Blame It On The Monster
This film has promise that is never fulfilled. Curly-topped Hugh Grant as Lord Byron has to be seen to be believed. He wears the frilliest costumes imaginable. With long hair and chest bared, he looks like he's auditioning for a Lifetime biopic of Siegfried and Roy. One of the best (and unintentionally comical) scenes is Grant howling out on a boat. He is too fey and whimsical to make a credible Byron.
Another newcomer is a furry-browed, heavier set Elizabeth Hurley. She is beautiful. Yet, like Grant, she isn't ready for prime time. The scene where her sister, Mary, consoles her following a suicide is funny due to Hurley's exaggerated facial expressions.
The music labors on to new melodramatic Gothic depths. Music can enhance an atmosphere when the atmosphere is right. When it isn't, music only makes for another distraction.
The monster speaks in staccato. Due to editing, it's difficult to determine if he's a villain or victim. Sometimes it's difficult to determine if he even is.
Another newcomer is a furry-browed, heavier set Elizabeth Hurley. She is beautiful. Yet, like Grant, she isn't ready for prime time. The scene where her sister, Mary, consoles her following a suicide is funny due to Hurley's exaggerated facial expressions.
The music labors on to new melodramatic Gothic depths. Music can enhance an atmosphere when the atmosphere is right. When it isn't, music only makes for another distraction.
The monster speaks in staccato. Due to editing, it's difficult to determine if he's a villain or victim. Sometimes it's difficult to determine if he even is.
- Kennybee
- 15 juil. 2003