‘Frankenstein’, ‘nosferatu’, and the antidote to Hollywood’s Franchise Obsession

As is the tradition, whenever a new movie of a new genre hits the scene, fans can’t help but love two wonders of cinema Those two movies for now, at least until they are happy, there are roberts roberts’ Nosferatu and guillermo del toro Frankenstein.

Instead of giving in to that debate of CineFile – bros momentum, fans should take the “holy, cakes” approach to the event of discovering two wonderful techniques of Classic cinema in retrospect. After all, why should two icons be compared when they are, the best result of this shared space feature that will never get off the ground? Stopping where this goes, the secret of their success is that they grow to respect themselves, to treat themselves as art instead of playing with manufactured goods (even if there are, at the end of the day, distant cousins ​​”Cousins” Cousins ​​”Cousins”). They stood ten toes down with creative vision, uncompromising freedom, and strong writing – things that feel old hat these days and should be celebrated.

So let’s do that. I will start.

The problem of how to make contemporary Pop culture films

The film industry, as we know, went Pop Crazy culture, imitating the rollercoaster calendar of the box office of the studio that the studio got and whatever professional structures they had in the cut. But the problem with that, as many comic book fans are crying out to be the best they’ve ever been, is the absurd way he builds the whole Rigmarole. Like a A fork-To find cinemas, buildings are treated like toys in a toy box. Space Jam 2 he did and it was a big airball. The Monsterverse Godzilla and King kong movies (while it’s good acting) to do it.

And now, after the expansion, to increase the comic book, everything changes to the studio in the studio Take the mattel film line, hit the ground running Fatherplans to do, including:

• American Girl Dolls
• Bob is a builder
• Hot wheels
• The Magic 8 Ball
• Kings of the Universe
• Matchbox Cars
• Holy man
• Polly in the pocket
• Rock ’em sock ’em robots
• – Lie down
• Watch – Master

Let’s just say it doesn’t do for tall toys to punch above their weight on a powerful subject without saying anything. In that case, it’s a follow-up to the last legacies that seem to encourage doing the same thing – the angry-faced conflicting buttons. And yes, all those terrible conversations of children’s characters that no one asked for, like Winnie the Pooh and Steamboat Willie, are moving in a moment from the same movie trough that I am entering.

Elsewhere, in chasing the dragon of success for Marvel and DC, product placement – whether it’s physical or a broader brand – became broad fodder – became broad fodder – became broad fodder – became broad fodder – became broad fodder. And absorbing that same, now petulant trick of tricking the audience into letting go is still there today – despite repeated attempts not to be there. Bringing things back Nosferatu and Frankensteintake “dark space,” for example. This cinematic tradition was assembled before it even began. The universe of the movie that would have been a movie that would have included the canceled condo Bride of FrankensteinTom Cruise’s Motherand Johnny Depp-LED The invisible man. Now, whenever the phrase “dark space” is mentioned, it’s quickly followed by jokes about what went wrong on blogs and YouTube videos. The answer is clear: It was a backdoor way of making films as products rather than art, and, hoisted by their own petard, they failed before seeing the light of day.

Whether it’s a dark universe or an endless stream of movie announcements that will flood the Internet long after this blog is posted readers before their Dollar DOPS is included about getting the same track. Often, movies don’t feel like they’re allowed to be be the movies are still there.

It’s true, the success stories in this regard have been mixed. The Marvel movies have been advertised as Moses descending from Mount Sinai at comic conventions, with a log slide and concept art (but no text). They release hot actors or directors who ride the momentum of a genre film that has just been released at the time of the award, take the odds to ensure greatness, and include them in future projects under the upcoming banner.

Sometimes, they never catch on. At other times, their approach to the Committee for ARTs does not strike the listeners of this country. But rather than blame the studios for their helicopter parenting and cut back, the faces of the same actors are molded across the icons as patsies for their sisyphean failures.

Frankenstein and NosferatuSuccess’ should be a blueprint

Nosferatu and Frankensteindespite the order and consistency itself, they feel so novel because they are made as content intended to stay in the catalog. They are made like movies. You can see the creativity that goes into every frame. Be it the use of miniatures, the insistence on part-time accuracy, or the contempt of its Creator with a buzzword du to celebrate of Hollywood: AI. Decisions big and small, are a testimony night and night to the audience Nosferatu and Frankenstein Are the films cut from different fabrics – hence the ongoing debate on the Internet where its best because their status as films prioritizes art over goods that cannot be denied.

Of course, their late fall/christmas opened for credibility in comparison points. The development of the film in such a way that it does not give away the whole game away from the frame of its trailer is one of the stolen level – many films can not seem to give the whole game, spoilers or not, to get the buttons in the seats. Instead, both films poke fun at familiar monster characters without leaning heavily on their mythological roots. But what everyone is so gung-ho in these films is that they feel like something to chew on and something that is aimed at being watched by as many people as possible, rather than coming across as a visual visual experience compared to a visual and sacred trick. Frankenstein and Nosferatu.

And who can blame the fans for turning these movies into their personalities? Eggers’ Nosferatu It thrives on the macabre, combining a gothic spirit with sexual repression, turning the story into a meditation on acceptance, reconciliation, and redemption. On the flip side, del toro Frankenstein A terrifying awakening to something very relatable: the common grief and burden of ending cycles of abuse. Those are the best references for both films to reach, lift from the Meres to understand the pieces of their rights, and the messages that remain in the minds of the audience to this day.

For these reasons, Nosferatu and Frankenstein they should not be separated from each other in the same “one” condition. They should be celebrated together. Both of these works found it. Carmilla, The Picture of Dorian Greyor a Phantom of the opera-I would accept that the same egreners as del toro are allowed to show – not in their turn as desi, but as a way to make films that strive to be resonant rather than sell. Horror films used to enter the courtyard of the Court “Serious” Gatherings and Exhibitions, dismissed as waste, but this is proven to be the beacons of new voices. We can have everything.

Nosferatu and Frankenstein It should be cold water on the face of Hollywood – A reminder that the old should be allowed to create, not forced into vicious cycles of renewal and quickly end the difficult effort to capture lightning. These films prove that classic horror removal, when freed from the clutches of rights holders and the restrained central block of blockbuster logic, can feel inspired and moving rather than finished.

Upcoming roles like Maggie Gyllenhaal’s The bride! and the eggers themselves The Werwulf promises to carry that momentum forward, treating monster movies as art instead of content. This is the lesson here: you can celebrate them not as rivals, but as reminders that films should be allowed to be films. Not just the numbers of the top, not just the intensity of the broadcast catalog, but the works that feel that they work in the works that let the freak flag drink why even we are pop culture films.

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