By the late 1960s, British horror was riding the wave of gothic indulgence, and Curse of the Crimson Altar (also known as The Crimson Cult) fit right into that mold—on paper, at least. Featuring an enviable cast of horror icons, including Boris Karloff, Christopher Lee, and Barbara Steele, the film promises an eerie descent into black magic, secret rituals, and sinister family secrets. However, despite its intriguing setup and legendary names, Vernon Sewell’s film struggles to leave a lasting impression, failing to weave its disparate elements into something truly chilling.

The story follows Robert Manning (Mark Eden), who arrives at a countryside estate in search of his missing brother. Greeted warmly by his host Morley (Christopher Lee) and drawn in by his flirtatious niece Eve (Virginia Wetherell), Manning soon realises that something sinister lurks beneath the surface. At the heart of the mystery is Lavinia Morley (Barbara Steele), the legendary Black Witch of Greymarsh, whose influence still seems to haunt the house. Boris Karloff, in one of his final roles, plays Professor Marsh, adding a layer of authority to the film’s occult themes.

While the premise suggests a brooding supernatural thriller, Curse of the Crimson Altar never quite capitalises on its potential. The film’s pacing is uneven, bogged down by awkward tonal shifts and a reliance on hallucinatory dream sequences that, while visually interesting, fail to generate true suspense. The script meanders between traditional gothic horror and psychedelic surrealism, yet never fully commits to either. Some moments feel inspired—particularly the ritualistic scenes featuring Steele’s striking presence—but the film lacks a cohesive narrative drive.

That’s not to say there aren’t pleasures to be found. Karloff, despite his declining health, delivers a dignified performance, and Lee once again exudes effortless menace, even if his role is underwritten. The gothic atmosphere is well-crafted, and the concept of a lingering ancestral curse is one with rich potential. Unfortunately, the execution is middling, leaving Curse of the Crimson Altar feeling like a missed opportunity. As a late-era gothic horror, it’s worth a watch for genre completists, but it ultimately fails to cast a truly lasting spell.

• Saul Muerte