FeistyUpper If you don't like this, we can't be friends.

Claysaba Excellent, Without a doubt!!

Cooktopi The acting in this movie is really good.

Jenni Devyn Worth seeing just to witness how winsome it is.

Mr-Fusion It's not my favorite of Larry Blamire's output (just doesn't reach the heights of the Lost Skeleton" movies), but "Dark and Stormy Night" deserves credit for its loving homage to old-timey dark house movies. Varied cast of characters converge on a mansion for a reading of the will, people start dropping dead, you get the picture. Ensuing hijinks and all that. Except Agatha Christie was never so deranged. And she never had a gorilla showing up outta nowhere. The movie gets to a point when new characters keep showing up, but it settles into a narrative rut. And with dialogue this crackling, it's kind of a shame the pacing doesn't match. But that's not the end of the world; the miniatures are delightfully cheap, the non-sequiturs are funny, and it's worth a look almost entirely for the breakneck repartee.6/10

Craig Gustafson Okay... "Dark and Stormy Night" is my new favorite movie. It's written and directed by Larry Blamire ("Lost Skeleton of Cadavra", "Trail of the Screaming Forehead") and it's a satire of Old Dark House horror movies. This movie is ten times funnier than "Murder By Death". I loved the movie version of "Clue" (sue me). This is better. I can't even begin to count the strange quotes you're going to be getting from me. The dialogue is rapid-fire and brilliantly off-the-wall. There is a love of and dexterity with language and a dearth of fart jokes.It has the goddess Jennifer Blaire (Animala in "Lost Skeleton") as wise-cracking reporter Billy Tuesday. As far as I'm concerned, she's right up there with the goddess Jane Lynch. This also has the goddess Fay Masterson (Betty in "Lost Skeleton") as a British ingénue so helpless she can't sit in a chair on her own and the amazing goddess Susan McConnell (Lattis in "Lost Skeleton") as a mad Scotswoman with the greatest heavily-accented vituperation this side of John Cleese as the French guard in "Monty Python and the Holy Grail".If you like the Christopher Guest style of ensemble casting, you're going to love this movie. Andrew Parks (Kro-Bar in "Lost Skeleton") is the standard issue tuxedoed British fop. His mom, Betty Garrett (from "Laverne & Shirley") pops in and out of the story with her gorilla (Bob Burns. If you've ever seen a gorilla in a 1960s sitcom, it was Bob Burns.) Jim Beaver (Ellsworth on "Deadwood") is great as the deceased millionaire's safari guide ("Some of the toughest four days I've ever spent.") Actually, there isn't anybody in this movie who couldn't be singled out – which of course is what you're shooting for with an ensemble.I completely love Larry Blamire. In a Non-Threatening, Manly American sort of way, I mean. I watched the film again with the commentary track on. His frame of reference is so like mine, it's frightening. Who else bases a character on William Demarest in "All Through the Night" (a Bogart comedy that flopped because it was marketed as an action film)?This is a movie for anyone who ever wished the "Carol Burnett Show" had hired the writers from "Your Show of Shows".Quotes: "I'd LIKE a ducky.""Hi everybody my name's Ray Vestinhaus – a stranger – and my car just happened to break down just outside, can I stay for the reading of the will? (BEAT) Oop.""I am Dr. von Vandervon. Dr. Van von Vandervon.""Let the puppy go!" – "Come to Nana!" "Let the puppy GO!" – "Come to NANA!" "LET THE PUPPY GO!" – "COME TO NANA!""Let us leave this room of death and mounted heads who once were friends."

leaderdesslok2000 Larry Blamire does it again with a film that not only pays homage to the great dark house films of yesteryear, but is able to stand on its own as a truly great and original film. The premise is all so familiar, but this take on it is surprisingly fresh.The film is the first from Bantam Street to be shot in HD, and it really is beautiful to watch. The mansion miniature is amazing and the costumes are all perfectly done. The cast is made of Bantam Street regulars like Brian Howe and Jeniffer Blaire, all of whom really bring their A-game and do a great job of bringing the stock "dark house" characters to life and of course adding a totally different dimension of fun to them by following Blamire's unique style of direction.If you like old dark house movies, you'll love this. If you like mystery thrillers, you'll love this. If you like to laugh, you'll love this. "Dark and Stormy Night" is great fun for audiences of all ages, and is one movie you definitely don't want to pass up!

scott-clevenger I've seen writer-director Larry Blamire's three previous comedies (THE LOST SKELETON OF CADAVRA, TRAIL OF THE SCREAMING FOREHEAD, and THE LOST SKELETON RETURNS AGAIN) each a funny, affectionate and wildly inspired satire of Z-grade sci-fi films from the 50s and 60s. But DARK AND STORMY NIGHT, which I saw in a special screening at the American Cinematheque in Los Angeles, goes beyond a simple spoof to a kind of wonderfully weird and wild verbal comedy which, at its best, reminded me of the Paramount-era Marx Brothers.The film is a giddy bouillabaisse of every Old Dark House picture ever made, from the eponymous "The Old Dark House," to "The Bat Whispers," "Murder in the Blue Room," "Hold That Ghost," "And Then There Were None," and even a few chunks of Lugosi's "The Black Cat" (1934) and "The Ape Man," all stirred together by a loving, but demented hand.The result is one of Blamire's funniest films, and showcasing some truly inspired performances -- Brian Howe's Colonel Blimp accent and permanent wince, Fay Masterson's alternately weepy and creepy ingénue, Andrew Parks' Noel-Coward-from-Costco character, whose constant epigrams are so circular they hang themselves, and Dan Conroy's straight-from-Central-Casting cabbie whose Brooklyn dialect makes Leo Gorcy sound like Alistaire Cooke. But for me the most pitch-perfect performances were delivered by Dan Roebuck and Jennifer Blaire as the competing reporters 8 O'Clock Farraday and Billy Tuesday. They spat their period gibes and rapid-fire, side-of-the-mouth patter with a wise-guy brio that was not only funny, but which so nicely nailed their beloved B-film archetypes they could've been dropped into any Poverty Row programmer of the period without the audience batting an eye. Both were great, but personally, I've always had a weakness for sharp, fast-talking dame reporters, and Blaire skillfully channeled a combination of Glenda's Farrell's Torchy Blane and Roz Russell's Hildy Johnson that left a smile on my face long after the film was over.The jokes are non-stop, and yet, like Lost Skeleton, the picture is not only an affectionate spoof, it's a story that holds together and pays off in its own way. Anyone who's ever spent a rainy Saturday afternoon watching old Mascot, Monogram, or PRC programmers on TV will likely adore this movie.Basically, it's a hilarious flick with a shocking twist ending; like THE CRYING GAME, but with less foreskin. And how often can you say that?