A Victorian-age scientist returns to London with his paleontological bag-of-bones discovery from Papua New Guinea. Unfortunately, when exposed to water, flesh returns to the bones ... See full summary »
England, 1795: the young Catherine has just married Charles Fengriffen and moves into his castle. She becomes the victim of an old curse that lays on the family. On her wedding night she is raped by a ghost and gets pregnant.
Five strangers board a descending lift, one by one, in a modern office block in London. They reach the sub-basement, though none of them have pressed for that destination. There they find a large, elaborately furnished room that appears to be a gentlemen's club. The lift door has closed; there are no buttons to bring it back, nor any other exit. Resigned to waiting for help, they settle down with drinks and talk. The conversation turns to dreams, and each man tells of a recurring nightmare. Segment 1: Midnight Mess: Harold Rodgers (Daniel Massey) tracks his sister Donna (Anna Massey) to a strange village, and kills her to claim her share of the family inheritance. After settling down to a post-murder meal at the local restaurant, he discovers the town is home to a nest of vampires: Donna is not as dead as he thinks, and he becomes the dish of the night when his jugular vein is tapped out as a beverage dispenser. Segment 2 The Neat Job: The obsessively neat Arthur Critchit (...Written by
What more could you ask for? This movie shines with a brilliant line-up of actors playing up the script for all it's worth. Directed by Roy Ward Baker, VoH oozes with direction and style (see his filmography). Fans of classic not-too-low-budget horror will appreciate this film, as will anyone with a lust for british films. And Hammer films.
To date, this is the ONLY multiple-story film I can watch more than once. Maybe it's the era bleeding through the screen into my brain, bringing me back to a time when cgi didn't exist and movies held their own magic without having super budgets spewed into them. Maybe it's because Tom Baker, my all-time favourite Doctor, plays a rather scruffy-looking artist with a serious dark side. Maybe it's the memorable soundtrack, oddly orchestral amid the tumult of intrusive moog soundtracks of the period.
As mentioned in another review, get the UNCUT version if you can. If there are kiddies about and you want to frighten them without the (very mild) gore found in most films of today, the edited version will do. It is near-impossible to find a commercial copy of this film in the states, but maybe Cinemax will run it again late at night? Please?
If you see it on a shelf, get it.
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