A scientist, working with genetics, creates a creature that is capable of transforming back and forth between a giant Death Head moth and a beautiful woman. The creature masquerades as his ... See full summary »
At c. 53 minutes, as the Rolls-Royce is about to be driven off, there is a badly parked black car directly in front of it, well away from the pavement. However, when the Rolls-Royce moves away in the next shot the black car is suddenly perfectly parked. See more »
As with the majority of the 70s B-movie horror flicks which have survived the ages to make it onto modern day television, I first saw this piece of classic film at around 3am on some god-forsaken low budget television station...
Initially, my interest was sparked at the prospect of high profile nudity following the introductory scene which featured a naked lady being turned into a statue or something ludicrous. The anticipation of nudity is a key technique by the author of 'movie' in order to secure the attention of the unfortunate viewer.
The possible forecast of a brief lesbian sexual congress is hinted by one of the key female performers (who can be seen with her kit off in one of the Robin Askwith 'confessions' films for those who were let down by this travesty of a motion picture). However, true to the inexcusably horrendous nature of this film it is systematically shattered by the impending death of one female party.
Possibly one of the most ridiculous elements of this flick is the artist's wife. Portrayed as a senile Dorothy-from-the-wizard-of-oz-wanna-be who tries to persuade her significant other out of evil is impossible to take seriously and one of the key players in the downfall of this moving image.
As a fan of cheesy 70s B movie horrors I had high (low) expectations of the "Crucible of Terror". The fact the title has about -6% relevance to any part of the film whatsoever is just another reason I would tell anyone thinking of watching it to instead turn off the TV and go play laser tag.
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