When aging medical hypnotist Dr. Marcus Monserrat and his wife Estelle decide they want to live beyond their years by mentally controlling the body of a younger specimen, they embroil twenty-something Mike Roscoe into their plans. But things start to go array when Estelle's experiments' take on a more murderous tone. Featuring horror legend Boris Karloff; and Ian Ogilvy (Witchfinder General), this second feature from critically acclaimed director Michael Reeves serves up a strange science fiction scare-fest, guaranteed to send creeps down the spine.
Kate (Emilia Clarke) harumphs around London, a bundle of bad decisions accompanied by the jangle of bells on her shoes, another irritating consequence from her job as an elf in a year-round Christmas shop. Tom (Henry Golding) seems too good to be true when he walks into her life and starts to see through so many of Kate's barriers. As London transforms into the most wonderful time of the year, nothing should work for these two. But sometimes, you gotta let the snow fall where it may, you gotta listen to your heart and you gotta have faith.
Commissioned by the October Revolution Jubilee Committee (Chairman Nikolai Podvolsky) for the tenth anniversary of the revolution Sergei Eisenstein's third major feature film ""October 1917"" is a marvelous reconstruction of the events from February leading up to the revolution and the Bolshevik's overthrow of the czarists and Kerensky's provisional government in 1917. True to the communist philosophy there were no main characters; the proletariat providing the 'heroic' star quality
The Sorcerers, the second film directed by the lost "wunderkind" of British cinema Michael Reeves, may not have the scope and visceral impact of his masterpiece, Witchfinder General (1968), but there's enough fierce originality here to show what a tragic loss it was when he died from a drugs overdose aged only 24. The film also shows the effective use he made of minimal resources, working here on a derisory budget of less than £50,000--of which £11,000 went to the film's sole "named" star, Boris Karloff. Karloff plays an elderly scientist living with his devoted wife in shabby poverty in London, dreaming of the brilliant breakthrough in hypnotic technique that will restore him to fame and fortune. Seeking a guinea-pig, he hits on Mike, a disaffected young man-about-town (Ian Ogilvy, who starred in all three of Reeves' films). But the technique has an unlooked-for side effect--not only can he and his wife make Mike do their bidding, they can vicariously experience everything that he feels. At which point, it turns out that the wife has urges and desires that her husband never suspected. Karloff, then almost at the end of his long career, brings a melancholy dignity to his role; but the revelation is the veteran actress Catherine Lacey as the seemingly sweet old lady, turning terrifyingly avid and venomous as she realises her power. The portrayal of Swinging London, with its mini-skirted dollybirds thronging nightclubs where the strongest stimulant seems to be Coke rather than coke, has an almost touching innocence, but Reeves invests it with a dream-like quality, extending it into scenes of violent death in labyrinthine dark alleys. By this stage, some ten years after it started, the British horror cycle was winding down in lazy self-parody. Reeves had the exceptional talent and vision to revive it, had he only lived. On the DVD: The Sorcerers DVD has original trailers for both this film and Witchfinder General (both woefully clumsy); filmographies for Reeves, Karloff and Ogilvy; an "image gallery" (a grab-bag of posters, stills and lobby cards); detailed written production notes by horror-movie expert Kim Newman; and an excellent 25-minute documentary on Reeves, "Blood Beast", dating from 1999. The transfer is letterboxed full-width, with acceptable sound. --Philip Kemp
Deranged scientist Gustav Niemann (Boris Karloff) escapes from prison and overtakes the director of a traveling chamber of horrors. Pulling the stake of a skeleton he revives the infamous Count Dracula (John Carradine) and commands him to kill the man responsible for his imprisonment. He then finds the frozen Frankenstein Monster (Glenn Strange) and the Wolf Man (Lon Chaney Jr.) buried under the ruins of the infamous Frankenstein laboratory. When he brings them back to life the Monster is uncontrollable and drags him to a watery grave.
The first British film ever to be labelled "horrific" (as well as being the first British horror with sound) The Ghoul is presented here for the first time in High Definition in a restoration from original film elements in its original aspect ratio. Starring Boris Karloff Cedric Hardwicke and Ralph Richardson this landmark film is a key title in any horror film collection. An eminent dying Egyptologist has purchased a precious stone stolen from an Egyptian tomb which he believes will appease the ancient gods after his death if they are buried together. When the stone is stolen from his tomb he returns as a ghoul – furious at the theft and hell-bent on wreaking revenge upon those responsible! Bonus Features: Feature commentary by horror experts Kim Newman and Stephen Jones Extensive image galleries Commemorative booklet by Stephen Jones
From Universal Pictures, home of the monsters since the era of silent movies, comes a second volume of Universal Classic Monsters: Icons of Horror Collection, showcasing four more of the most iconic monsters in motion picture history: The Mummy, The Bride of Frankenstein, Phantom of the Opera, and Creature from the Black Lagoon. Starring Boris Karloff, Elsa Lanchester and Claude Rains in the roles they made famous, these iconic films set new standards for horror with groundbreaking makeup, cinematography and special effects that have withstood the test of time. Product Features Feature Commentaries Mummy Dearest: A Horror Tradition Unearthed He Who Made Monsters: The Life & Art of Jack Pierce Unraveling the Legacy of THE MUMMY THE MUMMY archive 100 Years of Universal: Carl Laemmle Era The Bride of Frankenstein archive 100 Years of Universal: Restoring the Classics Creature Production Photographs 100 Years of Universal: The Lot The Opera Ghost: A Phantom Unmasked Phantom Production Photographs Trailer Galleries
Boris Karloff stars as the screen's most memorable monster in what many consider to be the greatest horror film ever made. Dr. Frankenstein (Colin Clive) dares to tamper with life and death by creating a human monster (Karloff) out of lifeless body parts. Its' director James Whale's adaptation of the Mary Shelley novel blended with Karloff's compassionate portrayal of a creature groping for identity that makes Frankenstein a masterpiece not only of the genre but for all time.
Based on the best-selling novel by Zane ADDICTED is a sexy and provocative thriller about desire and the dangers of indiscretion. Successful businesswoman Zoe Reynard (Sharon Leal; Dreamgirls) appears to have it all – the dream husband she loves (Boris Kodjoe; Resident Evil franchise) two wonderful children and a flourishing career. As perfect as everything appears from the outside Zoe is still drawn to temptations she cannot escape or resist. As she pursues a secretive life Zoe finds herself risking it all when she heads down a perilous path she may not survive. All starring Tyson Beckford.
When American student Stephen Reinhart (Nick Adams) arrives in the English village of Arkham to visit his fiancé Susan Witley (Suzan Farmer), he has no idea of the horrors awaiting within. Invited by Susan's mysteriously ill mother (Freda Jackson), Stephen is greeted acrimoniously by Susan's father, Nahum (Boris Karloff), who makes it clear this visit is an unwelcome intrusion to the ornately furnished halls of the Witley estate, for Nahum is hiding a dangerous secret. A meteorite has crash landed in the gardens, scorching the earth and emitting a mutating radiation that has transformed the greenhouse plants to pulsating giants, with horrifying and sickening side effects to the residents. Based on H.P Lovecraft's story 'The Colour Out of Space', Die, Monster Die! is a British horror contaminated with mystery, shock and gore.
The crowning triumph of a career cut tragically short, the final film from LARISA SHEPITKO (Wings) won the Golden Bear at the 1977 Berlin Film Festival and went on to be hailed as one of the finest works of late-Soviet cinema. In the darkest days of World War II, two partisans set out for supplies to sustain their beleaguered outfit, braving the blizzard-swept landscape of Nazi-occupied Belarus. When they fall into the hands of German forces and come face-to-face with death, each must choose between martyrdom and betrayal, in a spiritual ordeal that lifts the film's earthy drama to the plane of religious allegory. With stark, visceral cinematography that pits blinding white snow against pitch-black despair, The Ascent finds poetry and transcendence in the harrowing trials of war. Special Features: New 4K digital restoration, with uncompressed monaural soundtrack New selected-scene commentary featuring film scholar Daniel Bird New video introduction by Anton Klimov, son of director Larisa Shepitko and filmmaker Elem Klimov New interview with actor Lyudmila Polyakova The Homeland of Electricity, a 1967 short film by Shepitko Larisa, a 1980 short film tribute to his late wife by Klimov Two documentaries from 2012 about Shepitko's life, work, and relationship with Klimov Program from 1999 featuring an interview with Shepitko New English subtitle translation PLUS: An essay by poet Fanny Howe
Son Of Frankenstein (1939)
Boris Karloff and Bela Lugosi star in this macabre horror classic inspired by the works of Edgar Allan Poe. Dr. Richard Vollin (Lugosi) is a brilliant but unstable surgeon with a morbid obsession for instruments of torture. He saves the life of Jean Thatcher (Irene Ware) a beautiful young socialite injured in an automobile accident and becomes increasingly attracted to her. But the girl is frightened by his advances and complains to her father Judge Thatcher (Samuel S. Hinds) who tells Vollin to leave the girl alone. When escaped killer Edmund Bateman (Karloff) approaches the surgeon for a new face Vollin agrees only after convincing Bateman to assist him in his sinister plan of revenge. The doctor ultimately becomes the victim of his own wicked schemes when Bateman realizes Vollin has no intention of remaking his disfigured countenance in this elaborately produced shocker.
It appeared, at the end of the epochal 1931 horror movie Frankenstein, that the monster had perished in a burning windmill. But that was before the runaway success of the movie dictated a sequel. In Bride of Frankenstein, we see that the monster (once again played by Boris Karloff) survived the conflagration, as did his half-mad creator (Colin Clive). This remarkable sequel, universally considered superior to the original, reunites other key players from the first film: director James Whale (whose life would later be chronicled in Gods and Monsters) and, of course, the inimitable Dwight Frye, as Frankenstein's bent-over assistant. Whale brought campy humour to the project, yet Bride is also somehow haunting, due in part to Karloff's nuanced performance. The monster, on the loose in the European countryside, learns to talk and his encounter with a blind hermit is both comic and touching. (The episode was later spoofed in Mel Brooks's Young Frankenstein.) A prologue depicts the author of Frankenstein, Mary Shelley, being urged to produce a sequel by her husband Percy and Lord Byron. She's played by Elsa Lanchester, who reappears in the climactic scene as the man-made bride of the monster. Her lightning-bolt hair and reptilian movements put her into the horror-movie pantheon, despite being onscreen for only a few moments. But in many ways the film is stolen by Ernest Thesiger, as the fey Dr. Pretorious, who toasts the darker possibilities of science: "To a new world of gods and monsters!" --Robert Horton
Generally regarded to be the best - and most brutal - of the classic gangster films Scarface tells the story of orginised crime's pinch on the city of Chicago during prohibition. Paul Muni plays Tony Carmonte an ambitious hood with a Napoleonic urge to fight his way to number one gang boss. When the last of the old-style crime bosses is brutally slain down the finger is pointed at Tony and Johnny Loro a rival gangster. However Tony's desire to move up the ladder i
When his brother disappears Robert Manning (Mark Eden) pays a visit to the remote country house he was last heard from. Althought his host Squire Morley (Christopher Lee) is outwardly welcoming and his housekeeper’s beautiful niece Eve (Virginia Wetherell) is willing to fulfil his needs. Manning detects a feeling of menace in the air with the legend of Lavinia (Barbara Steele) the Black Witch of Greymarsh hanging over everything. Will the village’s renowned expert on witchcraft Professor John Marshe (Boris Karloff) be able to shed light on the wicked going-ons at Craxted Lodge?
A group of weary travelers, a spooky mansion, and a madman on the loose upstairs! Director James Whale's (Bride of Frankenstein, The Invisible Man) The Old Dark House is one of the best and most entertaining horror films of the 1930's. Dripping with atmosphere and packed to the brim with thrills, chills and gallows humor, it was considered lost for many years but is now being presented with a stunning new 4K restoration. Caught in a storm whilst journeying through a remote region of Wales, a group of travelers takes refuge in a sinister mansion inhabited by the bizarre Femm family and their mute butler, Morgan (played by the iconic Boris Karloff, Frankenstein, The Mummy). Trying to make the best of a bad situation, the group settles in for the night, but the Femm family have a few skeletons in their closet, and one of them is on the loose With an incredible cast, including Melvyn Douglas (Hud, Twilight's Last Gleaming), Gloria Stuart (Titanic) and Charles Laughton (Witness for the Prosecution, Ruggles of Red Gap), The Masters of Cinema Series is proud to present The Old Dark House in a special Dual Format edition, the first time the film has been available on Blu-ray in the UK. Features: Limited Edition O-Card (first pressing only) featuring artwork by Graham Humphreys created especially for the 2018 UK theatrical release Gorgeous 1080p presentation from the Cohen Media Group 4K restoration (with a progressive encoding on the DVD) Uncompressed LPCM audio (On the Blu-ray) Optional English subtitles An exclusive video essay by critic and filmmaker David Cairns Feature length audio commentary by critic & author Kim Newman and Stephen Jones Feature-length audio commentary by Gloria Stuart Feature length audio commentary by James Whale biographer James Curtis Daughter of Frankenstein: A Conversation with Sara Karloff Curtis Harrington Saves The Old Dark House - an archival interview with director Curtis Harrington about his efforts to save The Old Dark House at a time when it was considered a lost film Eureka! trailer for the 2018 theatrical release of The Old Dark House A collector's booklet featuring the new essay by critic Philip Kemp, as well as an abundant selection of archival imagery and ephemera.
Strike (1925): In 1922 Lenin also had said that ""...of all of the arts for us the cinema was the most important."" In 1924 the Proletkult offered Eisenstein then 26 years of age the job of directing the first of eight episodes in the film series 'Towards the Dictatorship'. This brilliant and complex re-creation of the development of a 1912 factory strike in Tsarist Russia and its savage destruction by agents provocateurs police and mounted troops was an ideal vehicle for the youthful Eisenstein to express his desire to reflect the dialectic of the Russian revolution in the most comprehensive of art forms. Eisenstein had been developing the Kuloshov's 'montage' effect in editing and in this his first film he uses it with tremendous skill to enhance symbolism and achieve highly charged emotional responses to the strength energy and heroism of the working classes and the tragic events depicted. Strike is a truly visual and technical masterpiece which is at times overwhelming in its powerful portrayal of these events in history. Strike was the only film ever made in the series and it changed the direction of the soviet cinema for many decades to come. Battleship Potemkin (1925): Planned by the Soviet Central Committee to coincide with the celebrations for the 20th anniversary of the unsuccessful 1905 Russian Revolution this film was developed by the 27 year-old Sergei Eisenstein from less than one page of script from a planned eight-part epic that was intended to chronicle a large number of revolutionary actions. Starting with the Potemkin's crew's refusal to eat maggot-infested meat the mutiny develops and their leader Vakulinchuk is shot by a senior officer. The officers are overthrown and when the Potemkin docks at Odessa crowds appear from all directions to take up the cause of the dead sailor and open rebellion ensues. What became the Czarist soldiers fire on the crowds thronging down the Odessa steps: the broad newsreel-like sequences being inter-cut with close-ups of harrowing details. Returning to sea the Potemkin's crew prepares the guns for action as the ship flying the flag of freedom steams to confront the squadron. When they finally meet theirs worst fears are allayed as with relief coupled with joy they are universally acclaimed. This film which was destined to become such an influential landmark in cinematographic history opened in Moscow in January 1926. It ran for only four weeks. October (1927): Commissioned by the October Revolution Jubilee Committee (Chairman Nikolai Podvolsky) for the tenth anniversary of the revolution Sergei Eisenstein's third major feature film ""October 1917"" is a marvelous reconstruction of the events from February leading up to the revolution and the Bolshevik's overthrow of the czarists and Kerensky's provisional government in 1917. True to the communist philosophy there were no main characters; the proletariat providing the 'heroic' star quality throughout. The ultimate victory belonging to the revolution. Eisenstein's skill and experimentation in using fast moving and rhythmic montage to produce telling metaphors and build and intensify sequences was not fully understood by the early Russian audiences; typical examples being the rapidly alternating images employed to create a machine-gun firing and the cross-cutting between power-hungry Kerensky and the statue of Napoleon. Outstanding for the period are the dynamic sequences illustrating the massacre in the vicinity of the St Petersburg bridges and the storming of the Winter Palace which feature a profusion of exciting cinematic techniques. Eisenstein's research was extremely thorough and he did not allow contemporary events to influence his production. The film's release was dela
Queen Latifah plays the speed demon driver of a tricked out New York taxi forced to team-up with undercover cop Jimmy Fallon, who's on the trail of some deadly Brazilian bank robbers.
Once Upon a Midnight Dreary... Although The Raven is one of Edgar Allan Poe's most famous poems the lack of a narrative hook initially stumped screenwriting legend Richard Matheson (I Am Legend The Incredible Shrinking Man Duel) until he realised that the idea of adapting the poem was so ridiculous that he might as well make it a comedy. And what a comedy! Vincent Price Peter Lorre and Boris Karloff play rival magicians whose paths cross when Dr Craven (Price) hears Dr Bedlo tap-tap-tapping on his windowpane. For Bedlo has been turned into a raven by Dr Scarabus (Karloff) and when transformed back into his old self he naturally vows revenge. But the scripted rivalry is as nothing compared to three great horror masters relentlessly upstaging each other - even a young Jack Nicholson as Bedlo's son barely gets a look-in. If there's not much authentic Poe in these sorcery shenanigans the sets and cinematography more than compensate: director Roger Corman was by then a master of conjuring Gothic atmosphere on a very modest budget. Special Features: High Definition Blu-ray (1080p) presentation of the feature transferred from original film elements by MGM Original uncompressed Mono PCM Audio Optional English subtitles for the deaf and hard of hearing Peter Lorre: The Double Face Harun Farocki's 1984 documentary subtitled in English for the first time Richard Matheson: Storyteller an interview with the legendary novelist and screenwriter Corman's Comedy of Poe an interview with Roger Corman about making The Raven The Trick a short film about rival magicians by Rob Green (The Bunker) Promotional Record Stills and Poster Gallery Original Theatrical Trailer Reversible sleeve featuring original and newly commissioned artwork by Vladimir Zimakov Collector's booklet featuring new writing by Vic Pratt and Rob Green illustrated with original stills and artwork
Please wait. Loading...
This site uses cookies.
More details in our privacy policy