"Hello. My name is Robert Montague Renfield. And just like these decent folks, I'm in a destructive relationship. When I met him, I was a real estate lawyer hoping to make a deal that would change my life and my family's lives forever. Oh, and it certainly did."

After nearly 90 years, the Universal horror cycle stands as one of the most enduring collection of horror movies today. Their influence on modern horror is unmistakable. There have been literally thousands of incarnations of Dracula, the Wolf Man, and Frankenstein's Monster, but the first image that comes to your mind will always be the nightmare creations of those Universal films. Studio head Carl Laemmle, Jr. was trying to break away from his father's control and create a studio culture of his own. The results would start in 1931 when an unknown Hungarian actor named Bela Lugosi jumped from the stage to the screen in Dracula, directed by Tod Browning. Laemmle's niece, Carla Laemmle, is the girl in the coach headed for Borgo Pass as the film opens to the musical strains from Swan Lake. She is reading a travel brochure about vampires and thus speaks the very first lines ever spoken in a horror film in the era of sound. Lugosi was mesmerizing, and the film was a hit. There was a depression on, but that didn't stop crowds from lining up around theater blocks to be hypnotized by Lugosi's Dracula. The cycle of horror films that followed literally saved the studio from bankruptcy by the time it had all come to an end, and the horror baton was passed along to England's House of Hammer. Since then Universal hasn't really known exactly what to do with these prize IP's.

Well, I’d say this film was right in Gerald Butler’s wheelhouse. Teaming with Ric Roman Waugh for the third time of his career (it’s worth noting that two additional partners are already planned in the form of sequels for both the Has Fallen franchise and Greenland 2), Butler plays a undercover CIA agent who finds himself on the run and hunted. With only one ally, he has a little more than a day to traverse dangerous terrain while trying to stay one step ahead of those who hunt him. So while the concept of this film is not really original, the film does make up for the lack of originality by providing a adrenaline-filled experience with a healthy does of suspense. Joining Butler are Vikings’ Travis Fimmel and Navid Negahban, both of whom provide excellent backup to Butler.

Butler plays Tom Harris, a freelance operative for the Central Intelligence Agency. Following a successful mission in Iran in which he inserted malware into an Iranian nuclear research facility causing the facility to self destruct, Tom expects to take some time to make up for the periods of absence and neglect that resulted in his divorce and strained his relationship with his daughter. However, Tom is approached by his handler with another mission, essentially conducting a similar operation, this time in Afghanistan. Let’s pause here for a moment. Given the high-profile nature of the operation that the character has just conducted, it was a bit difficult to swallow the idea that he would be immediately approached to be put back into the field again. The risk factor, in my opinion, would be too great. However, I suppose you could get around this given the likelihood that few people have the skill set that the character possesses. My reservations aside, this actual plays in the film’s favor, as it provides a means further the point and give it authenticity, particularly with what follows.

“Never accept death when suffering is owed.”

So I think it safe to say that when it comes to the Fast and Furious franchise, it is no longer about cars or street racing any more. In the beginning it felt like we were getting a window into a secret underground world that spanned multiple continents. However, I would say that is no longer the case. Dom and his family have gone legit. Not only have they gone legit, but they now unofficially work for the government in some capacity. No, it is no longer about the cars and street racing any more. In fact, I would go as far as to say that we aren’t tuning in to see them use their skills on the behalf of the government, either. There is one thing that keeps us coming back for more. We want to see what over-the-top, outrageous, death-defying, impossible stuff they are going to do next. At least that is what got me in the seat. In the last couple years, we’ve watched Dom and his family do things that may be theoretically possible, but that we know to be ridiculous. I mean, we watched them go to space in a Pontiac Fiero just a movie ago. Needless to say, this franchise has pushed the boundaries of what we know to be possible, and they’ve done it in a fashion that keeps us coming back for more.

“In the 1940’s, a new genre – film noir – emerged from the world of hard-boiled pulp magazines, paperback thrillers, and sensational crime movies. These films, tough and unsentimental, depicted a black and white universe at once brutal, erotic, and morally ambiguous.”

Film Noir officially started in the 40’s, but the movement was well underway by the early 30’s. You can trace its roots to the Great Depression and the arrival of the dime pulp magazines. These were highly stylized, mostly mystery stories that provided cheap escapism for the masses who were not having a good time of it. Writers like Raymond Chandler crafted the mold that was easily transferred to the silver screen. These were low-budget films that were intended to be second billing with the more mainstream releases. They were shot quickly. Many have a very flat look, created intentionally. The lighting was often minimal, crafting odd shadows and unusual textures. The dialog wasn’t intended to be natural or realistic. These characters usually spoke in clichés and had names like Mac, Griff, or Dollface. There was often a shade of gray to these characters. Good and evil were not always so clear-cut. Gangsters became common themes of the genre. And while the dialog might have been cheesy, the cinematography was often gritty and almost ultra-realistic. At times the films played out like documentaries, often including narration. The narrator would always be a voice of authority; often film-reel stars were used. The films were heavily influenced by German Expressionism, perfected by the likes of Fritz Lang in the silent era and carried over to more modern themes. The films always contained a steady supply of stock characters and actors. It was smoky rooms and neon lights. It was a reflection on the times. It was Film Noir.

"There ain't any jail of steel or stone that can hold a body prisoner as tight as one built of old age ... and lack of money."

If I Had A million is a rare kind of film for 1932. The industry was barely out of the silent era, and stories needed to be tight and usually short. Short was the word of the day for this film. It became the first feature film to be released as an anthology with plenty of A-list stars and several directors, each taking on their own little piece of the pie. It was a rather brilliant idea for the time, but sadly this style of filmmaking wouldn't really start to catch on until the 1970's, starting almost exclusively with horror films and later creating its own little niche genre in mainstream filmmaking. It's still somewhat popular today with directors like Wes Anderson embarrassing certain elements of the format. It was a brave choice that wasn't quite rewarding enough to see the format flourish ... yet. This is the perfect film for all of you with short attention spans who want to get a taste of the films of the period. It's a nice collection of stars from the period, to be sure. KL Studios adds this awkward little gem on Blu-ray, and I must insist that you give it a try. You just might have a great time with it all.

"I cannot - yet I must. How do you calculate that? At what point on the graph do "must" and "cannot" meet? Yet I must - but I cannot!"

Often it seems some films were made to collect a mantle-full of awards. For some it's the Oscars they covet. For others it might be a Golden Globe award or even a People's Choice Award. As a member of two critics’ guilds, I have to make these assessments every year. I know how important these accolades can be for a film and the people who created it. But there's one award that films (almost) never set out to obtain. Still it can provide endurance for a film and help new audiences to embrace it. I'm talking about those Golden Turkey awards, and few films ever made deserve the Golden Turkey than 1953's Robot Monster. When you hear folks talk about how monstrous that movie is ... they're not talking about the creature itself. They're talking about the film. The movie has recently been restored and is looking better than it ever did in a theater. Now that restoration is available on Blu-ray both in a standard format and its original 3-D presentation. They even included a pair of those old red and blue glasses so you can experience the film just like they did back in the 1950's. It's pure schlock, and it's never looked better. William Castle was the king of the gimmick horror/sci-fi film, but in 1953 Robot Monster would have given him a run for his money. For just a minute or two, Robot Monster was the best of the worst and the worst of the best. Now it's your turn to check it out.