The House of Hammer was dilapidated and run down by the turn of the ‘70s; a modern purview had wormed its way into horror’s darkened crevices and Hammer had no choice but to adapt or perish. Frankenstein and the Monster from Hell (1974), a grimy, bloody affair that was Frank’s last hurrah with the venerable house and Peter Cushing’s final bow as the Baron, is proof that even the final throes of their cinematic empire was filled with malevolent mirth.
Released at home in May with an American rollout in June, Hell received better notices than one might expect, or it at least found some interest; the injection of overt viscera into the somewhat staid stable told the world that Hammer was putting classical in the rearview to embrace the contemporary. It was also more than enough to kill the series, if not Hammer itself (at least not...
Released at home in May with an American rollout in June, Hell received better notices than one might expect, or it at least found some interest; the injection of overt viscera into the somewhat staid stable told the world that Hammer was putting classical in the rearview to embrace the contemporary. It was also more than enough to kill the series, if not Hammer itself (at least not...
- 12/12/2020
- by Scott Drebit
- DailyDead
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