![]() ![]() Like, Daniel Roebuck is The Count (not yet Grandpa, no Eddie). Brake’s broken a mold, much like Sheri Moon Zombie’s lovestruck vampiress who ditches any semblance of grunge from prior roles, or Jeff Daniel Phillips’ mastery of Herman’s famous foghorn-blasting laugh. ![]() Everyone’s favorite typecast scumbag gets to overenunciate and project himself like a West End theater actor with sophistication and snobbery on a PG level - his sidekick Floop (Jorge Garcia) provides the straighter routine in contrast. Henry Augustus Wolfgang played by Zombie collaborator Richard Brake. There’s no denying the cast’s affection towards their caked-on transformations, starting first with graverobber and mad scientist Dr. This is about rom-com beginnings, spooktacular dad puns, and knee-slappers that’d hope to please live studio audiences. Zombie proudly posted social media pictures of his film’s built-in-full 1313 Mockingbird Lane address all through production, but Munster Mansion hardly stars in The Munsters. Herman’s ascension to musical stardom as Transylvania’s hottest frontman - complete with his Punk Rods leather jacket - opens Lily’s eyes to the studly and studded Frankenstein creation of her dreams. Transylvania plays backdrop for at least two-thirds of The Munsters, from back alley districts with neon nightclubs guarded by tin can robots to posh mummy-run cafes. Zombie avoids straight remaking The Munsters by exploring the origins of Herman’s (Jeff Daniel Phillips) creation, his introduction to Lily (Sheri Moon Zombie), and much to The Count’s (Daniel Roebuck) dismay, their severed head-over-heels romance. The issue? Everyone involved is having an absolute blast paying homage to The Munsters - but you have to adore The Munsters as much as Zombie does to ignore an otherwise sloppy display of filmmaking from green-screen ugliness to crafty workarounds. The Munsters isn’t even a “contemporary” take on dustier material - Zombie makes the old-school Munsters feature he’s chased for decades (Munsters references in Zombie’s music are as easy as “Dragula”), and it seems he couldn’t be happier. ![]() Zombie ditches psycho-sexual depravity, doesn’t turn bodies into grotesque trophies, and certainly skips any harsh language. Show The Munsters to unknowing audiences without the writer and director’s name attached, and not a single patron would connect the hellbilly superbeast with such a tender, slapstick, made-for-television nostalgia blanket stitched from patches of CBS’ not-so-terrifying 1960s sitcom. Rob Zombie’s The Munsters reboot is a labor of enthusiastic love for the typically more violent, sickeningly grindhouse-forward horror filmmaker. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |