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The Amazing Race Australia - (Oct 4th)
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Did we really need a secondhand retelling of Robert Louis Stevenson's classic tale as seen through the eyes of the eponymous, non-canonical housemaid? This is such a well-known story that adding a fresh perspective may have seemed like a good idea at the time; on the other hand, what possible insight could Mary (Julia Roberts) offer when she’s either blind as a bat or dumb as a rock? She’s not alone, though; everyone in this movie who isn’t Dr. Jekyll/Mr. Hyde suffers from Lois Lane Syndrome. The closest anyone ever comes to pointing out the uncanny resemblance between the "master" and his "assistant" is remarking that "they do look a bit alike." More like a yottabit. John Malkovich could have been as good an Edward Hyde as we was a Vicomte Valmont, and that’s precisely what made him wrong for the Henry Jekyll part. Casting him in both roles not only completely misses the original novel’s Apollonian/Dionysian dichotomy theme, but also makes the rest of the characters, especially the heroine, like complete morons. And since everyone in the audience knows, if they know nothing else, that Jekyll and Hyde are one and the same, what the hell was the point anyway?
Frankenstein, a young medical student, trying to create the perfect human being, instead creates a misshapen monster. Made ill by what he has done, Frankenstein is comforted by his fiancée; but on his wedding night he is visited by the monster.
In the 1800s, a stormy love relationship develops quickly between a young medical student and a woman believing herself to be the daughter of his scientist uncle, the student having never heard of her before their chance encounter and both unaware that she is the result of the scientist's illegal experiments with artificial insemination..
The film was an unauthorized adaptation of Robert Louis Stevenson's novel The Strange Case of Dr. Jekyll and Mr. Hyde, but the source material went unrecognized by some of the German media due to changes in the characters' names. Released in 1920, this is one of Murnau's lost films. While the film itself does not survive, the scripts and related production notes do. Because the film is lost, its full length is unknown. Dr. Warren is the Dr. Jekyll character who changes into Mr. O'Connor, a parallel of Mr. Hyde. This transformation is brought about, not by experimentation with chemicals as in Stevenson's original, but through the supernatural agency of a bust of Janus (the Roman god of duality), which Warren purchases in the opening sequence as a gift for his sweetheart, Jane. When she refuses the gift, horrified, Warren is forced to keep the statuette himself.
A doctor's research into the roots of evil turns him into a hideous depraved fiend.
Dr. Henry Jekyll experiments with scientific means of revealing the hidden, dark side of man and releases a murderer from within himself.
Dr. Henry Jekyll believes that there are two distinct sides to men - a good and an evil side. He believes that by separating the two, man can become liberated. He succeeds in his experiments with chemicals to accomplish this and transforms into Hyde to commit horrendous crimes. When he discontinues use of the drug, it is already too late.
Dr. Jekyll believes good and evil exist in everyone and creates a potion that allows his evil side, Mr. Hyde, to come to the fore. He faces horrible consequences when he lets his dark side run amok.
Abbott and Costello, two bumbling American cops on exchange in London, hunt for Mr. Hyde—the monster that has been terrorizing the city.
In this Dan Curtis production of the Robert Louis Stevenson classic, Jack Palance stars as Dr. Henry Jekyll, a scientist experimenting to reveal the hidden, dark side of man, who, in the process of his experiment, releases a murderer from within himself.
After a series of scientific experiments directed towards freeing the inner man and controlling human personalities, the kindly, generous Dr Henry Jekyll succeeds in freeing his own alter ego, Edward Hyde, a sadistic, evil creature whose pleasure is murder.
Dr. Cordelier, living in a suburb of Paris, withdraws from society to pursue research into the functioning of the human brain. His lifelong friend, Maître Joly, becomes concerned when Cordelier draws up a will that bequeaths his entire estate to a stranger, Monsieur Opale; he cannot understand why Cordelier defends him, considering Opale attacks women and children. After a colleague is killed, Joly confronts Cordelier and discovers the truth behind his friend's behavior.