The Greatest Monster Fighters In Movie History

For this Halloween post I've decided to do something a little different. Instead of listing the greatest monsters, what about a list of those that battle the monsters? To qualify, a performer has to have fought monsters in more than one feature film. Surprisingly, there's not very many actors who have done that. I realize that this list is skewed more toward classic cinema, but if I concentrated on modern films, I'd wind up listing people like Brendan Fraser.

I'm not ranking my choices....but I think we can all agree who belongs on top.


PETER CUSHING

THE greatest monster fighter of all time....certainly the greatest vampire hunter of all time, hands down. He also fought the Mummy, the Daleks, the Blood Beast Terror, a race of Abominable Snowmen, the Hound of the Baskervilles, and a couple of werewolves. Faced off against extra-terrestrial enemies in NIGHT OF THE BIG HEAT and HORROR EXPRESS. Dealt with subterranean creatures in AT THE EARTH'S CORE. And don't forget, whenever he played Baron Frankenstein, he usually wound up fighting the very monsters he created.


JOHN AGAR

The greatest American monster fighter of all time. Battled the Creature from the Black Lagoon, and the giant spider of TARANTULA. Faced off against the Mole People and the Brain from Planet Arous. Dealt with the Daughter of Dr. Jekyll and the Invisible Invaders. Encountered a "giant" in ATTACK OF THE PUPPET PEOPLE and an alien intelligence in JOURNEY TO THE SEVENTH PLANET.

KENNETH TOBEY

Will always be remembered for his iconic role in the original THE THING. Also came up against a giant octopus in IT CAME FROM BENEATH THE SEA and a dinosaur in THE BEAST FROM 20,000 FATHOMS. Tobey was the ultimate example of a monster-fighting military man. Whenever I see him in a movie or a TV show, and he's not wearing a uniform, he looks strange.

EDWARD VAN SLOAN

The original Dr. Van Helsing. He faced off against Karloff in THE MUMMY and FRANKENSTEIN. The silver screen's classic archetype of a monster fighter.

BUD ABBOTT & LOU COSTELLO

Yes, Abbott and Costello. They battled Dracula, the Frankenstein Monster, the Wolf Man, Dr. Jekyll & Mr. Hyde, and the Mummy. They dealt with a giant in JACK AND THE BEANSTALK. And they get extra credit for opposing Lionel Atwill in PARDON MY SARONG, Lon Chaney Jr. in HERE COME THE CO-EDS, and Boris Karloff in ABBOTT AND COSTELLO MEET THE KILLER, BORIS KARLOFF.

EL SANTO

Masked Mexican luchador El Santo fought all sorts of supernatural creatures including vampires, mummies, werewolves, zombies, etc., during his second career as a movie star.

BRUCE CAMPBELL

No explanation necessary.




Honorable Mention: Akira Takarada, Kerwin Mathews, Rod Taylor, Charlton Heston, Richard Carlson, Richard Denning, the Bowery Boys, Nick Adams.

Guys you do NOT want helping you fight a monster: Norman Kerry, David Manners.

NECESSARY EVIL: SUPER-VILLAINS OF DC COMICS

NECESSARY EVIL: SUPER-VILLAINS OF DC COMICS is a new documentary from Warner Home Video focusing on the bad guys of the DC Comics Universe. Why is this being discussed on a movie blog? Well, like it or not, comic book characters are now one of the most popular subjects on which to base a major feature film on.

NECESSARY EVIL plays up to the comics-movie connection in a number of ways. The most obvious one is the choice of narrator--it's none other than one of the greatest living screen legends, the redoubtable Sir Christopher Lee. Whether Mr. Lee has ever opened up a single issue of any DC comic is subject to debate, but he does a very fine job here (then again Lee could read from the phone book and make it interesting).

Among the talking heads featured in the documentary are comic book legends Marv Wolfman, Len Wein, and Neal Adams; actors Clancy Brown, Kevin Conroy, and Michael Shannon; and film directors Guillermo Del Toro, Zach Snyder, and Richard Donner. There are, however, very, very few clips from feature films based on DC product--it's almost as if the company is admitting that their universe has not been represented well in the world of movies.

Most of the clips are actually from the numerous DC/Warners animated series made in the last decade. There's also a lot of stunning artwork displayed. The most famous villains, such as the Joker and Lex Luthor, are discussed extensively but the documentary takes care in not focusing on just a few certain characters (heck, Batman's Rogues Gallery is worthy of a whole feature alone).

NECESSARY EVIL clocks in at a whopping 99 minutes. It would have been very easy for DC and Warners to just slap something together and put it out to serve as a giant commercial, but that's not the case here. There's been some time and effort put into this. Many aspects of comic-book villainy are discussed, without the documentary becoming too pretentious. Even though there are some bits of comic-book mythology included here that some might consider a bit too obscure, NECESSARY EVIL is still accessible to the non-geek audience.

I've said it before, but I'll say it again--the people who are responsible for this documentary, and the people working on the DC/Warners animated product--those are the people that should be making feature films about the DC Universe.

NOTE: I purchased the DVD version of NECESSARY EVIL, which has no extras.

What Ever Happened To Robert De Niro?

I'm sure most of you have seen commercials for a new film called LAST VEGAS, which seems to be an old man's version of THE HANGOVER. LAST VEGAS stars none other than Robert De Niro, an actor extending his streak of appearing in films not worthy of his talent.

I've also recently watched a trailer for a movie about two boxers who fought each other years and years ago, and are now attempting a rematch. One of the boxers is played by Sylvester Stallone--but the guy is not Rocky--and the other is played by.....Robert De Niro. I can't even remember what the name of this movie is....and it's probably just as well.

When I was younger, Robert De Niro only made a couple movies a year, and whenever he did appear on screen, it signified that the production involved was high quality. Before I started to write this blog I went to IMDB and checked some of the titles De Niro has starred in during the last 5 to 10 years. Most of them I don't even have any memory of--do you remember that buddy cop movie De Niro made with Eddie Murphy? No, I don't either.

At one time Robert De Niro was one of the most compelling actors in the world of cinema. He was gifted with the ability to make even the most pathetic characters interesting and watchable. A case in point is the role of Travis Bickle in TAXI DRIVER. Even though it is a brilliant film, TAXI DRIVER is sordid and unpleasant--you feel like taking a shower after you see it. But De Niro is mesmerizing--you keep watching just to see what he's going to do. Same thing with RAGING BULL....De Niro's Jake LaMotta is the type of person you don't want to see walking down the same street you are on, but you are still drawn into his world.

 

Classic De Niro. As Travis Bickle in TAXI DRIVER

Now De Niro has become a parody of himself, just like William Shatner and Alec Baldwin. He's been reduced to appearing in lame comedies, trading on his "angry guy" persona. I can't honestly think which was the last great movie De Niro did....was it RONIN?

I'm sure one major reason for the turn in De Niro's career is his age (he's now 70 years old!). Maybe it's the fact that the average movie just isn't that good anymore, and it is hard for him to find decent parts. Or maybe he's just decided to take it easy. If a bunch of producers kept offering me acting jobs where all I had to do was make fun of my screen image, and the pay was good, I'd probably do the same thing.

But to me it just seems a big waste. De Niro was a major, major force in the 70s and 80s. There's now an entire generation of film goers who don't even realize that. There's still time left for De Niro to have a chance to create more memorable performances. At least he hasn't wound up in a comic book movie....at least, not yet.


NOTE: I am fully aware that if Mr. De Niro ever reads this, he will come to my house and beat me with a baseball bat.

THE REPTILE

This post is part of the Hammer Halloween Blogathon hosted by the Classic Film & TV Cafe. Go to www.classicfilmtvcafe.com to view the complete blogathon schedule.


When I decided to take part in this Hammer Halloween Blogathon, the first thing I had to decide was....which film to write about? I've got just about every Hammer movie on DVD or Blu-ray, and I've seen them all dozens of times. I came to the conclusion that it would be better to blog about one of the less obvious choices--but one that represents Hammer very well.

THE REPTILE (1966) does not star Peter Cushing or Christopher Lee. It was not directed by Terence Fisher, and the music score was not written by James Bernard. On the surface it would appear that there's nothing noteworthy about this Hammer production. But it stands out as a nice little chiller, and proof that Hammer's house style could work without some of the expected elements.

The movie begins with a pre-credits sequence. A man wanders a darkened manor house, where he is attacked by something springing from the dark. The man dies horribly, with his face darkened and foam on his lips. A mysterious stranger dumps the body in a cemetery.

 

We soon find out that the man is Charles Spalding, and his death is just one of a series that has befallen the village (which is located in Cornwall). Charles' brother Harry (Ray Barrett) has inherited the cottage that Charles was staying in. Harry and his wife Valerie (Jennifer Daniel) intend to live at the cottage. Harry also intends to get to the bottom of his brother's death. He is met with suspicion by the local villagers, and only the friendly pub owner Tom Bailey (Michael Ripper) is willing to help him. Valerie meets neighbor Dr. Franklyn (Noel Willman) and his daughter Anna (Jacqueline Pearce), who live in the manor house that Charles was attacked in. Harry and Valerie have dinner with the Franklyns, and notice their strange behavior. Harry and Tom do some grave digging, and find out that Charles and the village tramp Mad Peter died of snake bite. Harry then receives a note from Anna asking for help, but Harry winds up being attacked just like his brother.

Harry barely survives--but while he is convalescing, his wife also finds a note asking for help. Valerie goes to the manor house, and finds out from a frantic Dr. Franklyn that it is Anna who is responsible for the weird deaths. Years ago, Franklyn, a theologian, was studying various cults in Eastern Asia. He incurred the wrath of a snake cult, and the members turned Anna into a part woman-part snake creature. Franklyn now wants to destroy Anna to end the horror.....

THE REPTILE was made back to back with THE PLAGUE OF THE ZOMBIES, as a way for Hammer to save money. PLAGUE has always gotten more attention than THE REPTILE--it has a more expansive storyline, and a little bit bigger cast. But THE REPTILE is a fine film in it's own right. The unique aspect of the story is the fact that the "normal" married couple carry the film.

Typically in a Hammer film the "regular" characters--the characters who are not monsters, scientists, or law officers--are either dull, dimwitted, or useless. Here Harry and Valerie Spalding are an appealing and believable couple, the type an audience can follow. Ray Barrett is one of the best of the Hammer leading men (admittedly, he doesn't have much competition). As Hammer would move into the 1970s, their male actors would get younger and younger, but not better. We are told that Harry Spalding is a member of the Grenadier Guards, and Barrett definitely gives the impression that he is nobody's fool.

Jennifer Daniel had already appeared in Hammer's KISS OF THE VAMPIRE. In that film she plays almost the same exact role as she did in THE REPTILE--the sensible and loving wife. Even though she was regally beautiful, the blond Daniel never seems to get the same type of fan love that other Hammer Glamour girls get. Daniel is the domesticated Hammer hottie--she's the one you could imagine actually being married to.

 

 

Jennifer Daniel posing on the Bray Studios lot.

Another performer who also appeared in KISS OF THE VAMPIRE is Noel Willman, who plays the cold and forbidding Dr. Franklyn. Throughout the movie one suspects that Franklyn is the cause of everything, and in a way he is--but he's also a victim as well. Franklyn's situation has made him the dour person that he is, and Willman gives the part a lot more depth than one would expect. Franklyn is constantly shadowed by his "manservant" (Marne Maitland), This servant is in reality a member of the snake cult that is responsible for transforming Anna, and he acts as a sort of sinister protector for the poor girl. Marne Maitland also has a number of Hammer credits, usually as a foreign menace. Maitland makes a huge impact in THE REPTILE.

The title "character" of the film is played by Jacqueline Pearce. She had just been in PLAGUE OF THE ZOMBIES, and her character in that film has a few things in common with Anna Franklyn. Both characters are "turned" into monsters by someone else's doing, and both of them have a fragile, tragic quality about them, even in their non-creature moments. Pearce's unconventional good looks give Anna an exotic aspect, and in her early scenes she gives Anna a vulnerability that makes Harry and Valerie feel protective toward her. During Harry and Valerie's dinner with the Franklyns, Anna is told by her father to play some music on her sitar--and Anna, encouraged (or controlled?) by the sinister manservant, seems to be sending an accusatory message to Franklyn instead of performing a tune. Franklyn, in a rage, grabs the sitar and smashes it--a strange scene to be sure, but a strong one, and well directed by John Gilling.

 

 

Jacqueline Pearce

Anna is also a victim--her dual personality reminds one of Lon Chaney Jr. in THE WOLF MAN. There's also a similarity with another Hammer film which also has a unique female monster--THE GORGON, with Barbara Shelley as an otherwise beautiful woman who happens to turn into a horrible creature. THE GORGON also features a cold and forbidding man (Peter Cushing) who loves and "watches over" the lady/monster. THE REPTILE director John Gilling worked on the script of THE GORGON.

The other major role in the story is filled by the actor who played in more Hammer films than any other--Michael Ripper. It's fitting that Ripper is playing a pub owner--when he does turn up in a Hammer horror, he's almost always found behind a bar or in front of one. What makes Ripper's Tom Bailey special is he is not a caricature or simply comic relief. The audience senses right off that Tom is a good man, the type of person you can rely on. THE REPTILE is a great showcase for Michael Ripper, and it reminds viewers how important Ripper was to the history of Hammer.

At the climax of THE REPTILE, a fire (started in a fight between Franklyn and the servant) is consuming the Franklyn house as the Doctor is telling Valerie the truth about Anna. Franklyn locks Valerie in a room and intends to leave, but Anna, now in her snake-like state, bites and kills him. Anna then tries to attack Valerie, but Harry and Tom arrive just in time to save her. Anna is killed when cold air rushes through some broken windows (I have to say, considering how big the fire is, it's hard to believe the room would have gotten that cold). Harry, Valerie, and Tom watch as the Franklyn house goes up in flames (a common ending in 1960s horror films).

John Gilling directed a number of interesting films for Hammer (including THE PLAGUE OF THE ZOMBIES). Gilling keeps things going at a fast clip (of course, there really isn't much of a plot to slow things down). Various books and articles on Hammer Films have mentioned that Gilling was not an easy man to get along with, but all the actors here do an excellent job. There's no campiness or comic elements in THE REPTILE--like most of the Hammer movies of this period, the story is presented as straight-forward as possible, one of the main reasons why these pictures still hold up today. The late 19th Century Cornish setting is just another version of "Hammerland", that fantasy place where all the men where Victorian clothes, all the women are jaw-droppingly gorgeous, and all the non-important characters can be found at pub. 

THE REPTILE was filmed of course at the famed Bray Studios. The exterior of the Franklyn house was actually Oakley Court, not that far away from Bray. Oakley Court was featured in so many fantastic films of the period that it became the Buckingham Palace of British Horror. The fine music score for the film was by Don Banks, and at times it has an Eastern flavor to it.

The one factor of THE REPTILE that some have found disconcerting is the makeup of the creature. For the most part Gilling keeps it in the shadows, but in the last part of the film it is in full view. I personally think that the makeup works, but I do have to say that the longer and longer you look at it the less effective it becomes. It certainly is bizarre enough to work at a quick glance. The makeup was created by Roy Ashton, who did a number of monsters for Hammer.

 

What I appreciate most about THE REPTILE is that it's without doubt a Hammer film, but it's different enough to be worthy of attention. The Hammer style had a lot more flexibility than most people think. Despite the gruesome facial makeups of the snake bite victims, THE REPTILE is not really a gory film. This picture is tame compared to what Hammer would be putting out in the 1970s. Although it doesn't have the reputation of most Hammers, THE REPTILE deserves to be remembered....and discovered by those who have not seen it.

DVD Review: Movies 4 You--Timeless Horror

Following up on the Movies 4 You Sci Fi Collections released this summer, MGM and Timeless Media have now come out with a Movies 4 You "Timeless Horror" set. I don't know if I'd call any of the films here timeless....some might call them "time consuming". Just like the Sci Fi sets, I got this from Amazon for $5.

The titles included are:

THE FACE OF MARBLE (1946)
This picture was produced by Poverty Row studio Monogram, and directed by William "One Shot" Beaudine, famous for his many, many low-budget credits. This tale is about another one of those Doctors who want to restore life to the dead, played by John Carradine. It's a typical crazy 1940s Monogram thriller, with a phantom dog, a voodoo-worshiping housemaid, and a stereotypical "scaredy-cat" butler (played by Willie Best). What makes this one unique is that Carradine's Doctor is not mad, or the bad guy....he's the most sympathetic person in the cast!

I BURY THE LIVING (1958)
This is without doubt the best film in this set. It's not really a horror film....it's more of a eerie suspense tale, somewhat reminiscent of "The Twilight Zone". Richard Boone plays a distinguished businessman who is elected to the ceremonial position of director for a local cemetery. At the cemetery office Boone is shown a giant map of the grounds. Each plot on the map has a pin--black for those that have "residents", and white for those that are reserved but not filled. Boone accidentally switches a set of pins.....and those on the waiting list start dying. Soon Boone is convinced that he somehow has the power to send people to their deaths.
This is a creepily effective film, with an engaging storyline. Most of the "action" involves Richard Boone trying not to go insane over the circumstances he is in. Boone was a very underrated actor, who always gave his roles an unusual and unique quality. He's perfect for this part....a more typical leading man wouldn't have made the situation work. Director Albert Band employs numerous off-beat camera set-ups, and he makes great use out of the giant cemetery map--it's almost like a lead character. It's worth buying this set just to see this film.

THE FOUR SKULLS OF JONATHAN DRAKE (1959)
This chiller deals with an ancient curse placed upon a family by a group of South American Indians. It feels very much like a 1940s Universal film, and one of the reasons is that it features acclaimed character actor Henry Daniell. It's a bit more gruesome than usual, what with decapitations and shrunken heads. This is certainly no classic, but the Amazonian curse theme makes it different enough to be of interest.

THE SNAKE WOMAN (1960)
I could find almost no information whatsoever on this film--it's not even listed in Leonard Maltin's Classic Movie Guide. Another one of those experimenting late 19th Century English Doctors has been injecting snake venom into his pregnant wife to cure her insanity. The baby is born cold-blooded and without eyelids, and the local villagers burn the Doctor's house down (something that usually happens at the end of one of these stories). Twenty years later, villagers start turning up dead from snakebite. This movie is set up like a mystery, but it's pretty hard for the story to be mysterious when the title gives the game away. This is a talky, plodding feature, with no style or verve. Director Sidney J. Furie had just made the lackluster DOCTOR BLOOD'S COFFIN, but that film is a masterpiece compared to THE SNAKE WOMAN. Hammer Films would do much better years later with the somewhat similar THE REPTILE.


Just like the other Movies 4 You sets, all four features are on one disc. The video quality is okay, and the only extras are still galleries for each title.

Book Review: THE MAKING OF RETURN OF THE JEDI

The latest addition to my library is THE MAKING OF RETURN OF THE JEDI, published by Del Rey and written by J. W. Rinzler. It's release is timed to coincide with the 30th anniversary of the film. This follows the pattern of the other books in the series, also written by Rinzler (the one on STAR WARS came out in 2007 and the one on THE EMPIRE STRIKES BACK came out in 2010).

As a lifetime Star Wars geek, I love these books. They are the ultimate guide on the production history of probably the most famous set of films ever made. Like the other volumes, this one is a thorough examination of the movie from start to finish, all the way from George Lucas' earliest script outlines to last-minute changes before the picture's premiere.

Even the most knowledgeable Star Wars fan will learn things from this book. Some of the revelations for ROTJ include George Lucas originally choosing David Lynch to be the film director (I don't think Lucas and Lynch would have worked well together); Lucas wanting to include two Death Stars in the story; and the fact that Ian McDiarmid was NOT the first choice to play the Emperor (the original actor, an older man, became ill and was not able to perform the role).

This is a Lucasfilm product, and Rinzler works for the company, which means that he was able to get access to a massive amount of material. Rinzler did dozens of new interviews with various members of the cast & crew, and also worked in archival interviews as well (to show what people were saying when they were actually working on the film). A lot of people are not big fans of ROTJ, but this book reveals the astounding amount of work and planning that went into the project. The staff at Industrial Light & Magic were hard-pressed to complete the FX work for ROTJ on time (remember, this was before major use of CGI).

Even though this is a Lucasfilm book, Rinzler does not shy away from any controversy or discussion of disagreements among the crew. One of the book's major sub-plots is how the cast & crew dealt with eventual director Richard Marquand. Some of the actors didn't get along with him, and some of the crew felt that Marquand just didn't "get" the Star Wars universe. (In fact George Lucas wound up spending as much time on the set as he did when he directed the first film in the series.)

What really sets this book apart is the exhaustive amount of photos and illustrations in it. You get to see everything from pre-production sketches, storyboards, Ralph McQuarrie concept art, behind-the-scenes stills, and pictures of the ILM effects technicians at work. (And don't worry...there's plenty of shots of Carrie Fisher in the slave girl outfit.) The sheer scope of what went into the making of this film makes you appreciate the final product just a bit more.

This is an expensive book (I got it for $50 on Amazon, just like the one on EMPIRE). You are not going to find this on sale at WalMart or Target. Some may balk at the price, but these books are made for the serious Star Wars fan. Besides, I've known people who have spent a lot more money on Star Wars toys and action figures. With a book like this you don't just put it on a shelf and display it--it is something you can go to again and again. I know the phrase "the perfect holiday gift" gets used way too many times, but in this case it fits.

CORRUPTION On Blu-ray

The 1968 horror film CORRUPTION has just come out on Blu-ray from Grindhouse Releasing. This really does fit the true definition of a "horror film"--it's a violent, sleazy thriller, and probably the most controversial movie in Peter Cushing's career.

Cushing plays Sir John Rowan, a renowned surgeon who feels guilty over causing the accident that disfigured the face of his model fiancee Lynn (Sue Lloyd). Sir John's researches lead him to use a pituitary gland from a cadaver and laser surgery to restore Sue's face. The success doesn't last long, though, and Sir John decides that a fresh pituitary gland must be used....which drives him to murder to obtain it.

The plot of CORRUPTION is a staple of cinematic horror--brilliant doctor committing horrible crimes to restore the beauty (or health) of the person he loves. The difference this time is that the film is set in contemporary 1960's England. We've seen Peter Cushing messing around with knives and dead bodies plenty of times--but usually he's in a Gothic never-land, somewhat removed from real violence and consequences. There's nothing artistic, or "cool", about the killings here--they are presented as unpleasantly as possible, and Sir John looks genuinely distressed at having to carry them out (as I'm sure Cushing the actor was).

Because of the film's nasty nature, a number of Peter Cushing fans (like myself) do not have an appreciation for this title. Seeing Cushing perpetrating horrific murders of young women in a "real" setting makes a lot of people uncomfortable. I do have to say, though, that it's not like Cushing the actor didn't ever do horrible things before--and why is it "acceptable" to violently hurt and kill women in a period background?

My problem with CORRUPTION isn't so much the violence, it's the fact that the movie is not very good. Everything in this story is portrayed in an over-the-top style, from the cinematography (which includes a lot of fish-eye lens work), to the acting (all the performers, except for Cushing and Kate O'Mara, ham it up as much as possible), and the terrible jazz-lounge music score. The 1960's setting may have been unique at the time, but it dates the film very badly (unlike Cushing's Hammer Gothics, which remain timeless). The script gets sillier and sillier as it goes along, with such highlights as an unexpected visitor popping in just as Cushing has placed a human head on a kitchen table, and a hippie "gang" whose members seem to have an average age of about 32. Director Robert Hartford-Davis, Producer/Cinematographer Peter Newbrook, and screenwriters Donald and Derek Ford all had backgrounds in British exploitation pictures, and CORRUPTION was obviously designed to attract that type of audience (although having the advertising say "THIS IS NOT A WOMAN'S PICTURE" more than likely chased away 50% of any potential viewers).

The movie really goes off the rails during the climax, which involves a out-of-control laser. I was debating on whether to discuss the ending of CORRUPTION on this blog post. I've decided not to reveal it, because I think CORRUPTION is not as well known as other British horror films. I will say that if you take the ending at face value, it may explain why the film is so loony. But you could also see the ending as nothing more than a cop-out.

There's one other issue I have with CORRUPTION. It's the fact that I think Peter Cushing doesn't fit in this film. He's not bad in it, and it is one of his most striking performances. CORRUPTION shows Cushing in all sorts of ways that you've never seen him before. Unlike his usual steely screen persona, Cushing's Sir John is a man not in control, a man who does not think things through. During the murder scenes Cushing is covered in sweat, and his hair is all over the place. (Note: If you are watching a Peter Cushing movie, and his hair is messed up, things are really, REALLY bad.) Cushing, as always, does his best--but I just don't believe that his Sir John would go as far as he does. This is more the fault of the script than Cushing.

This isn't really a Peter Cushing type of movie--it's more like a Michael Gough movie. When Michael Gough starred in one of his many horror films, he brought a manic hammy-ness that would have fit CORRUPTION's overheated tone perfectly. I could certainly imagine Michael Gough playing Sir John--the part would have fit him like a glove.

As for the Blu-ray/DVD combo-pack, Grindhouse has done a fantastic job. You get two versions of the movie--the American-British version, and the international version, which features nudity and more gore. It's in the international version where you get to see Peter Cushing holding a knife and wrestling with a topless prostitute on the floor--then proceeding to stab her to death and cut off her head (one of the most mind-boggling and stupefying things I have ever seen).

This Blu-ray/DVD is jam-packed with extras. There's a selection of alternate scenes, and interviews with CORRUPTION actors Billy Murray, Jan Waters, and Wendy Varnals. There's a short audio interview with Peter Cushing, and trailers, TV & radio spots for the movie, and just about every still taken during the production of CORRUPTION. The informative liner notes are written by Allan Bryce, and the notes fold out to form a poster of the more explicit disc-case cover art--although I don't think anyone would want to hang up that type of poster.

The real treat among the extras is the audio commentary by British horror film expert Jonathan Rigby and Peter Cushing biographer David Miller. Both men give the relevant facts and details about the film's production, but they also look at the film from the viewpoint of being Peter Cushing fans. Rigby actually calls CORRUPTION a "unsung classic"--I have major respect for Rigby's opinions when it comes to British horror, but I just can't agree with him this time. The audio commentary is more entertaining than the movie!

The video quality of CORRUPTION is outstanding. The sound is fine, except that the music and effects are a bit louder than the dialogue.

Is CORRUPTION worth buying? If you are a major Peter Cushing fan, yes. If you are a fan of British horror films of this period, CORRUPTION is of some interest. But the movie itself is not very good...it has a sick, sleazy quality to it, and it certainly isn't for young kids. Grindhouse has done an excellent job with this Blu-ray/DVD package, but the appeal of the actual movie is, I think, somewhat limited.