Rating: 
Summary: brendan fraser is surprisingly good
Review: As a society enamored of Hollywood we tend to focus most of our interest on the people who star in the movies. What these actors and actresses are up to keeps us constantly scanning the news shows, legitimate periodicals, and tabloids. Frequently, this fascination causes us to forget that someone was directing these movies. Only a small handful of Directors ever get the attention that we focus on the stars. This movie focuses on one. James Whale directed many movies but the two that put him on the map were Frankenstein and Bride of Frankenstein. This movie focuses on the last weeks of his life. Prior to the beginning of the movie he has had a stroke. While Whale has made a complete recovery physically the stroke has affected his brain. He is beginning to have flashbacks of his younger years and loves. Memories that he may be happier not remembering. We discover that Whale may have been hounded out of the elite of Hollywood over a sex scandal. You see, while it is acknowledged that there are homosexuals in Hollywood, it has always been something that people don't want to have flaunted in front of them. Whale didn't care what people thought and seemed to have many wild parties at his house. Whale begins a strange relationship with a young gardener that has recently begun to work for him. The gardener, Clayton Boone, is a strapping young man who is searching for something in his life. The two's relationship grows as each begins to find more of what they are missing from the other until the final explosive night. Ian McKellen is James Whale. Mainstream American audiences haven't seen much of McKellen over his long career. That will soon pass as McKellen has been signed as Magneto in the upcoming X-Men film. All who have seen him find McKellen to be a phenomenal actor and richly deserving of all the awards that have come his way. The surprise to some in this movie will be the man who plays Clayton Boone, Brendan Fraser. Mainstream audiences are used to Fraser in movies such as Encino Man and George of the Jungle. While exceedingly funny movies, they don't show his acting ability to the fullest. This role does. Fraser is with McKellen step for step all the way through expressing surprise that this famous man wants to spend time with him and then coming to a greater understanding of himself. This is a very powerful movie. Some will not like it because of the blatant homosexual references throughout but to allay this fear it is for the most part not graphic in this depiction. The movie is well directed and the acting by all is wonderful!
Rating: 
Summary: An intense and powerful Drama!
Review: I purchased this movie because I am a huge Brendan Fraser fan, but the movie is so moving that I somewhat forgot that Brendan was in it and became so captivated in the story, that I ended up watching it again a second time. It is wonderfully acted! I think it's Brendan's best work ever and Ian Mckellen is outstanding in this movie. For anyone looking for a movie that will move you and having you wanting friends and family to see it, this one will. It's such a powerful drama. One that I will watch over and over. I'm glad to have it in my Collection.
Rating:
Summary: Yes Mr. Jimmy, he will keep better in the water.
Review: A wonderful masterpiece for Ian Makellan! The final days of a man I know very little about. Give a hand to Ian, and the lady that played the maid.
Rating:
Summary: Mckellen's heart and head....
Review: This is truly a work of beauty...I can only say that I wish I was homosexual..for I would instantly try to court Sir Ian for a lunch date... His acting has no equal...I don't know what it is...and of course, there are many great actors out there...but...to witness his Macbeth..his Dussander...his Gandalf...his James Whale...Sir Ian truly is sitting on top of the world...he has made a lasting and beautiful contribution to the world with his art...and his inner poetry that comes through onto the screen...how could anyone..man, woman, child, young, or old..not fall in love with him...the person who shares his bed rubs feet with the Gods...he is a man to wonder at...and to shake his hand...would probably be fun. "Love dead, hate living."
Rating:
Summary: Powerfully acted, psychologically mesmerizing.
Review: At one point in "Gods and Monsters," Ian McKellan's character, James Whale, gestures to his head and remarks, "The real monsters are up here." The film spends its entire creating a way of life around this observation, portraying the last days of the well-known film director in ways that evoke humor, touching emotion, and above all else, emotionally haunting reflection on one's life. It's a most unusual film, not completely a biopic, yet not entirely fictional; it's more of a speculation on his latter days, based on the novel "Father of Frankenstein," written by Christopher Bram. The reality of Whale's life, from his superior and delectable wit to the memories of war and Hollywood that delight and haunt him, is the basis of the novel and the film, as Whale relates them to a young gardener in whom he takes an emotional and physical interest. The story begins by introducing us to Whale's way of life, from his slowly deteriorating health and mental state, to his luxurious home, where he lives with his maid, Hanna (Lynn Redgrave), who is caring yet keeps up a stern demeanor when it comes to his dealings in homosexuality. The presence of the new gardener, Clay Boone (Brendan Fraser), strikes a chord within Whale, who resumes his sketching by asking the young ex-Marine to pose for his drawing, offering a face-only clause as a way of quelling Clay's obvious insecurities. The film's own openness with the issues of sexuality effectively portrays the flamboyance of its main character, who apparently saw no shame in his ways despite the resentment of homosexuality in the 1950's. The movie embodies this ignorance in Clay, who, at first, is unaware of his newfound friend's orientation. Once he discovers the truth from Hanna, his discomfort becomes even more unstable, to the point where he storms out in a rage of fury over the old man's excessive way with discomforting words. And yet, he returns to act as Whale's model, intrigued by the heartwarming and heartbreaking stories he offers as he sketches. This is a most fragile and unsteady friendship, yet in spite of the discomfort that surrounds their bond, their is a certain degree of comfort to be found within it. This stems from director Bill Condon's avoidance of character glorification: in "Gods and Monsters," everyone has flaws. We see Whale's mood swings, his obsession with young boys in his old age, and his reluctance to recall his past; Clay also spends his time running, from his family, commitment, and stability. Ultimately, this makes their friendship mutually beneficial, allowing Clay a broader, richer view of life while allotting Whale the chance to face memories he would otherwise hide away forever. All of this is painted in broad strokes by Condon, who employs humor, wit, and sadness into his stunning adaptation. The discomfort that arises as a result of Clay's discovery of his friend's sexuality is handled lightly in earlier scenes, slowly gaining resonance and meaning as the plot moves along its dreamlike path. Whale's memories of filming the "Frankenstein" movies are realistic in their approach, while his recollections of war and his lost love are emotionally charged. All of this is given a slow yet mesmerizing pace that allows us into the deepest subconscious of the characters, so that we not only see what is going on in their minds, but can feel it as well. In the film's favor is its credible casting choices, most notably McKellan, who employs wit and real emotional range as Whale. Making sudden and drastic jumps from jubilant to unstable, McKellan's Whale is portrayed as someone whom we feel for, a man whose life is put into perspective in a manner that calls us to look at it with unblinking eyes. Fraser evokes a subtle sexual tension and eroticism as Clay, whose resemblance of Frankenstein's monster is the focal point of Whale's fascination. Redgrave makes a wonderful turn as Hanna, putting her wit and sarcasm to good use as the woman who embodies a maid, a wife, and a mother all at the same time. Above all else, the most perplexing aspect of "Gods and Monsters" is its connection to Whale's film, "Frankenstein." Clay's resemblance and sense of naivety when in the presence of Whale is very much like the scene from that earlier film that this film's final scene. Seeing that final scene is to finally realize and acknowledge the film's purpose; it's one of those forceful moments in cinema that only come once in a blue moon. The film itself is a most touching achievement, deriving its success from its examination of Whale's life in a manner that makes it compelling rather than interesting.
Rating:
Summary: Grueling, in a good way.
Review: A friend of mine kept referring to particular scenes in this movie, until finally I got around to seeing for myself what all the buzz was about. I wasn't disappointed. Ian McKellen's portrayal of horror film director James Whale was engrossing, both in Whale's obsession with Brendan Fraser's gardener and in his larger anxiety about his occasional bouts of delusion. The first time I saw Brendan Fraser appear on screen, I dug in my heels and prepared to watch George of the Jungle do High-Brow Acting, but he actually was endearing and brought depth to his character; I felt for his gardener's carefully-hidden loneliness. The two actors, mediated by Lynn Redgrave's watchful housekeeper Hanna, complement each other nicely and don't make any attempt to cleanly wrap up loose ends at the conclusion. The tone is definitely not laugh-a-minute, but maybe that's why I liked it so much.
Rating:
Summary: wonderful!
Review: This film achieves to the fullest extent what it set out to do; To present a portrait of a man during the final stages of his life, and all which that implies. The man in question is no other than legendary Hollywood director, James Whale, who his most famous for doing FRANKENSTEIN. But the film is never really just about James Whale. We don't meet Whale the director, we meet Whale the person, and as I was watching the film I continously thought to myself that this could be any person; We're watching a man who knows that his time here on earth is nearly up, and not a film that just tries to give a biographical account of James Whale's life. The man in question just happens to be James Whale. A problem with biographical films is that they're often too much in awe of the person they depict. GODS AND MONSTERS never attempts to glorify James Whale. We see him through his pros and cons; Clearly he was a genious at what he did and that can't be denied, but he was also at times very selfish and brute, and Bill Condon (the director of the film) doesn't censor these aspects of Whale's character. Again this brings out the person in James Whale and not the director. Sir Ian McKellen is brilliant! He stars as the now retired James Whale, who is living out his final years at his estate, far from the buzzing life of Hollywood. In his house he resides with a small crew of servants, most notably an old housekeeper (Lynn Redgrave gives a great performance) and a newly hired young and handsome gardener, Clayton Boon (Brendan Frasier). James Whale was one of the few celebrities at that time that was openly homosexual, and the film focuses on the relationship between Whale and Boone. Bill Condon has also taken extensive use of the flashback-technique, to show how the past has a way of catching up with an old man. GODS AND MONSTERS is such a tremendous achievement that any attempt at describing it with words seems to fall short. I *loved* this film. It's one of those few films where you stop thinking of photography and directing and music and lighting and editing, and all that, and instead just immerse yourself in the film. It's a fantastic feeling when that happens! When film becomes escapism. I'll end my review by saying this; GODS AND MONSTERS is a must see!
Rating:
Summary: A Beautiful, Captivating Film
Review: Gods and Monsters' is filmmaking at its best, depicting the final days of James Whale, a complex and complicated man, famous for directing the first two `Frankenstein' films, 'The Invisible Man', and the original movie version of `Showboat.' Exquisite performances are given by the great Sir Ian McKellen as Whale, who executes every nuance, every witticism, every emotion, with a perfection that is little short of incredible; Lynn Redgrave as Hanna, Whale's formidable but devoted housekeeper; and Brendan Fraser, in a wonderfully humane acting turn as Clayton Boone, Whale's hunky groundskeeper, who is unwittingly and inexorably drawn into Whale's ever-increasingly confused and confusing world. Whale's initial interest in Clay is sexually motivated, but the relationship becomes much more labyrinthine for both men than is originally bargained for. But the real `stars' of this movie are the direction (Bill Condon, who also wrote the screenplay) and the cinematography, producing visuals that are often haunting and infinitely memorable, especially during the flashback sequences and in the metaphorical "monster" scenes. One of my favorites is a scene in which Fraser gazes at his own reflection in a sink filled with water--it's a breathtakingly fragile image, shivery and shimmering and achingly delicate, and it seems to suggest at something much deeper and far-reaching within Clay himself. This is a film filled with such images and subtext--dreamlike, poetic touches, superimposed within the structure of an otherwise `conventional' story. Superb.
Rating:
Summary: The Last Days of the Father of Frankenstein
Review: Based on the intriguing novel FATHER OF FRANKENSTEIN by Christopher Bram, GODS AND MONSTERS is an excellent character study that explores the final weeks in the life of famed 1930s-era film director James Whale. Whale is, of course, best known today for his films like FRANKENSTEIN, THE BRIDE OF FRANKENSTEIN, and THE INVISIBLE MAN. When Whale quit directing at the peak of his career in the late 1930s, he retired to a somewhat reclusive but comfortable life at his California estate. Nearly two decades later, he was found dead in his swimming pool, and though ruled a suicide, the circumstances of his death have never been satisfactorily resolved. GODS AND MONSTERS seeks to recount those last days of Whale's life by filling in the factual gaps with informed speculation, and the result is a gripping and well-acted drama that won the 1998 Oscar for Best Adapted Screenplay. As the openly gay and artistically effete director James Whale, Ian McKellen delivers an Oscar-calibre performance (he was nominated but did not win). McKellen, himself candidly homosexual, plays the role with strong insight and conviction. Unafraid to show Whale's weaknesses as well as strengths, he adequately evokes the pathos necessary to make Whale a character that even the homophobes in the audience can learn to care about. Brendan Fraser also gives an affecting performances as Whale's heterosexual and rough-around-the-edges gardener Clay Boone. Though the character Clay is himself homophobic, he eventually develops a more-or-less platonic friendship with Whale and learns to value certain aspects of Whale's world view. Also of note is the appearance of Lynn Redgrave, who delivers an over-the-top--and Oscar nominated--performance as Whale's ultraconservative and disapproving housekeeper. Aficionados of the horror genre are likely to delight in the numerous clips from Whale's THE BRIDE OF FRANKENSTEIN, as well as the excellent reenactments of certain events involved in the creation of that film. (It is THE BRIDE OF FRANKENSTEIN, as any horror fan can tell you, from which the title GODS AND MONSTERS is drawn.) Buffs should also enjoy the fictional account of a chance dinner-party reunion of Whale and his "monsters" Boris Karloff and Elsa Lanchester. Carter Burwell's musical score for GODS AND MONSTERS is truly one of the most beautiful and haunting works from the contemporary cinema. It is at times soothing or melancholy, while at other times it is eerie, mysterious, and even downright spooky. In another era, Burwell's music would have just as easily worked for THE BRIDE OF FRANKENSTEIN or THE INVISIBLE MAN. But a word of caution is in order. In spite of all its good qualities, GODS AND MONSTERS is not the type of film that will appeal to all audiences. If you are a person who is easily offended by blatant allusions to the gay lifestyle or homosexual practices, certain bits of dialogue and a few scenes here and there are likely to disturb or upset you. On the other hand, if you are not homophobic and are tolerant of the depiction of alternate lifestyles in the cinema, you may find this film to be an affecting theatrical experience.
Rating:
Summary: Outstanding tribute to the "Father of Frankenstein"
Review: Excellent filmaking. This fictional account of a portion of James Whale's life pays tribute to his flair and vision. Bill Condon manages to mimic some Whale's style, always making the viewer feel as they were part of the "inside-joke." (see movie to get meaning) McKellan and Redgrave are phenomenal, and Frazier is able to feed off them enough to keep from looking foolish. The interviews with cast and crew were also highly enjoyable and informative.
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