Written by Nick McCann


While there have been exceptional standouts in recent memory, 2014’s John Wick keeps getting the most bows of honor from fans and artists. Chad Stahelski and David Leitch’s movie served as a stark reminder that mid-budget action films can still be technically well executed in a modern film landscape while making solid returns. When Stahelski kept moving forward with that series, Leitch spread the 87Eleven stunt influence elsewhere to projects like Atomic Blonde and Deadpool 2. His latest venture for Netflix retains all the bone-crunching hallmarks you’d expect and is uber satisfying even with standard elements.

Much like John Wick, it’s a neon-coated relentless revenge tale. That being said, the story is about what you expect. Despite a handful of interesting turning points, the progression lacks frills and there’s very little reinvention to the narrative. It has a semi-rushed first act, hurried enough to get the basic set up for late movie revelations. Even then, I still felt the weight of what was happening. So much so that I was feeling an emotional high after sticking with the plot (although that could’ve been the carnage hyping me up). Overall, the story does its job fine without taking many liberties.

It has a decent cast, Mary Elizabeth Winstead makes for a great lead. She’s tough but tender when it calls for it. You never feel she’s invulnerable or trying to make someone look bad. She earns her cool points through tried and true performance. And that’s just the talking bits. Miku Martineau off sets Winstead’s broodiness with a fiery teen attitude that makes for some fun levity. Woody Harrelson is also entertaining, giving his character more weight than you’d expect. Rounding them out is Jun Kunimura and Tadanobu Asano, who deliver a strong screen presence and conviction through actual small screen time.

It’s more a style over substance kind of film, as evidenced by a slick aesthetic throughout. The production design does a great job capturing the Tokyo nightlife and Yakuza underworld vibes, from locations to costume design. The cinematography loves to linger a lot on the cityscape and all it’s sprawl at certain points. You can bet there is definitely no shortage of neon lighting. If you’re looking for immersion, this is the kind of movie to wait until nightfall for a closed curtain viewing with no lights on.

The big draw, as you would expect, is it’s action sequences. They are hard-hitting, kinetic and up to the new standard of today! Kate’s Camerawork utilizes long shots with involved movement that work in conjunction with logical editing. There are maybe a couple iffy parts but they aren’t glaring. You get a healthy dose of fist fights and shootouts, again with the appeal of the Yakuza angle. A catchy selection of Japanese pop rock and a synth score seal the deal on the energy.

Kate is by no means a breakthrough action movie but it is fun. Solid acting and propulsive action do make up for the same old expectations of the story. It manages to have a couple elements going for it that set it apart from its contemporaries. Go into it expecting style to dominate it’s substance. And if that doesn’t work, I promise the kills are cool.

Kate Trailer

Kate is currently available to stream on Netflix.

You can connect with Nick on his social media profiles: Facebook and Letterboxd.

Shadow in the Cloud

Written by Nick McCann


You ever get that feeling where you got what you wanted but just not how you were expecting it? I’m feeling that feel. When I first saw the trailer to this movie, I was all about the potential it gave off! World War 2. Creature feature. Female power trip. This can only be crazy fun. And it is! Albeit in the strangest way.

The mood starts off nicely with a wartime Hanna Barbara-styled propaganda cartoon and some sweet synthesizer beats. It builds up a pulpy B-movie atmosphere that carries on throughout, especially in a suspenseful first act. But at a certain point, certain plot reveals gradually build to a level of craziness that I didn’t expect. It’s all about the approach. I figured it would be a lot more of flying beasts vs. bomber crew instead of what writer Max Landis and director Roseanne Liang came up with. And yet, I isn’t much of a drag. Yeah I suppose it’s tonally inconsistent and overall nonsensical in areas. But when it commits this hard to an original execution like this, I can’t help but enjoy myself.

There’s also the usual monster movie suspects in the character roster. Chloe Grace Moretz is our near-perfect action heroine of the hour and she does a fine job, sans some overacting in the action sequences. Regardless of that and her overpowered writing, she keeps the movie going. Her male co stars are also fine. However they go in on aggression! Coupled with surprisingly limited screen time, they become a bunch of interchangeable anger vessels except for some particular players. Get used to a lot of radio voice work from them.

Thankfully action scenes are in steady supply. They are entertaining for how wildly absurd they get. We’re talking physics defying stuff here that still looks entertaining. Visual effects are decent and the slick camera shots are put together well in editing. All injected with an ultradose of female power fantasy that you better get ready for if you aren’t yet. As for the creature itself, it’s not half bad looking. It’s design gets the job done and never feels secondary to everything else for too long. Pretty refreshing too to see it prominent in frame more often than not.

I should also comment on the score. A synth soundtrack for a setting like this is definitely jarring. For the pulp atmosphere the movie gives off though, it’s nicely done. Key word there is “atmosphere.” The moodier portions where it’s background to quieter scenes are more effective than the action cues, where it has too fat of a beat. There’s also a couple music drops and they are too distracting. Almost making up for it is overall good sound design. Everything from gunfire to the rattle of the plane interior is mixed well.

Shadow in the Cloud is a movie that’ll depend on a few different elements if you decide to go ahead with a viewing. If you’re not expecting a pulpy female power fantasy that will go in a vastly different direction than what you’re expecting, you’re gonna shut it off immediately. That isn’t to say that it isn’t fun. There is mindless entertainment for how far out it gradually becomes. It isn’t perfect, but I can’t deny the giddiness I felt. It’s possible I just witnessed a fever dream of a test to see what can be done with film. That or my brain is like a melted slushie now.

Shadow in the Cloud Trailer

Shadow in the Cloud is currently streaming on Hulu and Kanopy.

You can connect with Nick on his social media profiles: Facebook and Letterboxd.

A Quiet Place Part II

Written by Nick McCann


One of my biggest regrets in movie-going was not seeing A Quiet Place in theaters when it was new. I was highly impressed when I did finally watch it and subsequently crushed that I didn’t see it in the best way possible. When the sequel was announced, I I wouldn’t make the same mistake. Then suddenly, a viral outbreak! Hope was dwindling for that dream but now here we are, in a state where it’s okay to go back to the theaters.

Story wise, it does a great job feeling like a direct continuation. John Krasinski returns as director and nicely balances the duties of expanding scope while retaining the elements of the first film. Visual storytelling is still prioritized and when there is direct exposition, it’s not forced. This movie is also more plot driven with a clear end goal. Personally I miss the Western-like atmosphere from before but that’s the most minor of complaints. It feels like a logical choice of direction and you’ll still find yourself plenty immersed in this danger-sensitive world.

And man is it ever dangerous! Tension is still well on-the point. There are more set pieces and they still scare even with added moving parts. The cinematography looks well in line with the first movie’s look, evoking moments of beauty and terror in the world on screen. Editing is also still great, letting shots linger enough to drive you to the breaking point. Visual effects are also great, with a key highlight being to see how more ruthless the creatures are in full rampage mode.

As you would expect though, the sound design is the main asset. Every sound effect and the overall use of sound is brilliant. Just like before, it takes most every opportunity to get clever with what’s heard and not. Marco Beltrami also returns on the score, bringing back old music cues while seamlessly integrating new tracks. There were times where the music was creeping me out as much as the visuals! Always a good sign.

Keeping everything held together is the acting, which is excellent as ever. Emily Blunt, Noah Jupe and Millicent Simmonds all return and keep making their characters all the more likable and interesting. Simmonds in particular really shines here, carrying a huge chunk of the story with magnetic screen presence. Cillian Murphy also kills it coming into this series with a damaged and vulnerable protagonist. Djimon Hounsou is reliable as well and even Krasinski does good in the brief time he’s here.

Add this to the list of sequels that stack up to their predecessor. A Quiet Place Part II deftly continues it’s story and ramps up the stakes without forgetting it’s identity. Any nitpicks I have boil down to personal preferences that I can live with not being there. It’s just as scary as it is dramatic, held up by great acting, visuals, and sound design. What a way to come back to the theaters!

A Quiet Place Part II

A Quiet Place Part II is now available to stream on Paramount+.

You can connect with Nick on his social media profiles: Facebook and Letterboxd.

Godzilla (2014)

Written by Nick McCann


I don’t think Roland Emmerich fully understood the gravity of his situation. When he made his own Godzilla movie back in 1998, he not only took advantage of the name for his own gain but left a sore legacy. The box office bombing, critical panning, and fan backlash of that film gave little hope that we’d see another American production touch the property. But as time went on and others tried to get something going, Legendary Pictures finally got a reboot rolling. Although avant garde in many ways, it still delivers immense satisfaction.

Godzilla doesn’t immediately go for the throat compared to other blockbusters. The script loves to twist certain conventions on their head, tease the monsters and build up for massive payoff. Combined with Gareth Edwards’ direction, the film builds suspense and realism the likes of which we haven’t seen much of in monster movies. I would even say it’s got the Steven Spielberg touch of wonder and intrigue(including some fun homages). At the same time, you feel an earnest respect for the character and what he stands for. Some aren’t going to get on board with this rendition of Godzilla wherein he is not constantly in sight or the sparse destruction presented, and that’s fine. But if you’re patient and willing to let it play out, you’ll be well rewarded.

This execution of the familiar Godzilla story finds itself a lot more character focused. I quickly grew to like the characters , they may seem like a typical ensemble but their parts are well defined and performed superbly by the cast. Bryan Cranston is the stand out, throwing it all on the table he’s our solid emotional center. Sadly he isn’t around for too  long but the impression is made and lasting. Aaron Taylor-Johnson also makes for a capable protagonist, Elizabeth Olson nails believable reactions, David Strathairn is a refreshingly likable military leader and the always excellent Ken Watanabe fits like a glove. The most important test to the cast’s durability is that they can each say Godzilla’s name straight-faced and not have it be silly.

Which brings us to the king himself. Godzilla! His look retains the classic design while going for something more nature inspired. The special effects team realizes a grounded (and sometimes personable) Godzilla for modern audiences. His two opponents in the M.U.T.Os aren’t too shabby either. Their looks, abilities and overall characterization as a pair give them their time to shine in the wide range of Toho’s monster stable.

Whether alone or all together, these creatures seem to be able to bring the house down. The focus on build-up makes the set pieces feel gratifying and weight. They manage to find ways to have our human characters get suddenly caught up near or in the middle of the monster attacks, further giving the situation a realistic viewpoint. The ace in the hole is the cinematography, making liberal use of street view and the feeling of being someone in the middle of it all. These monsters feel massive and the damage they cause is more impressive because of it.

Sound design shouldn’t go unnoticed either. Godzilla’s new roar, the various combat engagements, buildings crumbling, explosions. Everything has an audible power. Alexandre Desplat delivers a brilliant score. There may be a lack of the classic Toho theme cues, but his music still captures the monster’s enormity and the human character’s marvel. It’s equal parts emotional and hair-raising.

Legendary Pictures’ Godzilla is where I look to when I think of reboot films done right. For all the conventions it does different, it never forgets to deliver on what you want. Again, some will be put off by a character-focused monster movie where the monsters aren’t always turning cities into pebble piles. Trust me when I say it’s all worth it by the end. There are spectacular fights, a great cast, and direction that’s as confident as it is respectful. The King of the Monsters finally got his shining moment in America and it’s only led to further excitement and anticipation.

Godzilla (2014) Trailer

You can watch Godzilla (2014) on HBO Max.

You can connect with Nick on his social media profiles: Facebook and Letterboxd.

Godzilla (1998)

Written by Nick McCann


By the 1990’s, Godzilla had a 40 plus year history built up and American audiences had got a few different tastes of his growing legacy. It was about time though that a proper American production took him on with a big budget spectacle picture done by the best of our crop. Development took a hair longer than expected but 1998 saw the first fully American produced Godzilla picture. And it turned out to be silly and unworthy.

Roland Emmerich takes the directing wheel here. His take on Godzilla starts off with a fairly nice build up. Suspense brews in that old school monster movie sense as you see traces of the coming disaster. After the big creature reveal though, the film slowly declines in quality. Not only does Emmerich recycle many of his own tropes from past movies, but he shows a total disregard for the character himself. It’s a lighter tone without much gravity to what’s coming at you. It becomes what I’d call a hodge-podge movie. You can trace many major plot points back to other better films. Had it not worn the name, this could’ve functioned fine as it’s own story. But no. The name’s just a free pass and easy money.

Getting to Godzilla himself, it’s clear by now that this creature doesn’t resemble him in any fashion. This rendition of the beast lacks the menacing weight the actual Godzilla possessed. It’s too sleek, too fast, too hesitant to cause destruction. I will say it’s a good creature design on it’s own. Still, the designation makes it hard to separate from objectification. The film attempts to make you feel empathy for this creature. Which mixes the message quickly when the very citizens it’s terrorizing show sympathy for it, and there’s also the whole it’s breaking a city thing.

The human characters are even less interesting. What it comes down to is the performers, who are the strangest picks for a film such as this. A lot of them don’t look comfortable with the material and often they give awkward deliveries. Matthew Broderick looks too unlikely of a presence for a lead. You look at him and feel like he walked on the wrong set. Jean Reno on the other hand is great fun and is visibly relaxed. Things are instantly cooler whenever he is on screen. The written dialogue that these actors are asked to do sets them up terribly to begin with. Many of the jokes fail to land, and all the winking and nudging this movie does is eyeroll inducing.

What’s left is the action and it’s not all bad. There are some admittedly exciting set pieces throughout that are mostly done well, from Godzilla’s first attack, to a submarine pursuit in the Hudson River. The visual effects hold up fine too, even if the rain and darkness make the CGI look muddier than it is. However these sequences leave a lot to pick at, namely how it looks like the military does more damage to the city than the monster. Also the third act feels like a bad Jurassic Park movie at every turn. But for all the nagging, the action is well filmed and propelled further by David Arnold’s score.

Roland Emmerich’s Godzilla lacks the weight and respect the character deserves. It’s got cliched characters, silly action and derivative concepts. But in that lightweight blockbuster fashion, it’s a fun watch if you don’t give it much thought. I hate to admit it but I do have to credit this movie for putting the name in my head, like a lot of kids my age around the time of release. Now after becoming a seasoned fan of his various entries, it’s turned into bad movie comfort food. And I will never turn it down in that regard.

You can connect with Nick on his social media profiles: Facebook and Letterboxd.

King Kong vs. Godzilla (1962)

Written by Nick McCann


King Kong ushered in a new era of special effects driven American filmmaking back in 1933. Godzilla, 21 years later, took that effects film formula and wove in a palpable social commentary for Japanese audiences. Not to mention the big dinosaur was well on the way to starting a profitable franchise. So given both monsters’ popularity, it seemed only a matter of time before they clashed. Lo and behold, 1962 was the year that brought us an enjoyable proving ground for the future of the series.

Although the previously released Godzilla Raids Again saw the first monster battle of the series, this film sets the standard for how this template is to be executed. Ishiro Honda once again directs with efficient speed and touches on relevant themes once again. All the jabs at commercialism and the advertising industry give the movie a light and satirical tone that makes it the right kind of cheesy. It also does an okay job at rebooting Kong into Godzilla’s follow up adventure, though I feel some of the Kong iconography feels slightly like an afterthought. Also certain details can still come off as hokey for sake of the plot. Even with that, it’s reliably exciting and quick-paced as it builds to the ultimate showdown of its era.

Speaking of which, Kong and Godzilla themselves give me mixed feelings here. Godzilla still looks good with a decent suit design and his continuing relentlessness. Kong’s suit on the other hand doesn’t hold up very well through his dopey face and fur pulled right off a living room floor. But to bring it back positive, the body language in both suit performances are defined well between Kong’s problem solving and Godzilla’s near-constant forward momentum. If there were more non-confrontational moments where the monsters could interact with each other, it’d make this all the more delightful.

When they fight, it’s a great spectacle. The special effects show great improvement from the prior films with lots of model buildings, RC vehicles and even okay blue screening. The fights have funny highlights through the actual excitement, like one shot of rough-looking stop motion and Kong force feeding Godzilla a tree. It’s what you expect from one of these movies. Camera work is energetic, the editing is tight and Akira Ifukube’s score hits with great numbers throughout. In particular, the new islander Kong chant is a strong musical presence.

On the flip side, the human characters are not too shabby this time around. Even though actual character development is still thin, everyone hits the material with personality and clear distinction from one another. Ichiro Arishima stands out greatly as a slapstick-oriented business agent. I couldn’t help but cheekily laugh at this guy, he nails the part. Kenji Sahara, Tadao Takashima, Yu Fujiki and Mie Hama also make up a spry and witty cast. Other supporting players fulfill their job in the plot fine without much time spent on giving them dimensions.

Any casuals looking for a solid Godzilla movie to either start with or get the general idea of the series should consult this one. It’s importance goes beyond just two of the most famous movie monsters together in one package. King Kong vs. Godzilla lays a nice foundation for the series with it’s fast pace, decent characters and charming set pieces. Although flawed, it satisfies all the same. Here’s to Legendary Pictures and what they have in store for their take.

You can connect with Nick on his social media profiles: Facebook and Letterboxd.

Gojira (1954)

Written by Nick McCann


Pretend, reader, that you were a citizen of Japan in mid-summer of 1945… yeah that sucked. The atom bombings of World War 2 left a permanent stain on that country and the world. The nuclear age was born and affected everything that followed. Cinema of course took notice. While America was taking advantage of this themselves, the land of the rising sun was brewing something straight from the heart at Toho Studios. That turned into one of the greatest monster movies ever.

This first outing in the long running series does not mess around. Instead of tongue-in-cheek fun as seen in most American sci-fi, “Gojira” tells a grim tale with a blunt real-world parallel. There is suspense from the start and director Ishiro Honda maintains a solid pace throughout. Frankly it can get horrifying! As a viewer, you are always reminded of the gravity of the situation. It leaves little room for respite and earns its tone. Even when the message is dead obvious, it never feels intrusive. It works both as a monster movie and a stern warning for what destructive power awaits us in our future.

That power is encapsulated in Godzilla himself. He still looks threatening to this day. His design iconic and the performance by the suit actor–great. He may be a guy in a rubber suit but he always feels like a looming presence, on and off screen. The special effects are of course dated in spots. Yet Godzilla’s rampages still have a dark and explosive quality, be it a collapsing model building or raging fire. Sound design is also intense, between Godzilla’s mean, echoing roar and a barrage of cannon and machine gun fire.

Accentuating this is some gritty camera work. The low angle coverage and overall look of the black and white film stock makes it all the more foreboding to watch. It’s directed as if this were an actual event, capturing all aspects of the chaos and subsequent aftermath. Lain over top is a grim score by Akira Ifukube. With it’s brash sound, it gives everything heightened power. Not to mention the times when it doesn’t play and lets sound effects take over are quite effective.

Last of note is the cast. They may not have the most deep personalities or dynamics, but they are well on the money in their performances. Akira Takarada is a dependable leading man while Momoko Kochi is a good emotional center as she takes in more of the situation. Two standouts though are Takashi Shimura and Akihiko Hirata. Shimura as the paleontologist Yamane has a wise presence and shows heartfelt sorrow for Godzilla’s scientific potential. Then there’s Hirata as Dr. Serizawa, a man troubled by his creations and feels guilt at the possibility of what it could entail. As he becomes more involved, you can track how much everything weighs on him.

Anyone who says monster movies are trite need only look to this movie for proof of a quality execution. “Gojira” is just as much of an eye-opener of social commentary as it is a thrilling monster movie. Through its titular creature and blockbuster filmmaking, it’s dour story is a stern warning as to what nuclear power means for humanity. It also laid the stepping stone for what has now become a legendary franchise. Don’t miss out.

You can connect with Nick on his social media profiles: Facebook and Letterboxd.

King Kong (1933)

Written by Nick McCann


There is no other like the Eighth Wonder. Who could’ve thought in the 1930’s that movies can get so big? Sure talkie pictures had been around for a while and there were some B-pictures that came and went. However, none could compare to what RKO would release smack-dab in the middle of a poverty-stricken nation. After years of production and a ton riding on ambition, King Kong released and changed the course of cinema for decades to come. Today, it’s still nothing short of thrilling.

Our story is one of adventure and wonder. It’s a mythic tale about what happens when man discovers a living legend and his reaction. This movie doesn’t waste any time as it moves with efficient progression. It’s setup keeps you on your toes until a grand reveal that kicks off a primal thrill ride. Even with some outdated aspects, the plot holds up well as one of the finest cinematic adventures to this day.

Much of that is owed to Kong himself, along his island of danger. This film marked a major landmark in special effects filmmaking and it shows. Willis O’Brien’s stop motion creature effects are a show-stealer in the best way. It may not be as fluid as what would later come, but they are delightful. Every new dinosaur encounter keeps the action fresh and Kong himself displays a lot of character for being a 3-inch figurine. Miniature sets are also highly detailed, on top of clever uses of animatronics and rear-projection work. Bottom line, every effects sequence shows genuine work put into them and they are still a marvel.

One could also gather that the action sequences are just as much of a spectacle. For it’s time, there are some visceral sequences of dinosaur carnage and peril. From the famous sacrifice to the last stand on the Empire State Building, there is variety around every corner. Production design is spot on with great sets, sound design is highly rich and Max Steiner’s score captures emotion and scale beautifully. Sure a lot of it looks fake now, but I don’t care. It still gets me going like any big picture today.

All of this is kept grounded with well rounded characters. Robert Armstrong, as the film director Carl Denham, exudes charisma and bravado. One look at this guy will tell you he is a man of composure for how crazy he can be. Fay Wray also brings beauty as Ann Darrow. She’s likable as she tries to fit in around places, although she does turn into a scream machine any chance she gets. Finally, Bruce Cabot makes for both a voice of reason and a reliable man of action in Jack Driscoll. These three characters are sound in their standing within the story and perform well throughout.

King Kong is so important it hurts. The fact it inspired some of our best modern cinematic geniuses and people generally are still talking about it today marks it’s continuing success. It’s filmmaking breakthroughs are matched by it’s timeless, fantastical story. Age is just a number, as they say. Go see this one if you haven’t yet. No excuses!

King Kong 1933 Trailer

King Kong (1933) is currently available to stream on HBO Max

You can connect with Nick on his social media profiles: Facebook and Letterboxd.

The Devil All the Time

Written by Nick McCann


As far as getting new releases, this year bites. It’s a good thing the streaming platforms all had full banks to deploy. Admittedly I’m still not all that enthused with Netflix originals, but the output has been steadily improving these last few years. This particular release captured my interest with it’s Appalachia aesthetic and emphasis on story.

The story covers a range of characters, places and time periods. I found it reminiscent of when films strove for artistic quality on top of pure entertainment. I was hooked all the way through. It moves along at a slow pace. In each situation we see the fates of these characters come to fruition. Fate is the keyword. As you feel the momentum build up to a crescendo, you also come to realize the title itself bears good meaning. For all the faith a person can have, their inner demons always rear their heads. This is an involving and thematically rich tale full of betrayal, lust and suspense.

There’s a great cast. Each does an excellent job justifying the part they play. Tom Holland leads with his most raw role to date. You feel for him instantly once he comes on screen as a young man shaped by tragedy and trying to get by in gritty surroundings. This is another reliable turn out by Robert Pattinson as a borderline mad preacher. You also get a scuzzy Sebastian Stan, Jason Clarke being creepy, a brief turn from Mia Wasikowska and more. It’s the kind of movie where I loved getting to know the characters and watching them come together.

On the technical side, the production design was convincing at realizing this setting. In a rickety looking past that’s full of character. The cinematography delivers too, lingering on moments of heavy emotion and moving with life when things get lively. The soundtrack and score help sell the immersion of its time period. It’s the kind of movie where I wouldn’t mind seeing a normal day go on in this community.

There’s some fleeting bits of action when the emotions and suspense start to peak. These sequences are well executed, building up to the absolute edge before ending as fast as they start. The one nitpick I have is you can see where they edit a frame out to sell a punch better. Still there are some hard hitting beat downs. Scenes with guns fare much better with an emphasized realism on the violence. The blood and make-up effects are good. Don’t take this as saying its action at every turn. When conflict arises, it feels natural and is appealing in how grounded it is kept.

If this were on physical media, I can see myself picking up a copy. The Devil All the Time is a solid character drama that takes you on a good haul with a flawed and vulnerable ensemble. The world the film paints around them, one of misinterpretation and corruption, is one I found enjoyable to get engaged with.

The Devil All the Time Trailer

Currently available to stream on Netflix

The Blob

Written by Nick McCann


Just as people flock to movies to escape the fearful thoughts of our current virus lockdown, moviegoers of the 1950s were flocking to movies to escape fearful thoughts of Cold War anxieties. Monster and alien films were especially popular, with the decade providing a slew of wondrous and crazy cinematic creatures attacking familiar, real world sights. One such creature was very simple but went a long way, just like the movie it stars in.

For those familiar with the notion of the 1950’s sci-fi monster movie plot, “The Blob” easily identifies with that. Suspense builds as a meteor falls to Earth and releases the creature into a small-town community. It’s as classic as it gets, while also doing some things different compared to what came before. The story is very fun, both in its execution and how it lives up to what we consider the standard blueprint of the genre. It’s an innocent and non-taxing plot to be enjoyed.

There are also some lively characters. Steve McQueen leads the pack in his breakthrough role, demonstrating even in this simple role how charming and talented he is. He’s a likable and well-meaning guy to track a monster with. Everyone else does a great job too, having well-defined personalities and organically developed skills. Aneta Corsaut deserves special mention for breaking the mold of stereotypical horror damsels and for being an active help to the plot.

What’s probably most remembered is the special effects. They are crude even for the time, but there is still craft and creativity on display. The actual Blob looks good in motion, with its dark red appearance and all the variety of ways the director portrays it. There are also creative uses of drawn animation, which aren’t too shabby either. Visually it remains unique and the charm of it rubs off in an appealing way. Fake for sure, but never without heart or intent.

Rounding it out is the overall mood itself. Most of that stems from its low budget production design, which wears its 1950’s setting with a badge of honor in hindsight. From the costumes to the cars, it does give a peek into how the world of small-town America went about life. Not to mention some funny dialog among the characters. A classic monster score over it all seals the deal, most especially the theme song that’s strangely swings for such a serious movie. Thanks, Burt Bacharach!

“The Blob” is the poster child for the 50′ alien monster movie. Whenever someone compares modern creature cinema or recalls a film of the era, they most likely are going to think of this one. It doesn’t have the budget or name recognition of its peers, but that doesn’t matter when all in all, it’s so darn fun. It’s entertaining all the way through. If you want something more modern, Chuck Russell’s 1988 remake is also excellent.

The Blob Trailer

Currently available to stream on Criterion Channel and Kanopy