Robby The Robot

Universal Pictures’ Son of Frankenstein (1939), the third chapter in its iconic horror saga, delivers a chilling gothic experience that, while not matching the brilliance of its predecessors, stands tall thanks to a stellar cast and striking visuals. Directed by Rowland V. Lee, this film introduces Basil Rathbone as Baron Wolf von Frankenstein, son of the infamous creator, who returns to his ancestral home with ambitions to redeem his father’s legacy—only to unleash chaos once more. The cast is the film’s beating heart. Rathbone commands the screen with a mix of aristocratic poise and obsessive fervor, while Bela Lugosi steals every scene as Ygor, the crooked-necked shepherd with a sinister agenda. Lugosi’s portrayal is a career highlight, dripping with menace and cunning, making Ygor one of the franchise’s most memorable additions. Boris Karloff, in his final outing as the Monster, still evokes sympathy with his soulful eyes and lumbering frame, and Lionel Atwill’s Inspector Krogh adds a dash of stern charm (and a wooden arm) to the mix. This ensemble elevates the film beyond its script, bringing life to the shadowy halls of Frankenstein’s world. Visually, Son of Frankenstein excels with its atmospheric production design. The expressionistic sets—towering castle walls, slanted shadows, and a cavernous laboratory—create a haunting backdrop that’s pure Universal horror. Cinematographer George Robinson bathes these scenes in moody light, amplifying the gothic dread that fans crave. It’s a feast for the eyes, even if the sparks in the lab don’t fly as high as they did in Bride of Frankenstein. The introduction of Ygor is a masterstroke, adding a fresh twist to the series. No longer just a tragic figure, the Monster becomes a pawn in Ygor’s vengeful schemes, shifting the narrative into darker, more manipulative territory. Lugosi’s gravelly voice and twisted grin make Ygor an instant icon, proving the franchise still had new horrors to unearth. Yet, for all its strengths, Son of Frankenstein stumbles with the Monster’s reduced role. Karloff’s creature, once the emotional core of the series, is sidelined here—mute, less expressive, and stripped of the agency that made him unforgettable. He’s more a looming threat than a character, a shadow of the tragic soul who spoke and wept in Bride. This diminishment robs the film of the deeper pathos that defined its predecessors, leaving Karloff’s final bow as the Monster bittersweet but underwhelming. In the end, Son of Frankenstein is a worthy, if not transcendent, addition to Universal’s horror legacy. It thrives on its cast’s brilliance, its eerie aesthetics, and Ygor’s chilling presence, but falters by relegating the Monster to the background. For fans of classic horror, it’s a must-see—flawed, yet undeniably captivating.

the werewolves are barely in this, a lot of the movie is taken up with a storyline involving a cannibal serial killer, and the acting is terrible

after the travesty that was Dark Fate, Terminator Zero gives us a Terminator we can be proud of

congratulations Disney, only took you 2 episodes to completely ruin Obi Wan Kenobi by making him weak and pathetic in his own show just so you can prop up the character of Reva Kenobi leaving Tatooine to rescue Leia when he is supposed to be watching Luke makes zero sense, but i guess Disney have to make her the focus since the force is female now right? shame she just comes across as annoying, while Reva's character is just "angry black woman"

they took a character who should have been a badass, take no names bounty hunter, and turned him into a damsel in distress who gets beaten up by everyone and has to get saved by a woman all the time Boba Fett is now teaching sand people to ride speeder bikes and also cooing to rancor,s and don,t get me started on the those rainbow speeder bikes "go go power rangers"

still on 2 minds about this show at the moment on the one hand, its massively entertaining and John Cena is great as Peacemaker, but on the other, they need to tone down the comedy, i,m not a fan of them turning Vigilante into a comedic sidekick and oh boy, that opening credits scene. don't get me wrong, the music during that scene, in fact the music in general for this show is great, but that dance scene is just cringe, just my opinion other than those gripes, i,m interested in the Butterflies story and can't wait to see where its leading

the main villain Dreykov was bland, boring and barely in the movie, Taskmaster was gender swapped which is no surprise whatsoever at this point and turned into a brainwashed lackey when they should have been the main villain. Red Guardian was turned into an overweight slob used as comedy relief. when Natasha and her sister are constantly surviving things that should be killing them, it becomes more and more difficult to suspend my disbelief. as for that pheromone thing preventing Natasha from killing Dreykov? who wrote this movie, a quartet of monkeys? all she has to do is move to the other side of the room where she can't smell him and shoot him from there. even worse is Natasha's solution to the problem, slamming her head into a desk to sever a nerve so she can't smell him? seriously? is it a bad movie? no, but it's not a particularly good one either

had high hopes that this show would be better than the previous 2 Disney Plus shows, but so far, it's been pretty meh. episodes 1 to 3 were boring, with episode 3 in particular being nothing more than filler that added nothing to the story. episode 4 was better but still nothing special, the scene where Loki is repeatedly punched in the face and kneed in the groin by Sif was terrible, what a way to disrespect the character. Loki doesn't even feel like Loki anymore, he goes from world conqurer who almost defeats the Avengers, to lovesick moron who struggles to beat 2 normal powered humans without help. how far the character has fallen, an afterthought in his own show so they can prop up female Loki

funny how the trailer for this movie portrays The Mole People as monsters when they are clearly an oppressed species by the true villains