‘A vacation to die for’

The ReZort is a 2015 British-Spanish zombie horror film directed by Steve Barker (Outpost and Outpost: Black Sun) from a screenplay by Paul Gerstenberger (House of Anubis; Bad Meat). The film was formerly known as Generation Z.

Main cast:

Dougray Scott (Dr. Jekyll and Mr. Hyde; The Vatican Tapes; Fear the Walking Dead), Jessica De Gouw (Dracula TV series), Martin McCann (Ripper Street), Richard Laing, Jassa Ahluwalia (Ripper Street), Sam Douglas, Bentley Kalu (Doctor Who), Claire Goose, Shane Zaza, Elen Rhys (World War Z), Robert Firth, Sean Power (Bad Karma; Fright Night 2), Rebecca James (Deader Country), Jamie Ward, Catarina Mira.

Plot:

Set in the wake of an apocalyptic zombie outbreak, the film centers on Melanie (de Gouw) and her boyfriend, Lewis (McCann), who visit a safari retreat – The ReZort – where every paying guest has a license to kill the undead.

There they meet Archer (Scott), a former zombie hunter who has to step up when the security system at the ReZort crashes and unleashes thousands of bloodthirsty zombies back into the wild…

Reviews:

“a promising film that felt like it could have changed the zombie genre, or at least inject a spark of originality into such films. Unfortunately, that didn’t quite happen. It got lost in a sea of its own attempts to hew as closely to the zombie tropes as possible. As a result, The ReZort is really just like every other zombie film out there, just reskinned in a different outfit.” Marcus Goh, Yahoo News

“Beyond being a fun, scary horror romp, The ReZort’s strength lies in its interesting take on the undead, interrogating what is and what’s not human, inverting the usual zombie conceit of the living having to accept that their fellow man are zombified, no longer human and thus ripe for annihilation. The ReZort switches this dynamic through its setting of zombie safari and its depiction of the undead.” Rachel Bowles, The Skinny

” … a film that wants to be taken seriously, but is so lacking in originality that it simply falls apart. Add in the cardboard characters led by Dougray Scott and Jessica De Gouw and there really isn’t much to keep us going for the entire ride.” Deborah Wee, The New Paper

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The Haunted Curiosity Shop is a 1901 British silent short supernatural horror film written and directed by Walter R. Booth, a pioneer of trick films. It was produced by Robert W. Paul.

The film features an elderly curio dealer alarmed by various apparitions, such as a floating skull, that appear in his shop.

” … it’s an effective and engrossing experience, as the poor shop owner is beset by all manner of apparitions: floating heads, disembodied women, Egyptian mummies and an animated skeleton…” Michael Brooke, BFI Screenonline

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Carnivore is a 2016 British werewolf horror film written and directed by Simon Wells. It is his feature directorial debut.

The film stars Ben Loyd-Holmes, Atlanta Johnson, Gregory Cox, Molly Ruskin, Ethan Ruskin, Matthew Bancroft, Adam Ray Young, Yana Penrose, and Dani Thompson.

Synopsis:

Dave and Abi’s relationship is ending, in an effort to save it Dave takes Abi to a remote cottage in a bid to reignite their passion. It doesn’t go well and they get torn apart by a massive argument. At the same time a fearsome beast is weighing up it’s prey, lurking in the shadows of the forest gaining confidence to attack. Does the grumpy owner of the cottage have anything to do with it and will anyone survive?

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House of Salem is a 2016 British horror film written and directed by James Crow (Curse of the Witching Tree) for Last British Dragon productions.

The film stars Jessica Arterton, Jack Brett Anderson, Liam Kelly, Les Mills, Robert Lowe, Andrew Lee Potts, Dean Maskell, Anna Nightingale, Nalân Burgess, Flynn Allen, Danny Szam, Pierse Stevens, Tony Fadil, Yohanna Farrell-Knight and Brandon Koen.

House of Salem will make its worldwide premiere at Horror Channel FrightFest.

Plot:

A group of kidnappers become a child’s unlikely protectors, after finding out they have unwittingly been set up to take part in a deadly game of human sacrifice. As they start to uncover the truth of the safe house they find themselves trapped, they must battle demonic forces in the walls and uncover the terrifying truth of over a hundred years of murder in the name of the Devil…

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Ibiza Undead is a 2016 British comedy horror film written and directed by Andy Edwards (Three’s a Shroud; Blaze of Gory; Grindsploitation: The Movie) and produced by Elisar Cabrera for Templeheart Films (The Seasoning House, Devil’s Tower, Deranged),

The film stars Cara Theobold, Emily Atack, Emily Atack, Homer Todiwala, Jordan Coulson,  Matt King, Marcia Do Vales,  Matt Kennard, Alex Felton, Ed Kear and featuring Alex Zane.

Plot:

A group of young people head to Ibiza for the holiday of a lifetime – all the sun, sea and sex they can handle. If only there wasn’t a zombie outbreak getting in the way…

The film’s world premiere will be at the Horror Channel FrightFest in London on 26 August 2016.

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The Unkindness of Ravens is a 2016 Scottish folk horror film directed by Lawrie Brewster from a screenplay by Sarah Daly.

The film stars Jamie Scott Gordon, who previously appeared in Brewster’s 2013 debut horror film Lord of Tears, as a troubled war veteran coming face to face with demonic ravens.

Commenting, Brewster has said the film “is an unsettling, visceral commentary on the mental turmoil that war leaves in its wake. It’s brutal, it’s relentless but it’s also thought-provoking. Expect to be traumatised.”

While developing the film Daly and Brewster were inspired by figures from Norse and Celtic mythology such as the Valkyries and The Morrígan.

It was subsequently financed by a successful crowdfunding campaign on Kickstarter and will premiere in London at the Horror Channel FrightFest in August 2016.

Following the premiere, Kickstarter backers can look forward to the Special 3-Disc Edition of the film, set to include hours of behind the scenes action, interviews, deleted scenes, short films and more. This Special Edition is available to pre-order at: http://www.theunkindnessofravensmovie.com/

Plot:

Andrew (Jamie Scott Gordon) is a homeless, troubled, war veteran that has been experiencing terrifying flashbacks of his time in the Army, flashbacks that contain visions of imposing raven-like creatures.

These flashbacks are so intimidating that Andrew has developed a phobia of ravens. On the advice of a psychiatrist, he travels to a rural retreat in the Scottish Highlands to come to terms with his past and his fears.

However. Andrew soon discovers that this move will bring him face to face with a supernatural force known only as the Raven Warriors…

Cast and characters:

• Jamie Scott Gordon as Andrew
• Derek McIlhatton as Pte Mcilhatton
• Dougie Clark as Lee
• Amanda Gilliland as Angela
• Mark Hunter as Pte Hunter
• D.T. Wilson as Hostage
• Ross Campbell as Rebel Soldier
• Farooqi Muskwati as Rebel Commander
• Raphael Zanders-McNeil as Rebel Soldier
• Jamie Harrison-Grundy as Rebel Soldier
• Benjamin Ferguson as Lost Soul
• David Izatt as Lost Soul
• Craig J. Seath as Lost Soul
• Michael Brewster as ‘The Ravens Are Coming’ Lost Soul
• David Ross as Lost Soul

Filming locations:

Fife, Edinburgh, and Perthshire, Scotland

Wikipedia | IMDb | Facebook | Official site

Egomaniac is a British comedy horror film co-produced, written, edited and directed by Kate Shenton (GIMP; Send in the Clowns). Its stars Nic Lamont, Adam Rhys Davies (The Twins Macabre), Laurence Harvey (Human Centipede 2 and 3), Dan Palmer (Stalled) and Eric Elick (Rats, The Package).

It should not be confused with Svend Ploug Johansen’s 2015 Danish short film of the same name. 

The film has its premiere in London on 28 August 2016 at the Horror Channel FrightFest.

Plot:

Filmmaker Catherine Sweeney is determined to make a zombie horror romantic comedy. However, in order to get the funding, everyone in the industry is telling her to put a talking dog in it. Desperate, Catherine does whatever it takes to get her film made… Even at the cost of her own sanity.

Cast and characters:

Catherine Sweeney – Nic Lamont
Nathan – Adam Rhy-Davies
Michael – Laurence Harvey
Natasha – Loren O’Brien
Kevin – David Wayman
Derek – Simeon Willis
Devon – Mark Logan
Julian – Patrick Fysh
Adam – Oliver Tilney
Chester – Dan Palmer
Festival Programer – Tom Crowely
Betty – Amy Feeley
Galina – Cristina Neacsu
Helena – Lucy Farret
Lucas – James Harker
Zumbo – Matt Springett
Piggy – Matt Fraiser

Behind-the-scenes

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‘This is the climax in mind-chilling terror!’

Eye of the Devil is a 1966 British MGM horror film with occult and supernatural themes directed by J. Lee Thompson (Happy Birthday to Me) from a screenplay by Robin Estridge and Dennis Murphy. Producers John Calley and Martin Ransohoff brought in noted script doctor Terry Southern to provide an uncredited “tightening and brightening” of the screenplay.

The original director was Sidney J. Furie (Doctor Blood’s Coffin; The Snake Woman; The Entity). In August 1965, shortly before filming was to begin, Furie was replaced by Michael Anderson (Magic). When Anderson fell ill, he was replaced in turn by J. Lee Thompson. Kim Novak (Tales That Witness Madness; Satan’s Triangle) was the original lead but suffered a riding accident and was replaced by Deborah Kerr.

The film is set in rural France and was filmed at the Château de Hautefort and in England. Eye of the Devil is based on the novel Day of the Arrow by Robin Estridge and was initially titled and marketed as 13.

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Main cast:

Deborah Kerr (The Innocents), David Niven (Vampira), Donald Pleasence,Edward Mulhare, Flora Robson (The Beast in the Cellar), Emlyn Williams, Sharon Tate (The Fearless Vampire Killers), David Hemmings (Deep Red; Harlequin; Thirst), John Le Mesurier, .

Plot:

David Niven plays the owner of a vineyard, who is called back to the estate when it falls on hard times. Accompanied by his wife (Deborah Kerr), the couple are confronted by a beautiful witch (Sharon Tate), who also lives on the estate with her brother (David Hemmings). As time passes it becomes clear that a blood sacrifice is expected to return the vineyard to its former glory…

Reviews:

“The plot is certainly intriguing, complicated and has an interesting premise; relying on metaphysical fantasy, using mesmerizing candlelight to illustrate the subject matter. Though the writing can be patchy at times due to the cramming in of story, it all becomes a little muddy and you occasionally need a moment to work out what’s just happened; perhaps too much plot interweaving does not benefit a film of this genre.” Nia Jones, The Spooky Isles

“It is a moody and atmospheric film, photographed exquisitely in black and white by Erwin Hillier …  From lush, countryside vistas to the caverns of the family home, the film is crisp and clean, accentuating and lending to the horror presented within. Though the performances are great and the music by Gary McFarland compliments the picture perfectly, it is the cinematography that really takes your breath away more than anything.” The Telltale Mind

“This leisurely paced occult thriller wants to unsettle you as well as enchant you and it manages to do just that in its first few minutes. Most horror films will take their time building suspense or they’ll bludgeon you over the head with a few shocks to get your heart racing but Eye of the Devil takes an entirely different approach to terror…” Kimberly Lindbergs, Movie Morlocks

“There are a couple of good bits: Catherine is chased through a forest by a gang of cowled figures at one point and later suffers a nightmare in which she relives this and any other vaguely scary bit from the film, with a few new scenes chucked in for good measure. Hemmings and Tate also wander around with a bow and arrow trying to get kids to jump off ramparts and turning toads into doves…” Chris Wood, The Shrieking Sixties: British Horror Films 1960 – 1969

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“Viewers new to Eye of the Devilmay compare it unfavorably with the later The Wicker Man, a much more elaborate chiller about a resurgence of paganism into the modern world. Eye may have been an inspiration for the later film’s source novel. For many people Eye of the Devil is an engaging thriller with an impressive cast of favorites.” Glenn Erickson, DVD Savant

“The occult brotherhood – 12 hooded figures parading through the grounds – does produce some picturesque images, but the awkward attempts to evoke echoes of The Innocents (1961), with Kerr looking mystified and two youngsters (Tate and Hemmings) behaving ever so oddly, fail miserably.” The Aurum Film Encyclopedia: Horror

Cast and characters:

• Deborah Kerr as Catherine
• David Niven as Philippe
• Flora Robson as Countess Estel
• Donald Pleasence as Pere Dominic
• David Hemmings as Christian de Caray
• Sharon Tate as Odile de Caray
• Edward Mulhare as Jean-Claude
• Emlyn Williams as Alain

Wikipedia | IMDb | Image credits: Monsters Forever

Related: The Vineyard

‘Press play for terror!’

Video Killer is a 2016 British supernatural horror film written and directed by Richard Mansfield for Mansfield Dark Productions. It stars Victoria Falls, Jennie Fox, Michael Lieber, Darren Munn, Henry Regan and Jenny Lee. The film’s working title was V/H/S: Killer.

The film is being unleashed on DVD on the 13th September 2016 by Wild Eye Releasing and is available to pre-order now. A UK release on Amazon Instant Video will be the same week.

Plot:

When Amy receives a haunted VHS tape containing weird films from a figure stalking her she realizes she is not alone and must find other victims who are being haunted to try and work out who is trying to kill them…

Filming Locations:

The Cinema Museum, Kensington, London, England

IMDb | Official site

‘Evil see. Evil do.’

Let’s Be Evil is a 2016 British science fiction horror film directed by Martin Owen (L.A. Slasher) from a screenplay co-written with Elizabeth Morris and Jonathan Willis.

IFC Midnight will distribute the film in the US via video on demand from August 5, 2016. It is being screened in London in late August at the Horror Channel FrightFest.

Main cast:

Elizabeth Morris, Kara Tointon, Elliot James Langridge, Isabelle Allen.

Plot:

Three chaperones are hired to supervise an advanced learning program for gifted children, who wear Augmented Reality Glasses to assist in their education. Contained within a secure, underground facility, events quickly spiral out of control…

Reviews:

“While I did quite like the look of the film, and the actors up to the task, I found Let’s Be Evil to be overly dialogue-driven. Not that there’s anything wrong with that, but unlike, say, 2001: A Space Odyssey or Her, there’s not much beyond the surface of the words. I recommend this one only for die-hard fans of killer kids horror.” Staci Layne Wilson, Dread Central

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‘Warning: to every creature of flesh and blood! Beware the beat of the cloth-wrapped feet!’

The Mummy’s Shroud is a 1967 British supernatural horror film directed by John Gilling (The Night Caller; The Reptile; The Plague of the Zombies) from a screenplay co-written with Anthony Hinds. It was a Seven Arts -Hammer Film production.

It was the final Hammer production to be made at Bray Studios. It opened as part of a double-bill on the ABC cinema circuit with Terence Fisher’s Frankenstein Created Woman on 18 June 1967

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Main cast:

André Morell, David Buck, John Phillips, Maggie Kimberly, Elizabeth Sellars and Michael Ripper. Stuntman Eddie Powell (Christopher Lee’s regular stunt double) played the Mummy.

Plot:

Ancient Egypt: Prem (Dickie Owen), a manservant of Kah-To-Bey, spirited away the boy when his father (Bruno Barnabe) was killed in a palace coup and took him into the desert for protection. Unfortunately, the boy dies and is buried…

1920: An expedition led by scientist Sir Basil Walden (Andre Morell) and businessman Stanley Preston (John Phillips) is intent on finding the tomb. They ignore the dire warning issued to them by Hasmid (Roger Delgado), a local Bedouin about the consequences for those that violate the tombs of Ancient Egypt and remove the bodies and the sacred shroud. Sir Basil is bitten by a snake just after finding the tomb. He recovers, but has a relapse after arriving back in Cairo…

Reviews:

Gilling’s style surfaces most effectively in the murder sequences, using unusual angles to denote threat, high contrast between light and dark or a single primary colour, focus and wide angle lenses to skew perception … Unfortunately, there isn’t enough of his visual stamp on the film and a string of very wordy scenes are only intermittently punctuated by these exotic visuals and the pace of the film suffers. However, Gilling’s film is also blessed by some sensational performances.” Frank Collins, Cathode Ray Tube

” … Gilling understands this is basically pulp, and he treats it as such. The mummy attack scenes are a highlight: Gilling uses canted angles, dynamic compositions, and vivid colors to accompany the surprisingly brutal murders, lending the film an E.C. Comics vibe.” Jeff Kuykendall, Midnight Only

“Director John Gilling … brings the delightfully creepy atmosphere from his Cornish films and a competent sense of tension, despite the film’s predictability. Fortunately, The Mummy’s Shroud ends on a very high note, with one of the best conclusions in any of their Mummy films, which sort of makes up for its unnecessary prologue.” Sam Delghan, Diabolique magazine

Cast and characters:

• André Morell as Sir Basil Walden (as Andre Morell)
• John Phillips as Stanley Preston
• David Buck as Paul Preston
• Elizabeth Sellars as Barbara Preston
• Maggie Kimberly as Claire (as Maggie Kimberley)
• Michael Ripper as Longbarrow
• Tim Barrett as Harry
• Richard Warner as Inspector Barrani
• Roger Delgado as Hasmid
• Catherine Lacey as Haiti
• Dickie Owen as Prem
• Bruno Barnabe as Pharaoh
• Toni Gilpin as Pharaoh’s Wife
• Toolsie Persaud as Kah-to-Bey
• Eddie Powell as The Mummy

Comic strip adaptation:

The film was adapted into a 12-page comic strip for the December 1977 issue of the magazine House of Hammer (volume 2, #15, published by Top Sellers Limited). It was drawn by David Jackson from a script by Donne Avenell. The cover of the issue featured a painting by Brian Lewis, depicting a scene from the movie.

Filming locations:

Bray Film Studios
Wapsey’s Wood quarry at Gerrard’s Cross

Wikipedia | IMDb | Related: The Shuffling Saga of the Mummy on Screen – article by Daz Lawrence

‘Blonde captive enslaved in an asylum of horrors!’

The Door with Seven Locks is a 1940 British mystery horror thriller film directed by Norman Lee (The Monkey’s Paw; The Strangler) from a screenplay co-written with producer John Argyle and Gilbert Gunn. It was loosely based on the 1926 novel The Door with Seven Locks by Edgar Wallace.

The film was created and released shortly after the British Board of Film Censors lifted its mid-1930s ban on supernatural-themed and horror genre films. In the United States, it was released by Monogram Pictures under the title Chamber of Horrors.

Main cast:

Leslie Banks (The Most Dangerous Game), Lilli Palmer (The Boys from Brazil; The House That Screamed), Romilly Lunge, Gina Malo, David Horne, Richard Bird, Cathleen Nesbitt. J.H. Roberts.

Plot:

A wealthy lord dies and is entombed with a valuable deposit of jewels. Seven keys are required to unlock the tomb and get hold of the treasure.

A series of mysterious events cause the keys to be scattered, and when trying to unravel the circumstances, the heiress of the fortune and her companion investigators become entangled in a web of fraud, deceit, torture, and murder…

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Reviews:

” … a much better— and much more honest— example of the genre than just about anything being made on a comparable budget in Hollywood at the time. The plot against Judy Lansdowne is good and complicated, but it never strains credulity and best of all, the answers to all the big questions come into view in a gradual, believable manner … The comic relief occasionally manages to be legitimately funny!” Scott Ashlin, 1000 Misspent Hours and Counting

“Some tossed in comedy relief takes away from the overall production but the beauty of Lilli Palmer makes it worth watching. Leslie Banks is a cartoon villain and Gina Mao is an annoying ditzy friend.” Vintage 45’s Blog

“Old-fashioned but still entertaining Edgar Wallace story … There’s really nothing supernatural about it but it’s charming in its antiquated fashion.” John Stanley, Creature Features

“With everyone except the villains cracking bad one liners its more of a comedy” Nuno Costa, Letterboxd.com

Choice dialogue:

Inspector ‘Andy’ Sneed: “Women are like tiger cats. They ought to be caged at sixteen and shot at twenty.”

Dr. Manetta, commenting on his instruments of torture: “Tomorrow you must visit my collection. It is a queer collection, of ancient and modern.”

June: “I love frolicking in morgues.”

Cast and characters:

• Leslie Banks as Dr. Manetta
• Lilli Palmer as June Lansdowne
• Romilly Lunge as Dick Martin
• Gina Malo as Glenda Baker
• David Horne as Edward Havelock
• Richard Bird as Inspector Cornelius ‘Andy’ Sneed
• Cathleen Nesbitt as Ann Cody
• JH Roberts as Luis Silva
• Aubrey Mallalieu as Lord Charles Francis Selford
• Harry Hutchinson as Bevan Cody
• Ross Landon as John Selford
• Phil Ray as Tom Cawler
• Robert Montgomery as Craig the Butler

Wikipedia | IMDb

‘One experiment you don’t want to go wrong…’

Killersaurus – aka Killer/Saurus – is a 2015 British science fiction horror film written and directed by Steve Lawson (Nocturnal Activity; Survival Instinct) for Creativ Studios.

The film stars Julian Boote (Evil Souls; Deadtime; Dead Room), Adam Collins, Helen Crevel (Survival Instinct), Steven Dolton (Zombie Undead; Devil’s Tower), Vicki Glover (Cleaver: Rise of the Killer Clown; Bikini Girls v Dinosaurs) and Kenton Hall (Valley of the Witch; Theatre of Fear; The Amityville Asylum).

Plot:

When a scientist runs short of funding for his life-saving medical Bio-Printing research, he accepts an offer of investment from a shadowy military organisation. In return, he is forced to use his technology to create the ultimate battlefield weapon – a full size Tyrannosaurus Rex.

After a horrific accident in which the dinosaur massacres his research team, the scientist shuts down the project. However, his investors demand results and it can only be a matter of time before the deadly T-Rex is unleashed upon the world…

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Reviews:

Despite the lack of puppet-on-the-loose action, Killer/Saurus is a fun little sci-fi/horror picture with some appealing performances from its cast and a solid awareness of its limitations. It’s played completely straight when many such microbudget fancies would descend into silliness or spoofery.” MJ Simpson

“For a supposed “Killer”saurus, he sure does like to tease us. Honestly, about a third of this film is a dinosaur looking at a man. Talking about teasing, why not just give us the expected “Jed’s dead.” line you’ve been hinting at since about minute five? Painful throughout, but some of that dialogue tickles while it smarts.” Jim Drew, Letterboxd.com

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My main criticism of the film is its rigidity and lack of playfulness. It’s a crazy concept, but it doesn’t really embrace it, instead veering towards a dramatic narrative which seems a little misplaced. As it stands, while Killersaurus should be commended for its low budget achievements, there is a feeling it could have been so much better.” Dave Wain, Zombie Hamster

IMDb | Image thanks: MJ Simpson

‘The Ripper chose you!’

Razors: The Return of Jack the Ripper – aka Razors – is a 2016 British horror film written, produced and directed by Ian Powell (Virtual Terror) and Karl Ward for Magic Mask Pictures. 

The film is released in the US by Breaking Glass Pictures on DVD and On Demand on October 18, 2016.

Main cast:

Kunjue Li (Knights of the Damned; Ripper Street), Vincent De Paul, Kelby Keenan, Josh Myers (Death Do Us Apart); Gangsters, Guns & Zombies; Zombie Diaries 2), Andrew Shires (Horror Tales; Demon Nurses from Hell), Georgia Maguire, Khan Bonfils, Thomas Thoroe, Ian Weichardt (Freak of Nurture).

Buy: Amazon.com

Plot:

A young writer believes she has discovered the holy grail of terror, the knives used by Jack the Ripper for his notorious murders. Attending an intensive workshop in a haunted Victorian warehouse, run by the mysterious screenwriting guru Richard Wise she and five colleagues aim to write the ultimate horror film.

But when the knives go missing the writers are plunged into a world of terror. Who is the little girl in the Victorian dress who haunts their dreams? and who is killing them one by one? Is it Ruth avenging womankind for the appalling Ripper murders or one of the other students trying to make their story come out on top, or is it the spirit of Jack, slowly re-assembling himself and becoming stronger with each new murder.

As the warehouse become transformed through sound and light into the Whitechapel of the 1880’s the writers must solve the mystery…

Filming Locations:

Elektrowerkz, Islington, London, England

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‘You have nothing to lose but your mind.’

Asylum is a 1972 British anthology horror film directed by Roy Ward Baker (The Vault of Horror; Scars of Dracula; Quatermass and The Pit) from a screenplay by author Robert Bloch, adapted four of his own short stories. It was produced by Milton Subotsky for Amicus Productions. The film was also known as House of Crazies in subsequent US releases.

Though Douglas Gamley is credited as having composed the music for this film, the majority of the score is drawn from public domain pieces by Modest Mussorgsky, in particular Night on Bald Mountain (heard over the opening and closing credits).

Cinematographer Denys Coop also worked on The Vault of Horror; And Now the Screaming Starts and 10 Rillington Place.

Shot in April 1972, the film was edited and set for release just fifteen weeks after the final day of shooting, premièring in July 1972 in the UK. The film had its North American début on 17 November 1972 via Cinema Releasing Corporation.

Main cast:

Peter Cushing, Britt Ekland, Herbert Lom, Patrick Magee, Barry Morse, Barbara Parkins, Robert Powell, Charlotte Rampling, Sylvia Syms, Richard Todd, James Villiers.

Plot:

Framing Story:

Dr Martin arrives at a secluded asylum “for the incurably insane” to be interviewed for a job by the wheelchair-bound, authoritarian Dr. Lionel Rutherford. Rutherford explains that he owes his current incapacitation to an attack by an inmate.

Rutherford reveals his unorthodox plan to determine Martin’s suitability for the post of chief doctor. One of the asylum’s current inmates is Doctor B. Starr, the former head of the asylum, who underwent a complete mental breakdown. Martin is to interview the inmates of the asylum to deduce which one is Doctor Starr. If his choice is correct, Rutherford will “consider” him for the post.

The attendant Max Reynolds admits Martin through the security door to the inmates’s solitary confinement cells, where he interviews each in turn.

• Robert Powell – Dr. Martin
• Patrick Magee – Dr. Lionel Rutherford
• Geoffrey Bayldon – Max Reynolds

“Frozen Fear”

Bonnie recounts the plot to murder Ruth, the wealthy wife of her lover Walter. Ruth is a possessive heiress who studies voodoo. This results in horrific repercussions after Ruth’s dead body has been dismembered and wrapped in individual parcels.

• Barbara Parkins – Bonnie
• Sylvia Syms – Ruth
• Richard Todd – Walter

“The Weird Tailor”

Bruno recounts how poverty forced him to accept the unusual request of a Mr. Smith to produce an elaborate suit of clothing from a mysterious, scintillating fabric that can animate anything, including the dead.

After learning what the suit will be used for, Bruno fights Smith and accidentally kills him. He returns with the unsold suit. His wife Anna dresses their store mannequin in the suit, and its true powers are revealed.

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This story was also earlier adapted as an episode of the Boris Karloff-hosted television series Thriller (“The Weird Tailor”, Season 2, Episode 4).

• Barry Morse – Bruno
• Peter Cushing – Mr. Smith
• Ann Firbank – Anna
• John Franklyn-Robbins – Stebbins
• Daniel Johns – Otto the dummy

“Lucy Comes To Stay”

The ebullient Barbara informs Martin she has been in an asylum before. After her release from that facility, she is closely monitored at home by her brother George and a nurse, Miss Higgins. This frustrated existence is relieved when her mischievous friend Lucy comes to visit.

• Charlotte Rampling – Barbara
• Britt Ekland – Lucy
• James Villiers – George
• Megs Jenkins – Miss. Higgins

“Mannikins of Horror”

Martin interviews Dr. Byron, who holds Rutherford in contempt. Byron explains he is working towards soul transference with a small automaton whose head is a likeness of his own, showing Martin several earlier models. Byron plans to “will” his mannequin to life. He explains the interior of the robot is organic, a miniaturised version of his own viscera. Martin concludes his interview, and Max shows him downstairs to deliver his judgment to Rutherford.

• Herbert Lom – Dr. Byron
• Sylvia Marriott – Asylum head nurse
• Frank Forsyth – Asylum gatekeeper
• Tony Wall – New houseman

Epilogue:

Byron successfully brings his mannequin to life; it makes its way to Rutherford’s office and kills him with a scalpel. Martin destroys the mannequin, which results in the death of Dr. Byron, and seeks help. Dr. Starr’s true identity is revealed: it is “Max Reynolds,” who has murdered the real Reynolds two days before. He then strangles Martin to death.

Sometime later, a new candidate for the job arrives and is met by Dr. Starr, who escorts him into the asylum.

This story was later loosely adapted for the Monsters TV series episode “Mannikins of Horror”.

Reviews:

“Gleefully poised on the border between silly and scary, Bloch revels in the ridiculousness of it all while managing to keep things vaguely disturbing (the scene in which Richard Todd recoils in horror as the dismembered remains of his wife, wrapped in brown paper, jerk back to life is a perfect example). He also manages to keep the linking narrative’s sadistic conclusion gripping till the last.” Film4

” … there’s only one really powerful story, in which Peter Cushing gives another sublimely heart-wrenching performance as a bereaved father … Even here the action dwindles to a silly ending… ” Jonathan Rigby, English Gothic: A Century of Horror Cinema

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“Compared to the other Amicus anthologies, which can be patchy, to say the least, Asylum has it all. Great stories, a wonderful cast and, most importantly, an actual, sensible(ish) linking story which (almost) makes sense. No fortune tellers, empty houses, broken lifts or careless tour guides here. Instead you’ve got a “hero” who has a reason to be where he is, and a reason to listen to the stories…” Chris Wood, British Horror Films

” … it does pale a bit when compared to the best of its type (but what film wouldn’t?). Instead, there is a very workmanlike quality to the film that exhibits a mastery of the anthology format: the performances are good, the direction is well done, and all the stories fit together extremely well in building towards a tightly-constructed and well conceived climax.” Brett Gallman, Oh, the Horror!

“A good script and a very strong cast helps to make this one of Amicus’ most entertaining anthology films.” Gary A. Smith, Uneasy Dreams: The Golden Age of British Horror Films, 1956 – 1976

“Gimmicky and inconsistent, like most anthology films, Asylum is still pretty fun for fans of campy horror … Besides the inconsistency, the obvious flaw is the intrusive soundtrack. The opening is the worst, with the overly familiar and overly serious “Night on Bald Mountain”. The soundtrack improves before the jolting ending.” David Elroy Goldweber, Claws & Saucers

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“The sick sketches set in the bleakly oppressive confines of madhouse cells, dark corridors and cavernous halls are well handled, underplaying the black humour most uncharacteristically. The excellent cast, including Powell’s first appearance in a genuine horror film, give the picture more power than any of Ward Baker’s previous efforts.” The Aurum Film Encyclopedia: Horror

” … boasts an excellent Bloch script, a well chosen cast and good Gothic direction by Roy Ward Baker; and the linking story is strong enough to stand on its own.” Alan Frank, The Horror Film Handbook

“Ripping good Amicus anthology film … There’s even a fifth story (a payoff for the framework) with a jolt ending. Superior fare.” John Stanley, Creature Features

“With the exception of Britt Ekland and Charlotte Rampling the cast are uniformly bland, and they are matched in their mediocrity by Roy Ward Baker’s restrained direction … though some of the blame can also go to Robert Bloch’s puerile script and the surprisingly cheap-looking studio bound sets.” Allan Bryce (editor), Amicus: The Studio That Dripped Blood

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” … it’s hard to be frightened when the characters in peril are uniformly murderous or unpleasant. Neverthless, this has its eerie, affecting stretches – the delicately scored march of the mannikin is great Twilight Zone stuff, and Rampling manages a scary smile to show her Ekland side.” Kim Newman, Ten Years of Terror

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” … offers addicts of of mystery and imagination a good wallow. It is genuinely scary … Gruesome but good fun.” Sunday Express, 1972

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DVD release:

After years of releases using degraded 16mm (for TV) and old theatrical 35mm prints, the film finally received a deluxe DVD release in 2006 from Dark Sky Films. The DVD provides extensive special features including an audio commentary by director Roy Ward Baker and cameraman Neil Binney, plus “Inside the Fear Factory” (a featurette about Amicus Films), cast and crew bios, liner notes, trailers and a still photo gallery. The film was remastered from a pristine 35mm print.

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Filming locations:

New Lodge, Winkfield, Berkshire, England (also used as a location for Trog)
Shepperton Studios, Shepperton, Surrey, England

Wikipedia | IMDb

The Creeping Flesh is a 1972 (released 1973) British horror film directed by Freddie Francis (Tales from the Crypt; The Vampire Happening; The Skull) from a screenplay by Peter Spenceley and Jonathan Rumbold.

It was produced by Michael Redbourn for World Film Services. Tigon‘s Tony Tenser was an executive producer. Director Freddie Francis replaced Don Sharp during pre-production.

The notable soundtrack score was composed by Paul Ferris (Witchfinder General; The Sorcerers; The She Beast).

Main cast:

Christopher Lee, Peter Cushing and Lorna Heilbron (Symptoms).

Plot:

Prof. Emmanuel Hildern (Peter Cushing), a Victorian era scientist is shown in what appears to be a laboratory meeting a young doctor. Hildern excitedly tells the doctor that he needs help because he has discovered a form of evil that is real, a living being, and that he has unwittingly unleashed the evil thousands of years too soon. Hildern then recounts how his discovery was made.

In a flashback, Hildern recounts his return in 1893 from an expedition to New Guinea where he has discovered an abnormally large humanoid skeleton. Paradoxically, the skeleton is far older than previously recovered specimens, but also much more advanced.

Hildern hopes the discovery will earn him the prestigious Richter Prize. Hildern has little time to rejoice before receiving word that his wife, institutionalized for years, has finally died. This he learns from his brother James Hildern (Christopher Lee) who runs the asylum where Hildern’s wife had been held in secret…

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Reviews:

“Though Freddie Francis took many a directorial job as just work, it seems his heart was in this one. The Creeping Flesh beckons the glorious days of the similar Hammer and Amicus films, and includes some of his best camera set-ups — namely the use of distorted lenses to suggest a character’s descent into insanity and a point of view shot from the inside of the monster’s gooey skull.” George R. Reis, DVD Drive-In

“This is an interesting, imaginative film, one of Freddie Francis’ best directorial efforts … Like Peter Sasdy’s Taste the Blood of Dracula (1969), The Creeping Flesh is an attack upon the patriarchal Victorian male, whose unshakeable faith in his own infallibility brings about the destruction of the family unit.” And You Call Yourself a Scientist!

“Absurd but persuasive horror film, quite well done in all departments.” Leslie Halliwell, Halliwell’s Film Guide 

“Well mounted and scary, The Creeping Flesh is yet another genre film that equates unchecked female sexuality with horrific consequences, though it isn’t clear whether director Francis is condemning or supporting this notion.” TV Guide

“Though the script has its fair share of issue and it can’t quite top the fun quotient of something like Dracula A.D. 1972 or the sheer gumption of Horror Express, this one is thick with atmosphere, there’s also loads of delightful scenery chewing, and Cushing, in particular, is obviously having a great time as the over-the-top doctor.” Satanic Pandemonium

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“Although The Creeping Flesh is unevenly paced in moments and contains a sometimes maligned plot, a close analysis reveals a film marked by an interesting use of parallel montage, subtle thematic meaning imparted in the mise en scène, and a possible social message submerged within the slightly ludicrous apocalyptic scenario, dealing with the suppression of women in Victorian England (it would be too much of a stretch to read this as feminist).” Donato Totaro, OffScreen.com

“Cushing and Lee are their normal selves, in that you get what you expect. Cushing is torn between morality and his love of science. Lee is a straight up villain in this one, and it was cool to see him in that role and not wearing makeup or a costume that hid his menacing faces. The supporting cast didn’t offer much, but Lorna Heilbron did give some good moments before and after her insanity took hold.” Billy Dunleavy, Magazines and Monsters!

“Freddie Francis acclaimed the work of Norman Priggen in giving the film higher than usual production values for a horror movie. The sepia-toned photography is beautiful, the settings are sturdy and Hildern’s cell – a kind of white void dressed with a jumble of laboratory equipment – is an interesting abstract idea. Paul Ferris’ score uses insistent, minimal percussion to effectively fray the nerves.” David Miller, The Peter Cushing Companion

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“Despite the script’s oddity, Heilbron was terrific in the part (just as she was in Symptoms); indeed, the word was her role was expanded when the producers saw just how good she was. But the film was released at the time of maximum market saturation and hardly anyone noticed…” David Pirie, A New Heritage of Horror

“The script by Peter Spenceley and Jonathan Rumbold is arguably one of the most literate and complex to be seen in an English horror movie but simply adding layer upon layer doesn’t make the film any better to watch. The sexual undertones that run through the movie are merely hinted at and the intermingled themes of guilt, suppression and the nature of evil are all boldly introduced but never fully explored.” John Hamilton, Beasts in the Cellar: The Exploitation Film Career of Tony Tenser

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“Using a cool style, with many medium and long shots, Francis gives the picture a sense of desolation and bleakness appropriate to the kind of ‘decency’ that must be accepted if the events recounted are to viewed as disturbingly evil. The result is Francis’ most complex and revealing picture, achieving exactly the right tone for such a depressing fable about ‘Englishness’.” The Aurum Film Encyclopedia: Horror

“This is one of Freddie Francis’ very best efforts and it is to his credit that the wild premise becomes plausible. Lorna Heilbron should be given special mention. Her performance is the personification of liberated Victorian repression gone wild.” Uneasy Dreams: The Golden Age of British Horror Films, 1956 – 1976

“One of Francis’ best and most atmospheric horror movies. He manages to expound a complicated storyline with great clarity and his sense of visual atmosphere has never been more effective.” Alan Frank, The Horror Film Handbook

“Quietly effective horror film with a couple of nice touches along the way, including a twist in the tail that can be traced back to The Cabinet of Dr. Caligari.” Howard Maxford, The A – Z of Horror Films

Cast and characters:

• Christopher Lee – Dr. James Hildern
• Peter Cushing – Prof. Emmanuel Hildern
• Lorna Heilbron – Penelope Hildern
• Jenny Runacre – Marguerite Hildern
• George Benson – Prof. Waterlow
• Kenneth J. Warren – Charles Lenny
• Duncan Lamont – Inspector
• Harry Locke – Barman
• Hedger Wallace – Dr. Perry
• Michael Ripper – Carter
• Catherine Finn – Emily
• Robert Swann – Young Aristocrat
• David Bailie – Young Doctor
• Maurice Bush – Karl
• Tony Wright – Sailor
• Marianne Stone – Female Assistant
• Alexandra Dane – Whore
• Larry Taylor – Warder #1
• Martin Carroll – Warder #2
• Dan Meaden – Lunatic
• Sue Bond – Girl in Tavern

Choice dialogue:

James Hildern: “Unfortunately, in the state of society as it exists today, we are not permitted to experiment on human beings. Normal human beings.”

Penelope Hildern: “You want everybody to be a prisoner! You wanted her to be a prisoner, locked up in that dreadful place! I am nothing to you!”

Filming Locations:

Thorpe House, Coldharbour Lane, Thorpe, Surrey, England (also location for Craze, 1974)
Shepperton Studios, Shepperton, Surrey, England

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Wikipedia | IMDb | Image thanks: PeterCushing.com | Magazines and Monsters!

‘I know its name’

The Ghoul is a British psychological thriller written and directed by former actor (Sightseers) Gareth Tunley. It stars Alice Lowe (Sightseers), Tom Meeten (Burke and Hare), Paul Kaye (Dracula Untold; Blackwood; WΔZ), Niamh Cusack (Hereafter), Geoffrey McGivern, Dan Renton Skinner, Waen Shepherd.

The film is being shown at the Mayhem Film Festival in Nottingham, England, on 15th October 2016 and the BFI London Film Festival.

Plot:

A homicide detective goes undercover as a patient to investigate a psychotherapist he believes is linked to a strange double murder. As his therapy sessions continue the line between fantasy and reality begins to blur…

Reviews:

“A splendidly twisty low-budget head-scratcher … The Ghoul is an auspicious debut that announces a new voice in British filmmaking. Get in on the ground floor and catch his debut now.” Film4

Interview:

Director Gareth Tunley talks to Tom Grater for Screen Daily

IMDb

Patient Zero is a 2017 American-British fantasy-horror thriller film directed by Stefan Ruzowitzky (Anatomy and sequel) and written by Mike Le (Dark Summer). It was previously known as Patient Z.

Those familiar with Le’s script have described it as containing “a rich mythology” with the potential to reinvent the zombie genre just as Danny Boyle and Alex Garland’s 28 Days Later did in 2002.

Originally set for a September 2, 2016 release, Screen Gems will now release the film sometime in 2017.

Main cast:

Matt Smith (Pride and Prejudice and Zombies), Natalie Dormer (The Forest), Stanley Tucci (Jack the Giant Slayer; The Lovely Bones), Clive Standen (Doctor Who), Agyness Deyn and John Bradley-West.

Plot:

After a pandemic outbreak, a mutated form of rabies results in most humans being turned into a highly intelligent new species known as “The Infected”: a human survivor, Morgan (Matt Smith), with the ability to talk with the “infected,” investigates these species and pursues “Patient Zero” to find an antidote to save humanity, including his infected wife.

Aiding Morgan on the mission to find Patient Zero is CDC virologist Dr. Gina Rose (Natalie Dormer), leading the scientific research efforts, while Colonel Knox (Clive Standen) is in charge of the military front…

Filming locations:

London, England
Welwyn Garden City, Hertfordshire, England
Shepperton Studios

Wikipedia | IMDb

The Autopsy of Jane Doe is a 2016 British horror film directed by André Øvredal (Trollhunter) from a screenplay by Ian B. Goldberg (Dead of Summer; Terminator: The Sarah Connor Chronicles) and Richard Naing.

The film is being shown at the BFI London Film Festival on October 13, 2016 at the
Embankment Garden Cinema. In the US, it will be shown in selected theaters by IFC Midnight.

Main cast:

Brian Cox, Emile Hirsch, Ophelia Lovibond, Michael McElhatton, Parker Sawyers, Jane Perry, Olwen Catherine Kelly.

Plot:

In small-town Virginia, police are called to a gruesome crime scene where a family has been massacred in their own house. In the basement, an even more disturbing discovery is made: the partially buried corpse of a nude woman. The cops take this unidentified victim to a small, family-run morgue, where they ask proprietor Tommy Tilden (Brian Cox) to perform an urgent forensic analysis in order to help determine what happened at the blood-stained house. Tommy’s son Austen (Emile Hirsch) cancels a date with his girlfriend (Ophelia Lovibond) in order to help his father perform an autopsy, and the two Tildens set about their grisly examination in the morgue basement.

Working late into the night as they methodically peel back layers of skin, muscle, and bone, Tommy and Austen are baffled by the lack of external signs of trauma on the victim and the alarming extent of her internal injuries. Increasingly perplexed and frustrated by these forensic anomalies, the pair begins to succumb to late-night jitters, getting spooked at apparitions that seem to be lurking in the shadows. As the dread mounts and the atmosphere gets thick with evil, it becomes apparent that the Tildens’ fate is intertwined with a darkness that neither of them can comprehend…

Reviews:

“Seemingly torn between more refined art house pretensions and knowingly pulpy schlock, The Autopsy of Jane Doe ultimately feels like an unsatisfactory compromise between the two. It is mostly impressive as a technical achievement, especially Matt Gant’s roomy yet claustrophobic set design, Roman Osin’s kinetic camerawork and Krystian Mallet’s superlative prosthetics.” Stephen Dalton, The Hollywood Reporter

“Overall The Autopsy of Jane Doe is an unabashed success thanks to its tightly plotted script, its confident director who knows how to maximize tension and its willing performers who bring charm and depth to their performances.” Joe Lipsett, Bloody Disgusting

“In its last lap, tense action is replaced somewhat by speculative explication, and the resolution isn’t quite as big a payoff as might be hoped. But to that point, the thrill ride that is Autopsy of Jane Doe is so much fun that one can forgive the climax for failing to top the buildup. Assembly is first-rate in all departments…” Dennis Harvey, Variety

“The Autopsy of Jane Doe is at its best when it’s basically a haunted house tale, but this house happens to have dead bodies in the basement. The final act gets a little too goofy for its own good, but the movie had worked my nerves enough by that point to forgive it not quite sticking the landing.” Brian Tallerico, RogerEbert.com

Filming Locations:

London, England

IMDb

Monsters is a 2010 British science fiction monster film written and directed by Gareth Edwards (Godzilla) in his feature film directorial debut. Edwards also served as the cinematographer, production designer, and visual effects artist.

Plot:

Monsters takes place years after a NASA probe crash in Mexico which led to the sudden appearance of giant tentacled monsters. It follows Andrew Kaulder (Scoot McNairy), an American photojournalist tasked with escorting his employer’s daughter Samantha Wynden (Whitney Able) back to the US by crossing through Mexico’s “Infected Zone” where the creatures reside.

Overview:

Edwards conceived the idea for the film after seeing fishermen attempt to bring a creature in with a net, and imagining a monster inside. He pitched the idea to Vertigo Films who agreed to finance it.

The film was shot in Belize, Mexico, Guatemala, Costa Rica, and the United States over three weeks., and many locations were used without permission. Most of the extras were people who were at these locations during filming and were persuaded to act in it; all of their dialogue was improvised, and Edwards provided outlines of the primary plot points.

Every night after shooting, editor Colin Goudie and his assistant Justin Hall would download the footage so the memory sticks could be cleared and ready for the next day. While new footage was being captured, the previously filmed footage was edited at the production team’s hotel. After filming concluded, the crew had over 100 hours of footage. The original cut was over four hours long but was trimmed to 94 minutes after eight months of editing. 

Edwards created the visual effects himself using off-the-shelf Adobe software, ZBrush, and Autodesk 3ds Max. He had five months to create all 250 visual effects shots, a process he undertook in his bedroom. He produced two shots a day until he reached the first creature shot, when “suddenly two months went by and [he] still hadn’t finished a single creature shot”; Edwards stated that the creatures’ visual effects were the most challenging element of production.

Monsters premiered at South by Southwest on 13 March 2010. Hours later, Magnet Releasing acquired the rights to distribute it in North America. It had a limited release there, beginning on 29 October 2010, followed by a theatrical release in the United Kingdom on 3 December 2010.

The film received generally positive reviews and was a box office success, grossing US$ 4.2 million against a budget of less than $500,000. Monsters: Dark Continent, a sequel, was released on 1 May 2015.

Reviews:

“Both the satire and the human story are more involving than in District 9, and McNairy, in particular, gives an excellent and very convincing performance. This is a very postmodern sci-fi, with its downbeat approach to the monsters themselves, but with a hugely involving love story.” Peter Bradshaw, The Guardian

“Monsters is really a road-movie romance that tracks the burgeoning relationship between two strangers as they travel through the ”infected” zone. The result impresses thanks to the lead actors’ performances and Edwards’ skilled efforts. But it should come with a warning: ”Here be (not many) monsters.” Clark Collis, Entertainment Weekly

” … despite the well-covered terrain, Edwards adds original touches to the genre, especially where production design is concerned. His use of weather-worn “infected zone” signs and other fading notices go far in setting up an established way of life while he admirably refrains from orchestrating those inevitable creature sightings for maximum (brass blaring) shock value.” Michael Rechtshaffen, The Hollywood Reporter

“Monsters” holds our attention ever more deeply as we realize it’s not a casual exploitation picture. We expect that sooner or later, we’ll get a good look at the aliens close up. When we do, let’s say it’s not a disappointment. They’re ugly and uncannily beautiful. We’ve never seen anything like them. And their motives are made clear in a sequence combining uncommon suspense and uncanny poetry.” RogerEbert.com

“Monsters’ wants to be an allegory about American self-absorption or the panic over immigration or something; exactly what is never very clear. If the real monsters are supposed to be us — a metaphor the film’s majestic climactic image makes explicit — on the evidence here, we just aren’t scary enough.” Ty Burr, Boston Globe

Interviews:

Gareth Edwards interviewed by Ryan Lambie for Den of Geek!

Wikipedia | IMDb |