Hammer Film Productions Wikipedia
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However, as dusk approaches, Tom discovers the woodcutter is Mr Ardoy as he begins to change into a werewolf and kills Tom with his axe. At the house, Sarah dies during childbirth but Mrs Ardoy and the other children welcome their new baby brother into their pack. Graham's elder brother Mark (Michael Culver) inherits the bulk of their uncle's estate, including his country mansion and his money. The younger man attempts to benefit from this by negotiating a business deal with him, but – after Graham has, on the strength of the deal, resigned from his job – Mark reneges on it, and Graham feels desperate. That night, he angrily stabs a group photograph that features Mark, and then pushes the knife into Charlie Boy. Following this, Graham's film director friend Phil likewise is accidentally killed on the set of a TV commercial, when an arrow from a crossbow hits him.
The House That Bled to Death
You can probably see where this whole thing is going right up to the final ironic twist. That doesn’t mean it’s not entertaining, but it also means the entertainment only takes you so far. Three years later in California, William and Emma (who is revealed to actually be a single parent) are rich and living together, with Sophia who is now older.
The Quatermass Xperiment (
There is no explanation for these events and throughout them all, James remains strangely calm and unemotional. William Morton, the 10-year-old son of botanist Terence Morton (Gary Bond) and his wife Laurie (Barbara Kellerman), dies after consuming a toxic chemical in his father's lab.
The Brides of Dracula
There are moments of The Devil Rides Out, select passages and images, that still strike one as being quintessentially "horrific," the sort of unspeakable, distorted images that linger from your nightmares. Hammer stalwart Fisher's direction seems to pre-empt Italian horror baron Dario Argento with his use of lighting and camera movement, which coupled with the quintessentially late-'50s color palette makes the film absolutely leap off the screen. Val Guest, director of The Quatermass Xperiment, reteamed with that film's original scribe, Nigel Kneale, for this top-notch yeti thriller. A team of explorers — led by Dr. John Rollason (Cushing) and his wife Helen (Maureen Connell) — on an expedition to the Himalayas with members of a local monastery collide with a second team of explorers who are searching for the abominable snowman. As an infant, Jack the Ripper's daughter Anna (Angharad Rees) witnesses her father stab her mother to death. Now a young adult experiencing troubling blackouts, after which freshly eviscerated bodies always seem to be present, Anna the Ripper decides to take up with a psychiatrist (Eric Porter) who attempts to cure her of her murderous affliction.
Horror of Dracula (
The house was renamed Bray Studios after the nearby village of Bray, and it remained Hammer's principal base until 1966.[16] In 1953, the first of Hammer's science fiction films, Four Sided Triangle and Spaceways, were released. Let Me In was Hammer's first foray back into features after its 30-year hiatus, and it heralded an intent from the studio to generate high-quality horror films for an adult audience. Moretz and McPhee are phenomenal actors, certainly two of the most emotive young performers of their generation, and their easy chemistry both grounds the film and keeps it from slipping too far into darkness and despair. Let Me In is slightly more optimistic in tone than Let the Right One In, but Reeves is a keen enough director that it feels like a spin on the material rather than a concession to Hollywood storytelling.
William's ghost and the plant then disappear and Laurie finds James lying on William's grave. They look at the gravestone, which now says Terence Morton and his beloved son William. The plant that was Terence's work is now growing on the grave in the shape of a wreath, which Laurie says is "for all the unloved of this earth", as she walks away with James. Episodes were directed by Alan Gibson, Peter Sasdy and Tom Clegg, among others, and the story editor was Anthony Read. Hammer regular Peter Cushing appears in his final Hammer production in episode 7, titled "The Silent Scream". Hammer House of Horror is a British horror anthology television series produced in Britain in 1980.
Countess Dracula
Though it must be said that the sets and costumes never convince one that the actors are inhabiting a world outside of the 1970s, it hardly matters. The Lady Vanishes immediately hits the ground running and carries itself lithely over the finish line, managing a few twists and thrills even for those that may already be familiar with the original. From pioneering '50s classics like The Curse of Frankenstein and The Mummy to 2020's The Lodge, here's EW's list of the best films from the legendary Hammer films. It's the same shops that's used in Rude Awakening when Norman walks to his... Even before you got to these conclusions – often “almost Scooby-Doo-like” endings, as Gatiss puts it, where spooky happenings are resolved as the work of scheming humans – there was a strong sense of dread in the air. A deafening, suffocating silence punctuated the dialogue, adding uncomfortable tension to the most benign scenes, while the writers often played to the basic fears of everyday things.
Vampire Circus
Hammer Films had commercial success with some atypical output during this period, with film versions of several British TV situation comedies, most notably the ITV series On the Buses (1971). During its most successful years, Hammer dominated the horror film market, enjoying worldwide distribution and considerable financial success. This success was, in part, due to its distribution partnerships with American companies United Artists, Warner Bros., Universal Pictures, Columbia Pictures, Paramount Pictures, 20th Century Studios, Metro-Goldwyn-Mayer, American International Pictures and Seven Arts Productions. The Abominable Snowman of the Himalayas is The Treasure of the Sierra Madre of monster movies. It's as much about man's folly as it is a great, big, hairy monster tromping around the snow-capped mountains. Kneale's stories were always subtextually rich, and here he does not disappoint.
Grace Marshall (Riley Keough) moves with her stepchildren-to-be, Aiden (Jaeden Martell) and Mia (Lia McHugh), into an isolated cabin just before the Christmas holidays, to await the arrival of her fiancée. It's to be anything but a holly-jolly Christmas, however, as Grace and the kids begin experiencing bizarre events that seem to harken back to Grace's past as the sole survivor of a mass suicide initiated by the cult to which she belonged. Drifter Jeff Farrell (Kerwin Mathews) stumbles into a bar in southern France, where he immediately becomes enraptured with the owner's stepdaughter, Annette (Liliane Brousse). Annette's stepmother, Nadia (Eve Baynat), begins to seduce Jeff as well, in the hopes that he will assist her in springing her estranged husband, Annette's father, from the prison in which he is incarcerated after blow-torching the face of a man who attacked his young daughter. This energetic and colorful reimagining of the Hitchcock classic finds Shepherd in the prime of her comedic powers, playing splendidly off of Gould as her foil. Much like William Castle's 1963 version of The Old Dark House, this take on the story is more blatantly positioning itself as a farce.
In addition to being a rollicking adventure and a bone-chilling horror picture with the ethereal dread of Kubrick, it's a parable about the quest for fame and fortune versus the quest for scientific explanations, and how both of those things can potentially lead to ruin. Horror Express, which was shot in Madrid, feels like the work of a director who was a fan of the horror genre and wished to elevate the material beyond pure camp. Its rollicking pace is reminiscent of Tremors, quite a different alien-buddy movie, but a relative nonetheless. In 1953, The Quatermass Experiment — about a doomed space mission that results in two members of the crew going missing and a third returning to Earth possessed by an alien parasite — aired as a six-part miniseries on the BBC. Hammer's second addition to its 21st-century canon is certainly an adult thriller, but one of a different shade than Let Me In, the film that resurrected the studio. The Resident finds Hilary Swank as a recently divorced doctor moving into her dream loft in Brooklyn only to discover that her landlord (Jeffrey Dean Morgan) has a bit of an obsession with her.
Lee appears as the doctor who sides with Penny's stepmother and attempts to convince the young woman that she never saw her father's corpse. Has there ever been a more tantalizing-sounding sub-genre than "martial arts horror"? Cushing's Dr. Van Helsing is recruited to fight the seven vampires of the title, who have menaced a remote Chinese village for generations, in this Hammer and Shaw brothers co-production, filmed in 1973 at the Shaw Brothers Studio in Hong Kong. Here we have a case of an amazing episode title attached to a subpar episode that never seems to rise to the potential of its premise. The story follows a mortuary worker who finds that the number nine seems to be recurring in his daily existence so often that it suggests a dark pattern. His growing obsession with the number soon points toward a dark conspiracy, and while Peter McEnery does a convincing job in the lead role, the actual horror of it all comes too little too late.
While awaiting execution for murder, Baron Victor Frankenstein tells the story of a creature he built and brought to life - only for it to behave not as he intended. If we saw the logo of Hammer, we knew it was going to be a very special picture. After a few quiet years, the film The Lodge had its world premiere at the Sundance Film Festival on 25 January 2019.
EXCLUSIVE - Claw hammer maniac killed my kids at a sleepover in that 'house of horrors' - thank God they've no - Daily Mail
EXCLUSIVE - Claw hammer maniac killed my kids at a sleepover in that 'house of horrors' - thank God they've no.
Posted: Sat, 29 Jul 2023 07:00:00 GMT [source]
It is revealed that everything was a ploy, and the entire sequence of events were staged to deceive everyone into believing the house was haunted and they were forced to flee. Powers sells the film rights to his bestselling book, based on these 'paranormal' experiences, making himself, William and Emma even richer. However, Sophia (who was never told of the scam) has become quiet and detached and Emma worries she may have been affected by the traumatic events in the house. When Sophia reads Powers' book and then discovers the belongings of the old couple who lived in the house before them, she seemingly becomes possessed. Picking up the kukri, the murder weapon from the old house, she walks into her mother's bedroom and kills William as Emma screams in horror.
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