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
Lee is less of a presence here than in the last film, and his shadow doesn’t seem to loom as powerfully over everything when he’s not present as it did in Prince of Darkness. But when he does show up, he looks exquisite.
In 1960, American International Pictures – well-known for being a low-budget film production house possessed of some genuine talent – released The Fall of the House of Usher. It was something entirely new for the company: a color picture, released by itself instead of as part of a black and white double-feature package as was…
For a long time, yakuza films were the big missing piece of puzzle that is Japanese film in America. In the years before DVD, you could find any number of groovy Japanese monster movies. Sure, they were pan and scan and dubbed, but few people thought to be offended by such things at the time…
The first team-up between director Roger Corman, star Vincent Price, screenwriter Richard Matheson, and source material Edgar Allan Poe is a moody, creepy high point in the mood, creepy world of Gothic horror films.
It’s great to see Christopher Lee back in action again as the count, and really, that alone is enough to make this film enjoyable. Lee swore this would be the final time he’d play Dracula for Hammer. He was, naturally, back again as the count very shortly there after.
If Brides of Dracula is the forgotten Dracula film, I can’t imagine it will stay that way for very long. It’s simply too good. Maybe not quite as good as the original, but definitely the equal of the next sequel, Dracula, Prince of Darkness, which saw the return of Christopher Lee to the role of Dracula.
It’s a mess. I wouldn’t call it terrible, but I would stop well short of calling it good. However, these subjective judgments ultimately mean nothing, because the film endears itself to me simply because it’s so willing to go so overboard in almost every aspect. It’s brash, supremely operatic, terribly overwrought, and easy to get absorbed into.
As is the case with both Horror of Dracula and Curse of Frankenstein, one can’t help but compare it to the old Universal film. I’m a big fan of Karloff’s The Mummy, and I’m a big fan of this one.
The look and style of a Hammer film would become as much a trademark as the blood, the buxom beauties bursting out of their bodices, and Christopher Lee and Peter Cushing chasing after one another and wearing those Victorian overcoats.
You know, back before they modeled themselves after their brainless FHM style spawns and were still at the very least attempting to inject some cutting edge material in between the shots of naked women with badly feathered 1970s hair.
Anyone claiming that Spirits of the Dead isn’t a good movie is probably only just saying that because Vadim’s contribution to this anthology of Edgar Allen Poe adaptations as conceived by three of Europe’s maverick directors is so sloppy and unengaging. Vadim’s contribution, “Metzengerstein,” is certainly not the way you’d want to start a film….