Reviews (166)

Out of this world!
"Plan 9 From Outer Space" has been dubbed the worst film ever made. I can't disagree with that. Here are just a few of the things that qualifies it for that title.

- When the police drives from the town to the cemetary time somehow switches from night to day back to night.

- The Swedish accent of wrestler Tor Johnson, playing a police officer / walking corpse.

- The six feet tall, blonde chiropractor that replaced deceased Bela Lugosi.

- The plates-glued-together UFO's with strings completely visible.

- The cardboard tombstones that wiggle.

- The cemetery ground, obviously a piece of fabric covered with leaves.

- The plot, or rather lack thereof.

- The dialogue, hilariosly funny only because it's meant to be serious.

- The actors. Nuff said.

Still, it's also one of the best films ever made. Ed Wood Jr. was a filmmaker with a passion. He wanted to make films, so he made films. You can't help but respect that. That's why this movie deserves five stars, and "Deathstalker III: Deathstalker and the Warriors from Hell" deserves none.

Future events such as these...
Uttery obscure until the Medved brothers' 'Golden Turkey Awards' highlighted it as the 'Worst Film Ever Made', this is not so much a 'bad' film as a hysterically incompetent one. Consistently failing to triumph over the lack of money, resources and technique available, it quite neatly shows how films should not be judged in terms of 'bad' or 'good', but in terms of 'entertaining' or 'not entertaining'. Whilst 'Plan Nine' is clearly the work of bungling, but enthusiastic incompetents, it's hugely entertaining in a way that the professionally-done 'Speed 2: Cruise Control' is not. Only 'Robot Monster' comes close the the tone of insane incoherence. Where else can you see such a diverse, iconic cast (featuring the recently-deceased Bela Lugosi, a late-night-television horror movie hostess, a wrestler, and a minor celebrity hypnotist) deliver dialogue such as 'Inspector Clay's dead, murdered, and somebody's responsible'?

Note that there are two DVD releases - this one has a lengthy (longer than the film, in fact) documentary, whilst the other has a plug for Tim Burton's equally-good 'Ed Wood'. This one is slightly more expensive, but worth getting, as the documentary is excellent. Commenting on picture and sound quality seems somehow inappropriate, really.

Well it ain't the worst
In fact besides I'd go as far as to say this is perhaps the most competent Ed Wood movie around. Sure there are glaring errors such as Bela running back and forth to the grave in broad daylight ( when it's supposed to be night-time ) and his replacement is obvious ( come on, he's at least 4 inches taller I reckon ). And indeed the last 20 minutes descended into a farce that unfortunately sunk the film. Yes, it shows a degree of ineptitude on Ed's part but for most of the film there was an almost professional air to how the actors acted.

Ed thought that he'll be remembered for this film. This was his big one and he's right, it's the one we remember him most for. However I don't think he would have liked the tag it's been given but if you want to be remembered he certainly went about the right way in doing it ( even if the results were all wrong )

But if we start at the start with Bela's last real scene where he mourns his lover's death - that was a really touching scene. The emotion in that looks too real that it can't be described as fake or cardboard cut out. If anything that was the most poignant scene Ed ever captured on film. He may have been an inept film-maker but that was a stroke of genius - no kidding!

I get the feeling Ed cast Vampira as Lugosi's wife mainly because if you've seen the Tim Burton movie you'll know that Lugosi thought she was " a honey " and it was certainly a nice gesture to Bela to do that. Vampira doesn't have to do much in this film. Just walk really slowly and look ominous whenever the camera is on her. Looks beautiful while doing so I have to admit. I'm almost certain that she inspired George Romero to make Night of The Living Dead by her walking alone.

Criswell makes his appearance in this film and you have to say, him, along with Vampira and Tor, got almost uncanny lookalikes in Tim Burton's biopic that it seems almost spooky.

Hats off to whoever had the idea of using saucer lids for um the use of flying saucers. Really neat and easily identified even if it was black and white. Still not too bad a job. Oh and who could forget Saturn as a ballbearing - Top Class!

The last 20 minutes are a farce as I've said before mainly because it's supposed to be a showdown between the humans and the aliens....or to be more precise 3 men with guns and a man and a woman in funny clothing that are supposed to be aliens. The acting here is horrifically poor and despite it all being passionately acted it just seems.....well a bit silly. And whatever niggling doubts you had about the film leading up to the last 20 minutes, will no doubt be exposed by the end. A shame because the film showed Ed at his most coherent. And that sadly was the pinnacle of Ed's career.

So all in all it's not the worst movie of all time and certainly not the worst you'll ever see ( unless you're a connoisseur of good taste and in that case what the hell are you reading this for ). Definitely his most enjoyable film. Now if someone could only just tell Criswell to shut up ( I wish Ed had tried, honestly try to do that ).

But for Ed, this would be his shot at greatness and while it backfired, it was about as good as he could make it. Perhaps if he were making these now and not 40 years ago he might have gotten away with it. And I'm sure Ben Affleck would have been great as the dumb pilot if it were made now. Think about it

Here's to Ed though - he may not have been the greatest but he sure knew how to entertain us

Bela Lugosi Lives! (Just not in this film)
How does one describe a movie such as this? Like "Robot Monster," it is a masterpiece, and like "Robot Monster," this is not because "Plan 9 From Outer Space" has even a shadow of an ounce of quality to it. Rather, this is an example of just how wrong everything in any creative project can go if it is in the hands of the right angora-wearing genius.

For nothing (and I mean NOTHING) came out right in this movie. Continuity? Hah! Realistic dialogue? Pish! Convincing acting? Gah! Remotely realistic special effects? Heaven forbid! No, what Ed Wood gave us with "Plan 9" is quite simply a cinematic failure that not even Orson Wells could have duplicated if he had tried. In what other movie is one of your stars dead even before the script is written or shooting begins?

No, "Plan 9" is unique, a thing that we mere mortals can only begin to try and understand. Instead we can only watch, transfixed and trembling in awe that Wood's vision was transmitted so perfectly to the silver screen. This is a movie that well deserves to be ranked among the immortal creations of motion picture history, despite or perhaps because of the fact that it completely lacks any of the features that would normally merit such an inclusion.

To think otherwise can only be the result of stupid minds. Stupid! Your stupid, stupid minds!

"You see. You see. Your stupid minds. Stupid. Stupid."
Also known as "Grave Robbers From Outer Space", Edward D. Wood's masterpiece of horrific filmmaking has been called the "worst movie ever made" by more than a few critics and movie fans. This hasn't kept this unintentially hilarious sci-fi dud from becoming a massive cult classic. And rightfully so. Ed Wood's art for making movies so bad that they're actually good has never been more apparent than it is here.

"Plan 9" revolves around a couple of space invaders in bad suits who fly around in spaceships on strings and resurrect the recently dead to haunt the inhabits of a small town where it seems to go back and forth from night to day a lot. The humans aren't having it though as a joint team of the local police, military, and an overacting airline pilot refuse to be terrorized by the undead creatures (who can't decide whether they're ghouls or vampires). But these visitors from a badly-drawn planet resembling Saturn have their own intentions. They're hear to warn us of a new solar-powered weapon that the Earth will eventually create and wipe out the universe. But our heroes aren't going down without a fight. They've got enough army movie stock footage to send them aliens back where they came from.

What makes "Plan 9" so entertainingly terrible? Where do I start? There's the overly-descriptive narration of Criswell who practically gives play-by-play for every action in the film. You've got Bela Lugosi who appears courtesy of silent footage recorded before his death and with the help of a stand-in who looks nothing like him. And who could forget those cooky cops who don't allow the discovery of their Captain's horrifying death to damper their moods any? Also there's Duke Moore's hards-as-nails detective who fearlessly uses his gun to fix his hat when necessary.From the bargain basement graveyard chalk full of cardboard headstones to the hungry young overactors spitting out silly dialouge, "Plan 9" is truly the "Citizen Kane of bad movies".

For those looking to pick this gem up on DVD, the Image edition is the only way to go. Not only is the picture the best that it's ever looked but it comes with a feature-length documentary, "Flying Saucers Over Hollywood: The Plan 9 Companion" and the trailer for the movie. Avoid the Passport version which has a company logo imprinted in the bottom corner similiar to the ones that TV networks use. ... Read more

Reviews (26)

Very blunt, very disturbing.
All of the stops were pulled out from this nearly forgotten horror classic, set during the English Civil War. Very twisted, extremely straight-forward, it defies some of the standards of its time.

Full of murder, rape, and torture, the story follows Matthew Hopkins (Vincent Price) on his journey to collect money for the finding and executing of those who have made a pact with the devil. His barbaric assistant tortures and beats the confessions out of helpless women and old men, while Hopkins has his own way of beating out confessions out of the younger, more attractive women.

The film follows the anguish of the victims of Hopkins, particularly the husbands of the women he's taken advantage of and killed. The "hero" of the film, Ian Ogilvy, is a soldier in Cromwell's army. He becomes obsessed with killing Hopkins after he learns of how Hopkins has raped his wife and killed her father.

Chilling historical commentary, there are no happy endings and silver-linings in this brutally honest film. The unforgetable ending of the film will shock you. If you watch closely, you will find out the haunting secret of Matthew Hopkins.

Graphic and violent tale of a 17th century witch-hunter
Although Vincent Price stars in a leading role in "Conqueror Worm" don't let that fool you, this is not a horror movie in the sense that it doesn't deal with the supernatural. Price plays a straight up role as real-life witch-hunter Mathew Hopkins. Set in Cromwell's England during the years of civil war, Conqueror Worm is an excellent historical drama whose horrific effects come from what human beings do to other human beings.

The movie itself is a told in a straightforward textbook manner. The first part introduces the main players and their relationship. Hopkins and his cruel assistant and the priest, his niece and her fiance, a soldier in Cromwell's New Model Army. The second act creates the issue at hand, namely Hopkins cruel torture and killing of the priest, his taking advantage of his niece and her rape by the assistant. The final act is the chase, the soldier tracks Hopkins and ends in a harrowing finale.

The simple formula above is successful because of good writing, directing and acting by all players. Conqueror Worm, made in 1969, is still graphic in it's depiction of sexual and physical violence.

An excellent film- highly recommended.

The Best British Western Ever ¿ The Witchfinder General
... or maybe the best horror western ever. What you make of this will depend on two things. How much you like old British horror and how much you know about the production of this particular film. When you realize that this is the last production of a young talented Director, Michael Reeves, who died (25 - accidental overdose) on the path to being one of the all time greatest film directors, and that this is his third, last and best film, you will under its value (as an example of his talent watch the shot in this film of young children cooking potatoes in the ashes of a 'witch' that has just been burned). It is a notch above your average late 1960s early 1970s horror films. In fact it is a notch above nearly every British film making it one of the British modern classics.

The story is based on the real life times and crimes of the lawyer and Witchfinder General - Mathew Hopkins, who set about destroying alleged witches across England with the full power of the law. This film depicts the various acts of torture and trials conducted on witches making it an extremely important historical document (as a note the Western influence comes from the gallant long countryside horseback riding shots, mobs in the villages and things like gallows being erected in the same vein as the cowboy movies in the USA of that era. It WORKS extremely well!) It is also certainly the best rendition of such grim persecutions to date on the screen (US viewers should think Salem Witch Trials x 100).

There is an interesting plot involving a young soldier whose fiancée's father - a priest, is put on trial for witchcraft while the soldier is away. When the soldier returns he vows to track down Hopkins for the crimes he has committed against his wife and father and so the movie is essentially a story of revenge as this soldier chases Hopkins across the countryside passing through villages where Hopkins has been.

Some find this film hard to watch because of this subplot but stick with it because after the first twenty minutes or so the film really takes off. This is also Vincent Price in his best role ever and some would say his best work although the production values are somewhat low (a very restrictive budget with a young director practically making it by himself). Many of the scenes are underexposed, dirty, bad cuts, lots of zooms (a no-no in cinematography these days), daft credits that almost underexpose Hopkins face in the background and other elements of film making associated with tight finances. However ALL of the fight sequences and torture sequences are very well done. In fact some of those scenes had to be cut!

The real gem in this movie though is to know how much it has been through. The director set out to make one of the most violent films ever conceived in the UK. The UK censors immediately cut it to ribbons saying that it would shock the viewers too much. Also the US censors agreed that the violence should be toned down considerably but agreed that the US version could contain different takes with nude women. This led to several versions of the film over the years.

This review refers to the superb DVD version of the film. You can only currently get it on PAL but it contains 2 versions of the films, excellent bonus materials including documentaries, Empire Magazine's Kim Newman provides excellent production notes (best seen on any DVD to date), trailers and biographies. It is dirt cheap. Get it!

Anyway the DVD has 2 versions - The Directors Cut (featuring NO nude women and all the restored cuts) and the Export Version (featuring nude women and all the restored cuts). The VHS version is CUT. However this decade one scene was restored that was originally omitted from the screen version - of the infamous boot in the eye sequence. So all new VHS versions of the film have this restored... but the DVD has also restored - (1) A priest being tortured, (2) A women being slapped, (3)An extended version of the river dunking, (4)A witch missing her eye being tied up and burnt alive, (5)A woman being tortured and (6) the notorious axing sequence. Unfortunately these cut scenes had to be restored from a poor quality tape recording in the Director's own personal collection, so these cut scenes look very different from the quality of the actual film - however this is only a minor point given that the film is over 30 years old and was made on a shoe-string budget. The fact that we get to see these cuts at all on a DVD in SUBLIME for fans!

So for the first time ever - The Fully Restored - Witchfinder General as it was meant to be seen is now available!

CLASSIC!

A fierce horror film with historical implications...
England has a civil war between the Royalist and the Parliament Party that are fighting for power over the country. Matthew Hopkins and his aid John Stearne exploit the situation of the war as they travel around finding witches to kill in the name of God, which in essence is a way for them to live out their sadistic behaviors. Many poor individuals fall under brutal torture by Hopkins and Stearne which often leads them into confessing witchcraft. The two servants of God make one mistake as they kill a priest that is good friends with a soldier and also rape the soldier's future wife. Conqueror Worm
(UK Title: Witchfinder General) is a fierce horror film with historical implications to the failure of Christianity and witch hunts. The film will leave the audience with distaste for the action of humankind that was sanctioned by Christian Church. In the end, Witchfinder General offers a satisfactory cinematic experience that gives a cause for the audience to ponder our past, current, and future actions.

a disturbing and heart pounding film
first off, i'll come out and say that i don't care about the petty feuds between Vincent and the director, or the star and director of any movie! from what i've learned, Reeves was acting like he was a hot shot and by 1968 Vincent was a LEGEND and knew his way around acting and when he questioned the director about something, Reeves coldly replied that Vincent was clueless and his entire career was meaningless. now, had this been a stuffy or an egotistical celebrity i wouldn't have a problem but my god, Vincent Price? He was one of the least egotistical people in the profession and he didn't take himself seriously, and because of this it allowed him to spoof himself in the later years and have fun with his image. Reeves also never visited or checked up on Vincent after an accident happened on the set: Vincent fell off a horse and Reeves purposely ignored Vincent hoping the anger would come across on film! this 1968 film on witch-craft and Matthew Hopkins shows what a great actor Vincent was. Who else had the versatility to do this intense film but yet a year prior he was cavorting around as Dr. Goldfoot in two films as well as appearing as Egghead on the TV show "Batman"! Vincent is often ignored and his LONG career (1935-1992) is constantly being down-played by critics who prescribe the silly notion that horror movies are bad and anyone who gets a kick out of them are bad for society. such garbage! Matthew Hopkins, as played by Vincent, isn't lovable or hammy as we all love Vincent to be...this is probably the only role of his where the viewer has no sympathy and you cheer on his eventual comeuppance and this one is a doozy! it IS a horror movie because it has all the elements: violence, evil, blood, death, intensity, scream queens, and atmosphere...and because this is an AIP film there are several shots of nude women but it's all in context of the story so don't anyone out there yell "X rated" or something silly like that. This movie inspired Vincent's 1970 film "Cry of the Banshee", which i also love. another witch-craft/voo-doo film from this era from Vincent is the wonderful "Oblong Box". but "Conqueror Worm" a/k/a "Witchfinder General" is fantastic. ... Read more

Reviews (3)

Im in love with a bad girl after seeing this movie
I think im in love with a bad girl name dollie. She is so sexy and pretty, i hope she does more movies than this one. The acting is not natural which consumes the majority of old classics. You would never ever see modern movies where actor's are just playing the part and realism is not there. You know what, for a classic movie, this one is awesome. I can't get enough of watching this show as i have seen it over and over again. sexploitation movies at its BEST! You have romance, murder, and suspense roll up into one package and it spells MUST SEE.

Great 50s B Movie
one of the best J.D. movies of the 50s with some pretty decent performances by the cast. Yvonne Lime is perfectly cast as the good girl trying to go bad. great film just to watch the girls' styles which so many contemporary rockabilly girls try to emulate. The transfer onto tape is super clear and for the money is one of the best films of this genre you can buy.

One of the best AIP teen films from the 50s!
Good girl Yvonne Lime gets involved with bad girl Jana Lund and her gang of Hell-cats, a sorority of not so nice gals who rule the halls of a typical 1950s high school. I am so glad this movie is finally being released on video! It is a really fun film, probably one of the best juvenile delinquint movies of the 50s. Lime is finally given a chance to show her talent (she was wasted in films like I WAS A TEENAGE WEREWOLF) and Lund proves quite capable as a bad girl. But the best role really goes to Susanne Sydney as Jana's jealous co-hort in the Hellcats club. Also in the cast is B-film regular Brett Halsey as Lime's love interest and Rhoda Williams as the kids' understanding teacher. ... Read more

Reviews (6)

The Quatermass Experiment aka THE CREEPING UNKNOWN
Fans of Doctor Who, Blake 7, and later BBC ventures will love this older U.K. science fiction. Unfortunately the British were not very good about recording their television programs, or keeping the tapes afterwards, and thus we will not be seeing the televised original for this story. The original live six-part 1953 TV production went some 200 minutes. The Quatermass author, Nigel Kneale, was not too happy about the new version's reduction to 82 minutes. Most who saw the TV version thought that it was superior to the movie.

Kneale wrote a number of TV programs that were eventually adapted to film. However, he will always remain famous for Quatermass. The movies would parallel a series of TV productions: Quatermass II (1955) and Quatermass and the Pit (1958-9). Kneale would conclude the series with Quatermass/The Quatermass Conclusion (1979).

The UK theatrical remake of The Quatermass Experiment (1955) was directed by Val Guest and the screenplay was written by Val Guest and Richard Landau. The part of Professor Bernard Quatermass was played by Brian Donlevy. Donlevy was chosen because it was thought an American in the role would give the film more box office appeal in the U.S. However, in hindsight, it was a little like giving the role of Doctor Who to an obvious Texan or person from the Bronx. Sometimes accents are important. Donlevy did a professional job, although a few cast members complained that he had a drinking problem.

The experimental rocket Q1 crashes in England. Quatermass, the somewhat reckless creator of the ship races to the site. Only one of the three astronauts is found alive, Victor Carroon (played by Richard Wordsworth). The other men have vanished.

This mystery drives the first part of the film. Later it becomes clear that Carroon is not only sick but dangerous. Something has come back with him, something that absorbs the flesh of living creatures and appropriates it into itself. The second half of this film is a somewhat typical man turned into monster drama.

It grows and goes on a rampage of destruction. Can it be caught? How will they stop it?

This early Hammer Film, and their first international success, was filmed in black-and-white. While the film has been released as one of MGM's Midnight Movies, it is only available on VHS. This is quite unfortunate given the fact that the later films are available on DVD. However, the transfer to video is excellent.

Would you believe that this film was given a British "X" rating certificate? There are no sexual situations, no romance, and no nudity. The language is fairly tame. Even the supposedly horrific scenes of mayhem from the monster are a mild PG by today's standards.

While it lacks some of the intensity of the later films, it is a good story. I would recommend it for fans of science fiction, British or not.

Good Story & Solid Acting
This is a well written story about a space flight gone wrong. It is well acted, the special effects are excellent for their day, and the main character in the story (Quartermass)is a strong and almost hartless man who is driven to achieve his goals no matter what the cost.

The supporting characters are good as well, but the mainstay of the movie is the strong story line which flows from event to event almost flawlessly.

An excellent effort for all science fiction fans - especially those who enjoy the older B&W versions of the future of science and space travel.

Excellent first Quatermass Shocker !!!
The ultimate in man into space-man returns-man mutates into alien movie,and although not as good as the second and third Quatermass stories,it still holds the attention some 46yrs later,and being also considering that Hollywood seem over-run with re-makes I believe this would make a good one for a change. Although Donlevy's performance is a little stiff,Margia Deans is dire,and her voice on this edition has been dubbed,probably to make her seem less automaton like,but I believe it is Richard Wordsworth's performance that truelly delivers the goods,truelly a classic of it's day,shame a DVD hasn't been announced of the movie,come along MGM how about it?

Initial entry in the greatest science fiction series ever
There's simply no equal to the Quatermass films in the effects-driven "science fiction" foisted on today's public. These films, adapted from much longer BBC television "miniseries", rely on intelligent plot development and attention to detail that is notably lacking in anything done in the genre lately.

In this film, the first of the series, Quatermass's experimental rocket crashes to Earth after having been out of contact. Three people went up - but there's only one person aboard now. The others.....? Ah, that would be telling!

Originally titled "The Quatermass Xperiment", the movie played on its "X" rating from the (remarkably timid) British film review board and helped open the door for Hammer Films' later bloody epics. There's nothing here that you couldn't see on television today, but the horrific *implications* of the plot are what give you the shivers. Special effects are crude by today's standards - a remake would surely improve on that aspect of the film, but the writing more than makes up that.

Brian Donlevy really makes a poor Quatermass, but he's all we have. He seems to confuse bullying and shouting with projecting authority and confidence, and you end up somewhat surprised no one decks him. (Andrew Keir's interpretation in "Quatermass and the Pit" is a lot more palatable.)

But that said - see this one. One of the true greats of the genre.

a.k.a. THE CREEPING UNKNOWN
I first saw the movie in broad daylight on an Admiral portable 19 inch B+W TV -with commercials- and, indeed, as a kid of ten I was troubled. DO N O T let little kids watch this! This one and the sequel, QUATERMAS II a.k.a. ENEMY FROM SPACE are the epitome of the genres (1) Man Transformed... [others in the category z.b. THE FLY (58) and THE INCREDIBLE SHRINKING MAN]; (2) Alien Takeover...[others in the category z.b. INVASION OF THE BODY SNATCHERS or VILLAGE of the DAMNED] I wholeheartedly agree with the first reviewer that the transformation of the poor astro'naught' is tragic to behold, even if the final, tentacled incarnation {the thing absorbs a ZOO! }leaves something to the imagination... ... Read more

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Inspired more by Disney's 20,000 Leagues Under the Sea than the Jules Verne novels it purports to be based upon (1896's Clipper of the Clouds and 1904's Master of the World), this American International Pictures production is a mildly diverting period fantasy adventure, buoyed mainly by leads Vincent Price and Charles Bronson. Nineteenth-century government agent Strock (Bronson) hires Prudence (Henry Hull), a munitions maker and balloon enthusiast, to help investigate the source of a mysterious voice that emanated from Pennsylvania's Great Eyrie. With Prudence's daughter Dorothy (Mary Webster) and her fiancé Philip (David Frankham), the pair flies over the mountain, only to be shot down and taken captive by Robur (Price). Using his colossal airship Albatross, Robur plans to end world warfare by decimating any country that refuses to lay down its arms. Despite solid efforts by Price and Bronson (who reportedly disliked each other), a thoughtful script by fantasy author Richard Matheson, and a lively score by Les Baxter, Master never takes flight. Miniature effects by Tim Baar, Wah Chang, and Gene Warren (a.k.a. Projects Unlimited, which created creatures for "The Outer Limits") are hobbled by AIP's infamously low budget, and B-movie vet William Whitney's direction is painfully lethargic. Lacking the necessary super-sized scope and star power of other Verne adaptations, including 1958's Around the World in Eighty Days and 1959's Journey to the Center of the Earth, Master is for AIP and Price completists only. MGM's digitally transferred full-frame print looks fabulous and includes the original theatrical trailer. --Paul Gaita ... Read more

Reviews (6)

Vincent Price is the master
This film could be classified as a fantasy adventure with horror elements when you factor in Robur's wish to end all war. His method? He'll simply fly over oceans and seas in his airship Albitraus and bomb war ships until all war has stopped. Vincent plays Robur in this mad-cap film that begins with a history of aviation. Henry Hull is cast as a cynical judge and the great Charles Bronson is cast as a mysterious passenger who appears to be Robur's accompolice... but looks can be deceiving. Mary Webster and David Frankham play the other "prisoners". David's character isn't likable and you'd wish that Vincent or Charles would throw him off the Albitraus!! The film is sort of an in the air version of James Mason's "20,000 Leagues Under the Sea" with it's stop all war message.

Unusual, but likeable movie
The plot of this movie is a bit unusual, but I found it likeable because of the actors, such as Vincent Price, Henry Hull, and David Frankham. Charles Bronson also stars, but is probably miscast here. The scenery and music are also well done.

Worth catching, but probably not seeking.
Disappointing and tepid acting seems to be the most stand-out quality in this film. Bronson, playing the hero Strock, obviously gives the part some effort. But his effort falls far short, coming off cold and unemotive. Contrary to the legendary collaboration of Price and Bronson in "House of Wax," Bronson's part might have been better served by a cardboard cutout. The film's hammy and dispassionate special effects certainly make one believe that that option may have been considered. Most film-makers of the period were far more creative with their few resources, and even if the effects were a little corny, they were at least charming. The effects in this movie are parallel only to your local middle-school's performance of "Oklahoma!"

Vincent Price saves the film from ruin, however, by delivering one of the most convincing and provoking performances of his career. Working with a decent script, Price plays perfectly Robur, an idealistic and madly brilliant conqueror, giving the viewer a perfect portrait of deeply-concealed rage and good-intention masked with vitriol and salted with madness. The character of Robur is somewhat metamorphic, and Price conforms to the part on demand. Demonic, honorable, diabolical, repetent -- Price shows all sides of Robur in perfect color.

Fans of Vincent Price and Jules Verne will love this film, and I would highly recommend it to them. Everyone else, however, might consider watching this one only if the oppurtunity presents itself on a lazy Sunday afternoon.

Its no "20,000 Leagues Under The Sea........................
This movie is awful. The only good thing about it is Vincent Price, but even with his masterful presence the movie sinks well before the actual airship does. Jules Verne must have run out of ideas by the time he wrote this, simply because it borrows heavily from 20,000 Leagues (minus the good stuff, I might add). Charles Bronson is at his worst here delivering such an emotionless performance. How he ever became a star with this on his record is beyond me. How did these people keep a straight face while filming this waste of talent? The special effects hurt the film very badly, to. The airship is such a ridiculous looking machine that you can never get past gawking at it so that you can even try to take the film seriously! Avoid this movie at all costs, or suffer the fate of the Albatross crew you will!!!!!!!!!!!

Honestly, this film gets no stars at all.

Solid Jules Verne Adventure
Vincent Price brings dignity and class to the role of the "mad" idealist Robur, the Conquerer, would-be MASTER of the WORLD. From his airborne 19th century wonder-warship, The Albatross, Robur intends to rid the world of war by literally destroying all armies of any nation that refuses to comply with his demand for total disamament. Viewers of "20,000 Leagues Under the Sea" will recognize similarities in plot and even in the role of Robur to the more renowned Captain Nemo. Charles Bronson plays government agent Strock whose job it is to bring Robur and his warship-for-peace down. There really is no comparison between the Walt Disney epic and this film other than theme. Disney produced a masterpiece. This is, nonetheless, a good solid Jules Verne action sci-fi/adventure with reputable special effects which permit Vincent Price to essay a role that is favorably comparable to James Mason's driven commander of The Nautilus. In my estimate, "Master of the World" is good viewing for just about anyone who has not yet been jaded by the modern FX men. For families, it is a very good piece of entertainment that does not devolve into a mindless display of violence and pyrotechnics. It's a good flick, and Price's role as anti-hero Robur is worth watching... ... Read more

Amazon.com

The moment Village of the Giants opens, with sensual shots of slow-motion frugging, we know we've happened upon some Bad Teens. In search of kicks, the Bad Teens head into the village of Hainesville, populated by Good Teens, most of whom seem to be in their early 30s. The fun begins when a lovable tyke named Genius (an 11-year-old Ron Howard, by far the most assured actor in the cast) whips up some "goo," which makes anything that eats it grow really big and develop a rakish disregard for scale. Soon these wild Bad Teens, led by a deeply embarrassed Beau Bridges and wearing their rebellious cardigans and Sansabelt pants, get their hands on the stuff. They take over the town and celebrate with some giant slow-motion dancing, complete with lots and lots of footage of giant slow-motion cleavage to make sure we've taken in the full horror of the situation. There is not one disappointing moment in this entire movie: Just when you think it can't possibly get any more ludicrous, it comes through and surprises you with a giant spider in the basement or a plan to distract the teens with yet more sexy dancing. Absolutely not to be missed. --Ali Davis ... Read more

Reviews (21)

Excellent Camp/Features Vintage Beau Brummels
I first saw this great campy film 20 years ago on TV and its got a great mixture of INTENTIONAL camp, the beginnings of a pre-hippy teen rebelliousness (1965), and some great music from Beau Brummels. The key to this film is not to take it seriously...the cast and crew didn't. "Genius" (Ron Howard) invents "GOO", a substance that turns rebel teens into giants who take over a village and the only hope is for Genius to find an antedote. He does just in time and it all works out in the end. But not before we get some giant ducks dancing to BBs live perfomance of "Woman" and other great pre-psychedelic background music. It's a trippy comedy of it's era. You can trash it, but then you miss the point.
Also don't miss those ...giant teen girls; when they grow their bikinis pop off. And when they shrink their clothes are not quite as big as you'd think.

Village Idiots
Film notable for featuring a pre-teen Ron Howard (at the height of his "Opie" fame)and a young adult Beau Bridges (son of Lloyed, older brother of Jeff, THE FABULOUS BAKER BOYS). Howard as "Genius" (a child-scientific-chemistry-wiz)develops a potion to make humans and animals grow to titanic proportions. A bunch of delinquent teens (headed by Bridges) get a hold of the "Food of the Gods" (the H.G. Wells story upon which it is based) and terrorize the town. It is up to the local "good teens" (headed by Tommy Kirk of Disney fame: i.e. OLD YELLER, THE SHAGGY DOG) to stop them. The plot is basically very sophomoric with some social commentary of delinquent teens of the period, mixing the mentality and look of the "beach party" movies with very light sci-fi. The only thing missing is Frankie, Annette and Eric Von Zipper. The cheesy special effects fits the mentality of the film. One aspect of this are the giant animals superimposed on the screen with the human counterparts and a hilarious sequence in which Beau Bridges giant legs are being attacked by various characters: it looks totally fake and unrealistic. The film is fairly entertaining and their is a provacative sequence after the "delinquent teens" take the potion. As they grow, their clothes don't grow along with them (at least the filmakers showed some plausibility and logic in the film). Then they make some "revealing" makeshift clothing, and before they terrorize the town, they "go-go" dance in front of everyone. Overall, a brainless and harmless film with some some future stars in the cast. Note: Look for actress Joy Harmon in the cast as one of the delinquent teens. She was in the famous car-washing sequence in COOL HAND LUKE. Also, look for actor Johnny Crawford in the cast as one of the good teens. He was in tv's THE MICKEY MOUSE CLUB, THE RIFLEMAN and cult film, THE GREAT TEXAS DYNAMITE CHASE.

it took a village to raise these damn idiots
Beau Bridges leads a less than all-star cast of misfits in this flick that mixes H.G. Welles's "Food of the Gods" with the AIP bikini-beach movies. When Bridges and company (a group of like-minded delinquents) get into a fender-bender outside the mythical town of Haynesville, they decide to head in and party. These aren't the sort of kids to let a smashed car get between them and fun. Unbeknownst to them, a young kid named "Genius" and played by an Opie-era Ron Howard, toils away in his lab (beakers, Bunsen burners and all) on whatever young geniuses toil on, and accicentally creates the mysterious "goo". Whatever eats the goo grows to forced-perspective style gigantic size. (They test the stuff out on a couple of giant geese which promptly become the main course at a town BBQ; faster than you can say "shouldn't we test this stuff on laboratory convicts, Haynesville are munching on mutated foie gras.) Realizing the possibilities of the goo, Bridges and Co. steal the goo. Running out of ideas, they eat the goo and become the giants of the title - swelling out of their clothes in a scene that has become the stuff of MST3K. Exerting their will on the town, Bridges's gang enslave those who live there - forcing the diminutive population into serving them tons of fried chicken and cola. It's up to Genius and Tommy Kirk (who plays the guy putting the moves on Genius's big sister) to save the day. Will he succeed and cut Bridges down to size, or will Haynesville remain beholden to a gang of 90-foot teenagers in home made bikinis (made out of theater curtains?

Okay, you're thinking - who cares? As 60's fun, "Village" has less entertainment than say "Ghost in the Invisible Bikini" but doesn't go out for easy laughs. Most of the time you'll be watching the screen thinking "no way!" It's a thin flick with some re-play value (watching the younger Beau Bridges act horribly; watching Ron Howard in the script's least important role, knowing the bigger and better things he went onto) but would have done better with the Harvey Lembeck treatment. Also, watch out for a fiery-haired dancer played by Toni Basil of "Oh Micky" fame, and Joy Harmon, the car-wash girl from "Cool Hand Luke", as a fellow giant who thought she was big enough to begin with.

The DVD transfer isn't anything special - let's face it, this isn't the flick you got a DVD player for. There are no extras (this flick wasn't made with a "making of" documentary in mind) but the menu hearkens back to the go-go '60s and highlights that this is a fun light flick.

Hokey,silly film,but still fun to watch!
If you like bad movies with cheap effects and a poorly written script and plus,like to see what Ron Howard did after The Andy Griffith Show(as well as Beau Bridges;among others),then by all means check this out!! If you'd like to see what MST3K did to this,then find someone that may have a copy..Either way,you'll laugh!! Recommended....

Giant teenagers flex their muscles
Don't let the reviews scare you away: this isn't just a movie about jiggling girls. There's a lot of beefcake for the guys to look at, too.

Good teenager Tommy Kirk, recently outed and evidently taking any role, no matter how feeble, is the putative star, trying to stop a group of evil teenagers from running rampant in his small fifties town. His job is made harder when they ingest something called "goo" that makes them grow to giant size.

Now comes the part of the movie that everyone fast-forwards to: the evil teens are naked at first and then they wear makeshift togas, the boys displaying beautiful, athletic bodies, as they dance in slow motion in the town square. The female teenagers are all but ignored as director Bert I. Gordon (who had a keen eye for beefcake) lingers on the gorgeous Beau Bridges and Tim Rooney (Mickey's son), who is not quite as gorgeous but makes you wish he had appeared in more movies (or at least a centerfold or two).

The boy on the giant breast that everyone keeps mentioning is teen idol Johnny Crawford, recently graduated from "The Rifleman" and soon to display a magnificent physique of his own in "The Naked Ape"; but he's not dancing or being hugged, he's attempting to destroy the giants by catapulting at them with the antidote to the "goo."

The writers should have created a more logical, suspenseful plotline, or else they should have eliminated all pretense at a story and just had Beau Bridges, Tim Rooney, Johnny Crawford, and Tommy Kirk pose in swimsuits for 90 minutes. But it's worthwhile reminding ourselves that directors were making movies for guys long before "Risky Business." ... Read more

Reviews (12)

Behind every successful husband there is a powerful witch...
"Burn, Witch, Burn" has the virtue of a very nice script by two of the best writers from television's "The Twilight Zone," Charles Beaumont and Richard Matheson. Of course, they were working from Fritz Lieber's novel "Conjure Wife," so they had good material with which to start. The basic premise here is that ALL women are witches and all men are too stupid to notice. Sociology Professor Norman Taylor (Peter Wynegarde) discovers his success is due to the magic of his wife, Tansey (Janet Blair), and insists she abandon this superstitious nonsense. However, this is a mondo mistake as poor Norman ends up being cursed by a circle of faculty wives who seen a nice opportunity to advance their own hubbies. To save her husband Tansey sacrifices her own life at which point Norman, now a true believer attempts to raise her from the dead. The direction of this minor horror classic is certainly competent, although the two leads could have been better cast, but the script is what shines through in the end, especially with the memorable one-two punch at the end. Off the top of my head its hard to think of a better movie about witches. Final Notes: This film was released in England as "Night of the Eagle." An earlier adaptation of Lieber's novel, "Weird Woman," was produced by Universal in 1944.

Truly a Horror Classic!
Despite the lurid title, "Burn, Witch, Burn" is a very scary, well-made movie. Taken from the Fritz Leiber classic, "Conjure Wife" this film version is somewhat different from the book. Janet Blair is chillingly maniacal as a modern day witch, and has so much hidden malignancy it shocks you. There are incredible special effects, especially considering the time when this movie was made. I won't spoil it for you but watch the gargoyles...carefully! Modern day witchcraft in a university setting, replete with professional rivalries, jealousies and secret, vengeful spells...if you enjoy witchcraft, excellent effects, atmospheric settings, wonderful performances and a great story, then this is for you! Filmed in black and white for an even more ominous feel...very Edgar Allen Poe. A cinematic "tarn." Enjoy!

BURNING LOVE
It's interesting to see the comparison of this 1962 gem with the 1957 "Curse of the Demon." While I favor "Curse" a little more, this tale of modern witchcraft still maintains it's eerie, if slowly paced, atmosphere of impending doom. Since the plot has been so expertly detailed in other reviews, I might add that the film works mainly from the intensely atmospheric camerawork and direction by Sidney Havers. Peter Wyngarde, a masculine though not particularly handsome fellow, oozes masculine domination in his well-balanced performance. Margaret Johnston as the limping professor and fellow witch, is reminiscent of young Angela Lansbury, and her delight in her evil is a joy to watch. And one can forgive Janet Blair if she did seem a little out of kilter for the leading role. Blair up to to this point had been known for more lightweight and romantic roles; her performance doesn't helm the film, but neither does it detract from it. The final scene involving the huge bird is still frightening.
I agree---it should join other classics in DVD.

There's more to these ladies than bouffants......
The 1962 supernatural thriller "Burn Witch Burn" has such a great reputation, that when watching this flick for the first time some may well be disappointed. After viewing this film initially, my reaction was "What's all the fuss?" After repeated viewings, I now appreciate this atmospheric brood fest.

I like the British locale of a small university, replete with ivy-covered walls, book-lined offices and shaded courtyards. I also love the sea-side cottage with yawning cliffs, abandoned graveyards and crashing waves. These sets are utilized for chief affect, and the actors earnest performances certainly give the film a respectable ambiance. A simple, if rather silly story, "Burn Witch Burn" details a young professor (Peter Wyngarde) who appears to be rising quickly within the collegiate hierarchy. We soon discover his wife is a full-fledged witch, casting spells to insure her husband's success. When the befuddled professor forces his wife to burn the unearthly trinkets, bad luck befalls them and someone, of course, has to pay. Throw into this occult mix the wife of a rival professor, boiling a few pots of her own ghostly herbs.

It's oddly, if not entertainingly, surreal to see these pseudo Donna Reeds adorned in perfect bouffants, eyes wide with anger, casting spells in order to guarantee the safety/success of their professional husbands. Margaret Johnston, as the rival witch, is especially hilarious as she waxes evil over a small voodoo doll through gritted teeth.

These are some disturbed ladies, and the men of "Burn Witch Burn" are helpless to change the growing tide of events. And that's probably what makes this unique British horror film so interesting. It's the games being played by seemingly innocent women behind closed doors. They are not powerless, but in fact, have complete control over not only their men's professional, but eventually their spiritual lives. Written by Richard Matheson and Charles Beaumont, two of the finest supernatural writers of this era (they both cut their teeth writing original "Twilight Zone" episodes), "Burn Witch Burn" is aided by some great dialogue and the crisp direction of Sidney Hayers.

How much one fears witchcraft will determine just how frightening this film is. For 1962 audiences, my guess is this film gave them the creeps. Witchcraft had really not been dealt with in a modern setting like this before. For today's audiences? Well, there's something oddly erotic about seeing frenzied Donna Reed look-a-likes weaving dark magic behind ominously closed doors.

CLASSIC OF THE GENRE.
Despite the stupefying title, this is a keenly observed exploration of contemporary witchcraft. It's set on a college campus where the faculty wives know a lot more about the petty academic turf wars than their allegedly smarter husbands. Professor Norman Taylor (Peter Wyngarde) is in line for a big promotion. His wife, Tansy (Janet Blair) is sure her husband's charms and spells are responsible. The costumes, acting style, and attitudes are a cinematic primer on late fifties sexual conflicts and idenities. Stereotypes of male rationality and feminine intuition are sharpened to wicked points. In manner, dress, look, and bearing, Wyngarde is presented as a thoroughly - ah - masculine character. Although the conflicts are a bit slow to develop, the story becomes really involving half way through - and it maintains the suspence until the terrific ending. ... Read more

Reviews (11)

"This is another fine mess you've gotten me into!"
Vincent Price and Peter Lorre were the Laurel & Hardy of horror films. Their by-play in this film and in THE RAVEN and TALES OF TERROR is priceless (sorry). And when you add Boris Karloff to the mix, you suddenly have Moe, Larry and Curly, with Basil Rathbone more-than-ably filling in the Vernon Dent/Bud Jamison role.

Why all this comedy name-dropping? Simply to underscore the fact that this is a classic comedy. "Why did I ever escape from prison?" mourns Lorre when forced into another murderous midnight recruitment venture for their undertaking establishment. "It was so nice and peaceful!" And watch Vincent's face as he suddenly wipes off his hands when giving Lorre a leg-up, growling, "What DID you step in? Wipe your feet, for pity's sake!"

Watch Boris' graphic maunderings about Egyptian mummification processes ("they yank out the brain with a hook!") at the dinner table and the excellent, underrated Joyce Jameson's grossed-out reactions. Watch Basil's oh-so-superior sneers as he threatens to evict Vincent & Co. in orotund dialogue worthy of a Snidely Whiplash meller-drammer. Watch the dead Rathbone return to life again. . .and again . . .and again . . . and again . . .and again, with Vincent's facial reactions getting broader each time. Watch Lorre carry on with the shapely Jameson as the romantic lead (that alone is worth the price of admission!)

The film's comic premise is richly endowed with black humor, put-downs, slapstick, a frenetic, prolonged chase, and a first-rate cast that makes the most of every line, pratfall and bit of business ("time for your medicine, old man!") Watch and enjoy.

"What Place Is This?"
This is a hilarious movie! I love it. Vincent Price plays an undertaker, as he has taken over his father-in-law's business. Peter Lorre plays his assistant, Boris Karloff plays the hard of hearing father-in-law, & Basil Rathbone wants the rent money. And of course there is Rhubarb (the cat) playing the role of Cleopatra! Oh, & you may want to wear ear plugs during the singing! Yikes! And just when you think everyone is dead, well you thought wrong! You have to see it to know what I'm getting at.

Brrrrr!
This movie is a great.
Vincent Price, Peter Lorre, Boris KArloff, and last but not least, BASIL RATHBONE star in this hilarious black comedy about two aspiring undertakers who are having trouble getting customers, so they kill people just so they can give them a funeral. This movie had me laughin so hard I was crying, especially the part where Basil Rathbone chases Peter Lorre out of his house, quoting lines from Macbeth all the while. And who could forget the utter disgust on Vincent Price's face as he cries in absolute horror "What did you STEP in?!?"Absolutely hilarious.

Classic Video Fun!
This is a great movie if you like to see the classic horror stars letting their hair down.
There's nothing serious in this film but the fun.
Vincent Price and Peter Lorre are the center of attention with Boris Karloff and Basil Rathbone playing the comedy role you never expected to see.
The sets are 1960's B movie stuff, but it just adds to the atmosphere.
If you're looking for something entertaining to watch on movie night this is one to put in the lineup.
I got this and "The Raven" at the same time. Both are funny!

Drunk again, huh?
I LOVE this film!! Vincent Price is just hysterical as the undertaker who needs to drum up some business, Peter Lorre is great as the assistant, Basil Rathbone is the landlord who wants his year's rent, and Boris Karloff just can't hear a thing. "What? Sugar?? There ya go!" Basil just keeps on coming back to life, quoting from "Hamlet" as he goes along, and Peter Lorre laments about his dear Annabel. Joyce Jamison is Annabel, who is Felix Gillie's love interest. Annabel is married to Waldo (Vincent Price) and Boris Karloff is her father. The funeral speech by Karloff is just priceless. Needless to say, as soon as Rathbone's character is buried we hear: "What place is this??" Great. If you haven't seen this movie yet, YOU HAVE TO!! And I agree with the comment: "Where is the DVD??" Get with it MGM, we still need this one and The Raven, and The Tomb of Ligeia....I have to finish my Vincent Price DVD collection! ... Read more

Reviews (37)

Lavish Gothic horror`
This was the first film that Roger Corman made, when he hit upon the idea of adapting the Edgar Allen Poe classics, and it's the best one. Apparently, it was a huge success when first released, and it still retains much of it's power. Vincent Price plays the tormented Roderick Usher, last in the line of a cursed family living in a crumbling mansion. An outsider comes with the intention of marrying his sister, and soon the horrible truth is revealed. Much of the film looks beautiful, colours are deep and lavish, and the set of the house is suitably creepy, with ghoulish portraits of all the hideous Usher ancestors lining the walls. The cast is small, and Price chews his way through his part as ever, with many flowery speeches and gestures, but the film still delivers, especially in the spectacular fiery climax. Obviously, they aren't making them like this any more, and it all looks a bit dated, but as an example of 60's costume horror, it looks great.

classic VINCENT PRICE at its best
Vincent price is the "Lord of Horror" according to me. The Fall of the House of Usher is a classic horror movie that is very enjoyable. A great story, just great.

The story is based on an Edgar Alan Poe story. Roger Corman, the director, was the first to bring Poe poem to the silver screen; and here it is!

The story pulls you into it and you get a real feeling for the characters. The acting is what it is for that time period; enough said. This is a classic horror film! GET IT AND LOVE IT

"I heard her first feeble movements in the coffin..."
Director Roger Corman and AIP had great success relating the tales of Edgar Allan Poe to the screen, and it all started here with The Fall of the House of Usher (1960). While not always exactly faithful to the source material (how many are?), the films sure are fun to watch.

House of Usher stars Vincent Price as Roderick Usher, Myrna Fahey (who once dated Joe DiMaggio and received a death threat because a deranged fan couldn't stand to see DiMaggio with anyone other than Marilyn Monroe) as his sister Madeline Usher, Mark Damon as her fiancé Philip Winthrop, and Harry Ellerbe as Bristol, the butler. Scripted by famed horror/fantasy/sci-fi writer Richard Matheson, who also worked on the later Corman/Poe/AIP films like Pit and the Pendulum (1961), Tales of Terror (1962), and The Raven (1963), The Fall of the House of Usher marked new ground for AIP and Corman. Previously, the studio was content in putting out two black and white films at the same time for minimal cost, Corman convinced the studio heads to take the money to make two of those films and let him use it to make one film in color, and the result, this film, turned out to be a huge box office draw in 1960.

Anyway, the film starts off with Philip riding up to a massive, dark, and as we find out later, crumbly house of Usher. The grounds around the house show no signs of life, but only death and decay. The house actually looks a lot like the creepy house you always see that the beginning of those old Scooby Doo cartoons. Seems he's come to see about his fiancée Madeline, as they had met in Boston where they both lived, and she has since returned home. This is when we meet Roderick Usher, a handsome, yet odd sort of fellow, who we learn has a painfully acute sensitivity of all the senses, preferring the dimmest of light, the blandest of food, the softest of clothing, the mildest of odor, and the quietest of sounds. We also learn, from Roderick, that Madeline is sick, and no one is allowed to see her. Philip, not understanding what's going on, refuses to leave until he can see Madeline, and Roderick finally acquiesces. She seems all right, but later we learn what the sickness is...one, not so much of body, but of a madness supposedly passed down through the Usher lineage. You see, the house and the grounds were once fertile, and full of life, but evil overtook the Usher line, displayed in the many crimes perpetrated by the various ancestors, poisoning the family and the estate, or so says Roderick. The presence of malignance is so oppressive, it's causing the centuries old house to crumble under its' own weight. I personally think it's due to lack of upkeep, but what do I know? Anyway, Philip pushes to take Madeline away from the house, but Roderick is intent on keeping her there until such time as she and he pass, effectively ending the Usher family line. His fear is that she should leave and procreate, extending the evil that has survived so long. The question of evil and its' ability to be passed down is brought up, along with the idea of evil being not so much limited to an abstract idea but a real, almost tangible quality that infects and destroys people and objects. Where does evil live? In the mind? The soul? Can it be transferred? Can a place, with a history of evil acts performed within, actually become so seeped in evil that it becomes evil itself?

Well, soon Madeline suffers a heart attack and passes, due to all the excitement that Philip has brought, so says Roderick. Madeline is put into the family crypt in the basement (that's convenient), but is she really dead? Maybe not...seems there's a history of narcolepsy, a disorder characterized by sudden and uncontrollable, though often brief, attacks of deep sleep, sometimes accompanied by paralysis and hallucinations and would sometimes make the sufferer to appear dead, in the Usher family. Did Madeline suffer from such a malady? If so, then I'd hate to be her when she wakes....

The film moves along nicely, except for maybe the dream sequence. Corman always seemed to like throwing in crazy dream sequences in his Poe productions, and sometimes they helped add to the film, sometimes they sort of ground the proceedings to a halt, in my opinion. Never being really a big fan of the cinematic dream sequence anyway, this one, at least, was short. Price and his costars all do a wonderful job, and I especially liked Fahey near the end. Price seems to envelope the role of Roderick Usher, fitting into character perfectly. If I ever read the actual Poe story, I know I'll always have a picture in my mind of Price as Roderick. What an interesting visage she provides...very scary, even for the hardened horror fan. The music, by the accomplished composer Les Baxter, really complements the visuals in creepy fashion, filling out the overall effect provided by really excellent sets.

The wide screen print here looks really good, but there are occasions where speckling and print damage were noticeable. It's very slight, and did little to lessen my enjoyment of the film. Special features include a theatrical trailer for the film, and a separate commentary track by Corman himself. I have to say, I think this is not only one of the best Corman/Poe films of the eight that were made, but one of Corman's best films period.

Cookieman108

THE FALL OF ACTING COMPARED TO NOW!!!!
The story and plot was great!!! It had great storyline and the actual story was marvelous. There were some bad parts to this movie even so. I think the acting was just ok, partly because it was made over 60 years ago. Some of the special effects and props looked so fake. The best part to this movie was the part when Madeline goes mad and comes out of her coffin. SHe has bloody hands and drips a trail of blood up to her brother's bedroom. I like all teh blood on the doorknob. The music also added to the suspense. All in all it was great!!

TAINTED BLOOD......
The first of Roger Corman's Poe cycle films is probably the most simple. A cast of four and a spooky old house are the characters. The house being a malignant symbol of the evil and depravity lived in it by the Usher family. Roderick Usher (Vincent Price) and his sister Madeline (Myrna Fahey) are the sole surviving members attended to by the long suffering family servant Bristol (Harry Ellerbe). Roderick, pale, clean shaven and with white hair, is hypersensitive to light, sound, touch and taste. He is convinced that he and Madeline suffer the curse of the Ushers---incipient madness. When Madeline's fiance Philip (Mark Damon) comes for her to marry her, Roderick forbids Madeline to leave. He doesn't want their tainted blood to continue. Philip refuses to believe Roderick's morbid stories and refuses to leave without Madeline. But he notices that the house is crumbling, cracking and shaking as if it wants to fall apart---as if the house itself is tired of bearing the curse. Then Madeline suffers a cataleptic stroke and falls into a coma, causing Roderick to declare her dead and bury her in the family crypt. But things are not as they seem and soon Madeline's screams can be heard throughout the house. Then things REALLY hum. "House of Usher" is low budget but Corman does wonders with minimilism. The use of red, normally a vibrant color, is used here to depict morbidity and death. Red candles, red furniture upholstery, Madeline's blood red dinner gown, Roderick's jackets and Madeline's own blood---all vividly captured amid the dark gloom of the house. Price gives another of his patented eccentric performances but who else could deliver lines based on Poe so well? Richard Matheson's script is efficient and literate leaving little room for open ends. Damon and Fahey are well suited as the lovers if a little inexperienced next to Price. And Les Baxter's score is moody and spooky. For 80 minutes, this is a pretty tight little film. Certainly one of the better horror films ever made. If you're a fan of the Price/Corman/Poe films this is the first and a collector's item. ... Read more

Reviews (14)

Vincent Price and Roger Corman take a try at Lovecraft
"The Haunted Palace" is arguably the best adaptation of an H. P. Lovecraft story, but since this is an American International production directed by Roger Corman, the name above the title is Edgar Allan Poe. The Lovecraft story is "The Case of Charles Dexter Ward" and deals with the resurrection of the dead through sorcery. In the town of Arkham the wizard Joseph Curwen was burnt at the stake, but not before he curses the villagers (and their descendants) and promises to rise from the dead. Ward is Curwen's descendant and Vincent Price plays both roles. Ward arrives with his beautiful wife Ann (Debra Paget) to take over the family castle, which comes complete with a caretaker (Lon Chaney, Jr.). Ward notices his resemblance to Curwen's portrait, and soon the dead wizard takes over his descendant's body with the goal of breeding human women with the Elder Gods.

To be fair, Corman resisted the "Poe" credit. The final irony is that "The Haunted Palace" lacks the pace and flamboyancy of AI's Poe films, even with Corman and Price on hand for the fun. The above average script here is by Charles Beaumont and Ronald Stein's musical score is one of the better ones to grace a B-grade horror movie, but as you might expect Price's performance is the lynchpin to the entire film. Still, Corman puts his mark upon the film with the rather downbeat ending. All in all, "The Haunted Palace" stands up in comparison to the more recognizable Poe films.

The best screen adaptation of H.P. Lovecraft's work
"The Haunted Palace" is arguably the best adaptation of an H. P. Lovecraft story, but since this is an American International production directed by Roger Corman, the name above the title is Edgar Allan Poe. The Lovecraft story is "The Case of Charles Dexter Ward" and deals with the resurrection of the dead through sorcery. In the town of Arkham the wizard Joseph Curwen was burnt at the stake, but not before he curses the villagers (and their descendants) and promises to rise from the dead. Ward is Curwen's descendant and Vincent Price plays both roles. Ward arrives with his beautiful wife Ann (Debra Paget) to take over the family castle, which comes complete with a caretaker (Lon Chaney, Jr.). Ward notices his resemblance to Curwen's portrait, and soon the dead wizard takes over his descendant's body with the goal of breeding human women with the Elder Gods.

To be fair, Corman resisted the "Poe" credit. The final irony is that "The Haunted Palace" lacks the pace and flamboyancy of AI's Poe films, even with Corman and Price on hand for the fun. The above average script here is by Charles Beaumont and Ronald Stein's musical score is one of the better ones to grace a B-grade horror movie, but as you might expect Price's performance is the lynchpin to the entire film. Still, Corman puts his mark upon the film with the rather downbeat ending. All in all, "The Haunted Palace" stands up in comparison to the more recognizable Poe films.

Moody Gothic Interpretation of H.P. Lovecraft Story
"The Haunted Palace", has always been my favourite of the A.I.P productions that marked a highly successful collaboration between Director/Producer Roger Corman and veteran Hollywood star Vincent Price. Often using the unique stories by Edgar Allan Poe as their basis here the story is actually an adaptation of H. P. Lovecraft's "The Case of Charles Dexter Ward". which involves scorcery, curses, and evil doings over many generations in a dammed town in New England. Corman, famed for producing his efforts with minimal expense and an abundance of reusable footage here has seemingly extended his range with a solid, atmospheric and highly polished version of the horror tale that is as always greatly aided by Vincent Prices' mastery of the suspense /horror genre. Here he plays a dual role of 18th Century warlock Joseph Curwen, burnt by angry villagers but not before laying a curse on them, and his great great grandson Charles Dexter Ward who claiming his inheritance unknowingly stumbles into the curse and suffers the consequences of it.

The story begins in the 18th century township of Arkham, where the town is bedevilled by strange occurences where the women of the town are being lured away at night to the mysterious castle owned by Joseph Curwen. Once there they are made part of Curwen's attempts to make contact with the greater gods that once ruled the earth and offer unlimited power to those who feed their needs. The outraged menfolk soon take matters into their own hands and Edgar Weeden (Leo Gordon), has a particular axe to grind with Curwen in that he has stolen his ladylove Hester and is using her as his assistant in his deadly rituals. The men storm the castle and drag Curwen outside and burn him as a warlock. Before dying however Joseph places a curse on the town, its inhabitants and its decendants. The story then jumps foward 110 years where we find Arkham an accursed place where the descendants of the original villagers lead a fearful cursed existence. Into this unsavory environment comes Charles Dexter Ward and his wife Ann (Debra Paget), who have come to Arkham unknowingly to claim the family inheritance. He is met by hostility by the fearful locals who see that Charles has an exact likeness to the still feared Great Great Grandfather Joeph. Warned about the evil that lurks in the castle Charles rebuffs these supersitions. The only townsperson who tries to help the couple is Dr. Willet (Frank Maxwell), who fills Charles and Ann in on the centuries old curse. At the Castle Charles finds an eerie portrait of his great great grandfather which has a strange feel to it and before long Joseph Curwen's spirit begins to invade Charles' body. He vows much to Ann's distress to stay in the Castle and makes the acquaintance of the centuries old caretaker of the castle Simon (Lon Chaney Jr.), who begins to help Charles/Joseph in his devilish practices. Charles now almost totally taken over by Joseph's spirit sets out on a campaign to wreak revenge on the ancestors of the towns people who burnt him at the stake. First Ezra Weeden in killed by a mutant creature he has been keeping locked up for years. In a struggle with the creature he is pushed into a fire to burn just as his ancestor burnt Joseph Curwen. Micah Smith (Elisa Cook Jr.), is next and suffers a horrific death when Charles pours petrol over him and sets him alight. The townsfolk decide once again to take matters into their own hands and invade the castle where Charles/Joseph has not only resurrected Hester but is planning to sacrifice Ann, to the demon Gods. In the resulting blaze Dr. Willet manages to get Ann and a suddenly freed Charles out of the blazing castle however the spirit of Joseph Curwen is still strong as in an eerie moment it appears Charles is actually still possessed by Curwen.

"The Haunted Palace", boasts an expensive look to it that belies the usual small budgeted productions associated with Roger Corman. Certainly the casting of many seasoned veterans helps tremendously to lift the standard of this production. After his triumph in the classic "House of Wax", Vincent Price enjoyed a highly profitable second career as a horror star and his work for AIP and Roger Corman cemeted his stardom in this field. Debra Paget, a regular in films throughout the 1950's had her last screen appearance in "The Haunted Palace", before retiring and here makes a beautiful and spirited herione. Veterans Lon Chaney Jr., Elisha Cook Jr. and especially Frank Maxwell lend their well seasoned talents to the scenerio and add great weight to the supporting characters. Rich in atmosphere the castle scenes, those in the eerie graveyard and the frightening scenes showing the mutated townsfolk give "The Haunted Palace", an "A" class feel to what is essentially a "B" horror effort it. On the technical side Ronald Stein produced one of his most effective musical scores here which works greatly to highlight the scenes of uncertainity and fear that arise after Charles' arrival in the town. Like in his earlier "The Fall of the House of Usher", Corman shows his expertise often with limited budgets in producing satisfying mist shrouded landscapes and musty suffocating interiors and thi sfilm boasts some of his best work in that area.

First and formost "The Haunted Palace", is a great vehicle for the often underestimated talents of the legendary Vincent Price who was expert at colouring his interpretations with equal doses of charm and menace. In the dual role of Charles/Joseph he delivers a terrific performance which switches from a gentlemanly presence to one of pure evil. It is him that makes this Corman production stand out as great horror entertainment If you like richly atmospheric horror tales based on interestign literary sources dont fail to catch Vincent Price up to all his old evil in Roger Corman's "The Haunted Palace".

Lovecraft's First Film Adaption is Decent
This is a decent adaption of H.P. Lovecraft and while generally regarded higher than most of them by critics it lacks the entertainment value of even something like Bleeders, even more so Unnamable, Castle Freak and Lurking Fear. There's not even any spice in another older film adaption like Dunwhich Horror. A straight forward gothic film that lacks the modern convieniences of gore and nudity. The more recent Resurrected based also on the same novel, The Case of Charles Dexter Ward, is a superior film version of this story. Recommended for diehard Lovecraft fans and diehard old school gothic film fans only.

the haunted palace
good solid vincent price vehicle with lon chaney jr too. no way you can go wrong with this combination! quite enjoyable with price doing what he does best. if you liked "house of wax", "fall of the house of usher", or "the pit and the pendulum", you'll like this. it's another 'man on the edge of madness' flick with an evil entity/monster too. have fun! ... Read more

Reviews (15)

Pure Kitsch
It's nice to see that Peter Fonda has redeemed himself in recent years ("Ulee's Gold", "The Limey", "The Passion of Ayn Rand" et al.), and even has a couple of Golden Globes and an Oscar Nomination to show for it. But he certainly wouldn't want to be remembered for this awful piece of drive-in drivel (although "Easy Rider" will probably be marked on his gravestone). I gave it three stars for kitsch value. Otherwise, it doesn't deserve any. This movie is bad, but in a very amusing way.

"The Wild Angels" is "Easy Rider" written by Fred Durst. The plot is pretty weak, juvenile, and has plenty of holes in it. The actions the characters make echo the song "Break Stuff"; at the beginning of the film, when Loser's (Bruce Dern) Boss ask Heavenly Blues (Fonda)if he's "one of those dumb angels", Blues replies snidely and restrains him needlessly. And the dialogue is mediocre and poorly executed.

If you're looking for compelling drama, look elsewhere. If you're looking to amuse yourself, then by all means take the plunge!

The original biker movie
I'm not a movie critic, I'm a motorcyclist. I have this film on video and watch it fairly often, along with Beyond The Law, Hells Angels on Wheels and Angels Hard As They Come (the most underrated of biker flicks). Fonda, Dern, Ladd, Buck Taylor and Norman Alden are great. Nancy Sinatra was terrible and totally miscast, if she' repudiating this movie it's due to her terrible acting. I can't see Micheal J. Pollard as a biker (but he was wonderful in Little Fauss and Big Halsy). The star of this movie is Fonda's chopper, to me, it's more beautiful, and subltly understated, than that ultimate movie chopper in Easy Rider, the Captain America Bike. This movie is really about Heavenly Blue's changing values as his friend Loner dies. Girlfriend Sinatra realizes the change that's come over him, "it's like a piece of you went with him". He reveiws his life and sees it empty, without purpose without his closest compadre The Loser, as in the final line "there's no where to go" as he stays to bury his friend while others flee The Man. They go on to continue the life of carousing and hell raising while Blues follows through on a duty to a friend, and to me symbolically buries himself, his up-to-then life, as well as his only friend.

Not just sexist, but racist.....
as exhibited by the comments and attacks on a group of Mexicans. Fonda is about as animated as a cigar-store Indian, Nancy Sinatra is woefully miscast, Diane Ladd is over the top and predictable. In fact, the best performance may be delivered by Bruce Dern.....as a corpse.

A Must Have for Any Biker Video Collection
"We want to be free to do what we want to do without being hassled by the man! And we want to get loaded!" "YEAH!"

What more can I possibly add?

Oh yeah. Theme music by Davie Allan.

People think Easy Rider was good but this movie defined the bikesploitation genre.

Disturbing, yet interesting
Oddly, though the characters in this movie are all dispicable individuals, in some ways, I could still find myself sympathizing with their rebellion against "the man". This movie definitely has more of a '70's feel to it than the '60's, and holds up well today.

I will admit, I did find the use of the swastikas and iron crosses to be offensive. But, I think such individuals in the '60's used them more to shock those who tried to control them, than as a support of what they truly represented...and to have realism, they had to be included.

One technical aspect to the movie...and two to the DVD on which I need to comment:

1. Did the movie always end so abruptly, with no closing credits or even a "The End" caption? Or is this poor editing?

As for the DVD...

2. The print from which this movie was taken was in terrible condition. At some points the picture is beautiful. But others show dirt, hair, and sprocket marks. Worst of all is a tear in the film, patched with tape, which is readily visible. This occurs in the scene in which Sinatra has just entered the door of the hospital, and the camera is panning over to the nurse's station.

3. There also seem to be some areas of the film which are out of focus. I primarily noticed this when Nancy and Peter are talking alone on the boat before leaving for the funeral.

All in all, this picture can be viewed more as a snapshot of an era than as pure entertainment. If taken as such, it proves somewhat interesting. ... Read more

Reviews (8)

Really great Bad Sci-Fi
This movie is an all-time classic. It is one of those movies that are so bad they hysterical. Watch for "The Prisoner" who is in a cage in the basement. He is the prototype for "Gromet" in the Wallace and Gromet movies - something never before discovered and a great trivia question.

SF camp classic looks terrific on DVD
Phantom Planet is a generally-overlooked but thoroughly enjoyable slice of early-60s SF cheese. Not really good enough to be a "good movie," not really bad enough to achieve Trash status; but I could watch this one every six months without getting tired of it. Dean Fredericks in the lead makes a