Mary Poppins Returns
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All Critics (6)
| Top Critics (1)
| Fresh (4)
| Rotten (2)
The contemporary setting works against the kind of tale that was even a bit silly in the pre-heart-transplant era.
The concept of face -- as a noun, as a verb, as the mask that hides and exposes our emotions, as the anchor to our definition of self -- is so essential to human identity that horror films that hinge on the disfigurement of the face have a special power.
Peter Cushing is over-the-top crazy in this grindhouse-style goreathon. It's hard to imagine the filmmakers didn't know the end product would be campy.
A lot of betwixt-and-between movies came out in this era: sleazy B-pictures with major stars...and classier studio projects that dabbled in explicit sex and gore. Corruption fits both of those descriptions.
Satisfactorily plotted, with superb performances from Cushing and Lloyd, who manage to elevate the unseemly appetites of the script with class, turning cheap theatrics into an absorbing depiction of manipulation.
An uninspiring, revolting and potty British grand guignol.
A decent variation on the "Eyes Without a Face" plot, but the "home invasion" conclusion seriously cheapens the film. The boisterous jazz score is grossly inappropriate at times, but it's weirdly intriguing to see Peter Cushing run (and run quite well for someone of his age) during one scene.
I'm kind of shocked to log on to Flixster and not see more people being chatty about this little thriller. To be fair, it is largely unseen by US audiences, even with it being screened on TCM (which is how I got to see it). Corruption (AKA Carnage, The Laser Killer) is a late 1960's thriller starring Peter Cushing and Sue Lloyd (both of whom give terrific performances) about a doctor who must murder in order to get the body parts needed in order to keep his wife's face beautiful. Vanity, greed and insecurity are on the plate for this particular movie that doesn't quite hit its mark. It's true that the film is very much a British take on Eyes Without a Face, but like many imitators of that film, it isn't quite as good. By the end of the film it loses its narrative focus and just goes completely bonkers. On the other hand, it's a pretty well-made film. I especially like the scenes when the "thriller" music (nothing more than over-the-top swinging 60's jazz) is muted by the flick of a light switch or the closing of a refrigerator door. But the music is horribly out of place, and I'd like to think that a lot of the scenes could've used silence in the background for tension, but that's just me. In the end, it's a mess of a film that winds up being entertaining anyways. It's definitely not perfect, but check it out sometime if you can find a copy. Peter Cushing's and Sue Lloyd's manic performances are reason enough to check out. Of course, how can you not check out a film that has Peter Cushing in it?!
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