House of Dracula

Dr. Edelmann is a very busy man. First, Count Dracula arrives at his door hoping to be cured of his vampirism. Then, Larry Talbot (aka The Wolf Man) comes a'knocking, hoping to be cured of his lycanthropy. Dr. Edelmann takes on both patients but starts to get a little sidetracked after finding the body of Frankenstein's Monster. After Edelmann tries to stop Dracula from turning one of his assistants into a vampire, the Count infects Edelmann's blood which begins to turn Edelmann into a madman. The local villagers start to get pissed off at all of the monsters running around town, which leads to a big confrontation at Dr. Edelmann's castle. House of Dracula, much like House of Frankenstein, tries to pack way too much stuff into a 67 minute movie. None of the characters ever really feel like they get a complete story arc and the continuity between the two films makes little to no sense. John Carradine still doesn't really do it for me as Dracula. Lon Chaney Jr. does a great job, as per usual. And Jane Adams' character Nina, Dr. Edelmann's hunchbacked assistant, is fantastic despite being underserved by the script. I would put House of Dracula over House of Frankenstein, mostly because I felt that the cinematography in House of Dracula was far more impressive.

Rating: 66%

(Image from Wikipedia)

Frankenstein Must Be Destroyed

After another one of his clandestine laboratories is discovered, Baron Frankenstein skips town and holds up in a boarding house under an alias. When he finds out that his young landlady's fiancé is stealing drugs from the nearby insane asylum, he blackmails the couple into helping him kidnap one of the asylum's patients. That patient, a former collaborator who might have information that could help with the Baron's experiments. One thing that I really enjoy about Hammer's Frankenstein films is that Baron Frankenstein is often more villainous than the monsters he creates. However, Frankenstein Must Be Destroyed takes that element just a little bit too far. There is a scene in the film where the Baron rapes his landlady. It's an unpleasant scene that has no real bearing on the plot. Apparently, executives at Hammer at the time felt that the scene was necessary to appease international distributors because of the lack of sex in the movie. Ultimately, the scene was cut from some of the film's original releases but is currently available on the home video version of the movie.

Rating: 61%

(Image from Wikipedia)

House of Frankenstein

Dr. Niemann and his hunchbacked assistant Daniel escape from prison with two goals in mind: carry on the work of Dr. Frankenstein and get revenge on everyone who helped put them in jail. To avoid detection, they murder and assume the identities of some travelling showmen who just so happen to have the skeleton of Dracula in their possession. Niemann revives Dracula long enough to kill one of his many enemies but ditches the Count once the law gets on their tail. Soon enough, Niemann and Daniel find and revive the Wolf Man and Frankenstein's monster. From there, Niemann, despite having made various promises to Daniel and the Wolf Man, chooses to spend all of his time working on Frankenstein's monster, which proves to be his own undoing. House of Frankenstein is an interesting but flawed movie. It has the Spider-Man 3 problem where there are too many characters in the movie, many of whom are given short shrift. Boris Karloff and Lon Chaney Jr. are very good in their roles but John Carradine is a little miscast as Dracula. Daniel the hunchback, played by J. Carrol Naish, probably gets the best through line in the movie. 

Rating: 63%

(Image from Wikipedia)

Frankenstein Created Woman

In Frankenstein Created Woman, Baron Frankenstein's efforts to cheat death have taken a new direction. Rather than merely reanimating dead flesh, the Baron attempts to preserve and transfer the human soul. After the Baron's assistant Hans is executed for a murder he did not commit, his soul is transferred into the body of Christina, a young woman who committed suicide after witnessing the execution. Christina, having no memory of her old life, begins to hear the voice of Hans, urging her to seek out and kill the people who framed him for murder. The rest of the movie has some great slasher vibes, with hints of Friday the 13th and Sleepaway Camp. Frankenstein Created Woman is a fun departure from Hammer's other Frankenstein films. There's no attempt to connect it to the previous entries in the series and it even skips over some of the sequences you would expect to see in a Frankenstein film, like the creature's creation.

Rating: 69%

(Image from Wikipedia)

The Evil of Frankenstein

The Evil of Frankenstein is a soft reboot of Hammer's Frankenstein series. It rewrites Baron Frankenstein's origins, while totally ignoring the events of The Revenge of Frankenstein. It's essentially the sequel to a movie that never existed. The Evil of Frankenstein opens with the Baron being driven out of town because of his ghoulish experiments. He decides to return to his former home in Karlstaad, hoping to salvage possessions and furniture from his abandoned home that can be used to finance his experiments. It's there, in his ransacked chateau, that the Baron finally tells his assistant of the experiment that lead him to be driven out of Karlstaad. This new origin story, along with the design of the creature, puts The Evil of Frankenstein more in line with Universal's Frankenstein films. The movie becomes a hodgepodge of all of the Frankenstein films that came before it filtered through the bawdy, gothic lens of Hammer in the 1960s. The Baron, though not totally redeemed, is now more of a sympathetic character. A shadow of his former, murderous self. Most of the villainy in the film is carried out by Zoltan, a crooked hypnotist hellbent on revenge. As mentioned, the design of the creature approximates the classic look of Karloff's Frankenstein. Unfortunately, the bulky makeup robs any expressiveness from the creature's performance. And yet, despite all of these criticisms, The Evil of Frankenstein is actually quite entertaining.

Rating: 66%

(Image from Wikipedia)

The Revenge of Frankenstein

Having escaped the guillotine, Baron Frankenstein sets up shop in a new town under an alias. The arrival of an eager pupil allows him to expand the scope of his experiments. And soon enough, another creature is born. But what starts out as an advancement in science quickly becomes another threat to all mankind. The Revenge of Frankenstein is definitely a step down in quality from its predecessor. The new creature isn't anywhere near as effective or iconic as Christopher Lee's monster in The Curse of Frankenstein and the sequel's bare bones story isn't very compelling either. However, Peter Cushing's performance as Baron Frankenstein is top notch once again. He carries these films.

Rating: 62%

(Image from Wikipedia)

Bride of Frankenstein

Bride of Frankenstein is one of those rare sequels that might be better than the original. And that is, by no means, a slight to the original. Bride takes everything that was good about the first film and elevates it. James Whale, the director, never wanted to make a sequel to the original Frankenstein. Universal wanted to cash in on the success of the first film right away, but Whale refused. They made several attempts to get a sequel off the ground without him, but came up short after a number of attempts. It was only after Whale was given a considerable amount of creative freedom that he agreed to direct the film. Jack Pierce, the special effects makeup artist returned as well, improving on the iconic makeup designs he created for the first film. Sadly, censors cut several minutes from the film and the cut footage remains lost. What remains, however, is a stone cold classic.

Rating: 95%

(Image from Wikipedia)

The Curse of Frankenstein

The Curse of Frankenstein was the first color horror film by Hammer Film Productions as well as their first foray into the classic monsters genre. It's also significant for being the first real pairing of Peter Cushing and Christopher Lee, who would go on to be two of the biggest names in Hammer horror. The film focuses more on Frankenstein (Cushing) than the Monster (Lee), which is a bit of a departure from what we usually see in Frankenstein adaptations. And the technicolor gore, though tame now, must have been somewhat shocking for audiences in the late 1950s. "I dare say that this film is positively ghastly." "Quite, Sir Reginald. Quite."

Rating: Crumpets and Cadavers%

(Image from hammerhorror.wikia.com)

Abbott And Costello Meet Frankenstein

Ok, so everybody knows this one I guess. Two bumbling idiots, one fat and one skinny, meet a bunch of Universal Horror monsters, shenanigans ensue. It's called Abbott and Costello Meet Frankenstein, but they spend a lot more time interacting with Dracula and also a mean dude who has them arrested, but maybe it doesn't have the same ring, who am I, Don Draper? Anyway, if you've ever seen an episode of Scooby Doo or The Munsters, you've probably seen all the jokes in this movie.

RATING: 61%

Monster Cereals

These were a lot better before I was a grown-ass man. Ow, my teeth.

RATING: 39%

These Ghoulish Things

A Month Of Halloweenie Reviews #13

This compilation of horror novelty songs from the 50s and 60s is probably one of my favorite albums. Draculas, Frankensteins, and Wolfmans partying together, early rock/late doo wop music, yes please. Yeah, yeah, it's got "The Monster Mash," but the disc is chock full of obscure tunes like "Mummy's Ball" and Screamin' Jay Hawkins' "Feast Of The Mau Mau." In conclusion, I will now be able to make the best Halloween party music mixes for the rest of my life.

RATING: 93%