(1931, JAMES WHALE) “It’s alive! It’s alive!” Colin Clive’s Henry Frankenstein (“Crazy, am I? We’ll see whether I’m crazy or not!”) determines to create life itself, but proper brain procurement proves the sticking point. Karloff poignantly conveys the Monster’s own humanity and terror beneath Jack Pierce’s memorably grotesque makeup.
1:00, 4:00, 7:00, 10:00

(1932, CHARLES BRABIN) Rampant sadomasochism, galloping nymphomania (from an Asianized Myrna Loy), and unashamed racism abound in this extravagant fantasy, starring Karloff as the deranged “yellow devil” of the title. “Bombastic pulp at its purple best.” – Chicago Reader.
2:30, 5:30, 8:30

(1935, JAMES WHALE) “To a new world of gods and monsters!” Karloff’s Monster learns from the blind hermit to enjoy a good smoke and speak (“friend good, fire bad”); Elsa Lanchester alternates doom-laden pronouncements as author storyteller Mary Shelley and shrieks as the crazily-coiffed Bride; and Ernest Thesiger’s avatar of camp Dr. Pretorius rhapsodizes over his bottled homunculi, in Whale’s ghoulishly humorous masterpiece.
1:05, 4:10, 7:15, 10:20

(1932, KARL FREUND) After discovering the 3,000 year old mummy of Imhotep, buried alive for loving a pharaoh’s daughter, Bramwell Fletcher starts reading aloud the Scroll of Thoth — big mistake!, as the now de-mummified Karloff comes back for Zita Johann, the unluckily spitting image of Boris’ last love.
2:40, 5:45, 8:50

(1935, LEW LANDERS) “Yes, I like to torture,” gleefully admits surgeon and Poe obsessive Bela Lugosi, even as, rebuffed from wedding the girl of his dreams, he plans a dinner party for her dad. While scarred killer Karloff, asked why he had to jam a blow torch into a man’s face (!), explains that “Sometimes you can't help things like that.” So gruesome that the U.K. henceforth banned horror movies altogether!
2:15, 6:30, 10:45

(1931, ROWLAND V. LEE) Prohibition-era Romeo and Juliet, as lovers Robert Young and Constance Cummings plan for nuptials, despite blood feud between their beer baron fathers, Leo Carrillo’s Capone-like Mike Palmero and, in his last role before the Monster, Karloff’s Tony Ricca.
3:35, 7:50

(1931, CHRISTY CABANNE) Cub reporter Regis Toomey never gets a break, until he gets hot on the trail of a crooked politician and his scaaaary henchman, played by. . . who else? Karloff’s “look” prompted James Whale to cast him as the Monster.
1:00, 5:15, 9:30

(1934, EDGAR G. ULMER) “I’m going to tear the skin from your body — slowly — bit by bit!” In his Bauhaus-gone-mad mansion, Karloff’s Poelzig slates honeymooner Jacqueline Wells for sacrifice in a black mass, but Bela Lugosi, back from 15 years in a Russian slammer and widowerhood thanks to Boris, has plans for a skin game of his own.
2:30, 7:00

(1932, JAMES WHALE) Stranded by torrential rains, Raymond Massey, Gloria Stuart, and Melvyn Douglas find refuge in a looming mansion, to be greeted by hulking mute butler Karloff, broadly-accented Charles Laughton and head-of-the-household Ernest Thesiger, presiding over the dinner party from Hell. This Library of Congress print is superior to previous theatrical and video versions.
4:00, 8:30

(1945, ROBERT WISE) In 19th century Scotland, pioneer anatomist Henry Daniell finally tires of cab driver/grave robber Karloff’s taunts, but then finds he may have gone a corpse too far. Produced by Val Lewton.
1:00, 5:30, 10:00

(1934, JOHN FORD) Taking a wrong turn in the Mesopotamian Desert, swaggering sergeant Victor McLaglen and his men — including John the Baptistwannabe Karloff — carry on, despite sweltering heat and attrition due to those unseen Arab snipers. Produced by King Kong’s Merian C. Cooper.
1:00, 4:30, 8:00

(1931, HOWARD HAWKS) Stogie-chomping prison warden Walter Huston wrings endless variations on “Yeah,” as he finds Phillips Holmes, the nice kid he put away as D.A., has fallen for his daughter — but fellow con Karloff’s knife puts rehabilitation on the back burner.
2:30, 6:00, 9:30

(1968, PETER BOGDANOVICH) Karloff’s veteran horror star Byron Orlok is ready for the old actor’s home, but not before one last personal appearance at a drive-in, where sniper Tim O’Kelly plans to show off his own brand of terror. Bogdanovich’s official debut, written to fulfill a picture Karloff owed producer Roger Corman. “Old and new are fused in a magnificent coup de théatre to touch a genuinely raw, modern nerve.” – Phil Hardy, Encyclopedia of Horror Movies.
1:00, 4:30, 8:20*
Peter Bogdanovich will introduce the 8:20 show.

(1958, ROBERT DAY) In Victorian England, novelist Karloff, investigating the case of the Haymarket Strangler — sent to the gallows twenty years prior for a series of gruesome murders — discovers that the Strangler was actually. . .
2:50, 6:20*, 10:30
*6:20 SHOW INTRODUCED BY PRODUCER RICHARD GORDON

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