SCOOBY- DOO 2 MONSTERS UNLEASHED SET OF 5 BURGER KING KID'S MEAL MOVIE TOY'S VIDEO REVIEW. Based on the Hanna- Barbera television animated series, Scooby- Doo, it is the second installament in the Scooby- Doo live- action film series, and a sequel to 2. Scooby- Doo. The returning cast features of Freddie Prinze Jr. Neil Fanning provides again the voice of the title protagonist Scooby- Doo. Cast. Miller as C. L. Magnus. Karin Konoval as Aggie Wilkins. Ryan Vrba as Young Fred. Emily Tennant as Young Daphne. Cascy Beddow as Young Shaggy. Lauren Kennedy as Young Velma. Scott Mc. Neil as the Evil Masked Figure. Kevin Durand as the Black Knight Ghost. C. Ernst Harth as Miner 4. Christopher R. Sumpton as the Zombie. Calum Worthy as Kid on bike. Jackson Rathbone as man in club. Voices. Manoux as Scooby Braniac. Browse thousands of pictures of your favorite celebrities, movie stars and Hollywood legends! Price per print is lower when you buy more! As low as $3.50 each! Top 20 Horror Movie Sex Scenes A Look At Some Twisted, Hair-Raising Horror Movie Sex Scenes, Page 1. Visit the Entertainment Earth online horror shop for action figures, toys, movie character collectibles, bobble heads, scary Halloween masks, costumes & more. For a while there’s been (unsubstantiated) talk about Universal possibly rebooting its many classic monster movie franchises (Dracula, Frankenstein, etc.) to form a. Bong Joon-ho's all-star eco-fantasy is a little bit of Spielberg, a little bit of Miyazaki and a whole lot of oddball 'Baby Driver' Review: Buckle Up For Edgar Wright. Vault Of Evil, Brit Horror & Pulp fiction Plus. Threads Posts Last Post; Peter Haining (1940-2007) A one-man publishing industry. Bob Papenbrook as the Black Knight Ghost. Michael J. Sorich as the Tar Monster / Cotton Candy Glob. Terrence Stone as the 1. Volt Ghost. Wally Wingert as the Green Eye Skeleton. Cameos; Pat O'Brien. The Tasmanian Devil. Ruben Studdard! Here at Fast. Food. Toy. Reviews we have collected every toy from Hollywood’s best feature films from almost every decade. From American classics like Back to the Future, and the Lion King to modern day favorites like Minions, Jurassic World and Big Hero 6, we have gathered every fast food toy collection just for you. Remember the Simpson’s collection at Burger King from their feature film? How about the Pixar Movie collection from Mc. Donald’s? Or what about the interlocking toys from the first Ice Age or Rugrats Movie? How about the multiple collections of Scooby- Doo and Shrek toys? Well those are just a few of the favorites we don’t want you to miss! About Fast. Food. Toy. Reviews. Think toys are limited to Toys R Us and other big Toy Stores? Well, not here at Fast. Food. Toy. Reviews! We know some of the best toys come from the Fast Food Toy Chest. Join us as we scour every Mc. Donald’s Menu for the newest Happy Meal toys, travel to every Burger King for the newest movie collectable, and check out every Wendy’s - -- but that’s more for the delicious Frosties. For years fast food restaurants have always made toys with our favorite characters, like Scooby- Doo, Disney classics like Toy Story and the Nickelodeon gang, but it took a true collector, like Fast. Food. Toy. Reviews to find and collect them all. So subscribe today and join us we go through every drive through to find and share our favorite toys with you! A guide to the Universal Studios monster movies, 1. Club. Universal Monsters 1. In the 1. 92. 0s, Universal Studios enjoyed some of its greatest successes with movies featuring monsters, murder, and the macabre; but it was nothing like what happened in the ’3. Universal produced a string of horror pictures that were international hits and helped codify how some perennially popular monsters should look, sound, and behave. Take Tod Browning’s 1. Bram Stoker’s gothic novel Dracula: There had been film and stage adaptations of Dracula before (including F. W. Murnau’s unauthorized 1. Nosferatu). But just as Stoker’s book synthesized several existing stories and pieces of historical folklore, the Carl Laemmle Jr.- produced movie Dracula took from the best of the 1. Broadway play and the earlier films, with cameraman Karl Freund (who according to some reports directed much of the movie when Browning grew bored) using expressionistic effects to highlight the monster’s powers. As the vampire Count Dracula, Bela Lugosi—brought over from the Broadway show—cuts an iconic figure, with his hypnotic stare and long cape. And though the production is at times a halting mix of stage play and silent movie, in some ways that adds to Dracula’s eerie effect. Plus, there’s just so much about Dracula that’s memorable: the oddly ominous strains of Swan Lake over the opening credits; the shots of real creepy- crawly creatures; the mid- film explanation of what vampires are and how to kill them; the scantily clad women under Dracula’s spell; and Lugosi’s immortal line, “I never drink. Originally slated to star Lugosi and to portray its monster as a remorseless killing machine—a notion that now survives only in an early poster seemingly inspired by King Kong—it became a markedly different film once James Whale came on board as director and cast a towering English actor with a gentle streak as its monster. Boris Karloff brings a childlike befuddlement to the role that makes his Frankenstein’s Monster more confused and misunderstood than, well, monstrous. In Whale’s hands, Shelley’s story becomes less about scientific hubris and the philosophical overreaching of the Romantic era than the tragedy of a misfit doomed never to understand the world that made him. Whale brought a creepy atmosphere to the movie, and the makeup by Jack Pierce—which introduced the flat- top, bolt- necked look that’s become shorthand for Frankenstein ever since—completed the picture. Controversial and often censored upon release, it remains an affecting film, and one of the best of its genre, topped only by its first sequel. The rare sequel that surpasses the original, The Bride Of Frankensteinfound a returning, confident Whale pushing his visual sensibility further while introducing a strain of humor largely absent from the first film. But it’s the way he emphasizes the pathos and humanity of the Monster (Karloff again) that makes the film so memorable. Having somehow survived the events of the first film, the Monster wanders, lonely and misunderstood, until hooking up with his creator’s old mentor, who enlists him in a scheme to force Frankenstein (Colin Clive, also returning from the first film) to create a mate for his creation. The scene in which the eponymous Bride (Elsa Lanchester) meets her would- be husband is one of the most famous in the monster- movie cycle, but also its saddest, a moment recognizable to anyone who’s ever experienced heartbreak. Universal’s horror slate stalled out in the mid- ’3. In 1. 94. 1, the studio introduced another of its most enduring characters: The Wolf Man. Lon Chaney had been one of Universal’s biggest horror stars in the ’2. The Wolf Man made the career of Chaney’s son Creighton, who started using the name “Lon Chaney Jr.” in the mid- ’3. Lon Chaney” around the time The Wolf Man came out). Because it’s based on folktales and legends rather than any established literary source, The Wolf Man is a little fleeter and more direct than the Universal classics that preceded it, with writer Curt Siodmak and producer- director George Waggner getting right to the point. Chaney’s character Larry Talbot learns in the opening minutes all about the curse of the werewolf, shortly before he’s infected with the curse himself. Siodmak and Waggner don’t skimp on the subtext, either. Talbot—heir to his stuffy, estranged father’s fortune—is bitten by a werewolf while on a date with a shopgirl who’s engaged to someone else, and Siodmak and Waggner aren’t shy about linking lycanthropy to the hero’s overall oafishness and lust. Chaney isn’t the most expressive actor in Hollywood history, but he makes a good lummox, and when he transforms into a beast, he’s believably threatening and more than a little tragic. Universal adjusted to changing trends in horror again in the ’5. The 1. 95. 4 monster movie Creature From The Black Lagoon frames its story as though it were torn from a textbook, beginning with authoritative narration about evolution before showing archaeologists unearthing the fossilized appendage of a half- man/half- fish. Soon, an Amazonian expedition is launched, as a team of scientists follows the evidence and the local rumors, until they encounter this deadly, super- strong “Gill- man.” But what made Creature such a sensation—enough to spawn sequels in ’5. Universal’s most popular monsters always had sympathetic and/or charismatic elements, and the Gill- man has both, as he becomes enchanted with one scientist’s gorgeous girlfriend (played by Julia Adams) and tries to express his love while dodging scuba divers with spearguns. Creature From The Black Lagoon is corny, and part of the glut of cheap- looking ’5. Jack Arnold creates a believable space for these wooden humans and this rubbery beast to co- exist, especially in the underwater scenes, where the Gill- man secretly swims below Adams, matching her stroke for stroke in shots that look beautiful and nightmarish. Intermediate work. Though it was more dark, romantic fantasia than horror film, The Mummyfollowed fast on the heels of Dracula and Frankenstein in 1. While later Universal Mummy movies, starting with The Mummy’s Hand in 1. The Mummy owed more to Dracula and featured Boris Karloff as a soft- voiced, accidentally resurrected pharaoh who becomes obsessed with a modern woman who resembles his deceased beloved. Director Karl Freund invests the film with a dreamy quality that’s unlike anything else in the Universal Monsters cycle, and Karloff keeps with the tradition of the best films of the cycle by turning his character into an unmistakably human sort of monster, a creature driven by loneliness and haunted by a cruel past. The Mummy’s Hand kicked off a successful second wave of Mummy films that were fun in their own right, but lacked the original’s haunting undertones. The success of Universal’s 1. The Hunchback Of Notre Dame convinced studio head Carl Laemmle to cast Hunchback star Lon Chaney in an adaptation of another Gothic French novel, The Phantom Of The Opera. Though Hunchback is often cited as Universal’s first “monster movie,” the 1. Phantom has more in common with the studio’s ’3. Chaney plays a masked, mysterious music lover who threatens violence against those who would keep the woman he adores from becoming a star. The biggest difference between the silent Phantom Of The Opera and the Universal monster movies that followed is that Chaney’s self- applied Phantom makeup is exceedingly grotesque, and even now is likely to terrify (or at least repulse) modern audiences. Universal returned to Gaston Leroux’s book in 1. Although Claude Rains brings some class to the title role, the ’4. Wells’ The Invisible Man is a movie that many may feel they’ve seen, just because the sight of a bandaged Claude Rains skulking around an English village is so familiar. But Rains is a different kind of monster here: erudite, witty, and kind of bitchy. Even with his face completely obscured, Rains is a delight as a chemist who makes himself invisible and then takes advantage of his condition to wreak havoc, just to be a jerk. Whale clearly enjoys interjecting Rains’ unapologetic amorality into polite British society. The result is a horror movie that’s more of a comedy of manners than many viewers may expect (or remember), even though its special effects are state- of- the- art and its story is littered with corpses. Perhaps because of its particular sensibility, it took a while for Universal to start producing Invisible Man sequels, but the series finally built up some momentum in the ’4. The Invisible Man Returns and The Invisible Woman. In keeping with the tone of the original, the sequels are lighter than most Universal horror features. That’s a shame, as the third Frankenstein film, directed by Rowland V. Lee, is a visually ambitious story about how the sins of one generation get passed on to the next. Basil Rathbone plays the titular son of Dr. Frankenstein, Karloff returns—for the last time—as the Monster, and Bela Lugosi delivers a twisted performance as Ygor. The 1. 94. 8 horror- comedy Bud Abbott And Lou Costello Meet Frankenstein is actually misnamed, not just because the comedians actually meet Frankenstein’s monster (to be pedantic about it), but because they also meet Dracula, the Wolf Man, and the Invisible Man. Universal was able to recruit two of its original monster actors to return: Lon Chaney Jr. Frankenstein franchise star Glenn Strange donned the neck- bolts instead.) The movie isn’t Abbott and Costello’s funniest comedy, but it’s amusing enough, and it’s a treat to see all these actors—and monsters—in the same place. More importantly, the Abbott and Costello spooktaculars kept the spirit of Universal horror alive until the more science- fiction- oriented monster movies of the mid- ’5. Where the Jack Arnold- directed Creature From The Black Lagoon found a middle ground between the science fiction embraced by the ’5.
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September 2017
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