Frankenstein’s Monster’s Monster Frankenstein 2019 ****

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Actor David Harbour presumably had a blank check to cash on the back of his success in Stranger Things; it’s a shame that the actor couldn’t find anything better to do with his Netflix cash than to rest on his family laurels. Harbour has taken it upon himself to exhume footage from his father David Harbour Jr’s excellent TV production of Frankenstein; a classic show, fondly remembered, but ill-served by his son’s piece-meal handling of the footage here. Harbour’s grandfather, the great David Harbour III must surely be turning in his grave, as must Mary Shelley’s poor, beknighted creation. Of course, it doesn’t help that so many of the ideas here have been done better elsewhere; the iconic meat commercial featured here was ripped off shamelessly by Transformers star Orson Welles for his Frozen Pea performance art installation, and the abrupt commercials, plus the rickety doors and windows of the set were an obvious influence of Dan Curtis’s Dark Shadows. Even the title is a clear spin on Kenneth Branagh’s Mary Shelley’s Frankenstein; it’s hard to imagine that an actor as storied as Harbour isn’t aware of that text, or even of the IMDB itself where such information might freely be found! Still, there’s some vague amusement to be found as Harbour questions those who remember his father, with faded stars like Alfred Molina, Kate Berlant, and newcomers like Mary Wonorov and Michael J. Lerner, still remembered from the Back to the Future films. It would have been better to use Harbour’s ill gotten gains for a full restoration of The Actor’s Trunk, a much admired show given precious little screen-time here, than on this miserly cash in on the Harbour family jewels. Perhaps Harbour’s proposed sequel, tentatively pre-cancelled at Amazon Instant Now Video Today and titled Frankenstein’s Monster’s Monster Frankenstein; The True Story, should be made just to set things right.

https://www.netflix.com/watch/81003981?source=35

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Hellboy 2018 ***

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The knives were out for Neil Marshall’s reboot, rehash, re-imagining of the comic book property Hellboy, which crashed and burned at the box office with barely a whiff of brimstone or sulphur. And yet, it’s not by any means as bad as might have been expected, with some flashes of wit in the script, some huge visuals and a decent centre in Stranger Things’s David Harbour. Having an enormous face seems to be the requisite for getting cast in this role, and while Harbour’s countenance is undeniably huge, it’s not quite of the ironing board dimensions of Ron Perlman. Harbour seems a little lost under the latex and make-up, but still makes a fist of Hellboy’s laconic attitude, with Ian McShane having some fun as his dad. The story, about secret societies, Nazis, sorceresses and the usual Hellboy elements is familiar, although Milla Jovovich is a memorable villainess. Truth be told, this isn’t much better or worse that the two Guillermo del Toro versions, which were no great shakes either; for Marshall, who musters a certain vulgarity as well as some big action scenes, it’s a setback perhaps, but one that suggests he’s got what it takes to deliver a great action film one day.