Leaning heavily into advertising their latest picture as a horror film, Hammer promptly used its trailers and advertising posters to highlight those spooky aspects, going so far as to name it Night Creatures (1962) for the United States market, while in England, they went with the more accurate title of Captain Clegg – focusing on the swashbuckling action adventure elements that revolve around pirates, smugglers, and the Royal Navy. Set in the eighteenth century, the story follows the supposed death of the infamous titular pirate Captain Clegg in 1776, who has been hanged to death by the Royal Navy for his long list of crimes... but not before Clegg maroons one of his men (Milton Reid) and cuts out his tongue for assaulting his beloved wife.

The last of the great monsters to come out of Universal’s iconic horror era – that ran from the 1920s through the 1950s (following in the footsteps of Dracula, Frankenstein, The Invisible Man, The Wolf Man, as well as many others), The Creature from the Black Lagoon has captured the hearts and minds of people over the past six plus decades. Seen as being a forebear to films which have people dealing with some sort of unknown or super-animalistic type creature (think Alien, Predator or Jaws), director Jack Arnold’s 1954 horror flick developed the formula for this style of films success. Set in the heart of the Amazon, the leader of a geology expedition, Dr. Carl Maia (Antonio Moreno), stumbles upon an earthshattering discovery.
Whilst attending Trekonderoga, the Ticonderoga comic convention that is all things Star Trek, on August 13th, 2016, I was fortunate enough to be able to interview Keir Dullea. Best known for taking on the starring role of Dr. Dave Bowman in Stanley Kubrick’s iconic space epic 2001: A Space Odyssey – he reprised the character for the film’s 1984 sequel 2010: The Year We Made Contact. Dullea has played a variety of intriguing roles over his six plus decades in the industry, getting his first lead role in 1962's David and Lisa, the actor then went on to star in 1964's The Thin Red Line, Otto Preminger’s 1965 mystery Bunny Lake is Missing, 1974's Black Christmas (often considered to be the genesis of the slasher horror film genre), and Robert De Niro’s 2006 flick The Good Shepherd, to name but a few of his film credits. The man actually highlighted a small Canadian film that he made back in 1973, titled Paperback Hero (also known as Last of the Big Guns), as being the favourite film he has worked on to this point.

Iconic German director F.W. Murnau is often considered to be one of the most influential filmmakers of the silent film era. Creating the first ever vampire movie, Nosferatu (a perfect example of German Expressionism) in 1922 and Sunrise (sometimes considered to be the best silent film drama of all-time – and the first motion picture he made in America) in 1927, a perhaps slightly lesser known movie (of his) that is equally as impressive is 1926's Faust: A German Folk Legend. Revolving around the age old struggle of good versus evil, the tale begins with the demon Mephisto (Emil Jannings) debating with an Archangel (Werner Fuetterer) about the nature of human beings. The agent of darkness believes that he will be able to corrupt the righteous, wise old sage Faust (Gösta Ekman). The two agree that, if Mephisto succeeds, the Devil will be given rule over the Earth.

From a modern perspective, it may not be immediately recognizable that the classic 1954 monster movie Godzilla was, in many ways, a product of its time. Highlighting the anxiety of the nuclear age at the height of The Cold War, the gargantuan reptile first appears after a hydrogen bomb test in the middle of the ocean. Even this occurrence that starts off the film is based on reality, as the United States tested a giant nuclear weapon on March 1st, 1954, under the code name Castle Bravo. Fishermen, who were outside of the radius, were hit by the fallout from the blast, being covered with copious amounts of coral and radioactive ash. One man died following the event, creating an onslaught of international press that questioned these tests (though, other articles impugned the men on the vessel, suggesting that they were spies).
I recently sat down with famed comedian Mike MacDonald, who has had much success touring North America over the past several decades. The popular comic has done it all, including performances of his stand up on Late Night with David Letterman, The Arsenio Hall Show, having comedy specials on Showtime and the CBC, as well as being a staple at the ‘Just For Laughs’ comedy festival in Montreal. He has even starred in a few movies. After his sidesplitting performance at The Port Theatre in Cornwall, Ontario (on August 19th, 2016), the funnyman was kind enough to sit down with me, telling me about some of his favourite films. He immediately referenced the parody as being his preferred type of motion picture. He eloquently and succinctly highlighted a key aspect in creating a successful parody: "when you want to piss on something, it is good for a two or three minute sketch. But to parody something for ninety minutes, you have to love the subject".

Depicting the slow decline of a wealthy family, Orson Welles’ follow up picture to Citizen Kane, 1942's The Magnificent Ambersons, provides us with a melancholic reflection on how the more simple life of the nineteenth century transitioned into a more hurried, less enjoyable one as the new century was ushered in. We are transported into the socialite world of the Ambersons, a well-to-do American family living in the then small city of Indianapolis. Residing in a gargantuan mansion, the family sit at the top of the food chain when it comes to the pecking order in the area. Welles provides the voice-over narration as he introduces us to the family, including Isabel (Dolores Costello), daughter of patriarch Major Amberson (Richard Bennett), a young lady who is being courted by the thoughtful Eugene Morgan (Joseph Cotten). After a disastrous attempt at performing a serenade for her, the romantic man is shunned by the young debutante – she sees his failure as an ominous sign.