Word: draculas
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Dates: during 1970-1979
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...FIRST FIVE MINUTES of the new Dracula, Frank Langella literally rips out a man's throat, and you know nobody's gonna pull no punches this time. Let the tide of bloody dead babies commence: let there be impalings, gougings, slashings, stakings, necks broken with an appetizing CRRRUNNCHH in Dolby stereo, John Williams conducting the London Symphony Orchestra, repeating the same goddamned nine-note musical motif like a lobotomized organ grinder, bats tearing faces and crucifixes burning the flesh of latex-scarred vampirellas. "It's a love story," explained Frank Langella...
...there is Dracula, the latest in a long line of remakes, a frisky summer shocker that will give you a decent evening out but not a whole lot more. But what am I to tell Director Badham when he says to me, "I played by your rules for good horror movies. I got a smooth script and a great cast: Laurence Oliver is Van Helsing. I kept it playful and tongue-in-cheek: huge, somewhat stylized sets, plenty of action, a leading lady with nice tits...
...RIGHT, of course. This Dracula has the ingredients to be the definitive version. It just doesn't happen to be a very good movie. It's cluttered and insecure; it always gives you a little too much instead of just enough to get you aroused. Dracula delivers, but always before you want it to, so you're never really hungry, never in suspense...
...This Dracula had its roots in the 1977 Broadway production of a 1927 play by John Balderston and Hamilton Deane, a corny, embarrassing old drawing-room comedy-melodrama with one or two amusing confrontations, sort of a "Vampire Who Came To Dinner." Director Dennis Rosa couldn't decide whether he wanted a campy parody of 30's horror movies or a straight chiller (which would have been impossible with that script). So he tried to do it both ways and it came out neither--a mess, complicated by the celebrated Edward Gorey's black-and-white cartoon sets, which reduced...
...RICHTER, the screenwriter, sensibly trashed nearly all the Deane-Balderston play, retaining only certain key encounters between Dracula and his nemesis, Van Helsing. The latter is no longer a pompous vampire hunter but an ordinary professor whose daughter. Mina, becomes Dracula's first victim in England. No corny lines remain; at his most indulgent, Richter keeps an episode in which Dracula hurls a candelabra into a magnificent drawing room mirror that does not reflect his image. "Pardon me," he tells Van Helsing, matter-of-factly, "I dislike mirrors...