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gatutor · 7 days

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Warren Stevens-Karen Steele "Medio hombre, medio máquina" (Cyborg 2087) 1966, de Franklin Adreon.

#Karen Steele #Warren Stevens #Franklin Adreon

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nerds-yearbook · 8 months

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A cyborg named Garth A7 from the year 2087 travelled back in time to the year 1966 in an attempt to prevent Professor Sigmund Marx from revealing a discovery that made mind control possible and thus the horrible future Garth came from. Garth was not the only time traveling cyborg as two Tracers followed him back in time as well guided by a homing device inside Garth ("Cyborg 2087", flm)

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cinemaquiles · 6 months

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Mais um filme que serviu de premissa para Exterminador do futuro? "Cyborg 2087" (1966)

#Cyborg 2087 #Franklin Adreon #sci fi #Michael Rennie #Karen Steele #Wendell Corey #Warren Stevens #karl marx #Harry Carey Jr.#terminator #james cameron #Eduard Franz #Chubby Johnson #Adam Roarke #John Beck #Youtube

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drzito · 5 months

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Las 242 peliculas que he visto en 2023 (parte 1)

Tarzan y su compañera (Cedric Gibbons, 1934).

2. El fantasma y la Sra Muir (Joseph L Mankiewicz, 1947)

3. Odio entre hermanos (Joseph L Mankiewicz, 1949)

4. Testigo accidental (Richard Fleischer, 1952)

5. El rastro de la pantera (William A Wellman, 1954)

6. El tigre dormido (Joseph Losey, 1954)

7. El quinteto de la muerte (Alexander McKendrick, 1955)

8. 40 pistolas (Samuel Fuller, 1957)

9. La maldición de Frankenstein (Terence Fisher, 1957)

10. Ocho horas de terror (Seijun Suzuki, 1957)

11. The Trollenberg terror (Quentin Lawrence, 1958)

12. La Venganza (Juan Antonio Bardem, 1958)

13. Un golpe de gracia (Jack Arnold, 1959)

14. A todo riesgo (Claude Sautet, 1960)

15. La evasion (Jacques Becker, 1960)

16. El sabor del miedo (Seth Holt, 1961)

17. Detective bureau 2 3. Go to hell bastards! (Seijun Suzuki, 1963)

18. The white tiger tattoo (Seijun Suzuki, 1965)

19. A traves del huracan (Monte Hellman, 1966)

20. El Tiroteo (Monte Hellman, 1966)

21. La soltera retozona (Silvio Narizzano, 1966)

22. Dimension 5 (Franklin Adreon, 1966)

23. Los Productores (Mel Brooks, 1967)

24. Un hombre (Martin Ritt, 1967)

25. Sebastian (David Greene, 1968)

26. El Bastardo (Duccio Tessari, 1968)

27. El lagarto negro (Kinji Fukasaku, 1968)

28. La louve solitaire (Edouard Logereau, 1968)

29. Aquel dia frio en el parque (Robert Altman, 1969)

30. Corazones en fuga (Michael Powell, 1969)

31. La bestia ciega (Yasuzo Masumura, 1969).

32. El bosque del lobo (Pedro Olea, 1970)

33. El grito del fantasma (Gordon Hessler, 1970)

34. Drácula y las mellizas (John Hough, 1971).

35. ¡Que viene Valdez! (Edwin Sherin, 1971)

36. Sangre en la tumba de la momia (Seth Holt, 1971)

37. El Otro (Robert Mulligan, 1972)

38. Hermanas (Brian de Palma, 1972)

39. Imagenes (Robert Altman, 1972)

40. Morgiana (Juraj Herz, 1972)

41. El ataque de los muertos sin ojos (Amando de Ossorio, 1973)

42. El programa final (Robert Fuest, 1973)

43. Flor de santidad (Adolfo Marsillach, 1973)

44. Lemora, un cuento sobrenatural (Richard Blackburn, 1973)

45. Messiah of Evil (Willard Huyck y Gloria Katz, 1973)

46. Una vela para el diablo (Eugenio Martin, 1973).

47. Daguerrotipos (Agnes Varda, 1975)

48. La noche de las gaviotas (Armando de Ossorio, 1975)

49. Picnic en Hanging Rock (Peter Weir, 1975)

50. El otro Sr Klein (Joseph Losey, 1976)

51. Terror al anochecer (Charles B Pierce, 1976)

52. El desafio del bufalo blanco (J Lee Thompson, 1977)

53. Largo fin de semana (Colin Eggleston, 1978)

54. El grito (Jerzy Skolimowski, 1978)

55. Los ojos del bosque (John Hough, 1980)

56. Alison’s birthday (Ian Coughlan, 1981)

57. Muertos y enterrados (Gary Sherman, 1981)

58. Wilczyca (Marek Piestrak, 1983)

59. En compañia de lobos (Neil Jordan, 1984).

60. Sangre Facil (Joel Coen, 1984)

61. Sole survivor: Unico superviviente (Thom Eberhardt, 1984)

62. Tasio (Montxo Armendariz, 1984)

63. El tren del infierno (Andréi Konchalovski, 1985)

64. El corazon del angel (Alan Parker, 1987)

65. Jovenes Ocultos (Joel Schumacher, 1987)

66. La chaqueta metalica (Stanley Kubrick, 1987)

67. El fluir de las lagrimas (Won Kar Wai, 1988)

68. Ensalada de gemelas (Jim Abrahams, 1988)

69. Kadaicha, la piedra de la muerte (James Bogle, 1988)

70. Pacto de Sangre (Stan Winston, 1988)

71. Avalon (Barry Levinson, 1990).

72. Misery (Rob Reiner, 1990)

73. La Teranyina (Antoni Verdaguer, 1990)

74. La Tutora (William Friedkin, 1990)

75. Morir Todavia (Kenneth Branagh, 1990)

76. La jungla de cristal 2 (Renny Harlin, 1990)

77. Solo en casa (Chris Columbus, 1990)

78. Alien 3 (David Fincher, 1992)

79. Mi novia es un zombi (Michele Soavi, 1994)

80. Nadja (Michael Almereyda, 1994)

81. Esto (no) es un secuestro (Ted Demme, 1994)

82. Dos Policias Rebeldes (Michael Bay, 1995)

83. El demonio vestido de azul (Carl Franklin, 1995)

84. Heat (Michael Mann, 1995)

85. Jovenes y brujas (Andrew Fleming, 1996)

86. Agarrame esos fantasmas (Peter Jackson, 1996)

87. Herbert's Hippopotamus: Marcuse and Revolution in Paradise (Paul Alexander Juutilainen, 1996).

88. La Roca (Michael Bay, 1996)

89. Tierra (Julio Medem, 1996)

90. 99.9. La frecuencia del terror (Agusti Villaronga, 1997)

91. Fallen (Gregory Hoblit, 1998)

92. Un plan sencillo (Sam Raimi, 1998)

93. El halcon ingles (Steven Soderbergh, 1999).

94. Ilusiones de un mentiroso (Peter Kassovitz. 1999)

95. Flores de otro mundo (Iciar Bollain, 1999)

96. Ravenous (Antonia Bird, 1999)

97. Wisconsin Death Trip (James Marsh, 1999)

98. Dagon: La secta del mar (Stuart Gordon, 2001)

99. Escalofrio (Bill Paxton, 2001)

100. Dracula: Pages from a Virgin's Diary (Guy Maddin, 2002)

101. 2 hermanas (Jee-Woon Kim, 2003)

102. Dos policias rebeldes II (Michael Bay, 2003)

103. Los Angeles Play Itself (Thom Andersen, 2003)

104. El reportero: La leyenda de Ron Burgundy (Adam McKay, 2004)

105. El Septimo Dia (Carlos Saura, 2004)

106. La vida que te espera (Manuel Gutierrez Aragon, 2004)

107. Los Edukadores (Hans Weingartner, 2004)

108. Misteriosa obsesion (Joseph Ruben, 2004)

109. Yo, Robot (Alex Proyas, 2004)

110. Hostel (Eli Roth, 2005)

111. Wolf Creek (Greg McLean, 2005)

112. Bajo cero (Frank Marshall, 2006)

113. El Inadaptado (Jens Lien, 2006)

114. Sheitan (Kim Chapiron, 2006)

115. The last winter (Larry Fessenden, 2006)

116. 30 dias de oscuridad (David Slade, 2007)

117. Borderland. Al otro lado de la frontera (Zev Berman, 2007)

118. Diarios de la calle (Richard LaGravenese, 2007)

119. Frontera(s) (Xavier Gens, 2007)

120. Hostel 2 (Eli Roth, 2007)

121. Water Lilies (Celine Sciamma, 2007)

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project1939 · 2 days

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100+ Films of 1952

Film number 167: Radar Men from the Moon

Release date: January 9th, 1952

Studio: Republic

Genre: sci-fi serial

Director: Fred C. Brannon

Producer: Franklin Adreon

Actors: George Wallace, Aline Towne, Roy Barcroft

Plot Summary: Commando Cody invents amazing things like atomic powered jetpacks and a rocket ship that can go to the Moon. When mysterious atomic explosions start happening all over the Earth, Cody believes it is the start of an invasion by the inhabitants of the Moon. He and his crew travel from the Earth to the Moon, and back again, trying to stop the evil plan of Retik, the great Moon ruler.

My Rating (out of five stars): **

I was pretty excited to watch this, I’m not gonna lie. I’m someone who has viewed hundreds of Classical Hollywood movies, but I had never seen an entire old “serial.” Serials were 15-minute shorts that ran before a feature film- most were westerns, jungle adventures, or sci-fi. They consisted of about 12 chapters, and a new one would be released each week. Their main attributes were recurring characters, an overarching story, and an impossible cliffhanger at the end of each chapter. With a title like Radar Men from the Moon, I was ready to strap myself in for some cheap campy fun. It partly delivered, but by the 7th episode, I was pretty sick of the predictable repetitiveness of it all. (some minor spoilers)

The Good:

I generally liked Commando Cody. He didn’t look like your typical action hero- he reminded me of a mixture of a young Spencer Tracy and a young Gene Hackman. Sometimes his nondescript manner made him a little underwhelming in the charisma department, but I still liked him overall.

I liked Joan the female sidekick. She was smart, brave, and did some of her own fighting. She was not a damsel in distress. She also wasn’t romantically involved with Cody, which surprised me.

Krog is a stupidly great name for an alien! His character wasn’t as interesting as his name, but whatever.

Retik, the Moon’s ruler, had a pretty bizarre costume. He looked like he was wearing some kind of psychotropic papal robe, but then he had a head covering designed with either lizard or fish scales!

I loved the name of the Moon’s equivalent to uranium- it was called lunarium! Guffaw.

The special effect of Cody flying with his jet pack was actually pretty good for something this low budget. I thought it looked better than the Superman effect from the 1952 TV show.

My favorite special effect was the melting mountain one. Rocks were supposed to be melting into molten lava, and it looked pretty damn impressive.

The “futuristic” technology, the absurd plot, the janky costumes and effects... it was entertainingly goofy in most of the ways you’d hope.

The Bad:

Why did they name our hero Commando Cody? I’m sure it had nothing to do with the fact that Space Patrol, starring Commander Correy, was a huge radio and tv hit at the time! (What’s with “Commando” btw? All I can think of is what might or might not be under Cody’s uniform!)

This should really have been called Fist Fighting Men from the Moon, because almost every time the bad guys dueled, they were just duking it out with their hands. It got very VERY tiresome. They had ray-guns and moon technology, but fistfights were supposed to be more exciting? No, they were just more cheap, I’m sure.

Next to fist fights, car chases were the most common way to combat the enemy. In sci-fi. How is that cool?

Too much time was spent on Earth. I wanted more of the Moon!

Although... the Moon was a place filled with ancient Roman architecture, Frankenstein-esque laboratories, and a sunny atmosphere just like the Earth’s. It didn’t make for fascinating viewing.

There were also blue skies all the way to the moon via the rocket ship. Who said space had to be dark?

Re: the title- where were the Radar Men? It was a phrase or concept never once uttered. Letdown!

The action and adventure didn’t really pan out like I hoped it would. My imagination was much more vivid than what was on the screen.

The whole thing was pretty predictable.

The cliffhangers at the end of each chapter lost their power very quickly. Each time it looked like there was no possible way Cody could have survived the final sequence, but each time he came back because of some miraculous escape or a bit of crazy luck. I never once thought- “Oh, no! Is he ok? Will he be alive next week?”

The final scene ended on some dopey humor, which was already a trope apparently. 1) The heroes win! 2) The heroes celebrate with humility! 3) Someone does something a little silly or makes a little mistake and everyone laughs! Ha ha ha!

#1952 movies #100 films of 1952 #classical hollywood serials

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jedivoodoochile · 1 year

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King of the Rocket Men es una serie de películas en blanco y negro de 12 capítulos de 1949de Republic Pictures , producida por Franklin Adreon , dirigida por Fred C. Brannon , protagonizada por Tristram Coffin , Mae Clarke , Don Haggerty , House Peters, Jr. , James Craven e I. Stanford Jolley .

Esta serie de películas se destaca por presentar al único personaje llamado "Rocket Man", un nombre inapropiado que los fanáticos aplicaron a los otros héroes propulsados por cohetes de la República que siguieron en sus series posteriores: Radar Men from the Moon (1952), Zombies of the Stratosphere (1952) y Commando Cody: Sky Marshal of the Universe (1953).

#King of the Rocket Men

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davidosu87 · 4 years

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yesterdanereviews · 3 years

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King of the Carnival (1955)

Film review #471

Director: Franklin Adreon

SYNOPSIS: A counterfeiting operation to flood the United States with fake money leads to treasury agents Art Kerr and Jim Haynes to investigate a circus in connection with the operation. Art asks acrobat Bert King to aid them in putting a stop to the counterfeiting, and to unmask the villain responsible...

THOUGHTS/ANALYSIS: King of the Carnival is a 1955 film serial and the last serial made by Republic Pictures. As the other two serial producing companies (Universal and Columbia) has already stopped producing them, King of the Carnival stands as the final serial, and the end of the format as a whole. The serial is set in a circus, where Bert King performs as an acrobat (The title "King" of the carnival refers to Bert, and is something that Republic Pictures also did with the lead character in King of the Royal Mounted). When agents of the U.S. treasury Art Kerr and Jim Haynes arrive on the scene investigating a counterfeit operation they believe is connected to the circus, Art asks his old friend Bert to aid them in unravelling the sinister plot. The villain's plot centres around the production of counterfeit money and flooding the U.S. with it, so that the currency is devalued and other countries lose confidence in it. If that sounds like a dull and boring set-up, that's because it is. There's nothing else to this story other than this bizarre plot that doesn't really make sense: surely it would take a huge operation to destroy a currency like the U.S. dollar, and the serial just has one guy working in a sunken boat. Such an intangible plot never connects with the viewers, and will be sure to bore. The plot does have this similar theme of many post-war serials, in that foreign powers attempt to sabotage the U.S. in some way, marking the onset of the cold war. However, the serial format never returned to it's peak popularity like it had during the war. The circus element of the story is a bit more unique, but a lot of the action scenes are footage taken from the earlier serial Daredevils of the Red Circle, which wasn't too great itself.

The characters are a typical and uninteresting bunch. You have the male leads, a single female character who is also an acrobat at the circle (although you never see her doing any of the stunts because the footage taken from Daredevils of the Red Circle had no female performers). The villain "Zorn" has no real presence and just gives orders to his henchmen to do the dirty work. It is revealed that someone at the circus is actually the leader of the counterfeiting operation, setting up a mystery villain reveal at the end, but you probably won't care as it makes no real difference to the plot.

When this serial was released in 1955, the world of cinema and media in general had moved on from the fifteen or twenty years before when the serial was so popular. However, King of the Carnival could easily have been made at the height of the format's popularity, and still be pretty poor. It takes no advantages of any advances in technology and the evolution of cinema, and just ends up being another cut-and-paste job that many of the serials are. At this time too, obviously televisions were appearing in people's homes, and the idea of going to the theatre every week to watch a new instalment was fast becoming outdated when you could just tune in to an ongoing series from your television at home. The serial format never really tried to change or adapt to the times; the companies that made them clearly just saw that their time was up, and focused on feature films. Not that I can really blame them, as the introduction of TV made the format redundant. Going back to King of the Carnival, it feels very much like a poor production that is well aware of it's fate. The 'circus' is clearly just a set with cloths draped all over them to give the illusion if it being a big tent, and the cliffhangers lack any form of imagination or suspense, especially when viewers had been seeing these same ones for over twenty years. Overall, King of the Carnival is a poor swansong for the serial format, accentuating their worst elements such as low budget, repetition, and one-dimensional characters, while not providing any imaginative settings, devices etc. that some of the more popular serials did. The serial format had very much run its course, perhaps many years before King of the Carnival was released, and it is a stark reminder of all of it's worst elements.

#movie #movie review #king of the carnival #serial #film #film review #1955 film

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oldshowbiz · 6 years

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Producer Earle Lyon is a lost man in B-movie history, but his films, when taken together, show a common style, tone, and low-budget body of work equal to that of Larry Buchanan. Lyon’s pictures were usually directed by his brother Francis D. Lyon. Their films are distinguished by the moody stock library music that is heard over and over in all of the films. The odd processed color, and the characters often in monotone body suits wandering around Bronson Canyon add to the general, mysterious, low-budget vibe.

Destination Inner Space (1966) was their first and most well-known feature, a favorite of monster runamuck fans. Dimension 5 (1966) and Cyborg 2087 (1966) were likely filmed back to back as they use similar locations and lo-fi special effects. Castle of Evil (1967) is an extremely fun haunted house picture. All of these movies are so atmospheric as to border on the hypnotic. The Money Jungle (1967) is a film I have never seen, but it features a cameo by Don Rickles. The Destructors (1968) rounds out this era with more bad special effects, library music, and actors who’ve seen better days.

The Lyons often enlisted the services of Franklin Adreon, an editor and filmmaker who had worked for a generation on Republic Pictures serials. He knew how to cut corners and make a film more exciting than it deserved to be with fast editing skills. Aderon’s made most of his money recutting old serials and re-releasing them as hour-long movies.

I used to think these films were just part of a general genre, until I learned they were all made by the same company. After initial drive-in runs, they played on late night television frequently throughout the late 1960s and 70s.

#b movie #drive in #Earle Lyon #Francis D. Lyon

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whatchawatchingq · 4 years

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Cyborg 2087 (1966), dir. Franklin Adreon. **

For as long as I’ve wanted to see this, and for as interesting as it is conceptually -- there’s as much Terminator in here as there is in “Demon with a Glass Hand” -- it sure was kind of dull and unimaginative. The fact that the primary setting for a science fiction movie about cyborgs coming back in time to 1966 to alter the future was a backlot old west town typifies its mindset.

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gatutor · 6 months

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Karen Steele-Eduard Franz "Medio hombre, medio máquina" (Cyborg 2087) 1966, de Franklin Adreon.

#Karen Steele #Eduard Franz #Franklin Adreon

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nerds-yearbook · 3 years

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In 2087 AD, the Government has the ability to control minds. Freedom of thought is against the law. A group of free thinkers manage to send an android named Garth A7 back to the year 1966 to prevent the scientist from releasing the information that allowed mind control to become possible ("Cyborg 2087", flm)

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drzito · 1 year

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Esta semana, diez peliculas de los 60.

Dimension 5 (Franklin Adreon, 1966)

#espias #jeffrey hunter #spy fi

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trashvideofinland · 6 years

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5. ulottuvuus / Dimension 5 (1966) Gerit Oy https://www.videospace.fi/release/5_ulottuvuus_vhs_gerit_oy_finland

#Videospace #vhs #5. ulottuvuus #Dimension 5 #Franklin Adreon #Jeffrey Hunter #France Nuyen #Harold Sakata #VHS tapes #VHS art #VHS cover

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yesterdanereviews · 3 years

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Panther Girl of the Kongo (1955)

Film review #467

Director: Franklin Adreon

SYNOPSIS: Jean Evans, a member of a wildlife foundation, is in Africa taking photos of local wildlife when she encounters a giant crayfish that nearly kills her. She teams up with Larry Sanders, a big game hunter, to stop the creature and discover it's origins.

THOUGHTS/ANALYSIS: Panther Girl of the Kongo is a 1955 serial produced by Republic Pictures and comprised of twelve chapters. The serial centres around Jean Evans, who works for a wildlife foundation taking photographs of wildlife. She is known as "Panther girl" because...I don't know, she rides an elephant sometimes and dives off cliffs; the only panther I recall seeing is at the end screen. Anyway, she encounters a giant crayfish that attacks her, but is saved by Larry Sanders, a big game hunter in the area. The two team up to try to stop the monster and unravel the mystery of it's origins, while trying to stop two outlaws in the area. This is the cornerstone of the plot, alongside Dr. Morgan, a scientist also in the area, has created the giant monster to scare off people from a mine full of diamonds while he harvests them all. Obviously, this type of plot has been done to death, and is perhaps more famously associated with a vast chunk of episodes of Scooby-Doo, meaning it's hardly an interesting watch nowadays when it's been done and done again. There's also not much of a plot besides this, and the heroes trying to stop the giant crayfish monster thing. Trouble is, it doesn't show up for a good chunk of the serial, and so Jean and Larry are left to do the typical back-and-forth with Morgan's henchman, as they make plans, set traps, and start fistfights with each other. As it is, the plot rarely has any direction, and the stakes are also pretty low, since again it's not all for world domination or anything, just a man wanting to mine some diamonds in the middle of nowhere.

Quite rarely for a serial, the main character is a woman. Jean Evans is the "panther girl" due to her prowess in the jungle (even though there's no panthers that we see), and she actually does something other than being kidnapped. The only other serial that does this to this degree is perhaps Jungle Girl (more on that later). However, when the script requires it, she does revert to the typical screaming damsel in distress, and the male lead swoops in to save her. He also does most of the shooting and punching, but still Jean's character is central to the plot. Larry is just a typical male lead with no real character. The villains also are just typical henchman and a "mad" scientist who isn't all that mad, just wants to get rich. The setting of non descript "Africa" and its stereotypical depiction of "tribes" is problematic and presenting the entire continent in this way is a depiction that prevailed for decades thanks to films such as these.

The serial is quite similar to the Jungle Girl serial released in 1941, particularly with regards to a jungle-savvy female lead. This is also not coincidental, as this serial uses a lot of the footage from the serial, particularly the on-location stuff and animals. In 1955, the serial format was really on it's last legs, and it's no surprise that the studios wanted to do as little new stuff as possible (although cost-cutting and re-using footage has been a staple of the serial format for years at this point). Since Jungle Girl was released fourteen years before, and theatre-goers probably wouldn't have seen it or forgotten about it due to the lack of home media releases, and the only way to see older serials would be to watch re-releases at theatres, which I believe were somewhat rare, and even then they really don't benefit from repeated viewings. The re-used footage is pretty heavy in the finale, when the action sequences are almost entirely made up from this footage, and the transition between the different footage is very awkward and disjointed. For example, you can clearly see "Jean's" outfit change from scenes as she instantly switches from a miniskirt to swinging from the trees in leggings. The "giant" crayfish is obviously not a giant one, just a regular one filmed amongst miniatures. It's not particularly convincing, especially when the "giant claw" attacks people with the rest of its body just offscreen. Overall, Panther Girl of the Kongo is a fairly weak serial, in which it's most interesting aspects are just bits of re-used footage. The plot is non-directional and has fairly low stakes, alongside often feeling it's just padding for the more interesting re-used footage. The emphasis on the female lead is a more unique aspect, but she is reverted to the typical "damsel in distress" when the plot wants to do a more typical set-up of the female being the victim. The serial is very low on imagination and spectacle, and is emblematic of the serial format in it's twilight years as the format became unviable with the introduction of televisions in homes.

#movie #movie review #panther girl of the kongo #serial #sci-fi #film #film review

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cultfaction · 8 years

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Cult TV Essentials: The Adventures of Fu Manchu

“Black and white. Life and death. Good and evil. Two sides of a chess game. Two forces of the universe, one magnificent, the other sinister. It is said the Devil plays for men’s souls. So does Dr. Fu Manchu, Satan himself, evil incarnate.”

The Adventures of Fu Manchu only lasted for 13 episodes in 1956 but for those who have seen those episodes, the show remains a favorite.

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#Dr. Petrie #featured #Franklin Adreon #Fu Manchu #Nayland Smith #The Adventures of Fu Manchu #William Witney

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