Cebalord Very best movie i ever watch

TaryBiggBall It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Lidia Draper Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Matylda Swan It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

dougdoepke Plot—a young doctor is interned in an asylum for experimenting on buried corpses. At the asylum, he meets his hero Dr. Frankenstein who's head of the inmate department. Together, they set about Frankenstein's transplanting body parts pursuits.I guess I now know why I didn't go to med school. That brain removal scene may keep me from ever eating hamburger again. I haven't seen other entries in the Hammer Frankenstein series, so I can't make comparisons. But taken as a "stand alone", this film breaks a number of older conventions from Hollywood of the studio era. For example, I kept expecting young, handsome Dr. Helder (Briant) to undergo an attack of conscience and quit Frankenstein's (Cushing) infernal experiments. And surely run off with the sweetly virginal Angel (Smith) to a more ethical life. But he doesn't. Similarly, I was expecting the legendary doctor to get a comeuppance. After all, he connives in a number of deaths at the asylum. But like Helder, the two are allowed to resume their nefarious activities at movies' end. Now, there's a number of deeper questions raised by the screenplay's refusal to punish. Chiefly, how much guilt should attach to the doctors' experiments that after all could result in bringing good people back to life, even if in a cobbled together body. Is that a worthwhile goal or not. And, if so, what research methods are morally acceptable. Anyway, these are questions to think about, and raise the screenplay above the older horror movie conventions. This may not have been the writer's intention, but the morally ambiguous ending does remain suggestive.The 90-minutes is an appropriately ugly production. If asylum inmates weren't loony going in, they soon will be. The rooms and cells are claustrophobic. At the same time, the story's middle part drags a bit without developing but picks up in the final part. And what a burst of inspiration the Angel character is. I've seen nothing quite like her in years of movie watching. All in all, it's a rather thoughtful horror story, while also being big on blood and a caveman monster. I'm just wondering why I sometimes feel like the Neanderthal in the morning, all hairy and misshapen. Oh well, if that means the divine Miss Angel must be close by, I'll consider myself lucky.

Rainey Dawn Peter Cushing is back as Baron Frankenstein in this final film of the Hammer Horror Cushing-Frankenstein film series. This time the Baron creates a hideous monster that has to be seen to be believed.Shane Briant plays Simon Helder - a befitting part for Briant. Simon has studied the work of the Baron, has tried his experiments and is sentenced to 5 years in an asylum for sorcery. The Baron is hiding in the asylum and is considered dead - he has emerged as a doctor of the asylum. Victor Frankenstein has enlisted the help of Sarah (Madleine Smith) to assist him in his continuing experiments but when Simon enters the picture the team creates a monster seemly from hell! A good final film in the series.8/10

one-nine-eighty As the title would suggest this is a 'Frankenstein' adventure. A young scientist determined to follow in the footsteps of his hero is arrested and sent to a lunatic asylum - as his hero had previously been too apparently. Upon getting admitted to the asylum Dr Simon Helder (Shane Bryant - Captain Kronos the Vampire Hunter) does a bit of snooping and eventually encounters Baron Victor Frankenstein going by the name Dr Carl Victor (Peter Cushing) who is working as chief medical staff within the asylum. Baron Frankenstein is presumed dead however going by the name Dr Carl Victor has allowed him to stay undetected and continue his experiments. Unfortunately an accident has reduced Dr Victors ability to operate precisely and as such he has groomed dumb/mute Sarah (Madeline "Live and Let Die" Smith), upon learning the Dr Helder is a doctor of surgery he takes the opportunity to take him on as an assistant, initially just with the regular inmates of the asylum but later begrudgingly with Dr Victors 'private' studies too. Curiosity eventually gets the better of young Dr Helder and he tricks dumb Sarah (Angel) into leaving the door to Dr Victors private lab open so that he might have a snoop around. Within the lab is version Frankenstein's monster built from inmates, as the film progresses and Dr Helder fights his conscience the monster is let out to cause mayhem and havoc within the institute. This is Hammer's last Frankenstein film (the 7th in a brilliant series) and it's a good one albeit the monster has seen better days. Terence Fisher directs this outing and you'll find all the usual Hammer House trademarks from wobbly walls to atmospheric intensity to rubber monsters. This Frankenstein film stands out as one of Hammer's finest but it also closes the arc of Frankenstein film's produced which have been brilliantly directed by Terence Fisher and starred Peter Cushing. The musical score bu James Bernard in this film is creepy and eerie much like you'd expect. Additionally Shane Bryant adds to his already growing reputation in Hammer films with a suave but potentially dangerous delivery which keep the audience bolted in for the ride. While it's undoubtedly Cushing who is driving the films narrative vehicle its Bryant who acts as navigator for the audience vocalising things that need to be said and asking questions that need to be answered. If Cushing is the drive and Bryant is the navigator then Madeline Smith is the soul and heart of the film. Madeline Smith is her usual stunning self, while she keeps her clothes on in this Hammer film (sorry) she manages to bring real emotion and feeling to film using expressions, smiles and her eyes to convey feelings. The two let downs for me in the film are a) the scale model of a asylum used in long shots - it looked too fake even for Hammer, previous Hammer films have used random locations and beautiful buildings - this film however missed out on that. Secondly, b) the Monster's appearance was a little unbelievable. It wasn't supposed to be a bronzed Adonis but it's more like a papier-mâché caveman with Tom Selleck's body hair glued to it, fortunately it doesn't detract too much from the film as the actors in the film help carry it through to it's ultimate demise. Keep an eye open for the rest of the star studded cast: David "Darth Vadar" Prowse is Frankenstein's monster John Stratton plays the creepy and slimy asylum warden Patrick "Dr Who" Troughton plays a dirty body-snatcher Bernard "M" from James Bond" Lee plays a genius/inmate All in all a great film, one for the die hard horror fans rather than the new style-over-substance audiences.

BA_Harrison The last of Hammer's Frankenstein series, "…and the Monster From Hell" once again stars Peter Cushing as Baron Victor Frankenstein, who, having faked his own death in an asylum, now works there as the resident doctor, continuing his experiments on the side. When young surgeon Dr. Simon Helder (Shane Briant) is sentenced to five years in the asylum for following Frankenstein's ghoulish work, he recognises Victor and confronts him; before long, Simon is assisting the Baron in building another monster (played by Dave 'Darth Vader' Prowse) using spare parts from inmates who have conveniently passed away. For once, Victor succeeds in creating a cognisant creature, one that can think, talk and do advanced mathematics, but eventually the body begins to take over the brain—not good news since it originally belonged to a violent ape-like man with a fondness for stabbing people with broken glass.This set up allows director Terence Fisher to explore some interesting themes, not least the emotional trauma of waking up with a face like a baboon's backside and more body hair than Tom Selleck: as Baron Frankenstein's creations go, this is one of the most pitiful, and is rightfully miffed at his predicament. Fisher also makes great use of the film's harsh asylum setting, delivering plenty of atmosphere, with the gibbering inmates adding to the overall sense of madness and the sleazy director of the institution proving to be as much of a monster as Frankenstein and his creature. Fans of Hammer glamour might feel a little cheated—Madeline Smith, as beautiful mute Sarah, remains frustratingly fully clothed throughout (what a waste of a great cleavage!)—but gore-hounds will be more than happy, Monster From Hell offering up such delightfully bloody sights as jars full of eyeballs, a man hanging from his neck by violin strings, a juicy brain transplant operation, a savage throat slashing, and the monster eventually being reduced to a bloody mess by the lunatics.7.5 out of 10, rounded up to 8 for IMDb.