Claysaba Excellent, Without a doubt!!

KnotStronger This is a must-see and one of the best documentaries - and films - of this year.

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Nigel P Possibly one element of Hammer's early horror films (Curse of Frankenstien, Dracula) that really got them noticed was the infusion of bright red blood and gruesome gore into otherwise sedate pictures.Captain Clegg doesn't contain those extra elements – it is a tale of 19th century smugglers who disguise themselves as skeletal 'marsh phantoms' to obfuscate their wrong-doings. Despite references to having ears and tongues cut out, the horror element is very much in the background, and instead this is more of a period caper full of derring-do and spirited British performances. Sadly, this makes it substantially less interesting than Hammer's better known output.Yvonne Romain, who starred in the similarly anemic 'Curse of the Werewolf (1960)' plays the subject of pirates' desire and the daughter of Captain Clegg (Peter Cushing), and her co-star from that earlier film (although they never shared scenes), Oliver Reed is mostly wasted in the under-written role as innocent Harry, her would-be suitor.This is a well-played, intriguing, mannered film with plenty of good performances. It's a rollicking yarn - as a horror tale however, it doesn't deliver the goods unless you are frightened by men riding around dressed as skeletons, on similarly disguised horses.

Leofwine_draca As a break from their better-known horror fare, Hammer made a series of rousing historical adventures in the early 1960s and this is one of their more original efforts, a story that depicts smuggling in the 18th century in a Kent coastal village. With assured direction propelling it along nicely and a pretty wonderful cast of actors, this is an enjoyable film complete with two-fisted action, adventure and even a few horror elements along the way. I found that this yarn had an effective a script as Hammer's horror outings and just as much atmosphere; plenty of chills and thrills are wrung out of the marshy backdrop in scenes not dissimilar from Hammer's own HOUND OF THE BASKERVILLES.One of the most engaging things about the production is that there are no 'good' or 'bad' characters: instead, people are painted in shades of grey, with viewers allowed to make up their own minds. For instance, is Peter Cushing's kindly pastor really such a good guy? Even after all of the (effective) twists have played out, there's little that makes him evil or a stock villain like his Frankenstein. On the other hand, Patrick Allen is the supposed good guy, the King's revenue man, and yet I'm sure most viewers will hope that the smugglers get one over on him rather than allow him to gain the upper hand! There are plot elements here galore, and some of the most effective involve a mysterious moving scarecrow that acts as a signalman to the smugglers. There's also some Treasure Island-type piracy thrown in with the inclusion of the hulking Milton Reid in one of his biggest roles as a mulatto who's had his tongue cut out. Female viewers get a genteel romance between two very pretty partners (the remarkably uplifting Yvonne Romain and the rugged Oliver Reed at his most dashing). The horror elements involve men on horseback dressed as skeletons, not too dissimilar from Halloween costumes, but it's a testament to the director and crew's skill that even these scenes possess their own eerie charm. Plus we get Michael Ripper in his biggest, most developed supporting role yet. I didn't get excited about this in the same way I did about something like TERROR OF THE TONGS, but I did enjoy watching the eventful story play out in Hammer's own unique and colourful style.

Ben Larson Hammer Studios is responsible for giving us Peter Cushing, and he gives a masterful performance in this film that is a blend of horror, suspense, and comedy.Cushing is the ,Reverend Dr. Blyss (Dr. Syn in the novel), who came to a poor village and transformed it. As the leader of the town, he tries to protect them from the King's men.Character actor Michael Ripper, a veteran of more than 25 Hammer films, was excellent as the coffin maker.The story itself was fascinating, even if it was easy to guess the big secret once the King's men came to town.Well worth the time invested.

Woodyanders 1776: The stern Captain Collier (excellently played by Patrick Allen) and his sailors arrive at an English coastal community to investigate reports of "marsh phantoms" who terrorize the countryside at night. Collier suspects that the local reverend Dr. Blyss (a splendidly lively and witty performance by the great Peter Cushing) knows more than he's telling about both the "marsh phantoms" and the liquor smuggling that's been going on in the area. Ably directed by Peter Graham Scott, with a robust, rousing score by Don Banks, a snappy pace, handsome, vibrant color cinematography by Arthur Grant, a flavorsome evocation of the 18th century, a colorful script by Anthony Hinds and John Temple Smith, a few nice creepy touches (those skeletal "marsh phantoms" are genuinely spooky), and a strong central theme about redemption, this radical change-of-pace picture from renowned horror outfit Hammer Films makes for tremendously fun and stirring grand entertainment. The top-notch acting from a first-rate supporting cast qualifies as another substantial plus: Yvonne Romain as ravishing bar maid Imogene Clegg, Oliver Reed as the dashing Harry Cobtree, Michael Ripper as wily, acid-tongued coffin maker Jeremiah Mipps, Martin Benson as craven, hot-headed saloon keeper Mr. Rash, Milton Reid as a hulking, brutish mulatto, and Derek Francis as the hearty Squire Anthony Cobtree. Offbeat and original, this fine feature overall rates as a real corker.