Usually staged in conjunction with a series of cheap horror movies, the spook shows were stage events consisting of magicians, bad skits, bad special effects, and a whole lot of Frankenstein masks.
Naschy has the pieces, and he has some great ideas and some moments when things work, but the entirety never really comes together, and sloppy scripting ultimately undermines the film.
More zombie action sooner would have made this good movie great, but as it is, I’m hard pressed to complain about what I got. Ultimately, the weird humor of the film makes the bleak ending that much more effective.
I don’t think Evil of Frankenstein deserves quite as much venom as is sometimes flung its way. It’s a misstep, sure, and a disappointing experiment, sort of like one of the doctor’s many unsuccessful attempts at breathing life into the dead.
It’s certainly not the first AIP gothic horror film I’d recommend, nor the first Vincent Price film. It’s not a film about which one should get especially excited, but I certainly didn’t mind spending some time with it.
But rocky though the 70s may have been for Hammer, Blood from the Mummy’s Tomb is a stand-out that, while perhaps not keeping pace with the company at its best, certainly makes for solid b-movie material.
Meant as the B-side of a horror double feature, Plague of the Zombies was paired with the higher profile Dracula, Prince of Darkness. Plague of the Zombies got lost in the large shadow of Hammer’s vampire juggernaut, but fans have had a chance to go back and re-evaluate the film.
In an effort to help those poor ignored stragglers out, and in advance of our end of the year top ten list, I’ve decided to do a quick post highlighting our ten least viewed movie reviews. It’s probably not entirely accurate, but we have to help the ones we can. So here they are: the ten least popular reviews on Teleport City.
The main problem with Cry of the Banshee is that all of this should be a lot more interesting than it turns out to be. With naked witches, pagan rites, vengeful landlords, corrupt priests, witch burnings, and a ratty werewolf tearing out throats, Cry of the Banshee should be a thrilling, chilling, grotesque affair.
For my money, the double whammy of Curse of Frankenstein and Revenge of Frankenstein represents the high water mark for Hammer horror productions. They’re simply wonderful films, perfectly connected to one another without the sequel being a derivative rehash.