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I, Frankenstein (2014)

ifrankenstein“I Frankenstein” is so hopelessly convoluted that rather than watching the action unfold and allowing the audience to go along for the ride, the writers do nothing but explain. Characters walk from one room to another to explain things, and then explain the explanation. “We’re the Order of the Gargoyles and here’s why. You’ll be called Adam, and here’s why. These are our weapons that can defeat demons, we’ll explain why. Our ranks are falling but demons are more powerful than ever, and we’ll explain why.” Considering the heroes do nothing but talk, it’s a wonder they’re losing the battle of good and evil. And how original that Frankenstein is re-named Adam? I wish Hollywood would put that creaky cliché to bed.

It’s too bad the writers didn’t have the balls to re-name the monster Frank. Or Victor. Hell, Shelley would have been gutsy. After the usual events of the Mary Shelley novel, Frankenstein is attacked in a graveyard when he attempts to bury the body of his creator. Managing to barely survive, he’s taken in by the Order of the Gargoyle, a group of knights hired by the Queen to fight demons. For whatever reason, they’re gargoyles that can masquerade as human beings, and can revert to their beastial form to fight evil. On the other side, there’s a group of demons intent on capturing Frankenstein because he holds the key to immortality. No wait, he holds the key to building another Frankenstein body, as the demons plans to build an army of clones that can be possessed by demons.

Frankenstein is an anti-hero for the sake of being an anti-hero, torn between two fractions of the war. You know he’s an angry monster because he dons heavy eyeliner for a majority of the film, and despite his brute strength battles with swords like a horror version of “Crouching Tiger.” You figure a movie with gargoyles and demons and Frankenstein would be amazing, but in reality it’s unbearable. It’s droning, tedious, and incredibly boring, and not a single character is engaging. They bring in strong performers like Bill Nighy, Yvonne Strahovski and Miranda Otto, all of whom do nothing but look half asleep most of the time, while they drone on and on with clunky exposition.

In the first half there’s a massive battle between the demons and Gargoyles, and granted it would all be so amazing, if I knew who any of these characters were. We learn nothing about the heroes or villains in the film. Director and co-writer Stuart Beattie stuffs the screen with so many sub-plots and supporting characters all of whom have zero depth to them. They’re just cannon fodder we’re told to root for. “I Frankenstein” is much like the “Underworld” and “Resident Evil” movies. It’s all flash, explosions, and absolutely zero substance. “I Frankenstein” is an absolutely terrible attempt to turn a Gothic literary character in to a superhero, and here’s hoping there’s no follow-up to the amazingly dull adventures of Frankenstein’s Monster.

Near Dark (1987)

NearDark

What I love about Kathryn Bigelow’s “Near Dark” is that it doesn’t glamorize vampires. It doesn’t paint them as pop stars, millionaires, or aristocrats. In reality the group of vampires that roam the South here could be mistaken for dangerous transients. Their lives are a series of contradictions that paint them as despicable but somewhat empathetic villains. They have immortality, but burst in to flames in natural sun light. They have fantastic powers, but they have literally no choice but to roam the world looking for new prey. “Near Dark” is very much an eighties relic like its lighter counterpart “The Lost Boys,” and still hasn’t shown its wrinkles. Draped in glorious shades of blue and gray and given a haunting score from Tangerine Dream, “Near Dark” is a vicious vampire film about a young man trying to maintain his soul and keep his humanity in tact.

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Nothing Left to Fear (2013)

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“Nothing Left to Fear” is the prime example of a horror movie that has nothing to offer, and tries to cover it up with fancy special effects and clunky metaphor. The problem is that even those gimmicks don’t work to conceal what is an amateur, tedious, and pointless remake of “The Wicker Man” where another group of people or persons become the sacrificial lambs to religious fanaticism. We know they’re the sacrificial lambs because when our characters The Bramfords arrive in their new town, they see a lamb being sacrificed. Get it? Foreshadowing! Symbolism!

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Pee-wee’s Big Adventure (1985)

peeweesbigadventureTim Burton’s adaptation of the comedy eighties icon is still a film that’s an acquired taste all things considered. Pee Wee begins as a slightly grating presence, but his enthusiasm eventually wins you over. Even to this day easing in to “Pee Wee’s Big Adventure” is a fun and unique fantasy film with Pee Wee Herman managing to entertain with his charismatic presence, unusual voice, and still excellent dance sequence to “Tequila” in a biker bar. I remember just about every kid in the late eighties would at one point imitate Pee Wee’s dance on the pool table.

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The Mummy Returns (2001)

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Man, Evie and Rick O’Connell have to be two of the most incompetent movie heroes ever conceived. Not only do they bring the mummy to life in the first movie, but in the opening of the second film, they desecrate a tomb, and steal a sacred bracelet that their snot nosed son slips on. Even worse, their son is kidnapped, and said bracelet is going to kill him in a week if he doesn’t find a mythical oasis. There’s a big difference between being an average Joe adventurer like Indiana Jones, and a bungling nincompoop like the O’Connell’s. Seriously, is it so hard to watch one child? And if you’re handling priceless artifacts that are absolutely irreplaceable, why entrust it to an eight year old kid?

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The Mummy (1999)

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Stephen Sommers’ ridiculously successful reboot of “The Mummy” is a film that almost gets the formula correct. It’s like a cocktail of action, comedy, romance, horror, and adventure that almost becomes the perfect marriage of sub-genres, but never quite hits the mark; even when it’s at its best. “The Mummy” is incredibly uneven and tough to really respond to, because Sommers seems to want to opt for action, while Universal seems anxious to embrace the horror. Thus it’s all so unbalanced and drags down an action horror comedy hybrid with potential to be a classic.

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Leprechaun 2 (1994)

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So apparently, not only does the leprechaun value his gold beyond all else, but he also requires a bride, too. His convoluted rules are that if the bride sneezes three times and no one but the leprechaun blesses her, he can marry her and she’s eternally bound to the knee high monster. The sequel to “Leprechaun” opens in ancient Ireland, where the leprechaun agrees to free his man servant, once he chooses his bride. Unaware the bride is the servant’s gorgeous daughter the servant outwits the leprechaun, causing him to look elsewhere for his bride. Which takes a thousand years on St. Patrick’s Day, for some reason.

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