Vinnie Paul Abbott, a native of Arlington and the former drummer for metal-rock band Pantera, died in Las Vegas on June 23; he was 54.
First reported by Billboard, his death was announced on Pantera's Facebook page:
"Vincent Paul Abbott aka Vinnie Paul has passed away. Paul is best known for his work as the drummer in the bands Pantera and Hellyeah. No further details are available at this time. The family requests you please respect their privacy during this time."
Paul's early death follows the tragic death of his brother, guitarist "Dimebag" Darrell Abbott, who was shot while performing onstage in a rock club in 2004; he was 38.
The Abbotts grew up in a musical family; their father was country songwriter Jerry Abbott.
The brothers founded Pantera in 1981. Their 1992 album Vulgar Display of Power boasted anthems such as "Walk" and "Mouth For War," helping propel their 1994 album Far Beyond Driven to debut at No. 1 on the charts.
Vinnie Paul had been living in Las Vegas, and for the past 10 years, he played with heavy metal band Hellyeah, fronted by Mudvayne singer Chad Gray. Their fifth album, Undeniable, was released in 2016, and they'd recently begun recording a sixth album.
A private funeral will take place on June 30, but there is a public memorial on Sunday July 1. Abbott's family and record label will host "Vinnie Paul: A Public Celebration of Life," at the Bomb Factory in Deep Ellum.
This will be a free event with no tickets sold, although wristbands will be required. The memorial takes place at 3:33 pm, while the line for wristbands begins at noon.
The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.
Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.
After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.
It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.
One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.
Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.
Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.
Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.
