Rocky III, 1982 – ★★★½

So up front, I need to make it clear that im giving this film three and a half stars…but its a STRONG three and a half. Thats because ‘Rocky III’ while VERY enjoyable, is ultimately a bit of a deflated experience after the first two films.

Picking up 3 years after the events of ‘Rocky II’, The Italian Stallion is on top of the world, he’s got luxury commercial deals, a nice big house where both him, Adrian, Rocky Jr. and his manager Micky are living comfortably without want and things just keep going from strength to strength.

However; things are about to become rudely disrupted when the number 1 ranked champion ‘Clubber Lang’ (played by Mr. T) begins observing Balboas fights and starts calling him out to challenge him for the Heavyweight world title. Which is problematic because…Rocky’s considering retiring shortly after a statue of him is raised in his home town.

However; at the unveiling, Clubber turns up a taunts Rocky and insults Adrian and Micky, leading Rocky to get hot headed and making him agree to finally challenge him. This is a TERRIBLE idea, as Micky shortly points out, because he reveals that for the last 3 years, Micks been curating Rocky’s fights to keep him healthy and winning. He’s keen to stress that these wernt ‘setup’ fights, but rather, he picked them knowing they wernt going to brutalize Rocky…Lang has every intention of trying to kill him. Aside from that and the various physical issues Rocky’s endured since his 30 rounds with Apollo Creed, Micky informs Rocky that he’s going to have to get serious VERY quickly if he has ANY chance of even HOPING to put Lang on the floor, and that he doesnt feel the ‘Hunger’ is there for the challenge…

And what follows is a story of loss, identity, facing your fears and adversity (without going into too much detail for the sake of spoilers)

Dont get me wrong, I really liked ‘Rocky III’, both this film and ‘Rocky IV’ were on constant rotation in my house growing up, alongside ‘First Blood’ so I know the films fairly well. But its probably been my biggest gap between viewings of this one (at least 15 years) and revisiting it now, especially off the back of watching the first 2 films, I do feel like some of the heart has started to leave the franchise.

The most noticable thing, and the thing that I feel really drags my feelings about the film down is that a LOT of the smaller, more insignificant ‘natural’ moments that were second nature in the first 2 films are largely gone. We get a handful of tender and real moments between Rocky, Adrian and Micky…But they’re all kind of strategic to the plotting and dont feel as natural as earlier entries. It feels like Stallone kind of forgot how to write ‘Rocky’ with this entry, and I can appreciate that 3 years of fame, travel and rich’s will change a person fundamentally. But what I loved about Rocky Balboa in the first two films is that he is fundamentally an under dog, but a humble under dog at that. He has simple pleasures, simple enjoyments and only aspired to be not more worse off than he was the day before.

This iteration of Balboa seems instead to feel like he ‘belongs’ to a certain status, and both him and Adrian remenice about ‘the old days’ as if they wernt literally only 2-3 years ago. Put it this way, in ‘Rocky II’ Rocky is BEYOND content to just stop by the local pet shop or zoo and hang around with the tigers or puppies. If Adrien is there, then its IMMEDIATELY a 10 times better experience. This version of Rocky? I dont feel would have the same affection.

Its not just character mannerisms though, situationally, there just arnt as many smaller nicer moments. Points in the film that make you want to be invested in these characters or this world. Rocky is still an engaging and fun character, but the heart isnt quite there, it feels a bit too polished script wise a bit TOO tight. and the lack of those relatable small moments really pulled me away from this picture. Part of that could be put down to the fact that this film is playing on the trope of ‘Man full of Hubris is knocked down a peg or two and has to work to get back to where he was’ but part of it I feel was just the creative decision to lose the ‘slice of life’ moments in exchange for firming up the base narrative (Balboa V Lang). Which I think is this films greatest loss.

Its also the beginning of the ‘Cartoonification’ of these characters as well, Rocky seemingly has endless powerscaling. After his fights with Creed he realistically shouldnt have been legally allowed to fight again…Letalone 2 rounds with Lang. Lang himself is an almost PAINFULLY cartoonish villain. VERY one note, unreasonably aggressive 24/7. It feels like Stallone wrote him specifically to be as unappealing, egotistical and unpleasent as he could envision an opponent being. Like…Creed was a gloater. But he was a fairly well rounded character, we got to see what he was dealing with and his life behind the scenes. Clubber Lang is just an asshole. and an entitled one at that. Which DOES make the final fight here all the more satisfying. But at the same time, it also removes any sense of tension.

The way the first two Rocky films were written and presented. you could FULLY believe Rocky COULD lose those fights if you hadnt seen the franchise before. But here? they set Lang up as SUCH a pantomime villain, that its almost a certainty that Rocky IS going to defeat him before the end of the film. which again, just sands the emotional edges off this film quite harshly.

Outside of the above, this films quite a bit shorter than the last two, and I feel the pacing struggles a bit as a result, while I appreciate that it handles itself fairly well, it feels like its racing to get us from set piece to set piece without really letting the audience breath or take in the atmosphere or intentions of the piece. They dont really lean on Rockys physical health at all in this one, which would make an audience think he’s pretty fair game, rather than a likely brain damaged, blind in one eye fairly out of shape boxer who really should have retired after Creed.

The characters are still fairly strong (Lang permitting) but they too feel like they’ve had their edges kind of shaved off a bit. Paulie has gone from a struggling, clearly mentally ill and abusive alcoholic, a figure to be pitied more than anything else, to a comedy drunk in the opening, and comic relief by the end of the movie. with the rest of the cast starting to fall into the pit that is ‘Flanderisation’.

Non of this is to say this is inherently a BAD movie, but its just a bit of a fall and pivot from what the last two films strived for. it feels less believable, less natural or honest.

Beyond the script, the rest of the film is technically on the level. Direction and cine maintain the momentum from ‘Rocky II’ though it is maybe a tad less willing to take risks over the last film for my money, composition is strong, theres some nice slow mo and tracking footage which works in the films favour, the training montages were relatively solid, but I dont quite feel they had the same strength as the last films attempts. Its a good looking film, but I dont think it nearly has as much power or enthusiasm as the last entry.

Performance wise? Stallone as Balboa here feels surprisingly low energy. If the first film was Stallones breakout as an actor, and the sequel was him proving his worth in the industry after striking out with an out of nowhere hit. Much like Balboa, he feels a little *too* comfortable here, too tidy, his performance is too polished, he doesnt quite nail that relatable and at times bizarrely awkward character. Its almost like he forgot how to play ‘Rocky’ and is doing a ‘Rocky’ impression based on what he saw when he rewatched the last two movies…which is a bit of a shame.

That being said the single greatest performance in this film absolutely HAS to be Burgess Meredith as ‘Micky’ who absolutely blossomed across these 3 films into a complex, infinitely likeable curmugeonly player, who outshines Stallone in this film with a performance that I would argue is in his top 5 greatest ever honestly.

Talia Shire is a harder performance to read, On the one hand I can interpret her turn as Adrien here as the continuing development of a shy and reclusive woman, slowly opening up to the world around her after years of abuse and neglect and learning to stand by, stand up for and support what she believes in. OR! similar to Stallone, she just hasnt quite remembered how to play the character and is doing an impression of an impression. Or it could be both…Who knows, I enjoyed her turn here, but with only one or two moments between her and Rocky for the entire films runtime. Its hard for me to truely appreciate her best moments because they seem to have been left on the cutting room floor.

As for the score? Not as good as last time being honest, Yes; this is the first film to feature ‘Eye of the Tiger’ (and believe me, I REALLY didnt like that they kept referring to ‘The eye of the tiger’ in the dialogue of the film itself…that was cringey) but whats here just isnt as poweful, energetic or well used as whats been and gone with ‘Rocky I and II’ again, its fine. but it just feels like its missing some freshness, a bit more power or energy which did ultimatley underwhelm the films pace and tone.

All in all, I like ‘Rocky III’ dont get me wrong, its still a fun and entertaining movie from a fun and entertaining series…But this feels to me less like a movie that NEEDED to be made, and more a film that felt OBLIGED to exist. and thats the key difference here. the first two films felt like Stallone and his team had something to say and show to the world. This? feels a lot more corporate and a lot less soulful.

Its a film in the middle of a bit of an identity crisis, which…at this point in time, Stallone was doing the same. So I get WHY it turned out the way it did. but the transition from ‘Slice of life’, real world, hard hitting, tonally heartwarming Oscar winning cinema, to totally silly, over the top, meathead action sports film is well underway. and if I remember ‘Rocky IV’ the way I *THINK* I remember it, I should be in for a treat VERY shortly…

source https://letterboxd.com/tytdreviews/film/rocky-iii/

Rocky II, 1979 – ★★★★½

Probably better than the original, and I’m not afraid to say it.

It’s the rematch of the century, everything you could love about the first film is polished to within an inch of its life, the best bits amplified, the slower pace built up and more evenly distributed.

If I have ANY fault with this film, its that the ending wasn’t quite as closed as I’d have liked it to be. But it’s still damn near perfect.

No…honestly, I have nothing else to say. It’s so close to being a perfect movie it damn near scares me that we could ever get this good.

If you arnt watching a double header of ‘Rocky’ and ‘Rocky II’ tonight. What the HELL else are you up to?!

source https://letterboxd.com/tytdreviews/film/rocky-ii/

The Vampire Lovers, 1970 – ★★★

The First film in the ‘Karnstein Trilogy’, and one of the earlier examples of Hammers ‘Playboy’ era films. ‘The Vampire Lovers was a fine enough watch for me, but suffers from a lot of the recurring issues that Hammer films from this era seem to fall into.

The plot introduces us to the family Karnstein, a group of undead vampires who for centuries had preyed on the local inhabitants of the village, and anyone who happened to roam into the woods or graveyards at night. 40 years prior to the events of this movie, the family was finished by a rival family who realised they were vampires and wanted an end to it.

However, 40 years to the day a mysterious woman claiming to be a baroness arrives at the house of a respected General (played by Peter Cushing) asking for mercy in the face of a serious accident thats left her and her daughter Marcilla abandoned in the middle of nowhere for a few days while alternate travel is arranged.

The general agrees and Marcilla forms a strong ‘bond’ with the generals Daughter Laura. Very strong…its a pseudo lesbian relationship. I say pseudo because, Marcilla is ACTUALLY ‘Carmilla’ the daughter of the family Karnstein, and her and her mother have infiltrated the generals house using false identities to try and enlist servents and bolster their supplies to help ressurect the Karnstein family name…and…for a time, they appear to succeed; Killing the Generals daughter over several days while tormenting her in the process.

The General, on realising his Daughter has been murdered by Vampires, and totally bereft, leaves his residence to seek help from the family who dispatched the Karnsteins in the first place. The Karnsteins meanwhile flee the manor, fake a horse carriage accident and begin their grift again…Only, now time is working against them, as the General rallies the troops and word of the growing grizzly murders begins to spread.

And, Its been just over a Day since I watched this movie, and im already forgetting quite large chunks of it…Which is never a good sign for a movie in my opinion.

Dont get me wrong, this isnt a bad movie by any stretch. But I do rather feel that, while its fresh for early 70s Hammer…In the grand scheme of Hammer and Amacus’s work in this kind of field…it’s a bit lacking.

The scripts fine enough, but as mentioned it does hit the rather unfortunate Hammer tropes of rushing to the 2nd act with great pacing, interesting twists and turns and fun characters. Only to then grind to a halt for most of the 2nd and a bit of the 3rd act, as we get bogged down in runarounds, reams of exposition that dont really add anything to the film and padding which bloat the middle of this film right up to the closing 20-25 minutes or so where, once again, it picks up pace and ends in a pretty satisfying way.

The characters are a little flat in this one, while most of the characters in the latter entries of the Karnstein trilogy get a bit more complexity and interesting plot developments, a layered set of main cast members who all feel like they fit into a well lived universe. This has the OTHER Hammer trope, where the core 2-4 main characters DO have complex character traits and backstories…but everyone else gets one, at a push two charictaristics and basically get nothing to do with the plot itself other than vomit exposition and to take ANY line that the writers didnt feel comfortable giving to the developed cast. Which is a real shame.

I just dont feel this one has the same level of pull as ‘Lust for a Vampire’ and ‘Twins of Evil’ they both were interesting character driven pieces that played more on emotional resonence than plotting to drive the story. This films characters feel a little undercooked and it leads with several subplots that make it feel more like a horror thriller than anything else. and I wasnt really into it for that.

Outside of the scripting though its pretty by the numbers sailing. Cine and Direction are well up to the mark for Hammer standard (which is always above average) later films in this trilogy lean more into modern technical abilities to help keep the cine and direction fresh, experimental and creative…But this ones still quite firmly grounded in the ‘old’ style of Hammer direction, which didnt really evolve much past 1961. as such its VERY nice, grand and rich set and location work. But mixed in with very static, sequences, limited dolly and tracking shots and fairly by the numbers blocking. Colour use I felt was also a little drab here, I didnt feel this was a particularly vibrant film…especially compared to later entries.

Casting is altogether fine, I have no strong feelings on any of the performances, other than to ask the question of why Peter Cushing was even in this movie, hes on screen for probably somewhere in the region of 7-10 minutes and gets near top billing. Which is kind of crazy to me given he plays a character with one significant moment, who then leaves for the majority of the film and only comes back at the end. Wild.

The scoring is half decent too which is nice…Like I say, this is basically about as ‘Middle of the road’ as you can get with Hammer. I liked it, but I do think it definitely could have done with some tightining up on the script front and maybe a bit more experimentation with the compositions and colour work on this…I’d say the Karnstein trilogy on the whole is definitely worth looking into, and if your weakest entry is ‘passably’ good. I think thats a pretty good indicator that you may be onto a good thing.

source https://letterboxd.com/tytdreviews/film/the-vampire-lovers/

Lust for a Vampire, 1971 – ★★★★

The middle film in the ‘Karnstein Trilogy’ flanked by ‘Twins of Evil’ and ‘The Vampire Lovers, ‘Lust for a Vampire’ was a first time watch for me today, but having seen ‘Twins of Evil’ I feel I encountered the same problems with this film, as I did with that one.

The plot revolves around a recently opened all girls boarding school in Eastern Europe with a…lets say ‘eccentric’ set of teachers. ranging from ‘Giles’ who is obsessed with the local ‘Karnstein’ family, believing them to well and truely be vampires. through to a headmistress whos poured her entire life savings into the academy and is more than happy to sweep ‘incidents’ under the rug if it keeps the prestige of the school in check.

We open by introducing ourselves to Richard LeStrange a travelling author who is to take up residency at the local school as the new English Lit teacher. almost immediatley Richard gets caught up with ‘Mircalla’ a new student to the academy with a captivating gaze…Indeed, theres more to Mircalla than meets the eye…Shes a vampire, thats…thats whats more than meets the eye.

The ressurected daughter of the count and countess Karnstein – Original name ‘Carmilla’ her motives in going to the academy arnt entirely clear, but at a guess, its to have her fill of the student body and maybe recruit a few new servents for the Karnsteins. Unfortunately this is disrupted however when Richard falls head over heels in love with Carmilla, a feeling she resiprocates.

and thuse a complex romance plays out, with Richard slowly gaining an awareness as to what Carmilla is, Giles also slowly piecing things together and Carmilla slowly but surely ‘dissapearing’ more and more students…its only a matter of time before parents start asking questions and the pair find themselves in a perilous situation.

And I for one really enjoyed this film. pretty much across the board it did everything I’d want out of a Hammer vampire movie, it easily blew most of the ACTUAL ‘Dracula’ films out of the water. theres just one element of this that I wasnt quite as fond of…

On the script front, we have a well paced, decently plotted, solidly toned work with strong, complex characters (for Hammer) interesting and complex scenarios and realtionships that are played out in a way that feels genuine. solid dialogue for the most part thats engaging and enjoyable. and a solid 3 act structure that only falters slightly in the closing minutes (and that isnt inherently due to the script, more due to clumsy editing and budget limitations).

I enjoyed pretty much every aspect of the script apart from one. and thats the overtly sexual tone of the whole thing. Dont get me wrong, I enjoy some eroticism in my horror movies, I like a bit of playfulness and I can absolutely appreciate the boundaries this film pushed for the time in showing lesbian relationships in cinema at a time where homosexuality had only recently been decriminalised. However; this era of Hammer is often referred to as ‘Playboy Hammer’ and thats kind of what puts me off. theres a lot of clearly staged out ‘Glamour’ moments that arnt relevent to the plot, take away from the weight and tone of the overall production and are quite literally just there because sex sells.

I wont begrudge anyone who DOES enjoy that kind of thing. but for me? it pulls me out of the action, because its so blatently just…THERE for the sake of being there, that it almost becomes comedic when the cast will, for VERY little reason, randomly start just taking their clothes off. the shift into ‘soft focus’ mode and the somewhat border softcore porn dialogue shifts only further pull me out of this one. I had similar issues with ‘Twins of Evil’ and if anything, its even more overt in this one.

I dont think it ruins the film at all mind, but it did stop me from outright loving this film entirely, because those moments (combined with the ending which is supposed to be an incredibly dramatic and tragic event…but due to lack of budget and a ropey set of cuts makes it accidentally hilarious) snapped me back into the room and made me realise that someone, somewhere in the production of this film decided to hard turn it into a ‘male gaze’ feature…and thats a shame.

Otherwise? Barring the finale bad edit. I loved everything about this film. the direction feels EXACTLY like what Hammer should have been doing all along, pulling modern 70s film making styles into gothic style storytelling and mixing them together into a ‘best of both worlds’ type scenario. It looks fresh, feels great, isnt afraid to experiment and the cast are clearly having fun with a less strict environment to work with.

The cine is rich, vibrant and delightful. rock solid composition, hearty amounts of B-roll, experimentation with processing and film effects. and, for the most part, some decent sequence building. No notes, I loved it.

Michael Johnson as Lestrange is about a strong a leading man Hammer has had since Cushing and Lee. He’s believable for the most part, which, in this studio is honestly a rare thing. he delivers his lines with solid and powerful emotion, has a great sense of physicality and gets a good range of emotions to work with across the runtime. he’s great!

Yutte Stensgaard as Carmilla gave me a case of the ‘Hammana hammana hammana’s’ a genuinely delightful performance again with solid range and she really nails the vampiric elements. Definitely one of my favourite ‘Hammer girls’.

the rest of the cast..well, they’re just kind of your standard Hammer background fodder…fine enough, but a mixed bag of fun and believable performances, to the downright awful. im into that kind of thing though so its all good.

Add to that a VERY refreshing soundtrack that really enhances the visuals of the piece and has some fantastic timing in terms of how its utilised across the films runtime…and I have very little to complain about honestly. Its a film thats maybe a little on the slow side to get going, but once its up and whirring. its about as solid a work as Hammer produced during its first wave.

Very much enjoyed, Very much recommended.

source https://letterboxd.com/tytdreviews/film/lust-for-a-vampire/

The Legend of the 7 Golden Vampires, 1974 – ★★★

The ‘Official’ end to Hammers ‘Dracula’ franchise is a continuity destroying co-production with martial arts master studio ‘Shaw Bros’ and…its a tense relationship of a movie right off the bat.

Putting aside the fact they couldnt get Christopher Lee back to cameo as Count Dracula for a handful of scenes so they had to get his non union chinese equivilent. tensions between the Hammer team and the cast and crew provided from Shaw bros ran hot due to a mixture of language and cultural barriers. Which…y’know, nothing shows a sign of a surefire quality film like the director screaming at the actors in english when they primarily only spoke Mandarin because they wouldnt stop spitting on set. we’re in for a wild time.

So the film opens in 1804 and we’re introduced to a traveller who stumbles on the castle of Count Dracula, once awoken. Drac does a ‘Jason goes to hell’ and essentially ‘possesses’ this travellers body as a way to circumvent his inability to leave his castle grounds due to cleansing enchantments that have been placed around the perimeters.

Once free of the castle, Dracula travells to China, where he takes on 7 servents who are all highly trained martial artists and warriors. Its said that every full (golden) moon, anyone who dares set foot outside of the walls of the local village, will meet a terrible fate at the hand of the golden monsters.

We then jump forward in time to 1904, and Peter Cushing is once again back as Dr. Van Hellsing…which instantly botches the chonology because Dracula AD 1972 establishes that Van Hellsing dies fighting dracula in 1872. So how is he in 1904 China? AND that he was born in 1814, which would make him 90 years old at the time this film takes place…AND that ‘Horror of Dracula’ apparently takes place in 1885. Any which way you cut it the continuity is bollocks’d. Because even if you say ‘AD 1972’ isnt canon. and that ONLY ‘Horror of Dracula’ counts as continuity to this one, and lets say we timeshifted Van hellsing so that he was born at a point where he could be in his 40s at the point ‘Horror of Dracula’ took place. it’d STILL be screwed continuity wise because the average life expectency of someone born in the 1830s and 40s was 45. Even with the timeshift Van Hellsing would have been in his late 60s when the events of this film take place…Thats not even to mention that Van Hellsing has a son in this film that gets ABSOLUTELY NO MENTION in ANY of the other Dracula movies, and if he DID exist, then Van Hellsing is clearly a bad father because he has ZERO trace of his existence anywhere near him…

Anyway, im getting bogged down here. in 1904, Van Hellsing is over in china teaching students about history and mysticisms and uses the ‘Golden Vampire’ mythology as a way to try and convince the students that, with their being confirmations of Vampirism in Europe, it stands to reason similar events would be happening in Asia too. They dont believe him, but one student who does decides to stick around, and after discussing it further with Lee and sharing his own knowledge around the folk lore, the pair realise that if this is true, there are still 6 golden vampires out there to take out.

And! after a surprise attack by the vampires one night, Van Hellsing will team up with fighters from the village to take the battle of the vampires cross plaines to see an end to the remaining 6 golden vampires and to rid the world of the head vampire…who MAY ACTUALLY BE DRACULA?!?! SHOCK HORROR!!!

Yeahhh…this one didnt really do anything for me honestly, I like some Shaw bros films, I like Hammer…but it seems like we got the bits a dislike the most from both companies slammed together for this one.

The script has Hammers prolonged endless walking and exposition dumping, which creeps in around the end of the first act and basically stays with the film right up to the final fight. While also having to deal with the excessively long, drawn out and rather dull martial arts fight scenes that I get hung up with on the Shaw Bros part.

Dont get me wrong, I love a good fight scene, fight choreogaphy is a wonderful thing when done right. But here? its kind of generic, nothing to eye popping and it all feels very much like martial artists going through the motions.

I’ve read that there are 3 different cuts of this movie, a 73 minute version used for double features, an 87 minute version (which I watched) and a Shaw Bros edited 118 minute version that has a lot more extended fight sequences and exposition for the asian cast. I dont know if im missing a crucial part of the narrative here. But the 87 minute cut seems to get the main plot ‘kill the 6 remaining golden vampires’ out of the way in the first 20 minutes. and then the rest of the movie is walking, exposition dumping and elongated fight scenes that dont really enhance what was established in those opening 20-25 minutes or so.

The tone is played largely seriously, the pacing is glacial once again, theres very little charisma or charm here. its militantly shot to just, get what needed to be got and get out. Which really doesnt help warm the audience to the characters, their situation or their scenario.

Part of this may be on me. My copy had quite ropey audio that had everyones dialogue tracks on different levels. and my copy abruptly ended 8 minutes off the ACTUAL ending due to some random internet issue, meaning I had to source the final 8 minutes from youtube. But even with that being the case. I dont believe I missed so much of the depth and nuance of this piece to have made it unintelligable. I just think this film isnt that coherent and isnt very well structured script wise.

Cine and direction wise its a bit of a fudge, but it works fine enough, we get some really nice location and set work here, the composition of shots are a bit ‘run and gun’ ad hoc, it feels again like there wasnt enough time to run through sequence structuring while filming so they just shot what was needed, got as much Broll and coverage as they could afford and then moved on…which makes things feel a bit haphazard.

While I appreciated the rather nice coloured lighting work on this one, which was a genuine quality uptick for the production. Ultimately this one just wasnt my vibe visually which is a shame. Still! at least it did try a bit of experimentation and i’ll take this over Hammers tried and tested method of just…making the same film in the same sets and locations 3 times over stealing from themselves and stitching them together to create hybrids of scenes from their movies all rolled into a ‘new’ film…

Performance wise, Cushing is fine as van hellsing. But everyone else is dire. not dislikable…in fact, they do what they can to the point that it adds almost a goofy edge to this film. But these are not good performances by any stretch and I found myself kind of mesmorised by what I was seeing with the performances given. mixed to poor physical animation. and lacklustre fight choreography hamties this production HARD.

and the score is a mix of hammer and shaw scoring. its better than any one of them doing the whole score outright…but its still generic as hell and did nothing for me.

‘7 golden vampires’ is marginally better than some of the worst ‘Dracula’ entries Hammer ever produced. By the skin of its teeth i’d say it was better than ‘Satanic Rites’ if only because it does have some interesting moments going on in places. But this being the final ‘canon’ Hammer dracula movie? is insane to me. its a total nothing of a movie. ‘The Dragon Lives again’ has more of a claim to being the ‘final hammer dracula movie’ than this film does.

Worth watching at least once just for the history of the piece. I didnt much care for it honestly, but I can appreciate why others would like it.

source https://letterboxd.com/tytdreviews/film/the-legend-of-the-7-golden-vampires/

The Satanic Rites of Dracula, 1973 – ★★½

And so, we arrive at the penultimate Hammer ‘Dracula’ film. And…essentially the end of the story for Christopher Lee and Peter Cushings interpretations of the Vamp and the slayer…and while Cushing would go on to play Van Hellsing one more time in ‘The Seven Golden Vampires’ That film takes place in the early 19th century and is *technically* a prequel to ‘Horror of Dracula’. Whereas this film is a sequel to ‘Dracula A.D. 1972’ and takes place a year after the events of that film. So…you’d think they’d want to see the franchise out with a bit of a bang…they dont.

So the big change with this film over the other entries is that, in the UK at this point in time UK cop dramas were really starting to take off, you had things like ‘New Scotland Yard’ and ‘The Sweeny’ taking off alongside things like ‘Van Der Valk’ and Hammer films saw this popularity and thought ‘What if Dracula, but COP show?!’ and thats…not an inherently bad idea…But unfortunately, to me at least. they seem to have made the slowest, lamest cop show film in history.

So the film opens with an undercover cop escaping a black ritual cult who are attempting to ressurect demons and devils they can connect with. He’s badly injured but gets back to the station and with his final breaths is able to relay what he saw at these Black Masses. featuring tales of rooster murder and blood on naked virgins.

The police are exploring every avenue to try and get evidence these cultists are breaking the law. And eventually they relent and fall back on there previous ‘black magic’ contact, Van Hellsing. Who happily pops up and begins doing some research of his own. after a while he starts to put together that there may be something alltogether vampiric going on, and it doesnt take long for it to be revealed that the cultists have ressurected Dracula and he’s using them as servents to help…probably his most coherent (if not VERY idiotic plan) in the entire franchise…which I wont spoil here.

Oh! also Van Hellsings daughter is back (played…somewhat surprisingly here by national sweetheart Joanna Lumley) and…she basically gets nothing to do. Which is a real shame as I was hoping we’d maybe see some development from A.D. 1972, with her maybe taking on an espionage/detective role alongside her grandfather in finding out whats going on…But no…they treat her a bit like a lemming, sending her ahead in dangerous terrain to see if anything kicks off…then pulling her out of the action so the police and Van Hellsing can get in there and save the day…

Now, dont get me wrong…Like I say, I think pivoting and reframing a Vampire horror film as a Cop show style thriller, where the vampire reveal IS a genuine shock could have been a great idea…But this film is called ‘The Satanic rites of Dracula’. Meaning, it would have been a bigger surprise if Dracula HADNT been in this film.

As such, what we end up with is a script that feels like the big plot twist is spoiled before the opening titles even finish. At which point we’re basically waiting for Dracula to turn up…which he doesnt do for nearly 40 minutes. Imagine if they just up front told you who the killer was in a murder mystery…and then expected you to sit there for the full 90 minutes while they went through the motions while pretending they HADNT made it abundently clear who the murderer was up front…Thats this movie.

It almost feels a bit like its fallen back on the old tropes from the 60s movies, but with a modern location. It opens kind of strong before settling into an exposition heavy ALL tell NO show situation for the majority of the 2nd act and opening of the 3rd…and then they just kind of…MAKE UP a feeble and frankly rubbish ending as an excuse to stop the film. Rather than giving these two iconic roles a decent send off.

The pacing is slow burn at first, but all but fizzles out until the last 10 minutes when THE most nonsense finale happens and then it full on crashes out to credits.

The characters arnt particularly interesting, I had no investment in any of them, the dialogue was incredibly dense and (for the most part) poorly written. the pacings all over the place…this feels like a very rushed script without much care given to wht its actually trying to say or do.

Same goes for the direction and cine. After a rush of fresh air in ‘A.D. 72’ we have a massively scaled back production. 3-4 locations basic camera movements, no experimentation, low effort sequence building, everythings incredibly flat profile. Its a dead eyed production, it’s doing what it needs to do, nothing more, nothing less just going through the motions to get a cheap looking film made.

Performances? well Christopher Lee was doing alright untill he started doing a phoney foreign accent to try and trick Van Hellsing…then he lost me, Cushing is largely wasted here, and despite the pair of them giving a DAMN good try and making this work, its just too low/no effort for even THESE two to try and save it. The supporting cast, honestly? might as well have not been there for how much of an impression they left. I couldnt tell you a single charictaristic of ANY of the extended cast outside of Dracula, Van Hellsing and his daughter…they’re all just avatars. spewing exposition and running around trying to look scared…thats all there is.

And the soundtrack? has already dated terribly. This is 1973, the year of ‘The Wicker Man’ and ‘The Exorcist’ and I now FULLY understand why Chrisopher Lee waived his apparence fee for ‘Wicker Man’ because if i’d been stuck on THIS film? I’d wanna sod off to the farthest flug parts. of the shetland isles and film a weird folk horror about pagenism.

In some ways…as far as endings go, this is worse than it ending badly. If it had ended badly, I could have at least commented on how distinctly badly it ended…this? this is nothing. Just a total nothing of a movie that adds nothing, does nothing other than waste the audiences time and draw a line under two of the greatest portrayals of these characters in cinematic history…and thats kind of crazy to me. Not recommended…at ALL.

source https://letterboxd.com/tytdreviews/film/the-satanic-rites-of-dracula/

Dracula A.D. 1972, 1972 – ★★★★

A TOTAL Monkeys paw of a movie, after spending the last 4 installments of this franchise BEGGING…BEGGING for the production office at hammer to drag their franchises kicking and screaming into the 70s, they grant my wish…But with the cruel twist of fate being that they decide to center the entire film around 70s youth culture…and the average age of people involved in this film was 86…I sincerely believe noone involved in the production of this film had ever met anyone under the age of 65.

‘Dracula A.D. 1972’ is a break from the ongoing plotting of ‘Dracula’. Indeed, its seemingly intended as something of a ‘Final Chapter’ given the text crawl at the end of the movie, and I for one could NOT be more conflicted about the end result of this film if I tried…

The plot opens in London in 1872, and sees Christopher Lee and Peter Cushing reunited for the first time since ‘Horror of Dracula’ AS Dracula and Van Hellsing. During a fight on top of a freerunning Horse and carriage, a calamitous crash ends the life of both the count and his slayer. However, one of Draculas servents is on the scene, and collects remnants of the count for later usage.

Post burial, we jump forward to the hip and happening times of London 1972. and the kids are certainly bopping up a jive daddio to this new funkadelic sound of the revoution y’dig?! (I’ll…I’ll stop now…)

We’re introduced to a group of friends led by ‘Johnny Alucard’ a rebellious youth whos appearence to Malcolm McDowell is downright uncanny (absolutely intentional given this came out a year after ‘A Clockwork Orange’) Alucard is always looking for thrills and decides it would be really ‘hip’ and ‘happening’ to do a ‘Black Mass’ just to see what would happen.

The gang are largely on board, but one of them Jessica, is somewhat reluctant. It’s revealed that Jessica is a Van Hellsing, a descendent of Dracula’s Slayer. And her grandfather is a believer and studier of the occult (played ALSO by Peter Cushing!)

Anyway; the gang do the rituals and Alucard (probably intentionally) ressurects Dracula, who almost immediately bites Alucard AND a willing member of the friend group who opted in on the ritual while the others fled in fear. turning the pair into deciples, with the rest of the film being Johnny slowly trying to convert the rest of the friend group to vampirism, with both Johnny AND Draculas eyes firmly on Jessica as the big prize.

And so! with the help of the met police, Jessica and her Grandfather must team up to fight the forces of evil once more and FINALLY lay Dracula to rest.

And honestly? I was kind of blown away with this one, I had the priviladge of seeing it at the theater many MANY years ago and thought it was absolutely nuts back then, and my feelings havent really changed with time. My biggest issue with it is simply that it doesnt really pick a lane, its trying to be an ultra campy, border pastiche of the films that came before it. While also genuinely being a quite well made contemporary (to 1972) horror film. The two things cant really co-exist. You cant really simultaineously be a ‘so bad its good’ campy over the top hamtastic mess of a movie thats actually really well made, refreshing and entertaining…But thats what this movies doing, and it makes me kind of love and hate it in equal measures.

For a starters, the script is all OVER the place. A hot mess in all the best ways. while the story is pretty simplistic. it’s effective in its storytelling ability and very much feels like a sincere attempt to try and modernise Hammer for young adult audiences, after coasting on the fumes of the early 60s for the better part of a decade. Unfortunately (and as mentioned) this thing has been written and produced by a group of elderly people who clearly havent ever met a young person after 1958. Which means all the dialogue is INCREDIBLY cringey, awkward and reads like an 80 year old guy trying to write a teenager…Not helped by the casting decision to make all these ‘late teen/early 20 somethings’ AT LEAST 30-35 years old.

It creates such a weird texture to what is ultimatley a really well paced and entertaining little film. adding a layer of awkwardness that this thing really didnt need. The more I think about this film, the more it feels to me like a kind of ‘self aware’ parody of a Dracula movies…an almost peevish attempt on the part of the production company to say ‘SEE! SEE! THIS IS WHAT HAPPENS WHEN YOU ASK FOR ‘MODERN DRACULA’ MOVIES! LOOK HOW RUBBISH IT IS!’ and then when the audience respond with semi confusion and hilarity, they just kind of grumbled and shrunk away to plan…I dunno…’Frankenstein 27′ or whatever it was they were working on at that point.

Its plotting is all over the place with multiple strands ranging from Peter Cushing working with the police to figure out exactly why people keep turning up with bite marks, completely drained of blood. Jessicas plot of slowly realising Johnny is a dangerous man and trying to figure out the best way to stop him/save her friends/save herself. Johnnys plot of working with Dracula to get more servents. Draculas plot of trying to get Jessica. its all over the place, but in the right mindset, I could easily see this being a very enjoyable time.

What I really love about this movie is the direction and cine. the brief of ‘bring Hammer into the 70s’ hits this film like opening a window in a room full of stale farts. crisp, clear, creative direction that really brings to life the rebuilding of early 70s london and its surrounding club and parklife are brought into reality in sizzling colour. This film looks incredible and is a veritable time capsule of fashion from the time. If nothing else, the film simply existing and looking as engaging and interesting as it does is enough to easily put this one in the top 3 Dracula movies made by Hammer.

We also have some extroadinary lighting work here, coloured gels are used heavily and stylish and richly detailed set designs for the church’s and nightclubs featured throughout are welcome and visually appealing. Theres some gorgeous shots and sequence work pleasent here that really help bring things front and center. some LOVELY depth of field work. This is probably the first Dracula movie since ‘Brides of Dracula’ that i’ve seen where I feel confident in saying that its visual style and identity are almost as distinct and original as the first film. a genuinely enjoyable watch.

Only helped by some pretty decent performances too! again we’re swinging the pendulum wildly between ‘Campy fun’ and ‘Actually pretty solid performance. On the one side, Lee, Cushing and Stephanie Beacham are probably at the franchises best here in their respective roles. they’re really trying to bring some of their best to the roles here and it pays off, with arguably some of the best Dracula and Van Hellsing moments of the entire franchise. and solid retuning turns for Lee and Cushing in particular.

On the other end though we have (Not) Malcolm McDowell Christopher Neame as Johnny Alucard, a campy, snooty sort who has just the right level of slime to make him really stand out as a proper ‘baddie’ of this era. Im still not entirely sure if I like his performance here or not. But he brings a campy presence in his turn that did ensure I stayed firmly glued to my set for the full duration. the majority of the ‘youths’ in the supporting cast too all do varying levels of camp ranging from overly dramatic death sequences right through to just pretending they’re members of Monty Python…it garners mixed results from me ranging from pleasently watchable to irritating.

AND FINALLY! AFTER 3 FILMS OF THE SAME MONOTONOUS ORCHESTRAL DRONING…WE HAVE A NEW SOUNDTRACK STYLE! It’s funky 70s tastic soul and funk style and I absolutely loved it, intercut with some early synthy pieces. it really helped bring the film to life for me in the best possible way.

In either case, I didnt really lose with ‘Dracula AD 1972’ I was very much welcoming of the modernising of the technical aspects of the production, while also VERY much being there for the hammier stranger moments. Im VERY surprised that ‘Rifftrax’ havent got there hands on this one yet as I think it would be a perfect candidate. for the first time in a long time, i’d say this one was actually kind of underrated, and if the other ‘Dracula’ sequels have kind of put you off. this one may win you back a bit…I didnt outright LOVE it. But I really appreciated what it was trying to do.

source https://letterboxd.com/tytdreviews/film/dracula-ad-1972/

Scars of Dracula, 1970 – ★★★

The mediocrity continues, and once again I find myself in a position where Im faced with a Hammer Dracula movie that ONCE AGAIN is a drawn out and overly slow plot with a handful of interesting or fun nuggets wedged firmly into its core. This time up? It’s ‘Scars of Dracula’ the second Dracula movie for Hammer in 1970, and another attempt of mish mashing ideas from the older films and other films Hammers produced into a semi incoherent vampire flick.

This time? we get essentially 2 movies in one! And even Hammer couldnt be bothered to check their own continuity as this film opens shortly after the events of ‘Taste the Blood of Dracula’ and for some reason Draculas ghostly ashes have been moved from an abandoned Church in London to a room of Draculas European castle…It could maybe be said that his returning Henchman ‘Klove’ played by the ever wonderful Patrick Troughton maybe stole his remains and lay them in situe at the castle…But it isnt really explained.

Plot 1 runs the first half of the movie or so as we’re introduced to ‘Paul’ (im not sure if this is supposed to be the same Paul from the last film, just recast…or another guy named Paul…but either way…)PAUL! Is a bit of a ‘Jack the lad’ sleeping around with various women and acting the chancer. We’re introduced to him in the bedroom of a young lady, who happens to be the daughter of the towns Bergermeister. When Paul reveals he’s been lying to this woman about attending nightschool (when in fact he’s been using it as an excuse to go and hang out with his friends and sleep around) the woman goes to her father and accuses him of raping her. At which point ther Bergermeister summons his guards to arrest Paul.

Lucky for Paul, he manages to make it to his friends birthday party and give them a present, before the guards burst in and try to arrest him. But Paul makes a quick escape out of a window and winds up riding a driverless horse drawn carriage into the woods and up to Draculas Castle.

Oh! I forgot to mention, how is Dracula ressurected in this film? well…a comedically awful prop vampire bat drips some blood on his ashes and ressurects him. Dont ask questions. ANYWAY.

Paul arrives at the castle, Klove lets him in and Dracula offers to put the chap up for the night. Little does Paul know that Draculas handmaid is in fact ALSO a vampire, and when she gets flirty with Paul, its his neck thats on the line! Paul plans a daring escape, but we dont get to see what happens to him, as we crash straight into plot 2! which is where Pauls friends start to worry that he hasnt been seen since the night he jumped out the window, so they decide to go and try to find him.

At a local inn, the keeper and his patrons are quiet, but the innkeepers maid spills the beans in private, telling the pair that they saw Pauls carriage head up to the castle. And so…thats plot 2, Pauls friends going to Draculas castle to try and find Paul, winding up ALSO on the counts menu and Klove and the residents of the castle also trying to kill the couple before the dreaded truth about whats going on is revealed.

In short. as a movie? its fine. Honestly, if it wasnt for the fact that Christopher Lee actually gets some half decent dialogue in this, AND the fact they FINALLY seem to have remembered how to shoot him to look intimidating AND the fact that Patrick Troughton is pretty great as ‘Klove’ in this (Take THAT Jon Pertwee!) this film would actually be pretty dire.

The scripts slow, plodding, basically recycling tropes from other Hammer films and stitching them together into a movie that isnt anything we havent seen before. My biggest issue with the scripting is the same problem I had when I reviewed ‘Taste the Blood of Dracula’ which is that…its 1970. over the next 24-36 months Horror will undergo a transformation that starts with the exploitation genre and ends with ‘The Exorcist’ and ‘Texas Chainsaw Massacre’ and what is this film doing during this great cinematic revolution? rehashing scripts from the late 1950s with very little modernisation.

the pacing is slow, not slowburn…slow. the characters (barring Drac and Klove) are uninteresting, monotonal and this is a film that LOVES to tell over showing, the effects are LITERALLY being recycled from films 6-7 years years ago…and they looked awful THEN. theres no challenge here, no shake up of the genre, no trying new things. its the Baby puree food of ‘Dracula’ movies. Good for someone who may not know WHAT a vampire even is…but not so good if you’ve ever in your life seen ANY vampire movie.

The direction and cine are kind of flat and dull, while this is FAR from ‘Prince of Darkness’ cheap, I do feel we’ve backslid somewhat from ‘Taste the blood’ with a lot more location work and bigger, but emptier set spaces…What really doesnt help this film is the directors pachent for shooting everything wide. It means that, YES. you DO get to look at the majesty of these sprawling set spaces, but it also pulls all the tension, horror and action out of the movie and exposes the lack of finer detail to a heavy detriment.

The cine is fine enough, but again, its creaking. It’s 1970 and this feels like an early 60s storyboarding job, shots are composed fine enough, but its just not built for modern audiences of the time, it’s frustrating, because Im starting to get the feeling like its the company holding back progress, rather than uninspiring directors…or maybe its a bit of both…But in either case, it doesnt feel like a movie of this time period. It almost feels like a throwback, and I can guarenTEE you that audiences of this time were NOT going to watch this for genuine scares. By this point, audiences probably went to laugh at films like this.

The performances once again, are fine, but not great. Troughton and Lee are the best this film has, and they do ‘good’ but not ‘great’, the rest of the cast are animate physically. But ultimately just kind of dull…Because all the script has them doing is running through exposition, it means that they never ACTUALLY get to say or do anything other than recapping what we’ve already seen, or what we already know from previous movies.

And im losing the will to live with the scoring. this is the third film in this series in a row to be scored by the same composer, and honestly? Im starting to think he recorded one score back in 1960 and just sent pitched up/pitched down varients of the same recording for the last 3 movies. its SO dull, it works for what they’re trying to do. but by this point? Im numb to this kind of orchestral work. it might as well be white noise for me.

It feels to me like Hammer made ‘Scars of Dracula’ to hedge their bets in case ‘Taste the Blood of Dracula’ was recieved poorly. I could honestly imagine higher ups at this company being like ‘Well…we dont want to dissapoint people if we offer up a fresh take on the franchise…best to fund a second film thats basically just going through the motions to be safe’

Thing is? I dont even dislike these movies, they’re fine enough. But thats really the frustration with this franchise. Every. Single. One of them is just ‘Fine Enough’, a handful of fun or interesting moments stapled to Grey slop. and its such a shame because, with just a little bit more care, attention and adaptability to the times…these films could have all been great. As it stands. if it wasnt for the fact that im currently going through all the Hammer ‘Dracula’ movies. I’d have probably stopped 2 movies ago…

source https://letterboxd.com/tytdreviews/film/scars-of-dracula/