The Comic Critic's review of "Abbott and Costello Meet Frankenstein"

The viewing public’s reaction to Abbott and Costello Meet Frankenstein took Universal Studio by surprise. It was the second cheapest movie they produced that year, but was by far their biggest earner. Abbott and Costello were a known draw; they did over a dozen movies for Universal before the script for Abbott and Costello Meet Frankenstein came around. WWII was over, and horror movies were selecting themes suited for the Atomic Age. Universal’s collection of monsters created prior to the war years were seen as old and hokey, their franchises tired and depleted. So the studio thought they might as well squeeze the last juices out of them through a comedy farce. Not everybody liked the idea. Lou Costello was less than impressed with the writing and remarked his five-year-old daughter could write a better script. Still, the plan went ahead with the actors returning to play their original roles. All except for  Karloff, who said he would help promote the movie if he didn’t have to see it. But Universal forgot about the one thing studios always forget, the love the fans held for these old ghouls. The story was thin, the laughs were easy, but the audience loved the farce and Abbott and Costello Meet Frankenstein went on to be one of the studio’s best grossing films of 1948, ranking 27^th amongst all films that came out that year. While the movie might have been a swan song for Universal’s Frankenstein, Dracula, and the Werewolf, the studio learned their lesson and the creatures are far from retired. Abbott and Costello Meet Frankenstein, while definitely a Universal picture, is considered to be outside the franchise canon. It reinforced in the public mind that a franchise-derivative film could still be considered a stand-alone. Abbott and Costello Meet Frankenstein would go on to influence movies and television by providing a wealth of material and inspiration for crossover and self-parody.

The Comic Critic Reviews "Innocence" (2000)

Innocence is an Australian film. I was intrigued by the premise of a widower taking it into his head to call his first love. Social media has made reconnecting with old friends extremely easy and commonplace. But at the time this movie was made, MySpace had yet to start. The way you got in touch with people was by tracking them down with a phone book, and by reaching out to mutual friends to see if they had a valid phone number. Perhaps Innocence caught my attention because I would do this quite a bit. Most of the time, I had no success. I empathized with the desire to reconnect with people who meant something to me. I wanted to reassure myself that they went on to lead happy lives. There was always that hope that a rekindled friendship would bring more into my life than melancholy remembrances. Innocence takes that silent hope and explores how invigorating the world can be when old love is renewed and set ablaze. The first time around, you have no idea of what you are doing, what commitment means, or what changes will take place within your life as a result. The second time around, you have no idea of what you are doing because you do know what commitment means, and you do know what will take place in your life. The measurement of how to live is seen from a different perspective as a future might consist of only a few good years, if that. And that is only the start as there is a ripple effect that travels through the very foundations of not only yourself, but your family members as well. I found Innocence extremely engrossing, its explorations of these concerns touching, and its writing superior. It’s not the last grasp at romance movie you would expect.

The Comic Critic Reviews "Innocence"

Innocence is an Australian film. I was intrigued by the premise of a widower taking it into his head to call his first love. Social media has made reconnecting with old friends extremely easy and commonplace. But at the time this movie was made, MySpace had yet to start. The way you got in touch with people was by tracking them down with a phone book, and by reaching out to mutual friends to see if they had a valid phone number. Perhaps Innocence caught my attention because I would do this quite a bit. Most of the time, I had no success. I empathized with the desire to reconnect with people who meant something to me. I wanted to reassure myself that they went on to lead happy lives. There was always that hope that a rekindled friendship would bring more into my life than melancholy remembrances. Innocence takes that silent hope and explores how invigorating the world can be when old love is renewed and set ablaze. The first time around, you have no idea of what you are doing, what commitment means, or what changes will take place within your life as a result. The second time around, you have no idea of what you are doing because you do know what commitment means, and you do know what will take place in your life. The measurement of how to live is seen from a different perspective as a future might consist of only a few good years, if that. And that is only the start as there is a ripple effect that travels through the very foundations of not only yourself, but your family members as well. I found Innocence extremely engrossing, its explorations of these concerns touching, and its writing superior. It’s not the last grasp at romance movie you would expect.

The Comic Critic Reviews "Poppy"

Poppy was brought the screen after a successful run as a three-part stage musical. W.C. Fields played the role of a colorful carnival barker, con man, and father to “Poppy.” Poppy was a “revue,” containing elements of songs, skits, and comedy routines. The production ran in New York and then moved over to England. Perhaps it was there that Fields was inspired by a cartoon character named Ally Sloper; a red-nosed, blustery, lazy schemer constantly dodging creditors. Fields' attire certainly resembles Sloper’s: a tall white top hat with a wide band, an upturned white collar, tailcoat, and spats. Much of the ensemble would come to create what we now consider to be the iconic image of W.C. Fields. Considered one of the world’s best jugglers at an early age, his ability to manipulate the objects about him is as gracefully choreographed as a ballet dancer, all the while looking like he’s bumbling in the attempt. His role as Prof. Eustace P. McGargle in Poppy would take him from the stage to the movies, where he would become one of the world’s best-known comedians. His trademark raspy drawl with a flowery vocabulary would make him instantly recognizable. Fields’ characters in films would often show him as a drunk, con-man, and henpecked. Field’s ability to play the downtrodden everyday man seeking to find a moment of solace or a sip of drink endeared him to audiences. His self-talking mutterings were imbued with wit and guile. Several of these mutterings have been added to the long lexicon of lines attributed to Fields. One of the most famous of his lines came near the end of Poppy when he advises his daughter, “Never give a sucker an even break.”