Following our Muppet version of the film, and in the spirit of not doing too much work over Crimbo, we’re looking at “Bram Stoker’s Dracula”.
A film in which Ted goes on a less than excellent adventure; Withnail keeps Tom Waits on a remarkably protein-rich diet; and Hannibal Lecter clearly cannot be arsed having just won an Oscar.
Unleashed with much fanfare in 1992, director Francis Ford Coppola wanted to bring to the screen a definitive version of Stoker’s novel (except for all the extra bits he bunged in for good measure). This ambition weirdly highlights some of the pitfalls of a faithful adaptation, with a number of characters usually dispensed with or amalgamated in other versions left to clutter up the narrative. It features what is a genuinely stellar cast both for now and then, but with some actors not necessarily suited to their roles. However, it’s still Coppola, so it still remains a well-made, beautifully shot gothic romance; which certainly equals the novel for pace and drama, and even adds some iconic imagery to the old myth which is still appearing over 30 years after the film’s release.
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Following our Muppet version of the film, and in the spirit of not doing too much work over Crimbo, we’re looking at “Bram Stoker’s Dracula”.
A film in which Ted goes on a less than excellent adventure; Withnail keeps Tom Waits on a remarkably protein-rich diet; and Hannibal Lecter clearly cannot be arsed having just won an Oscar.
Unleashed with much fanfare in 1992, director Francis Ford Coppola wanted to bring to the screen a definitive version of Stoker’s novel (except for all the extra bits he bunged in for good measure). This ambition weirdly highlights some of the pitfalls of a faithful adaptation, with a number of characters usually dispensed with or amalgamated in other versions left to clutter up the narrative. It features what is a genuinely stellar cast both for now and then, but with some actors not necessarily suited to their roles. However, it’s still Coppola, so it still remains a well-made, beautifully shot gothic romance; which certainly equals the novel for pace and drama, and even adds some iconic imagery to the old myth which is still appearing over 30 years after the film’s release.
We present a spoiler free look at director Jennifer Wolfe’s debut feature “Happy Ending”.
A couple losing the spark in their relationship seek advice from friends who recommend a trip to a massage parlour with “extras”.
An already uneasy and awkward visit for the pair is reflected in the back rooms of the parlour, where the workers are troubled by their situation and the obsessive attentions of a dangerous former customer. Events spiral into an eruption of chaos and violence, drawing everyone into the maelstrom.
Whilst that may sound like pure thriller fare, what sets “Happy Ending” apart is that it’s also extremely funny; our two main leads are engaging and realistic, their comfortable but strained partnership brings the laughs as they navigate their way through the tribulations of their relationship, and, latterly, attempt to get out of the deadly situation alive.
A big thank you to Jennifer Wolfe for reaching out to us (on recommendation from previous guest, “Bampire” director Zoë Wassman) and giving us the opportunity to view this excellent comedy/thriller.
“Happy Ending” is currently streaming on Amazon Prime, Plex and Fandango ar Home, and we urge you to seek it out!
Welcome to Horror
Following our Muppet version of the film, and in the spirit of not doing too much work over Crimbo, we’re looking at “Bram Stoker’s Dracula”.
A film in which Ted goes on a less than excellent adventure; Withnail keeps Tom Waits on a remarkably protein-rich diet; and Hannibal Lecter clearly cannot be arsed having just won an Oscar.
Unleashed with much fanfare in 1992, director Francis Ford Coppola wanted to bring to the screen a definitive version of Stoker’s novel (except for all the extra bits he bunged in for good measure). This ambition weirdly highlights some of the pitfalls of a faithful adaptation, with a number of characters usually dispensed with or amalgamated in other versions left to clutter up the narrative. It features what is a genuinely stellar cast both for now and then, but with some actors not necessarily suited to their roles. However, it’s still Coppola, so it still remains a well-made, beautifully shot gothic romance; which certainly equals the novel for pace and drama, and even adds some iconic imagery to the old myth which is still appearing over 30 years after the film’s release.
