Once Upon a Time In Hollywood
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In the period after his work on Hammer studios's TV series Journey to the Unknown (1968 and Crescendo (1969) but before he made Dracula A.D. 1972 (1972) and The Satanic Rites of Dracula (1973) director Alan Gibson made this unusual psychological thriller which uses themes from Mumsy, Nanny, Sonny, Girly (1970), Brian De Palma's Sisters (1973) and a host of incestuous, dysfunctional family thrillers. It takes advantage of the late 60s swinging London setting and the seemingly innocent and attractive sibligs. It has some genuinely creepy moments and the strong sexual themes are handled surprisingly well. It also also boasts some creative camera work and exceptional performances from all the cast including Michael Redgrave, Freddie Jones and Alexis Kanner.
Undeservedly neglected and creepy Spanish horror picture and a variation on Children of the Damned. Waldo de los RÃos' expressive, smartly utilized score is a highlight.
In their last few years, Hammer produced some of their greatest works and this is a wonderful coda to their Frankenstein series, an intelligent, inventive, stylized reworking of the themes that had sustained the series for almost two decades . The film however belongs to Cushing and is a perfect swansong for his greatest creation.
Offbeat British black comedy with an all star cast including a young Peter Sellers, Terry Thomas and Peggy Mount. On top of this, Joan Sims' portrayal of a panic stricken daughter is hillarious and the scenes of her and Mount trying to remove the body they think is dead are hysterically funny. One interesting element is the portrayal of those relationships that could be only suggested in a period of tighter censorship, such as Peter Sellers' TV personality and Kenneth Griffith as his dresser, whose gay relationship is faintly etched in here.
Hammer capitalised on the success of The Curse of Frankenstein (1956) with this impressive follow up using the previous films' two stars. Fifty years later this film stands out as still being THE definitive version of Dracula. Removing much of the padding of the novel, Jimmy Sangster's screenplay rattles through the story at an astounding pace that you never get bored for a sceond. Cushing is the undoubted star though Lee does make the title role his own portraying the feral beast at both his most charming and most terryfying. Terrence Fisher's superb direction and James Bernard's iconic score make this a masterpiece of cinema.