Though it followed in the footsteps of the trailblazing The Curse of Frankenstein, this second film in Hammer Studios long-lived love affair with horror virtually invented traditional gothic atmosphere with its quiet, windswept countryside, cozy village inn and brooding, spooky castle. Christopher Lee puts on a tall, dignified air until his dark side comes out, at which point his towering height and unsettling snarl become truly menacing.
Rear Window may not have the slasher pedigree of Psycho, but it does boast some of the finest tension and suspense of director Alfred Hitchcock’s extensive career. Utilizing a single set and no musical score, Hitchcock delivers a higher degree of believability than most films attain on location with hand-held cinematography.
Genre deconstruction has become quite chic in the years following Wes Craven’s reflexive horror classic, Scream. It gave a boost to the horror genre, which was then immediately slogged with cheap spoofs, high-profile remakes and at least two new sub-genres: found footage and the unfortunate and aptly-named torture porn.
Session 9 is an atmospheric creeper about an asbestos removal crew working at an abandoned mental asylum, and the mounting tensions between them as they begin exhibiting unusual behavior. Director Brad Anderson hired experimental music band Climax Golden Twins to score his subtle psychological horror and what they created is a fascinating aura that defies conventional motion picture composings.
Four years after the bombing of Pearl Harbor and four months after the bombing of Hiroshima, the Universal monster movies gasped their last as literary monsters gave way to monsters of the atomic age. The plot itself is a Frankenstein creation, cobbled together from bits and pieces of previous Universal monster movies for one last cash grab. That doesn’t mean it lacks any kind of enjoyable charm.