so. There\'s a wonderful exchange between him and Bassick (Arthur Hohl), one of his henchmen; when Moriarty informs him what his role will be, Bassick laments what happened to the last person Moriarty enlisted. \"Oh, poor Higgins,\" says Moriarty. \"They found nothing but his boots!\" To which Bassick replies indignantly, \"<i>One</i> boot!\"</p>\r\n<p>The real crime is the theft of a famous emerald from among the Crown Jewels. Moriarty actually sends a letter to Ronald Ramsgate (Henry Stephenson), the caretaker of the jewels, threatening to steal it. Ramsgate attempts to enlist Holmes\'s help, but Holmes is distracted by the sad case of the Brandon family. Ten years earlier, the elder Brandon was murdered in South America; now, the younger generation of Brandons, including the nance Lloyd (Peter Willes) and the beautiful young Ann (Ida Lupino), are receiving strange, threatening drawings inscribed with ominous dates. Holmes decides that he must protect Ann (he doesn\'t do Lloyd much good), and he sets out to solve the mystery and save Ann from a dreadful murder. Ann\'s fiance Jerrold (Alan Marshal) attempts to stop Ann from enlisting Holmes, setting himself up as a likely suspect. Intrigue ensues.</p>\r\n<p>Director Alfred L. Werker paces the film perfectly, with just the right blend of tense scenes and opportunities to catch one\'s breath. There are two show-stopping scenes, one in which Ann is chased through a foggy park and the final showdown between Holmes and Moriarty in a dazzling Tower of London set. The sham case Moriarty cooks up is textbook Sherlock Holmes, and it\'s set up so that all along, we are shouting at Holmes to ingore all of the red herrings and stop Moriarty; it\'s only during the down times that we realize that even though the Brandon case is just a distraction, it\'s time better spent for Holmes to save Ann than to save the Crown Jewels.</p>\r\n<p>Rathbone and Bruce took three years off before resuming their roles in twelve more films in the space of four years; these new scenes transplanted the dynamic duo to the twentieth century and turned Watson into little more than comic relief. There are comedic scenes in this film, but Watson isn\'t a clown. One good example occurs when Watson is lying on the cobblestones at a murder site while Holmes is off measuring things in the bushes. A gentlemanly passerby inquires as to his well-being, and the two have a humorous exchange that has Watson being the source of the comedy without being the butt of the joke.</p>\r\n<p><b>Baker Street Regulars</b> (actors who appeared in more than two films in the series as different characters):</p>\r\n<p>Harry Cording, 1st of 8 appearances (as second phoney policeman) <br />Mary Forbes, 1st of 3 (Lady Conyngham) <br />Holmes Herbert, 1st of 6 (Chief Justice) <br />Leyland Hogdson, 1st of 7 (unspecified bobby) <br />Arthur Hohl, 1st of 3 (Bassick) <br />Boyd Irwin, 1st of 3 (bobby) <br />Eric Wilton, 1st of 3 (Conyngham Butler)</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Adventures of Sherlock Holmes (1939)','','publish','closed','closed','','the-adventures-of-sherlock-holmes-1939','','','2019-07-26 15:02:23','2019-07-26 15:02:23','',0,'http://itcamefrombeyondpulp.com/?p=320',0,'post','',0),(321,1,'2019-07-26 14:59:16','2019-07-26 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link_text_shadow_blur_strength=\"link_text_shadow_style,%91object Object%93\" ul_text_shadow_horizontal_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_vertical_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_blur_strength=\"ul_text_shadow_style,%91object Object%93\" ol_text_shadow_horizontal_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_vertical_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_blur_strength=\"ol_text_shadow_style,%91object Object%93\" quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>The Adventures of Sherlock Holmes</em> (Alfred L. Werker, 1939, 88 min.)</strong></h3><p>Basil Rathbone and Nigel Bruce return for the second time as Sherlock Holmes and Dr. Watson in this enjoyable, suspenseful film, the last in the series to be set in Victorian England. For their second outing, they face off against Dr. Moriarty himself (George Zucco), Holmes\'s arch-enemy. The film is the perfect blend of mystery and comedy, showing off the series\'s potential for both. The only real problem with this film is a rather disappointing Moriarty; Zucco looks a tad too... ordinary. For master criminals of the Victorian era, I want flowing overcoats, black hair in a widow\'s peak, and fiendish laughter, not some guy who looks like... well, like a professor.</p><p>The film opens with the diabolical Moriarty defeating justice yet again. A jury grudgingly finds him not guilty of some horrific crime or another just seconds before Holmes rushes in with damning evidence. The best scene in the film comes as the two bitter enemies leave the courtroom; the two share a cab home while discussing their mutual hatred and desire for revenge, and Moriarty promises that his next caper will be so brilliant that it defeats even the mind of Holmes.</p><p>As Holmes and Watson settle down to wait for clues to Moriarty\'s next plan, Moriarty concocts not one but two mysteries, one of them designed to distract Holmes from the real caper. Knowing Holmes\'s attraction to women in peril, he devises a diabolical, murderous plot that resurrects a decades-old murder—surely a lot of trouble to go through just to distract Holmes, but then again, Moriarty\'s not a very nice guy, and he doesn\'t care who thinks so. There\'s a wonderful exchange between him and Bassick (Arthur Hohl), one of his henchmen; when Moriarty informs him what his role will be, Bassick laments what happened to the last person Moriarty enlisted. \"Oh, poor Higgins,\" says Moriarty. \"They found nothing but his boots!\" To which Bassick replies indignantly, \"<i>One</i> boot!\"</p><p>The real crime is the theft of a famous emerald from among the Crown Jewels. Moriarty actually sends a letter to Ronald Ramsgate (Henry Stephenson), the caretaker of the jewels, threatening to steal it. Ramsgate attempts to enlist Holmes\'s help, but Holmes is distracted by the sad case of the Brandon family. Ten years earlier, the elder Brandon was murdered in South America; now, the younger generation of Brandons, including the nance Lloyd (Peter Willes) and the beautiful young Ann (Ida Lupino), are receiving strange, threatening drawings inscribed with ominous dates. Holmes decides that he must protect Ann (he doesn\'t do Lloyd much good), and he sets out to solve the mystery and save Ann from a dreadful murder. Ann\'s fiance Jerrold (Alan Marshal) attempts to stop Ann from enlisting Holmes, setting himself up as a likely suspect. Intrigue ensues.</p><p>Director Alfred L. Werker paces the film perfectly, with just the right blend of tense scenes and opportunities to catch one\'s breath. There are two show-stopping scenes, one in which Ann is chased through a foggy park and the final showdown between Holmes and Moriarty in a dazzling Tower of London set. The sham case Moriarty cooks up is textbook Sherlock Holmes, and it\'s set up so that all along, we are shouting at Holmes to ingore all of the red herrings and stop Moriarty; it\'s only during the down times that we realize that even though the Brandon case is just a distraction, it\'s time better spent for Holmes to save Ann than to save the Crown Jewels.</p><p>Rathbone and Bruce took three years off before resuming their roles in twelve more films in the space of four years; these new scenes transplanted the dynamic duo to the twentieth century and turned Watson into little more than comic relief. There are comedic scenes in this film, but Watson isn\'t a clown. One good example occurs when Watson is lying on the cobblestones at a murder site while Holmes is off measuring things in the bushes. A gentlemanly passerby inquires as to his well-being, and the two have a humorous exchange that has Watson being the source of the comedy without being the butt of the joke.</p><p><b>Baker Street Regulars</b> (actors who appeared in more than two films in the series as different characters):</p><p>Harry Cording, 1st of 8 appearances (as second phoney policeman) <br />Mary Forbes, 1st of 3 (Lady Conyngham) <br />Holmes Herbert, 1st of 6 (Chief Justice) <br />Leyland Hogdson, 1st of 7 (unspecified bobby) <br />Arthur Hohl, 1st of 3 (Bassick) <br />Boyd Irwin, 1st of 3 (bobby) <br />Eric Wilton, 1st of 3 (Conyngham Butler)</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Adventures of Sherlock Holmes (1939)','','inherit','closed','closed','','320-revision-v1','','','2019-07-26 14:59:40','2019-07-26 14:59:40','',320,'http://itcamefrombeyondpulp.com/uncategorized/320-revision-v1/',0,'revision','',0),(323,1,'2019-07-26 15:01:48','2019-07-26 15:01:48','[et_pb_section 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header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\n\n<h3 style=\"text-align: center;\"><strong><em>The Adventures of Sherlock Holmes</em> (Alfred L. Werker, 1939, 88 min.)</strong></h3>\n<p>Basil Rathbone and Nigel Bruce return for the second time as Sherlock Holmes and Dr. Watson in this enjoyable, suspenseful film, the last in the series to be set in Victorian England. For their second outing, they face off against Dr. Moriarty himself (George Zucco), Holmes\'s arch-enemy. The film is the perfect blend of mystery and comedy, showing off the series\'s potential for both. The only real problem with this film is a rather disappointing Moriarty; Zucco looks a tad too... ordinary. For master criminals of the Victorian era, I want flowing overcoats, black hair in a widow\'s peak, and fiendish laughter, not some guy who looks like... well, like a professor.</p>\n<p>The film opens with the diabolical Moriarty defeating justice yet again. A jury grudgingly finds him not guilty of some horrific crime or another just seconds before Holmes rushes in with damning evidence. The best scene in the film comes as the two bitter enemies leave the courtroom; the two share a cab home while discussing their mutual hatred and desire for revenge, and Moriarty promises that his next caper will be so brilliant that it defeats even the mind of Holmes.</p>\n<p>As Holmes and Watson settle down to wait for clues to Moriarty\'s next plan, Moriarty concocts not one but two mysteries, one of them designed to distract Holmes from the real caper. Knowing Holmes\'s attraction to women in peril, he devises a diabolical, murderous plot that resurrects a decades-old murder—surely a lot of trouble to go through just to distract Holmes, but then again, Moriarty\'s not a very nice guy, and he doesn\'t care who thinks so. There\'s a wonderful exchange between him and Bassick (Arthur Hohl), one of his henchmen; when Moriarty informs him what his role will be, Bassick laments what happened to the last person Moriarty enlisted. \"Oh, poor Higgins,\" says Moriarty. \"They found nothing but his boots!\" To which Bassick replies indignantly, \"<i>One</i> boot!\"</p>\n<p>The real crime is the theft of a famous emerald from among the Crown Jewels. Moriarty actually sends a letter to Ronald Ramsgate (Henry Stephenson), the caretaker of the jewels, threatening to steal it. Ramsgate attempts to enlist Holmes\'s help, but Holmes is distracted by the sad case of the Brandon family. Ten years earlier, the elder Brandon was murdered in South America; now, the younger generation of Brandons, including the nance Lloyd (Peter Willes) and the beautiful young Ann (Ida Lupino), are receiving strange, threatening drawings inscribed with ominous dates. Holmes decides that he must protect Ann (he doesn\'t do Lloyd much good), and he sets out to solve the mystery and save Ann from a dreadful murder. Ann\'s fiance Jerrold (Alan Marshal) attempts to stop Ann from enlisting Holmes, setting himself up as a likely suspect. Intrigue ensues.</p>\n<p>Director Alfred L. Werker paces the film perfectly, with just the right blend of tense scenes and opportunities to catch one\'s breath. There are two show-stopping scenes, one in which Ann is chased through a foggy park and the final showdown between Holmes and Moriarty in a dazzling Tower of London set. The sham case Moriarty cooks up is textbook Sherlock Holmes, and it\'s set up so that all along, we are shouting at Holmes to ingore all of the red herrings and stop Moriarty; it\'s only during the down times that we realize that even though the Brandon case is just a distraction, it\'s time better spent for Holmes to save Ann than to save the Crown Jewels.</p>\n<p>Rathbone and Bruce took three years off before resuming their roles in twelve more films in the space of four years; these new scenes transplanted the dynamic duo to the twentieth century and turned Watson into little more than comic relief. There are comedic scenes in this film, but Watson isn\'t a clown. One good example occurs when Watson is lying on the cobblestones at a murder site while Holmes is off measuring things in the bushes. A gentlemanly passerby inquires as to his well-being, and the two have a humorous exchange that has Watson being the source of the comedy without being the butt of the joke.</p>\n<p><b>Baker Street Regulars</b> (actors who appeared in more than two films in the series as different characters):</p>\n<p>Harry Cording, 1st of 8 appearances (as second phoney policeman) <br />Mary Forbes, 1st of 3 (Lady Conyngham) <br />Holmes Herbert, 1st of 6 (Chief Justice) <br />Leyland Hogdson, 1st of 7 (unspecified bobby) <br />Arthur Hohl, 1st of 3 (Bassick) <br />Boyd Irwin, 1st of 3 (bobby) <br />Eric Wilton, 1st of 3 (Conyngham Butler)</p>\n\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Adventures of Sherlock Holmes (1939)','','inherit','closed','closed','','320-autosave-v1','','','2019-07-26 15:01:48','2019-07-26 15:01:48','',320,'http://itcamefrombeyondpulp.com/uncategorized/320-autosave-v1/',0,'revision','',0),(324,1,'2019-07-26 15:02:23','2019-07-26 15:02:23','[et_pb_section 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header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>The Adventures of Sherlock Holmes</em> (Alfred L. Werker, 1939, 88 min.)</strong></h3>\r\n<p>Basil Rathbone and Nigel Bruce return for the second time as Sherlock Holmes and Dr. Watson in this enjoyable, suspenseful film, the last in the series to be set in Victorian England. For their second outing, they face off against Dr. Moriarty himself (George Zucco), Holmes\'s arch-enemy. The film is the perfect blend of mystery and comedy, showing off the series\'s potential for both. The only real problem with this film is a rather disappointing Moriarty; Zucco looks a tad too... ordinary. For master criminals of the Victorian era, I want flowing overcoats, black hair in a widow\'s peak, and fiendish laughter, not some guy who looks like... well, like a professor.</p>\r\n<p>The film opens with the diabolical Moriarty defeating justice yet again. A jury grudgingly finds him not guilty of some horrific crime or another just seconds before Holmes rushes in with damning evidence. The best scene in the film comes as the two bitter enemies leave the courtroom; the two share a cab home while discussing their mutual hatred and desire for revenge, and Moriarty promises that his next caper will be so brilliant that it defeats even the mind of Holmes.</p>\r\n<p>As Holmes and Watson settle down to wait for clues to Moriarty\'s next plan, Moriarty concocts not one but two mysteries, one of them designed to distract Holmes from the real caper. Knowing Holmes\'s attraction to women in peril, he devises a diabolical, murderous plot that resurrects a decades-old murder—surely a lot of trouble to go through just to distract Holmes, but then again, Moriarty\'s not a very nice guy, and he doesn\'t care who thinks so. There\'s a wonderful exchange between him and Bassick (Arthur Hohl), one of his henchmen; when Moriarty informs him what his role will be, Bassick laments what happened to the last person Moriarty enlisted. \"Oh, poor Higgins,\" says Moriarty. \"They found nothing but his boots!\" To which Bassick replies indignantly, \"<i>One</i> boot!\"</p>\r\n<p>The real crime is the theft of a famous emerald from among the Crown Jewels. Moriarty actually sends a letter to Ronald Ramsgate (Henry Stephenson), the caretaker of the jewels, threatening to steal it. Ramsgate attempts to enlist Holmes\'s help, but Holmes is distracted by the sad case of the Brandon family. Ten years earlier, the elder Brandon was murdered in South America; now, the younger generation of Brandons, including the nance Lloyd (Peter Willes) and the beautiful young Ann (Ida Lupino), are receiving strange, threatening drawings inscribed with ominous dates. Holmes decides that he must protect Ann (he doesn\'t do Lloyd much good), and he sets out to solve the mystery and save Ann from a dreadful murder. Ann\'s fiance Jerrold (Alan Marshal) attempts to stop Ann from enlisting Holmes, setting himself up as a likely suspect. Intrigue ensues.</p>\r\n<p>Director Alfred L. Werker paces the film perfectly, with just the right blend of tense scenes and opportunities to catch one\'s breath. There are two show-stopping scenes, one in which Ann is chased through a foggy park and the final showdown between Holmes and Moriarty in a dazzling Tower of London set. The sham case Moriarty cooks up is textbook Sherlock Holmes, and it\'s set up so that all along, we are shouting at Holmes to ingore all of the red herrings and stop Moriarty; it\'s only during the down times that we realize that even though the Brandon case is just a distraction, it\'s time better spent for Holmes to save Ann than to save the Crown Jewels.</p>\r\n<p>Rathbone and Bruce took three years off before resuming their roles in twelve more films in the space of four years; these new scenes transplanted the dynamic duo to the twentieth century and turned Watson into little more than comic relief. There are comedic scenes in this film, but Watson isn\'t a clown. One good example occurs when Watson is lying on the cobblestones at a murder site while Holmes is off measuring things in the bushes. A gentlemanly passerby inquires as to his well-being, and the two have a humorous exchange that has Watson being the source of the comedy without being the butt of the joke.</p>\r\n<p><b>Baker Street Regulars</b> (actors who appeared in more than two films in the series as different characters):</p>\r\n<p>Harry Cording, 1st of 8 appearances (as second phoney policeman) <br />Mary Forbes, 1st of 3 (Lady Conyngham) <br />Holmes Herbert, 1st of 6 (Chief Justice) <br />Leyland Hogdson, 1st of 7 (unspecified bobby) <br />Arthur Hohl, 1st of 3 (Bassick) <br />Boyd Irwin, 1st of 3 (bobby) <br />Eric Wilton, 1st of 3 (Conyngham Butler)</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Adventures of Sherlock Holmes (1939)','','inherit','closed','closed','','320-revision-v1','','','2019-07-26 15:02:23','2019-07-26 15:02:23','',320,'http://itcamefrombeyondpulp.com/uncategorized/320-revision-v1/',0,'revision','',0),(325,1,'2019-07-26 15:06:19','2019-07-26 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header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>The Hound of the Baskervilles</em> (Sidney Lanfield, 1939, 80 min.)</strong></h3><p>There have been at least twenty film versions of this, Arthur Conan Doyle\'s most famous story. In addition to the films admittedly based on it, there are countless others that clearly take their inspiration from it. It might be because it\'s one of his few novel-length works; shorter works would require a lot of padding, or, like the later films in this series, the creation of an entirely new story. But there\'s also something elemental (if not elementary) about the story that appeals to our seemingly insatiable desire for a good supernatural mystery.</p><p>This was the first teaming of Basil Rathbone and Nigel Bruce as Sherlock Holmes and his assistant, Watson. I had never seen one of these films before, but when I started reading the collected Sherlock Holmes stories last year, it was Rathbone\'s face that I saw while I read them. Strangely enough, I didn\'t see Bruce as Watson, perhaps because the Watson of the stories is clearly a younger man than Bruce, or perhaps because I wasn\'t familiar with Bruce from other films. Apparently, his later incarnations of Watson turn him into a brainless comic sidekick, so I\'m glad I started here.</p><p>Dr. Mortimer (Lionel Atwill) comes to Holmes and Watson with a frightful tale: the Baskerville family is cursed, doomed to die at the teeth of an infernal, spectral hound since an ancestor\'s brutal kidnapping of a village girl. The latest to go, Sir Charles, was a friend of Mortimer\'s, and the elderly doctor wants Holmes\'s help in preventing the same fate from befalling Sir Henry (Richard Greene), the Canadian son of the late Baskerville. Holmes agrees to take the case, although he doubts the supernatural angle. He is intrigued even more when an attempt is made on Sir Henry\'s life within hours of his arrival.</p><p>One odd thing about this, the most famous Sherlock Holmes story, is that Holmes is absent for the entire second act. After sending Watson to the Baskerville estate in Sir Henry\'s company, Holmes disappears. The story then turns into a sort of mystery spoof, where the easily-rattled Watson has to face the fog-cloaked moors and the mythical beast without his better half. Suspects abound: is it the widow\'s-peaked butler Barryman (John Carradine) and his ugly wife (Eily Malyon), who seem to be signaling to an unknown party in the moors? Is it that unknown party (Nigel De Brulier), a wild-haired madman who attempts to squash Watson and Henry with a boulder? Is it John Stapleton (Morton Lowry), the glad-handing young man who lives across the moor, whose sister Beryl (Wendy Barrie) quickly develops a romance with Sir Henry? Or is it actually a huge, spectral hound?</p><p>Although it was filmed entirely in Fox\'s studios, there is plenty of foggy atmosphere to this film. The moors are convincingly eerie, and at times you can forget that it\'s all built from plaster. The Great Grimpen Mire set was reportedly so enormous that Richard Greene got lost in it. The Hound, when it makes its appearance, is actually frightening (even though, in retrospect, it was just a Great Dane), and the scene when it attacks one of the characters is suitably vicious.</p><p>The film is chock-full of great supporting talent. Oddly enough, that supporting talent includes Rathbone and Bruce: the film was conceived as a starring vehicle for Richard Greene, who received top billing. The always dependable Lionel Atwill gets to play a doctor again, albeit not a mad one this time around. John Carradine, who has failed to impress me in other films, was suitably ominous here. A moment of comic relief comes from Barlowe Borland as a lawsuit-happy neighbor.</p><p>After this, Rathbone and Bruce filmed <em>The Adventures of Sherlock Holmes</em> for Fox, and then Universal took over, transplanting the dynamic duo to the twentieth century and having them deal with contemporary crimes in another twelve films. I\'m not sure how I feel about that. I guess I\'ll find out when I watch them.</p><p><b>Baker Street Regulars</b> (actors who appeared in more than two films in the series as different characters):</p><p>Crazily enough, there\'s only one supporting actor who went on to play different roles in other Sherlock Holmes films: David Thursby, who played the open carriage driver here, his first of three appearances in the series.</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Hound of the Baskervilles (1939)','','publish','closed','closed','','the-hound-of-the-baskervilles-1939','','','2019-07-26 15:06:19','2019-07-26 15:06:19','',0,'http://itcamefrombeyondpulp.com/?p=325',0,'post','',0),(326,1,'2019-07-26 15:05:48','2019-07-26 15:05:48','','hound','','inherit','closed','closed','','hound','','','2019-07-26 15:05:48','2019-07-26 15:05:48','',325,'http://itcamefrombeyondpulp.com/wp-content/uploads/2019/07/hound.jpg',0,'attachment','image/jpeg',0),(327,1,'2019-07-26 15:06:19','2019-07-26 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header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>The Hound of the Baskervilles</em> (Sidney Lanfield, 1939, 80 min.)</strong></h3><p>There have been at least twenty film versions of this, Arthur Conan Doyle\'s most famous story. In addition to the films admittedly based on it, there are countless others that clearly take their inspiration from it. It might be because it\'s one of his few novel-length works; shorter works would require a lot of padding, or, like the later films in this series, the creation of an entirely new story. But there\'s also something elemental (if not elementary) about the story that appeals to our seemingly insatiable desire for a good supernatural mystery.</p><p>This was the first teaming of Basil Rathbone and Nigel Bruce as Sherlock Holmes and his assistant, Watson. I had never seen one of these films before, but when I started reading the collected Sherlock Holmes stories last year, it was Rathbone\'s face that I saw while I read them. Strangely enough, I didn\'t see Bruce as Watson, perhaps because the Watson of the stories is clearly a younger man than Bruce, or perhaps because I wasn\'t familiar with Bruce from other films. Apparently, his later incarnations of Watson turn him into a brainless comic sidekick, so I\'m glad I started here.</p><p>Dr. Mortimer (Lionel Atwill) comes to Holmes and Watson with a frightful tale: the Baskerville family is cursed, doomed to die at the teeth of an infernal, spectral hound since an ancestor\'s brutal kidnapping of a village girl. The latest to go, Sir Charles, was a friend of Mortimer\'s, and the elderly doctor wants Holmes\'s help in preventing the same fate from befalling Sir Henry (Richard Greene), the Canadian son of the late Baskerville. Holmes agrees to take the case, although he doubts the supernatural angle. He is intrigued even more when an attempt is made on Sir Henry\'s life within hours of his arrival.</p><p>One odd thing about this, the most famous Sherlock Holmes story, is that Holmes is absent for the entire second act. After sending Watson to the Baskerville estate in Sir Henry\'s company, Holmes disappears. The story then turns into a sort of mystery spoof, where the easily-rattled Watson has to face the fog-cloaked moors and the mythical beast without his better half. Suspects abound: is it the widow\'s-peaked butler Barryman (John Carradine) and his ugly wife (Eily Malyon), who seem to be signaling to an unknown party in the moors? Is it that unknown party (Nigel De Brulier), a wild-haired madman who attempts to squash Watson and Henry with a boulder? Is it John Stapleton (Morton Lowry), the glad-handing young man who lives across the moor, whose sister Beryl (Wendy Barrie) quickly develops a romance with Sir Henry? Or is it actually a huge, spectral hound?</p><p>Although it was filmed entirely in Fox\'s studios, there is plenty of foggy atmosphere to this film. The moors are convincingly eerie, and at times you can forget that it\'s all built from plaster. The Great Grimpen Mire set was reportedly so enormous that Richard Greene got lost in it. The Hound, when it makes its appearance, is actually frightening (even though, in retrospect, it was just a Great Dane), and the scene when it attacks one of the characters is suitably vicious.</p><p>The film is chock-full of great supporting talent. Oddly enough, that supporting talent includes Rathbone and Bruce: the film was conceived as a starring vehicle for Richard Greene, who received top billing. The always dependable Lionel Atwill gets to play a doctor again, albeit not a mad one this time around. John Carradine, who has failed to impress me in other films, was suitably ominous here. A moment of comic relief comes from Barlowe Borland as a lawsuit-happy neighbor.</p><p>After this, Rathbone and Bruce filmed <em>The Adventures of Sherlock Holmes</em> for Fox, and then Universal took over, transplanting the dynamic duo to the twentieth century and having them deal with contemporary crimes in another twelve films. I\'m not sure how I feel about that. I guess I\'ll find out when I watch them.</p><p><b>Baker Street Regulars</b> (actors who appeared in more than two films in the series as different characters):</p><p>Crazily enough, there\'s only one supporting actor who went on to play different roles in other Sherlock Holmes films: David Thursby, who played the open carriage driver here, his first of three appearances in the series.</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Hound of the Baskervilles (1939)','','inherit','closed','closed','','325-revision-v1','','','2019-07-26 15:06:19','2019-07-26 15:06:19','',325,'http://itcamefrombeyondpulp.com/uncategorized/325-revision-v1/',0,'revision','',0),(328,1,'2019-07-26 15:07:56','2019-07-26 15:07:56','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" 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box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" /][/et_pb_section][et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" background_color=\"#e02b20\" width=\"1080px\" module_alignment=\"center\" custom_padding=\"10px||0px|||\" prev_background_color=\"#ffffff\"][et_pb_row _builder_version=\"3.26.3\" background_size=\"initial\" background_position=\"top_left\" background_repeat=\"repeat\" background_color=\"#ffffff\" custom_padding=\"10px|10px||10px|false|false\" border_width_bottom=\"5px\" border_color_bottom=\"#e02b20\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" z_index_tablet=\"500\"][et_pb_column type=\"4_4\" _builder_version=\"3.25\" custom_padding=\"|||\" custom_padding__hover=\"|||\"][et_pb_image _builder_version=\"3.26.3\" src=\"http://itcamefrombeyondpulp.com/wp-content/uploads/2019/07/hound.jpg\" box_shadow_horizontal_tablet=\"0px\" 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text_text_shadow_horizontal_length=\"text_text_shadow_style,%91object Object%93\" text_text_shadow_vertical_length=\"text_text_shadow_style,%91object Object%93\" text_text_shadow_blur_strength=\"text_text_shadow_style,%91object Object%93\" link_text_shadow_horizontal_length=\"link_text_shadow_style,%91object Object%93\" link_text_shadow_vertical_length=\"link_text_shadow_style,%91object Object%93\" link_text_shadow_blur_strength=\"link_text_shadow_style,%91object Object%93\" ul_text_shadow_horizontal_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_vertical_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_blur_strength=\"ul_text_shadow_style,%91object Object%93\" ol_text_shadow_horizontal_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_vertical_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_blur_strength=\"ol_text_shadow_style,%91object Object%93\" quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\n\n<h3 style=\"text-align: center;\"><strong><em>The Hound of the Baskervilles</em> (Sidney Lanfield, 1939, 80 min.)</strong></h3>\n<p>There have been at least twenty film versions of this, Arthur Conan Doyle\'s most famous story. In addition to the films admittedly based on it, there are countless others that clearly take their inspiration from it. It might be because it\'s one of his few novel-length works; shorter works would require a lot of padding, or, like the later films in this series, the creation of an entirely new story. But there\'s also something elemental (if not elementary) about the story that appeals to our seemingly insatiable desire for a good supernatural mystery.</p>\n<p>This was the first teaming of Basil Rathbone and Nigel Bruce as Sherlock Holmes and his assistant, Watson. I had never seen one of these films before, but when I started reading the collected Sherlock Holmes stories last year, it was Rathbone\'s face that I saw while I read them. Strangely enough, I didn\'t see Bruce as Watson, perhaps because the Watson of the stories is clearly a younger man than Bruce, or perhaps because I wasn\'t familiar with Bruce from other films. Apparently, his later incarnations of Watson turn him into a brainless comic sidekick, so I\'m glad I started here.</p>\n<p>Dr. Mortimer (Lionel Atwill) comes to Holmes and Watson with a frightful tale: the Baskerville family is cursed, doomed to die at the teeth of an infernal, spectral hound since an ancestor\'s brutal kidnapping of a village girl. The latest to go, Sir Charles, was a friend of Mortimer\'s, and the elderly doctor wants Holmes\'s help in preventing the same fate from befalling Sir Henry (Richard Greene), the Canadian son of the late Baskerville. Holmes agrees to take the case, although he doubts the supernatural angle. He is intrigued even more when an attempt is made on Sir Henry\'s life within hours of his arrival.</p>\n<p>One odd thing about this, the most famous Sherlock Holmes story, is that Holmes is absent for the entire second act. After sending Watson to the Baskerville estate in Sir Henry\'s company, Holmes disappears. The story then turns into a sort of mystery spoof, where the easily-rattled Watson has to face the fog-cloaked moors and the mythical beast without his better half. Suspects abound: is it the widow\'s-peaked butler Barryman (John Carradine) and his ugly wife (Eily Malyon), who seem to be signaling to an unknown party in the moors? Is it that unknown party (Nigel De Brulier), a wild-haired madman who attempts to squash Watson and Henry with a boulder? Is it John Stapleton (Morton Lowry), the glad-handing young man who lives across the moor, whose sister Beryl (Wendy Barrie) quickly develops a romance with Sir Henry? Or is it actually a huge, spectral hound?</p>\n<p>Although it was filmed entirely in Fox\'s studios, there is plenty of foggy atmosphere to this film. The moors are convincingly eerie, and at times you can forget that it\'s all built from plaster. The Great Grimpen Mire set was reportedly so enormous that Richard Greene got lost in it. The Hound, when it makes its appearance, is actually frightening (even though, in retrospect, it was just a Great Dane), and the scene when it attacks one of the characters is suitably vicious.</p>\n<p>The film is chock-full of great supporting talent. Oddly enough, that supporting talent includes Rathbone and Bruce: the film was conceived as a starring vehicle for Richard Greene, who received top billing. The always dependable Lionel Atwill gets to play a doctor again, albeit not a mad one this time around. John Carradine, who has failed to impress me in other films, was suitably ominous here. A moment of comic relief comes from Barlowe Borland as a lawsuit-happy neighbor.</p>\n<p>After this, Rathbone and Bruce filmed <em>The Adventures of Sherlock Holmes</em> for Fox, and then Universal took over, transplanting the dynamic duo to the twentieth century and having them deal with contemporary crimes in another twelve films. I\'m not sure how I feel about that. I guess I\'ll find out when I watch them.</p>\n<p><b>Baker Street Regulars</b> (actors who appeared in more than two films in the series as different characters):</p>\n<p>Crazily enough, there\'s only one supporting actor who went on to play different roles in other Sherlock Holmes films: David Thursby, who played the open carriage driver here, his first of three appearances in the series.</p>\n\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Hound of the Baskervilles (1939)','','inherit','closed','closed','','325-autosave-v1','','','2019-07-26 15:07:56','2019-07-26 15:07:56','',325,'http://itcamefrombeyondpulp.com/uncategorized/325-autosave-v1/',0,'revision','',0),(329,1,'2019-07-26 15:08:36','2019-07-26 15:08:36','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" custom_margin=\"||11px|||\" next_background_color=\"#000000\" global_module=\"74\"][et_pb_row global_parent=\"74\" custom_padding=\"0px||0px|||\" custom_margin=\"|auto|-66px|auto||\" _builder_version=\"3.26.3\"][et_pb_column type=\"4_4\" global_parent=\"74\" _builder_version=\"3.26.3\"][et_pb_image global_parent=\"74\" src=\"http://itcamefrombeyondpulp.com/wp-content/uploads/2019/07/header.jpg\" url=\"http://itcamefrombeyondpulp.com\" _builder_version=\"3.26.3\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" /][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section bb_built=\"1\" fullwidth=\"on\" _builder_version=\"3.26.3\" width=\"1080px\" width_tablet=\"100%\" width_last_edited=\"on|phone\" module_alignment=\"center\" inner_module_alignment=\"center\" custom_padding=\"0px||0px||false|false\" z_index_tablet=\"500\" hover_enabled=\"0\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" prev_background_color=\"#000000\" next_background_color=\"#e02b20\" global_module=\"175\"][et_pb_fullwidth_menu global_parent=\"175\" menu_id=\"2\" submenu_direction=\"downwards\" fullwidth_menu=\"off\" dropdown_menu_text_color=\"#ffffff\" _builder_version=\"3.26.3\" menu_font=\"|800||on|||||\" menu_text_color=\"#ffffff\" menu_font_size=\"22px\" menu_letter_spacing=\"5px\" background_color=\"#e02b20\" border_width_bottom=\"5px\" text_orientation=\"center\" background_layout=\"dark\" custom_margin=\"0px||||false|false\" custom_padding=\"1px||0px||false|false\" z_index_tablet=\"500\" menu_text_shadow_horizontal_length_tablet=\"0px\" menu_text_shadow_vertical_length_tablet=\"0px\" menu_text_shadow_blur_strength_tablet=\"1px\" border_width_bottom_tablet=\"5px\" border_width_bottom_phone=\"5px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" /][/et_pb_section][et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" background_color=\"#e02b20\" width=\"1080px\" module_alignment=\"center\" custom_padding=\"10px||0px|||\" hover_enabled=\"0\" width_last_edited=\"on|tablet\" width_phone=\"100%\" width_tablet=\"100%\" prev_background_color=\"#ffffff\"][et_pb_row custom_padding=\"10px|10px||\" _builder_version=\"3.26.3\" background_color=\"#ffffff\" border_width_bottom=\"5px\" border_color_bottom=\"#e02b20\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\"][et_pb_column type=\"4_4\" _builder_version=\"3.0.47\" custom_padding=\"|||\" custom_padding__hover=\"|||\"][et_pb_text _builder_version=\"3.26.3\" z_index_tablet=\"500\" text_text_shadow_horizontal_length_tablet=\"0px\" text_text_shadow_vertical_length_tablet=\"0px\" text_text_shadow_blur_strength_tablet=\"1px\" link_text_shadow_horizontal_length_tablet=\"0px\" link_text_shadow_vertical_length_tablet=\"0px\" link_text_shadow_blur_strength_tablet=\"1px\" ul_text_shadow_horizontal_length_tablet=\"0px\" ul_text_shadow_vertical_length_tablet=\"0px\" ul_text_shadow_blur_strength_tablet=\"1px\" ol_text_shadow_horizontal_length_tablet=\"0px\" ol_text_shadow_vertical_length_tablet=\"0px\" ol_text_shadow_blur_strength_tablet=\"1px\" quote_text_shadow_horizontal_length_tablet=\"0px\" quote_text_shadow_vertical_length_tablet=\"0px\" quote_text_shadow_blur_strength_tablet=\"1px\" header_text_shadow_horizontal_length_tablet=\"0px\" header_text_shadow_vertical_length_tablet=\"0px\" header_text_shadow_blur_strength_tablet=\"1px\" header_2_text_shadow_horizontal_length_tablet=\"0px\" header_2_text_shadow_vertical_length_tablet=\"0px\" header_2_text_shadow_blur_strength_tablet=\"1px\" header_3_text_shadow_horizontal_length_tablet=\"0px\" header_3_text_shadow_vertical_length_tablet=\"0px\" header_3_text_shadow_blur_strength_tablet=\"1px\" header_4_text_shadow_horizontal_length_tablet=\"0px\" header_4_text_shadow_vertical_length_tablet=\"0px\" header_4_text_shadow_blur_strength_tablet=\"1px\" header_5_text_shadow_horizontal_length_tablet=\"0px\" header_5_text_shadow_vertical_length_tablet=\"0px\" header_5_text_shadow_blur_strength_tablet=\"1px\" header_6_text_shadow_horizontal_length_tablet=\"0px\" header_6_text_shadow_vertical_length_tablet=\"0px\" header_6_text_shadow_blur_strength_tablet=\"1px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\"]\r\n\r\n<h1 style=\"text-align: center;\">Movies &amp; TV Reviews</h1>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row _builder_version=\"3.26.3\" background_color=\"#ffffff\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" column_structure=\"1_3,1_3,1_3\"][et_pb_column type=\"1_3\" _builder_version=\"3.0.47\" custom_padding=\"|||\" custom_padding__hover=\"|||\"][et_pb_text _builder_version=\"3.26.3\" z_index_tablet=\"500\" text_text_shadow_horizontal_length_tablet=\"0px\" text_text_shadow_vertical_length_tablet=\"0px\" text_text_shadow_blur_strength_tablet=\"1px\" link_text_shadow_horizontal_length_tablet=\"0px\" link_text_shadow_vertical_length_tablet=\"0px\" link_text_shadow_blur_strength_tablet=\"1px\" ul_text_shadow_horizontal_length_tablet=\"0px\" ul_text_shadow_vertical_length_tablet=\"0px\" ul_text_shadow_blur_strength_tablet=\"1px\" ol_text_shadow_horizontal_length_tablet=\"0px\" ol_text_shadow_vertical_length_tablet=\"0px\" ol_text_shadow_blur_strength_tablet=\"1px\" quote_text_shadow_horizontal_length_tablet=\"0px\" quote_text_shadow_vertical_length_tablet=\"0px\" quote_text_shadow_blur_strength_tablet=\"1px\" header_text_shadow_horizontal_length_tablet=\"0px\" header_text_shadow_vertical_length_tablet=\"0px\" header_text_shadow_blur_strength_tablet=\"1px\" header_2_text_shadow_horizontal_length_tablet=\"0px\" header_2_text_shadow_vertical_length_tablet=\"0px\" header_2_text_shadow_blur_strength_tablet=\"1px\" header_3_text_shadow_horizontal_length_tablet=\"0px\" header_3_text_shadow_vertical_length_tablet=\"0px\" header_3_text_shadow_blur_strength_tablet=\"1px\" header_4_text_shadow_horizontal_length_tablet=\"0px\" header_4_text_shadow_vertical_length_tablet=\"0px\" header_4_text_shadow_blur_strength_tablet=\"1px\" header_5_text_shadow_horizontal_length_tablet=\"0px\" header_5_text_shadow_vertical_length_tablet=\"0px\" header_5_text_shadow_blur_strength_tablet=\"1px\" header_6_text_shadow_horizontal_length_tablet=\"0px\" header_6_text_shadow_vertical_length_tablet=\"0px\" header_6_text_shadow_blur_strength_tablet=\"1px\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\"]\r\n\r\n<h3 style=\"text-align: center;\">Sci-Fi</h3>\r\n<p style=\"text-align: center;\"><strong><a href=\"http://itcamefrombeyondpulp.com/movies/children-of-men-2006/\">Children of Men (2006)</a><br /></strong><strong><a href=\"http://itcamefrombeyondpulp.com/movies/cloverfield-2008/\">Cloverfield (2008)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-dark-knight-2008/\">The Dark Knight (2008)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-fountain-2006/\">The Fountain (2006)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/hardware-1990/\">Hardware (1990)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/harry-potter-and-the-chamber-of-secrets-2002/\">Harry Potter and the Chamber of Secrets (2002)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/harry-potter-and-the-sorcerers-stone-2001/\">Harry Potter and the Sorcerer\'s Stone (2001)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/maniac-1934/\">Maniac (1934)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-phantom-planet-1961/\">The Phantom Planet (1961)</a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/predator-1987/\">Predator (1987)</a><br /></strong><a href=\"http://itcamefrombeyondpulp.com/movies/serenity-2005/\"><strong>Serenity (2005)</strong></a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/x-men-the-last-stand-2006/\"><strong>X-Men: The Last Stand (2006)</strong></a></p>\r\n\r\n[/et_pb_text][/et_pb_column][et_pb_column type=\"1_3\" _builder_version=\"3.0.47\" custom_padding=\"|||\" custom_padding__hover=\"|||\"][et_pb_text _builder_version=\"3.26.3\" z_index_tablet=\"500\" text_text_shadow_horizontal_length_tablet=\"0px\" text_text_shadow_vertical_length_tablet=\"0px\" text_text_shadow_blur_strength_tablet=\"1px\" link_text_shadow_horizontal_length_tablet=\"0px\" 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Object%93\" link_text_shadow_blur_strength=\"link_text_shadow_style,%91object Object%93\" ul_text_shadow_horizontal_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_vertical_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_blur_strength=\"ul_text_shadow_style,%91object Object%93\" ol_text_shadow_horizontal_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_vertical_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_blur_strength=\"ol_text_shadow_style,%91object Object%93\" quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\">Horror</h3>\r\n<p style=\"text-align: center;\"><a href=\"http://itcamefrombeyondpulp.com/movies/bloodrayne-2-deliverance-2007/\"><strong>BloodRayne 2: Deliverance (2007)</strong></a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-cat-and-the-canary-1927/\"><strong>The Cat and the Canary (1927)</strong></a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-children-1980/\"><strong>The Children (1980)</strong></a><br /><strong><a href=\"http://itcamefrombeyondpulp.com/movies/colin-2008/\">Colin (2008)</a></strong><br /><strong><a href=\"http://itcamefrombeyondpulp.com/movies/dark-water-2005/\">Dark Water (2005)</a></strong><br /><strong><a href=\"http://itcamefrombeyondpulp.com/movies/the-devils-daughter-1973/\">The Devil\'s Daughter (1973)</a></strong><br /><a href=\"http://itcamefrombeyondpulp.com/movies/masters-of-horror-the-black-cat-2007/\"><strong>Masters of Horror: The Black Cat (2007)</strong></a></p>\r\n\r\n[/et_pb_text][/et_pb_column][et_pb_column type=\"1_3\" _builder_version=\"3.0.47\" custom_padding=\"|||\" custom_padding__hover=\"|||\"][et_pb_text _builder_version=\"3.26.3\" z_index_tablet=\"500\" text_text_shadow_horizontal_length_tablet=\"0px\" text_text_shadow_vertical_length_tablet=\"0px\" text_text_shadow_blur_strength_tablet=\"1px\" link_text_shadow_horizontal_length_tablet=\"0px\" link_text_shadow_vertical_length_tablet=\"0px\" link_text_shadow_blur_strength_tablet=\"1px\" ul_text_shadow_horizontal_length_tablet=\"0px\" 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Object%93\" ul_text_shadow_vertical_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_blur_strength=\"ul_text_shadow_style,%91object Object%93\" ol_text_shadow_horizontal_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_vertical_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_blur_strength=\"ol_text_shadow_style,%91object Object%93\" quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\">Whatnot</h3><p style=\"text-align: center;\"><a href=\"http://itcamefrombeyondpulp.com/movies/the-adventures-of-sherlock-holmes-1939/\"><strong>The Adventures of Sherlock Holmes (1939)</strong></a><br /><a href=\"http://itcamefrombeyondpulp.com/movies/the-hound-of-the-baskervilles-1939/\"><strong>The Hound of the Baskervilles (1939)</strong></a></p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Movies','','inherit','closed','closed','','45-revision-v1','','','2019-07-26 15:08:36','2019-07-26 15:08:36','',45,'http://itcamefrombeyondpulp.com/uncategorized/45-revision-v1/',0,'revision','',0),(330,1,'2019-07-26 18:36:03','2019-07-26 18:36:03','[et_pb_section 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header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>Dressed to Kill</em> (Roy William Neill, 1946, 72 min.)</strong></h3><p>The Rathbone/Bruce series of Sherlock Holmes films didn\'t exactly limp to a close, but it didn\'t go out on a high note either. <em>Dressed to Kill</em> is a passable entry, featuring a pretty good adaptation of Sir Arthur Conan Doyle\'s story \"The Adventure of the Six Napoleons,\" Basil Rathbone\'s usual good performance as Holmes, and the series\'s only tantalizing mention of one of the most intriguing characters in the Holmes canon, Irene Adler, \"The Woman.\" On hearing her name in the opening moments of the film, I had hopes that she would be introduced as a foil, but I was disappointed.</p><p>The story concerns a series of mysterious attacks on seemingly random people; the only connection between them is that they all purchased identical music boxes at an auction. When Holmes is brought into the case after an attack on Watson\'s friend Stinky Emery (Edmund Breon), he discovers that the music boxes were made in prison by a convict who had stolen the Bank of England\'s printing plates for making £5 notes. Before he could be captured, he hid them somewhere, and they were never found. Holmes deduces that the convict had somehow hidden a message inside the music boxes about where to find the plates, and he must figure out the code before the bad guys, led by Hilda Courtney (Patricia Morison), find them and print their own money.</p><p>The film\'s best addition to the story is the way the code works. The music boxes all play the same melody, with minor variations, and Holmes has to figure out what the changed notes mean. The film is nicer to Watson than previous entries in that it allows him to suggest the key to breaking the code <i>and</i> the identity of Dr. S, albeit accidentally. (Of course, there\'s a scene where he attempts to placate a frightened girl by making duck noises, so he doesn\'t escape his usual comic relief role.)</p><p>It seems to me that the mystery was unnecessarily prolonged. The convict was captured a mere 15 minutes after stealing the plates, and he likely went in a single direction. Holmes could have easily reduced the search area on the basis of that evidence, and once he got the clue \"Dr. S\"—detailing a location among the bookshelves of an unknown doctor—it shouldn\'t have been so difficult to figure out what the code meant. But that easy solution would have made for a very short film.</p><p>Things were getting sloppy by the end of the series. There are some noticeably odd cuts that might have resulted from the restoration process—these films were all restored by the UCLA Film and Television Archive—but they might just as possibly result from an editor instructed to finish the film in a hurry. Patricia Morison\'s accent leaves much to be desired, and there\'s an odd bit of unnecessary narration at the beginning. But the film contains at least one marvelous scene—Stinky Emery\'s death—and the process by which Holmes figures out the code is interesting, if, as I mentioned, unnecessary. The film\'s title has absolutely nothing to do with the film itself; I\'m sure the reason behind it would make a good story.</p><p>And this was it for the series (although I still have four to go as of this writing). Director Roy William Neill would finish one more film before dying of a heart attack in late 1946. Basil Rathbone would never really overcome being typecast, appearing in a handful of films before his death in 1967. Nigel Bruce had always played bumbling Brits, and he continued to do so until his death in 1953.</p><p><b>Baker Street Regulars</b> (actors who appeared in more than two films in the series as different characters):</p><p>Wilson Benge, 5th of 5 appearances (as Minister on museum tour) <br />Harry Cording, 8th of 8 (Hamid) <br />Holmes Herbert, 6th of 6 (Ebenezer Crabtree) <br />Leyland Hodgson, 7th of 7 (tour guide) <br />Olaf Hytten, 6th of 6 (Alfred, auction house bookkeeper) <br />Boyd Irwin, 3rd of 3 (detective with X-ray photos) <br />Sally Shepherd, 3rd of 3 (Tobacconist) <br />Ian Wolfe, 4th of 4 (Commissioner of Scotland Yard) <br />Frederick Worlock, 6th of 6 (Colonel Cavanaugh)</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Dressed to Kill (1946)','','publish','closed','closed','','dressed-to-kill-1946','','','2019-07-26 18:36:03','2019-07-26 18:36:03','',0,'http://itcamefrombeyondpulp.com/?p=330',0,'post','',0),(331,1,'2019-07-26 18:35:44','2019-07-26 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link_text_shadow_blur_strength=\"link_text_shadow_style,%91object Object%93\" ul_text_shadow_horizontal_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_vertical_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_blur_strength=\"ul_text_shadow_style,%91object Object%93\" ol_text_shadow_horizontal_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_vertical_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_blur_strength=\"ol_text_shadow_style,%91object Object%93\" quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>Dressed to Kill</em> (Roy William Neill, 1946, 72 min.)</strong></h3><p>The Rathbone/Bruce series of Sherlock Holmes films didn\'t exactly limp to a close, but it didn\'t go out on a high note either. <em>Dressed to Kill</em> is a passable entry, featuring a pretty good adaptation of Sir Arthur Conan Doyle\'s story \"The Adventure of the Six Napoleons,\" Basil Rathbone\'s usual good performance as Holmes, and the series\'s only tantalizing mention of one of the most intriguing characters in the Holmes canon, Irene Adler, \"The Woman.\" On hearing her name in the opening moments of the film, I had hopes that she would be introduced as a foil, but I was disappointed.</p><p>The story concerns a series of mysterious attacks on seemingly random people; the only connection between them is that they all purchased identical music boxes at an auction. When Holmes is brought into the case after an attack on Watson\'s friend Stinky Emery (Edmund Breon), he discovers that the music boxes were made in prison by a convict who had stolen the Bank of England\'s printing plates for making £5 notes. Before he could be captured, he hid them somewhere, and they were never found. Holmes deduces that the convict had somehow hidden a message inside the music boxes about where to find the plates, and he must figure out the code before the bad guys, led by Hilda Courtney (Patricia Morison), find them and print their own money.</p><p>The film\'s best addition to the story is the way the code works. The music boxes all play the same melody, with minor variations, and Holmes has to figure out what the changed notes mean. The film is nicer to Watson than previous entries in that it allows him to suggest the key to breaking the code <i>and</i> the identity of Dr. S, albeit accidentally. (Of course, there\'s a scene where he attempts to placate a frightened girl by making duck noises, so he doesn\'t escape his usual comic relief role.)</p><p>It seems to me that the mystery was unnecessarily prolonged. The convict was captured a mere 15 minutes after stealing the plates, and he likely went in a single direction. Holmes could have easily reduced the search area on the basis of that evidence, and once he got the clue \"Dr. S\"—detailing a location among the bookshelves of an unknown doctor—it shouldn\'t have been so difficult to figure out what the code meant. But that easy solution would have made for a very short film.</p><p>Things were getting sloppy by the end of the series. There are some noticeably odd cuts that might have resulted from the restoration process—these films were all restored by the UCLA Film and Television Archive—but they might just as possibly result from an editor instructed to finish the film in a hurry. Patricia Morison\'s accent leaves much to be desired, and there\'s an odd bit of unnecessary narration at the beginning. But the film contains at least one marvelous scene—Stinky Emery\'s death—and the process by which Holmes figures out the code is interesting, if, as I mentioned, unnecessary. The film\'s title has absolutely nothing to do with the film itself; I\'m sure the reason behind it would make a good story.</p><p>And this was it for the series (although I still have four to go as of this writing). Director Roy William Neill would finish one more film before dying of a heart attack in late 1946. Basil Rathbone would never really overcome being typecast, appearing in a handful of films before his death in 1967. Nigel Bruce had always played bumbling Brits, and he continued to do so until his death in 1953.</p><p><b>Baker Street Regulars</b> (actors who appeared in more than two films in the series as different characters):</p><p>Wilson Benge, 5th of 5 appearances (as Minister on museum tour) <br />Harry Cording, 8th of 8 (Hamid) <br />Holmes Herbert, 6th of 6 (Ebenezer Crabtree) <br />Leyland Hodgson, 7th of 7 (tour guide) <br />Olaf Hytten, 6th of 6 (Alfred, auction house bookkeeper) <br />Boyd Irwin, 3rd of 3 (detective with X-ray photos) <br />Sally Shepherd, 3rd of 3 (Tobacconist) <br />Ian Wolfe, 4th of 4 (Commissioner of Scotland Yard) <br />Frederick Worlock, 6th of 6 (Colonel Cavanaugh)</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Dressed to Kill (1946)','','inherit','closed','closed','','330-revision-v1','','','2019-07-26 18:36:03','2019-07-26 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ul_text_shadow_vertical_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_blur_strength=\"ul_text_shadow_style,%91object Object%93\" ol_text_shadow_horizontal_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_vertical_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_blur_strength=\"ol_text_shadow_style,%91object Object%93\" quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\n\n<h3 style=\"text-align: center;\"><strong><em>Dressed to Kill</em> (Roy William Neill, 1946, 72 min.)</strong></h3>\n<p>The Rathbone/Bruce series of Sherlock Holmes films didn\'t exactly limp to a close, but it didn\'t go out on a high note either. <em>Dressed to Kill</em> is a passable entry, featuring a pretty good adaptation of Sir Arthur Conan Doyle\'s story \"The Adventure of the Six Napoleons,\" Basil Rathbone\'s usual good performance as Holmes, and the series\'s only tantalizing mention of one of the most intriguing characters in the Holmes canon, Irene Adler, \"The Woman.\" On hearing her name in the opening moments of the film, I had hopes that she would be introduced as a foil, but I was disappointed.</p>\n<p>The story concerns a series of mysterious attacks on seemingly random people; the only connection between them is that they all purchased identical music boxes at an auction. When Holmes is brought into the case after an attack on Watson\'s friend Stinky Emery (Edmund Breon), he discovers that the music boxes were made in prison by a convict who had stolen the Bank of England\'s printing plates for making £5 notes. Before he could be captured, he hid them somewhere, and they were never found. Holmes deduces that the convict had somehow hidden a message inside the music boxes about where to find the plates, and he must figure out the code before the bad guys, led by Hilda Courtney (Patricia Morison), find them and print their own money.</p>\n<p>The film\'s best addition to the story is the way the code works. The music boxes all play the same melody, with minor variations, and Holmes has to figure out what the changed notes mean. The film is nicer to Watson than previous entries in that it allows him to suggest the key to breaking the code <i>and</i> the identity of Dr. S, albeit accidentally. (Of course, there\'s a scene where he attempts to placate a frightened girl by making duck noises, so he doesn\'t escape his usual comic relief role.)</p>\n<p>It seems to me that the mystery was unnecessarily prolonged. The convict was captured a mere 15 minutes after stealing the plates, and he likely went in a single direction. Holmes could have easily reduced the search area on the basis of that evidence, and once he got the clue \"Dr. S\"—detailing a location among the bookshelves of an unknown doctor—it shouldn\'t have been so difficult to figure out what the code meant. But that easy solution would have made for a very short film.</p>\n<p>Things were getting sloppy by the end of the series. There are some noticeably odd cuts that might have resulted from the restoration process—these films were all restored by the UCLA Film and Television Archive—but they might just as possibly result from an editor instructed to finish the film in a hurry. Patricia Morison\'s accent leaves much to be desired, and there\'s an odd bit of unnecessary narration at the beginning. But the film contains at least one marvelous scene—Stinky Emery\'s death—and the process by which Holmes figures out the code is interesting, if, as I mentioned, unnecessary. The film\'s title has absolutely nothing to do with the film itself; I\'m sure the reason behind it would make a good story.</p>\n<p>And this was it for the series (although I still have four to go as of this writing). Director Roy William Neill would finish one more film before dying of a heart attack in late 1946. Basil Rathbone would never really overcome being typecast, appearing in a handful of films before his death in 1967. Nigel Bruce had always played bumbling Brits, and he continued to do so until his death in 1953.</p>\n<p><b>Baker Street Regulars</b> (actors who appeared in more than two films in the series as different characters):</p>\n<p>Wilson Benge, 5th of 5 appearances (as Minister on museum tour) <br />Harry Cording, 8th of 8 (Hamid) <br />Holmes Herbert, 6th of 6 (Ebenezer Crabtree) <br />Leyland Hodgson, 7th of 7 (tour guide) <br />Olaf Hytten, 6th of 6 (Alfred, auction house bookkeeper) <br />Boyd Irwin, 3rd of 3 (detective with X-ray photos) <br />Sally Shepherd, 3rd of 3 (Tobacconist) <br />Ian Wolfe, 4th of 4 (Commissioner of Scotland Yard) <br />Frederick Worlock, 6th of 6 (Colonel Cavanaugh)</p>\n\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Dressed to Kill (1946)','','inherit','closed','closed','','330-autosave-v1','','','2019-07-26 18:38:49','2019-07-26 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ul_text_shadow_vertical_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_blur_strength=\"ul_text_shadow_style,%91object Object%93\" ol_text_shadow_horizontal_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_vertical_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_blur_strength=\"ol_text_shadow_style,%91object Object%93\" quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>The House of Fear</em> (Roy William Neill, 1945, 69 min.)</strong></h3><p>It is my contention that a lot of the problems that people encounter in Gothic horror or mystery films and novels are the result of poor naming: if your hamlet is called Misery End, something bad is bound to happen there. Similarly, a house named Drear Cliff House is bound to attract unhappiness. Just so in this, the tenth of the 14 Basil Rathbone/Nigel Bruce Sherlock Holmes films of the 1930s and 1940s, in which Holmes and his trusty, if somewhat addled, friend Watson are summoned to a creaky old house inhabited by the Good Comrades, an ever-diminishing group of people with big insurance policies. Lately they\'ve had a nasty tendency to die in spectacular ways (this house, of course, has a curse: \"no man ever goes whole to his grave\"), and the insurance company, unhappy about the payouts, enlists Holmes to investigate.</p><p>Interestingly, despite Universal\'s radical updating of the series to modern times, there\'s little updating in evidence here: no automobiles rumble up and down the cobblestones, and the lights at Drear Cliff are powered by oil, not electricity. It could very well have taken place in Edwardian England, but the effect is instead to accentuate Drear House\'s dreariness. Other oddities enhance viewers\' experience. It\'s one of the few in the series that employs a narrator, and not a major character at that—it\'s an insurance agent who brings us up to speed at the beginning and disappears until the end. Director Roy William Neill and cinematographer Virgil Miller use an unusual (for the series, at least as far as I can remember) number of foregrounded objects to frame shots: the camera seems to peer through candelabra and crouch behind chaise lounges, unlike the clear lines of sight favored in the other films. There are a number of exteriors that must have been actually filmed outside, a major departure from the stagebound feel of the rest of the series. And finally, Neill and Miller employ noirishly tilted cameras at times.</p><p>There\'s the usual late-series overemphasis on using Nigel Bruce and Dennis Hoey (appearing again as Inspector Lestrade) as comic relief, including an uncomfortably long head-scratcher of a scene in which Watson discharges his weapon at phantoms in his room. And Lestrade seems more physically oafish than in the other films. However, this is one of the few entries in which Watson\'s tendency to voice premature conclusions about suspects\' guilt turns out to be mostly correct, although he doesn\'t always know it at the time, and the traditional last-scene speech by Holmes is a kind and moving reflection on how much he values Watson.</p><p>Rathbone is his usual perfection as Holmes, although he employs a more brusque manner toward others: I don\'t remember him interrupting people as much in the other films as he does here, but it adds a dimension to his character, a kind of annoyance at being the go-to guy for unexplained phenomena that always turn out to be eminently explainable. The solution to the mystery is easily guessed at, although that might be because I vaguely remember reading the original story, \"The Adventure of the Five Orange Pips.\" It\'s middle-of-the-pack entry in the series, neither up to the standards of the first two films nor as abject as <em>Pursuit to Algiers</em>.</p><p><b>Baker Street Regulars</b> (actors who appeared in more than two films in the series as different characters):</p><p>Paul Cavanagh, 2nd of 3 appearances (as Dr. Simon Merivale)<br />Holmes Herbert, 5th of 6 (Alan Cosgrave)<br />Harry Cording, 6th of 8 (Captain John Simpson)<br />Sally Shepherd, 1st of 3 (Mrs. Monteith)<br />Gavin Muir, 4th of 4 (Mr. Chalmers)<br />Wilson Benge, 3rd of 5 (Guy Davies)<br />Leslie Denison, 5th of 6 (Sergeant Bleeker)<br />David Thursby, 3rd of 3 (Police Sergeant)</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The House of Fear (1945)','','publish','closed','closed','','the-house-of-fear-1945','','','2019-07-26 18:42:27','2019-07-26 18:42:27','',0,'http://itcamefrombeyondpulp.com/?p=334',0,'post','',0),(335,1,'2019-07-26 18:41:58','2019-07-26 18:41:58','','house of fear','','inherit','closed','closed','','house-of-fear','','','2019-07-26 18:41:58','2019-07-26 18:41:58','',334,'http://itcamefrombeyondpulp.com/wp-content/uploads/2019/07/house-of-fear.jpg',0,'attachment','image/jpeg',0),(336,1,'2019-07-26 18:42:18','2019-07-26 18:42:18','','house of fear','','inherit','closed','closed','','house-of-fear-2','','','2019-07-26 18:42:18','2019-07-26 18:42:18','',334,'http://itcamefrombeyondpulp.com/wp-content/uploads/2019/07/house-of-fear-1.jpg',0,'attachment','image/jpeg',0),(337,1,'2019-07-26 18:42:27','2019-07-26 18:42:27','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" custom_margin=\"||11px|||\" 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quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>The House of Fear</em> (Roy William Neill, 1945, 69 min.)</strong></h3><p>It is my contention that a lot of the problems that people encounter in Gothic horror or mystery films and novels are the result of poor naming: if your hamlet is called Misery End, something bad is bound to happen there. Similarly, a house named Drear Cliff House is bound to attract unhappiness. Just so in this, the tenth of the 14 Basil Rathbone/Nigel Bruce Sherlock Holmes films of the 1930s and 1940s, in which Holmes and his trusty, if somewhat addled, friend Watson are summoned to a creaky old house inhabited by the Good Comrades, an ever-diminishing group of people with big insurance policies. Lately they\'ve had a nasty tendency to die in spectacular ways (this house, of course, has a curse: \"no man ever goes whole to his grave\"), and the insurance company, unhappy about the payouts, enlists Holmes to investigate.</p><p>Interestingly, despite Universal\'s radical updating of the series to modern times, there\'s little updating in evidence here: no automobiles rumble up and down the cobblestones, and the lights at Drear Cliff are powered by oil, not electricity. It could very well have taken place in Edwardian England, but the effect is instead to accentuate Drear House\'s dreariness. Other oddities enhance viewers\' experience. It\'s one of the few in the series that employs a narrator, and not a major character at that—it\'s an insurance agent who brings us up to speed at the beginning and disappears until the end. Director Roy William Neill and cinematographer Virgil Miller use an unusual (for the series, at least as far as I can remember) number of foregrounded objects to frame shots: the camera seems to peer through candelabra and crouch behind chaise lounges, unlike the clear lines of sight favored in the other films. There are a number of exteriors that must have been actually filmed outside, a major departure from the stagebound feel of the rest of the series. And finally, Neill and Miller employ noirishly tilted cameras at times.</p><p>There\'s the usual late-series overemphasis on using Nigel Bruce and Dennis Hoey (appearing again as Inspector Lestrade) as comic relief, including an uncomfortably long head-scratcher of a scene in which Watson discharges his weapon at phantoms in his room. And Lestrade seems more physically oafish than in the other films. However, this is one of the few entries in which Watson\'s tendency to voice premature conclusions about suspects\' guilt turns out to be mostly correct, although he doesn\'t always know it at the time, and the traditional last-scene speech by Holmes is a kind and moving reflection on how much he values Watson.</p><p>Rathbone is his usual perfection as Holmes, although he employs a more brusque manner toward others: I don\'t remember him interrupting people as much in the other films as he does here, but it adds a dimension to his character, a kind of annoyance at being the go-to guy for unexplained phenomena that always turn out to be eminently explainable. The solution to the mystery is easily guessed at, although that might be because I vaguely remember reading the original story, \"The Adventure of the Five Orange Pips.\" It\'s middle-of-the-pack entry in the series, neither up to the standards of the first two films nor as abject as <em>Pursuit to Algiers</em>.</p><p><b>Baker Street Regulars</b> (actors who appeared in more than two films in the series as different characters):</p><p>Paul Cavanagh, 2nd of 3 appearances (as Dr. Simon Merivale)<br />Holmes Herbert, 5th of 6 (Alan Cosgrave)<br />Harry Cording, 6th of 8 (Captain John Simpson)<br />Sally Shepherd, 1st of 3 (Mrs. Monteith)<br />Gavin Muir, 4th of 4 (Mr. Chalmers)<br />Wilson Benge, 3rd of 5 (Guy Davies)<br />Leslie Denison, 5th of 6 (Sergeant Bleeker)<br />David Thursby, 3rd of 3 (Police Sergeant)</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The House of Fear (1945)','','inherit','closed','closed','','334-revision-v1','','','2019-07-26 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ul_text_shadow_vertical_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_blur_strength=\"ul_text_shadow_style,%91object Object%93\" ol_text_shadow_horizontal_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_vertical_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_blur_strength=\"ol_text_shadow_style,%91object Object%93\" quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\n\n<h3 style=\"text-align: center;\"><strong><em>The House of Fear</em> (Roy William Neill, 1945, 69 min.)</strong></h3>\n<p>It is my contention that a lot of the problems that people encounter in Gothic horror or mystery films and novels are the result of poor naming: if your hamlet is called Misery End, something bad is bound to happen there. Similarly, a house named Drear Cliff House is bound to attract unhappiness. Just so in this, the tenth of the 14 Basil Rathbone/Nigel Bruce Sherlock Holmes films of the 1930s and 1940s, in which Holmes and his trusty, if somewhat addled, friend Watson are summoned to a creaky old house inhabited by the Good Comrades, an ever-diminishing group of people with big insurance policies. Lately they\'ve had a nasty tendency to die in spectacular ways (this house, of course, has a curse: \"no man ever goes whole to his grave\"), and the insurance company, unhappy about the payouts, enlists Holmes to investigate.</p>\n<p>Interestingly, despite Universal\'s radical updating of the series to modern times, there\'s little updating in evidence here: no automobiles rumble up and down the cobblestones, and the lights at Drear Cliff are powered by oil, not electricity. It could very well have taken place in Edwardian England, but the effect is instead to accentuate Drear House\'s dreariness. Other oddities enhance viewers\' experience. It\'s one of the few in the series that employs a narrator, and not a major character at that—it\'s an insurance agent who brings us up to speed at the beginning and disappears until the end. Director Roy William Neill and cinematographer Virgil Miller use an unusual (for the series, at least as far as I can remember) number of foregrounded objects to frame shots: the camera seems to peer through candelabra and crouch behind chaise lounges, unlike the clear lines of sight favored in the other films. There are a number of exteriors that must have been actually filmed outside, a major departure from the stagebound feel of the rest of the series. And finally, Neill and Miller employ noirishly tilted cameras at times.</p>\n<p>There\'s the usual late-series overemphasis on using Nigel Bruce and Dennis Hoey (appearing again as Inspector Lestrade) as comic relief, including an uncomfortably long head-scratcher of a scene in which Watson discharges his weapon at phantoms in his room. And Lestrade seems more physically oafish than in the other films. However, this is one of the few entries in which Watson\'s tendency to voice premature conclusions about suspects\' guilt turns out to be mostly correct, although he doesn\'t always know it at the time, and the traditional last-scene speech by Holmes is a kind and moving reflection on how much he values Watson.</p>\n<p>Rathbone is his usual perfection as Holmes, although he employs a more brusque manner toward others: I don\'t remember him interrupting people as much in the other films as he does here, but it adds a dimension to his character, a kind of annoyance at being the go-to guy for unexplained phenomena that always turn out to be eminently explainable. The solution to the mystery is easily guessed at, although that might be because I vaguely remember reading the original story, \"The Adventure of the Five Orange Pips.\" It\'s middle-of-the-pack entry in the series, neither up to the standards of the first two films nor as abject as <em>Pursuit to Algiers</em>.</p>\n<p><b>Baker Street Regulars</b> (actors who appeared in more than two films in the series as different characters):</p>\n<p>Paul Cavanagh, 2nd of 3 appearances (as Dr. Simon Merivale)<br />Holmes Herbert, 5th of 6 (Alan Cosgrave)<br />Harry Cording, 6th of 8 (Captain John Simpson)<br />Sally Shepherd, 1st of 3 (Mrs. Monteith)<br />Gavin Muir, 4th of 4 (Mr. Chalmers)<br />Wilson Benge, 3rd of 5 (Guy Davies)<br />Leslie Denison, 5th of 6 (Sergeant Bleeker)<br />David Thursby, 3rd of 3 (Police Sergeant)</p>\n\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The House of Fear (1945)','','inherit','closed','closed','','334-autosave-v1','','','2019-07-26 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ul_text_shadow_vertical_length=\"ul_text_shadow_style,%91object Object%93\" ul_text_shadow_blur_strength=\"ul_text_shadow_style,%91object Object%93\" ol_text_shadow_horizontal_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_vertical_length=\"ol_text_shadow_style,%91object Object%93\" ol_text_shadow_blur_strength=\"ol_text_shadow_style,%91object Object%93\" quote_text_shadow_horizontal_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_vertical_length=\"quote_text_shadow_style,%91object Object%93\" quote_text_shadow_blur_strength=\"quote_text_shadow_style,%91object Object%93\" header_text_shadow_horizontal_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_vertical_length=\"header_text_shadow_style,%91object Object%93\" header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\n\n<h3 style=\"text-align: center;\"><strong><em>Pursuit to Algiers</em> (Roy William Neill, 1945, 65 min.)</strong></h3>\n<p>In the worst of the Rathbone/Bruce series of Sherlock Holmes films, Holmes and Watson play nursemaids to a European king on a fraught voyage from England to Algiers, all \"in the name of democratic government.\" (I\'m usure how the death of a figurehead king could really affect a democratic government, and how a country ruled by a non-figurehead king could have much to do with democracy, but that\'s unimportant.) The film is marred by glacial pacing, its own silly premise, and a snowballing series of absurdities that eventually blot out the normal enjoyment of seeing Basil Rathbone and Nigel Bruce do their thing.</p>\n<p>Although Watson wants to go on a relaxing vacation, Holmes allows himself to be involved in international intrigue once again. The king of a fictional European country has been murdered, and his government wants Holmes to escort the new king (Leslie Vincent) to the safety of Algiers, where loyalists will take him to his throne. Holmes and the king head off in an airplane, while Watson goes aboard a steamer as a distraction. Quickly, though, there\'s trouble: the airplane is shot down, and Holmes and the king are apparently dead. A distraught Watson discovers that the pair were never aboard the plane: they\'ve been on the steamer all along, and now they have to survive the murderous efforts of a trio of killers until they arrive in Algiers.</p>\n<p>The film makes two grave mistakes: keeping Holmes out of the picture for too long, and then introducing him in a rather stupid manner. Aside from the overly clever beginning, when members of the government of a fictional European country enlist him to guard the new king, Holmes is out of the story for the first third of its running time. That leaves Watson as the primary focus, and although he\'s a genial enough fellow, he only really works when he\'s at Holmes\'s side. We\'re left with some mild comic relief as he suspiciously eyes the other passengers on the ship and develops a touching crush on the young Sheila (Marjorie Riordan). When Holmes reveals to Watson that he wasn\'t killed in the plane crash, the film makes its second misstep: having Holmes and the young Nikolas parade around the ship, drawing attention to themselves. Wouldn\'t it have been much better for them to stay concealed? In most films, I\'d just accept it with the knowledge that \"this is the film about the people who made a rather stupid mistake,\" but I can\'t really accept it from the master detective Sherlock Holmes. (One way to read it that would make it make sense is to view Holmes as having a death wish, but that\'s a darkness that is usually unwelcome in these effervescent films.)</p>\n<p>From Holmes\'s appearance on the ship, things devolve into an almost sub–James Bond level of silly hijinks. Holmes quickly identifies the people sent to kill Nikolas, but he toys with them flippantly instead of doing anything about them. Even when Mirko (Martin Kosleck) the knife-thrower attempts to skewer him to death in his bed, Holmes merely laughs about his escape and slams the porthole shut. Perhaps he had grounds to call the authorities by this point. (Again, I know this is the movie about the master detective who didn\'t call the authorities, but it stretches our patience beyond what\'s acceptable.)</p>\n<p>There are two fetching instances of self-reference in the film, perhaps signs that screenwriter Leonard Lee wanted to take the franchise into the postmodern (but perhaps not). During a dinner party, as Holmes attempts to figure out how the assassins are going to strike next, Watson is induced to tell a Sherlock Holmes story; readers familiar with the stories will know that Watson is their purported author, so having Watson tell a story within a story that Watson is presumably telling is quite clever. Then, in the last scene, where Holmes would usually give a patriotic speech (that\'s gone from this film, as is the exhortation to buy war bonds), instead he pokes fun at Watson\'s honest face: \"You\'d never make a good actor, old boy,\" he says. Since Nigel Bruce, playing Watson, is in fact a good actor, one could read this as a meta-comment on the film. Or not.</p>\n<p><i>Nota bene</i>: The Internet Movie Database claims that this film is based on an original story by Sir Arthur Conan Doyle, but that\'s misleading. They list a story called \"The Return of Sherlock Holmes,\" but no such story exists: there\'s a collection of Holmes adventures by that title, but none of the stories in it even remotely resembles this plot. However, in one of these stories, Watson mentions in passing \"the affair of the steamship <i>Friesland</i> that so nearly cost us both our lives.\" He gives no details, and Leonard Lee made the rest up.</p>\n<p>The series was clearly limping to a close. Bertrand Millhauser was gone, leaving Leonard Lee and Frank Gruber to split the writing chores on the final films. Only two films followed before Universal pulled the plug, <em>Terror by Night</em> and <em>Dressed to Kill</em>.</p>\n<p><b>Baker Street Regulars</b> (actors who appeared in more than two films in the series as different characters):</p>\n<p>Wilson Benge, 4th of 5 appearances (as clergyman) <br />Gerald Hamer, 4th of 5 (Kingston) <br />Olaf Hytten, 5th of 6 (Simpson, the gunsmith) <br />Frederick Worlock, 5th of 6 (Prime Minister)</p>\n\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Pursuit to Algiers (1945)','','inherit','closed','closed','','347-autosave-v1','','','2019-07-30 03:15:11','2019-07-30 03:15:11','',347,'http://itcamefrombeyondpulp.com/uncategorized/347-autosave-v1/',0,'revision','',0),(413,1,'2019-08-19 02:14:12','2019-08-19 02:14:12','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" 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header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em><img class=\"wp-image-414 size-medium alignright\" src=\"http://itcamefrombeyondpulp.com/wp-content/uploads/2019/08/dancer-179x300.jpg\" alt=\"\" width=\"179\" height=\"300\" />The Dancer from Atlantis</em> (Poul Anderson, 1972)</strong></h3><p class=\"p1\">Poul Anderson (1926-2001) was among the most lauded science fiction and fantasy writers, winning seven Hugo Awards and three Nebula Awards. I absolutely hated the other novel-length Anderson outing I read, <i>Tau Zero</i>, aka the longest story problem in history. I didn’t think he could write a believable human character, nor could he integrate his math problems with his narrative. I understand that it’s considered a classic of hard science fiction, and readers, you will not find much praise for hard sci-fi in this column. But my Spreadsheet of Destiny decreed that I read <i>The Dancer from Atlantis</i>, and so I did. And it’s pretty darned good! More on that in a minute.</p><p class=\"p1\">Twentieth-century American architect Duncan Reid, medieval Russian rancher Oleg, fourth-century Hun raider Uldin, and fourth millennium BCE Atlantean bull-dancing priestess Erissa are swept along through time by a damaged time machine and deposited on the Mediterranean coast of Egypt a scant few months before a volcanic eruption is due to obliterate her homeland of Atlantis and destroy the Minoan stranglehold on Mediterranean trade. Erissa is a survivor of that eruption, and as a teenage priestess she loved a god named Duncan Reid, who fathered a child before disappearing in a puff of smoke. The four integrate themselves into Cretan society, interact with Theseus, introduce cavalry and other weapons and methods of war, and try to figure out how to get back home, while Duncan and Erissa try to figure out how to save her civilization from destruction.</p><p class=\"p1\">There’s no math, which is good. There are also a couple of believable characters who have human interactions, something that was missing from <i>Tau Zero</i>. I’m especially surprised and satisfied by how Anderson handles Duncan Reid’s double romance of Erissa<span class=\"s1\">—both </span><span class=\"s2\">as the middle-aged mystic he encounters first, then the teenage version of her he encounters on Atlantis. It could have been creepy in any number of ways, but it wasn’t. </span></p><p class=\"p4\">But the best thing about it is the copious amounts of research that Anderson obviously did<span class=\"s3\">—about people as diverse as medieval Russians and the fourth century Huns, but also about the intricately connected, overlapping, and contradictory mythology and archaeology of the ancient Mediterranean. Let me rephrase that, because lots of authors do a lot of research, and their books are terrible. Anderson synthesizes this research and integrates it smoothly into his narrative, using his imagination where necessary and keeping the page-length explanations to a minimum. This is something that, say, Umberto Eco, in his wretched <i>The Name of the Rose</i>, demonstrates that he doesn’t understand.</span></p><p class=\"p4\"><span class=\"s3\">Anderson also shows a deft hand at describing large-scale destruction, as the chapters that take place in the aftermath of the volcanic eruption are harrowing and economical. He can sketch in a few sentences a kind of detailed chaos that lesser (or perhaps more sadistic) writers would dwell on. Honestly, he shows a deft hand at all of the things that he seemed incapable of in <i>Tau Zero</i>, so I think I’ve suddenly become a fan.</span></p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Dancer from Atlantis (1972)','','publish','closed','closed','','the-dancer-from-atlantis-1972','','','2019-08-19 02:14:12','2019-08-19 02:14:12','',0,'http://itcamefrombeyondpulp.com/?p=413',0,'post','',0),(340,1,'2019-07-28 17:54:56','2019-07-28 17:54:56','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" custom_margin=\"||11px|||\" next_background_color=\"#000000\" global_module=\"74\"][et_pb_row global_parent=\"74\" custom_padding=\"0px||0px|||\" custom_margin=\"|auto|-66px|auto||\" _builder_version=\"3.26.3\"][et_pb_column type=\"4_4\" global_parent=\"74\" 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header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h1 style=\"text-align: center;\">CURRENT SALES</h1>\r\n\r\n[/et_pb_text][et_pb_code _builder_version=\"3.26.3\" z_index_tablet=\"500\"][ebayfeedsforwordpress feed=\"\" items=\"5\"][/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]','Sales','','inherit','closed','closed','','59-revision-v1','','','2019-07-28 17:54:56','2019-07-28 17:54:56','',59,'http://itcamefrombeyondpulp.com/uncategorized/59-revision-v1/',0,'revision','',0),(341,1,'2019-07-28 18:02:32','2019-07-28 18:02:32','[et_pb_section bb_built=\"1\" _builder_version=\"3.26.3\" custom_padding=\"0px|||||\" z_index_tablet=\"500\" box_shadow_horizontal_tablet=\"0px\" box_shadow_vertical_tablet=\"0px\" box_shadow_blur_tablet=\"40px\" box_shadow_spread_tablet=\"0px\" custom_margin=\"||11px|||\" next_background_color=\"#000000\" global_module=\"74\"][et_pb_row global_parent=\"74\" custom_padding=\"0px||0px|||\" 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header_text_shadow_blur_strength=\"header_text_shadow_style,%91object Object%93\" header_2_text_shadow_horizontal_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_vertical_length=\"header_2_text_shadow_style,%91object Object%93\" header_2_text_shadow_blur_strength=\"header_2_text_shadow_style,%91object Object%93\" header_3_text_shadow_horizontal_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_vertical_length=\"header_3_text_shadow_style,%91object Object%93\" header_3_text_shadow_blur_strength=\"header_3_text_shadow_style,%91object Object%93\" header_4_text_shadow_horizontal_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_vertical_length=\"header_4_text_shadow_style,%91object Object%93\" header_4_text_shadow_blur_strength=\"header_4_text_shadow_style,%91object Object%93\" header_5_text_shadow_horizontal_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_vertical_length=\"header_5_text_shadow_style,%91object Object%93\" header_5_text_shadow_blur_strength=\"header_5_text_shadow_style,%91object Object%93\" header_6_text_shadow_horizontal_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_vertical_length=\"header_6_text_shadow_style,%91object Object%93\" header_6_text_shadow_blur_strength=\"header_6_text_shadow_style,%91object Object%93\"]\r\n\r\n<h3 style=\"text-align: center;\"><strong><em>The Pearl of Death</em> (Roy William Neill, 1944, 69 min.)</strong></h3><p>The Sherlock Holmes story \"The Adventure of the Six Napoleons\" is the source for not one, but two entries in the Basil Rathbone/Nigel Bruce series of Holmes films produced by Universal. This film is a very close adaptation of the story, while Dressed to Kill, produced two years later at the end of the series, is more of an \"inspired by\" situation. The basic idea is the same: there\'s a secret hidden in one of several identical knick-knacks, and bad guys are willing to murder to get ahold of it. Here, as in Sir Arthur Conan Doyle\'s original story, the thing is the Borgia Pearl, a gem with a long history of bringing misfortune and death to those who possess it.</p><p>We meet up with Holmes in disguise as an elderly priest. He\'s riding a boat to Dover, and he\'s befriended a young woman (Evelyn Ankers) who is actually a minion of the legendary criminal Giles Conover (Miles Mander). She\'s there to steal the Borgia Pearl from the guard transporting it to London. She unwittingly lets Holmes take possession of the pearl, and now Conover is desperate to get it back. The pearl is placed in a museum, and although Holmes warns them that Conover will attempt to steal it, the curator places it on display. Holmes attempts to demonstrate why the security measures they\'ve taken are insufficient, leading to what might be the first time that Holmes\'s legendary arrogance was the direct cause of a crime. On several occasions, he\'s knowingly placed people in harm\'s way, sometimes—as in <em>Terror by Night</em>—being responsible for their deaths. Here, he\'s directly responsible for the theft of the Borgia Pearl; while he\'s demonstrating the flaws in a museum\'s security system by disconnecting it, Conover dashes off with the pearl. He\'s quickly located, but the pearl is gone. Now Holmes has to find it to regain his reputation. Holmes learns of a series of seemingly unconnected murders—or at least the bumbling Lestrade (Dennis Hoey) thinks they\'re unconnected, despite the fact that all of them were killed in the same manner and that the murderer then smashed all of their china.</p><p>This film would have been a perfect place to use Holmes\'s arch-nemesis, Professor Moriarty. If I have one consistent complaint about this series of films, it\'s that Moriarty doesn\'t appear often enough: he\'s in only three of them, and in only one (<em>The Woman in Green</em>) is he really effective. Instead, we get second-rate villains, like Conover here or Colonel Sebastian Moran in <em>Terror by Night</em>. However, we do meet a memorable villain, the Hoxton Creeper, played by the acromegalic actor Rondo Hatton. The Creeper, unseen except in silhouette for most of the film, murders by breaking the backs of his victims. I could be picky and say that his preferred method, breaking the third lumbar vertebra, is unlikely to produce instant death as it does in the film, but he\'s creepy enough to make me not give a hoot. The Creeper was such a hit in this film that Universal brought him back for two horror films in 1946, <em>House of Horror</em> and <em>The Brute Man</em>, before Hatton died of complications from his acromelagy.</p><p>Aside from the Creeper, there\'s not a lot to distinguish this film. Rathbone is good as always, and he\'s allowed a tiny bit of character devlopment when he so royally screws up. Poor Nigel Bruce has only one substantial scene, and it\'s of Watson acting like a buffoon. It\'s certainly not the worst film in the series, but it\'s pretty weak.</p><p><b>Baker Street Regulars</b> (actors who appeared in more than two films in the series as different characters):</p><p>Wilson Benge, 2nd of 5 appearances (playing second steward) <br />Harry Cording, 5th of 8 (George Gelder) <br />Harold De Becker, 3rd of 4 (boss) <br />Leslie Denison, 4th of 6 (Police Sergeant Murdock) <br />Holmes Herbert, 4th of 6 (James Goodram) <br />Leyland Hogdson, 5th of 7 (Customs officer) <br />Arthur Stenning, 2nd of 3 (first steward) <br />David Thursby, 2nd of 3 (unknown) <br />Eric Wilton, 3rd of 3 (Conover\'s chauffeur) <br />Ian Wolfe, 3rd of 4 (Amos Hodder)</p>\r\n\r\n[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','The Pearl of Death (1944)','','inherit','closed','closed','','343-revision-v1','','','2019-07-30 02:31:47','2019-07-30 02:31:47','',343,'http://itcamefrombeyondpulp.com/uncategorized/343-revision-v1/',0,'revision','',0),