At time of writing (February 2011), the movie arm of Marvel Comics has three big budget summer blockbusters due out this year. Thor, starring Black Swan and Captain Kirk’s dad; Captain America: The First Avenger, starring Agent Smith and Johnny Storm; and X-Men: First Class, starring Mr. Tumnus and January Jones’s tits. Marvel has become quite the movie powerhouse since the first X-Men movie over a decade ago. This is all a far cry from back in the day, when Marvel was giving away the rights to their properties for the price of a deli sandwich, and not even a good deli either. This led to such classic fare as the Nicholas Hammond Spider-Man series, Albert Pyun’s unique take on Captain America and that Roger Corman version of The Fantastic Four that was too awful to be released – of course the same could be said of the big-budget Tim Story version, but that didn’t stop them.
In recent reviews, and as we continue to discuss movies based on the literary works of pulp horror/sci-fi author HP Lovecraft, the names Brian Yuzna and Stuart Gordon have popped up a lot. More specifically, the title Re-Animator keeps getting dropped into impolite conversation. The team of Gordon and Yuzna have enjoyed considerable acclaim from fans for their adaptations of Lovecraft material and for their ability to take Lovecraft’s work and make it something new without losing the essence of what made the story work in the first place. They did this in a number of ways, but probably the wisest decision they made was to confine themselves to the periphery of Lovecraft’s bibliography, selecting lesser known and all-but-forgotten stories rather than Lovecraft’s best known and most beloved. The first of the author’s story the duo chose to tackle was Herbert West, Re-Animator.
HP Lovecraft, much discussed pulp horror author and Woodrow Wilson lookalike, was either born or transferred into this world from a watery beyond in 1890 in Providence, Rhode Island. His father, a traveling salesman, went insane as a complication of syphilis when young Howard Phillips was but three years old, and the elder Lovecraft was confined to a mental hospital until his death in 1898. Sickly and somewhat unstable as a lad, HP Loevcraft showed a knack for writing (poetry, mostly) despite the fact that he spent little time in school. He was raised by his mother, aunts, and grandfather, and it was his grandfather who first read old gothic horror stories to HP. His mother disapproved, fearing that the stories would upset the child, who already suffered from, among other things, night terrors. Lovecraft’s academic studies, such as they were — he dreamed of becoming a professional astronomer — were stymied by his inability to do well in higher mathematics. Upon the death of his grandfather in 1908, the Lovecrafts hit upon hard times. The family moved into a smaller home, and Lovecraft led a nearly hermetic existence, his mother being more or less the only person with whom he spent any time.
You know in action films when there’s that scene where two dudes get in a fight, and after one dude has kicked the other dude’s ass, he picks the fallen opponent up, buys him a beer, and they become friends? Well, that’s sort of what it’s like to watch Faust: Love of the Damned. This movie will sucker punch you in the face, knee you in the groin, and generally beat the crap out of you, but in the end, somehow, you’re willing to shake hands with it and help it rescue a damsel from some secret society or something. At least that’s how I felt about it, so you better get ready for another one of those reviews where I spend 99% of the time talking about how terrible the film is, only to say that I thoroughly enjoyed it come the final paragraph.