DEXTER: RESURRECTION

Michael C. Hall as the ever-delightful Dexter

DEXTER: RESURRECTION (2025). 

Dexter Morgan (Michael C. Hall) , the serial killer who generally only murders other serial killers, did not die at the end of his last mini-series. He survived being shot in the chest by his own son, Harrison (Jack Alcott). Dexter continues to have conversations with his dead father (James Remar) -- a device that is a bit tiresome, frankly -- as he makes his way to Manhattan (!) to see if he can be reunited with his son, who's got himself into a bit of trouble due to his lack of impulse control. Meanwhile, a truly evil serial killer is sawing off the heads of unlucky cab drivers; detectives are looking into the brutal death of a hotel guest/rapist; and Angel Batista (David Zayas), who always suspected colleague Dexter was the Bay Harbor Butcher, is determined to bring him to justice. If that weren't enough, Dexter learns that a strange midget billionaire named Leon Prater (Peter Dinklage) has assembled a group of serial killers for his own weird purposes. Will Dexter bond with these people who have some of the same "urges" as he does -- or kill them?

Jack Alcott as Harrison Morgan

I admit when the midget and his gathering of sickos are introduced I feared that Dexter: Resurrection had gone off the rails. But once I accepted that this storyline was even more far-fetched than usual, I found myself mightily enjoying the series. Hall is a terrific actor, and sheer perfection as Dexter. He is matched by Alcott, Zayas, and Dinklage, and there are also fine performances from Ntare Guma Mbaho Mwine as Dexter's friend and landlord, Kadia Saraf as the ever-grim Detective Wallace, and many others. Uma Thurman is also effective as Prater's head of security. Although top-billed with Hall, she doesn't really have that much to do. 

Peter Dinklage

You wouldn't imagine that the subject matter would lend itself to it, but Dexter: Resurrection is as much a (very) black comedy as it is a horror story. (Detective Wallace giving in to her adoration of the Bee Gees' "Staying Alive" from Saturday Night Fever is hilarious.) With a variety of twists, bizarre characters, edge-of-your-seat escapes, and major suspense, Dexter: Resurrection is a winner all the way. It has been renewed for season two, airing in October. 

Verdict: Totally absorbing and oddball series with wonderful performances. ***1/2.

BURKE'S LAW: WHO KILLED CABLE ROBERTS

Paul Lynde

BURKE'S LAW: WHO KILLED CABLE ROBERTS (1963). Director: Jeffrey Hayden. 

Cable Roberts, a big-game hunter who may have been a complete phony, is found dead in his trophy room, propped over a screen that nearly falls on top of the screaming maid (Zsa Zsa Gabor of Country Music Holiday). His personal secretary Arthur Clark (Paul Lynde) -- who is keeping his own secrets -- seems quite distraught over the death, but Roberts' wife Mona (Lizabeth Scott) not only can't be bothered to shed a tear but seems to have no real human reaction other than to blatantly flirt with Homicide Captain Amos Burke (Gene Barry) as if this lass with a pronounced overbite were the most beautiful woman on earth. Burke and his associates -- Detective Tim Tillson (Gary Conway) and Sgt. Les Hart (Regis Toomey of Three for Jamie Dawn) -- talk to numerous suspects, including Roberts' ex-wife Florence (Mary Astor), son Bud (John Saxon), business partner Harry Riggs (Chill Wills of Heartaches), and others. Who done it?

Gerry Conway and Gene Barry

"Who Killed Cable Roberts?" is one of the better episodes of this entertaining, amusing, and often very silly series that ran for two seasons in the sixties before being transformed into Amos Burke, Secret Agent. The acting of the assorted guest-stars in this story is especially notable, with Mary Astor -- no surprise there -- taking top honors along with a terrific Chill Wills. A big surprise is the excellent performance given by Paul Lynde. Although others have called him "campy" in this -- and no one would have blamed him if he had acted that way on this program -- he actually gives an essentially serious dramatic performance and is all the better because of it -- it is really good work. Barry, handsome Conway and Toomey are all at the top of their game as well. 

Verdict: Extra-special episode of this fun series with some fine performances. ***1/4.  

HOLD THAT GHOST

Joan Davis and Lou Costello

HOLD THAT GHOST (1941). Director: Arthur Lubin. Colorized. 

Chuck (Bud Abbott) and Ferdy (Lou Costello) discover that a dead gangster has left them all of his loot, if they can only find it in the crumbling old mansion where it is hidden. The two fellows travel by auto to the place, whereupon other passengers in the car are stranded along with them due to a storm. These passengers include professional radio screamer, Camille (Joan Davis), pretty Norma (Evelyn Ankers of Captive Wild Woman), Dr. Jackson (Richard Carlson of Tormented), and some uninvited ghosts -- or guests. Some of the gangster's associates want the dough for themselves and won't stop at murder to get it!

Those teeth! Patti Andews sings "Aurora"

A cut below the Abbott and Costello classic, Abbott and Costello Meet Frankenstein, this is still an amusing if often very silly movie. Some of the gags -- such as a bit with a bedroom transforming into a mini-casino  and vice versa -- go on ad nauseam, but there are also funny scenes such as a dance routine between Davis and Costello, who make an amusing team. Others in the cast include Mischa Auer as a dyspeptic club manager, Ted Lewis as a singer and master of ceremonies, Marc Lawrence as a hood, and the Andrews Sisters doing a couple of snappy numbers, including "Aurora."  

Verdict: Amiable nonsense with the lovable comedy team -- and the Andrews Sisters! **3/4. 

M3GAN 2.0

Gemma and M3gan

M3GAN 2.0 (2025). Director: Gerard Johnstone. 

In this sequel to the unremarkable M3gan, the robot's inventor, Gemma (Allison Williams), discovers -- when FBI agents knock on her door -- that there is a rogue government android, Amelia (Ovanna Sakhno), who seems to have developed her own agenda. Gemma is accused of being behind this, and even of being a traitor. Then she learns that M3gan's consciousness might still be active -- could she be of help or only cause more trouble? This all leads to the complicated unraveling of a terrible conspiracy ... 

Ovanna Sakhno and Jemaine Clemont

M3gan 2.0 is one of the only movies that I found entertaining and yet boring at the same time! For one thing, at two hours it is way too long. There is a lot of messy, often dull and silly running around to what seems like little purpose. The snippets of humor are sometimes genuinely amusing, however. Jemaine Clemont is quite funny and adept as shady tech billionaire Alton Appleton and Aristotle Athari scores as Gemma's friend and colleague, Christian. Jenna Davis and Sakhno are perfect as the wily robots. The frequent discussions of artificial intelligence, especially its dangers, are often interesting. The large supporting cast is game. But this is nothing that I would ever want to sit through again. 

Verdict: Both savvy and dumb. **1/4. 

A SIMPLE FAVOR/ANOTHER SIMPLE FAVOR

 A SIMPLE FAVOR (2018). Director: Paul Feig.

ANOTHER SIMPLE FAVOR (2025). Director: Paul Feig. 

In A Simple Favor widow Stephanie (Anna Kendrick) bonds with Emily (Blake Lively) because their little sons are buddies. Emily seems quite a bit edgier than Stephanie, but the latter has her own secrets, such as sleeping with a sexy guy even though she knew he was her half-brother. Emily asks Stephanie to watch her kid for a few days, but she never comes back. Then her body is found, drowned in a lake. But why does her little boy insist that he sees and even talks to his mother? Stephanie decides to investigate, and discovers a weird plot going on ... 

A Simple Favor is entertaining, although it employs over-familiar suspense elements and doesn't have the most original plot. The acting is good, but the light-hearted approach and almost campy style doesn't serve the story as well as a more serious approach might have. Brief girl-on-girl action is thrown in more for the usual titillation than for any other reason, which actually makes the film seem more hokey than edgy. The lead characters are not at all likable.   

In the sequel Another Simple Favor -- an Amazon Prime original movie -- the two ladies and actresses are back for another round, and things are somewhat more intriguing. Emily, now engaged to a handsome mafioso, has every reason to detest Stephanie, but instead of strangling her she demands that she be her maid-of-honor and fly with the wedding party to Capri. Afraid of being sued by Emily because of things she said in her book about her, Stephanie agrees to go but can't help worrying over what exactly the sociopathic female might be up to. Then there are a couple of murders, for which Stephanie is accused. Another Simple Favor, which is even more of an out and out black comedy than the first film, is unpredictable, but some of its developments are as irritating as they are unexpected. The contrivances quickly outweigh the logic and the kind of "girl power" finale, while interesting, doesn't necessarily work. 

Verdict: These movies may hold your attention, but they won't stay in your mind for long. A Simple Favor. **1/2. Another Simple Favor **1/2. 

BRIDE OF FRANKENSTEIN

Elsa Lancaster and Colin Clive

BRIDE OF FRANKENSTEIN (1935). Director: James Whale.

Outrageous, campy, over-the-top and even bordering on the edges of schlock at times, Bride of Frankenstein is still a fascinating and highly entertaining picture, fast-paced (it just never stops), and beautifully photographed by John J. Mescall, with a fine score by Franz Waxman and rich art direction by Charles D. Hall. The monster survived the fire at the end of Frankenstein, and meets up with the nutty Dr. Pretorius (a gleeful Ernest Thesiger), who kidnaps Elizabeth (now played by Valerie Hobson) to force Henry Frankenstein (Colin Clive) to make his monster a mate. Dwight Frye is back as another sinister, grave-robbing assistant. The film is, oddly, very contemporary in its casual amorality and scenes of black comedy (interspersed with pathos, such as the long scene between the monster and the kindly blind violinist -- O.P. Heggie -- which also borders on black comedy). Una O'Connor as the hysterical maid Minnie is perhaps more irritating than amusing. The little people that Dr. Pretorius created and shows off to Henry have nothing to do with Shelley's novel and remind one of the later Attack of the Puppet People. Alternately child-like and frightening, Boris Karloff (billed as "Karloff" above the title) is magnificent. John Carradine has a small role as a hunter. Followed by Son of Frankenstein.

Verdict: Whatever its flaws, this sequel is much more entertaining than the original. ***. 

ABBOTT AND COSTELLO MEET FRANKENSTEIN

Franky (Glenn Strange) goes after Lou Costello

ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948). Director: Charles Barton. 

Wilbur (Lou Costello) and Chick (Bud Abbott) work for a shipping company and are told to bring two items to a House of Horrors without fail. One item is a coffin that contains the living Count Dracula (Bela Lugosi of The Corpse Vanishes) and the other is a crate that holds Frankenstein (Glenn Strange), whom the vampire has under his control. Meanwhile Sandra (Lenore Aubert of The Catman of Paris) romances Wilbur because she wants to put his simple-minded brain in Frankenstein's body so that the monster will be more easily manipulated. Two other people get involved in the frenzied, comical action: Larry Talbot (Lon Chaney Jr.), who turns into the Wolfman when the moon is full and warns the boys about what's going on with Drac and Franky; and Joan (Jane Randolph of The Mysterious Mr. M), an insurance agent for the shipping company. Will poor Wilbur become subjected to a brain transplant?

Gruesome twosome: Bela Lugosi and Lenore Aubert

Abbott and Costello Meet Frankenstein is practically a textbook case of how to do a spoof the right way. The trick is that everyone pretty much plays it straight except for the two stars, who by this point were old hands at their comical schtick. The movie is not only consistently funny, but even exciting and suspenseful at times, and is also very well-produced. Frank Skinner's excellent score makes the most of every sequence. Other cast members include Frank Ferguson as the testy owner of the House of Horrors (whose exhibits turn out to be alive), and Charles Bradstreet as the handsome Professor Stevens, who works with Sandra but has no idea what she's really up to. 

Verdict: Classic comedy with the fellows in top form and a very adept and enthusiastic supporting cast. ***1/2. 

TEACHING MRS. TINGLE

Helen Mirren

TEACHING MRS. TINGLE (1999). Written and directed by Kevin Williamson.

When it appears that three high school students have been trying to steal test questions, their very nasty teacher Mrs. Tingle (Helen Mirren) promises that they are going to pay dearly. This is especially bad news for Leigh (Katie Holmes), who is hoping to go to Harvard. She and her friend, Trudie (Liz Stauber), go to Tingle's home to beg and plead, and the woman winds up getting hit by a crossbow! Instead of calling for an ambulance, the young ladies tie her to her bed and hope for the best. Mrs. Tingle revives, but how can Leigh and Trudy convince their teacher not to go to the police? 

Young cast members of Tingle up against Mirren

Frankly, I thought that Teaching Mrs. Tingle might wind up in one of my "Films I Never Quite Finished" posts more than once, but at least the picture is unpredictable, and while I can't say I particularly liked the movie, I did want to see how it would all turn out. Helen Mirren, if course, easily out-acts the rest of the cast, although they manage to acquit themselves in a more or less professional manner. Jeffrey Tambor is also good as Coach Wenchell, who winds up unwittingly helping Leigh in her goal. The irritating thing is that the only really guilty party (to the original offense) is a jerk named Luke (Barry Watson), who never once offers to take the blame and let the gals off the hook. Michael McKean is the principal; Lesley Ann Warren is Leigh's mother; Molly Ringwald is Miss Banks; and Viveca A. Fox scores as another teacher, Miss Gold. The characters are virtually all unsympathetic and the movie, written and helmed by the writer of the Scream movies, is morally bankrupt. 

Verdict: Well, at least it's somewhat different and a wonderful Mirren is always watchable. **1/4. 

THE MAD BUTCHER

Victor Buono

THE MAD BUTCHER (aka Lo srangoloatore di Vienna aka Meat is Meat/1971). Director: John (Guido) Zurli. 

Butcher Otto Lehman (Victor Buono) is released from a mental institution in Vienna in the care of his rather shrewish wife, Hanna (Karin Field). Otto has no interest in returning to their home, however, but prefers to stay in a room above his butcher shop so he can spy on the naked lady across the way. When he finally loses it and strangles his wife, he decides she might as well serve a purpose -- as Viennese sausages! Others who come afoul of dear Otto wind up in the same condition ... 

Brad Harris and Franca Polesello

Despite the title, Otto dispatches his victims with his hands around their necks, and the butchery that follows is kept off-camera. The Mad Butcher is essentially a grotesque black comedy, with everyone acting a little "off" as they would in a humorous movie. This includes eurospy and peplum hunk Brad Harris as a callous reporter from the Chicago Tribune who is, for unexplained reasons, in Vienna. He begins a relationship with Berta (Franca Polesello), a customer in the shop. The film appears to be a period piece, but from the production design you can't tell exactly which period . There are also precious few shots of the beautiful city of Vienna. The spritely musical score is in direct contrast to the events of the story, but somehow it suits the movie perfectly. As for Buono, he seems to be enjoying himself mightily, but the movie is nothing special.

Verdict: Skip the sausages when in Vienna! **1/2. 
 

THE NIGHT STALKER COMPANION: 25TH ANNIVERSARY TRIBUTE

THE NIGHT STALKER COMPANION: A 25th Anniversary Tribute. Mark Dawidziak. Pomegranate Press; 1997.

A major "fan boy" if ever there were one, Dawidziak has put together a new edition of his Night Stalking: A 20th Anniversary Kolchak Companion with more information. The book is an entertaining look at the history of the character, portrayed by Darren McGavin, and the two telefilms and TV series that he starred in. Like most fans, Dawidziak could be accused of overstatement and slavish devotion to Kolchak, but on the other hand, in a section when he looks at opinions of the TV show and well-known people who represent both positive and negative sides, he admits that the one-season series Kolchak: The Night Stalker was not all it could have been. (The naysayers towards the show include Stephen King and Darren McGavin himself!) Dawidziak also looks at the trials and tribulations of Jeff Rice, who wrote the original novel that became The Night Stalker and was treated abysmally by Hollywood and even by his own agents. The book could have used a more eagle-eyed copy editor but it has loads of photographs. There are chapters on the two telefilms and synopses and critiques of all of the twenty TV episodes. The book was published before the short-lived 2005 reboot of the series which cast Stuart Townsend as Kolchak.

Verdict: Fun read for Night Stalker fans. ***. 

CREATURE FROM THE HAUNTED SEA

Robert Bean and Betsy Jones-Moreland

CREATURE FROM THE HAUNTED SEA (1961). Produced and directed by Roger Corman. NOTE: This is the colorized version. 

Undercover agent "Sparks" Moran (Robert Towne) has become part of the gang run by Renzo Capetto (Antony Carbone). Renzo has taken some gold from Cuba with the help of a bunch of Cuban soldiers, and is heading toward Puerto Rico in his boat. Accompanying him are his moll Mary-Belle (Betsy Jones Moreland), her brother Happy Jack (Robert Bean), and an idiot named Pete (Beach Dickerson) who can do uncanny imitations of animals. Wanting the loot for himself, Renzo plans to kill off the soldiers and blame it on a sea monster, which turns out to actually exist. 

Carbone, Jomes-Moreland, and the monster

This black comedy was filmed back to back with Corman's Last Woman on Earth and reuses the three leads from that film, Carbone, Jones-Moreland, and Towne, who became better known as a screenwriter. Creature has a couple of chuckles, but its mostly lame, although Corman keeps it moving so fast you never get as bored as you might have (although you probably won't want to ever see it again). The monster, which seems to consist mostly of seaweed with two pop-out white eyes like out-sized golf balls and claws, is about eight feet tall. Other characters include fat Rosina (Esther Sandoval) and her daughter, Mango (Sonia Noemi Gonzalez), and Carmelita (Blanquita Romero), who develops a yen for Sparks.  

Romero, Towne, bit players, Carbone

The odd thing about Creature is how well photographed it is, with each shot well-composed as to how characters and objects are situated in relation to one another and within the frame (see photo at left). You expect this (but don't always get it) in some well-known, expensive movies, but not in crap like Creature. The cinematographer was Jacques (or Jack) Marquette, but while I've seen other films he's shot -- such as Attack of the 50 Foot Woman -- nothing he's done has ever struck me the same way in the photographic sense. (Wow -- I get to look at 50 Foot Woman one more time !) Marquette seemed to photograph anything that came his way, from Corman films to Elvis Presley movies to TV shows and had a very long career.

The screenplay was written by Charles B. Griffith, who turned in better work for Corman's Attack of the Crab Monsters and some others. Inexplicably, this was actually remade in 2019. 

Verdict: Sixty minutes of silliness with some spirited performances. **. 

THE HORROR OF IT ALL

Erica Rogers and Pat Boone

THE HORROR OF IT ALL (1964). Director: Terence Fisher. 

American Jack Robinson (Pat Boone) comes to the isolated mansion of his British fiancee, Cynthia (Erica Rogers), only to discover that his timing is off. It seems that cousin Creighton has passed away and is laid out in the parlor. Soon Jack learns that one of Cynthia's relatives -- spirited Cornwallis (Dennis Price); spooky Natalia (Andree Melly); somber Reginald (Valentine Dyall); mad inventor Percival (Jack Blight); senile Grandpa (Eric Chitty); and crazy Muldoon (Archie Duncan) -- has begun murdering off the others for an inheritance. 

Dennis Price and Pat Boone

The Horror of It All is a silly black comedy that bears a striking and suspicious resemblance to William Castle's remake of The Old Dark House, which came out the year before. There are so many similarities that I've no doubt many viewers have confused the two pictures over the years. (Adding to the confusion is that a later film, No Place Like Homicide aka What a Carve Up! also has a similar plot.) The Horror of It All was written by Ray Russell, who worked with Castle on Mr. Sardonicus (from Russell's novel). The Old Dark House was written by Robert Dillon, and both Dillon and Russell worked on the screenplay for the Ray Milland film, X: The Man with X-Ray Eyes. 

Boone in a death trap

In any case, The Old Dark House is somewhat better than Horror. Although no one would ever confuse him with Cary Grant, Boone gives a perfectly good comic performance in this. Dennis Price and the other cast members play with enthusiasm as well. This will never go down as one of Hammer horror specialist Terence Fisher's [The Gorgon] more memorable movies, unfortunately. A scene when Boone is nearly crushed in a locked room with a descending ceiling is only mildly exciting for instance. Boone sings the acceptable title tune halfway through the movie. The best scene has Price describing to Boone the various awful ways in which his ancestors died. "A blighted people, a family accursed," says he. Interestingly, The Addams Family TV showed debuted this same year. 

Verdict: Watchable sort-of remake of Old Dark House. **1/4. 

THE HIDDEN HAND

Milton Parsons

THE HIDDEN HAND (1942). Director: Benjamin Stoloff. 

Insane murderer John Channing (Milton Parsons) escapes from an institution by hiding in the back of a police car! He arrives at the mansion owned by his sister, Lorinda (Cecil Cunningham), who wants his help in carrying out a sinister scheme. Convinced that her relatives are only out for her money, she invites them all to her house, fakes her death, and hopes they will all kill each other off -- or become victims of John, who is pretending to be a new butler. Lorinda's secretary, Mary (Elisabeth Fraser) is said to be her main heir, so she becomes a target almost immediately. 

Craig Stevens and Cecil Cunningham

Half an hour into the film's brief running time, the star Craig Stevens, playing lawyer Peter Thorne, who is engaged to Mary, shows up to intercede in events. There are more murders and a bit of skulduggery as well, including sequences with secret panels and trapdoors that overhang deep drops into the ocean. The male relatives are played by Roland Drew, Tom Stevenson, and Frank Wilcox, while the ladies are portrayed by Julie Bishop and Ruth Ford, with Inez Gay cast as the unfortunate maid, Hattie, and Marian Hall as the sinister nurse, Eleanor. Kam Tong is the Chinest servant Mallo, who is one of several people who come to a bad end. 

"I don't like that pigeon." Willie Best

The most likable player is Willie Best, who plays Eustis, the chauffeur. Approaching an agitated raven in his mistress' bedroom, he says, "I don't like that pigeon and he doesn't like me, either." The Hidden Hand is too loopy to work as a serious mystery film, and it isn't funny enough to work as a black comedy, so what we've got is a fairly foolish melodrama with mostly insufficient acting. Even Cecil Cunningham isn't very good, and Stevens [Peter Gunn] has little to do but look pretty. Willie Best does his usual shtick, but he steals the move doing it. Elisabeth Fraser makes little impression as Mary, but Parsons is typically effective as one of his gallery of creeps. 

Verdict: An instantly forgettable so-called comedy melodrama.  **.