Matialth Good concept, poorly executed.

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Allison Davies The film never slows down or bores, plunging from one harrowing sequence to the next.

Tobias Burrows It's easily one of the freshest, sharpest and most enjoyable films of this year.

BA_Harrison Adapted from the H.P. Lovecraft story The Colour Out of Space, Die, Monster, Die! opens with the arrival of American Stephen Reinhart (Nick Adams) at the English village of Arkham (a name that will no doubt be familiar to fans of Lovecraft). As is usually the case in such films, the locals are far from friendly, refusing to help him reach his destination, the Witley house, where his university sweetheart Susan (Suzan Farmer) lives with her mother Letitia (Freda Jackson) and father Nahum (an aged Boris Karloff).Eventually arriving at the Witley place on foot (having successfully avoided the man-trap by the gate), Stephen is confronted by Nahum, who tells him to leave. Susan, however, welcomes him with open arms and pointy boobs, clearly unperturbed by, or blissfully unaware of, their age difference (Adams, a decade older than his perky co-star, has a carefully concealed receding hairline and bags under his eyes). After Stephen is introduced to Letitia—who hides behind the veils that surround her bed and urges the young man to leave with her daughter—he begins to suspect that something very strange is happening at the Witley manor. And you know what? He's right!There are a couple of moments in Die, Monster, Die! that come very close to capturing the true horror and otherworldly dread of Lovecraft's writing: firstly, when our hero and heroine discover large mutated creatures caged in a greenhouse—nothing says Lovecraft more than tentacled beasties—and secondly, when Stephen locates the ominous green meteorite that has been causing the mutations, the glowing rock emitting a menacing hum that can only mean bad things. Sadly, the rest of the film is far less effective, plodding from one gloomy corridor, darkened room, or foggy exterior, to another as Stephen explores the house and its mist-shrouded grounds (narrowly avoiding Nahum, who is surprisingly nippy in his wheelchair).Director Daniel Haller would have another stab at bringing Lovecraft to the screen in 1970 with The Dunwich Horror, but with little success, while The Colour Out Of Space would be turned into another movie, The Curse, in 1987.

poe-48833 THE COLOUR OUT OF SPACE is one of my favorite stories by H.P. Lovecraft, so it's hard to be objective about DIE, MONSTER, DIE! There are stories that just don't translate well to the Big Screen. Edgar Allen Poe's classic THE OBLONG BOX is a perfect example- and the number of times that filmmakers have cashed in on the reputations of writers like Poe and Lovecraft (not to mention ripping off writers like Richard Matheson and Harlan Ellison) are Legion. Still, DIE, MONSTER, DIE! isn't a BAD movie: it's entertaining, and Nick Adams does a credible job as a man caught up in a Strange situation (his reactions to what takes place are believable for the most part), but Lovecraft it ain't. (The closest thing I've seen to a faithful attempt at bringing the Lovecraft sensibility to the Big Screen would probably have to be John Carpenter's IN THE MOUTH OF MADNESS, although it's not, strictly speaking, Lovecraft.) Until Carpenter comes out of retirement and does his version of THE SHADOW OVER INNSMOUTH, we'll just have to settle for what we can get.

AaronCapenBanner Nick Adams stars as a young man who arrives at an isolated village in search of Witley mansion, where he wants to surprise his fiancée Susan(played by Suzan Farmer) The locals are most uncooperative to him, so he sets out alone to the estate, only to be shocked by the state of decay he finds, both inside and outside. Susan is glad to see him, but her wheelchair-bound scientist father(played by Boris Karloff) is not. Both of them soon discover the terrible Witley secret involving a radiation emitting meteorite that has had a devastating effect on the family...Based on the H.P. Lovecraft story "The Color Out Of Space", the film is atmospherically directed by Daniel Haller, but otherwise a misfire, becoming much too silly and absurd, ruining the second half of the film, after a reasonable set-up. A waste of Boris Karloff, who does the best he can.

Andrew Huggett Weird, lurid and slightly bitty horror film about a radioactive meteor kept in a cellar by an old man haunted by his ancestors evil deeds and who believes the effects of the radioactive meteor are a curse upon his family caused by the (devil worship?) carried out there in the past (although none of this is very clear from the narrative structure of the film which tends to lurch awkwardly from one set of inexplicable situations to another). This film (like most of the H. P. Lovecraft film adaptations) does not quite gel together into a cohesive whole for me – although stylistically there's something about it I quite like. The production design and interiors are great (there's a fantastic dry-ice mist covered country house), a village full of characters who won't talk about the house or it's occupants, a couple of weird shroud covered mad women, a greenhouse full of giant animal and vegetable mutations, a killer vine plant, a strange manservant and to cap it all the wonderful melodious tones of a wheelchair-bound Boris Karloff (who moves around the house and grounds with surprising speed) and who when exposed directly to the radioactive meteor turns into a luminous silver skinned zombie with murderous intent. Enjoyable nonsense. Technically, the SD print I saw suffers from some corner lens distortion (caused by the anamorphic techniscope process?) and is slightly soft. If it is ever remastered in HD it would be worth seeing for the colourful sets, matt paintings and location work. The main titles look identical to the ones used on 'Daleks: Invasion of Earth 2150' made a year or so later.