quridley I was impressed with so much of this film. Based on what sounds like a very clever and well-researched occult fiction novel, this is just as straight-forward and paced to thrill lightly. Luckily the film is full of creepy but gorgeous atmosphere and benefited from a solid cast. Its tame by today's standards of extremity, but thats its charm. This is one of Hammer Films' more watchable and smart movies.But its not all roses. There is religious paranoia, appallingly open racism early on and builds to a appropriately vicious and insane revelation that its all been conservative Protestant propaganda meant to brainwash, scare and sabotage politically. This would explain the very unhappy and un-arousing tone of every moment.The insulting exploitation and dated correctness spoils the rewatchability of the film, no matter how well made and cult-worshiped it is. I recommend to audiences who can not only overlook the stupidity and lameness of the message to appreciate the formal aesthetics of the artistry, but can also put it in the right context (AKA not young people!).

Leofwine_draca A fantastic Hammer Horror film, a full-blooded Gothic masterpiece in the vein of their '50s triumphs like Dracula and THE CURSE OF FRANKENSTEIN, which recalls favourably the similar black magic shenanigans of the black and white classic NIGHT OF THE DEMON. In many ways this is the "last" of the old-fashioned stately Hammer films we know and love; the last time the producers had a budget to really do justice to the material, and the last time when the production values were high enough to ensure that every element in the film was hugely successful. Indeed, with a fantastic cast, a veteran director in Terence Fisher (arguably Hammer's finest when he got things right), some fine special effects and an excellent screenplay from the reliable Richard Matheson, there is little to complain about with this movie, which offers everything a fan of old-fashioned horror could wish for.The fast-moving storyline is awash with action, whether it be car chases, physical fights or more importantly, magic battles. The central characters are placed in constant danger right from the beginning and there is no letting up until the very end. Luckily the suspense and tension is sustained throughout meaning that you'll never find yourself looking at the clock. And indeed who would want to, when the film offers such delights as Christopher Lee protecting his companions against the Angel of Death (a winged skeleton on a horse) or fighting against a gigantic tarantula. The music is splendidly bombastic in the best Hammer tradition, helping to expand every dramatic moment into epic proportions. The special effects are sometimes a little wobbly but largely effective, relying primarily on simplicity for their charm (clouds of eerie smoke, fog rolling in, some straightforward back projection). One of the best moments in the film for me is the arrival of the grinning embodiment of evil that sends a shudder down my spine every time – the later appearance of the Devil is a disappointment in comparison.Christopher Lee is on top form and given a chance to shine in one of his rare roles as a good guy. Unfortunately the rest of the cast can't reach him but at least they make valiant attempts – there's Leon Greene (A CHALLENGE FOR ROBIN HOOD) as the strong but rather stupid friend Rex – forever getting himself into trouble – and a young, sweaty Patrick Mower as Simon, the boy in danger. Nikki Arrighi makes for an almost ethereal damsel in distress whilst Paul Eddington is excellent as a straight man unable to believe in what he sees. But acting awards go to Charles Gray (THE ROCKY HORROR PICTURE SHOW), shining as the charismatic figure of evil, who is able to charm and hypnotise anybody with a mere stare. One of the best Hammer villains of all time. I don't really have much else to say about this great film, other than that if you like old-fashioned horrors, Hammer and otherwise, then it truly is unmissable entertainment and a creepy, evil classic of the genre.

sol- Two Englishmen kidnap the son of a mutual friend to keep him away from the clutches of a Satanic cult, which is easier said than done in this supernatural horror film from the Hammer team. The script may not be first rate (lots of rambling about good and evil, plus the optimistic ending feels very out-of-place), however, the film has many powerful moments thanks to solid special effects, a riveting music score from James Bernard and the unsettling implication that everyone is vulnerable and capable of being manipulated by evil. The film's best moments come towards the end as the Englishmen and some others are taunted by illusions of gigantic arachnids and a young girl in distress, however, the Satanic rituals in the woods are eerie too and bring to mind 'Race with a Devil' - which could have conceivably taken inspiration from what is depicted here. The film trips up a bit with the casting of Charles Gray as the lead Satanist; his piercing stares often come across as comical rather than menacing. Apparently, fellow James Bond alumnus Gert Fröbe was the first choice for the role, and that may have worked better. Sarah Lawson also makes for an uninspired casting choice and curious as it is to have Christopher Lee as a heroic protagonist for a change, playing a film's hero is not his forte. Rosalyn Landor is lovely in her precious few scenes though and Eddie Powell is downright creepy, covered in heavy goat makeup. This may not be Hammer's best film as some out there claim, but it is one of their more offbeat and interesting efforts for sure.

lemon_magic I'll just say it: Without an actor of Christopher Lee's caliber, this movie would have been somewhere between corny and laughable. But the director, and Lee, and a cast of talented, hard-working supporting actors, managed to pull this off and created a classic of horror. What's amazing, when you think about it, is that the creators had a screen play that just pulled out one worn supernatural cliché or gimmick after another - ritual sacrifice, satanic possession, rising winds, mental domination and hypnotism, séances, demons appearing in flames,you name,it was in there...all without any back-story or exposition. And the ending was a Deus-ex-machina that should have made me howl in disbelief, But it was all done so briskly and in such a matter-of-fact way that I just went along with it all and applauded at the end.Yes,some of the overt special effects were clumsy and even laughable (vis the giant spider). But most of the time events were simply suggested by the way the actors widened their eyes or grimaced or flinched...and THOSE moments were utterly convincing. I really, really like this one, and am glad I finally had a chance to see it.