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Maxxxine: A Stylish Nod to the 80s That Falls Short in Substance

12 Friday Jul 2024

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We’re fast approaching 20 years since director Ti West released his first feature film, The Roost. Since then, he has meticulously crafted his signature style behind the lens, primarily in the realm of horror. Notable among these features are The House of the Devil, The Innkeepers, and The Sacrament. However, arguably his latest venture with actress Mia Goth in what has become the X film series has garnered the most attention. The first of these, X, was a significant hit in 2022, with its unique spin on the slasher genre and notable nods to the 70s films that marked the industry, such as The Texas Chain Saw Massacre. Just when we thought our horror appetite was satiated, West delivered another serving with Pearl, which arced back to 1918 with the titular villain, again played by Goth, and was infused with the birth of Technicolor films.

So, with the announcement that a third installment was on the horizon and would be set in the heart of the 80s—the era of big hair, big action, and high levels of glorious entertainment—needless to say, I was eager to see the finale and had highlighted this as one of the most anticipated movies of the year.

Upon watching Maxxxine, the final installment in Ti West’s trilogy, it’s evident that while the film possesses a lot of style and pays notable homage to the films of the 80s, it unfortunately falls short in substance. The era’s aesthetic is captured impeccably, from the vibrant neon lights to the pulsating synth-heavy soundtrack. The attention to detail in recreating the 80s is commendable, with West and his team clearly putting a lot of effort into making the film feel authentic to the time period.

Mia Goth once again delivers a strong performance, embodying the titular character with a raw intensity that has become a hallmark of the series. Her portrayal of Maxxxine is layered and compelling, and she brings a magnetic presence to the screen that is hard to ignore. The supporting cast also does a commendable job, with each actor fitting seamlessly into the world West has created.

However, where Maxxxine stumbles is in its narrative depth and impact. The plot feels somewhat thin, lacking the same level of intrigue and tension that made X and Pearl so engaging. While the film is packed with stylistic nods to the 80s and bursts of nostalgia, it doesn’t quite manage to weave these elements into a story that resonates on a deeper level. The themes explored in the previous films seem to be diluted here, and the emotional stakes never quite reach the heights that fans might have hoped for.

Additionally, the film’s climax, while visually impressive, doesn’t deliver the satisfying conclusion that the trilogy deserved. It feels restrained, not going as big or bold as one might expect for the final chapter of such an ambitious series. There are moments of brilliance scattered throughout, but they are often overshadowed by a sense of missed potential and unfulfilled promises.

The Prognosis:

Maxxxine‘s vibrant depiction of the 80s serves as a colorful facade, masking the deeper issues at hand—a fitting metaphor for the film itself, which dazzles with style but lacks the impactful substance beneath the surface.

  • Saul Muerte

Remembering Donald Sutherland, A Legend of Horror

21 Friday Jun 2024

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Donald Sutherland, the legendary Canadian actor whose prolific career spanned over six decades, left an indelible mark on the world of cinema, particularly in the horror genre. His recent passing has prompted a reflection on his vast body of work and the profound impact he had on film. Sutherland’s distinctive presence and formidable talent made him an icon, known for his compelling performances and the unique intensity he brought to his roles. Among his extensive filmography, Sutherland’s work in “Don’t Look Now” and “Invasion of the Body Snatchers” stands out as a testament to his exceptional ability to embody fear, paranoia, and vulnerability.

Sutherland’s journey in horror is punctuated by a series of memorable roles that showcased his versatility and depth. His role in Nicolas Roeg’s “Don’t Look Now” (1973) is particularly iconic. In this hauntingly atmospheric film, Sutherland portrayed John Baxter, a grieving father grappling with the tragic death of his daughter. His performance is a masterclass in conveying profound sorrow and mounting terror as John navigates the labyrinthine canals of Venice, haunted by visions and premonitions. Sutherland’s ability to portray raw emotion and psychological complexity added layers to the film’s eerie and unsettling narrative, making his character’s journey both heartbreaking and terrifying.

Similarly, Sutherland’s role in the 1978 adaptation of “Invasion of the Body Snatchers” further cemented his status as a horror legend. In this sci-fi horror classic, Sutherland played Matthew Bennell, a health inspector who slowly uncovers the horrifying truth about an alien invasion that replaces humans with emotionless duplicates. His portrayal of Bennell is marked by a gradual transformation from skepticism to sheer terror, mirroring the audience’s own journey through the film’s escalating tension. Sutherland’s performance is a tour de force of building suspense, and his ability to convey fear and paranoia with such authenticity made him a standout in an already stellar cast.

Donald Sutherland’s contribution to horror extended to numerous other films that have since become classics. His performances in “The Hunger Games” series as President Snow, although not purely horror, showed his ability to embody sinister characters with chilling effectiveness. Sutherland’s success in horror and thriller genres can be attributed to his unparalleled ability to tap into the human psyche’s darkest corners. His characters often embodied the everyman confronting unimaginable horrors, making his performances all the more relatable and terrifying.

Beyond his roles in horror, Sutherland’s career is marked by a remarkable range of characters and genres. From his early work in “M*A*S*H*” to his critically acclaimed performances in films like “Ordinary People” and “Klute,” Sutherland consistently demonstrated his versatility and depth as an actor. However, it is his work in horror that left a lasting impression, showcasing his unique talent for creating tension and fear.

Reflecting on Donald Sutherland’s career is to acknowledge a legacy that transcends the horror genre. His work in “Don’t Look Now” and “Invasion of the Body Snatchers” exemplifies his unique talent for embodying complex characters and creating unforgettable cinematic moments. Sutherland’s impact on cinema is undeniable, and his performances continue to inspire and captivate audiences, ensuring that his legacy lives on.

As we remember Donald Sutherland, we celebrate not only his contributions to horror but also his remarkable ability to bring complex characters to life. His work remains a benchmark for actors in the genre, a testament to his enduring talent and the indelible mark he left on the world of film.

  • Saul Muerte

Under Paris: A Sinking Shark Thriller with Fleeting Moments of Frenzy

06 Thursday Jun 2024

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Netflix’s Under Paris attempts to dive deep into the shark horror genre, but unfortunately, it mostly treads water. While the film does have its moments, it ultimately feels like a mish-mash of recycled tropes, CGI overload, and a lack of genuine tension that leaves viewers unsatisfied.

The premise of Under Paris is intriguing enough: in order to save Paris from an international bloodbath, a grieving scientist is forced to face her tragic past when a giant shark appears in the Seine. However, the execution falls flat. The movie churns out all the shark horror chum we’ve seen before, blending it into an uninspired and predictable narrative. The CGI sharks lack realism, making it hard to suspend disbelief, and their overuse detracts from any potential suspense.

One of the most glaring issues is the film’s inability to build and maintain tension. Scenes that should be pulse-pounding instead feel routine and lackluster. The constant reliance on jump scares and clichéd horror elements fails to evoke the kind of dread that makes for a memorable shark horror film.

That said, Under Paris isn’t without its redeeming qualities. The catacombs scene stands out as a highlight, offering a chaotic and entertaining spectacle. The claustrophobic setting, combined with the frenetic pace, injects a dose of much-needed excitement and mayhem. It’s a brief glimpse of what the film could have been with better execution and more imaginative storytelling.

However, these moments are few and far between. Too many scenes are visually disorienting, resembling the view from inside a washing machine. This shaky, swirling camera work detracts from the action and leaves viewers feeling more nauseous than thrilled. It’s a stylistic choice that might have aimed to enhance the sense of panic but instead contributes to the overall sense of disarray.

In conclusion, Under Paris sinks more than it swims. Despite a few fun moments in the catacombs, the film is bogged down by overdone CGI, lack of tension, and disorienting cinematography. While it may offer some superficial thrills for die-hard fans of the genre, it ultimately fails to leave a lasting impression.

The Prognosis:

Under Paris is now streaming on Netflix, but unless you’re a completist for shark horror films, you might find yourself diving into disappointment.

  • Saul Muerte

“Sink or Swim: Night Swim Struggles to Stay Afloat in Murky Waters of Horror”

23 Thursday May 2024

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Night Swim fails to make a splash in the horror genre, sinking beneath the weight of its own ambitions. Director Bryce McGuire’s debut feature struggles to maintain momentum, ultimately drowning in a sea of clichés and narrative inconsistencies.

The film’s premise, though initially intriguing, quickly loses its grip, failing to deliver on its promise of supernatural terror. What begins as a potentially compelling exploration of family dynamics and sinister forces lurking in suburbia devolves into a muddled mess of predictable scares and convoluted mythology.

One of the film’s major shortcomings lies in its inability to fully explore its central concept. Despite hints of a chilling backstory involving sacrifices and demonic entities, Night Swim never delves deep enough to provide a satisfying payoff. Instead, it treads water, recycling tired tropes without adding meaningful depth.

While the performances by Wyatt Russell and Kerry Condon are serviceable, their characters feel underdeveloped and fail to engage the audience beyond serving as vessels for jump scares.

The pacing suffers from a lack of tension, with scenes dragging on without purpose, leaving viewers feeling adrift rather than immersed in the narrative.

Even the technical aspects of the film fall short. While the underwater sequences are competently shot, they lack the immersive quality needed to captivate audiences.

The Prognosis:

Night Swim proves to be a forgettable addition to the horror genre. Despite moments of genuine tension, it ultimately fails to leave a lasting impression, leaving viewers longing for a more engaging and coherent experience.

  • Saul Muerte

30th Anniversary Retrospective: “The Crow”

18 Saturday May 2024

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In the shadows of a crime-ravaged Detroit, where the lines between the living and the dead blur, The Crow emerged as a beacon of dark, atmospheric storytelling. Directed by Alex Proyas and penned by David J. Schow and John Shirley, the film brought James O’Barr’s 1989 comic book series to life with haunting precision. Released on May 13, 1994, The Crow marked not only a cinematic achievement but also a tragic farewell to its star, Brandon Lee, who portrayed the enigmatic protagonist, Eric Draven.

Lee’s performance as Eric Draven, a vengeful spirit resurrected from the grave to avenge his own murder and that of his fiancée, Shelly, resonated deeply with audiences. Tragically, Lee’s life was cut short during filming, leaving behind a legacy etched in the annals of cinema history. Despite the devastating loss, the film pressed forward, completing Lee’s remaining scenes through a combination of script rewrites, a dedicated stunt double, and innovative digital effects.

The narrative of The Crow unfolds with poetic intensity, weaving themes of love, loss, and the relentless pursuit of justice. Against the backdrop of a desolate urban landscape, Eric Draven embarks on a quest for retribution, guided by a mysterious crow that serves as both harbinger and guardian. As Eric confronts the gang responsible for his demise, each encounter unfolds with visceral intensity, underscored by Lee’s magnetic presence and the film’s brooding atmosphere.

Beyond its gripping storyline, The Crow captivated audiences with its visual style and evocative soundtrack. From the striking imagery of Eric’s transformation to the pulsating rhythms of its iconic soundtrack, every aspect of the film contributed to its enduring impact. Cinematographer Dariusz Wolski and production designer Alex McDowell created a world that was as mesmerizing as it was menacing, while composer Graeme Revell’s haunting score lingered long after the credits rolled.

The Crow garnered critical acclaim upon its release, praised for its bold storytelling and Lee’s haunting portrayal of Eric Draven. Despite the challenges faced during production, including Lee’s untimely passing, the film resonated with audiences, earning a place in cinematic history. Its success spawned a media franchise that continues to captivate viewers, though none have matched the raw power and poignancy of the original.

As we mark the 30th anniversary of “The Crow,” we celebrate not only a cinematic masterpiece but also the enduring legacy of Brandon Lee. His indelible performance as Eric Draven remains a testament to his talent and dedication, immortalizing him in the hearts of fans around the world. Though Lee may be gone, his spirit lives on in the dark, ethereal world of The Crow, a timeless tale of love, loss, and redemption.

  • Saul Muerte

Nightwatch Demons are Forever: A Quirky Spin on Supernatural Thrills

15 Wednesday May 2024

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Opening Act: A Flashback to Nightwatch

Thirty years ago, Nightwatch captivated audiences with its bone-chilling narrative, courtesy of director Ole Bornedal. Now, with Nightwatch Demons are Forever, Bornedal returns to helm a sequel that pays homage to its predecessor while injecting fresh blood into the franchise.

The Coster-Waldau Effect: Nicolaj’s Reign Continues

Enter Nicolaj Coster-Waldau, the enigmatic leading man who once again takes center stage in this supernatural saga. Since his days as Jaime Lannister in Game of Thrones, Coster-Waldau has transcended mere stardom, evolving into an icon of intensity and intrigue. In Nightwatch Demons are Forever, he proves his mettle once again, delivering a performance that’s as captivating as it is complex.

A Cast of Characters: Rising Stars and Seasoned Veterans

Alongside Coster-Waldau, Nightwatch Demons are Forever boasts a stellar ensemble cast that elevates the film to new heights. From the mesmerizing presence of newcomer Fanny Leander Bornedal to the seasoned expertise of veteran actors like Sonja Richter and Ulf Pilgaard, each member of the ensemble brings their own unique flair to the screen.

A Slow-Burning Spectacle

From its opening frames, Nightwatch Demons are Forever taking a slow-boiler approach, gradually simmering as it dials up the tension. Director Ole Bornedal masterfully crafts a narrative that keeps viewers on the edge of their seats, balancing moments of eerie tranquility with pulse-pounding suspense.

As the plot unfolds, layers of mystery are peeled away, revealing a world where the line between the natural and supernatural is blurred beyond recognition. It’s a testament to Bornedal’s skill as a storyteller that even the most seemingly mundane moments are imbued with an underlying sense of dread.

The Prognosis:

In a genre often plagued by clichés and jump scares, Nightwatch Demons are Forever shines as a beacon of originality and innovation. With its quirky characters, offbeat humor, and slow-burning tension, it’s a film that lingers in the mind long after the credits roll. Prepare to be whisked away on a devilishly delightful journey into the heart of the supernatural!

  • Saul Muerte

Nightwatch: Demons are Forever will be streaming on Shudder from May 17th.

“Exploring the Cinematic Legacy: 10 Influential Films by Roger Corman”

13 Monday May 2024

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**Roger Corman: Master of Genre Cinema**

Roger Corman, the legendary filmmaker, producer, and mentor, is renowned for his prolific career spanning over six decades. With a keen eye for talent, a fearless approach to storytelling, and a knack for pushing the boundaries of genre cinema, Corman has left an indelible mark on the industry. Here, we explore ten influential films that showcase his visionary genius and enduring impact on the world of cinema.

**1. “House of Usher” (1960)**

Based on Edgar Allan Poe’s classic tale, “House of Usher” marked Corman’s foray into the realm of horror. With its haunting atmosphere, Gothic aesthetics, and psychological tension, the film set a new standard for the genre and established Corman as a master of cinematic terror.

**2. “The Little Shop of Horrors” (1960)**

A darkly comedic tale of a man-eating plant, “The Little Shop of Horrors” is a cult classic that showcases Corman’s ability to blend horror and humor seamlessly. Despite its low budget and limited resources, the film remains a beloved favorite among audiences worldwide.

**3. “The Masque of the Red Death” (1964)**

Another adaptation of Edgar Allan Poe’s work, “The Masque of the Red Death” is a visually stunning masterpiece that delves into themes of mortality, decadence, and the human condition. With its striking imagery and atmospheric storytelling, the film is a testament to Corman’s mastery of the Gothic genre.

**4. “The Wild Angels” (1966)**

Considered one of the defining films of the biker genre, “The Wild Angels” is a gritty, uncompromising exploration of counterculture and rebellion. Starring Peter Fonda and Nancy Sinatra, the film captures the anarchic spirit of the 1960s and remains a cultural touchstone to this day.

**5. “The Trip” (1967)**

A psychedelic journey into the mind of a man on an LSD trip, “The Trip” is a visually stunning and emotionally intense exploration of consciousness and self-discovery. Directed by Corman and written by a young Jack Nicholson, the film is a landmark of the psychedelic era and a testament to Corman’s willingness to experiment with unconventional storytelling techniques.

**6. “Bloody Mama” (1970)**

Based on the true story of Ma Barker and her criminal family, “Bloody Mama” is a violent and unflinching portrayal of America’s dark underbelly. Starring Shelley Winters and Robert De Niro, the film is a raw and visceral exploration of crime, family, and the American Dream.

**7. “Death Race 2000” (1975)**

A dystopian vision of a future where death is entertainment, “Death Race 2000” is a cult classic that combines action, satire, and social commentary in equal measure. With its over-the-top violence and dark humor, the film remains a favorite among genre fans and cinephiles alike.

**8. “Piranha” (1978)**

A suspenseful and thrilling creature feature, “Piranha” is a prime example of Corman’s ability to deliver big scares on a shoestring budget. Directed by Joe Dante and written by John Sayles, the film is a clever homage to classic monster movies while offering a fresh and exciting take on the genre.

**9. “Galaxy of Terror” (1981)**

A sci-fi horror extravaganza set in deep space, “Galaxy of Terror” is a cult favorite known for its imaginative visuals, gruesome effects, and eerie atmosphere. Directed by Bruce D. Clark and featuring a young James Cameron as the production designer, the film is a testament to Corman’s ability to nurture emerging talent and push the boundaries of genre filmmaking.

**10. “The Intruder” (1962)**

A powerful and provocative drama exploring themes of racism and prejudice in the American South, “The Intruder” is a departure from Corman’s usual genre fare but showcases his versatility as a filmmaker. Starring William Shatner in a career-defining role, the film is a searing indictment of social injustice and remains as relevant today as it was upon its release.

Roger Corman’s filmography is a testament to his visionary genius, his fearless experimentation, and his enduring impact on the world of cinema. From horror to sci-fi, from comedy to drama, Corman’s influence can be felt across a wide range of genres, and his legacy will continue to inspire filmmakers and audiences for generations to come.

  • Saul Muerte

“Roger Corman: Pioneering a Legacy of Innovation and Mentorship in Cinema”

Movie review: Skeletons In The Closet (2024)

29 Monday Apr 2024

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When you see Terrence Howard, Cuba Gooding Jr, and Udo Kier on the credits listmon a film and you’d be forgiven for presuming that it would be a half decent entry, but Skeletons In The Closet is like the visual equivalent of hitting the snooze button on an old analogue clock. 

As the incredibly slow pace to the movie drags you desperately into its fold, we’re presented with a mother, Valentina (Valery M. Ortiz) and her husband, Mark (Howard) watch their lives fall apart, as if they were the combined metaphor of Job, continuously having their faith tested. Instead though, they are harbouring an evil presence that is sucking out the energy of their lives and inflicting a damning curse upon them. This starts with Mark losing his job after believing that he was actually up for a promotion, to their daughter Jenny (Appy Pratt) being diagnosed with terminal cancer. If that wasn’t bad enough Mark engages with a local crook based on ill advice from his brother (Gooding Jr). This inevitably leads to them putting the squeeze on the family and Mark’s logical leap to seek council from Madam Fortuna (Sally Kirkland), who just kicks the can down the road when she sees only disaster in the future. In steps the specialist Luc (Kier), who is even more mysterious and the potential threat or menace to what has been plaguing them for so long. All the while Valentina has been seeing visions of a pale woman dressed in white, haunting her every move.

Eventually we get to learn that one of them has a skeleton in their closet and must rid themselves of their curse with drastic consequences.

The Prognosis:

This is a slow and laborious possession that feels like we are shuffling off this mortal coil with the aid of a zimmer frame. 

There’s one thing to establish character, but another to make us care about the character enough by going deeper into their psychological make up. It’s as though the creatives chose to do neither here and be content on going, here look at their hardship… isn’t it bad? I wonder what is the root cause of this evil?

Unfortunately, the film is pretty woeful, and the care factor is zero for this incredibly below par snoozefest.

  • Saul Muerte

Skeletons In The Closet is streaming on Shudder from 3 May.

1960s Horror Retrospective: Psycho (1960)

25 Thursday Apr 2024

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If ever there was a movie that defined horror films and launched the genre to a new level, it is Alfred Hitchcock’s Psycho. So impactful was the film upon the popular consensus, that it would shift the perspective and inspire future filmmakers but upon its release it would not receive such high accolades, mainly directed at the melodramatic choices and these sensationalistic tendencies from Hitchcock were based purely on shock value, labelling Psycho as a gimmick.

The reason Psycho holds such a lofty position over 60 years since its release, is not just the shift in tone, whether it was the surprise murder of Marion (Janet Leigh) a third of the way through the movie, or the identity of Norman’s mother, but the psychological components that drive deep into the heart of the narrative. The stylised elements that Hitchcock adds to the film are the eloquent touches that allow these conceptual components to flourish.

Like Peeping Tom released earlier in the year, Psycho plays with the voyeuristic approach to the narrative, luring the viewer into the seemingly fragile Norman Bates (Anthony Perkins), a man traumatised by the emotional abuse of his mother. This is more noticeable when Bates removes the painting to look through a peephole at the unwitting Marion has she undressed. The male gaze and the seduction has never before been dallied with in a high-profile feature.

There are also strong symbolisms embedded throughout that entrench the foundations that it was built upon. Amongst the questionable character traits that keep the audience guessing, there are also twists and turns of vulnerability and exploitation that thread throughout. These executions on delivery would leave audiences feeling anxious or unease, daring to go where movies had feared or were unable to do so relaxed views on the Production Code; an act of self-censorship imposed by the industry. The fact that Psycho overshadowed Peeping Tom for broaching similar themes seems unjust, where one director would rise to prominence and be forever remembered for his film, whereas the other would be doomed to a fallen career as a  result.

That’s not to say that Psycho doesn’t deserve to have the recognition bestowed upon it, The performances by the film’s leads, Janet Leigh, Anthony Perkins and Vera Myles are at their most renowned and for good reason. Perkins’ flickers around with Bates’ personality casually swinging from likeable charm and gaining our sympathy to an unsettling picture of a man who is on the brink of reality. 

I’ve yet to remark on the score by Bernard Herrmann, whose jarring strings punctuate the now infamous shower scene in stark contrast to the muted, darker and intense scenes. The use of tension as it slowly wrenches up though Arbogast’s (Martin Barlsam) investigations and the pursuit of truth from Marion’s sister Lila (Leigh) and Sam Loomis (John Gavin), Marion’s lover drive our own hopes that our suspected protagonist will prevail before the veil is firmly drawn from before our eyes.

There are countless areas that I could wax lyrical on but these have been discussed on other platforms before, Needless to say, it takes place here (rightfully) for its entry into the 1960s horror retrospective. With three sequels, a dubious remake, and a TV series all centred around Norman Bates have further cemented its status and will forever be immersed in our collective psyche.

– Saul Muerte

1960s Horror Retrospective

The Flesh and the Fiend

Eyes Without A Face

Peeping Tom

1960s Horror Retrospective: The Flesh and the Fiends (1960)

20 Saturday Apr 2024

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Having journeyed through the rise and fall of Universal Classic Monsters during the early thirties and the passing of the baton to British Film production company Hammer Films in the mid-fifties, it’s time to switch my celluloid gaze upon the 1960s and the twists and turns that the decade would take in the name of horror. 

To begin, my focus falls upon a feature that at the time struggled to get deserved recognition, both in production and when it eventually hit the screens, but has since gone on to become a cult film in its own right.

Directed by John Gilling (who would go on to call the shots for a few Hammer Films later in the decade) The Flesh and the Fiends would be a re-working of a previous feature called The Greed of William Hart penned by Gilling, but suffered at the hands of the British Board of Film Censors. The request that all references to the real-life murderers, Burke and Hare be removed would be rectified for TFATF, with the opening title displaying, “”[this] is a story of vice and murder. We make no apologies to the dead. It is all true.” 

Based on the macabre events set in the 1820’s when the 19th Century medical doctor, Robert Knox would purchase corpses for medical purposes from the afore-mentioned Burke and Hare. Knox, brought to the screen by another Hammer alumni, fresh from his rise to fame as Doctor Frankenstein, Peter Cushing, who noted the similarities between Knox and the Baron, “The minds of these exceptional men were driven by a single desire: to inquire into the unknown. Ahead of their time, like most great scientists, their work and motives were misunderstood.”

Cushing was magnificent in this role, even going to significant measures to enact the same droopy eye that Knox bore from contracting smallpox when he was young. 

Cushing is not the only standout though as both Burke and Hare are magnificently portrayed by George Rose and Donald Pleasance, adding some offbeat humour amongst the gruesome scenes, especially in some of the murders that take place. The finest example of this coming when Burke (Rose) suffocates Aggie (Esme Cameron) while Hare (Pleasance) is dancing a jig, perfectly juxtaposing the brutality on show.

Cinematographer Monty Berman also provides some striking images, a master pf black and white photography, he managed to capture the dank and dismal scenes in 19th Century Edinburgh. This along with Gilling’s knack to take the action scenes by the horns with his own unique bruteish fashion, is one that left a compelling mark on the genre, kick-starting the decade in style. While it was impactful in British cinemas, it went without a trace Stateside and was considered a failure. It does deserve greater recognition, outshone as it was by the likes of Hammer’s style and substance, The Flesh and the Fiends, the mood of the piece was a grim and tormentous affair.

– Saul Muerte