By Hank Reineke
Though often dismissed as a low-budget “Made for TV” feature, director Franklin Adreon’s Cyborg 2087 enjoyed a brief theatrical run prior to its debut on broadcast television in March of 1968. In April of 1967 the film was packaged alongside such similarly low-budgeted, independent features as Death Curse of Tartu, Sting of Death, and even a second Adreon “time travel” themed film, Dimension 5. Though this somewhat lackluster film seemed destined for relegation to the late-night drive-in horror movie circuit, Cyborg 2087 nonetheless displayed some small measure of staying power. That same summer, Adreon’s film was still making the rounds of the secondary flea-pit theater circuit, sometimes serving as the under bill to Sidney J. Furie’s contemporary political thriller The Naked Runner featuring Frank Sinatra.
Though he had worked on serials and a handful of feature films in the early stages of his career, director Adreon was laboring...
Though often dismissed as a low-budget “Made for TV” feature, director Franklin Adreon’s Cyborg 2087 enjoyed a brief theatrical run prior to its debut on broadcast television in March of 1968. In April of 1967 the film was packaged alongside such similarly low-budgeted, independent features as Death Curse of Tartu, Sting of Death, and even a second Adreon “time travel” themed film, Dimension 5. Though this somewhat lackluster film seemed destined for relegation to the late-night drive-in horror movie circuit, Cyborg 2087 nonetheless displayed some small measure of staying power. That same summer, Adreon’s film was still making the rounds of the secondary flea-pit theater circuit, sometimes serving as the under bill to Sidney J. Furie’s contemporary political thriller The Naked Runner featuring Frank Sinatra.
Though he had worked on serials and a handful of feature films in the early stages of his career, director Adreon was laboring...
- 12/28/2017
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
By Hank Reineke
As one might expect from any 1960’s James Bond pastiche, an assortment of cool spy gadgetry is on display in Franklin Adreon’s Dimension 5 (1966): microchips secreted in the rear compartment of a Bulova wristwatch, a poison dart firing pen, an exploding briefcase, and a cool bullet-firing point-and-shoot 35mm camera. If that’s not enough – and with possible exception of the invisible car from Die Another Day (2002) - Dimension 5 offers us one of the more ridiculous and dubious items found in any secret agent arsenal… a “time-convertor” belt.
We’re first introduced to this device during the film’s mildly exciting pre-credits sequence. In the first few minutes we’re treated to what one expects from a nifty ‘60s spy thriller: a bit of a car chase, a surprising punch-to-the mouth of a double-crossing Asian villainess and a swooping helicopter rescue. What we do not...
As one might expect from any 1960’s James Bond pastiche, an assortment of cool spy gadgetry is on display in Franklin Adreon’s Dimension 5 (1966): microchips secreted in the rear compartment of a Bulova wristwatch, a poison dart firing pen, an exploding briefcase, and a cool bullet-firing point-and-shoot 35mm camera. If that’s not enough – and with possible exception of the invisible car from Die Another Day (2002) - Dimension 5 offers us one of the more ridiculous and dubious items found in any secret agent arsenal… a “time-convertor” belt.
We’re first introduced to this device during the film’s mildly exciting pre-credits sequence. In the first few minutes we’re treated to what one expects from a nifty ‘60s spy thriller: a bit of a car chase, a surprising punch-to-the mouth of a double-crossing Asian villainess and a swooping helicopter rescue. What we do not...
- 12/8/2017
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Paul Dunlap was a prolific film composer in the 1950s and 1960s, scoring over 200 features. He was best known for providing themes and scores for numerous science fiction and horror thrillers of the decades. His music highlighted attacks by prehistoric beasts in 1951’s Lost Continent starring Cesar Romero, and an alien robot invasion in 1954’s Target Earth with Richard Denning and Kathleen Crowley. He scored Michael Landon’s transformation from man to monster in I Was a Teenage Werewolf (1957), and provided music for such other Aip and United/Allied Artist cult classics as I Was a Teenage Frankenstein (1957), Blood of Dracula (1957), How to Make a Monster (1958), Frankenstein – 1970 (1958), Invisible Invaders (1959), The Four Skulls of Jonathan Drake (1959), Angry Red Planet (1959), Shock Corridor (1963), and Black Zoo (1963).
Dunlap was born in Springfield, Ohio, on July 19, 1919. He began working in films in the early 1950s, scoring westerns, war and action films including The Baron of Arizona...
Dunlap was born in Springfield, Ohio, on July 19, 1919. He began working in films in the early 1950s, scoring westerns, war and action films including The Baron of Arizona...
- 3/24/2010
- by Jesse
- FamousMonsters of Filmland
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