The first of the many anthology horror films made by Amicus Studios in the UK (the main rival to their more successful counterparts Hammer), DR TERROR'S HOUSE OF HORRORS is a great, fast paced movie that holds up to this day. It's a pretty gentle film that favours atmosphere over shocks and terror, but that doesn't stop it from packing a punch in the tale of five train passengers having their fortunes read by the mysterious Dr Schreck. This is one of those films where the wraparound story is even better than the individual tales, mainly thanks to Peter Cushing who excels as the shabby, sinister fortune teller. The twist ending is no surprise but it was enough to send chills up my spine by the time the credits rolled.
The stories are a mixed bunch but none are too poor. Ironically, the two average stories are those which plough the most familiar fields, the vampire and werewolf yarns which bookend the film. The werewolf section benefits from some good HOUND OF THE BASKERVILLES-style atmosphere (think swirling mists, crumbling mansions, hidden vaults, lonely moors), an interesting werewolf and a good twist right at the end. The closing vampire story also has a twist, but by this time it's very predictable. Donald Sutherland doesn't register more than bug eyes and blond hair and the rubber bat stuff is quite tiring.
The second story is of the so-bad-it's-good variety. It involves a household being taken over by a killer plant, and is just as silly as it sounds. Still, the straight-laced approach makes it work and nowhere else will you see Bernard Lee battling an evil vine! The bit where the guy is strangled by a branch is also pretty funny. The third story goes for out-and-out comedy as an unlucky Roy Castle falls foul of a voodoo cult – all because he's trying to steal their music! Castle mugs for all his worth in this outing and the voodoo elements are hilarious dated and non-PC, but for the most part the comedy works.
The fourth story is the best and it's no coincidence that it stars Christopher Lee. He's not playing a villain here, but his art critic character is completely foul and watching him get his comeuppance is a joy. Michael Gough is also very good in a small part. This makes use of the classic crawling hand tale complete with a nice little special effect and it's quite brilliant, coming the closest out of all the stories to true horror. All in all a fine little film from Britain's golden age of horror.
The stories are a mixed bunch but none are too poor. Ironically, the two average stories are those which plough the most familiar fields, the vampire and werewolf yarns which bookend the film. The werewolf section benefits from some good HOUND OF THE BASKERVILLES-style atmosphere (think swirling mists, crumbling mansions, hidden vaults, lonely moors), an interesting werewolf and a good twist right at the end. The closing vampire story also has a twist, but by this time it's very predictable. Donald Sutherland doesn't register more than bug eyes and blond hair and the rubber bat stuff is quite tiring.
The second story is of the so-bad-it's-good variety. It involves a household being taken over by a killer plant, and is just as silly as it sounds. Still, the straight-laced approach makes it work and nowhere else will you see Bernard Lee battling an evil vine! The bit where the guy is strangled by a branch is also pretty funny. The third story goes for out-and-out comedy as an unlucky Roy Castle falls foul of a voodoo cult – all because he's trying to steal their music! Castle mugs for all his worth in this outing and the voodoo elements are hilarious dated and non-PC, but for the most part the comedy works.
The fourth story is the best and it's no coincidence that it stars Christopher Lee. He's not playing a villain here, but his art critic character is completely foul and watching him get his comeuppance is a joy. Michael Gough is also very good in a small part. This makes use of the classic crawling hand tale complete with a nice little special effect and it's quite brilliant, coming the closest out of all the stories to true horror. All in all a fine little film from Britain's golden age of horror.