Reviews (41)

Seminal post-mod UK thriller.
Mike Hodges' Get Carter is a bleak and bitter revenge thriller that has been little seen in the U.S since it's release in 1971. It's humourless tone and grim conclusion prevent it from being embraced by larger audiences, but for the more demanding viewer these are the very features that make it such a memorable delight. Michael Caine gives a solid performance as the title character Jack Carter, a London-based criminal out to seek revenge for the murder of his brother in Newcastle. The film should be applauded for not softening the Carter character in an attempt to make him more appetizing to the viewer. We may think Carter is cool but there is little here on display for us to ever mistake him for a hero.
Apart from it's startling realism, other memorable aspects of the film are composer Roy Budd's proto-Acid Jazz score and the flamboyant post-hippie threads sported by Caine and co. A film so good that you are almost willing to forgive Caine for the many terrible films he has appeared in since.
The disc contains some wonderfully dated theatrical trailers and an audio commentary from Caine, Hodges and the cinematographer.

Caine Has Never Been Better!
For those of you used to seeing Michael Caine from his films in the late 70s through the 90s, be prepared for a surprise. Even Caine has admitted he often chose his films only for the money. But Get Carter (1971) was before all that. Get Carter is the story of a hired killer's return from London to his hometown, a gritty town in England, to investigate and avenge the death of his brother. This is no travelogue; there are no picturesque views of jolly olde England/London in Get Carter. Much of the story was later virtually lifted by The Limey, another great film, in which Caine would also have been perfect. But here, unlike Terence Stamp in The Limey, Caine plays Carter as an ice cold, cruel, brutal ruthless sociopath. You root for Carter, but he doesn't make it easy. Caine has never acted better or looked cooler. Each of the smaller supporting parts are brilliantly played by unknown English charactor actors. The dialogue is dead-on, and the score, by Roy Budd, is unforgettable. Mike Hodges in his directorial debut, shows us the real underbelly of pornographers, hoods and small-time criminals in a gritty working class English town. Neither Hodges nor Caine were ever better. Get Carter is now being remade starring, of all people, Stallone, with Caine playing a bit part, and the setting changed to the USA. Skip it, and order a copy of Get Cater immediately, the day it's out on DVD.

Mike Hodges lean, mean anti-hero epic.
This is the film where young, cool-head cockney actor Michael Caine "made his bones" by mercilously breaking some. Jack Carter is Limey-Mafia enforcer out for vengeance in a grim noir film that cuts no slack on the so-called "glamour of evil". Not a single character in the fine ensmeble cast is spared "poena damni" as either a loser or(brutally killed)lost soul. This is Mike Hodges'(CROUPIER)existential epic about bottom-feeders of British low-life gangster demi-monde. The movie works because Caine is consummate,unapologetic anti-hero who takes us on his cheap sex; cheaper-drugs; rife with punk-thug violence,odyssey. His unholy grail is "'I the Jury!'" JUSTICE"...and its ultimate cost in his own dehumanization. Jack Carter's violent journey to oblivion is "proof" of poet Blake's dictum:THEY BECOME LIKE THAT WHICH THEY BEHOLD...YET AMAZING IN STENGTH or HOWLING IN DREAD AND PAIN.

Before PM amorality became fashionable, GET CARTER presented cinematic view-to-a-kill about how a brave man...who perhaps could have been honorable and heroic. Caine shows how easy it is to sell one's soul for a moment of what the world calls TRIUMPH. This isn't a pleasant movie to watch. But--unlike the bogus remake with Sly Stalone--Caine asks no sympathy for Jack Carter. With jolting portrayal of remorselessness in evil,he redeems a film "about an irredeemable man". Entertaining, no.Illuminating? Yes...(4 & 1/2 stars)

Get this
The grimmest, bleakest, and most often misquoted Caine film of the lot gets a look-in for its peerless use of locations as much as for its set pieces, although they are fantastic - Caine answering door naked with shotgun as drum majorettes march past, Caine making final delirious despatch with aid of seaside slag tipper, and of course the scene that's now forever to be known as "the out-of-shape bloke". Nowadays Old Maurice lives out his dotage on a cheeky chappie rough diamond reputation, but here's a good example of a man who's nothing but coal.

An overlooked classic
"Get Carter" is one of the original, and definitely one of the best, modern gangster films. There would be no "The Long Good Friday", "Lock, Stock & Two Smoking Barrels" or "Snatch" without this movie. Michael Caine as Jack Carter is the first bad guy in film history that you want to root for, but feel bad because he's such an evil person. The dialogue is razor-sharp, the sets and cinematography are as dreary as the Northern England location, and the last 30 minutes of the movie, especially the ending, will leave you with the need to stand in the sun for a long time. You'll understand why after you watch it. And, most importantly, AVOID THE REMAKE AT ALL COSTS! ... Read more

Reviews (123)

For Christopher Lee Fans And James Bond Enthusiasts Only
I was a fan of the James Bond films as a child and my interest in these films has recently returned to me. I don't believe "The Man With The Golden Gun" is the worst Bond film because this negative honor goes to either "Moonraker" or "A View To A Kill." I do feel, however, that it qualifies as the third worst one.

"The Man With The Golden Gun" has a lot of weaknesses. I don't know why Roger Moore was allowed to make seven Bond Films. Although Moore wasn't as weak as George Lazenby, he still comes across as being bland and mannequin-like. Timothy Dalton was a much more effective James Bond. If Dalton had been given better scripts and more time, he would have been nearly as effective as Sean Connery. Britt Ekland's Mary Goodnight rivals Tiffany ("Diamonds Are Forever") Case as the most ineffectual and irritating Bond woman. Maude Adams is more effective as Andrea Anders, the villain's long-suffering mistress, but this character is given too little screen time. A pre-"Fantasy Island" Herve Villechaize makes an awkward henchman. The return of Clifton James' J.W. Pepper character was also unnecessary.

The weaknesses of this movie also extend beyond the cast. An awesome car stunt is weakened by a poor sound effect. Tacky humor is woven throughout the entire film. The martial arts motif in part of the film also seemed out of place.

Christopher Lee is the saving grace of this film. If Lee weren't in this movie, I would have ranked it with "Moonraker" and "A View To A Kill." He is excellent as the egotistical and cruel Francisco Scaramanga. I am only sorry that the screenwriters didn't further develop this interesting character. Lee is one of the screen's greatest bad guys and can effectively play just about any villainous character. He is a much better actor and greater presence than Roger Moore. Lee's villain is more interesting than Moore's hero.

"The Man With The Golden Gun" is only for big Christopher Lee fans and those who feel that they need to see every James Bond film. A disappointment.

Good second Bond film for Moore
Roger Moore returns to the role of 007 in this excellent follow up to Live and Let Die. The film is certainly dependant on 007's evil counterpart, the hitman Francisco Scaramanga, played by Christopher Lee. He is the perfect match for Bond, which adds more excitement than any to the film. Bond finds himself racing to recover the Solex Agitator, which converts solar power to energy and has fallen into the hands of Scaramanga. There are very well done fight sequences and boat-car chases in hong kong and thailand. the redneck sherriff J.W. Pepper returns from Live and Let Die, but fails to provide the same humor as before. The film did try a little too hard to be funny like its preceding movie, thus it comes off a little cooky at some points. The Man with the Golden Gun Leads to an awesome climax in Scaramanga's island lair, where he and Bond face off in a "duel between titans", which also includes Scaramanga's servant Nick-Nack, a pint sized character who also tries to fool and beat Scaramanga in his deadly games of cat and mouse. With suspense, some humor, and exciting twists and turns, The Man with the Golden Gun is one Bond you won't want to miss!

Even Better Now in STEREO
THE MAN WITH THE GOLDEN GUN is the "cult" Bond movie to end all "cult" Bond movies. I don't think many people realize that this DVD or even the VHS tape of this movie is in STEREO sound. John Barry's score sounds fantastic. As for the film, it is pure fantasy yet pure "Bond" and very misunderstood.

Last but not Least of Ian Fleming's Bonds...
This Bond, shot at a time when youthful science-fiction hadn't yet turned into narrow "science-faction" remains dreamy, elegant, distant, stylish, subjective, outlandish, an intelligent and romantic island of fantasy... The scenes are a pleasure for the eye, and the gadgets are still mind-tickling, as we haven't yet reached that depraved era of pseudo-scientific vulgar objectivity (as in the latter Bond series, for example)... nor do we have a cop-Bond, as with Timothy Dalton... neither a little tough-guy with piercing eyes, as in the Brosnan series... This Bond remains somehow between the Connery and Lazenby/Moore episodes, in that it has definitively a lot of style and class, yet includes some (controlled, soft-spun) action, a reasonable panoply of gadgetry, and a fair amount of cold-blooded British humour. In the end, the gently out-of-time atmosphere appears to be almost as much James West as it is James Bond.

In this almost Hamiltonian eerie, James appears pretty adventurous and humorous, yet moral, distinguished, self-detached, while he faces a spooky sophisticated darker-self in the person of three-nippled Scaramanga (Christopher Lee, alias Dracula), in a movie where even the villains appear to be somehow more gentleman-minded than the heroes of the latter Bond series (where ugly realism alas only too often ends up stealing the show). There's also a plenty of great exotic and scenic shots in Thailand and the Far-East, which somehow propel you in a world of dreams and fantasy. I especially liked the oblique sunken Queen Mary decorum, which seemed almost surrealistic, and the villain's den artifact-decorum somehow reminded me of the Wild Wild West TV-series, starring Robert Conrad.

It is a commonly acknowledged opinion that Gentlemen Prefer Bonds such as Goldfinger, Dr No and Thunderball, but Golden Gun could, with all reasonable fairness, also be included in some of those early and memorable old Bonds (vintage Connery or Lazenby). Note that this was actually the last Bond to feature the (by-now cherished) Harry Saltzman - Albert Broccoli collaboration, and this is today quite heavily felt, as the then following Bonds somehow all lacked the elegant, essential, gentlemanly, romantic and quirky sparks of those early Bonds (and matters seem to be getting only worse, if not clearly out of hand) (James Bond as another victim of the modern-age?).

The Man With A Golden Gun was also the last Bond movie to be based on a true and authentic Ian Fleming novel. Well, maybe those die-hard Bond-movie-makers will one day (tomorrow? another day?) realize that the Fleming reservoir has been tapped unto the last droplet, instead of just killing time with more and more flawed episodes... Goodnight boys and girls (Britt Ekland was, by the way, one of the most memorable and gently-subtle Bond-girl), that was it for Ian Fleming's Bond... which was to be followed by the Hun's invasion of Vin Diesel and consort, fast, furious and brutal (to say the least)...

An Intensely Groovy Theatre of The Bizzare
Folks, listen to me: This is the best Bond movie ever made, and Roger Moore is the best Bond. You can argue, but chew on this, Admiral Skeptic: Name one movie that Sean Connery made that had a midget, a flying car, a giant laser, and Bond threatening to blow a man's genitals off with a rifle. That's right; there aren't any. Checkmate, Connery.

This film is a brilliantly surreal entry into the Bond series. It's a clear departure from Connery's films, where he had to stop the KGB from destroying the world. Moore is called in to stop an overpaid hitman and his midget from selling solar power to the UN (or something similar.) Adapted as I am for describing awesomeness, I can't begin to describe this film's grovvy factor, but I can tell you it's somewhere between ChocoTacos and regular tacos. ... Read more

Amazon.com

True-blue Agatha Christie fans know better than anyone that the creator of Miss Marple and Hercule Poirot did not always write crime-solving procedurals. Endless Night, published in 1968, is a perfect example of the moody, psychological thriller Christie sometimes explored, particularly in the late years of her career. This 1972 adaptation, scripted and directed by seasoned British filmmaker Sidney Gilliat, is indeed a strange duck: a compelling tale of small, unsettling phenomena and events, but with no defining mystery, no apparent crime to pull the details together--not until quite late in the story, that is. Hayley Mills and Hywel Bennett, partnered together in several films (The Family Way, Twisted Nerve) during the 1960s and '70s, play an American heiress and an underemployed London chauffeur who marry and move into a dream house designed for them by a world-class architect (Per Oscarsson). In short order, things begin to get mighty weird. A crazy old woman stomps around the couple's property, whispering ambiguous warnings. The bride's nuisance of a sister (Britt Ekland) moves in, and a handful of disapproving relatives keep popping up to belittle the hero. Where this is all leading is entirely unexpected--Christie and Gilliat really have us falling without a parachute for a while--yet it's exciting and tragic all at once. Nice performances all around, with special admiration for Oscarsson's role as the dying architect. --Tom Keogh ... Read more

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Typically categorized as a horror film, The Wicker Man is actually a serious and literate thriller about modern paganism, written by Anthony Shaffer (Sleuth) with a deft combination of cool subjectivity and escalating dread. (Robin Hardy here marks his only directorial effort.) We're introduced to the friendly but mysterious residents of Summerisle (located off the west coast of Scotland), where the isolated community enacts rituals that seem, at first, to be merely unconventional. When called in to investigate an anonymous tip about a missing child, mainland police sergeant Howie (Edward Woodward) is treated as an outsider, and the ominous Lord Summerisle (Christopher Lee) has the inside advantage. As the repressed policeman is taunted by the island's sensuous atmosphere, his investigation leads to increasingly disturbing implications.

With phallic symbols and soothing music at every turn, Summerisle is a pleasant haven for those who perform the pagan rituals of Lord Summerisle's maverick ancestors. These earthy ceremonies are presented with alluring authenticity, and the island's tempting eroticism is fully expressed by the landlord's daughter (Britt Ekland), who fills Howie with barely suppressed carnal desire. (Sirens took a comedic approach to a similar situation in 1994.) And yet the mystery of the missing girl remains, with clues that hint at a darker reality beneath the colorful local customs. When that reality is ultimately discovered, Howie becomes the crucial element in the islanders' most elaborate ritual, which is where the film's title comes into play. It may not be horror, but it is horrific, and this makes The Wicker Man an unforgettable film. --Jeff Shannon ... Read more

Reviews (187)

Compelling and Chilling
"The Wicker Man" was always a bit of a disappointment to me because long before I got a chance to watch the movie, I accidentally learned how it ended. Therefore, the final devastating moments of this Christopher Lee/Edward Woodward horror-drama lacked the punch it probably has for most viewers who go into "The Wicker Man" totally unaware. Try to avoid learning a lot about this movie before you watch it because I assure you that you will be much happier with the results. Imagine a film about paganism and the philosophical implications of a modern day Christian encountering such a primitive religion, with all of its attendant rituals and colorful ceremonies, alive and well on a Scottish isle and you have the basic premise of this haunting movie. "The Wicker Man" is considered by many to be one of the greatest cult horror films ever made, and while I don't think this claim is necessarily true, I still found much to like here.

Police Sergeant Neil Howie arrives on a small island off the coast of Scotland on a mission to follow up an anonymous tip he received about a missing girl. We learn right from the start that the police sergeant is a devout, no nonsense Christian, but even he isn't prepared for the weirdness running rampant through the byways of this community. Right from the start, things on Summerisle seem downright weird. The locals drinking in the pub where Howie procures lodgings are extremely strange folk, as is Willow, the daughter of the inn owner. That very night the police sergeant has an erotic encounter with Willow that is sure to test the faith of the most ardent Christian. Further eeriness rears its head when Howie sees strange goings on at the local school, some of the bizarre customs practiced on the island, and finally meets with the wild haired eccentric Lord Summerisle. It turns out that most people don't seem all that concerned about the missing girl Howie is looking for. Howie rapidly goes from a state of perplexity to one of utter repugnance as he gradually learns the true secrets of the this island: the people here, led by the zealous Lord Summerisle, are practicing pagans who emphatically reject the Christianity so adored by Howie. But as much as the police sergeant thinks he knows, he is in for a very rude awakening as the movie twists and turns to its grim conclusion.

"The Wicker Man" is a very colorful movie, with plenty of dancing, singing, and great costumes. The music is quite unique, at least for me, and plays a big part throughout the picture. What I liked best about this film was the cast. Britt Ekland turns up in the small role of Willow, the pagan temptress who tries to seduce Howie with a rather sultry dance in the beginning of the film. Christopher Lee is a bit of a question mark here. In an interview included on the disc, he claims that "The Wicker Man" was the best role he ever had in a movie. Moreover, he loved the film so much that he personally called film critics in order to help get the film some much needed publicity. Most of what Lee says about his part in this production is a bit of surprise because his character really doesn't appear in many scenes of the film, and when he does show up, he doesn't really do much. Apparently, some missing footage contained several lengthy scenes of Lee as Lord Summerisle, so perhaps this helps explain his limited screen time. The real prize in the film is Edward Woodward in the role of Neil Howie. Like most people, the only exposure I have had with this actor was his stint in the American television series "The Equalizer" a few years ago. In "The Wicker Man," Woodward shines as the hard-nosed Howie, a dedicated cop who adequately conveys the sort of outrage concerning the shenanigans on Summerisle one would expect from a deeply religious man. Even though I knew how the film ended, Howie's reactions to his fate still chilled me to the bone. Woodward alone provides the biggest reason you should watch this movie. What a fine actor.

The DVD version of the film boasts an impressive array of extras, specifically interviews with principals Edward Woodward, Christopher Lee, and some background about director Robin Hardy and screenwriter Anthony Schaffer. You even get some information about the conditions endured by cast and crew alike as they filmed the project (poor, poor Edward Woodward and that scared goat!). The controversy surrounding the distribution of the film, which the studio cut and sloppily marketed, is discussed in some detail. Christopher Lee still looks mad over the missing footage, which he claims is probably in someone's basement or attic waiting to be found. The official explanation is that a mistake made while cleaning out a film vault resulted in parts of this film being thrown in the back of a dump truck. Even if this enigmatic footage never surfaces, the film I saw was still massively entertaining. I cannot say that this is the best picture I have ever seen, but its reputation requires all cinema fans to give it a watch. It's definitely unique enough to stand out in the old memory banks well after the closing credits fade to black. Any film that can accomplish that feat is worthy of a five star rating, wouldn't you say

Beautifully crafted film gets its well-deserved re-editing!
I can't remember the first time I saw this film, but the next day I started a search for a print of it.

Edward Woodward stars as the almost unsympathetic, pious, and determined officer who matches wits with Christopher Lee, in a marvelous role of the smiling, ever-reasonable villianous island cult leader. The entire community seems to be hiding the truth behind the disappearance of a young girl, even to the degree of at first denying her existence. The very conservative Christian representative of the law has walked into the middle of a very Pagan circle; this conflict has to be resolved. Initially, the audience may not be too sure who is playing with whom or why. The climax of the suspense is a twist where the hunter becomes the sacrificial hunted.

Incredibly, the suspense of the plot does not wear off with repeated viewings, thanks to the production values (hats off to all those involved, shooting outdoor spring scenes in November on the coast of Scotland!) and outstanding performances of the cast.

I knew, when I saw it the first time, that the version I had seen of it had been cut down; however, even at the "sliced salami" level, it was an extraordinary experience - and experience is the word. The film puts you right there in the midst of the puzzle. Over the years I found various cuts of the film, eagerly awaiting what might be reconstructed. (The only other film I can recall searching for this diligently is a "more complete" cut of Fritz Lang's "Metropolis.")

This special edition of "The Wicker Man" might well be as good as it gets. Certainly, the inclusion of the backstory of the film ("The Enigma of The Wicker Man") added to both the theatrical and extended versions makes this particular release worth having.

If you haven't seen the film, make the chance. It's not exactly horror, it's not exactly mystery - it's both. And then some. It's one of a kind. It's "The Wicker Man."

SGT Howie is burned alive at the end of the movie
The movie begins with police SGT Howie arriving at the Scottish island of Summerisle to investigates the disappearance of a young girl. Guess what? It's really a trap! The report of the missing girl is really a hoax to get SGT Howie to the island so they can sacrifice him at the end of the movie, in a giant wicker man! The whole town is in on it, too. Pretty cool!

Truly a Great Film
Last week I had the chance to sit down and watch this truly excellent movie. The Wicker Man stars Edward Woodward, Christopher Lee and Britt Ekland. I was expecting a sort-of cheap gothic horror film (after all, Christopher Lee is in it) but I got something much better.

Edward Woodward plays a policeman from the Highland Police who has flown to the island of Summerisle to investigate a report of a missing girl. After discovering that just setting foot on the island is an adventure, Woodward is unable to find anyone who knows the girl who is missing. Even the girl's mother doesn't know who she is. A right puzzler. Forced to stay on the island, Woodward takes a room at the local tavern. Amidst the bawdy songs and lively music he begins to realize that the island folk are not quite what he is used to.

As his investigation takes him further along Woodward begins to suspect that the island is populated by sinners. By his definition he is right. The local population reverted back to their old religion during the early Victorian Era. They are now firmly entrenched in their old beliefs. To top it off it just happens to be May Day. Unable to drop the case, Woodward finds traces of the girl. He suspects that she is alive but captive and a soon-to-be sacrifice to restore the harvest. Woodward infiltrates the May Day celebration disguised as Punch. Then, at a crucial moment, he manages to grab the girl and flee. Then he learns the real truth.

From the opening credits showing the Scottish Isles and their sapphire waters and the accompanying Celtic music this movie is anything but a cheap horror film. Woodward plays the epitome of the Christian and the Authoritarian. Armored only with his belief in his god he must face a setting that, to him, is completely evil. Young girls being taught the significance of the maypole, naked women jumping through fire to help fertility, march hares in caskets and dozens of other examples. But it is Woodward who is the strange one. The people look at him as they would a simpleton. But Woodward, knowing that god and country are behind him, manages to keep going right to the conclusion of the film.

This classic confrontation of Christian against Pagan is so well done, framed by modern settings and Celtic music, that I can hardly say how good it is. Woodward's performance rivals his role in Breaker Morant and the young Christopher Lee's talent shows through so clearly that it is obvious why he was cast in so many roles. The story was written by the same man who brought us Hitchcock's Frenzy as well as the mystery Sleuth. If you have not seen this 1973 film, I urge you to do so.

one way ticket
visitng an island where people respond jovially to being brainwashed is quite a concept. the best example of a "mcguffin" ever. hedonists sacrifice an accomplished scottish police sgt. however the way his scottish colleagues spoke of him, they have still probably failed to realize he is missing. his attempt to instill any type of normalcy is quickly quelled in an orgy of obscurity.

if anyone knows the inn keeper's daughter's phone number, have her give me a ring.

a great dvd to reccommend at a party for sure, if you enjoy crookeye ... Read more

Amazon.com

This complex and intriguing drama chronicles--with some probable narrative liberties--the chain of events that instigated the provocative Profumo affair, the infamous cold war scandal that toppled Britain's conservative government in the early 1960s. John Hurt stars as charming osteopath Stephen Ward, who grooms a malleable and beautiful teen showgirl, Christine Keeler (Joanne Whalley-Kilmer), to party with his swinging high-society friends. Trouble starts brewing when Christine becomes simultaneously entangled with both a Russian diplomat and a British cabinet minister. Once the media learn of her sexual escapades, the reigning Conservative Party comes under fire and begins seeking a scapegoat to distract the public from the dangerous political implications that the affairs represent. Under Michael Caton-Jones's confident direction, the film generates sympathy for its decadent lead characters, and it intelligently explores how private personal matters become vulgar public affairs when political machinations intrude. The most intriguing aspect of Scandal is the platonic love affair between Keeler and Ward amid the trials and tribulations of their stormy relationship--think of it as a twisted variation on My Fair Lady. The fine cast also includes Ian McKellan as John Profumo and Bridget Fonda as Christine's partner-in-fun Mandy Rice-Davies. The uncut DVD version features a little more skin than the R-rated release, although viewers will probably wonder why those few extra shots caused such a stir. --Bryan Reesman ... Read more

Reviews (11)

"I could do wonders with you--could shock the world."
The film, "Scandal" is based on the true story of the Profumo affair. John Profumo was the Secretary of State for War in the early 60s when he met teenaged Christine Keeler through a London osteopath, Dr Stephen Ward. Profumo and Keeler had an affair, and the ensuing scandal, which erupted a few years later, caused Profumo (after many strenous denials) to eventually resign. The Profumo affair was a notorious event in the 60s and remains a blight on the history of British politics. The film "Scandal" is the story of the affair between Profumo and Keeler, but the focus is on the relationship between Dr Ward and Christine Keeler.

Christine Keeler (played by Joanne Whalley) was only 16 years old when she met Ward (John Hurt). She was working in a burlesque show in London. Ward--who is clearly a hedonist--is immediately struck by Christine and says she "moves like a racehorse." Ward, a bachelor, seeks out Christine and begins to cultivate their relationship. While visiting a cottage on Lord Astor's Clivedon estate (pronounced 'clifton'), Christine meets Profumo--and also an man who was allegedly a Russian spy.

The film's focus on the relationship between Ward and Keeler was sheer artistic brilliance on the part of the director, Michael Caton-Jones. It would have been all too easy and sensationalistic to emphasize the Profumo-Keeler connection--with all the necessary sleazy connotations, but instead Caton-Jones chose to focus on the mystery of Ward and Keeler. A beautiful, poignant film is produced as a result. There are a few orgy scenes in the film, but they are relatively tame. These events took place in the 60s, and the story does concern individuals who were engaged in some rather unsavoury, sexually unacceptable behaviour, but the film certainly doesn't titillate or linger on the fouler aspects of the subject.

Joanne Whalley as Christine Keeler does an amazing job. She looks incredibly like Keeler, and if you don't know what Keeler looked like in the 60s, do a search on the internet, and you'll see what I mean. The photograph of Whalley on cover of the DVD box is an exact replica of a photograph of Keeler. Whalley plays Christine Keeler with just the right combination of the contrasting characteristics of toughness, fragility, confusion, and confidence. John Hurt as the intelligent and fascinating Stephen Ward remains a cipher. John Hurt is a marvellous actor, and he plays his role here with worldliness, good humour, and a certain naked hope of belonging to the upper classes--in whatever capacity is necessary. Ian McKellen--another great actor, plays Profumo with the perfect amount of ridigity and stuffiness, and he is very believable as the politician who is at first very proud of himself for bedding Christine, but then denies the evidence against himself until he can no longer do so. Bridget Fonda plays Mandy Rice-Davies, the resilient, rather naughty friend of both Keeler and Ward. Her somewhat brazen enjoyment of the court proceedings is in direct contrast to Christine's horror at the witch hunt against Ward. This film dissects several aspects of human nature and social behaviour--greed, ambition, class, lust, power, wealth, ego, and reputation. I love this film. I am fascinated by the relationship between Keeler and Ward as it defies all definitions and was based on factors that cannot easily be deciphered--displacedhuman.

A "Scandal" to miss this one.
Based on a true event of 1963, the "Profumo" affair scandal is one the classic sex scandals of British political history, of which, as you would know, there are many.

The story is one of great intrigue showing how one man's weakness and lust for the seedier side of the fairer sex, and another man's weakness, his desire to mix with the higher echelons of society, embroils them both into a downward spiral of self destruction, which in itself is indeed quite a story. But when it also compromises and in fact instigates the downfall of an entire government, and a British CONSERVATIVE Government at that; now add to it a complex web of vices including sex, drugs, alcohol, debauchery, infidelity, betrayal and treason! well you have the makings of a simply excellent movie. John Hurt's acting as "scapegoat" Dr. Stephen Ward is first class, as are the roles of Ian Mckellan as the ill-fated John Profumo and Leslie Phillips as the aloof Lord Astor. Joanne Whalley-Kilmer, Bridget Fonda, Britt Ekland give superb performances depicting precisely the trends and fashions of England's mid 60s. The theme music "Scandal", sung by the timlessly talented Dusty Springfield, was released as a single and made the charts without hesitation.

Add to the story a high ranking Russian, a snipit of the "highly respected" British Aristocracy, some excellent shots of London life and a stately mansion deep in England's green and pleasant land, and you have a highly entertaining, "no holds barred" account of a real piece of British political history, the kind that britons would rather you didn't know about!

It's been more years than I care to remember since I went to the "flicks" to see this movie, I truly can not wait to put this video into my machine, get a couple of cans, get my feet up and enjoy it all over again. Buy it! you won't be disappointed.

DVD version not as advertised
My comments are not aimed at the merits of this fine film but at the recent DVD release by Anchor Bay. The cover boasts that the version it contains is "uncut & uncensored"; however, that claim is false. Inexplicably missing is the entire "nightgown" scene with Bridget Fonda, which should appear just after the orgy. I'm pretty sure that this scene appears in every other version of the movie. I'm almost certain it was in the R-rated general release, I know it is in the "uncut" VHS tape, and part of it even appears in the broadcast televsion version. In fact, watching the censored TV cut of that segment on BBC America a month or so ago is what inspired me to order the DVD in the first place. Now I just feel ripped off. This is not the first time I've purchased DVDs that were missing key scenes, but this instance was particularly galling.

Skinemax for the Pinky's-Up Crowd
If you want to sell softcore porn to a "sophisticated" audience, including button-down critics, what do you do? Why, class up the joint by sticking a bunch of stage actors in tuxedos and evening gowns and making them talk in those nasally, affected British accents, of course. Oh, and it'll help if you base the story on a true event and tell it in an ironic, tragic sort of way. That's about what "Scandal" does, though not with particular style or grist. Purporting to delve into the so-called Profumo Affair in the 1950s that led to mayhem for the British government, it's more about skin than politics, titillation than character. Joanne Whalley stars as a cat-faced party girl and professional homewrecker, not above any kink or good time with her crowd of over-the-hill frat boys (including Sir Ian McKellan, looking rather ridiculous with a partially shaved head, and a kooky John Hurt). She cruises the fast-track to success by bedding every London politico in sight until predictably, inevitably, things go wrong. It isn't that "Scandal" doesn't at times grab the viewer's attention; it's that it uses exactly the same T & A as the cheapest of cable TV softcore to do so. The stuff in between seems just a sham to add the faintest air of respectability to it all . . . just like the cheapest of cable TV softcore. Controversial when it was made in the late 1980s--(Gasp!) this white vixen even sleeps with black men!--the film's sexuality will seem somewhat quaint today. If you want to see reasonably attractive people get naked or pretend to have a threesome, then "Scandal" is for you. If you want something more, keep looking.

underappreciated tearjerker!
I wish they would reissue this video so I could have it for my library. Last time I watched it, I was moved to tears by the suicide of Ian McKellen's character. The aftermath of the Profumo affair illustrates how foolish and sad prostitution laws really are. It was these laws, in large part, which Steven Ward was so humiliated by -- and the movie gives a human face to that fact. The girls in question were labelled call girls but they were more like party girls -- and yet, when the powers that be conspired to find their scapegoat, they were able to portray these amateurs as prostitutes, for the purposes of humiliating Steven Ward publicly. This isn't adequately explained by the movie but then, it's entertainment, not a documentary. ... Read more

Description

The most luscious centerfolds ever assembled! Tantalizing beauties in miniskirts, stockings and garter belts. Meet Nicole, Paula and Marie, all shot by a hot female photographer. These three plus five more of the UK's hottest pin-up models, all in "Electric Blue: File #3." ... Read more

Reviews (3)

phwoar!
if you get stuck on a desert island bring this along great as porn goes but unlike other porn skips through the cheesy plotand keeps yougenuinley entertained. a bit dated now but stilla good buy

phwoar!
if you get stuck on a desert island bring this along great as porn goes but unlike other porn skips through the cheesy plotand keeps yougenuinley entertained. a bit dated now but stilla good buy

British Models show most of their all
Volume 3 of the Electric Blue series is a so-so colection of the always favorite Marie Harper, the quite lovely Shanine Litton and a half dozen other models.Not as good as Volume 1, but nothing that Playboy should beworrying about either. ... Read more

Reviews (187)

Compelling and Chilling
"The Wicker Man" was always a bit of a disappointment to me because long before I got a chance to watch the movie, I accidentally learned how it ended. Therefore, the final devastating moments of this Christopher Lee/Edward Woodward horror-drama lacked the punch it probably has for most viewers who go into "The Wicker Man" totally unaware. Try to avoid learning a lot about this movie before you watch it because I assure you that you will be much happier with the results. Imagine a film about paganism and the philosophical implications of a modern day Christian encountering such a primitive religion, with all of its attendant rituals and colorful ceremonies, alive and well on a Scottish isle and you have the basic premise of this haunting movie. "The Wicker Man" is considered by many to be one of the greatest cult horror films ever made, and while I don't think this claim is necessarily true, I still found much to like here.

Police Sergeant Neil Howie arrives on a small island off the coast of Scotland on a mission to follow up an anonymous tip he received about a missing girl. We learn right from the start that the police sergeant is a devout, no nonsense Christian, but even he isn't prepared for the weirdness running rampant through the byways of this community. Right from the start, things on Summerisle seem downright weird. The locals drinking in the pub where Howie procures lodgings are extremely strange folk, as is Willow, the daughter of the inn owner. That very night the police sergeant has an erotic encounter with Willow that is sure to test the faith of the most ardent Christian. Further eeriness rears its head when Howie sees strange goings on at the local school, some of the bizarre customs practiced on the island, and finally meets with the wild haired eccentric Lord Summerisle. It turns out that most people don't seem all that concerned about the missing girl Howie is looking for. Howie rapidly goes from a state of perplexity to one of utter repugnance as he gradually learns the true secrets of the this island: the people here, led by the zealous Lord Summerisle, are practicing pagans who emphatically reject the Christianity so adored by Howie. But as much as the police sergeant thinks he knows, he is in for a very rude awakening as the movie twists and turns to its grim conclusion.

"The Wicker Man" is a very colorful movie, with plenty of dancing, singing, and great costumes. The music is quite unique, at least for me, and plays a big part throughout the picture. What I liked best about this film was the cast. Britt Ekland turns up in the small role of Willow, the pagan temptress who tries to seduce Howie with a rather sultry dance in the beginning of the film. Christopher Lee is a bit of a question mark here. In an interview included on the disc, he claims that "The Wicker Man" was the best role he ever had in a movie. Moreover, he loved the film so much that he personally called film critics in order to help get the film some much needed publicity. Most of what Lee says about his part in this production is a bit of surprise because his character really doesn't appear in many scenes of the film, and when he does show up, he doesn't really do much. Apparently, some missing footage contained several lengthy scenes of Lee as Lord Summerisle, so perhaps this helps explain his limited screen time. The real prize in the film is Edward Woodward in the role of Neil Howie. Like most people, the only exposure I have had with this actor was his stint in the American television series "The Equalizer" a few years ago. In "The Wicker Man," Woodward shines as the hard-nosed Howie, a dedicated cop who adequately conveys the sort of outrage concerning the shenanigans on Summerisle one would expect from a deeply religious man. Even though I knew how the film ended, Howie's reactions to his fate still chilled me to the bone. Woodward alone provides the biggest reason you should watch this movie. What a fine actor.

The DVD version of the film boasts an impressive array of extras, specifically interviews with principals Edward Woodward, Christopher Lee, and some background about director Robin Hardy and screenwriter Anthony Schaffer. You even get some information about the conditions endured by cast and crew alike as they filmed the project (poor, poor Edward Woodward and that scared goat!). The controversy surrounding the distribution of the film, which the studio cut and sloppily marketed, is discussed in some detail. Christopher Lee still looks mad over the missing footage, which he claims is probably in someone's basement or attic waiting to be found. The official explanation is that a mistake made while cleaning out a film vault resulted in parts of this film being thrown in the back of a dump truck. Even if this enigmatic footage never surfaces, the film I saw was still massively entertaining. I cannot say that this is the best picture I have ever seen, but its reputation requires all cinema fans to give it a watch. It's definitely unique enough to stand out in the old memory banks well after the closing credits fade to black. Any film that can accomplish that feat is worthy of a five star rating, wouldn't you say

Beautifully crafted film gets its well-deserved re-editing!
I can't remember the first time I saw this film, but the next day I started a search for a print of it.

Edward Woodward stars as the almost unsympathetic, pious, and determined officer who matches wits with Christopher Lee, in a marvelous role of the smiling, ever-reasonable villianous island cult leader. The entire community seems to be hiding the truth behind the disappearance of a young girl, even to the degree of at first denying her existence. The very conservative Christian representative of the law has walked into the middle of a very Pagan circle; this conflict has to be resolved. Initially, the audience may not be too sure who is playing with whom or why. The climax of the suspense is a twist where the hunter becomes the sacrificial hunted.

Incredibly, the suspense of the plot does not wear off with repeated viewings, thanks to the production values (hats off to all those involved, shooting outdoor spring scenes in November on the coast of Scotland!) and outstanding performances of the cast.

I knew, when I saw it the first time, that the version I had seen of it had been cut down; however, even at the "sliced salami" level, it was an extraordinary experience - and experience is the word. The film puts you right there in the midst of the puzzle. Over the years I found various cuts of the film, eagerly awaiting what might be reconstructed. (The only other film I can recall searching for this diligently is a "more complete" cut of Fritz Lang's "Metropolis.")

This special edition of "The Wicker Man" might well be as good as it gets. Certainly, the inclusion of the backstory of the film ("The Enigma of The Wicker Man") added to both the theatrical and extended versions makes this particular release worth having.

If you haven't seen the film, make the chance. It's not exactly horror, it's not exactly mystery - it's both. And then some. It's one of a kind. It's "The Wicker Man."

SGT Howie is burned alive at the end of the movie
The movie begins with police SGT Howie arriving at the Scottish island of Summerisle to investigates the disappearance of a young girl. Guess what? It's really a trap! The report of the missing girl is really a hoax to get SGT Howie to the island so they can sacrifice him at the end of the movie, in a giant wicker man! The whole town is in on it, too. Pretty cool!

Truly a Great Film
Last week I had the chance to sit down and watch this truly excellent movie. The Wicker Man stars Edward Woodward, Christopher Lee and Britt Ekland. I was expecting a sort-of cheap gothic horror film (after all, Christopher Lee is in it) but I got something much better.

Edward Woodward plays a policeman from the Highland Police who has flown to the island of Summerisle to investigate a report of a missing girl. After discovering that just setting foot on the island is an adventure, Woodward is unable to find anyone who knows the girl who is missing. Even the girl's mother doesn't know who she is. A right puzzler. Forced to stay on the island, Woodward takes a room at the local tavern. Amidst the bawdy songs and lively music he begins to realize that the island folk are not quite what he is used to.

As his investigation takes him further along Woodward begins to suspect that the island is populated by sinners. By his definition he is right. The local population reverted back to their old religion during the early Victorian Era. They are now firmly entrenched in their old beliefs. To top it off it just happens to be May Day. Unable to drop the case, Woodward finds traces of the girl. He suspects that she is alive but captive and a soon-to-be sacrifice to restore the harvest. Woodward infiltrates the May Day celebration disguised as Punch. Then, at a crucial moment, he manages to grab the girl and flee. Then he learns the real truth.

From the opening credits showing the Scottish Isles and their sapphire waters and the accompanying Celtic music this movie is anything but a cheap horror film. Woodward plays the epitome of the Christian and the Authoritarian. Armored only with his belief in his god he must face a setting that, to him, is completely evil. Young girls being taught the significance of the maypole, naked women jumping through fire to help fertility, march hares in caskets and dozens of other examples. But it is Woodward who is the strange one. The people look at him as they would a simpleton. But Woodward, knowing that god and country are behind him, manages to keep going right to the conclusion of the film.

This classic confrontation of Christian against Pagan is so well done, framed by modern settings and Celtic music, that I can hardly say how good it is. Woodward's performance rivals his role in Breaker Morant and the young Christopher Lee's talent shows through so clearly that it is obvious why he was cast in so many roles. The story was written by the same man who brought us Hitchcock's Frenzy as well as the mystery Sleuth. If you have not seen this 1973 film, I urge you to do so.

one way ticket
visitng an island where people respond jovially to being brainwashed is quite a concept. the best example of a "mcguffin" ever. hedonists sacrifice an accomplished scottish police sgt. however the way his scottish colleagues spoke of him, they have still probably failed to realize he is missing. his attempt to instill any type of normalcy is quickly quelled in an orgy of obscurity.

if anyone knows the inn keeper's daughter's phone number, have her give me a ring.

a great dvd to reccommend at a party for sure, if you enjoy crookeye ... Read more

Description

A writer of horror stories (Carradine) is invited to a "monster club" by vampire Erasmus (Price). There, the mysterious old gentleman spins three chilling tales of monsters, ghouls, and vampires. This most unique horror entertainment combines a star-studded cast with horror, humor, and music ... Read more

Reviews (14)

Well, Doctor, which inmate used to run the asylum?
We were pretty leery of horror films back in the early Seventies in those dark, dreary days before "Halloween" ushered in the era of the slasher film ad infinitim. But the more you heard about "Asylum" the more you had to be optimistic. First, you have Robert "Psycho" Bloch as the writer. Second, it is a British film, and while Amicus Productions did not have the cinematic cachet of Hammer Studios, it is still British, which was always better than being American back then. Third, you throw in director Roy Ward Baker, who directed one of my all-time favorite horror flicks known as "Quatermass and the Pit" over there and "Five Million Years to Earth" on this side of the pond. Fourth, as a corollary to the second point, you have British actors in general and Peter Cushing, Patrick Magee, Barry Morse, Herbert Lom and Robert Powell on the eve of the role of his lifetime in "Jesus of Nazareth." Then we have Britt Eklund, Charlotte Rampling, and Barbara Perkins. Sold yet?

Oh, you want to know the story Bloch came up with.

Well, Powell plays Dr. Martin, who has arrived at the friendly neighborhood mental institution to see if he can land a job. "Asylum" offers up four bloody little stories of madness and murder told by four inmates. Yes, it is an "anthology" film, but remember all those good points up above and try to think about all the bad anthology films you have seen in your life. But this is Bloch. There is a twist. Dr. Martin gets the post if he can figure out which of the four inmates telling the story is the former head of the asylum: There is Bonnie (Perkins), who was attacked by her lover's dead wife; Bruno (Morse), who makes a magical suit that brings back the dead son of one of his customers (Cushing); Barbara (Rampling/Ekland) a schizophrenic who is being made paranoid by her brother; and Byron (Lom) who puts his consciousness in a killer little doll. "Asylum" stops short of being great, but it is certainly very good. There are moments of silliness, but the horror elements still win out in the end. Plus, you know Bloch has something up his sleeve for the ending.

THOUROUGHLY ENJOYABLE......
I've had this on DVD for some time now and enjoy watching it when I'm in the mood. It's an anthology film from the old British Amicus studios with a quartet of horror tales related by four inmates of an asylum to the new doctor on staff. It's also a beautiful print from Image. My favorite is the "Frozen Fear" piece with Barbara Parkins as the mistress of a married man who murders his occult obsessed wife, chops her up and stores her in the freezer wrapped in freezer paper. The wife's occult beliefs turn the tables and her body parts reanimate and kill the husband. When Parkins comes by (they were planning to run away together) she is attacked by all the parts shuffling and crawling around on the floor jumping on her as she tries to beat them off. This is very well done and really eerie. The other stories are good too. They include Charlotte Rampling, Britt Ekland and Patrick Mcghee in great performances. The direction by Roy Ward Baker is tight and Robert Bloch contributed the material. This may be OOP but there are still copies in stores. I recommend this for horror buffs and those who remember the horror anthologies from the 70's. Completely enjoyable.

A GOOD ONE TO OWN
Perfect to own, you will find youself wanting to watch it again. The mood is eerie enough, the stories keep you interested and it's made well. It's all about the atmosphere, get this DVD.

Decent, creepy fun only occasionally marred by cheese
This horror movie has very British sensitibilities, and you couldn't ask for a better, more entertaining introduction to the type of horror movie that was popular in the 1970s, before the era of the slasher film. It's stylish and very proper, making the gore that much more shocking.

Basically, we've got a handful of "short stories" very loosely pulled together with the framing device of a psychologist visiting the asylum being asked to "figure out" which of the patients was actually the former director of the hospital. There's very little to this part of the plot, but the various stories the patients have to tell do create varying degrees of chills.

None of the stories are great, nor are they especially surprising, but they are told quite nicely and are better acted than such low-budget stuff has a right to be. Some outstanding actors such as Herbert Lom and Charlotte Rampling are featured, along with a brief but creepy turn by Peter Cushing (who, along with Christoper Lee, owned this genre of horror movie).

In many ways the film is a period piece, not so much about an era of history, but about an era of film history. It distills the style and sensibilities of the Hammer films (so called because they were made in England's Hammer Studio) into one neat, entertaining package. Will this be your favorite movie ever? Nope. But is it an amusing diversion and a wonderful slice of what was once the height of horror film making? You bet.

Check it out!

An absolutely brilliant horror movie
As one who has often panned for gold in the stream of little-known horror delights, I have discovered much more fool's gold than gold dust, but Asylum is a magnificent gold nugget. Produced by Amicus, the British equivalent of Hammer Studios, this classic film features a remarkable cast bringing to life a compelling, delightfully shocking tale which comes straight from the pen of none other than Robert Bloch. I think the whole idea of the movie is brilliant, especially the way everything is put together, meshing four largely unrelated tales into one overall and amazingly successful story. We begin with Dr. Martin's arrival at the asylum in pursuit of a position. He is surprised to learn that Dr. Styles, the asylum director and the man he expected to speak with about the job, is now one of the incurably insane inmates housed upstairs. Dr. Rutherford is willing to hire Dr. Martin, but only if he passes a certain test. There are four inmates upstairs, and he must determine which one is actually Dr. Styles (who has assumed a brand new identity for himself). As Dr. Martin makes the rounds, accompanied by the doctor posted upstairs, we are presented with each individual's story as to how they came to be institutionalized.

The first story, that of Bonnie, is a wholly remarkable one. Her lover, having finally agreed to kill his divorce-denying wife and run off with her, chops his wife into several pieces and stows everything in the freezer, including her voodoo-ish protective bracelet He is quite shocked shortly thereafter to see the head, wrapped in butcher's paper, roll into view upstairs, and he is even more surprised by what happens next. When Bonnie arrives, she finds herself menaced and attacked by the separate body parts of the seemingly undead murdered woman. Next we have the story of Bruno the tailor. Facing economic ruin, he is offered two hundred pounds to make a suit for a rather strange gentleman named Mr. Smith (played magnificently by Peter Cushing). The suit must be created under the unusual conditions specified by the customer and must be made from the remarkable fabric Smith has provided Bruno. This metallic, strangely glittering coat is actually an instrument of magic, Bruno finds out upon delivering it. Supposedly it has the power to give or restore life to whoever wears it. Cushing's performance helps make this the strongest of the four stories, in my opinion. Next up is Barbara, who denies having committed the murders that resulted in her institutionalization. It was her friend Lucy, she says. The story plays pretty well until the end, when whatever mystery lingered concerning the truth about Lucy is rather unnecessarily done away with. Finally, we have Dr. Baron, maker of robotic men; actually, he says, the creatures are quite human on the inside, and he claims to have the power to will his own mind into one such creation and essentially make it come alive with his own consciousness. This tale has its weaknesses, but its effect on Dr. Martin is profound and sets in motion the thrilling conclusion of the movie. This conclusion, I must say, is remarkably good, treating me to a wonderful surprise and devilishly good twist.

The plot of Asylum does have a weakness or two in it, but the film's overall effect on the viewer is so gripping that minor questions cease to matter very much. Frankly, I have never seen an anthologized movie such as this succeed so well. Few movies can combine separate tales and succeed as a unified whole, but Asylum accomplishes this feat quite easily. This is an intelligent horror movie that fans of the genre can point to with great pride. ... Read more

Amazon.com

One of the patients in an institution for the incurably insane was once its director, and a young psychiatrist (Robert Powell) has to figure out which one as they all tell him their stories. What better setting for a horror anthology? It's an inspired framing device, making this one of the better examples of the genre, even if screenwriter Robert Bloch at times resorts to gimmicks rather than invention. The first two stories are less than brilliant (the first is highlighted by dismembered body parts neatly wrapped in butcher paper wriggling back to life for revenge), but Charlotte Rampling and Britt Eklund are marvelous in the third tale, about a mentally unbalanced young woman and her dangerous best friend. Herbert Lom is also excellent in the final story as a scientist who carves an army of dolls he claims he can bring to life by sheer will power.

Director Roy Ward Baker (Quatermas and the Pit) builds momentum with each story until the dark and deliciously bloody climax. This Amicus Studios production looks visually dull compared to Hammer's gothic gloss, but it features a great British cast (including Patrick Magee and Hammer stalwart Peter Cushing), and ultimately Baker makes that gloomy look work for his increasingly creepy production. Amicus produced a series of horror anthologies, including the original 1972 Tales from the Crypt and The Torture Garden (also scripted by Bloch). --Sean Axmaker ... Read more

Reviews (14)

Well, Doctor, which inmate used to run the asylum?
We were pretty leery of horror films back in the early Seventies in those dark, dreary days before "Halloween" ushered in the era of the slasher film ad infinitim. But the more you heard about "Asylum" the more you had to be optimistic. First, you have Robert "Psycho" Bloch as the writer. Second, it is a British film, and while Amicus Productions did not have the cinematic cachet of Hammer Studios, it is still British, which was always better than being American back then. Third, you throw in director Roy Ward Baker, who directed one of my all-time favorite horror flicks known as "Quatermass and the Pit" over there and "Five Million Years to Earth" on this side of the pond. Fourth, as a corollary to the second point, you have British actors in general and Peter Cushing, Patrick Magee, Barry Morse, Herbert Lom and Robert Powell on the eve of the role of his lifetime in "Jesus of Nazareth." Then we have Britt Eklund, Charlotte Rampling, and Barbara Perkins. Sold yet?

Oh, you want to know the story Bloch came up with.

Well, Powell plays Dr. Martin, who has arrived at the friendly neighborhood mental institution to see if he can land a job. "Asylum" offers up four bloody little stories of madness and murder told by four inmates. Yes, it is an "anthology" film, but remember all those good points up above and try to think about all the bad anthology films you have seen in your life. But this is Bloch. There is a twist. Dr. Martin gets the post if he can figure out which of the four inmates telling the story is the former head of the asylum: There is Bonnie (Perkins), who was attacked by her lover's dead wife; Bruno (Morse), who makes a magical suit that brings back the dead son of one of his customers (Cushing); Barbara (Rampling/Ekland) a schizophrenic who is being made paranoid by her brother; and Byron (Lom) who puts his consciousness in a killer little doll. "Asylum" stops short of being great, but it is certainly very good. There are moments of silliness, but the horror elements still win out in the end. Plus, you know Bloch has something up his sleeve for the ending.

THOUROUGHLY ENJOYABLE......
I've had this on DVD for some time now and enjoy watching it when I'm in the mood. It's an anthology film from the old British Amicus studios with a quartet of horror tales related by four inmates of an asylum to the new doctor on staff. It's also a beautiful print from Image. My favorite is the "Frozen Fear" piece with Barbara Parkins as the mistress of a married man who murders his occult obsessed wife, chops her up and stores her in the freezer wrapped in freezer paper. The wife's occult beliefs turn the tables and her body parts reanimate and kill the husband. When Parkins comes by (they were planning to run away together) she is attacked by all the parts shuffling and crawling around on the floor jumping on her as she tries to beat them off. This is very well done and really eerie. The other stories are good too. They include Charlotte Rampling, Britt Ekland and Patrick Mcghee in great performances. The direction by Roy Ward Baker is tight and Robert Bloch contributed the material. This may be OOP but there are still copies in stores. I recommend this for horror buffs and those who remember the horror anthologies from the 70's. Completely enjoyable.

A GOOD ONE TO OWN
Perfect to own, you will find youself wanting to watch it again. The mood is eerie enough, the stories keep you interested and it's made well. It's all about the atmosphere, get this DVD.

Decent, creepy fun only occasionally marred by cheese
This horror movie has very British sensitibilities, and you couldn't ask for a better, more entertaining introduction to the type of horror movie that was popular in the 1970s, before the era of the slasher film. It's stylish and very proper, making the gore that much more shocking.

Basically, we've got a handful of "short stories" very loosely pulled together with the framing device of a psychologist visiting the asylum being asked to "figure out" which of the patients was actually the former director of the hospital. There's very little to this part of the plot, but the various stories the patients have to tell do create varying degrees of chills.

None of the stories are great, nor are they especially surprising, but they are told quite nicely and are better acted than such low-budget stuff has a right to be. Some outstanding actors such as Herbert Lom and Charlotte Rampling are featured, along with a brief but creepy turn by Peter Cushing (who, along with Christoper Lee, owned this genre of horror movie).

In many ways the film is a period piece, not so much about an era of history, but about an era of film history. It distills the style and sensibilities of the Hammer films (so called because they were made in England's Hammer Studio) into one neat, entertaining package. Will this be your favorite movie ever? Nope. But is it an amusing diversion and a wonderful slice of what was once the height of horror film making? You bet.

Check it out!

An absolutely brilliant horror movie
As one who has often panned for gold in the stream of little-known horror delights, I have discovered much more fool's gold than gold dust, but Asylum is a magnificent gold nugget. Produced by Amicus, the British equivalent of Hammer Studios, this classic film features a remarkable cast bringing to life a compelling, delightfully shocking tale which comes straight from the pen of none other than Robert Bloch. I think the whole idea of the movie is brilliant, especially the way everything is put together, meshing four largely unrelated tales into one overall and amazingly successful story. We begin with Dr. Martin's arrival at the asylum in pursuit of a position. He is surprised to learn that Dr. Styles, the asylum director and the man he expected to speak with about the job, is now one of the incurably insane inmates housed upstairs. Dr. Rutherford is willing to hire Dr. Martin, but only if he passes a certain test. There are four inmates upstairs, and he must determine which one is actually Dr. Styles (who has assumed a brand new identity for himself). As Dr. Martin makes the rounds, accompanied by the doctor posted upstairs, we are presented with each individual's story as to how they came to be institutionalized.

The first story, that of Bonnie, is a wholly remarkable one. Her lover, having finally agreed to kill his divorce-denying wife and run off with her, chops his wife into several pieces and stows everything in the freezer, including her voodoo-ish protective bracelet He is quite shocked shortly thereafter to see the head, wrapped in butcher's paper, roll into view upstairs, and he is even more surprised by what happens next. When Bonnie arrives, she finds herself menaced and attacked by the separate body parts of the seemingly undead murdered woman. Next we have the story of Bruno the tailor. Facing economic ruin, he is offered two hundred pounds to make a suit for a rather strange gentleman named Mr. Smith (played magnificently by Peter Cushing). The suit must be created under the unusual conditions specified by the customer and must be made from the remarkable fabric Smith has provided Bruno. This metallic, strangely glittering coat is actually an instrument of magic, Bruno finds out upon delivering it. Supposedly it has the power to give or restore life to whoever wears it. Cushing's performance helps make this the strongest of the four stories, in my opinion. Next up is Barbara, who denies having committed the murders that resulted in her institutionalization. It was her friend Lucy, she says. The story plays pretty well until the end, when whatever mystery lingered concerning the truth about Lucy is rather unnecessarily done away with. Finally, we have Dr. Baron, maker of robotic men; actually, he says, the creatures are quite human on the inside, and he claims to have the power to will his own mind into one such creation and essentially make it come alive with his own consciousness. This tale has its weaknesses, but its effect on Dr. Martin is profound and sets in motion the thrilling conclusion of the movie. This conclusion, I must say, is remarkably good, treating me to a wonderful surprise and devilishly good twist.

The plot of Asylum does have a weakness or two in it, but the film's overall effect on the viewer is so gripping that minor questions cease to matter very much. Frankly, I have never seen an anthologized movie such as this succeed so well. Few movies can combine separate tales and succeed as a unified whole, but Asylum accomplishes this feat quite easily. This is an intelligent horror movie that fans of the genre can point to with great pride. ... Read more