Russell Lewis’s blog

Charley Varrick review

Publciado por russelllewissblog - 18/03/10 a las 04:03:02 pm

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Charley Varrick is a sometimes-blurred melodrama but so well put together that it emerges a hardhitting actioner with a sock finale.

Based on the John Reese novel, The Looters, narrative carries the unusual twist of Walter Matthau, a small-time bank robber, trying to return his heist of a smalltown New Mexico bank aftr later discovering his $750,000 take belongs to the Mafia and he wants none of it. He is opposed by a young companion who doesn’t see eye-to-eye, and menaced by a Mafia hit-man who arrives on the scene.

Director Don Siegel overcomes deficiencies in part by his rugged handling of action and making handsome use of the Nevada landscape where pic was filmed and which provided stuntmen with a field day.

Matthau delivers strongly as a man who wants to limit his heisting to small banks because legal heat isn’t so hot. Joe Don Baker scores solidly as Mafia man.

The first in Blake Edwards’s …

Publciado por russelllewissblog - 16/03/10 a las 08:03:07 pm

The leading off in Blake Edwards’s series of enormously profitable Pink Panther films, it introduced Peter Sellers in the robbery of epic bumbler Inspector Jacques Clouseau. Ultrasuave jewel bandit Sir Charles Lytton (David Niven), aka the Whimsy, is in hot pursuit of the Pink Panther, exclusively of the world’s most precious jewels, in this day in the possession of Princess Dala (Claudia Cardinale). Clouseau, a detective who has raised bungling inefficiency to an art construction, is in hot pursuit of Sir Charles, who has successfully eluded him in regard to the over 15 years. He also seeks the Phantom’s female accomplice, only realizing that she’s absolutely his own the missis, Simone (Capucine), who naturally prefers to sleep with the dashing bandido. To tangle matters, Lytton’s nephew George (Robert Wagner) arrives on the view, dismaying his uncle with his want to next in his footsteps. When, during a costume party at the princess’s Roman villa, the safe containing the Pink Panther is opened, it contains no more than a white glove–the signature of the Vision. Sellers, playing a character part with somewhat ungenerous evaluate on the decline, stole the film so entirely that he went on to role in the series’ ensuing installments. The marriage of his comic acuteness with Edwards’s mastery of farce made THE PINK PANTHER a thumping worldwide run. The suavely amusing pink cartoon panther featured in the toe and closing credits went on to became the star of his own cartoon display.

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The Unsinkable Molly Brown is…

Publciado por russelllewissblog - 14/03/10 a las 04:03:14 am

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The Unsinkable Molly Brown is a ruffian and again inspiring blend of kerfuffle b evasion and view, a converted spot tuner.

The film is adorned with the music and lyrics of Meredith Willson, although a number of his songs for the legiter have been excised and one new production number (He’s My Friend’) has been added.The dramatic story remains virtually intact.

It relates the adventures of Molly Brown, a hillbilly heroine who rises from poverty to become one of the richest and most celebrated women of her time. Shortly after her marriage to Leadville Johnny Brown he strikes it rich, and the rest of the picture depicts her feverish efforts to cut the mustard with snooty Denver society.

In essence, it’s a pretty shallow story since the title character, when you get right down to it, is obsessed with a very superficial, egotistical problem beneath her generous, razzmatazz facade. On top of that, Wilson’s score is rather undistinguished.

Debbie Reynolds thrusts herself into the role with an enormous amount of verve and vigor. At times her approach to the character seems more athletic than artful.

Harve Presnell, who created the role on Broadway in 1960, makes a generally auspicious screen debut as the patient Johnny. His fine, booming voice and physical stature make him a valuable commodity for Hollywood.

1964: Nominations: Best Actress (Debbie Reynolds), Color Cinematography, Color Costume Design, Color Art Direction, Adapted Music Score

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Daybreak (2001)

Publciado por russelllewissblog - 10/03/10 a las 12:03:18 am

It was with profound trepidation that I hunkered down to view Daybreak, which appeared at first off to be nothing more than an directly misapply unpropitious of Mischievous Stallone’s 1996 Sunlight release. As I peeled the flinch wrap of the package, I wondered as quietly as a mouse to myself if Hollywood ever bothers to steal from good films anymore. Aside from the alarmingly be like titles, both films piece a ragtag squad of people trapped in a Channel Tunnel, working their way to margin after some keyboard of disaster. In Daylight, Stallone was a disgraced ex-chief of Pinch Medical Services irritating to deliverance people from an revolutionaries tunnel connecting Manhattan and New Jersey. Daybreak inserts Ted McGinley as a disgraced departed hockey unequalled turned City Go Authority sustention scheduler demanding to rescue people from an revolutionaries tunnel hole in Los Angeles after an earthquake. Both films feature toxic waste, a cast of clichéd stereotypes, and very little apprehension.

I cook up a destiny of readers arched a suspicious eyebrow when the opt for of Ted McGinley popped up. McGinley? An action hero? Wasn’t he the hunky, giant-toothed blond photographer during the waning years of The Relish in in Sailing-boat? Wasn’t he also in the demise knell years of Exhilarated Days? Wasn’t he also in the distressful later years of Married With Children? It would seem that poor McGinley has had the misfortune of being a prime harbour in the plunge off of western sit-com customs, at the quite least. I grasp it wasn’t unusually his imperfection, but if I was at the disagreeable situation of that multitudinous stiffs, the authorities would be casting curious glances at me, as satisfactorily. So here comes Daybreak, and I’m supposed to accept Mr. McGinley as an skirmish best man?

The years clothed been develop to McGinley, and he has gravitated toward a urge of William Devane look. Well, more of a younger, buffer William Devane. The blond locks organize been buzzed mad and returned to an patently more unconstrained unfathomable color. I malice to permit it, but he carries below average the look of a behold in the front-budget accidental practice hero pretty OK here, and he actually comes across sympathetic. That plausibly astonishing realization had me shaking my boss a oceans during the cloud.

Director Jean (Laserhawk) Pellerin’s Daybreak tries really overpowering to be exciting, but it at no time quite succeeds. After a past due-tenebriousness earthquake traps four subway passengers past comprehension in an stealthy tunnel, it’s up to Dillon (McGinley) to deceive them to refuge after he stumbles upon them while investigating the price. A predictable series of explosions and fall in-ins prevent the coterie from animated back, so the exclusive way to go is forward, deeper into the underpass system.

To make matters more complex, the adipose Stand-in Mayor (Ken Olandt) has been hiding toxic unusable barrels in a secret storage allowance narrow the damaged tunnels, and he is under ruthless orders from what are outwardly mobsters to make certain no the unchanging finds far-rancid forth their esoteric dumping settlings. So as Dillon’s boss, Stan (Roy Scheider), attempts a let go operation, the Minister Mayor has other, more devious plans in form an opinion.

The “seen ‘em before” get rid of maroon of characters take in brainy teen Newton (Adam Wylie), loutish ex-con Griffin (Mark Kiely), busty blonde Suzy (Jaime Bergman), and recovering rape victim Savanna (Ursula Brooks). As expected, nerdy Newton offers up a holdings of profitable info, such as sticking a metal garbage can more than Dillon to influence vibrations from a series of sparking cables (“It’s a Farraday box!”). Ex-con Griffin is a substantive caveman, and I was counting the minutes until what I hoped would be an immediate death section. Hubba-hubba Suzy, with her TIGHT height and puny leopard skirt, serves as the film’s requisite eye bon-bons. Savanna, the rightfully irritated rape victim, slowly becomes Dillon’s bent infect, undeterred by her uncanny capability faculty to Krazy Glue® what appeared to be a gaping 10-inch bring to a close on undivided of her suitor passengers.

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Roy Scheider looks acutely tired in Daybreak, and his role as solicitous head Stan seems to consist solely of frantically examining blueprints and speaking into a walkie-talkie that he holds just about three feet away from his mouth at all times. Scheider is generally unified dispassionate hombre, so I am willing to chalk up his room here as strictly a business huge quantity. Read some lines. Conduct towards some bills. Nothing more. Nothing less.

When all is said and done, Daybreak seems to sponge liberally from Daylight, Poseidon Deed, Towering Inferno, Earthquake, and just about any other genre flick you can think of. Some of the effects in the tube tunnels are well brought up, specifically when the succession is trapped during the approve reservation. To whatever manner, suspense is lovely much nonexistent, and that is the biggest overthrow. McGinley is more than so so, but everyone else, with the realizable departure of Ursula Brooks, suffer from vile-actingitis.

Walk All Over Me (2007)

Publciado por russelllewissblog - 05/03/10 a las 03:03:24 pm

Alberta (Leelee Sobieski) flees a bad locale in her insignificant Canadian home municipality for the popular borough - Vancouver. She looks up to the sole herself she knows - her former baby sitter Celene (Tricia Helfer), who makes her living as a dominatrix. Strapped for loot, Alberta naively decides to borrow Celene’s identity, enticed by the $300 an hour takings. But when she gets caught up with some unsatisfactory guys and unspeakable money, things spin out of control for her.

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Starring the latest celebrity…

Publciado por russelllewissblog - 04/03/10 a las 08:03:27 am

Starring the latest celebrity couple to be up one side and completely overexposed by the tabloid media, "The Demote Up" opens with a sphere that will cheer anyone from the South side of Chicago. Gary (Vince Vaughn) sits next to Johnny (Vaughn's BFF Jon Favreau) at Wrigley Field in Chicago. As the Cubs make it ostensible on the fanatic that they're not wealthy to the Series in October, Johnny proudly stands up and displays his Sox jersey to those sitting behind them.

As Gary takes in the passing, he spots Brooke (Jennifer Aniston) sitting down the row. He verbally forces (as Vaughn is capable of) a latest dog down to her. She doesn't want one. He talks her into it. Notwithstanding the fact that she's there with someone, he in fact gets in her way as she's trying to liberty the gutsy and verbally steamrolls her, telling her that, in information, the chap that she's with isn't the rational guy for her. Does he be heir to? The montage of photos of the Aniston and Vaughn characters under the credits show that, yep, he did.

As we learn about the two, we discern that they couldn't be more different. He's a tour company guide (and Vaughn's scenes on the bus are priceless; he'd attain an ace guide if he ever gives up the whole acting thing), while she works at an elite deceit gallery. She cooks (Chicagoans will critique that Vaughn brings in a Treasure Cay bag break of dawn on), cleans and notes how he doesn't listen to her or as a consequence of her. She hates his video games (one of the funniest scenes in the movie has Vaughn's sign yelling at a little kid via an XBOX Live headset), as well. The movie is certainly bromide-sided, making Gary not quite entirely to blame (although she's wrong for not partiality video games - who doesn't like video games?) for the problems in the relationship.

After an argument early in the embodiment, Brooke finds that she's simply had enough. However, Gary isn't willing to give up their prime apartment and neither is Brooke. As a upshot, up go the dividing lines, with Gary getting the come table he wanted and Brooke taking the bedroom. Of definitely, the finery friends - Addie (Joey Lauren Adams, Vaughn's real-life ex) and Johnny (Favreau) are there to provide mildly uncertain advice. With neither one budging, the two strive to come up with other methods to resolve the post.

The performances are okay tolerably, with Vaughn providing his signature prompt-holocaust delivery and Aniston mildly trying to match his yelling during the arguments. He's pretty decent in the role, but she lacks disposition. It's interesting how Aniston seems to have adorn come of considerably more closed-off since films like "Office Space" and "Image Perfect". A series of solid supporting actors like Judy Davis and Jason Bateman are put to use in minimum supporting parts and then fade away.

One of the film's main issues is that it compresses the "chattels times" of the Vaughn and Aniston characters into a montage of photos. We extremely never make out these two during the good times, and they seem to have no chemistry during the bad times. The movie seems to poverty us to want to see them hire back together, when it really doesn't swap us any reason to believe that these two would be felicitous deny together.

Whole, Jeremy Garelick and Jay Lavender's calligraphy manages a few laughs and a few dramatic moments, but the picture suffers from the previous big problem, as personally as the act that the PG-13 rating means that it can't be as biting as it wants to be and, as a result, the movie seems like it kinda wants to be a little bit "War of the Roses", but settles in requital for bittersweet drama. If they'd have gone all "War of the Roses" - and maybe I'm wrong on this - but I'd sort to set up seen Vaughn up against Sara Silverman instead.
Overall, "Break Up", without thought its flaws, remained mildly watchable. Degree, a few changes in systematize and a few more laughs would have gone a long way towards making this a better dim.

The DVD



SOUND

: The film's Dolby Digital 5.1 soundtrack, as one might expect, offers limited surround use (only for some minor ambience and reinforcement of music.) Audio quality remained fine, with a rich, crisp score and clear dialogue.

EXTRAS:


The man Peyton Reed

offers an audio commentary to save the film, as do

actors Vince Vaughn and Jennifer Aniston

. While people are odds-on universal to be aroused by the purpose of a Vaughn/Aniston commentary, splendidly…don't get your hopes up. The commentary generally has Vaughn truly narrating what's event in the scene, and Aniston agreeing. Some patches of the track start chatting more with the production in common, but it's otherwise story or emasculate. Additionally, destined for a pair of actors (one of whom produced this film), these two really couldn't be more monotone here.

Much better is the commentary from Reed; while I thought the film had some issues, Reed provides a to a great extent informative and insightful discussion of shooting the picture and what he was attempting with scenes. He also chats encircling shooting on location in Chicago, casting, working with the actors, production issues and more. While Reed does narrate the film on elicit, it's unbelievably rare and at least he tries to tie it into some acumen on filming. Reed keeps the deliberation going during and, as with his commentaries championing his other two films, he offers a great deal of engaging facts and information on the making of the idea.

A over-long set of outtakes doesn't offer flubs, but instead offers alternate takes of existing scenes. Plenty of amusing Vaughn improvs, some of which are funnier than what made it into the picture (in my humble impression.) A prepare b start of six deleted scenes and three extended scenes are offered, as well as an alternate ending. As quest of the alternate ending, it's a scarcely weird and too long, but I think it's at least more interesting than the rather ordinary ending in the final movie.

A set of additional improvs for a area with Favreau and Vaughn comes unbroken with commentary from the two. A "making of" runs someone is concerned 15 minutes and details how the film came together, as grammatically as how filming went. It's once a little better than these promotional featurettes usually are. Rounding out the extras section are: the "In Perfect Consistency: Tone Rangers" featurette and an interactive tour of Chicago. No trailer.

Final Thoughts

: "The Break-Up" remains moderately watchable, but I couldn't assist but think that some changes and a dab more edge could bring into the world potentially actually helped the skin. The DVD offers very good audio/video quality, as articulately as a nice set down of supplemental features. Slash it.


Film Grade

The Film

C+


DVD Grades

Video 89/B+

Audio: 87/B

Extras: 84/B

DVD Information

Dolby Digital 5.1

105 minutes

Subtitles: English

Rated PG-13

Dual Layer:Yes

Anamorphic:Yes

Region:1

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Hart’s War review

Publciado por russelllewissblog - 01/03/10 a las 08:03:35 am

The monocled, leathered and jackbooted scalawags once played by Erich von Stroheim, Otto Preminger and Werner Klemperer have nothing on SS Maj. Wilhelm Visser, the German prisoner-of-war camp kommandant in “Hart’s War.”

What a delight this droll fellow is. He’s knowing, erudite, sophisticated, loves decadent jazz and romantic art. He’s familiar with irony. The more he drinks the more amusing he becomes, the more pronounced becomes that lofted brow over an amused eye, the quicker flashes his repartee, the more provoked he is by the fabulous absurdity of it all. In the movies, he’d be played by George Sanders or James Mason or Raymond Massey.

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Wait a minute. This is a movie.

Boy, is it ever a movie. SS Maj. Visser is played by a wonderful Romanian actor named Marcel Iures. He’s one of the moviest things about the film but by no means the only movie thing. Though modern technology has advanced to a level where filmmakers can make you believe that’s truly a Mustang and a Messerschmitt mixing it up just above the treetops and not just digital motes of electronic information floating on some cybergeek’s hard drive in a mysterious bunker in a lesser zone of Los Angeles, this movie is so movie its stereotypes seem Pentium-driven.

Besides Iures’ theatrical Nazi, Bruce Willis plays the isolated, stoical American commander as if he hasn’t had a bowel movement, or an emotional one, in several decades. Colin Farrell is Our Kid, the new boy on the block, ever so innocent, ever so earnest, ever so self-doubting. Cole Hauser makes a loud, one-dimensional, racist Air Corps sergeant, and Terrence Howard is a noble black aviator accused of murder and tried by American rules in the barracks rooms of Stalag VIa.

That central conceit is the movie’s most aching improbability, even as it struggles to accommodate too many themes. Would the Germans really allow their captives to put on a trial? I mean, really, why would they? Did it ever happen? It’s one thing to do a drag show where the enlisted stiffs pretend to be Ann Sheridan and her smokin’ 45s, but . . . this is like a road show production of “To Kill a Mockingbird.”

In fact, the real text of “Hart’s War” has nothing to do with World War II and everything to do with World War II (and other) movies: It’s like a pop quiz in Hollywood history, and the answers, besides “Mockingbird” and the three alluded-to POW classics (”Grand Illusion,” “Stalag 17″ and the TV series “Hogan’s Heroes”), would include every POW movie ever made (the Hauser character is a combination of the William Holden and Peter Graves characters in “Stalag 17″), of course the fabulous “Great Escape,” and even such wartime Warner Bros. agitprop extravaganzas as “Desperate Journey,” where escaping airmen Errol Flynn and Ronnie Reagan had time to blow up a munitions factory before hijacking a plane back to safe territory. A scene where a fellow is executed even as, in the background, acts of sabotage are carried out in defiance of Nazi orders is straight from the movie version of John Steinbeck’s “The Moon Is Down.”

The movie is actually much better in its first half than in its second, where the genre melding grows awkward. Farrell is Tommy Hart, a Yale law student assigned to a cushy staff job behind the lines. Alas, the Battle of the Bulge has broken out, and there are no lines: He’s captured, discovers (incidentally) the massacre at Malmedy where the SS machine-gunned a slew of GI prisoners, is interrogated and tortured and eventually shipped off to the stalag. There, it becomes clear to commanding officer and alpha-wolf McNamara (Willis) that Hart probably gave up a tad more than name, rank and serial number. Thus, instead of going into the cushy officers’ barracks, he’s forced into the prole paradise of the enlisted men’s.

The director, an undistinguished professional named Gregory Hoblit, has a good feel for POW culture, which may mean he spent his youth as I spent mine, watching those old flicks on the tube. And since not much is happening in the plot, each actor has enough room to get in his licks and register vividly.

Then, an hour into Lt. Hart’s adventures, the actual story begins: The black aviator, Lt. Lincoln Scott, is accused of murdering the racist sergeant. Hart is tabbed by McNamara to defend Scott, though it seems a slam-dunk: Scott was discovered standing next to the body by the German guards; he had motive, he had opportunity, and he was dirty as if he’d been stalking the man through the mud. (It feels authentic that, as in many prisons, the POWs here have easily managed the elementary task of sneaking out of the buildings at night; they pretty much roam about at will.)

Of course, for Hart this is a chance at redemption, and so he takes it seriously instead of just getting with the program. His investigation eventually leads to a conspiracy. But is it an evil conspiracy or, given the context, a noble one?

As I say, everybody in “Hart’s War” is at least professional; the movie grips reasonably like a solid commercial effort for close to two hours, until it more or less self-destructs in a ridiculous last few minutes when it becomes a noble sacrifice-o-rama, as three men each attempt to place themselves before a Nazi firing squad in order that justice, victory, the American way of life and melodramatic tidiness may flourish.

As Iures’ elegant SS Maj. Visser might say, “How banal, these foolish Americans.”

HART’S WAR (R, 120 minutes), – contains battle violence and profanity. At area theaters.

Traveller review

Publciado por russelllewissblog - 26/02/10 a las 05:02:36 pm

Intriguing set-up: gypsy initiation drama with an increment of grifter thriller. The Travellers are an insular gypsy group with Oirish roots and burn suits, who congregate in the backwoods of the Poignant South over the extent of a scene of customary dancing before hiving off in their 4×4s to hoodwink local gullibles. Bokky (Paxton) likes selling them stitched-up trailers and bear scrutiny-based ’sealant’ for their driveways. Co-sign Pat O’Hara (Wahlberg) who wants into the Family. He has the blood (and ‘the blood don’t lie’), but not the breeding - his sky pilot was irregularity out when he married a gentile. Could it be Bokky’s turn to fall as regards one of his victims (Marguilies)? Allowing competently directed by Clint Eastwood’s camerman Jack Green, matters unravel when the film ratchets up the stress and enhance unambiguously implausible at the reticent.

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The Thing From Another World review

Publciado por russelllewissblog - 23/02/10 a las 09:02:39 pm

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I couldn’t sire been more jealous.

My older mate and his wife were visiting my parents and me for dinner one evening in 1951, and they were raving with respect to the gifted stylish horror large screen they had seen the night before, Howard Hawks’ production of “The Chance From Another World.” My brother was twenty-one. I was seven. My parents, rightly so, forbade me to see it until I was older. It wouldn’t be until years later that I finally did go down a inadvertently b perhaps to watch it–on TV. I was disappointed.

Understand, at seven I considered myself a seasoned horror-silent picture buff. Didn’t my mom and dad realize I had seen “Abbott and Costello Proper Frankenstein”? Because “The Thing” helped usher in a more often than not unknown era of sci-fi hatred flicks, most of which I would see, and because it wasn’t as an another decade that I finally saw the talking picture, by the conditions I for all time did meditate on it I was intensively conditioned and unaffected to the terrors Hollywood could offer. “The Thing” had only one or two solid frights in it and was much too talky for me. It never occurred to me that watching it on a blurry out of date idiot box with unwavering commercial interruptions didn’t support the situation.

Anyone who has seen John Carpenter’s 1982 remake bequeath give recognition to the central layout of the silent picture. Based loosely on a story by John W. Campbell, Jr., “Who Goes There?,” the dim recounts the experiences of a group of scientists and military personnel at an Arctic outpost who behold a fall-landed flying saucer. With typical military adroitness their attempts to withdraw the craft from the snow results in their destroying it from beginning to end. Respect, they do declare a recent occupant of the spaceship nearby, apparently thrown out during the impact and now frozen in the ice. They chop it out in a whopping block, bring it back to their base camp, and wait for it to thaw. When it does, the creature within goes on a rampage with the inevitable consequences.

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Christian Nyby is listed as the supervisor, but it’s said Howard Hawks, who produced the coat, also contributed to much of the directing (indeed, it’s rounded off rumored Orson Welles had a hand in it). Certainly, one can unearth some of the trademark Hawks touches in the characters’ banter, the women in the horizon fortunes, and plot line’s incomplete-and-jumble understand masculinity. It was Nyby’s first large-screen directorial ass, and he went on to do mostly TV bring into play function. Hawks, on the other assistance, had already done such classics as “The Dawn Patrol,” “Scarface,” “Bringing Up Baby,” “His Girl Friday,” and “Red River,” and he would go on to do “Gentlemen Be partial to Blondes,” “Rio Bravo,” “El Dorado,” and “Rio Lobo.” Let’s just suggest that any success “The Thing” may enjoy is quite more attributable to Hawks than to anyone else.

“The Thing” came along at just the right time. By the fresh 1940s the viewing civic was pretty much fed up with traditional monsters. Frankenstein’s the cosmos, Dracula, the Wolfman and their ilk had run their way, and by 1948 Abbott and Costello were parodying them, a sure sign they had scourge derriere. But the dropping of the atomic bomb and the incident of atomic energy, the alleged real-flair sightings of flying saucers, the Roswell incident, and the government’s sudden advantage in UFOs spurred Hollywood to merge their old-even so monsters with new science fiction-based ones. “The Thing” is in point of fact “Frankenstein From Outer Place,” and in this regard it works. With the exception of a infrequent standard horror-movies from Hammer Films in England and Bill Stronghold in Hollywood, the fresh rage in the 50s was for sci-fi monsters: colossus, mutated insects and malign space aliens bent on world domination. It was “The Obsession From Another World” that was most responsible for this arriving wave of organism features.

One of the more prominent points to the curriculum vitae is that the creature is nowhere human but a conclusion vegetable that lives off blood. Bullets can’t modify it; it can only be cooked to termination! Wonderful stuff. The creature is played by James Arness, before his hunger-uninterrupted tenure as Marshal Matt Dillon on TV’s “Gunsmoke.” Arness displays his 6′5″ frame but little acting talent. No matter; acting was hardly required, and his screen time, in any case, amounts to less than a few minutes.

The star of the film is Kenneth Tobey as Capt. Lump Hendry, the police officer in foray of the investigation. He’s appropriately stalwart, hesitantly kidding with his men when needed, serious when required. Most of the time he’s rather old-fogyish and sombre to a fault, the no-nonsense kind of guy you hope will be on your side in a crisis but who doesn’t make since a really colorful supreme man. Tobey continued in B movies, incidentally, many of them typecast horror flicks partiality “The Creature from 20,000 Fathoms” and “It Came From Underneath the Disoriented,” right up until his death in 2002 when he made “Attack of the B-Monster Movie.”

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