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.
I had pretty high expectations going into this film — not that it would be good, but that it would hilariously, confoundingly weird. And I was not disappointed. But I discovered that it was also actually pretty good.
It asks certain concessions be made on the part of the viewer, but if you are willing to make those, it’s truly one of the most mesmerizing, fantastic films around
This isn’t really a film at all, but more of a game of dress-up that a couple of 12-year-old girls with access to their mum’s wardrobe might have.
Deodato’s short-comings as a director are made more obvious when you have to watch one of his films that doesn’t benefit from several minutes of controversial cannibal torture footage
I think the film was undone for most people by the things I liked most about it: misguided and moronic attempts at social conscience, and a bizarre marketing campaign that framed the movie as a Wolf Creek/Hills Have Eyes new style slasher film while doing everything it could to obscure the fact that this was, in fact, a movie about a giant crocodile.
In retrospect The Land that Time Forgot would have been a poetic place for Amicus to end — with volcano erupting, boat sinking, and its stars facing a seemingly hopeless situation. Instead, they decided to show us the aftermath of the collapse, and give us Milton Reid in a skimpier outfit than Sarah Douglas.
The Pirates of Blood River is still a solid adventure tale, with plenty of action, a dependable cast, and a look that fools you into thinking this is a much higher budget film than it actually is. It’s nice to see these old Hammer swashbucklers getting some attention.
The eventual reveal isn’t entirely a surprise, but then, it rarely is these days, given how many movies have been made in this style. And besides, the fun of the krimi is rarely in being fooled by the unmasking of the killer. It’s in the ride.
Premature Burial remained for a long time the ignored entry into Corman’s cycle, more or less skipped over as people hastened to get from Pit and the Pendulum on to Tales of Terror, Masque of the Red Death and The Raven, when everything was back as it should be and Vincent Price was once again stalking across the screen