#frankenstein-adaptations

#frankenstein-adaptations

The Final Girl collection prominently featured an array of gingham fabrics, with hand-embroidered embellishments of sequins and crystals dancing across luxurious silks, inviting onlookers to explore a colour palette that boldly oscillated between soft pinks, deep blues, classic blacks, and a show-stopping red.

The zombie was actually a Haitian Vodou metaphor for slavery. For enslaved Africans in Caribbean colonies like Haiti, the theft of one's autonomy was akin to a walking death.

Although the creature first appeared in Mary Shelley's 1818 novel, many popular interpretations of his story draw on a 1931 film adaptation that's considered one of the first movies in the modern horror genre.

Netflix and Universal were very kind to let me go direct Scream VII and put some projects on hold. Now I'm focused on those. The first is a TV show based in the Universal monster land. It won't skimp on Williamson's penchant for melodrama, either: he compared the project to an adult Vampire Diaries, which we've not really gotten from him before.

Narrated by the wayward ghost of Mary Shelley, Gyllenhaal's loopy, overstuffed fable is maddeningly uneven and just plain mad, in both the furious and off-its-rocker sense. I liked it more than any movie I've also considered walking out of.

Released 85 years ago today, the black-and-white curio was also the only such film to give as much attention to the courtroom as the laboratory. As mild-mannered church organist Scot Webster (Philip Terry) finds himself accused of murdering a gang member, the first half largely plays out like a conventional legal thriller.