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Non-Review Review: The Hound of the Baskervilles (1959)

Back in its heyday, Hammer Horror had a reputation as an assembly-line studio, churning out cheesy exploitation horror after cheesy exploitation horror with an efficiency that would make battery farmers jealous. I won’t pretend that the reputation is entirely undeserved, although I do have a certain fondness for the delightful schlock the studio would produce. Still, I think that this reputation tends to overshadow the occasional gem that the studio would produce, something that managed to transcend the cost-effective scenery and cookie-cutter approach to film-making. While it probably isn’t the definitive adaptation of the tale, Hammer’s The Hound of the Baskervilles is still an absolute delight for gothic horror aficionados.

Put that in your pipe and smoke it…

Note: This review contains spoilers. I consider a classic novel and fifty-year-old film to be fair game.

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Non-Review Review: The Woman in Black

The Woman in Black is a stately, old-fashioned horror film – the kind of Victorian era ghost story that I honestly feared had vanished from the multiplex. James Watkins’ adaptation of Susie Hill’s cult 1983 horror novel revels in the classic horror conventions, complete with jump scares, a stylish atmosphere and a hyperactive orchestral string section. It’s very much a loving resurrection of the type of classy conventional scary movies that have been replaced by serial killer or found footage films. There are moments when the movie might stick a little bit too close to that classic formula, and it feels a little brisk in the middle, but it’s a hugely enjoyable and thrilling experience.

Potter at the gates at dawn?

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Non-Review Review: Dracula – Prince of Darkness

It’s interesting that Hammer chose to package Dracula: Prince of Darkness in the “best of” collection I picked up for my gran over Christmas. It isn’t that it’s hardly the strongest entry in Hammer’s canon, but it’s also not the strongest instalment in their Dracula franchise. It’s the third release in the series chronologically (and, arguably, in terms of quality), following The Horror of Dracula and The Brides of Dracula). It’s not a bad film, if you’re a fan of these sorts of sixties gothic horrors, but it’s not necessarily a good one either. It’s functional, if not efficient, and never really finds anything particularly compelling about any of its characters or its set up.

You can Count on me!

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