Tag: Frankenstein
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Never being one to look a gift horse in the mouth, The Asylum have released Frankenstein’s Bride onto digital platforms, a couple of weeks ahead of Maggie Gyllenhaal’s The Bride!, which is due out March 6th. When Frankenstein’s Monster is about to marry his bride, three men show up in the church, yell about blasphemy,…
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Shot in the dying breath of the sixties and released into the hangover of a new decade, The Horror of Frankenstein is a strange movie. An amalgamation of past and present, that you will either love unequivocally or despise with every fibre of your being. The Gothic laboratory, once a place of flickering candles and…
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The Last Man (1826) – The Invention of Post-Apocalyptic Horror and the Terminal Annihilation of Hope The two preceding novels established Mary Shelley’s core thesis: the great horrors of humanity are self-inflicted, stemming from unchecked ambition and the ultimate failure to prioritize compassion and responsibility. With The Last Man, published in 1826, Shelley takes this…
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By 1964, Hammer Films stood at a crossroads. The great Gothic cathedral they had built—of blood, faith, and moral dread—was showing its cracks. Dracula and Frankenstein had already carved their myths deep into British cinematic history, terrifying and scandalizing audiences across the globe. Yet the hunger for more persisted. The world demanded another resurrection, another…
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Mathilda (1820) – The Abyss of Guilt and the Horror of the Self If Frankenstein was Mary Shelley’s grand, thunderous statement on the dangers of scientific ambition, then Mathilda is her whispered, devastating confession about the failures of the human heart. Written just two years after the publication of her magnum opus, this 1820 novella…
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Frankenstein: The Spark of Being and the Birth of Modern Dread For too long, the story of Frankenstein has been trapped in the realm of bad costumes, green-painted foreheads, and B-movie screams, but that is an injustice that entirely misses the dark, vital truth: Mary Shelley didn’t just write a Gothic ghost story in 1818;…
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I need to watch more of the classic Universal Horror features from the 1930’s through 1950’s. I’ve seen a handful of them, sure, but there are several more out there. For instance, I have skipped The Mummy and The Phantom Of The Opera because I had heard they didn’t quite measure up to the rest.…
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By the end of the 1950s, Hammer had perfected resurrection. They had resurrected Frankenstein, resurrected Dracula, even resurrected the very idea of Gothic cinema. And now, with The Mummy, they turned resurrection itself into religion. Released in 1959, The Mummy is not merely a remake of the Universal classic — it’s a reinvention. A funeral…
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By the time The Revenge of Frankenstein hit screens in 1958, Hammer was no longer testing the waters — it was baptizing itself in blood. The Curse of Frankenstein had shattered the old order, turning the genteel Universal monsters into something vivid, violent, and human. The Abominable Snowman had cooled the chaos, testing the moral…
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We’ve already ventured into the coffin of Hammer’s Dracula — that blood-soaked fever dream that redefined Gothic horror and drenched British cinema in technicolour blasphemy. But before the Count ever bared his fangs, before Cushing and Lee carved their names into horror’s stone altar, there was another experiment — quieter perhaps, but no less revolutionary.…