Dracula A.D. 1972 (1972)

I don't know what the general consensus is on this Hammer horror movie but, for me, it's one of the worst of the lot featuring our favourite fanged count. Even if it is also amusingly groovy.

No, no, NO, don't look at the camera.

After Dracula (Christopher Lee) is yet again laid to rest by the brave Van Helsing we move forward to the Britain of the seventies where one of the Count's followers (Christopher Neame as Johnny Alucard) is doing his best to bring the master back to life, allowing him to exact his revenge on the descendants of Van Helsing (Peter Cushing is on board for this instalment and also has a granddaughter played by Stephanie Beacham).

No, no, NO, DON'T look at the camera.

Directed by Alan Gibson and written by Don Houghton, this vampire movie suffers from a number of distracting flaws. First of all, the updating of the ongoing battle between Dracula and Van Helsing to the 1970s makes the movie, ironically, appear much more dated than any other movie in Hammer's Dracula series. Then we have the terrible acting. Cushing and Lee are as good as ever but the support from the "hip youngsters" is cringeworthy. Beacham doesn't do well but even her poor performance is better than most of the others on screen, with the exception of the gorgeous and magnetic Caroline Munro - who is gorgeous and magnetic and I won't hear any different.

Ahhh Caroline, you can look at the camera if you want to. No? Okay.

Everything is flat and unexciting, from the painful script that strives to be down with the kids to the execution of the few set-pieces, and we get a distinct lack of any pleasing bloodletting or lusty behaviour to compensate for the many dull moments.

This photo highlights the complete lack of bloodletting or lusty behaviour.

Is there any way it could be made any worse? Maybe a gratuitous scene featuring a couple of ear-hurting musical numbers from "Stoneground" - who also get namecheked as if they were appearing on some Saturday kid's TV show - with one or two of the band members doing their best to stare at the camera whenever they get the chance (see the top pic as an example). It's a testament to their presence that Lee and Cushing manage to raise this movie to the tier of average. Without them, it would definitely rank even lower.

5/10

http://www.amazon.co.uk/Dracula-D-1972-DVD-Christopher/dp/B000B7KXDG/ref=sr_1_1?s=dvd&ie=UTF8&qid=1354657613&sr=1-1

Frankenstein And The Monster From Hell (1974)

The final entry in Hammer's series of Frankenstein movies is actually a welcome return to form for all involved, mainly thanks to the character of Baron Frankenstein being once again portrayed as someone well-intentioned but morally dubious as opposed to the outright evil schemer he was depicted as in Frankenstein Must Be Destroyed.

This time around the Baron (Peter Cushing) is joined by young Simon Helder (Shane Briant), a man who has been sentenced to time in an insane asylum after being caught carrying out experiments based on the Baron's work. When Frankenstein reveals his real identity to the young man and outlines a plan it's not long before the body parts start to pile up and things get ever more problematic.

With Anthony Hinds writing and Terence Fisher directing, this particular Hammer horror rises above its relatively low budget to provide a fitting final outing for the man who is constantly trying to cheat death.

Cushing is as good as ever, Shane Briant acquits himself well and Madeline Smith, John Stratton, Bernard Lee and everyone else onscreen (including David Prowse, hidden once again behind a mask but doing a better job than he did last time he was asked to play the central creature) manage to hold their own.

It's perhaps inevitable that a lot of the material here feels overly familiar and a little bit lazy but there is also some dark, twisted stuff in here (including the reason for Madeline Smith's character not talking) and some proper nastiness that still manages to retain some impact to this day.

It's not really the best swansong that we could have for the Baron but it's a hell of a long way from the worst and, for that, I'm glad.

7/10

http://www.amazon.co.uk/Frankenstein-And-Monster-From-Hell/dp/B004NOQ9W2/ref=sr_1_1?ie=UTF8&qid=1354725685&sr=8-1

Countess Dracula (1971)

Okay, let's be clear about this from the start. This is not really a Dracula movie, we don't get any fangs or big bats or people who sleep in coffins. This is, however, an excellent Hammer flick loosely based on the legends woven around the life of Countess Elizabeth Bathory.

Countess Elisabeth Nadasdy (Ingrid Pitt) is much put out when she hears the reading of her deceased husband's will. It orders his fortune to be shared between his widow and his only daughter (played by Lesley-Anne Down). Rather than share the wealth the countess comes up with a plan after finding that the blood of young girls can make her look young and gorgeous again. With youth back on her side, she bags herself a handsome man (Sandor Eles) and arranges to have her daughter waylaid en route and then proceeds to take her place. But just how long can she keep finding the victims she needs to retain her youth?

Jeremy Paul wrote the screenplay, based on a story by a number of people who took inspiration from the life of lady Bathory, and Peter Sasdy directed this lusty, busty release from the studio that dripped blood and it's a good job they do too.

Once fans get over the disappointment of this not being an actual vampire movie there's much to enjoy here. It has plenty of nefarious scheming, all planned and carried out by a beautiful femme fatale. The look of the thing is up to Hammer's usual standards, the cast are all very good (the central role helped to make Pitt quite the horror icon while Nigel Green is wonderful as a co-conspirator, Sandor Eles is very good as the unwitting object of Elisabeth's affection and the rest of the cast do just fine, despite all being overshadowed by Miss Pitt's luminous beauty) and the pacing is just right.

It's the perfect blend of blood and lust, with an essence of sleaze given an outer coating of velvet finesse, that made the studio such a bankable name at its height and I recommend this movie to all of the fans.

7/10

http://www.amazon.co.uk/Countess-Dracula-Special-Ingrid-Pitt/dp/B000GUK3QA/ref=sr_1_1?s=dvd&ie=UTF8&qid=1354417663&sr=1-1

The Horror Of Frankenstein (1970)

Frankenstein for a new generation. This movie doesn't have any of the elderly Hammer stalwarts (and they're sorely missed) but it does have an energy to it and a lot of positives thanks to a witty script and a great central performance from Ralph Bates. He may be no Cushing but he gives an enjoyable, youthful take on Victor Frankenstein and carries the film through some of its lean patches.

Directed by Jimmy Sangster (who also co-wrote the film with Jeremy Burnham), this movie may upset the purists but it's hard to see how anyone can come to hate it. Yes, it's essentially a rehash of The Curse Of Frankenstein but that's not the worst cinematic crime in the world. Young Victor upsets a number of people, from his father to his lecturers, as he grows from a boy into a man obsessed with the idea of bringing the dead back to life.

The pacing is brisk, the acting is all enjoyable (highlights = Kate O'Mara playing a great, lusty housekeeper, Dennis Price as a professional graverobber and Veronica Carlson as the fragile beauty this time around) and everything still feels lovingly crafted and unrushed, even if it is aiming for a younger audience.

I felt, as many others surely did, that I would miss many of the more seasoned Hammer stars this time but I actually managed to put them aside and enjoy almost every moment of the movie, a testament to just how many things the movie gets right. The one, big, negative point is the monster itself when it finally appears. Dave Prowse just doesn't cut it as the creature and it's in the moments featuring his lacklustre performance that the movie falters.

I'm sure that I'm not going to change the minds of any die-hard fans here but I liked this film a fair bit and think it deserves a bit more praise than it gets. It maintains a balance between nastiness and dark comedy from the first scene right up to the wonderful punchline just before the end credits roll and, personally, I think it's a much better way to push the character to modern audiences than the approach that was attempted with Dracula A.D. 1972.

Of course, I may be completely wrong (it wouldn't be the first time). Give it a look and see what you think. If you enjoy it then I can put on my smug face for a day, if you hate it then I can go back to hiding behind the false beard and dark glasses.

7/10

Yet another movie available in this bargain boxset - http://www.amazon.co.uk/The-Ultimate-Hammer-Collection-Disc/dp/B000HN31KQ/ref=sr_1_1?ie=UTF8&qid=1354487105&sr=8-1

Scars Of Dracula (1970)

While I admit that I was a little disappointed to see that this Hammer movie was missing my particular favourite actor known for his work with the studio, Peter Cushing, I knew that I would be in for something reasonably entertaining with Christopher Lee reprising, arguably, his most famous performance and the fact that it was directed by Roy Ward Baker and written by Anthony Hinds (two names probably familiar to fans of horror from this era).

The movie starts off with Dracula being resurrected thanks to the help of a daft, rubber bat. Then the fun really begins as the Count gets straight back to reprising his reign of terror, making some trouble for himself when he takes in a stranger (Paul, played by Christopher Matthews) and then doesn't let him leave. It's not long until Paul's brother (Simon, played by Dennis Waterman) comes looking for him with the beautiful Sarah (Jenny Hanley) by his side.

While this is not really a GREAT Hammer movie it is a damn entertaining one, despite how silly and slight it may be. Dennis Waterman makes for a decent enough leading man, Patrick Troughton is great as a servant of the fanged Count (even if he does resemble Oddbod from Carry On Screaming!), the lovely Jenny Hanley is quite lovely and everyone else does their bit portraying Hammer standards such as the scared priest (Michael Gwynn), the grouchy innkeeper (Michael Ripper), etc.

Nothing really feels too slick or polished but it doesn't ever feel like a rushed hatchet job either, falling somewhere in between the two and doing just enough to smooth over the more ludicrous moments in the movie. The ending is a bit of an anti-climax but such a slip-up is allowed when the rest of the movie is so much fun.

I actually found it more endearing than irritating whenever there was someone getting overly dramatic or whenever anyone was threatened by a distinctly rubbery bat but others may not feel the same way. That is, of course, their choice. If nobody agrees with me then I'll happily keep this treat all to myself.

7/10

Available in this super duper bargain boxset - http://www.amazon.co.uk/The-Ultimate-Hammer-Collection-Disc/dp/B000HN31KQ/ref=sr_1_1?ie=UTF8&qid=1353949514&sr=8-1

Frankenstein Must Be Destroyed (1969)

Terence Fisher is once again at the helm of a Hammer horror, directing this entry in the Frankenstein series, but he's hampered by the script (written by Bert Batts) that mixes too much of the familiar with too much of the mildly despicable.

Peter Cushing plays the Baron and still mesmerises me every moment he's on screen but this time around the character has been warped and changed beyond recognition. What I always liked about Baron Frankenstein, in the Hammer incarnations anyway, was the fact that he was ever so slightly justified in his actions and conviction but when things started to slip out of his control he would easily go too far. THAT made him an interesting "bad guy" you could still root for and this was always made easier to accept when he was played by the constant gentleman, Mr. Cushing. In this movie he is a murdering, blackmailing rapist with no redeeming qualities whatsoever and that has always been offputting for me.

Simon Ward and the beautiful Veronica Carlson play the young couple caught up in his nefarious scheme, which this time involves a brain transplant procedure to help one of the Baron's ex-colleagues, and Freddie Jones is the possible brain recipient.

There are some nice moments throughout this film, with an unexpected flood that may reveal the location of a corpse being one of them, but everything is too downbeat and unlikeable to simply sit back and enjoy. Cushing is as great as he always is and the supporting cast ably assist him (Thorley Walters is wonderful as Inspector Frisch) but it's just not enough to keep this film alongside the other, better outings featuring the progressive scientist that we just love to see fail. The plot has a very interesting idea at its core but it's all undone by that extreme nastiness.

To be fair, it's more of an over the top, practically operatic, tragedy than a blood-soaked horror and the movie builds towards a suitable climax in that regard. It's never easy to say what other Hammer fans will like or dislike but this is an occasion when I seem to be very much in the minority. Most of the other reviews I have seen for this movie put it at or near the very top of the Hammer Frankenstein pile. I put it in the lower half.

6/10

http://www.amazon.co.uk/Frankenstein-Must-Be-Destroyed-DVD/dp/B0001XLY56/ref=sr_1_1?ie=UTF8&qid=1353886637&sr=8-1

Blood From The Mummy's Tomb (1971)

Directed, with a distinct lack of flair, by Seth Holt (who died before shooting was completed so I will say no more as I don't want a bad reputation for speaking ill of the dead - some scenes in the film were shot by producer Michael Carreras), this is a bland Hammer movie trying to pretend it's something more exciting than it actually is. No, I was not expecting a bandaged, shambling figure to be centre stage here but I WAS expecting something with a bit of mystery and suspense.

The plot is all about lovely Margaret Fuchs (the beautiful Valerie Leon, not a great actress though), the daughter of Prof. Julian Fuchs (Andrew Keir, the man who stepped in after Peter Cushing had to leave the movie). Many years ago, the professor went on an expedition to Egypt and uncovered the tomb of Queen Tera, a woman interred after the removal of one hand. It was at the exact moment that Tera's name was spoken that his daughter was born and it has become more and more apparent over the years that the two are somehow linked. When the time is right, with thanks to her dad carelessly giving her a big ring found in Egypt, Margaret is possessed by the spirit of Queen Tera (you can tell because of the thin line of blood that starts appearing at her wrist) and seeks out the expedition members. She wants to reclaim the relics that were found in her tomb and to bring herself fully back to life.

There's really not a lot to be said about this film without turning things into some written form of monotone. It's as bland as bland can be. The acting is so-so; Keir is solid, Leon is not, James Villiers is good fun as a shady figure who knows what's going on, Hugh Burden is not given much to do except a little overreaction to get people's attention and Mark Edwards is just the standard class A ineffectual boyfriend. Nobody is memorable anyway.

The story is nothing new, especially to fans of any Mummy movies, and it's development is pretty clumsy and obvious. You know from the very first scenes exactly what is going to happen here, no subtlety or attempt to raise tension is used at all. I have no idea how close the script by Christopher Wicking is to the source material (The Jewel Of Seven Stars by Bram Stoker) but I'm going to assume that it's not half as faithful as it could be. Although it does show the seven featured stars on a few occasions.

Then we have the horror and scenes of bloodletting . . . . . . which count for nothing. There IS no horror here, nothing to instill fear in even the most sensitive of viewers and the death scenes are all shot without actually showing you anything that could provide some technicoloured entertainment. It's one of those many horror movies with a trailer promising so much and delivering so little. Nothing lurid, livid or lively here and it practically defines the word "insipid".

A disappointing Hammer movie, that at least features the lovely Leon as eye candy and has some nice moments of drama dotted there and there, and a disappointing Mummy movie. There is some appeal here for less discerning viewers, like myself, but it's extremely limited.

5/10

http://www.amazon.co.uk/Blood-From-Mummys-Tomb-DVD/dp/B000KRMZCE/ref=sr_1_1?ie=UTF8&qid=1352930202&sr=8-1