An American Werewolf in London (Full Moon Edition) (1981) Review

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(More customer reviews)An American Werewolf in London is probably the best Werewolf flick since Lon Chaney Jr originally transformed under the full moon. Sure, the film is almost 30 years old, but with the new high def transfer it's hard to tell.
As an avid DVD buyer my transition to the Blu-ray media has been a little slow to say the least. I'm generally only buying new titles and am very stubborn when it comes to double dipping on titles I already own. Some companies take the cheap route and just slap an upscaled transfer onto a Blu-ray in order to make some fast cash. This however, is completely worth re buying.
I'll be honest, the first time I saw this film was when it was originally released on DVD back in the late 90's . I instantly fell in love with the movie. Everything about it was perfect, the humor, the scares, the sfx, the amazing soundtrack. It's very rare to find a movie that so perfectly combines horror and comedy, a film with characters you truly care for. This is a movie that sticks with you, one of the better horror comedies, one of the best werewolf films.
The transfer is great, crystal clear. It's as if it was filmed a few years ago. The audio has great as well, the film has never looked or sounded this good.
The extras for the most part were transfered over from the original 2001 DVD, but the best extra comes in the form of a feature length documentary called "Beware the Moon." The documentary covers everything from conception, to filming, to the somewhat negative reception it got when it was originally released.
It's a pity more movies don't get the kind of treatment.
Buy this disc immediately!

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Re-discover one of the most gripping horror films of all-time with the cult classic An American Werewolf in London.Blending the macabre with a wicked sense of humor, director John Landis (National Lampoon’s Animal House) delivers a contemporary take on the classic werewolf tale in this story of two American tourists who, while traveling in London, find their lives changed forever when a viscious wolf attacks them during a full moon.Featuring groundbreaking, Academy Award-winning make-up by Rick Baker (The Wolfman), this digitally remastered Full Moon Edition also includes the new feature-length documentary Beware the Moon.

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Underworld (Unrated Extended Cut) (2003) Review

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(More customer reviews)Boiled down to the fine little dish of steak tar-tar that it is, "Underworld" is the answer to the two horror flick questions you had as a kid:
1)If Dracula and the Wolfman went mano a mano and fang-to-claw, which one would do the thrashing?
2)If Dracula and the Wolfman checked into a cheap motel, got roaring drunk on a case of Night Train, and had a baby, what would it look like?
You get the answer to #1 early and often, which is pretty much what this Transylvania Station is all about. And by the end of "Underworld" you get #2 as well---and trust me, when it's hopping about like an ugly green Mini-Hulk (right down to its one-size-fits-all-monster trunks) you'll wish you hadn't.
You want to know what you're getting when you lace up your thigh-high attitude boots and strap on that trenchcoat for a little midnight fun in Len Wiseman's uber-stylish little monster mash "Underworld"?
Think West Side Story: only here, instead of the Jets and the Sharks angling for a rumble on the other side of the tracks, we have Vampires and Werewolves. Oh, and in "Underworld" nobody breaks into song. Both sides just want to rumble, and the girls just wanna have fun. In the meantime, while not the sharpest stake in the vamp-hunter kitbag, "Underworld" finds its groove, and serves up a bloody two hours of unabashed techno-cool that drinks you dry, trashes the apartment and howls at the moon.
We get dropped into the middle of a war that Celine (the impossibly tasty Kate Beckinsdale)---our supple full-body-suit clad vampiric Death Dealer and narrator---tells us has been "raging for centuries."
On one side of the tracks: the sneering, brutally hip Euro-trashy leather-trenchcoat & hip-sunglasses wearing uber-high-maintenance Vampires. They have posh high-rent neo-Victorian digs, drive around the streets in Jaguars and Maseratis, and have managed to switch up the silver bullets in their glocks and MP-5 submachine guns for something more lethal: liquid silver nitrate, which makes it tougher for their hairy buddies to pull the bullets out. Advantage: Vampires.
On the other side of the tracks: the Salvation Army surplus-wearing tear-your-scalp-off-and-wear-it Werewolves---erm, I mean Lycans, short for Lycanthropes. The Lycans are strictly low-rent, hang out together in what looks like an abandoned public lavatory, and take a bath once every full moon whether they need it or not. Whereas their blood-sucking cousins from the East Side look like they'd be hanging at crazy underground raves when they're not boring each other to tears talking like the Merovingian, the Lycans are strictly the mosh-pit set. Oh, and from what I could tell, there's not a single werewolf girl. C'mon guys---haven't ya heard of "Ginger Snaps"? Bummer. Advantage: Vampires.
That said, the boys have been pumping the rent money they've saved up into super-science research, giving them bullets that encase super-photoelectric magnesium charges (perfect for giving that oncoming vamp a little taste of Club Med sunlight). They also have the upper hand in figuring out how they can mix the bloodlines, bringing the war between Vamp and Lycan to an end. Advantage: Lycans.
And finally, mixing it up with our fanged-kissin' cousins, we have perplexed med student Michael Corvin (played by the annoying Scott Speedman who cashes a check) stalked by Lycan heavies and tagged by Selene, who wants to know why the werewolf army is so eager to get their hands on him.
And that, pretty much, is "Underworld": two hours of movie built around jaw-droppingly gorgeous set-pieces and bouts of total war between locked-and-loaded squads of Things that go Bump in the Night.
Just a note: you'll want to get the Unrated Extended DVD: it fleshes things out, beefs up some supporting characters, and ends with an extended battle sequence---and it's loaded down with plenty of extras you can sink your fangs into.
Plus, the sleeker transfer shows off Wiseman's technical mastery in spades. Wiseman uses sound-stages and CGI to anchor the film's look, and tethers all of it to the fog-shrouded cobbled streets and ancient alleys of Prague: the City itself takes on a bleak and brooding character. The movie looks gorgeous: whether it's the gloomy red-velvet and dark mahogany halls of the mansion, the sleek, sterile Underground, or the industrial ruins of the Lycans, Wiseman and cinematographer Tony Pierce-Roberts make every scene tell. The sequence where a locomotive full of vampire diplomats chugs into a deserted rail-station---with the baying of werewolves in the distance---is jaw dropping.
"Underworld" also gets the most out of its talented stable of actors. There are three centers of gravity in the film: Beckinsdale, who doesn't need her bodysuit to command her lines (though I'm glad she wore it). The Lycan overlord Lucien (the gifted Welsh actor Michael Sheen) steals every scene he's in, and brings complexity and command to a role that could have been a throwaway in lesser hands. Finally, there's the Vampire King Viktor, played by the great Bill Nighy (who also played Shaun's Jag-loving stepdad in "Shaun of the Dead"). Nighy is a kind of demonic embodiment of immortal Puritan rage, and acts like a champ through all that make-up.
Even the supporting actors turn in strong roles: Shane Brolly (Kraven) whines and pouts and lisps and turns in a convincing performance as a spineless worm; Sophia Myles (Erika) comes off as a naughty little vampire cat-girl; Kevin Grevioux owns this film and puts the smack down as Uber-Werewolf Raze; and Hungarian actress Zita Gorog rocked my world---without uttering a single line.
In the end, this batwinged black-lipstick wearing looker of a flick charged into the goth club of my choice, served me an extra-bloody steak tartar , smacked me around, bought me drinks, and talked Shakespeare after. Would a Lycan by any other name be just as hairy?

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SELENE, A BEAUTIFUL VAMPIRE WARRIOR, IS ENTRENCHED IN A WAR BETWEEN THE VAMPIRE & WEREWOLF RACES. ALTHOUGH SHE IS ALIGNED WITH THE VAMPIRES, SHE FALLS IN LOVE WITH MICHAEL, A WEREWOLF WHO LONGS FOR THE WAR TO END.

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Being Human: Season 1 Review

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(More customer reviews). . . and best werewolf and best ghost show on TV. Mind you, I like TRUE BLOOD and have even come to see the upside to THE VAMPIRE DIARIES, but both of those are enjoyable diversions with no real subtext (TRUE BLOOD gestures at subtext with its parallels with prejudice against all kinds of difference, but in 2010 that is a pretty worked over subtext and lacks power at this point). But if you want more depth of subtext and a more subtle narrative and richer character development and, well, less garishness, than this is a show you should check out. Not yet available in the U.S. on DVD and Blu-ray (every time I have checked on Amazon I've only seen an outrageously overpriced $70 Blu-ray that never seems to be available -- though if you have an all regions DVD player, you can order an infinitely more affordable edition from Great Britain, which I strongly recommend, I repeat, only if you have an All-Regions player). There are only six episodes in Season One and eight in Seasons Two, so the idea of paying over $10 per episode is rather offensive. But you can either catch the show on BBC America or on Region 2 DVDs.
The series starts when two orderlies at a hospital at Bristol decide to room together. What makes this desirable for them is that they are supernatural creatures. Mitchell is a vampire. Not a terribly old one by vampire narrative standards (less than a century old). George is a werewolf and on three nights a week has a rather violent transformation into a truly nasty beastie (and thanks to CGI his transformations are truly horrendous). Both of them are trying to pass as normal humans, and for economic reasons and simply because they don't want to live alone, they decide to find an apartment together. By happy circumstance, the apartment they find and move into is inhabited by an outrageously sunny and upbeat ghost named Annie. Together, the three of them try to lives that are as normal as possible.
The trouble is, the rest of the world doesn't want them to live normal lives. The vampire community (why does there always seem to be a vampire community?) wants Mitchell to return to the fold. They especially don't want him living with a werewolf. And meanwhile, the afterlife wants Annie to move on, into the light, and away from her human life. So their struggles are unusually rich and complex.
What made BUFFY and ANGEL so vastly superior to TRUE BLOOD and MOONLIGHT and THE VAMPIRE DIARIES and the TWILIGHT series (both novels and movies) was what they were able to do with the premises, with the metaphorical richness of the stories. TRUE BLOOD ends up being a glorious one-dimensional guilty pleasure show, all glorious surface with nothing beneath. BEING HUMAN is much more like BUFFY, with richly developed, deliciously articulated stories with timely cultural references. Mitchell's vampirism, for instance, is used less as a metaphor for homosexuality, as it is in TRUE BLOOD, but addiction and the difficulty of human self-control.
The show is driven by its appealing leads. Russell Tovey (George) will be perhaps best known from his appearance on DR. WHO and the movie THE HISTORY BOYS, but Lenora Crichlow (Annie) and Aidan Turner (Mitchell) are appealing newcomers. There are endless polls about who the hottest vampires are and if Mitchell were better known in the U.S. he'd almost certainly win them all. He is a spectacular incarnation of the really bad boy who wants to be good but for whom it is a constant struggle. George, meanwhile, is like the big silly family dog. There is meanwhile absolutely noting ghostly about Annie except that she can't be seen. She is dark complexioned, but if you had to assign a color to her personality, it would be yellow. Bright yellow. She is sunny and irrepressibly happy and upbeat. Any room she is in has no dark corners. In other words, the polar opposite of all of the stereotypes of ghosts.
SyFy has announced that they are developing an American version of BEING HUMAN. Hopefully they won't blow it. The BBC series is a great one. I am not opposed to an American version, as long as it is more like the American adaptations of THE OFFICE than other efforts. But even if it fails, it should be seen as a gesture towards the excellence of the original. But even if the American version turns out well, if you love extremely high quality shows dealing with the supernatural, you should definitely know the original. The only thing I hate about this show is that there have been only fourteen episodes to date.

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Being Human is a witty and extraordinary look into the lives of three twenty-somethings and their secret double-lives - as a werewolf, a vampire and a ghost – as they struggle to live normally despite their strange and dark secrets. George (Russell Tovey) and Mitchell (Aidan Turner) work in anonymous drudgery as hospital porters in Bristol, England. They lead lives of quiet desperation under the burden of a terrible secret - Mitchell's a vampire and George a werewolf. Deciding to start life afresh and leave behind the dark side, they move into a house, only to find that Annie (Lenora Crichlow), the ghost of a woman killed in mysterious circumstances, haunts it. As the threesome deal with the challenges of their new lives together, they're united in their desire to blend in with their human neighbors. But with unwelcome intruders into their world, a threatened revolution from the vampire underworld, constant threats of exposure, and the day-to-day issues faced by young people - the only thing they may be able to rely on is each other.

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The Wolf Man - The Legacy Collection (The Wolf Man / Werewolf of London / Frankenstein Meets the Wolf Man / She-Wolf of London) (1943) Review

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(More customer reviews)I had never really thought of The Wolf Man as being in the same league as Dracula and Frankenstein's Monster - I was wrong. Watching Lon Chaney, Jr.'s portrayal of Larry Talbot in The Wolf Man and Frankenstein Meets the Wolf Man has opened my eyes. Chaney's Wolf Man is by far the most sympathetic of Universal's three major monsters. Dracula loves being Dracula, Frankenstein's monster is a full-time monster made out of dubious body parts, yet Larry Talbot is a victim of cruel fate. Rushing in to help a damsel in distress, he sustains a bite from a werewolf - hardly the type of reward a hero deserves. Doing the things a werewolf does is bad enough, but Talbot knows he is a werewolf and has to spend all of his normal waking hours wallowing in mental agony, knowing he can do nothing to contain the hairy monster lurking within. Beginning with his resurrection in Frankenstein Meets the Wolf Man, Talbot's overriding ambition and sole wish is to die and be freed from the curse forever, yet he now knows he can never die- not by conventional means, anyway. He truly is a lost soul trapped in a nightmare from which there seems to be no escape. This was the role Chaney was born to play, and he delivered one amazing performance after another in his five werewolf films. The Wolf Man Legacy Collection contains only two of them, the original The Wolf Man from 1941 and the sequel/monster crossover film Frankenstein Meets the Wolf Man (1942). Chaney's Wolf Man also appears in House of Frankenstein and House of Dracula, each of which can be found on the Frankenstein and Dracula Legacy Collections, respectively.
The Wolf Man has exerted a huge influence on the art of horror for over six decades now, thanks to the heralded make-up prowess of Jack Pierce, the tight and powerful script of Curt Siodmak, some impressive photography work, a moving musical score, and wonderful performances from a truly stellar cast of actors and actresses (including Claude Raines in the role of Larry Talbot's father, Maria Ouspenskava as the gypsy woman and surrogate mother figure to Larry, and the great Bela Lugosi in a somewhat minor yet crucial role). Chaney's Wolf Man appearance is amazingly vivid and, one supposes, somewhat frightening to moviegoers of the early 1940s. His emotional performance adds to his character's tragic status; his strange and slightly awkward manner, tempered by a sort of gentle slowness always leaves me mesmerized.
With the success of The Wolf Man in 1941, it didn't take Universal long to trot out a sequel; the following year, Frankenstein Meets the Wolf Man not only capitalized on the success of everybody's favorite werewolf, it also brought in Frankenstein's monster, thus becoming one of the first Universal monster cross-over films. Lon Chaney, Jr., returns as the ill-fated Larry Talbot, and the legendary Bela Lugosi dons the makeup of the Frankenstein monster - this fact alone makes the film intriguing. Talbot, now afraid he cannot die, longs to be killed and put out of his misery. He ends up at the castle of Frankenstein, where a helpful young doctor promises to help him and destroy Frankenstein's monster in the process - things don't quite work out that way, and the film ends with a monster grudge match between the Wolf Man and Frankenstein's Monster.
Werewolf of London (1935) and She-Wolf of London (1946) could not be more different, and both are unmistakably distinct from the Universal werewolf films starring Lon Chaney, Jr., yet I think they both work marvelously. Many fans don't care for them, especially She-Wolf in London, but I find both films quite compelling. They differ significantly from the storyline running through Chaney's Wolf Man films, but these two films have a great deal of their own to offer fans. Often overlooked and unduly dismissed by some reviewers and horror fans, these are two classic werewolf films.
In terms of extras, you get trailers for three of the four films, a truly excellent commentary of The Wolf Man by film historian Tom Weaver, a well-made 1999 documentary called Monster By Moonlight, and comments on the Wolf Man character by Van Helsing director Stephen Sommers. With only four movies and relatively few extras, The Wolf Man Legacy Collection falls a little short in the value department compared to the Dracula and Frankenstein Legacy Collection sets, but nothing can change the fact that this is must-have material for fans of classic horror movies.

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For the first time ever, the original The Wolf Man film comes to DVD in this extraordinary Legacy Collection. Included in the collection is the original classic, starring the renowned Lon Chaney Jr., and three timeless sequels, featuring legendary actor Bela Lugosi and others. These are the landmark films that inspired an entire genre of movies and continue to be major influences on motion pictures to this day.

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Wolf (1994) Review

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(More customer reviews)For those who had never seen Jack Nicholson play it meek in a movie, this may be as meek as dude gets (and then it only lasts for about half an hour). In WOLF, Nicholson plays middle-aged softie Will Randall, a mild-mannered hubbie locked in a marriage of indifference. Will is also the editor-in-chief of a respected New York publishing agency - that is, until he gets demoted, at which point he assumes this indignant but resigned look. As it turns out, this would only be the first in a series of betrayals, and Will Randall looks to be just another in a long line of easily dismissed victims. Except...
WOLF starts out in a snowy, moonlit scene in which Will Randall, motoring from Vermont to Manhattan, is bitten by a wolf he had accidentally run over. And soon the shocking changes begin to manifest. Will feels strangely rejuvenated, even as he develops extremely heightened senses. Suddenly he's able to eavesdrop from across the atrium, sniff out morning liquor on a co-worker's breath, and hurdle tall walls in slow motion. His newly gained confidence allows him to take charge of his life and even revenge himself on those what done him wrong. And then, one day, a disconcerted Will Randall wakes up, soaked in blood.
Once in a blue full moon, a schlock genre spits out a gem. I happen to think that WOLF is one of the better, smarter entries in werewolf cinema, and I'd even put it up there with An American Werewolf in London, The Howling (Special Edition) and The Company of Wolves. I dig WOLF for the various elements which come correct. For a contemporary film, it wallows in this marvelous gothic atmosphere. There are wicked, unexpected flourishes of humor, and even a smattering of social satire, if one presumes that Will Randall's gradual descent from reserved refinement to uninhibited wolfishness is a metaphor for the predatory, in-the-trenches facet of the New York publishing world.
It's weird seeing Jack Nicholson in an underdog role, but it's very neat seeing his docile, dumped-on character - whose traits of "taste and individuality" suddenly become liabilities in his job - gaining a huge pair and constructing such a ruthless yet elegant get-back. Nicholson submits a layered interpretation, delivering a fascinating study of a cultured man's growing horror as he succumbs to his baser instincts. The fascinating bits all have to do with that part of him which revels in this turn to savagery. While Nicholson does get moments to chew up scenery, for a good part we're treated to a restrained performance, although, having said that, there's a whiff of that devilish Jack just underneath most of the scenes. Casting dude as a lycanthrope is a no-brainer; there's always been something feral about Jack. And, when he chooses, who else can apply a more baleful, wolfish glare?
Nicholson is supported by sharp performances by Michelle Pfeiffer (still very much in her babedom, in 1994) as surly heiress and wounded soul Laura Alden, in whom Will Randall finds a kindred spirit, and Christopher Plummer who, as Randall's boss and Laura's father, flaunts just enough equal doses of sophistication, despicability and worldly understanding that he invites this ambivalent, just-on-principles form of dislike. And James Spader rocks. James Spader for a while had cornered the market on those oily backstabbling yuppie parts. This is never more exemplified than in his role of Stewart Swinton, Randall's friend and underling, whose calculated smarm and brand of "heat and gossip" contrive to betray Randall in all ways.
Having recently reseen WOLF, I'm again startled that the violence is so low-key. The werewolf scenes are understated, the werewolf make-up not as dynamic or viscerally rendered as, say, that in THE HOWLING or AN AMERICAN WEREWOLF IN LONDON. WOLF instead relies more on suspense and the sense of horror being evoked thru effective use of lighting and score, thru adroit character study and spot-on acting. The disappointing thing is that WOLF, in its climactic scenes, resorts to a typical werewolf fighty fight. And I'm still not quite sure whether I like the ending or not, although the closing shots certainly smack of the darkly poetic. In the final tally, WOLF is overwhelmingly a terrific horror movie, dark and subtle and literate, romantic and wicked funny. So, er, go ahead... take a bite of this (sorry, I groaned too).

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WOLF - DVD Movie

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Teen Wolf & Teen Wolf Too (1987) Review

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(More customer reviews)This DVD is a disgrace to the epic masterpiece that is "Teen Wolf." I grew up watching this movie every other day on a scratchy old VHS we taped off of network TV. My brothers and I memorized nearly every line. It's humorous, eccentric, sentimental; a freakin' great movie.
"Teen Wolf Too," on the other hand, should never have existed. It is shameful that instead of loading this disc with extras from the original movie (it would have been great to see some of those scenes shot for TV, or even some commentary and outtakes), they put the ... retread sequel on here, whose first and greatest sin is that it is without Michael J. Fox.
I love the original "Teen Wolf" and the DVD is worth buying just to get a good version of it, but it deserved better treatment. Much, much better. Whoever is responsible for this should be ashamed of themselves.

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TEEN WOLF TEEN WOLF TOO

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Hammer Horror Series (Brides of Dracula / Curse of the Werewolf / Phantom of the Opera (1962) / Paranoiac / Kiss of the Vampire / Nightmare / Night Creatures / Evil of Frankenstein) (1963) Review

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(More customer reviews)I was prepared to be disappointed but hopeful that Universal would do a good job with this set. While it isn't perfect, this collection of classic Hammer films (and some not so-classic ones as well)looks pretty good in this DVD transfer. Although "Brides of Dracula" and "Curse of the Werewolf" don't look as stunning as the "Horror of Dracula" (or "Revenge of Frankenstein")each appears in what appears to be the correct aspect ratio. Universal evidently used notes with the prints indicating the original theatrical aspect ratio (at least for the U.S.)much as Warner did with "The Mummy" and "Horror of Dracula". There aren't any extras to speak of but the image quality is solid. There's grain evident in most of these DVD transfers but all of that can't be attributed to the transfer itself as these were shot on stock that was grainy to begin with. Older DVD players (and some newer ones as well)may have a problem playing some of these discs. Evidently there are reports (again) that these Universal discs can cause some players to freeze and lock up the DVD players which is related to a manufacturing issue related only to dual layered discs. These discs would have looked terrific on single layered releases or on single sided dual layered releases. The reason these are being released like this is due to $$. Luckily, so far I haven't had a problem but I thought the same thing with some of the other Universal releases and found out otherwise much later.
"Brides of Dracula" has a misleading title. Dracula doesn't appear at all instead this film focuses on Van Helsing's (Peter Cushing) efforts to rid a village of a young vampire that has been inadvertantly released by a young woman. Although the script isn't quite as strong as "Horror of Dracula", the film has a number of memorable set pieces. Evidently beyond the four screenwriters credited, Anthony Hinds also had a hand in the script (as did Cushing and Fisher much later) as he had to tone down the film for the British censors prior to production. In Sangster's original screenplay Dracula makes an appearence at the end of the film to punish Meinster. One of the last Hammer films shot by the marvelous Jack Asher, "Brides" looks great on DVD.
"Curse of the Werewolf" features Oliver Reed in the title role. Set in Spain, Reed plays Leon a young man adopted when his mother a mute servant girl dies giving birth. We know very little about the father except that the girl was raped. As a youth Leon exhibits the traits of the werewolf while hunting and the curse continues to haunt him as he grows older.
The colors are bright and vivid. Terence Fisher's direction is sharp as usual and the film is one of the more "adult" Hammer films dealing with a number of complex themes. Reed doesn't show up until about 40 or so minutes into the movie. Featuring an unusual rich score by Benjamin Frankel("Night of the Igauna") and a chrismatic, powerful performance by Reed, "Curse" would be one of the few Hammer films to visit the legend of the werewolf. Bizarrely, Yvonne Romain plays Reed's mother in this while Reed romances her in "Night Creatures". Romain would have her last film role as Sheila in the classic mystery film "The Last of Sheila".
"The Evil of Frankenstein" allowed Hammer to adapt Jack Pierce's classic monster make up for this film when Universal agreed to finance it. Cushing plays the doctor once again. It's one of the lesser Frankenstein films and the only one featuring Cushing not directed by Terry Fisher. While it isn't the best of the Frankenstein films, Freddie Francis (cinematography on one of my favorite classic horror films "The Innocents" and other films such as "The Elephant Man". Director of horror classics "The Creeping Flesh" and "The Doctor and The Devils")does a solid enough job of directing the film despite it's apparent low budget. "Evil" features one of the weakest scripts by Anthony Hinds for the "Frankenstein" series. Cushing does his best with the material. It's basically a rehash of elements seen in many of the Universal Frankenstein films including the sequence where the Baron discovers his creature in ice (which echoes "Frankenstein Meets The Wolfman"). The transfer looks far from "Evil". With nice, robust colors and nice fine line detail "Evil of Frankenstein" looks extremely good.
"Paranoic" features Oliver Reed in a clever thriller with as many plot twists as "Psycho". Featuring a script by Jimmy Sangster and sharp direction by Freddie Francis, it's a memorable thriller but derivative thriller. It doesn't measure up to Hitchcock's classic but has a number of marvelous sequences in it and a great performance by Oliver Reed. A very nice transfer with rich blacks, "Paranoic" and "Nightmare" (another Jimmy Sangster "Psycho" knock off of sorts) both look positively beautiful in this presentation.
"Phantom of the Opera" is Fisher's remake of the classic French novel. In this version the Phantom is played by Herbert Lom. The make up isn't as memorable as Lon Chaney's and the changes in the plot along with the smaller scale of the production makes this one that gets overlooked. Although it wasn't the huge financial hit that Universal had hoped at the time and the action lags a bit at the beginning, "Phantom" still remains a terrific bit of entertainment and has a number of marvelous set pieces directed by Terence Fisher.
"Kiss of the Vampire" may appear to familair to fans of Roman Polanski's "The Fearless Vampire Killers". The basic plot involving a vampire cult and their attempt to initiate an unsuspecting young woman at a "vampire ball" was the basis for Polanski's satire. Well directed by Don Sharp, the main weakness of the film are the unconvincing bats that attack in one sequence. Otherwise, this is a top notch film. The transfer for "Kiss of the Vampire" looks quite good with rich colors.
"Night Creatures" is a Peter Cushing period piece that was retitled for the US market from "Captain Clegg". Cushing plays the vicar in a town full of smugglers. Clegg was a pirate in the region who was ultimately caught, executed and buried in the town. Using "marsh phantoms" to scare away those who might be interested in their smuggling activities, the town is investigated when a man who had betrayed Clegg is found by the King's Navy. This mute brute (Clegg had his tongue cut out for trying to rape the Captain's wife and for betraying him)leads the King's men to the town where it is suspected that Clegg might be alive and still in action after all. A well written period adventure, Cushing is marvelous as the vicar and a young Oliver Reed does a nice supporting turn in the film as well. The film is based on the same source as "Dr. Syn/The Scarecrow" which Disney made with Patrick Magoohan (famed for "The Prisoner" and "Secret Agent Man/Danger Man")which forced Universal and Hammer to change the title and character names to avoid a lawsuit. Well directed by Peter Graham Scott with a breezy action filled script by Anthony Hinds, "Night Creatures" is a film I hadn't seen since childhood. My impressions now (as they were then)is that this is a terrific piece of filmmaking showing a side of Hammer that was rarely investigated.
"Night Creatures" looks quite good although the sequences that set at night are a tad flat looking and dark. The colors are bright and vivid although the film looks like it could have been cleaned up a bit more for this presentation. Still, this DVD presentation of the film looks better than the rare VHS copies I've seen over the years. Part of the flaw with the film could be the age of the negative itself and/or the condition of it. It still looks mighty good all things considered.
The packaging resembles the other "Franchise" collections Universal has put out with a see through slipcase and images of the original lobby cards in small print on the inside. A nice job of putting this set together although, again, an extra disc with a biography of Cushing, commentary track from a Hammer film scholar (or fans)and the original theatrical trailers would have been appreciated.

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Hammer Films, one of the most celebrated horror studios in the history of cinema, presents 8 classic horror films in one collection. From Dracula to Frankenstein, werewolves to phantoms, the Hammer Horror Series showcases some of the most terrifying monsters in the history of cinema and features legendary performances by Peter Cushing, Oliver Reed and Janette Scott.

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The Wolf Man (Universal Studios Classic Monster Collection) (1941) Review

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(More customer reviews)Firstly, apologies for the corny title of my review. Now the DVD. Universal has pulled out all the stops for its Classic Monster Collection DVDs and 'The Wolf Man' is a contender for best of the series. The DVD boasts several special features including an informative documentary, cast/crew notes and trailer. In keeping with the other Classic Monster DVDs, the real bonus is the incredible picture quality. Not just better than VHS, not just better than a revival cinema print, this print is better than I ever recall seeing on TV! 'The Wolf Man' also features the best commentary of any of these Universal DVDs. Tom Weaver provides an exceptional degree of insight into the movie in a very fast but conversational manner - you'll need to listen to the commentary more than once in order to gain full benefit. Like all good 'horrors' the emphasis is on suspense and mystery, not mindless gore. In fact, the image of Lon Chaney Jr in full werewolf make-up could easily overshadow the fact that this is also a superb psychological thriller - until you watch the DVD. This impressive package is an essential purchase for all vintage horror fans. When Leonard Maltin describes 'The Wolf Man' as 'one of the finest horror films ever made' you know you're not going to be disappointed!

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he original horror classic that introduced one of the screen's most infamous monsters! Lon Chaney, Jr. portrays Larry Talbot, who returns to his father's (Claude Rains) castle in Wales and meets a beautiful woman (Evelyn Ankers). One fateful night, Talbot escorts her to a local carnival where Jenny's fate is revealed by a mysterious gypsy fortune teller. The dreamlike atmospheres and elaborate settings combined with a chilling musical score make The World Man a masterpiece not only of the genre, but for all time!

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Silver Bullet (1985) Review

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(More customer reviews)This is by no means a frightening movie. Instead, it is an entertaining adventure story in which the villain happens to be a werewolf and the hero is a kid with a severe handicap. He may not have the use of his legs but he does have bravery, a sister that takes him seriously and an uncle who is too much fun to be a really good role model.
When a town his plagued with sudden a violent murders tensions grow high and neighbors become suspicious of one another. At first no one takes the idea of a werewolf seriously but the bodies continue to pile up. Eventually a young boy confinded to a wheelchair sees the wolf firsthand an escapes on the zouped up wheelchair his uncle built for him. His sister knows that he is a royal pain in the backside but she also knows his character and believes him. She discovers the identity of the lycanthropist. Unfortunately, the wolf also learns theirs. The stage is set for a confrontation.
One of the things I like about this movie is that it depicts young people able to act well and make good decisions in spite of the attitude of the adults. It does not depict young people only as selfish idiots seeking only their own gratification. Here it is the youngsters that save the day with the help of an uncle with childing tendencies.
It's a fun movie, not at all serious, just fun.

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A BOY IN A WHEELCHAIR STOPS A WEREWOLF WITH HIS UNCLE AND SISTER. FROM A STEPHEN KING STORY.

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