Exoticalot People are voting emotionally.

SoTrumpBelieve Must See Movie...

Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Ginger Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

barb-56043 I was so pleased to find this ratings list after I Google the Lost Continent. I had just been email my (Film Student) son to tell him I'd caught it on the Horror Channel and I thought it was a contender for the worst (British) movie ever made. This site has made me see there is a camp, crazy, delectable madness about it that I have bypassed at my peril.I shall watch it again with my son when he is home.I was also v pleased to find there are several cuts as I remember a scene with Dana Gillespie that wasn't in the version I saw on TV recently - in fact, I couldn't find her at all. Thanks for all your reviews.

Eric The scariness of this movie doesn't jump off the scale when you first see it, but for me it lingered - and lingered - and lingered. Other reviewers have described it well so I'll just add a couple little fillips. First, Eric Porter played an excellent Moriarty in the Jeremy Brett version of Sherlock Holmes, and there is an odd aptness to that which will bring back memories of this very original movie. Second, some of the reviewers refer to the "cult" aboard the galleon. Well, that's no cult - it's a pretty faithful rendition of the 16th century Catholic Church and the Inquisition. The debates between the loony Inquisitor and the British ships's mate are worth the price of admission. And I was surprised to learn from some of the other reviews that cigarette companies protested. If anybody should have protested, its the Catholic Church, which comes off looking every bit as bad as it deserves to in those debates, and the depiction of a microcosmic theocracy which is a "not even disguised" version of the church, or just about any church to some degree. A fun movie on many levels, and unforgettable.

chrismartonuk-1 Michael Carreras often attempted to broaden Hammer's repertoire during his terms there and most of the company's artistic triumphs, and interesting misfires, can be laid at his feet. THE TWO FACES OF DR JEKYLL was a serious attempt to move the Gothics beyond the traditional limits expected of Hammer that failed due to the gap between intention and execution. Having pioneered SHE and ONE MILLIONS YEARS BC and put Hammer into the Summer family crowd pleaser market - and anticipating the modern Hollywood blockbuster - Carreras took advantage of hammer's relationship with Dennis Wheatley not to churn out another Black magic Chiller but a curious mish-mash of soap-opera, disaster movie, nautical adventure and sci-fantasy.Eric Porter was hotter than a murder weapon at the time with his portrayal of the tormented, cuckolded Soames Forsyth on the BBC (and had become something of a sex symbol in the process - despite, or because of, his rough treatment of his capricious wife, Irene) so Hammer thought it worth taking a chance on him as leading man material - as they had Peter Cushing - instead of Christopher Lee or a fading American star. Porter was a top drawer classical actor - I had the good fortune to see his Malvolio in TWELFTH NIGHT at Stratford - and he has a convincingly craggy sea-faring face and a natural authority, and ain't half-bad as a man of action at the climax. His captain could give Cushing's Baron Frankenstein a few lessons in monomania - he fails to tell his crew (including, inevitably, Michael Ripper) about the dangerous cargo of Phophor B they carry. Having been beaten to the punch by Benito Carruther's sleazy character to sleep with Hildegard Knef, he cares very little when the man is carried off by an octopus. I doubt whether Porter lingered too long over the film on his CV but he's a first-rate lead and although he made an excellent Moriarity in the Granada series, might have been an intriguing Holmes. The women characters are unusually complex for Hammer. Hildegard Knef looked every inch a MILF and conveys the weary melancholy of a beaten-down woman who's had to compromise herself in the name of survival. Suzanne Leigh is one of Hammer's finest and most underrated bitches - look at the smirk she gives her hated father Nigel Stock when Porter berates him - and opens her thighs for anything with a pulse including the Sparks, Benito, and on-the-wagon Harry. Sadly, both fade from centre-stage at the climax - but there is compensation in the form of Dana Gillespie. We've suffered enough childish double-entendres with those gas balloons she wears for now, but she is a striking beauty and, as Hammer weren't overly concerned with the thespian ability of their ladies, it seems strange she never made another one for them - Christopher Lee could have sunk his fangs into her certainly. I suspect she's dubbed, but she certainly takes Harry's mind off the booze.The plot structure is oddly similar to FROM DUSK TIL DAWN with the plot starting off as one genre and taking an unexpected detour in fantasy-land. Nonetheless, it remains a curio in Hammer's output (and an indication of what ZEPPELINS VS PTEROCATYLS might have looked like had it been made) and remains the guiltiest of pleasures.

john22900 Okay, let's get one thing straight first. This is far from the best horror/science fiction movie ever made. It starts off pretty well but then degenerates into melodrama...and pretty awful melodrama at that. The cast of this film is pretty good though and deserves to be in a much better movie than this. The first half of the movie is far better than the last half and a lot more believable. Once the remaining passengers and crew board the life raft and it drifts into neverneverland, you almost wish the acidy seaweed would eat right through the raft and eat everybody. Unfortunately, it doesn't. But then that would shorten the movie before we get to see the very very buxom Dana Gillespie, who singlehandedly makes this movie bearable enough to sit through. She hardly has any speaking lines at all but then she doesn't need them. She just has to stand there and look just the way she looks. She is a standout in more ways than one. But then this part of the movie with the remnants of the Spanish Inquisition is totally and completely silly. This section is like an unfunny drawn out Monty Python segment. The direction is workmanlike but in the end all for naught. This movie doesn't have an end where you know what is going to happen to the surviving characters; the movie just ends, period. One of the few things that would have made this movie better was Dana Gillespie having a lot more screen time.