King Kong 1933
Adam's pick. Monster as pure spectacle: stop-motion built for a giant screen, and somehow still sympathetic even as he's smashing people into paste.
The Big Picture · Hall of Fame · Interview
February 28, 2020/ 84 min/ Sean Fennessey · Adam Nayman
Sean and critic Adam Nayman build a Monster Movie Hall of Fame, five picks apiece, running chronologically from King Kong to The Mist. Then Leigh Whannell on turning The Invisible Man into a stalker thriller told from the victim's side.
11 films across 2 segments.
AI-generated This episode was transcribed and analyzed with AI models. The matches aren't perfect — expect the occasional misheard title or a link to the wrong film.
The Monster Movie Hall of Famefive picks each, chronological
Adam's pick. Monster as pure spectacle: stop-motion built for a giant screen, and somehow still sympathetic even as he's smashing people into paste.
Adam's pick. A Val Lewton production directed by Jacques Tourneur, working the suggestion-over-effects route his low budgets forced on him.
Adam's pick, directed by Jack Arnold. The underwater-stalking template Jaws would run with. Per Adam, it's also the movie Guillermo del Toro's Shape of Water waters down.
Sean's pick, and by his own account his favorite movie period. His case: the shark doesn't mean anything, and that's exactly why it works.
Sean's pick. George Romero's consumerism satire, with Tom Savini's gore effects doing as much talking as the metaphor.
Sean's pick. H.R. Giger's design work on a creature Adam calls monster as lack of character: there's no reading its motives, only its shape.
Adam's pick, Sam Raimi's debut. The monster here is a book (the Necronomicon), not a body. Edited by a pre-Blood Simple Joel Coen.
Sean's pick, John Carpenter's remake. Rob Bottin's transformation effects opened the same summer as E.T. and got buried for it.
Sean's pick. David Cronenberg and Jeff Goldblum, produced by Mel Brooks. It's the one on the list that gets Sean, by his own admission.
Adam's closing pick. Frank Darabont's Stephen King adaptation. Both hosts prefer watching it in the black-and-white cut.
Leigh Whannell on 'The Invisible Man'
Writer-director Leigh Whannell moves the story to the victim's point of view, with Elisabeth Moss carrying it. The invisibility effects mix CGI with 1930s-style practical tricks: a stunt performer in a green suit, a crew member pulling a wire from inside a cabinet.
Also mentioned raised along the way
Cited in the Hall of Fame conversation Bride of FrankensteinFrankensteinDraculaYoung FrankensteinGodzillaPsychoThe Shape of WaterKing Kong (2005)Pan's LabyrinthPrometheusAliensCat People (1982)Invasion of the Body SnatchersThey LiveHalloweenThe FogBlood SimpleAn American Werewolf in LondonQThe HowlingGremlinsGremlins 2: The New BatchSmall SoldiersThe Wolf ManWendigoChild's PlayAnnabelleThe ExorcistThe OmenThe ChangelingThe Blair Witch ProjectParanormal ActivityPacific RimIt Chapter TwoParasiteLoganPinocchio20,000 Leagues Under the Sea
Films Whannell watched while writing The Invisible Man MiseryFatal AttractionWait Until DarkCat PeopleGone GirlDead CalmMad Monster Party?
Also mentioned in the Whannell interview UpgradeRoboCopTotal RecallScannersBig Trouble in Little ChinaInceptionThe MatrixStar WarsOnce Upon a Time in HollywoodKnives OutJudyGhostbustersThe Elephant Man
Next week's teaser The Way BackSpenser Confidential
Not films filtered out: TV, games, ads
TV Mad MenThe Handmaid's Tale
Ads Higher LearningVision Quest
Stage The Woman in Black