The 12 Worst & Lesser Hammer Horror Films

 

VAMPIRES, BRUTES, MONSTERS & SUPERNATURAL SLAYERS: THE 12 WORST HAMMER HORROR FILMS

***WARNING! This article contains pics of nudity***

 

This companion piece to the 20 Best Hammer Horror Films features motion pictures that are certainly entertaining, but fall short of the greatness contained within the Best entries from Britain's home for Horror. Others on the list, though, are stitched together from better parts of Hammer's catalog--some bordering on being unwatchable. Originally written back in 2009, the list has been upgraded with additional material and one new entry to bring the list to a dastardly dozen.

1. THE PHANTOM OF THE OPERA (1961/released in 1962)

Hammer's attempt to film the third cinematic adaptation of Gaston Leroux's classic story of a man whose music and life is stolen--relegated to live out his deformed existence in the sewers below an opera house, is a light weight affair. Terence Fisher directs; and as usual, is far more concerned with the love story angle engulfed in unwarranted tragedy. Granted, the 1943 PHANTOM starring Claude Rains was barely horror at all, focusing more on the music, pageantry and romanticism; but Fisher did this with so many of his horror films it begs the question why even do them at all. His PHANTOM isn't a bad movie at all, but Hammer fans expecting some gruesome thrills will be irrefutably dissatisfied. The violence is minimal, yet Michael Gough, as the nasty villain, pretty much steals the picture from Lom's mad musician in his own movie. 

 

Originally, Cary Grant was supposedly anxious to appear in one of Hammer's horror movies, and the script for PHANTOM was written with Grant to appear as the title character. Unfortunately, Grant was seemingly not serious about his intentions. Herbert Lom took the role after having some initial vacillation about taking the part. The mask used for this version of the Phantom is easily the worst created for the character; allegedly hurriedly produced in a matter of minutes by Roy Ashton when the original mask created was deemed unusable after filming had already begun. One can only imagine how horrible that one must've been. Then there's the major set piece--the big opera house finale recreated from the two prior PHANTOM flicks--that's lackadaisically created for this version. Feeling rushed in places, the film is still worth a look or two if you go in expecting little in the way of horror. The cramped sewer setting of the Phantom is glum looking and suitably seedy, though. Watch it for the scene chewing performance of Michael Gough even if his characters fate is the films biggest question mark.

2. THE EVIL OF FRANKENSTEIN (1963/released 1964)

Hammer went for a more "Universal" approach with EVIL, in what is nearly the weakest in their Frankenstein series. If it weren't for Peter Cushing, this third Frank flick would surpass the later HORROR OF FRANKENSTEIN in banality. Cushing is the sole reason to watch this quasi-clunker. His character isn't even all that evil compared to some of his other performances as the Baron; especially FRANKENSTEIN MUST BE DESTROYED (1970). Here, the Baron comes off as an underdog, a victim of a society that doesn't understand him. This conceit is consistent from one Frank flick to the other, but here, Cushing is less villainous than usual, unlike many of his other portrayals. His interpretation in EVIL is closer to his Baron depicted in FRANKENSTEIN CREATED WOMAN (1967); although that film actually moves and has a compelling story and genuinely sadistic villains.

The role of antagonist belongs to a revenge seeking hypnotist (Peter Woodthorpe) who controls Frankenstein's reanimated creature to kill for him. The Baron is more of an anti-hero in this entry, one of only two Franky films not directed by Terence Fisher. Cinematographer Freddie Francis takes the helm and fails for the most part in delivering a product on par with Fisher's movies in this series. Francis does capture some winning moments--all from Cushing, of course; such as his recalcitrant attitude and talk of "meddling women"; and then there's his Errol Flynn-style escape from the Burgomaster's home. Still, Fisher's FRANKENSTEIN AND THE MONSTER FROM HELL, the last of the series, shot on a shoestring budget and the last movie of his career, is miles away better than Francis's EVIL.

I'm not sure why it was so important to them to do so, but EVIL was the first time Hammer was granted permission to utilize makeup similar to the Karloff visage in the classic Universal FRANKENSTEIN from 1931 (the film also bears more resemblance to the Universal series). They used a wrestler named Kiwi Kingston to play the monster and he comes of more pitiable looking than fearsome. Had they put anyone else in the role they'd have probably gotten the same result. The effects used to create the creatures features look slapped together like the mask for Hammer's PHANTOM OF THE OPERA. It's a disastrous step down from the gruesome patchwork deformity of CURSE OF FRANKENSTEIN (1957). Still, Peter Cushing is the one saving grace and the above-mentioned scene where he attempts to reclaim some of his property gives the movie some much needed comedic flair.

3. CURSE OF THE MUMMY'S TOMB (1964)

Easily the weakest entry in Hammer's bandaged brute series; not counting BLOOD FROM THE MUMMY'S TOMB which thought not having a gauze-wrapped ogre at all was a good idea. Michael Carreras directs this fitfully boring second entry in Hammer Films mummy series. Things got off to a blazing start with there huge hit--simply titled THE MUMMY (1959). The famed horror company's Egyptian avenger quartet is the weakest series of Hammer's horror heritage. This exercise in tedium takes up 53 minutes of the viewers time before the damn mummy even begins to do his thing. By that time, there's 26 minutes left and less than half of that contains "the beat of the cloth wrapped feet"; that being the tagline used for the next film in Hammer's mummy cycle that's a marked improvement.

The makeup and costume for the creature in this one follows the trend of shoddiness pioneered in Hammer's PHANTOM misfire and the mistake that is Frankenstein's EVIL. The film did do well at the box office. Originally, the script called for a 20 foot tall mummy monster to wreak havoc until the military gets involved, but this storyline was later rejected. It may have been ridiculous to showcase a Kong-sized Egyptian shambler, but it would no doubt have been a life-injection the series could've used. Alvin Rakoff, the director of the awful DEATH SHIP (1980), collaborated on the script with Carerras under a pseudonym. George Pastell plays essentially the same character he played in THE MUMMY, only here he is not the creatures cohort. Dickie Owen played the Mummy here and in the next film where he was far more intimidating.

There's a few good things in the movie so it's not all worn out rags. CURSE begins in bloody fashion with a graphic dismemberment to grab the attention (even if afterward it fails to hold onto it). During the finale, the mummy squashes a head and ends up in the sewer after battling the police. The busty Jeanne Roland in addition to the last ten minutes almost makes this miserable movie worthwhile, but it's too little, too late. The score is also good; at least the parts that aren't ported over from the previous picture. It feels like a CURSE to get through, but this MUMMY is recommended to the most patient of Hammer fans.


4. THE MUMMY'S SHROUD (1966/released 1967)

After releasing CURSE OF THE MUMMY'S TOMB, Hammer returned to Egyptian horror with THE MUMMY'S SHROUD two years later. It's a lesser Hammer horror, but the best of the shamblers next to the 1959 film. Actually, Dickie Owen's interpretation doesn't walk like an Egyptian at all; but instead mimics Christopher Lee's legitimately scary portrayal. The story this time out is a little bit different, too. The typically ignorant tomb raiders remove the remains of a boy king from his resting place. Upon removing his shroud and reading the deadly inscription, this prompts his loyal guardian, Prem, to return to life and exact a brutal revenge on the desecrators.


SHROUD is one of the best films on this list, only it's just not very engaging. What the film needed was either Chris Lee or Peter Cushing to give the film some added value as all the elements are here for a damn fine horror picture. One of two great things about the movie are the few and far between mummy attacks. They are incredibly brutal and violent for the time period; such as a scene where Prem sets one of his victims on fire. One particular bit of nasty business was removed from the finished film involving the gruesome handiwork of Prem after pulverizing one of the tomb defilers.

The other noteworthy thing about SHROUD is the wickedly ghoulish mystic, Haiti who foresees the deaths of the victims. Her presence and cackling demeanor add a macabre element to the proceedings that's missing from any of the other entries. She's the Maria Ouspenskaya (Maleva the gypsy in 1943s THE WOLF MAN) of the picture, but of a malevolent nature. Michael Ripper is also on hand in a larger than usual role. At least here he's far more believable and personable than in CURSE OF THE MUMMY'S TOMB where the script tried to pass him off as an Egyptian.

The destruction of Prem is rather spectacular and unusual when compared with other films of this type. It's undoubtedly the liveliest and kinetic finale of Hammer's mummy films. It's definitely far from the worst film on this list, it just sort of sits there... unlike Prem. The score is also notable and the film as a whole is definitely a step in the right direction after the previous fiasco. Director John Gilling was a bit more successful with his back to back Hammer horrors THE PLAGUE OF THE ZOMBIES and THE REPTILE; both from 1966 and both refreshing in their takes on zombies and werewolf mythos. While the monster rivals Chris Lee's version, the look of Prem is somewhat daring--if unsuccessful--by deviating from the typical bandaged design, going for what looks like burlap sacks and corn husks. A detriment to the film's qualities, the picture is rendered relatively weak without stronger leads.  This would be Hammer's last complete film shot at Bray before they moved to Elstree Studios.

 

5. HORROR OF FRANKENSTEIN (1970)
 

Screenwriter-turned-director Jimmy Sangster did a horrible debut behind the camera with this black comedy do-over of CURSE OF FRANKENSTEIN (1957) that isn't all that funny. The project seemed ill-fitted for Peter Cushing and the producers wanted to go with a younger Frank anyway. Ralph Bates was being groomed as a new, young horror star so he took the role of Dr. Frankenstein. It's not a total loss, though, as the film isn't without some funny bits and good moments; Kate O'Mara's chest being two of them. Speaking of cleavage, there is an increased slant towards sex this time out and while Bates is good in the role, the film as a whole is largely forgettable. Hammer's attempt to inject new life into the series dies on the operating table.

Even the added nudity and violence was doing very little to hold interest in their horror pictures. Hammer's most successful film, ON THE BUSES (1971) wasn't even a horror movie, but a comedy. They were so accustomed to doing horror, that when change was inevitable, Hammer couldn't adjust to the shift in audience tastes. There would always be a market for their old-fashioned style of horror, but it wouldn't be enough to keep them financially viable. At this point, most everything Hammer did was a disappointment; and they would soon no longer have the luxury of a major studio to back them for financing, nor for overseas distribution.

Instead, their films were often picked up by obscure companies who barely released the pictures at all and sometimes several years after the films had played their native territory. HORROR OF FRANKENSTEIN also marks the first of three appearances by weightlifting champion, Dave Prowse who famously went on to play Darth Vader in the original STAR WARS trilogy. Some of HORROR's black humor works, but the film as a whole is mundane and pretty forgettable.

6. LUST FOR A VAMPIRE (1970/released 1971)

LUST is a major league mistake in Hammer's non-Dracula vampire series. After the stylish, yet risky endeavor that was THE VAMPIRE LOVERS, the studio unleashes this bizarre and largely redundant second entry in their Karnstein trilogy. Probably the greatest blunder the film makes is skimping on the salaciousness promised by the title. There's no lust shown, but more of a tame romance between a human and his would-be vampire lover. There's potential in such a storyline, but in the hands of Jimmy Sangster again, he shows no interest in exploiting these areas. There is virtually nothing of interest save for a haunting and sometimes beautiful score by Harry Robinson. The slender and tantalizing frame of Yutte Stensgaard is a plus, but not enough to keep this unexciting lesbian vampire non-epic afloat.

Originally titled TO LOVE A VAMPIRE, the emphasis is placed on the doomed relationship between schoolteacher Lestrange and the vampire Mircalla. They should've kept that title and done away with the LUST moniker. If original director Terence Fisher had not fallen ill, perhaps the film would have been more successful since romanticizing horror was something he was good at. Peter Cushing was also cast as a lecherous nutcase, but was unable to participate due to his wife's illness. Ralp Bates replaced him in what was already a very unflattering role for an actor the company was seemingly building up to replace Cushing. The film lost some of its scenes of violence, but it is highly unlikely that the picture would be improved had they been included.

The film's "best" moment occurs towards the end when the entire film crew is visible to the left of the screen for close to ten seconds. Speaking of showing off the crew, you can see a number of technicians including the director in the door of a coach during the opening moments. Mike Raven as Count Karnstein is obviously having a grand time doing his best Christopher Lee impersonation; some close up shots from one of Lee's previous Dracula movies are used at one point. Adding to this film's negative stigma, Raven was incensed upon learning his voice was dubbed by someone else. A serious low point in Hammer's history. If you're a fan, you'll still want to see it, but you'd be better off watching THE VAMPIRE LOVERS or especially TWINS OF EVIL again.


7. COUNTESS DRACULA (1970/released 1971)

It's a shame that Ingrid Pitt's one lead role had to be in such a lousy movie. COUNTESS DRACULA is one of the most incredible missed opportunities in horror history. Hammer, the studio that was struggling to find themselves amidst their dwindling target audience, totally missed the boat with this dry, bland and nearly bloodless production. About one of the most sadistic and bloodthirsty bitches in all of humanity's savage history, the producers at the famed house of horror decided to forego the reality of Erzsebet Bathory's vile catalog of cruelty and instead focused on one of the Countess' "less ferocious" practices.

Despite the languid movie Hammer put her in, Ingrid Pitt is great as the Blood Countess and she is obviously enjoying the chance with her meatiest role. For whatever reason that still boggles the mind, her voice was dubbed without her knowledge after the film was completed. The film mixes fantasy with reality in that the Countess bathes in the blood of virgins to remain youthful; and at the end, as she is to be married to her handsome groom, she begins to age rapidly. The final moments are true to what became of the real 'Blood Countess'. Had the real exploits of this insane feral female been filmed, even today the production would easily have obtained an 'X' rating. The only thing COUNTESS has going for it is Pitt's undeniable sexiness and the nude shots displaying her incredible figure.

It's a grand shame that Hammer failed to capitalize on what could have been the horror tale they needed to procure some of their disinterested audience. Hammer's lady DRACULA is a boring affair that has only Ingrid Pitt to carry such an anemic affair. It's her movie, and the only one she headlines, so that in itself is reason enough to see it.


8. BLOOD FROM THE MUMMY'S TOMB (1971)

Hammer's last mummy movie isn't really a mummy film at all. Based on Bram Stoker's 'Jewel of the Seven Stars', it's a failed, yet more adult approach to their style of horror film. Peter Cushing was cast in the supporting role as the archeologist, but had to exit the picture after only one day because his wife had become deathly ill. Then the director, Seth Holt, died of a heart attack before the film was completed. Some other directors were considered to take over, but Michael Carreras decided to handle the duties himself--later claiming the picture was in extreme disarray and even contemplated starting over from scratch.

In yet another attempt by the company to give new life to a tired formula, audiences both in the UK and abroad were not interested. The film bombed terribly, successfully killing off the mummy series with pedestrian direction, barely any horror, and not a gauze-wrapped avenger from centuries past in sight. However, the last scene contains a mummy of sorts in what comes off as something of an in-joke. The Stoker story was made again in 1980 as THE AWAKENING starring Charlton Heston and Stephanie Zimbalist and it's marginally better. It benefited from some OMENesque style death scenes and a shock ending, something Hammer's version lacks.

 

Two words make BLOOD FROM THE MUMMY'S TOMB somewhat worthwhile; Valerie Leon. She had appeared in a number of the CARRY ON films and her gravity defying assets coupled with her seductive beauty are reason enough to give this misleadingly titled horror hokum at least one look. All other desecrators of Hammer's humdrum horror sans its title shambler should proceed at their own risk.

9. DRACULA AD 1972 (1971/released 1972)

After the huge success of AIP's COUNT YORGA, VAMPIRE (1970), Hammer decided it was time they transplanted the King of Vampires to modern day London. Well, once he got their, they did little to nothing with him. After a stunning opening, the film loses lots of steam and never regains momentum till the finale draws near. Lee as Dracula again has very little to do and the character is relegated to a dilapidated old church, the only tie to the Gothic style of Hammer's bygone days. For whatever reason, the company made the picture to bring their popular bloodsucker into the modern age, and decided it was best to confine him to familiar ground while leaving the blood drinking of Londonites to a new character.

This new character, Johnny Alucard (Christopher Neame), takes center stage for much of the picture when the film should be focusing on Dracula. Hammer alums often said they didn't know what to do with Dracula; which begs the question why the hell did you option the property in the first place then?!  Some films had an excuse for Drac's late or infrequent appearances, but this one doesn't. There's some great things about A.D. 1972 like the dynamite opening sequence and a surprisingly bloody ending battle between Van Helsing and the Lord of the Undead. It's the only film where you get two duels between the arch enemies. There's also a strong and vibrantly forceful score by Michael Vickers of Manfred Mann fame. Of particular interest to male viewers is the participation of the alluring beauty of both Caroline Munro and Stephanie Beacham.

Upon release, the film failed to garner much audience interest. Modern-day vampires was treated far better in the aforementioned COUNT YORGA, VAMPIRE and elsewhere in BLACULA (1972) and particularly in the Made For TV movie, THE NIGHT STALKER (1972). The Hammer production was further hindered when the producers decided against using Rod Stewart and his band, The Faces for the party sequence; deciding instead on the wonders of the unknown band Stoneground. Once again Chris Lee was vehemently against the dialog he was given, yet he didn't mind uttering essentially the same shit for the follow-up modern day Drac attack, SATANIC RITES OF DRACULA the next year.


10. THE SATANIC RITES OF DRACULA (1972-'73/released 1974)

By 1973, Hammer was drained of ideas so they came up with this uneven entry to drive a stake through the heart of their Dracula series. It would end up being the last to feature Chris Lee as the Count. By this point, Dracula has suffered the indignity of being staked or impaled with a variety of implements, burned by the sun's rays, drowned by running water, killed by Christ, and here, silver bullets and thorn bushes play a role in the death of the ruler of lost souls. By this point, being a vampire doesn't make immortality all that an appealing alternate un-lifestyle. Speaking of Dracula's demise, the dreary finale is so abrupt, it feels like the filmmakers ran out of time, or were as tired of the material as its villainous star was. Dracula doesn't even appear till late in the flick and the bulk of his footage doesn't come till the end.

Incredibly, Lee gets more dialog than he did in SCARS OF DRACULA (1970), but only by a few lines. What little the film has in its favor is a unique plotline with Bondian style elements that encoring director, Alan Gibson, fails to capitalize on. It's a decent film, but the most lackluster of the Dracula movies. The film went through a number of title changes and Chris Lee had a lot of disdain for even having been signed to do the picture and soon vowed he would never again don the Count's cape.

The film didn't appear on North American shores till 1978, and under the title COUNT DRACULA & HIS VAMPIRE BRIDE. For continuity purposes, it's a direct sequel to the previous modern day Dracula movie. Cushing also returns, but sadly, the gorgeous Stephanie Beacham does not. Instead, she is replaced by Bond girl, Joanna Lumley of ON HER MAJESTY'S SECRET SERVICE (1969). Despite its fascinating storyline of Dracula attempting to commit suicide by unleashing a new strain of bubonic plague upon the world, Lee's bloodsucker swan song is mostly an exercise in tedium.

11. CAPTAIN KRONOS, VAMPIRE HUNTER (1972/released 1974)

CAPTAIN KRONOS is a fan favorite, but it's obvious Hammer was struggling to keep their doors open. Much like SATANIC RITES failed to properly meld new themes and ideas, so does this movie's attempt at mixing swashbuckling action with vampirism. The poverty row cardboard sets and the stiff leading actor that is Horst Janson cripple whatever intentions director Brian Clemens intended. Furthering the film's slide into B-movie territory are poorly staged "sword fights"; especially disappointing is the final duel between Kronos and Hagen, played by William Hobbs, the film's sword choreographer. It's the one decent fight in the picture, yet the filmmakers couldn't be bothered to compose a piece of music for this sequence to heighten the action. The latter half of the duel has music, but there's a noticeable lack of buckle-swash that the bombastic main theme possesses.

There's barely any props and a lack of set design; and what's seen is so bland and fake, to quote Jon Pertwee in the fourth story in the Amicus anthology, THE HOUSE THAT DRIPPED BLOOD, "It's so flimsy you could shoot peas through it!"  Nearly the entire film is shot in daylight. Director Clemens's film is rife with bizarre touches here and there, but the whole exercise is brought down by a totally wooden lead actor who, yet again like others before him, is dubbed in post. Janson speaks clear English so why would they dub him? Who knows, as Hammer was privy to dub any of their lead performers at random.

The producers claimed they wanted someone who could fight and handle a sword. Well, the tight shooting schedule must have kept them from looking for very long as the quick cuts and close ups mask the deficiencies inherent in anyone wielding a blade, save for the semi exciting final fight between Kronos and Hagen. The pub fight appears to either be imitating a Japanese samurai duel or was shittily choreographed on purpose; ditto for the sword fight on the hills following it. Janson had also played a villain in the spaghetti western obscurity LONG LIVE YOUR DEATH (1974) starring Franco Nero, Eli Wallach and Lynn Redgrave.

What CAPTAIN KRONOS does have are some quirky characters, some interesting mythology (the vamps here suck away your life essence instead of blood), a rousing score and the perky and sensual talents of Caroline Munro, a gorgeous actress who simply didn't get enough roles in movies. Director Brian Clemens envisioned a series of films wherein Kronos would travel through time encountering a different type of creature or supernatural foe. That would've been a fascinating concept had this initial outing turned out better.


The film was barely released and disappeared quietly with little to no fanfare. With its minuscule budget, KRONOS has a TV movie of the week look about it. Perplexingly, this film gets so much attention while the superior action horror hybrid, LEGEND OF THE 7 GOLDEN VAMPIRES, often gets overlooked or snubbed at. It actually had a budget to work with, a memorable music score by James Bernard, and fantastic action set pieces. That's one thing KRONOS lacks is engaging action which is its main selling point; but it does have imagination. If only the budget and schedule allowed it to breath and run a little bit wild.

12. TO THE DEVIL, A DAUGHTER (1975/released 1976)

One of the company's absolute worst movies is this demonic disaster riffing off of the building dread of ROSEMARY'S BABY (1968), the shock value of THE DEVILS (1971), and inspired by the success of THE EXORCIST (1973). It doesn't resemble Friedkin's movie at all, but does feature bizarre scenes of Nastassja Kinski (the daughter of Klaus) having sex with a satanic statue; Nastassja Kinski stuffing what looks like one of the aliens from the atrocious INSEMINOID (1981) into her vagina; an uncomfortable nude scene by Nastassja Kinski who was only 14 at the time; satanic orgies, and other grotesqueries.

Director Peter Sykes doesn't seem to know what sort of movie he wanted to make, and according to those on the set, no one else did either. The film plods along, only occasionally awakening viewers at the last second before succumbing to boredom by some random offensiveness; almost always committed by Christopher Lee, the film's sole asset worth staying awake for. He plays an excommunicated priest who works for the Devil. 

TO THE DEVIL was supposed to be based on Dennis Wheatley's story of the same name, but instead, the filmmakers thought it best to make up a new story and only retain the title. This didn't sit well with Wheatley who was disgusted by the end result as was Christopher Lee; and Richard Widmark who apparently couldn't make heads or tails of what was going on, much like the film's confusing plot. It feels like a TV movie when there isn't something gruesome onscreen, and that's what was intended in the beginning. 

 

If they'd really went for it and did something akin to the trash opus that is Mario Gariazzo's THE EERIE MIDNIGHT HORROR SHOW (1975), then Hammer's next-to-last movie might've been something special. They just couldn't make up their mind what they wanted this to be nor how to end it. The original ending was scrapped and replaced by something far worse in having Lee's evil priest dispatched by having Widmark hit him in the head with a rock that somehow makes him disappear. Surprisingly, the film was successful, but not for Hammer since the financing largely came from elsewhere as the company was virtually up the creek without paddles at this point. After 1979s THE LADY VANISHES, so did Hammer Films. You'd be better off watching the Wheatley adapted Hammer classic, THE DEVIL RIDES OUT (1968) instead.

The 20 Best Hammer Horror Films

Iconic image of Christopher Lee from HORROR OF DRACULA (1958)

BLOODSUCKERS, MAD SCIENTISTS, MONSTERS & MURDERERS: THE 20 BEST HAMMER HORROR FILMS

This is just my own personal 20 favorite Hammer horror movies. Some of these are genuine classics while others hold a special place for other reasons. Obviously quality fluctuates between some of the titles listed, but certain films appeal to me in different ways regardless of their adequacy or deficiencies.

Peter Cushing in a genre defining performance from THE CURSE OF FRANKENSTEIN (1957)

1. THE CURSE OF FRANKENSTEIN (1957)

Hammer Films enters the horror movie arena with a vengeance delivering a dynamite character study about a truly mad scientist with misguided dreams of aiding humanity. Peter Cushing goes down in history as the ultimate portrayal of the often cruel, yet indomitable Baron Victor Frankenstein. He played the role on six occasions with some of the pictures painting a more vicious interpretation than others. Cushing is so amazing, it's hard to imagine anyone else in the role of the duplicitous and brutal Baron.

Chris Lee as Frankenstein's creation in his first of three heavy make up roles portraying monsters based on the classic Universal horror films of the 30's and 40's.

CURSE also delivers in the performance of Christopher Lee as the creature. His reveal has something of the same effect as Chaney's mask unveiling in the original PHANTOM OF THE OPERA (1925). Cushing starred in six of seven Frankenstein entries. Ralph Bates headlined the other. A highly recommended horror masterpiece that should be seen by true horror fans to see just where their modern blood & guts extravaganzas sprang from.

Chris Lee's first and most energetic performance as the ruler of the damned, Count Dracula

2. HORROR OF DRACULA (1957-'58/released 1958)

The first and considered by most all Hammer aficionados to be the best of the series. It nonetheless got things off with a bang and solidified the Cushing and Lee team up previously laid down in Hammer's groundbreaking THE CURSE OF FRANKENSTEIN (1957). This first outing contains an energy that would be increasingly lost as this popular vampire series continued. Lee likewise became disenchanted with the films as he was given less and less to do as the films wore on.

Another iconic image this time of Peter Cushing essaying the role of vampire slayer, Professor Van Helsing

Called simply DRACULA in the UK, Hammer's first foray into vampire lore has become one of the most recognizable and famous of the cinematic adaptations of Stoker's novel. Despite the huge success given the previous Frankenstein picture, Hammer's vampire series overshadows the experiments of the ambitious and sometimes deliciously evil Baron. Christopher Lee donned the cape for seven Hammer Dracula films essaying the role more than any other actor. HORROR OF DRACULA is a quintessential horror movie and required viewing for any serious horror fan.

Frankenstein, having survived the guillotine, finds himself another assistant in THE REVENGE OF FRANKENSTEIN (1958)

3. THE REVENGE OF FRANKENSTEIN (1958)

The first and most obvious sequel in Hammer's Frankenstein series has Cushing's sardonic Baron escaping the guillotine and setting up a medical practice in Carlsbruck where he uses the body parts obtained from unwitting sick and tired peasants to construct a new creature. The body is to be the reward for his hunchback assistant for volunteering his brain for transplantation. Terrible consequences ensue involving cannibalism.

The creature craves flesh in THE REVENGE OF FRANKENSTEIN

One of the most subtly gruesome of the Hammer pictures, Cushing is excellent as always. He gets a grand guinol comeuppance at the end, but once more escapes certain death in ironic fashion. The film was hurriedly put together but strong direction ensure it's a stable production providing some choice moments and good performances. One of the best scenes has the creation succumbing to cannibalistic tendencies after having been beaten half to death by a janitor. After spying the Baron's experimental monkey enjoying a piece of red meat, the creature turns to the now dead janitor and begins to salivate profusely.

THE MUMMY lives! Another significant Hammer horror again starring the dynamic duo of Cushing and Lee.

4. THE MUMMY (1959)

Hammer's first stab at the shuffling Egyptian shambler is a decidedly more energetic creation when compared to the Universal Mummy movies. Chris Lee undertakes the role of the creature again and plays him as a far more pitiable monster and one that moves in a more hasty fashion. The story is essentially the same as the Universal entries only with the addition of color and some brutal violence some of which was trimmed before the film was released. About the only negative I would levy at the film is that several of the action charged attack sequences take place at the same location.

The mummy attempts to get a stranglehold on Peter Cushing

Outgrossing HORROR OF DRACULA in America, the film guaranteed more similar films would follow. Sadly, the later Hammer mummy movies would suffer a decline in quality when compared to this entry. With three back to back blockbuster pairings of Cushing and Lee, more classic films with the dynamic duo were forthcoming as history would soon dictate. Three more Hammer mummy movies followed with the last, BLOOD FROM THE MUMMY'S TOMB, not featuring a mummy at all.

The confident and self assured Sherlock Holmes with Dr. Watson (Andre Morell)

5. THE HOUND OF THE BASKERVILLES (1958/released 1959)

Not completely horror, but close enough. This Sherlock Holmes entry contains enough elements of dread and terror to qualify as a horror film. Peter Cushing truly delivers a whole heartedly memorable performance rife with self assurance and witty banter. Christopher Lee is on hand in a supporting role that never comes close to stealing the film away from Cushing who owns the film. Even when he's not onscreen, the viewer anxiously awaits his next scene; Cushing's performance is that good. Without Cushing, this movie would be far less enjoyable.

Christopher Lee confronts the hell hound from THE HOUND OF THE BASKERVILLES

A most unusual Hammer film, it would be the company's only Sherlock Holmes picture. The films opening wisely plays up the horror and revenge motif to grab the attention of those put off by the Holmes mystery connotations. There's the expected red herrings and a strong sexual subtext and did I mention how good Peter Cushing is as the ingenious and crafty Sherlock Holmes? Directed by the ever reliable Terence Fisher.

Van Helsing has a life at stake from the superior BRIDES OF DRACULA

7. THE BRIDES OF DRACULA (1960)

Simply one of the finest, most sumptuously mounted horror movies ever made. Quite possibly Hammer's finest horror picture. Everything from set design to costuming to the horror action itself reeks of perfection and a meticulous eye towards detail. The title misleads as the opening narration informs us "Count Dracula is dead." Instead we get an even more eerie aristocratic vampire villain with a sordid family background.

One of the most Gothically surreal moments from THE BRIDES OF DRACULA

Acting and performances are all top notch and Peter Cushing is even more dashing and acrobatically inclined than he was in his previous encounter with the more famous Transylvanian undead overlord. The villain, Baron Meinster (monster?), is also a bit more on the action side as opposed to Chris Lee's interpretation. The film contains one of the most stunning sequences in all of Hammer horror wherein Van Helsing is actually bitten by the lead vampire and prevents himself from succumbing to the undead bite by cauterizing the wound with a huge branding iron. One of the best oldeworld horror movies and highly recommended.

Big screen bad boy (both on and off), Oliver Reed in THE CURSE OF THE WEREWOLF, Hammer's lone venture into the cinema of the lycanthropus

6. THE CURSE OF THE WEREWOLF (1960/released 1961)

Frequent Hammer horror helmer, Terence Fisher directs the company's sole excursion into lycanthropy, but makes it count. Based on the novel, 'The Werewolf of Paris', the film was to be another risque British terror opus born from the aborted production of Hammer's THE INQUISITOR. Considering the main focus of the movie resulted from a rape of a mute servant girl by a half man, half animal beggar, the censors objected to the visualization of both bare flesh and fangs onscreen simultaneously.


The make up by Roy Ashton is exemplary and one of the most notable in the wolfman canon. Intense actor, Oliver Reed makes a big splash as the tragic character of Leon, the werewolf of the film. As usual, Terence Fisher builds his film around the triumph and eventual tragedy of the characters as opposed to the actual horror elements of the production. A fine film in Hammer's oeuvre, it works on several levels, both as a love story and a horror picture. Highly recommended for serious fans, those less patient may find it slow going for the most part.

Chris Lee snarls in his return to the role he made his own

8. DRACULA, PRINCE OF DARKNESS (1965/released 1966)

Hammer's first official follow up to their lucrative Dracula series is both an entertaining and aggravating experience. First, Peter Cushing is conspicuous by his absence replaced by the more flagrant and blunt Father Sandor played with zeal by Andrew Keir. Second, Chris Lee utters not one word of dialog, instead playing the role as a hissing and snarling monster from the time he appears to the time he ends up buried beneath the icy tomb the finale finds him in. For years it has been stated that Lee was so incensed by the dialog given him that he refused to speak it opting to do the role silently. Apparently, according to conflicting reports, there never was any dialog in the original script for the Count to articulate despite Lee himself stating he felt the dialog given him was ridiculous, refusing to say the lines. In recent years, Lee still maintains the latter to be true.

The gang bang staking sequence that is ripe with sexual subtext

Interestingly enough, some of the lines attributed to PRINCE OF DARKNESS had him uttering, "I am the apocalypse", a line he would speak in the later series entry, THE SATANIC RITES OF DRACULA (1973). This first sequel has a lot going for it, though. It contains one of the most gruesome means to resuscitate the Count (a scene which was even more grotesque in the script stages), a sexually ambiguous staking sequence and the first of many various means by which to destroy the lord of the undead; means that would seriously compromise vampires as a viable threat at least in British horror pictures. It holds a special place in my memory as it was the first Hammer film I remember vividly from childhood.

Frankenstein gets a whole lotta' soul in FRANKENSTEIN CREATED WOMAN

9. FRANKENSTEIN CREATED WOMAN (1966/released 1967)

Peter Cushing returns for the fourth go round this time taking a decidedly less sinister approach in keeping with the previous entry, THE EVIL OF FRANKENSTEIN (1964). Here, the ambitious Baron experiments with figuring the length of time by which the human soul exits the body the moment death occurs. Given an opportunity to test his theories on soul transference when a wrongly accused man is guillotined and his deformed girlfriend commits suicide, Frankenstein places the soul of the executed Hans into the body of the bent and broken Christina.

The innocent Christina, brought to murder by the revenge seeking soul of Hans, her lover

Now transformed into a ravishing beauty, Christina/Hans uses her wiles to exact revenge on the cruel and wealthy braggarts that led them to their doom. It's a fascinating storyline this time out made all the more somber by the characterizations of both the doomed lovers and the despicable bullies who deserve their bloody recompense. Cushing's character takes a slight backseat to the more interesting and detailed doomed lovers, Hans and Christina.

Chris Lee in a rare hero turn prepares to battle the Devil and his minions

10. THE DEVIL RIDES OUT (1967/released 1968)

Based on a Dennis Wheatley novel, Hammer's first foray into the realm of satanism (not counting THE WITCHES from 1966) proves to be one of the most memorable of their horror output. Containing large doses of both action and horror, Fisher's film has a most extraordinary protagonist and antagonist. The movie is a constant battle of wits between good and evil resulting in a satanic tour de force wherein the heroes must survive a night of devilish oppression by satanic followers, a giant tarantula and the Devil himself atop a hellish steed.

The malevolent Mocata, the Devil's advocate

Chris Lee plays the hero this time out in a role that could have been a choice role for Peter Cushing. Lee is wonderful and gets the chance to do something else besides scowl at the audience as per his usual Hammer outings. Future Bond villain and ROCKY HORROR criminologist, Charles Gray plays the villain, Mocata. It's an interesting change of pace for the studio and one that should be seen by any Hammer horror fan.

Dracula, hellbent on revenging himself on the Monsignor, uses a cowardly priest to do his bidding

11. DRACULA HAS RISEN FROM THE GRAVE (1968)

Christopher Lee dons the cape of the king of the vampires once more in this production helmed by distinguished cinematographer, Freddie Francis when original director, Terence Fisher had to bow out after being hit by a car. Eschewing the focus on the young lovers of Fisher's movies, Francis puts a lot of emphasis on the visuals. It should be noted that Francis did shoot a lot of footage around the young couple, but these scenes were cut out.


This Dracula film is brimming with atmosphere and color. Even if the characters are relatively weak, the film makes up for it with its photographic genius. By this point, Lee had become increasingly disenchanted with playing the Dracula character as each succeeding film gave him less and less to do with the role. Nonetheless, this entry contains several notable sequences including a staking scene wherein Dracula is able to pull the bloody stake from his chest after the atheist that ran him through refuses to pray. A disintegration sequence was done for the finale but never made it into the picture. The film went on to become the most successful of the Dracula series at the box office.

Peter Cushing as the Baron; more evil than all his other Frank films combined

12. FRANKENSTEIN MUST BE DESTROYED (1969)

Peter Cushing returns to the role of the vile Baron and this time he plays the role as a sadist, rapist and wily blackmailer. Not since the first Hammer entry had the Baron been depicted as pure evil. Terence Fisher returns to the series and while placing heavy focus on the doomed lovers, equal screen time is given to Cushing. Here, Cushing has a partner, Doctor Brandt who has been placed inside a mental asylum. Brandt had learned a technique for the preservation of the human brain, knowledge that Frankenstein desires. He blackmails a young couple to accomplish his goal and causes a lot of death and anguish along the way.

The Baron's work disturbed yet again from FRANKENSTEIN MUST BE DESTROYED featuring Frankenstein at his most sadistic

There's also a secondary story arc involving the character of Doctor Richter played by Freddie Jones. There's a great scene where Richter, with the brain of Doctor Brandt in his skull, goes to see his wife, yet she is terrified as she doesn't recognize him. This film contains so many poignant and compelling performances, it's my favorite Frank flick. Another sequence that stands out is the rape scene wherein Frankenstein has his way with Anna played by the voluptuous Veronica Carlson. Cushing, Carlson and Fisher were all uncomfortable doing this scene and it can be seen on Cushing's face in the film.

Chris Lee has little to do in the otherwise stylish TASTE THE BLOOD OF DRACULA

13. TASTE THE BLOOD OF DRACULA (1969/released 1970)

Conceived as a Dracula film without Chris Lee after his disdain for the material, Ralph Bates was brought on board to replace the obstinate actor. When Hammer was reminded that their contract with the US distributor demanded that Lee star in the film, the plans for Bates to play the role were scuppered. Lee was brought back with far less to do than any of his other outings as there wasn't time to change the dialog to his liking. As THE REVENGE OF FRANKENSTEIN before it, TASTE THE BLOOD OF DRACULA picks up where the previous Dracula film had ended.

Linda (BLOOD ON SATAN'S CLAW) Hayden and Anthony (VAMPIRE CIRCUS) Corlan

There is very little variance in this film from the others aside from the location switch to Victorian England. The usual revenge plot is on hand, but here, Dracula uses the children to punish the sins of the fathers. The film is a bit more gory than the other movies and it contains some intriguing subtext as well as brief flirtations of incestuous desire between father and daughter. Peter Sasdy takes over the directors chair and delivers a curious entry that is one of the best of Hammer's 1970's output. It also sports one of the most creative methods in dispatching of the Count by way of divine intervention. From here on out, it's mostly downhill for Hammer.

VAMPIRE LOVERS brought some interesting twists to the vampire mythos in an effort to inject some fresh blood into the bloodsucker sweepstakes

14. THE VAMPIRE LOVERS (1970)

Frequent British horror director Roy Ward Baker tackles this unusual vampire picture for Hammer Films. Realizing their Gothic horror pictures were losing steam amidst shifting audience trends, it was decided additional sex and violence would be infused if the soon to be struggling studio were to survive as a viable player in the film industry. Lesbianism was introduced into Hammer's vampire formula as well as changing up the mythology for the bloodsuckers.

Peter Cushing as General Spielsdorf by way of Van Helsing, vampire killer; Ingrid Pitt gives head in THE VAMPIRE LOVERS

This was the first of a trilogy dealing with the Karnstein family and also the first of Hammer's horror productions without the aid of a major Hollywood studio behind them. Even with the lesbian angle, the film contains many striking set pieces and some choice atmosphere. The opening of the movie starts things off in grand and gory fashion backed by a strong soundtrack. Ingrid Pitt oozes sex appeal as the vampire, Marcilla. The participation of Peter Cushing helps immensely and he shines during the finale. The destruction of the Man In Black was eliminated to keep the character as a holdover for a sequel.

Chris Lee in his most sadistic turn as the undead Count from SCARS OF DRACULA

15. SCARS OF DRACULA (1970)

The first R rated Hammer Dracula movie (back then) is unique for several reasons. It's the most isolated of the series in that it seemingly stands on its own as if the other films do not exist. It also gives Chris Lee more to do and more dialog than all his Dracula films up to that point. The gore is amped up to an almost alarming rate and sees Dracula not only stabbing a victim to death(!), but also burning former Dr. Who, Patrick Troughton's back with a red hot sword.

A defiled church riddled with mutilated corpses after an attack by Dracula's minions

There are also some notable moments taken directly from Stoker's novel such as the sight of Dracula scaling his castle walls as well as his dominion over animals preferably bats. The opening of the film shows just how distasteful it's going to be when a huge bat revives Dracula by puking up blood on his ashes. Another scene shortly thereafter showcases a group of outsized vampire bats massacring a group of women hiding within a church whilst the menfolk lay waste to Dracula's castle.

One of a handful of interesting filmmaking ideas from the shot-on-the-cheap SCARS OF DRACULA

Despite the influx of carnage, a scene of Dracula drinking blood from the stab wounds inflicted on one of his victims was cut, but stills of this scene survive. The Gothic ambiance of the Hammer horrors of the 60's is mostly gone, but the film does possess a gloomy atmosphere unlike any of the other films in the series. Some surreal matte paintings aid this lower budgeted than usual production. This entry has its detractors, but is nonetheless a favorite among fans including myself.

Ralph Bates as Dr. Jekyll modeled after Jack the Ripper

16. DR. JEKYLL & SISTER HYDE (1971)

Hammer returns to territory previously explored in their TWO FACES OF DR. JEKYLL (1960). Only this time, the exploitation element is increased and room is made not only for Jack the Ripper, but aspects of Burke & Hare as well. A gender switching storyline lends the film some relevance and Ralph Bates shines as Dr. Jekyll who not only battles with leading something of a normal existence, but also with suppressing the murderous tendencies of Hyde, his evil half, here played with sexual glee by Martine Beswick.

Former Bond girl and dinosaur savage, Martine Beswick chews the scenery in one of Hammer's better 70's efforts, DR. JEKYLL & SISTER HYDE

Bates also met his wife, Virginia Wetherell, on the set of this film. Like much of Hammer's 70's horror output, the film performed poorly both in its native England and abroad prompting the once thriving motion picture company to scramble for ideas to keep things fresh and viable in a genre that was becoming progressively weary of their Gothic trappings and stories of vampires and mad scientists. Still, SISTER HYDE has a fascinating storyline and is bolstered by a fine score from the underused composer, David Whitaker.

Count Karnstein and the sole twin of evil

17. TWINS OF EVIL (1971)

The third, final and best of Hammer's Karnstein trilogy was originally to have seen Peter Cushing as the evil Count Karnstein. Cushing did participate, some two months after his wife's death, but not as the vampiric villain. Instead, he plays the leader of a group of puritanical avengers that burn innocent girls suspected of witchery. The death of Cushing's wife no doubt aided him in his anguished, yet powerfully indomitable performance. He is brilliantly countered by a similarly strong performance by Damien Thomas as Count Karnstein.

Larger than normal fangs were the norm in 70's Hammer vampire movies

Much was made of the inclusion of the Collinson twins, the first twins to grace the pages of Playboy magazine. The production is imbued with some richly dark atmosphere that would be largely absent from much of the studios horror efforts during the 1970's. The violence was also strong for this film which combines vampire lore with witchhunting shenanigans made popular by the release of the Vincent Price hit, THE CONQUEROR WORM (1968) aka WITCHFINDER GENERAL. Harry Robinson delivers a grand, if occasionally militaristic score.

For a full review of TWINS OF EVIL, it can be found here--

http://www.coolasscinema.com/search/label/Twins%20of%20Evil

VAMPIRE CIRCUS: A fascinating mix of beasts and blood

18. VAMPIRE CIRCUS (1971/released 1972)

Quite possibly Hammer's most ambitious horror production outside of their collaboration with Shaw Brothers the following year. This film has so many ideas and possibilities, there's enough to fill out several movies and the opening 12 minute prologue is a short film in and of itself. Director Robert Young has a keen eye for action and shoots vibrant clashes not seen in prior Hammer vampire pictures. These creatures of the night do more than simply strangle a victim or toss objects at them. Here, the vampires hold their own while taking on multiple opponents.

The action packed finale of VAMPIRE CIRCUS

The level of gore and nudity is extremely high for a Hammer film. Even with all its good points, the film falls just shy of greatness given that it went over schedule and budget resulting in the production being stopped and the director had to cobble together the patches of footage and work with what he had. There are a number of instances where it is noticeable where additional sequences were to be placed and some others are edited in such a fashion as to mask any deficiencies. Nonetheless, VAMPIRE CIRCUS has so much action and horror to recommend it although those fans who long for the more mannered Gothic approach may be put off by the extreme violence. Easily one of the company's best during their dying days.

For a full review of VAMPIRE CIRCUS, it can be found here--

http://www.coolasscinema.com/search/label/Vampire%20Circus

Peter Cushing does the kung fu in this colorful ghoul-ash from both Hammer and the mighty Shaw Brothers of Hong Kong

19. LEGEND OF THE SEVEN GOLDEN VAMPIRES (1973/released 1974)

One of two Hammer/Shaw Brothers co-productions. For a time, the sloppy action of CAPTAIN KRONOS got heaps of praise from fans and now, LEGEND is getting its due as fans are slowly coming around to its charms. The battle scenes are excellent and plentiful and even Peter Cushing gets in on the action as well. It has been rumored that Chang Cheh had directed the fight scenes, but this is mentioned nowhere in his memoirs, nor listed in his complete filmography.

The cauldron of blood--one of a number of elaborate sets designed by prolific Art Designer, Johnson Tsao

The world reknowned choreographer, Liu Chia Liang handled the action design and the film is a curious blend of Hammer vampire lore and Shaw Brothers kung fu action which was all the rage everywhere at the time. The film is something of a MAGNIFICENT SEVEN VS DRACULA as Van Helsing and a group of kung fu fighters save a village from vampires and skeletal ghouls who kill the males and kidnap the young girls for blood sacrifices.

Shaw Swordplay superstar David Chiang gets a chance to shine in an international production from the ambitious kung fu vampire hybrid, THE LEGEND OF THE 7 GOLDEN VAMPIRES

Originally, this wasn't to be a Dracula film, but the Shaw's changed things abruptly and Lee had hardened his heart at this point as to being bribed back into the role. Racism towards the Chinese filmmakers permeated the set of the film and a few of the participants including Cushing and the lovely Julie Ege made the best of the situation. A sequel was announced, KALI, DEVIL BRIDE OF DRACULA, but never materialized. Highly recommended for action/horror and kung fu fans looking for something different.

The totally insane Baron Frankenstein has lost what little mind he had during the closing moments of the series swan song, FRANKENSTEIN & THE MONSTER FROM HELL

20. FRANKENSTEIN & THE MONSTER FROM HELL (1972/released 1974)

Terence Fisher returns for his Frankenstein swan song in this sorely cheap, yet enjoyable exploitation quickie. The writing was really on the wall by this point that the end was approaching. Still, Cushing's last hurrah as the embittered and determined Baron delivers in the grue department if nothing else. The story is pretty much the same only this time, the Baron is relegated to setting up shop within an insane asylum giving the scriptwriters a chance to go wild with the grand guinol trappings.

Bodybuilder and future Darth Vader, Dave Prowse plays with glass in his second role as a monster born from the mind of a mad scientist

David Prowse plays a literal monster this time out looking like a musclebound cave man covered in thick hair. Cushing is extremely gaunt in this film, yet he still manages to come to life during some of the more kinetic moments. The US version is missing some gore as well as a scene wherein the Baron ties a suture with his teeth. The Japanese LD is uncut, but is fullscreen only. The added footage doesn't amount to much, but it's nice to have it just the same. Serious Hammer fans will probably not find much of interest here, but exploitation hounds and Franky fans will get a jolt out of the ghoulish atmosphere.