Monday, 27 November 2017


Directed by: Jimmy Sangster, Starring: Judy Geeson, Ralph Bates, Joan Collins, Peter Cushing. Horror, UK 1972, Cert 12.

Released on Doubleplay DVD/Blu-ray in the UK by Studiocanal on 30th October 2017.  

"I'm going to find something that will mark her a little, and hurt her a lot."

Originally enlisted as the supporting half of a 1972 Hammer double-bill alongside STRAIGHT ON TILL MORNING (accompanied by the lurid poster tagline: ‘Women in terror!’), Jimmy Sangster’s moderately effective little thriller has now been treated to a HD restoration.

The script, known under various guises, was originally conceived by Sangster back in 1963 before it finally saw the light of day (and fear in the night – ha!) with some alterations and a bit of spit and polish by co-writer Michael Syson. Recently married 22 year old Peggy (Judy Geeson) is still recovering from a nervous breakdown when she comes to live with her ‘schoolteacher’ husband Robert (Ralph Bates) in a cottage on the grounds of a remote boy’s school. Having already survived an attempted strangulation in her former bedsit at the (gloved) hands of an unseen assailant with a prosthetic arm, things don’t bode well for Peggy’s psychological recovery when the headmaster at the school, Michael Carmichael (Peter Cushing) just so happens to also have a prosthetic arm...

A relatively by the numbers rift on LES DIABOLIQUES (1955), director Sangster compensates for the minimalist script by wringing every last possible drop of atmosphere out of prowling through the deserted classrooms, dormitories and across the windswept school grounds after woman-in-terror Peggy.  

Peter Cushing only appears in a couple of scenes, but he lends his customary consummate excellence in conveying the nuanced character of Carmichael, and his presence permeates throughout the film.

Ralph Bates struggles to convince in a role that requires a lot in order to sell the plot twists, but Joan Collins’ unblinking dispatch by rifle of a rabbit unsubtly sketches in her cold calculation as the wife of the headmaster.

There’s a strikingly effective use of school sound recordings which play at the flick of a switch and which rise to a shrieking cacophony during the film’s finale – mirroring the spiralling madness infecting the proceedings. The opening credit sequence cyclically foreshadows events to come, as does a scene in the gymnasium with a display of rope knots carefully framed behind headmaster Carmichael, and an unexpectedly open-ended conclusion helps negate the somewhat implausible and mechanical plotting preceding it, delivering if not quite fear in the night then certainly a shiver in the morning.          

Extras: New 16min documentary and trailer

***(out of 5*)

Paul Worts

This review was originally published on the FRIGHTFEST website.

Friday, 10 November 2017


So, after 10 rounds, and with only the 2009 Friday the 13th reboot left unscored - and unscored it shall remain as I have never been so disappointed by a film as I was by this travesty* - the results were surprisingly close. 

Closer than I expected if I'm honest (and I can be, sometimes - honestly). Full disclosure: of the 3 franchises I compared; I would have to say the Friday the 13th franchise is my overall favourite, with Elm Street 2nd. 

(Sorry Michael, but after that stupendous first half of the night you came home, you really lost your way, so much so in fact that I prefer Halloween III: Season of the Witch to all of the sequels with you in them that came post Conal Cochran. Or to put it another way, in the very words of Myer's creator, John Carpenter from 2014: 

"I didn’t think there was any more story, and I didn’t want to do it again. All of my ideas were for the first Halloween – there shouldn’t have been any more! I’m flattered by the fact that people want to remake them, but they remake everything these days, so it doesn’t make me that special. But Michael Myers was an absence of character. And yet all the sequels are trying to explain that. That’s silliness – it just misses the whole point of the first movie, to me. He’s part person, part supernatural force. The sequels rooted around in motivation. I thought that was a mistake. However, I couldn’t stop them from making sequels. So my agents said, ‘Why don’t you become an executive producer and you can share the revenue?’ But I had to write the second movie, and every night I sat there and wrote with a six pack of beer trying to get through this thing. And I didn’t do a very good job, but that was it. I couldn’t do any more. "

(Read the full interview HERE.)

 Roll on Halloween 2018, hey John?
Final score after 10 rounds (and excluding Friday the 13th 2009 completely - which would have won it for the F13 franchise otherwise): 
Nightmare on Elm Street 20
Friday the 13th 20
Halloween 19

(*No reflection on Derek Mears' portrayal as Jason - which was excellent in itself)

Wednesday, 1 November 2017


3 points

2 points

For 'Round 10', Freddy is unfortunately out of the running as the 2010 reboot represents (currently) the last screen outing for the bladed-gloved dream fiend...

So should I end the comparisons there? Hell no, fortune favours the brave, so...

I award 3 points UNRESERVEDLY to one of my absolute favourite instalments (outside the original quad). Todd Farmer's audacious script placed Jason in space, and Jason (Jim) Isaacs, who sadly passed away on May 6th, 2012, directed the hell out of it. Bold, audacious, visually impressive, with a cameo from David Cronenberg, the awesome 'Uber Jason', one of the franchise's very best kills (death by liquid nitrogen) and a holographic Camp Crystal Lake!  

And 2 points to the equally much maligned Halloween II from Rob Zombie. Sorry (not sorry), but I really took to this ultra-violent retelling, and crushing the original sequel's entire premise into an opening nightmare? Bravo! 

Running scores after 10 rounds:  
Nightmare on Elm Street 20
Friday the 13th20
Halloween 19