WEREWOLF BY NIGHT (2022) – Marvel’s Werewolf Movie a Visual Treat but Not Exactly Horrific

0

WEREWOLF BY NIGHT (2022) is a curious creature.

This very short movie, which runs only 55 minutes and is a standalone film, not an episode of a TV series, is part of the Marvel Cinematic Universe, but it’s also a horror movie. Based on Marvel’s Legion of Monsters comic series, WEREWOLF BY NIGHT is being billed as an action, adventure, horror comedy.

Talk about your vegetable soup!

Anyway, I’d been hearing a lot of good things about this one, mostly from horror fans, who have been saying WEREWOLF BY NIGHT reminded them a lot of the classic black and white Universal monster movies. Sadly, I didn’t see or feel that connection. The only similarity I saw between the two was they were both shot in black and white. For me, WEREWOLF BY NIGHT, which premiered on Disney Plus and is now streaming there, plays like a Disney/Marvel family friendly hybrid with a few mild and tame horror elements thrown in. While I appreciated the visual elements of this movie, I was basically unimpressed with just about everything else.

Indeed, the best part about WEREWOLF BY NIGHT and the main reason to see this one is the work by director and music composer Michael Giacchino. Giacchino is one of my favorite film composers working today, and he has composed a ton of memorable movie music scores, including music for THE BATMAN (2022) and THOR: LOVE AND THUNDER (2022). He has written the scores for other Marvel superhero movies, for the recent JURASSIC PARK films, for the recent PLANET OF THE APES series, for the recent STAR TREK movies, and on and on! Two of my favorite Giacchino scores were in horror films, the Hammer vampire movie LET ME IN (2010), and one of the all-time best giant monster movies, CLOVERFIELD (2008). His very memorable theme in CLOVERFIELD doesn’t appear until the end credits, but it’s worth the wait. He also wrote a pretty memorable score for ROGUE ONE: A STAR WARS STORY (2016).

So, yeah, he’s scored a few movies.

WEREWOLF BY NIGHT is Michael Giacchino’s directorial debut, and it’s a good one. Visually, WEREWOLF BY NIGHT is a real treat to watch. The black and white photography is atmospheric and effective, and Giacchino even includes a la STRANGER THINGS the grainy look of film, even inserting the infamous cigarette burns— the little dot in the upper half of the frame– which used to appear in all movies to alert projectionists that it was time to start the next reel. Of course, there’s no need for those anymore since today’s movies are all digital. Giacchino does use some color, most notably for the very red bloodstone, which is integral to the movie’s plot.

Oh yes. The plot.

It’s pretty standard and also at 55 minutes pretty quick.

Basically, a group of infamous monster hunters gather at the castle of the recently deceased Ulysses Bloodstone, the most famous monster hunter of them all. These hunters are all tasked with hunting a very dangerous creature, and the one who slays the beast, will inherit the glowing red bloodstone, which will give its owner the power and right to be the master monster hunter. Blah, blah, blah.

The two main characters are Jack Russell (Gael Garcia Bernal), a hunter who isn’t quite who he says he is, and Elsa Bloodstone (Laura Donnelly), the estranged daughter of the deceased, and these two form a pact during the hunt to work together so Elsa can get the bloodstone, and Jack can get what he really wants.

Things don’t go as planned, and during the film’s second half, the werewolf element finally emerges.

Since this is based on the Marvel comic by Gerry Conway, the screenplay by Heather Quinn and Peter Cameron pretty much tells an action-adventure story. While the horror elements are there, they are downplayed. The film also contains some witty snappy dialogue which Marvel superhero movie fans have come to expect.

But since I am also a huge fan of werewolf movies, I have to say that the werewolf stuff— both the actual werewolf and all of the werewolf sequences in this movie— was a bit of a letdown. I wasn’t impressed with the actual werewolf, and the scenes were just meh. The biggest problem I had with the werewolf scenes comes down to the movie’s plot, about hunters trying to slay a beast, which isn’t even the werewolf, by the way. The story is all rather mediocre.

But Giacchino’s work behind the camera is definitely not mediocre, nor is his music score, and it was fun to watch how he integrated the music with his film direction. The timing was impeccable.

I enjoyed watching WEREWOLF BY NIGHT, even though I found its story to be something of a snooze, and as such, and I for one was glad it was only 55 minutes long.

I give it two and a half stars.

—END–

RATING SYSTEM

Four stars- Excellent

Three stars- Very Good

Two stars- Fair

One star- Poor

Zero Stars- Awful

THE BATMAN (2022) – Film Noir Batman Goes On Way Too Long

0

A funny thing happened while I was watching THE BATMAN (2022).

The latest Batman movie, which is yet another reimagining of the masked vigilante of Gotham city by one of my favorite movie directors working today, Matt Reeves, and which introduces Robert Pattinson to the role of the Caped Crusader, has been receiving heaps of praise from critics and fans alike since its theatrical premiere on March 4… it’s currently streaming on HBO Max… with some even calling it the best Batman movie yet!

For me, I was really enjoying it, and like many others was blown away by its dark film noir take on the subject, and at the end of two hours, I was leaning towards agreeing with those who were calling this the best Batman ever. But then that funny thing happened. The movie kept going. And going. And going. So… at the end of three hours, I didn’t hold that same opinion.

See, THE BATMAN is long. Like, super long! As in two hours and fifty-six minutes long. And yes, these days this is a pet peeve of mine. Movies in general are trending towards the time management equivalent of Major League Baseball games. If you’re going to make a movie that is three hours long, you darn well better have a good reason for it, and for my money, most films I see that run well over two hours, don’t. Someone needs to edit these would-be sagas down.

So, while I liked THE BATMAN, what I liked least about it was that it was so gosh darn long. And this is from someone who was really into this film and was enjoying the ride all the way up to that two-hour mark.

It also didn’t help that the plot as laid out in the screenplay by director Matt Reeves and Peter Craig isn’t anything to write home about. The story is all about corruption. The Riddler (Paul Dano) is targeting the corrupt public officials of Gotham City because he’s sick and tired of the lies and cheats of those running the city, and hence the Mayor, Police Commissioner, and others are all being murdered in the most horrific of ways, complete with personalized letters and riddles meant for Batman (Robert Pattinson) who decides he will find out who is killing the corrupt leaders of Gotham and why. He teams with Selina Kyle aka Catwoman (Zoe Kravitz) to do this, as Kyle is interested because her best friend was involved and was subsequently killed because of her involvement. Their investigation leads them to the dark underbelly of Gotham City, filled with organized crime and corruption, and folks like Oz aka The Penguin (Colin Farrell) and gangster Carmine Falcone (John Turturo).

At the end of the day, you know who wins.

You don’t need three hours to figure it out. Did I say THE BATMAN was long?

The screenplay is not a strength of this movie. It does a decent job with some of the characters. I liked the take on Batman where he’s viewed more as a detective and vigilante, who is quite shadowy and frightening, and I also liked how most of the comic book aspects of the villains took a back seat to more realistic interpretations, but sadly we’ve seen all this before.

Craig was one of the screenwriters who wrote THE UNFORGIVABLE (2021), the very dark Sandra Bullock drama where she played an ex-con out of prison dealing with people who continued to see her as a worthless monster who didn’t deserve to be alive. The feeling of hopelessness from that movie is often on display here in THE BATMAN, and that works well. Likewise, the dark tone is on par with Matt Reeves’ WAR FOR THE PLANET OF THE APES (2017) which Reeves wrote and directed. I have no problem this. In fact, I really liked the grim outlook which THE BATMAN presented.

The problem though is a question I asked myself before I sat down to watch this one, which was: do we really need yet another reimagining of Batman? I mean, it used to be years would pass before filmmakers would return to remaking great stories which had already been told. I mean, we just saw Ben Affleck in the role a mere five years ago in JUSTICE LEAGUE (2017).

So, while I liked a lot of what Matt Reeves did with this movie, most of it is just stuff I’ve seen before. And if I’m going to sit through a three hour movie, I’d prefer it not be on stuff I’ve seen before. Have I mentioned yet that this film is long???

As I said, Matt Reeves is one of my favorite movie directors. He directed CLOVERFIELD (2008), LET ME IN (2010) Hammer Films’ vampire remake starring Chloe Grace Moretz that I actually prefer over the original, as well as the very entertaining DAWN OF THE PLANET OF THE APES (2014) and WAR FOR THE PLANET OF THE APES (2017). For the most part, I enjoyed Reeves’ work here on THE BATMAN. I loved how he depicted Batman’s movements, with slow heavy footsteps that made him more monstrous and ominous than any previous interpretation. He instilled fear before he threw any punches. The film noir feel of the movie was awesome. With its constant rain pelting Gotham City, the film had a definite BLADE RUNNER (1982) feel to it.

The action sequences were okay. I’ve seen better. But the overall drama, conflict, and story simply doesn’t hold up for all three hours of this very long movie.

I’m a fan of Robert Pattinson. Not because of TWILIGHT, a series which I hated then and still hate now, but because of what he’s done since. He’s been terrific in such movies as THE LOST CITY OF Z (2016), GOOD TIME (2017), and most recently as a slimy reverend in THE DEVIL ALL THE TIME (2020). As Batman, Pattinson is excellent! He is certainly not the problem with this movie. In fact, I enjoyed Pattinson as Batman so much I would be more than happy to watch him play the role again. I liked his tortured take on the character… again, nothing new… but Pattinson did it well.

Where does Pattison rank with the movie Batmans? Tough to say now, as he has only played the role once. I love Christian Bale’s take on the character, and I’ve always been a fan of Michael Keaton’s work as the Caped Crusader in his two Batman movies. Interestingly enough, the Batman I believed Pattison resembled the most was… Adam West from the campy 60s version! There’s something about Pattison’s jawline beneath the cowl that calls to mind West. For such a dark movie, there are several nods to the Adam West version of Batman here in THE BATMAN, such as the bust of William Shakespeare in Wayne Manor.

The rest of the cast is solid, and all add to the pieces which make up THE BATMAN. Zoe Kravitz is okay as Selina Kyle. We just saw her in the thriller KIMI (2022), and I actually enjoyed her more in KIMI than here as Catwoman.

Jeffrey Wright, fresh off his memorable swan song as CIA agent and James Bond buddy Felix Leiter in NO TIME TO DIE (2021), makes for an effective James Gordon. An unrecognizable Colin Farrell is excellent as Oz aka The Penguin who looks like he would have been right at home operating inside the world of THE SOPRANOS (1999-2007) The same can be said for John Turturro as Carmine Falcone. Besides Pattinson, Farrell and Turturro deliver the best performances in the movie.

Andy Serkis does well as Alfred in limited screen time. Speaking of limited screen time, we barely see Paul Dano as the Riddler, which works against the movie. In his brief screen time, Dano didn’t really impress me as the villain.

THE BATMAN also features an atmospheric and haunting music score by Michael Giacchino, which reminded me a lot of the score he wrote for LET ME IN.

Is THE BATMAN the best Batman movie ever?

No.

Christopher Nolan’s THE DARK KNIGHT (2008) remains the gold standard of Batman movies, and for my money is the best Batman movie to date. Nolan’s BATMAN BEGINS (2005) is not that far behind. And while they have not aged well, Tim Burton’s BATMAN (1989) and BATMAN RETURNS (1992) are both excellent Batman movies. You have Michael Keaton as Batman in both, and Jack Nicholson’s Joker in BATMAN, and Michelle Pfeiffer’s Catwoman— still the best movie Catwoman yet— in BATMAN RETURNS.

Where does THE BATMAN rank?

Well, for its first two hours, it was right up there with THE DARK KNIGHT. But it goes on far too long and just doesn’t have the legs to go the distance. It lost me in its final hour, and by the time Batman and Catwoman are taking down the Riddler and friends, the only thing I was thinking about was finally being able to stand up again.

Did I mention this movie was very long?

—END—

One-Time
Monthly
Yearly

Make a one-time donation

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00
$15.00
$100.00
$5.00
$15.00
$100.00
$5.00
$15.00
$100.00

Or enter a custom amount

$

Your contribution is appreciated.

Your contribution is appreciated.

Your contribution is appreciated.

DonateDonate monthlyDonate yearly

IN THE SPOOKLIGHT: BENEATH THE PLANET OF THE APES (1970)

1

As a kid, I favored BENEATH THE PLANET OF THE APES (1970), the second film in the original PLANET OF THE APES series, and it was clearly my favorite of the five APES movies.

I appreciated its fast pace, its frequent action scenes, and its incredibly exciting ending. However, over the years, my opinion on this one has changed, and I don’t hold it in as high regard as I once did.

But wait! A review of BENEATH THE PLANET OF THE APES, a science fiction movie, in a column on horror movies? Well, I….as do most of you…have a broad definition of horror, and a film in which the entire world is blown to bits by a doomsday nuclear bomb, well, that’s horrific enough for me!

This first sequel to the original PLANET OF THE APES (1968) was originally going to follow the further adventures of astronaut George Taylor (Charlton Heston), but Heston wasn’t interested in the project, as by rule, he said he simply didn’t make sequels. However, he eventually agreed to reprise his role as long as it was brief (he made himself available for two weeks) and that they killed off the character. He also donated his salary for this one to charity.

And so the plot instead follows a second astronaut who crash lands on the planet, Brent (James Franciscus). While Fransciscus is very good in the lead role, the plot point of a second astronaut crash landing on Earth in the future at the same point in time as Taylor, I’ve always found difficult to swallow.

Anyway, Brent soon meets up with the mute Nova (Linda Harrison), who leads him back to Ape City where he meets Zira (Kim Hunter) and Cornelius (David Watson) who help him with his search to find Taylor. Meanwhile, the apes are being led by the militant General Ursus (James Gregory) who is intent on leading the apes into war against a mysterious unknown enemy lurking in the forbidden zone. Minister of Science Dr. Zaius (Maurice Evans) while not on board with Ursus’ militant methods, agrees the enemy in the forbidden zone must be confronted, as he believes it to be the tribe of dangerous humans from which Taylor had emerged.

Of course, Brent’s search for Taylor also leads him to the forbidden zone into the bizarre world lurking beneath the planet of the apes, where he engages in a direct confrontation with the inhabitants living there, setting up the stage for an all out action-packed conclusion as the apes attack the city just as Brent finds Taylor.

BENEATH THE PLANET OF THE APES has a lot of things going for it. Unfortunately, it has just as many things working against it.

For the most part, its story is a good one, as the screenplay by Paul Dehn, who would go on to write the rest of the movies in the APES series, is solid and tells an exciting tale as it follows Brent’s attempts to stay one step ahead of the apes as he searches for Taylor. And the social commentary also works, as we witness chimpanzees protesting against the militant gorillas, scenes which at the time mirrored the protests against the Vietnam war. Of course, here in 2020, the protests still have relevance.

However, as good as the script is, the screenplay for the first movie was written by Oscar winning screenwriter Michael Wilson and Rod Serling. There’s simply no comparison.

The original film has one of the most memorable and iconic endings of any science fiction movie… heck, any movie period!… ever! It seems this was inside the heads of the makers of the sequel, as they seemed to want to one-up the original ending and came up with the shocker of blowing up the world and killing everyone off.

As much as I used to like this ending, today it’s my least favorite part of the movie. It just doesn’t fit with the thought-provoking feel of the original film, and sadly sets the stage for the rest of the series which seemed intent on containing dark, violent, and tragic endings.

The budget for BENEAT THE PLANET OF THE APES was half the budget of the original film, and it shows. Most of the apes in the background in this one wear masks rather than John Chambers’ Oscar-winning make-up, used here for only the major ape characters.

Still, director Ted Post makes the most of what he had, and this one remains fast-paced and exciting throughout. It just doesn’t possess the same awe and otherworldly feel as the first film did.

James Franciscus is very good as Brent, although strangely he seems to be doing his best Charlton Heston impersonation. Evidently, Franciscus was very serious on set and hoped this film would be a major breakout role for him, which ultimately it was not. There are also stories of Fransciscus and Charlton Heston being very competitive during the shoot, and supposedly there was some genuine antagonism during their famous fight scene.

Kim Hunter returns as Zira, but her screen time is greatly reduced here in the sequel. Also, Roddy McDowall was unable to return as Cornelius in this movie, since he was committed to another project, and he is sorely missed here. David Watson plays Cornelius, and he’s simply nowhere near as good as McDowall.

Maurice Evans does get lots of screen time as Dr. Zaius, and James Gregory delivers a scene-stealing performance as General Ursus.

Linda Harrison also gets more screen time as the mute Nova, and her death, shot dead by a gorilla, marks the point in the movie where for me it all begins to unravel and go downhill.

Charlton Heston is fine once again as Taylor, but he is not in this one much at all, since he wasn’t interested in the project.

BENEATH THE PLANET OF THE APES does contain one of my all-time favorite lines in the series, as uttered by Ursus: “The only good human, is a dead human!”

And with its doomsday conclusion, BENEATH THE PLANET OF THE APES should have ended the series, but thanks to the imaginative minds of writers, there emerged a third film in the series, ESCAPE FROM THE PLANET OF THE APES (1971).

But that’s a story for another column.

—END—

Books by Michael Arruda:

DARK CORNERS, Michael Arruda’s second short story collection, contains ten tales of horror, six reprints and four stories original to this collection.

Dark Corners cover (1)

Waiting for you in Dark Corners are tales of vampires, monsters, werewolves, demonic circus animals, and eternal darkness. Be prepared to be both frightened and entertained. You never know what you will find lurking in dark corners.

Ebook: $3.99. Available at http://www.crossroadspress.com and at Amazon.com.  Print on demand version available at https://www.amazon.com/dp/1949914437.

TIME FRAME,  science fiction novel by Michael Arruda.  

How far would you go to save your family? Would you change the course of time? That’s the decision facing Adam Cabral in this mind-bending science fiction adventure by Michael Arruda.

Ebook version:  $2.99. Available at http://www.crossroadpress.com. Print version:  $18.00. Includes postage! Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

Michael Arruda reviews horror movies throughout history, from the silent classics of the 1920s, Universal horror from the 1930s-40s, Hammer Films of the 1950s-70s, all the way through the instant classics of today. If you like to read about horror movies, this is the book for you!

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com.  Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, first short story collection by Michael Arruda.  

For_the_love_of_Horror- original cover

Print cover

For the Love of Horror cover (3)

Ebook cover

Michael Arruda’s first short story collection, featuring a wraparound story which links all the tales together, asks the question: can you have a relationship when your partner is surrounded by the supernatural? If you thought normal relationships were difficult, wait to you read about what the folks in these stories have to deal with. For the love of horror!

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com. Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

WAR FOR THE PLANET OF THE APES (2017) – The Best of The New APES Movies

0

war_for_the_planet_of_the_apes_poster

The new PLANET OF THE APES series keeps getting better and better.

RISE OF THE PLANET OF THE APES (2011) was an okay reboot, solid yet uninspiring. Its sequel DAWN OF THE PLANET OF THE APES (2014) was better. I liked it but I didn’t love it.

Now comes WAR FOR THE PLANET OF THE APES (2017) a thoroughly engrossing tale that is equal parts futuristic science fiction, epic adventure, and prisoner of war drama. All three parts work well to comprise a story that is captivating from start to finish, so much so, that this third film is clearly the best entry of the series thus far.

Of course, it helps to have a talented director at the helm.  Matt Reeves, who also directed DAWN OF THE PLANET OF THE APES, is one of the more talented directors working today. He’s directed some of my favorite horror movies in recent years, films like CLOVERFIELD (2008) and LET ME IN (2010), and now WAR FOR THE PLANET OF THE APES. I only wish he’d make more movies.

When WAR FOR THE PLANET OF THE APES opens, we find Caesar (Andy Serkis) and his band of apes still hiding in the woods, still trying to avoid the humans who are out to conquer them.  This time around, the advancing human military is led by a charismatic officer known as The Colonel (Woody Harrelson).

A small military unit locates the apes and attack, but they are defeated.  Caesar spares the lives of a couple of prisoners and sends them back as a peace-offering, but this doesn’t stop the Colonel, who returns and raids the apes’ camp, killing Caesar’s wife and son.

Found out, the apes have to move, but Caesar announces that he’s not accompanying them, as he is intent on finding and killing the Colonel.   Eventually, all the apes, Caesar included, are captured by the Colonel’s forces, setting the stage for the second half of the movie, which plays out as a riveting prisoner of war tale, where the apes attempt to plan a daring escape, even as another military contingent moves in, one that is at odds with the Colonel and plans on wiping out all the occupants at the base, including the apes.

There is so much to like about WAR FOR THE PLANET OF THE APES.  I liked how Caesar evolved here.  In the first film, he barely spoke, saying one word here, one word there. In the second film, he spoke more, but not entirely fluently.  Here, he speaks effortlessly, which makes him an even stronger character.

The storyline of the disease which wiped out humans and gave intelligence to apes continues to evolve in this movie and remains compelling.  This time around, we learn that the disease is changing, that the remaining humans are gradually losing the ability to speak, and are slowly becoming more beast-like, while the apes are becoming more intelligent.  This plot point hearkens back to the original series, where apes were intelligent, and humans were mute animals.

We first get a hint of this change when Caesar and friends find a young girl (Amiah Miller) who cannot speak.  Orangutan Maurice (Karin Konoval) eventually names her Nova, in a nod to the Linda Harrison character from the 1968 original film PLANET OF THE APES.

And more apes than just the ones with Caesar were affected, as they meet another chimpanzee who goes by the name Bad Ape (Steve Zahn) and who tells them his story.

There are a lot of nods to the original series here.  The soldiers wear the symbols for Alpha and Omega on their helmets, which is a nod to the Alpha/Omega bomb which destroyed the Earth in BENEATH THE PLANET OF THE APES (1970).  The line is used, “the only good ape is a dead ape,” which is a reference to General Ursus’ line “The only good human is a dead human,” also from BENEATH THE PLANET OF THE APES.

Again, there’s the character of Nova, and I liked how they came up with the name, as she finds a grille from a Chevy Nova.  Also, when Maurice says her name, “Nova,” he says it the same way and with the same cadence as Charlton Heston said it in BENEATH THE PLANET OF THE APES, so much so that I wonder if they dubbed in Heston’s voice here.

Speaking of Maurice, his name is a nod to the actor Maurice Evans who played the orangutan Dr. Zaius in the original films.  And Caesar’s little son is named Cornelius, who was the character played by Roddy McDowall in the original films, and in those films Cornelius was Caesar’s father.

There are also just some funny monkey references. The back of one of the soldier’s helmets reads BEDTIME FOR BONZO, a reference to the Ronald Reagan movie, a comedy which featured a chimpanzee. Also, the apes who work for the Colonel are called “donkeys,” a reference to Donkey Kong.

The special effects are amazing. The apes look phenomenal. They’re so good it’s easy to forget that nearly every character in this movie is a CGI creation.  The only main human character is Woody Harrelson’s Colonel, and the rest of the humans are nameless soldiers, and yet the film doesn’t suffer for it at all. You don’t watch this movie and feel like you’re watching an animated cartoon.  These characters seem genuine and real, more so than some of the human characters we see in other movies.  And their story is compelling.  You really do feel for the apes and want them to escape from the prison.

Andy Serkis, who’s become the king of motion capture performances, is excellent once again here as Caesar. I don’t think they give Oscars yet for this category, but if they did, he should get one.  And he’s not alone here.

Both Karin Konoval as Maurice and Terry Notary as Caesar’s other loyal friend Rocket have also been in all three APES movies, and they’ve been excellent each time as well.  Also of interest, both Serkis and Notary have played King Kong.  Serkis played Kong in the Peter Jackson remake KING KONG (2005), and Notary played Kong in KONG: SKULL ISLAND (2017).

Two newcomers also really stand out.  Steve Zahn as Bad Ape nearly steals the movie with his humorous and touching performance as the ape who had survived on his own all these years before meeting Caesar and his band of apes.  The best part about Bad Ape is that he’s funny without being annoying, and he’s scared without being a coward.  He steps up when needed.

Likewise, young Amiah Miller is superb as Nova, in a role that is even more impressive considering she doesn’t speak any lines as Nova cannot talk.  Her scenes with Caesar are especially moving.  Once Nova and then Bad Ape enter the storyline, the film really takes off.  Miller reminded me somewhat of a very young Amanda Seyfried.

And Woody Harrelson does what he has to do as the evil Colonel.  The role isn’t as fleshed out as the apes’ characters, but it doesn’t really need to be.  He’s the villain, and Harrelson gives the guy real presence, so much so that things always feel disturbing when he’s on-screen. And we do get some background on him, as we learn what happened to his son.

The script by Mark Bomback and director Reeves is excellent.  I loved the story it tells, and the ape characters are all fleshed out to the point where you forget you’re watching CGI creations.  I especially liked the story, which is essentially divided into three parts. The first part picks up where DAWN left off, and features apes and humans battling in the jungle.  The second part becomes an epic adventure, where the apes migrate from the jungle, and where Caesar and his small band of friends go off on their own across beaches and eventually into a wintry mountain terrain as they seek out the Colonel.  It’s this sequence where they find Nova and meet Bad Ape.

And then there’s the third part, the gripping grueling prisoner of war tale, where Caesar must lead the apes on a daring escape.  This part plays like the classic war movies of yesteryear, films like STALAG 17 (1953) and THE GREAT ESCAPE (1963).  With each chapter of the story, the film gets stronger, as each story is better than the previous one.

I’m a huge Matt Reeves fan, and he does a phenomenal job here.  His films CLOVERFIELD and LET ME IN are among my favorite horror movies period.  WAR FOR THE PLANET OF THE APES now joins that list.  Of course, the true test for Reeves is his next movie, as he’s writing and directing the upcoming THE BATMAN, the standalone Batman film starring Ben Affleck. Good luck, Matt!

And WAR FOR THE PLANET OF THE APES features yet another powerful music score by Michael Giacchino, who we just talked about last week as he scored SPIDER-MAN: HOMECOMING (2017).  I liked his score for APES here even better than his SPIDER-MAN score.  It reminded me a lot of the score he wrote for LET ME IN.  It’s potent, militaristic, and haunting.

I really liked WAR FOR THE PLANET OF THE APES. Everything about it works.

It’s easily the best of the rebooted APES series.

—END—

 

 

THE HORROR JAR: Music by Jerry Goldsmith, Part 1

1

Welcome back to THE HORROR JAR, that column where we look at lists about movies, especially horror movies.  Today we look at genre movies scored by Jerry Goldsmith, and there are a lot of them.

Jerry-Goldsmith

Jerry Goldsmith

Looking back at Jerry Goldsmith’s career, it’s amazing to see just how many horror and science fiction films he wrote the music for, and how memorable these scores are.  There are so many, in fact, that I’ve divided this column into two parts.

Here’s a partial look at his prolific career, concentrating mostly on his genre credits:

BLACK PATCH (1957) –  Jerry  Goldsmith’s first film score, a western written by tough guy actor Leo Gordon.

SEVEN DAYS IN MAY (1964) – provided the music for this taut nuclear war thriller directed by John Frankenheimer and starring Burt Lancaster, Kirk Douglas, and Fredric March.  It’s DR. STRANGELOVE without the laughs.

THE SATAN BUG (1965)- Goldsmith’s first genre credit, the science fiction thriller about germ warfare

PLANET OF THE APES (1968) – This Jerry Goldsmith score remains one of my favorites.  The unusual music here really captures the feel of the Ape world and adds to the “madhouse!” emotions which Charlton Heston’s Taylor has to endure at the hands of his captors.  Classic.

THE ILLUSTRATED MAN (1969) – Science fiction film based on the short story collection of the same name by Ray Bradbury and starring Rod Steiger.

THE MEPHISTO WALTZ (1971) – Obscure horror film with Alan Alda as a pianist who finds his soul in the hands of a scheming satanist.

ESCAPE FROM THE PLANET OF THE APES (1971)-  Goldsmith goes ape again as he scores the third film in the series, a creative flick in which apes Cornelius (Roddy McDowall) and Zira (Kim Hunter) travel back in time to present day Los Angeles.

THE OTHER (1972) – classic 1970s horror movie scripted by Tom Tryon.

THE REINCARNATION OF PETER PROUD – (1975) – 1970s horror flick starring Michael Sarrazin, Jennifer O’Neil, and Margot Kidder.

THE OMEN (1976)- the big one, probaly Goldsmith’s most powerful score, and the only one for which he won an Oscar.  Still a very scary movie today, and Goldsmith’s music is a major reason why.

Omen-poster

LOGAN’S RUN (1976) – classic science fiction film from the 1970s starring Michael York and Farrah Fawcett.

DAMNATION ALLEY (1977) – Much-hyped science fiction movie about survivors in a post-apocalyptic world starring George Peppard and Jan-Michael Vincent was a major flop upon its release, as it was completely overshadowed by another science fiction release that same year, a little film called STAR WARS (1977).

COMA (1978) – Horror thriller written and directed by Michael Crichton about sinister goings-on starring Genevieve Bujold and Michael Douglas.

CAPRICORN ONE (1978) – another major flop from the 1970s, this thriller about a fake space mission to Mars featured a strong cast which included Elliott Gould, James Brolin, Brenda Vaccaro, Sam Waterston, O.J. Simpson (remember when he was that likable former football star who went on to make movies?), Hal Holbrook, Karen Black, and Telly Savalas.

DAMIEN:  OMEN II (1978) – Goldsmith’s back at it again, composing yet another horrific score in this OMEN sequel that, while nowhere near as good as the original, remains highly entertaining today.  Starring William Holden and Lee Grant.

THE SWARM (1978)- One of the worst movies of the decade and certainly one of the worst “disaster” movies ever made.  This tale of a swarm of killer bees attacking the United States was directed by Irwin Allen who must have been punch drunk over the success of his previous hits THE POSEIDON ADVENTURE (1972) and THE TOWERING INFERNO (1974) when he made this turkey.  With an “all-star” cast which included Michael Caine, Katharine Ross, and Richard Chamberlain, and many many unforturnate more.  It’s hard to believe that this storyline– deadly killer bees– used to be considered real and scary.  I can’t believe I actually saw this one at the movies!

THE BOYS FROM BRAZIL (1978) – Excellent thriller about a Nazi hunter (Laurence Olivier) on the trail of a fanatical Nazi (Gregory Peck) with plans to resurrect the Third Reich.

MAGIC (1978)- The Anthony Hopkins horror classic about a ventriliouost and his evil dummy.  1978 was a busy year for Jerry Goldsmith, as MAGIC was the sixth film he scored that year!

THE GREAT TRAIN ROBBERY (1979) – Period piece fun with Sean Connery and Donald Sutherland robbing a train in Victorian England.  An underrated gem by writer/director Michael Crichton.

ALIEN (1979)- Goldsmith just keeps on rolling here with his chillingly effective score for this science fiction classic which launched the career of Sigourney Weaver.

STAR TREK:  THE MOTION PICTURE (1979) – Goldsmith’s score for the first STAR TREK movie is my personal favorite.  Kirk (William Shatner), Spock (Leonard Nimoy), Dr. McCoy (DeForest Kelley) and the rest of the Enterprise crew hit the big screen for the first time with mixed results.  It’s highbrow science fiction to be sure, but it’s all so slow paced.  This one continues to grow on me over the years, but I loved Goldsmith’s music from the get-go.  Sure, his iconic new theme went on to become the main theme for STAR TREK: THE NEXT GENERATION, but that’s not what I love about this score.  It’s all rather dark and ominous, a powerful score that remains the finest music score in the STAR TREK universe.

star trek motion picture poster

THE FINAL CONFLICT (1981)- the final film in the OMEN trilogy, and by far the weakest, even with a young Sam Neill cast as the adult Damien.

OUTLAND (1981) – Interesting science fiction movie with Sean Connery playing a Marshall on a mining colony on Jupiter’s moon tangling with some baddies without help from its inhabitants.  It’s HIGH NOON (1951) in space.

POLTERGEIST (1982) – A big hit in 1982, I’ve never liked this horror vehicle by Steven Spielberg and Tobe Hooper.

FIRST BLOOD (1982) – provides the music for Sylvester Stallone’s first foray as Rambo.

PSYCHO II (1983) – provides yet another very effective music score in this long awaited sequel to the Alfred Hitchcock classic, once again starring Anthony Perkins as the twisted tormened Norman Bates.  It’s certainly not PSYCHO (1960) but this thriller by director Richard Franklin really isn’t all that bad.  Vera Miles also reprises her role from the original.

TWILIGHT ZONE:  THE MOVIE (1983) – Muddled big screen treatment of classic Rod Serling TV series, a real head-scratcher when you consider the talent involved – Joe Dante, John Landis, George Miller, and Steven Spielberg each directed a segment and yet this film still is a clunker.

And that’s all the time we have.  Tune in for Part 2 of THE HORROR JAR:  Jerry Goldsmith when we look at the second half of Goldsmith’s career.  Coming soon!

To be continued—.

 

 

 

 

 

 

 

AFTER MOVIES – LIST SOME TV SHOWS HE SCORED

STAR WARS: THE FORCE AWAKENS (2015) Brings Home The Memories

0

star wars force awakens poster

STAR WARS:  THE FORCE AWAKENS (2015)

Movie Review

By Michael Arruda

If there’s one thing that STAR WARS:  THE FORCE AWAKENS does well, it’s that it hearkens back to the original trilogy and if you liked those movies, you’re sure to enjoy this one as well.  Of course, it does a few other things well, too.

STAR WARS: THE FORCE AWAKENS takes place 30 years after the events in RETURN OF THE JEDI (1983).  As the familiar golden words on the screen at the beginning of the movie explain, Luke Skywalker has disappeared, and both the evil First Order and the feisty Rebels are looking for him.  A map exists which shows the hiding place of Luke.  Whoever finds the map will find Luke, and so the race is on.  That in a nutshell is the plot of STAR WARS: THE FORCE AWAKENS.

When the movie opens, a rebel pilot Poe Dameron (Oscar Isaac) possesses the map, but he’s captured by the First Order, the baddies in this one who look and act exactly like the Evil Empire in the first trilogy.  Before he’s captured, Poe slips the map to his droid BB-8 and tells it to run.  [Sound familiar?  Princess Leia did the same thing with R2D2 in the original STAR WARS (1977).  There are lot of homage moments like this in the THE FORCE AWAKENS.  For the most part, I enjoyed them.  However, this ploy also works against the film’s originality.  More on this later.]

Poe is captured and interrogated by one of the leaders of the First Order, a Darth Vader wannabe, Kylo Ren (Adam Driver), but with the help of a former Storm trooper Finn (John Boyega) Poe escapes.

Meanwhile, a young woman Rey (Daisy Ridley) crosses paths with BB-8 and befriends the droid.  When the First Order arrives in search of BB-8 and the map, Rey and the droid are helped by Finn.  They receive further assistance when old friends Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew) arrive, and they bring the three back to the Rebels, now led by former Princess and now General Leia (Carrie Fisher).

The battle lines are drawn.  Both sides are searching for Luke Skywalker, while at the same time the Rebels are forced to defend the galaxy against another powerful planet-destroying weapon possessed by the First Order, a weapon that makes the Death Star in the original STAR WARS seem puny in comparison.  Of course.

STAR WARS: THE FORCE AWAKENS is clearly an homage to the original trilogy, especially to the first film in the series, STAR WARS. I had a love/hate relationship with this.

For the most part, the homage style works.  I absolutely loved how director J.J. Abrams re-introduced all the original characters.  Everyone- Han Solo, Princess Leia, Luke Skywalker, Chewbacca, C3PO, R2D2- receives a dramatic entrance.  Heck, even the Millennium Falcon gets a heroes-welcome first scene.  This all works for me and provides the fans with plenty of loud ovation moments.  It reminded me a lot of when I saw STAR TREK: THE MOTION PICTURE (1979) years ago at the movies, the way that film gave each main character a dramatic entrance, as that was the first time those folks were appearing on the large screen.

However, where this style faltered was in the construct of the story’s plot. In STAR WARS: THE FORCE AWAKENS, once again the First Order is in possession of a planet destroying weapon, and once more the Rebels detect a weakness in its construction, and so they come up with a plan to sneak in and destroy it.  This plot point is right out of both STAR WARS and RETURN OF THE JEDI.  You would think that at this point the bad guys would have come up with a different weapon or would have eliminated these weaknesses.  They haven’t won yet.

While this may sound like nitpicking, a different plot point in these movies would be most welcome.  It’s like when Lex Luthor shows up as the villain in all the SUPERMAN movies.  Nothing against Lex, but can we have a different villain once in a while?

Likewise, I realize that it’s the STAR WARS universe and the expectation is that things are somewhat similar.  I have no problem with the style and the looks being similar, but in terms of plot they need to shake things up a bit.  Not all film series have to do this.  Take the ROCKY series for example.  You expect those films to end with a climactic boxing match.  That makes sense.  Rocky is a boxer.  But the STAR WARS films take place in outer space and have entire galaxies as their canvas.  The plot points should be endless.

I really enjoyed the cast in STAR WARS: THE FORCE AWAKENS, and the film combines both the old and the new seamlessly.

Of the original cast members, Han Solo (Harrison Ford) gets the most screen time, and since Han has always been one of the most interesting and compelling characters in the STAR WARS universe, this is a good thing.  Harrison Ford is once again excellent as Han Solo, and he shows that at 73 he hasn’t lost much in terms of his charisma and acting chops.

Carrie Fisher as General Leia is in the film less, and based on her few scenes, this is also a good thing.  Of course, we don’t see a lot of Luke, since a key plot point of the film is that he’s disappeared, but since his name is in the credits, it’s a good bet he will show up at some point.

That being said, this was another plot point of STAR WARS: THE FORCE AWAKENS that I did not enjoy.  Luke Skywalker is the single most important character from the original series, and now we have a new STAR WARS movie which hearkens back to the original, and as a key plot point, the film chooses to have it so that Skywalker has vanished?  I don’t know about that.  To borrow a title from that other science fiction series, I would have preferred that this movie not played out like STAR WARS:  THE SEARCH FOR LUKE, which is a roundabout way of saying I wanted more Luke in this movie.

Of course, what truly helps this movie is that the new cast members are for the most part excellent.  Daisy Ridley nearly steals the movie as Rey, the new heroine who promises to be the next big character as this series progresses.  She’s that good.  Other than Harrison Ford’s return as Han Solo, Ridley was my favorite part of this movie.

John Boyega is nearly as good as Finn, the former Storm trooper now turned rebel hero.  He’s likeable, humorous, and gutsy, and he fits in perfectly in the STAR WARS universe.

I didn’t think Oscar Isaac fared as well as super duper pilot Poe Dameron.  He’s likable enough, but he’s more one-dimensional than the other two characters.  Perhaps he will be developed more later.  We saw Isaac earlier this year in the science fiction film EX MACHINA (2015).  His co-star in that film, Domhnall Gleeson, also stars here in STAR WARS: THE FORCE AWAKENS as one of the villains, General Hux.

And this is another place where I thought STAR WARS: THE FORCE AWAKENS had some problems.  I just wasn’t all that impressed with the villains in this one.  The main villain, Kylo Ren (Adam Driver) just didn’t do anything for me.  I found him whiny and wishy-washy, about as effective a villain as Loki in the Marvel superhero movies.

With his mask, he’s supposed to be a younger Darth Vader type, and in fact he is related to the character— another thing that strains disbelief in this film- everyone seems to be related to each other.  Is the universe really that small?— and some have cited his inner struggle— he’s not yet completely sold on the Dark side—as a compelling character trait.  I just found it weak and juvenile.  Choose a side and get on with it.  Hamlet, he wasn’t.

Plus, he takes off his mask at will.  What’s up with that?  What is the mask’s purpose, then?  A fashion statement?  To make him look scary?  Darth Vader wore his mask because without it he would die.  Kylo Ren wears his mask because he’s afraid to be evil without it, I guess.  I have to admit, whenever he took off his mask, I thought of Rick Moranis as Dark Helmet  in Mel Brooks’ SPACEBALLS (1987) and wanted to laugh.

The other villain in the film, Supreme Leader Snoke (Andy Serkis)— how’s that for a presumptuous name?  He’s the Supreme Leader because name says so, not because of anything he does in the movie!— is reduced to appearing as a holographic image a la the Emperor in the original series.  He gets to say ominous lines to Kylo Ren, but that’s about it.

Snoke is played by Andy Serkis, who is the top guy in the movies when it comes to motion capture performances, as he has hit homeruns with his performances as Gollum in THE LORD OF THE RINGS series, as Caesar in the new PLANET OF THE APES series, and he even made for a decent King Kong in Peter Jackson’s 2005 remake of KING KONG.  But here he’s reduced to a stationary holographic image.

Nuff said.

Chewbacca, C3PO, and R2D2 all enjoy fine moments, and the new droid BB8 is also very enjoyable.  One more new cast member who makes an impression is Max Kanata (Lupita Nyong’o).  Kanata is a CGI created creature with wide eyes who enjoys some key scenes, and Nyong’o makes the most of her brief screen time.

For the most part, I enjoyed the directorial work of J.J. Abrams here.  He has made a crowd pleaser, and STAR WARS fans should walk away from the theater satisfied.  It’s clearly a homage and it works.  It brought me back to the time when I watched the original three films at the theater, and this was a lot of fun.  STAR WARS: THE FORCE AWAKENS is a much more satisfying STAR WARS vehicle than the previous three films, the prequel trilogy of the 90s and early 200s.

And the film looks great.  Again, it hearkens back to the original series, and really captures the original look of the first STAR WARS.  And while there were some cool scenes, I can’t say that they blew me away, since nearly everything that happens in this movie was very familiar.

The screenplay by director Abrams, Lawrence Kasdan who also wrote both THE EMPIRE STRIKES BACK and RETURN OF THE JEDI, and Michael Arndt successfully creates nostalgia but falters somewhat when it comes to original storytelling.  At times, STAR WARS: THE FORCE AWAKENS almost plays like a straight re-boot of the original STAR WARS.  I would have preferred it had this new film taken a far more original route.  Is it asking too much that the evil First Order develop a new way of doing things rather than creating yet another planet destroying weapon with a glaring weakness?  Is it asking too much that the good guys face some other conflict instead of trying to destroy another Death Star?  There are far too many exciting plot points for a STAR WARS movie not to seek them out.

John Williams once again wrote the music score, and once more it’s a phenomenal soundtrack.

STAR WARS: THE FORCE AWAKENS is a rousing tour de force, full of STAR WARS nostalgia and a genuine crowd-pleaser, but it lacks originality and as such offers nothing new, other than new younger characters who face the same adversities our original characters faced in the original trilogy.  So, yes, STAR WARS: THE FORCE AWAKENS  also plays like STAR WARS:  THE NEXT GENERATION.

While it’s all unabashedly fun, it’s also completely predictable.

May the Force Be With You.  Again.

—END—

 

 

 

 

 

STOCKING STUFFERS 2014: Gifts I’d Like to Find Under My Tree This Year

0

"I hope you like my gift, Larry.  I picked it out of the graveyard myself."

“I hope you like my gift, Larry. I picked it out of the graveyard myself.”

STOCKING STUFFERS – 2014

Gifts I’d Like to Find Under My Tree This Year

By

Michael Arruda

 

Here are a few horror movie goodies that I’d like to find under my Christmas tree this year, in no particular order:

 

-A newly discovered unedited complete version of KING KONG (1933) including the infamous lost “spider in the pit” sequence.  Sorry folks, this still hasn’t been discovered yet and as of right now only exists in our collective imaginations.

 

-For the recently restored unedited version of HORROR OF DRACULA (1958) to be made available here in the United States.  This one does exist, but no sign of it in the U.S. yet.  What’s the hold up???

 

-A boxed set of all the Universal monster movies with long lost scenes restored, including Bela Lugosi’s scenes of dialogue as the Frankenstein Monster in FRANKENSTEIN MEETS THE WOLF MAN (1943), Dwight Frye’s extended scenes as Karl in THE BRIDE OF FRANKENSTEIN (1935), and the original cut of THE WOLF MAN (1941) where Lon Chaney’s Larry Talbot only becomes a werewolf in his own mind.

 

-A horror movie with Johnny Depp in a serious role instead of the over-the-top goofy roles he’s been taking of late.  It’s as if he’s quit being Depp and instead has adopted the persona of Jack Sparrow from the PIRATES OF THE CARIBBEAN movies, and it’s Sparrow making all these recent films like DARK SHADOWS, THE LONE RANGER, and INTO THE WOODS, not Depp.

 

-More horror films with Chloe Grace Moretz.  She was phenomenal in LET ME IN (2010) and pretty darn good in the re-boot of CARRIE (2013) as well.  And the best part?  Chloe Grace Moretz is not a scream queen!  She’s a force to be reckoned with.

 

-Speaking of LET ME IN, how about some more horror movies by director Matt Reeves?  He’s directed two of the best horror movies in the past decade, CLOVERFIELD (2008) and LET ME IN (2010), not to mention the excellent DAWN OF THE PLANET OF THE APES (2014).  He’s one of the most talented genre directors working today.

 

-Speaking of CLOVERFIELD, how about the long awaited sequel which has been rumored for years finally coming out?  That would be nice.

 

-A reversal in the decision to turn the Universal monsters into superheroes.  The powers that be at Universal are making a huge mistake here.  To me, this decision is a concession that these monsters are no longer scary, and that’s simply not true.  All it takes is a good writer, combined with a talented director, and these monsters could be relevant again.  Don’t bother remaking the origin stories- we all know them.  What we need are new tales of these monsters in frightening horror movies which will scare modern audiences to death.  Leave the superheroes to Marvel!

 

-Speaking of Marvel, I’d like to see Robert Downey, Jr. in a horror movie.  Scarlett Johansson too, for that matter.

 

-Speaking of people making horror movies, Woody Allen made his decision to move on from comedies years ago and continues to churn out quality films year after year.  I sure wish he’d channel his keen writing talents and write a horror tale someday.  I think it would be pretty cool.

 

-Lastly, to all my writer friends, I’d like to find a copy of your latest book under my tree so I could read your work throughout the year.  My Christmas wish for all of us is that we have books in print year after year for years to come!

 

Thanks all!

 

Merry Christmas, happy holidays, happy winter!

Thanks for reading!

 

—Michael

 

 

 

 

MEMORABLE MOVIE QUOTES: PLANET OF THE APES (1968)

0

planet_apes+1968MEMORABLE MOVIE QUOTES:  PLANET OF THE APES (1968)

By

Michael Arruda

 

Today on MEMORABLE MOVIE QUOTES we look at memorable lines of dialogue from the original PLANET OF THE APES (1968) starring Charlton Heston and Roddy McDowall, one of my all-time favorite movies.

There are a lot of notable lines in this one, most of them spoken by Charlton Heston.  The screenplay for PLANET OF THE APES was written by Michael Wilson and Rod Serling, based on the novel by Pierre Boulle.  Of course, everyone knows Rod Serling and the talent he brought to the table, thanks to THE TWILIGHT ZONE TV series, but Michael Wilson was an award winning screenwriter in his own right, the winner of two Academy Awards for Best Screenplay for A PLACE IN THE SUN (1951) and THE BRIDGE ON THE RIVER KWAI (1957).  He also co-wrote the screenplay for LAWRENCE OF ARABIA (1962).

It’s no wonder PLANET OF THE APES has so many outstanding lines!

We’ll get two of my favorite lines from the movie out of the way immediately.  My all-time favorite line from PLANET OF THE APES comes from Charlton Heston’s astronaut Taylor, when he reaches his breaking point at the hands of the apes, and he shouts in anguish:

TAYLOR:  It’s a madhouse!  A madhouse!

There have been quite a few times in my life when things have gotten very low, and I’ve heard Heston’s voice in my head shouting these very same words.

Next up is probably the most famous quote from the movie, and it’s the scene where Taylor finally regains his voice, after having lost his ability to speak due to a bullet wound to the throat.  In a world where apes speak and humans don’t, it was the first words spoken by a human that the apes had ever heard.  The apes had just been chasing Taylor through the city, and when they capture him, he shouts:

TAYLOR:  Take your stinking paws off me, you damned dirty ape!

To relieve a lot of the tension in this riveting science fiction thriller, there’s a good amount of humor in the movie.  For example, this line from one of the apes:

JULIUS: You know the saying, “Human see, human do.”

A bunch of very memorable lines come during the final sequence in the film, where Cornelius (Roddy McDowall) and Zira (Kim Hunter) take Taylor and Nova (Linda Harrison) to the Forbidden Zone, where they play to escape from Ape City.  However, Dr. Zaius (Maurice Evans) and his gorilla soldiers are in hot pursuit.

For example, this exchange after Taylor overpowers Zaius and ties him up.

ZIRA: Taylor! Don’t treat him that way!

TAYLOR:  Why not?

ZIRA:  It’s humiliating!

TAYLOR:  The way you humiliated me? All of you?  You led me around on a leash!

CORNELIUS:  That was different. We thought you were inferior.

TAYLOR:  Now you know better.

When Cornelius reads from the sacred scrolls, it’s a memorable passage, so much so it was repeated in the opening of the movie’s sequel, BENEATH THE PLANET OF THE APES (1970).

CORNELIUS (reading from scroll):  Beware the beast Man, for he is the Devil’s pawn. Alone among God’s primates, he kills for sport or lust or greed. Yea, he will murder his brother to possess his brother’s land. Let him not breed in great numbers, for he will make a desert of his home and yours. Shun him; drive him back into his jungle lair, for he is the harbinger of death.

Then there’s this exchange moments later between Taylor and Dr. Zaius:

TAYLOR:  A planet where apes evolved from men? There’s got to be an answer.

DR. ZAIUS:  Don’t look for it, Taylor. You may not like what you find.

And when Taylor and Nova are finally ready to ride off into the unknown, Taylor decides he’d like to kiss Zira goodbye, to which Zira gives this memorable response:

TAYLOR:  Doctor, I’d like to kiss you goodbye.

ZIRA:  All right, but you’re so damned ugly!

And we finish with Dr. Zaius’ prophetic comment about what Taylor will find on his voyage into the Forbidden Zone.

ZIRA:  What will he find out there, doctor?

DR. ZAIUS:  His destiny.

Great lines, great movie, great fun.

Thanks for joining me today on MEMORABLE MOVIE QUOTES, and I hope you enjoyed these lines from PLANET OF THE APES.

I’ll see you again next time with memorable quotes from another classic movie.

—Michael

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.