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45 Reviews
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3 of 3 people found the following review helpful
5.0 out of 5 stars Replacement Disc
I loved the set, despite having the two minute glitches on the two ratios of the film.

I sent my Blu-ray disc to this Freepost address (on Saturday 18th May and the replacement arrived yesterday, on the 21st)

Freepost RTJA-KZTL-JECZ
ICON RETURNS
Wednesbury One
Black Country New Road
Wednesbury
WS10 7NY

(Don't...
Published 2 months ago by Markchro

versus
11 of 11 people found the following review helpful
1.0 out of 5 stars Great movie but defective mastering?
I love the movie and I love the packaging, but I've now had to send two copies of this back because of defective picture. On the Blu-Ray disc, on the 1.37:1 version of the movie, the picture breaks up at the 14:37 mark. One defective disc I can wave away, but two? With exactly the same defect in exactly the same place? Check your copies. I understand other customers are...
Published 3 months ago by S. Woolston


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16 of 19 people found the following review helpful
5.0 out of 5 stars BLU RAY VERSION., 24 Mar 2014
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The reviews below are a bit misleading. This will be the blu ray release and the reviews so far are for the dvd release (probably the video release as well) so some of the remarks are out of context.Come on Amazon,update these extremely old reviews some of which are over 12 years old. it's not just this title,it's many more.
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16 of 19 people found the following review helpful
4.0 out of 5 stars Frankenstein - Cut From Hell, 25 Jan 2006
By 
Mr. Steven Mckinlay "retrostar23" (Falkirk, Scotland) - See all my reviews
(REAL NAME)   
The most complete version of this movie is the R2 German release (English dialogue) - Frankensteins Höllenmonster. This can be purchased from www.amazon.de
All the eye popping, artery biting and general gore scenes are intact. This is by far Hammer's Goriest Frankenstein entry!!
My advice - Give the UK version a miss and go for the German release.
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6 of 7 people found the following review helpful
1.0 out of 5 stars 2014 Hammer Blu-ray + DVD, 29 April 2014
By 
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I've had to downgrade my original star rating from 5 to 1 as when i watched the Blu-ray Alternate Full Frame version the other night i noticed a error across the screen at approx. 14 mins. 37 seconds into the movie. It's the scene where Shane Briant is being offered a drink in office of the Asylum. I kept rewinding it thinking it may be my TV but it seems the problem is on the Blu-ray disc itself.
Other reviews have reported the same error again on the Theatrical Version just after 8 mins. into the movie.

When customers keep forking out fifteen to twenty pounds for a new Blu-ray Hammer release then we expect the release to be of high quality and not faulty. There are so many Hammer Blu-ray releases with faults it's getting beyond a joke now!

I see that "Rasputin The Mad Monk" Blu-ray is still for sale even though the audio on it is atrocious.

Putting aside the technical errors on this release i did find the Blu-ray picture quite pleasing and the extras were good as well.
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6 of 7 people found the following review helpful
4.0 out of 5 stars Hammer horror, 5 Feb 2005
By 
www.DavidLRattigan.com (United Kingdom) - See all my reviews
(VINE VOICE)   
Fine movie, the last from great Hammer auteur Terence Fisher.
DVD isn't bad: This edition has no commentary and is in anamorphic widescreen (despite the contradictory information given on Amazon.co.uk, which I have emailed several times to correct!); extras are a trailer and an episode of World of Hammer, basically consisting of twenty-five minutes of clips from Hammer Frankenstein movies; there's a neat booklet as well, giving extensive production notes.
A good buy.
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6 of 7 people found the following review helpful
5.0 out of 5 stars A HAMMER FRANKENSTEIN CLASSIC, 20 Aug 2003
By 
MR PAUL J SHAW (Albany, Western Australia Australia) - See all my reviews
Next to Frnakenstein Must be Destroyed (1969) this, the last Hammer Frankenstein film to be made,is one of the best,being both moving and chilling. It also happens to be one of director Terence Fisher's most powerful films and includes his 'trademark' moment of something nasty suddenly smashing through a door or window, in this case the hulking monster crashing through a window to brutally murder the director of the lunatic asylum, the claustrophobic setting for most of the film. Peter Cushing is back as the notorious Baron Frankenstein and, as always,steals the show. His portrayal of the ruthless, pyschopathic Baron (supposedly a prisoner in the asylum but in reality totally in control) is nothing short of brilliant, and in many ways he conjures the same sort of eerie fascination as do the likes of Norman Bates and Hannibal Lector. The last shot of him, sweeping up the mess in his lab and idly chatting about creating a new monster, the scene shot through bars,clearly indicates that now the Baron is well and truly insane and will remain locked up for the rest of his life, a low key if fitting end for Hammer's Frankenstein saga. Dave Prowse (of Darth Vader fame) stars as the Baron's latest creation, a lumbering caveman-like brute - surely one of the most grotesque 'models' on the long range of Frankenstein monsters. He's also quite pathetic, and scenes of him trying to play the violin or chalk up mathematical equations are quite touching. The whole film builds to a marvellous crescendo, helped enormously by composer James Bernard's powerful score:while thunder booms and lightning flares and the inmates of the asylum gibber and pray, the monster goes on the rampage, rooting about in the asylum graveyard for its 'old' body...All in all, a Hammer masterpiece albeit one not duly recognized by many critics.
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1 of 1 people found the following review helpful
4.0 out of 5 stars Neolithic Lobotomy Gone Astray., 5 Oct 2013
By 
Spike Owen "John Rouse Merriott Chard" (Birmingham, England.) - See all my reviews
(TOP 500 REVIEWER)   
Frankenstein and the Monster from Hell is directed by Terence Fisher and written by John Elder (AKA: Anthony Hinds). It stars Peter Cushing, David Prowse, Shane Briant, Madeline Smith and John Stratton. Music is by James Bernard and cinematography by Brian Probyn.

Working under the name of Doctor Victor, Baron Victor Frankenstein (Cushing) is head physician at an asylum for the criminally insane. When Simon Helder (Briant), a gifted doctor himself and a follower of Frankenstein's work, is committed to the asylum on sentence of sorcery, the pair quickly form a partnership that will unleash Frankenstein's latest project...

Actually made in 1972 but released two years later, Frankenstein and the Monster from Hell came out as Hammer Horror was limping along on its last legs. It was to be the last in the Frankenstein series and the last film directed by the brilliant Fisher. The reputation of the film is a very mixed one, certainly the box office returns and critical notices at the time point it out as a misfire. But what I have come to find is that staunch Hammer Horror fans have a kind regard towards the film, and I think that is fair given that it pretty much goes back to past glories, if not in scope, but in narrative and atmospheric toning.

Yes it is viable to say that it's pretty much a rejig of the earlier Revenge of Frankenstein, so in that it's a bit lazy, but I like to think that the return of Cushing, Fisher and Hinds suggests they were making one for the fans here, and it's not without merits in spite of familiarity and budgetary restrictions. It's great to have Cushing back as Victor, his personal life woes giving him a gaunt look that suits Frankenstein's character arc no end, this in spite of the daft wig he dons and a moment of Superman type heroics that doesn't quite sit right. Briant is ebullient and good foil in the mixed up surgeon stakes, and Smith adds the Hammer Glamour without having to strip naked.

Why? Why? Why?

But it's with the setting, the asylum and its characters, and the monster itself where it hits heights not acknowledged by the critics. Prowse's monster is a return to tragicreature territory, with the brain of a genius who wanted out of life, the hands of a skilled craftsman and a Neolithic monstrosity of a body, once the creature knows what he has become his sadness pours out in droves. Prowse doing a great job of conveying such tragedy with visual reactions and bodily movements. The mask unfortunately means when it speaks the lips don't move, but it's a fine Hammer creation regardless.

The asylum inmates are in turn quirky and troubling, and with most of the shoot restricted to a couple of interior sets, the sense of being incarcerated is evident. Props are minimal, with a few of the good doctors odd looking tools and machines dotted around the place. The gore is used sparingly, but the impact is in the grand traditions of Hammer, while the back stories to Smith's mute and Asylum Director Adolf Klauss (Stratton) are edgy strands waiting to be pulled at in the name of Guignol entertainment. It's not a great send off for Doc Frank in Hammer world, not least because the finale lacks punch, but for loyal fans of the studio's creature features there is love and honest respect shown by the makers. 6.5/10
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1 of 1 people found the following review helpful
3.0 out of 5 stars last hurrah, 25 Feb 2012
By 
this was the last outing for cushing as frankenstein it is also the goriest.the acting is good as is the storyline but certain things spoil it for me one is the ridiculous hair piece cushing has the other is the monster more a gorilla than a man a very poor monster by my standards.it is entertaining but my least favourite of the sequence and like cushing himself this film looks very tired.
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1 of 1 people found the following review helpful
5.0 out of 5 stars "And how is God today?", 27 Sep 2007
By 
Terence Fisher's last film for Hammer sees him re-united with the excellent Peter Cushing and doing what he does best: Creating a dark, alien world by applying lush, watery colours and employing aqueous camera tracking shots and pealing, nagging music themes to tell a simple, gory fairy-tale.

Fisher's influence is omnipresent in today's cinema.
I saw 'Pan's Labyrinth' recently and afforded myself a grin at del Toro's gentle homage; his camera moving smoothly yet malevolently through the forest trees on the edge of the soldier's camp - just as Fisher's so often did. And am I alone in thinking that the asylum set here at 'FATMFH' (though making 'Cell Block H's look like 'Lord of the Rings' in terms of budget) bears more than a passing resemblance to the long-shot interiors of the good-ship Nostromo; so primary to the success of 'Alien'.

Fisher was a straight forward story-teller, the budget restrictions he worked under saw to that. No camera pyrotechnics or arty delusions; no modernist interlucence or ambitious Russellian flourishes for him.
No million dollar special effects, no prima-donna histrionics if he wasn't allowed more weeks to finish his latest masterpiece...
A team player. A grapnel. A proper old school pro.

Modern directors would pay a fortune for just a pinch of 'FATMFH's dank, enclosed atmosphere - - and many have tried to emulate it....Tim Burton being the most obvious example, with varying degrees of success (Try shaving 90% off your budget Tim, that should do it).

Despite the wistful reminiscences, 'FATMFH' is certainly not kid-friendly.
An ugly incest sub-plot involving the ambrosial Madeline Smith hints at foul creationist engineering, and the (fabulous, considering the budget) runny surgical sequences had my long-suffering girlfriend reaching for her trusty 'green cushion' (the Ess household's equivalent of the Dr Who 'sofa') in amusing revulsion.

There's a lot to amuse as well:
Cushing looks as though he's having an absolute blast as the icily dedicated but clearly bonkers Baron F.
The 'God' character: mock-solemn, but really funny in a scabby, mad-haired, drunken itinerant kind of way.
A brilliantly low budget courtroom scene, where a pompous-rector judge's lines have obviously just been written ten minutes before; and a scene towards the end where one of the warders shouts: "There's a monster at large!" at a mob of strung-out lunatics, makes me snicker like a scalpel incision every time.

Technically, it's not bad, either.
Music, editing and the aforementioned sets are all good (just don't look TOO closely!), and the only slight reservation I have is the 'monster' itself. Though facially hideous, it's body looks like it's made of dusty buckram or something, draped in a muddy kaftan shawl (sorry, I've just been watching Glastonbury), but it's a small niggle.

In short, a rousing and grimly entertaining epigraph to some very talented and influential folk that we won't see the like of again.
The ultimate star rating then. Not just for the movie, which I like a lot, but for all that these people endeavored, achieved, meant...and still do.

{I took Mr. Retrostar's advice and tracked down the much-more-complete German R2 dvd (hence the late review), as the razored 'DD' release is a mockery.
It's miles better.
Broadened colours, and the German language soundtrack is easily turned to English. It's troublesome reviewing a film (or anything!!) when big chunks of it are missing -- and no, those rotters at the BBFC bear no blame this time. Well worth the effort.}
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4 of 5 people found the following review helpful
1.0 out of 5 stars Another faulty Hammer release gets past quality control..., 30 April 2014
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I've had the same problem as "woolers". There's also another glitch at 08:17 on the BR 1.66:1 but it doesn't show up on the alternate 1.37:1 version. Really annoyed and disappointed by this. I can't see the point in returning the item if the replacement is showing the same defects. This release should be recalled.
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4 of 5 people found the following review helpful
5.0 out of 5 stars A fine epitaph to Hammer's Frankenstein tradition., 16 Nov 2002
By the time this movie made it to cinemas, two problems were apparently vexing Hammer more than anything. The first was simply that it appeared the studio was running out of creative steam. Where the Dracula line had begun to run amok, the Frankenstein films had kept a more conservative stance. Thankfully, 'Frankenstein and the Monster From Hell' came from this stem, and the charge it packed was far greater than the comedic 'Frankenstein Created Woman' and its immediate successor, or the haphazard one-offness of 'The Evil of Frankenstein'.

It could have been a wonderful way to revitalize the studio. Internationally, however, the horror movie production game was a far cry from what it had been in the Fifties. Where Hammer had been able to move into modern horror ahead of the B-movie obsessed American market and the non-existent European ones, it was totally different by 1973. Tragically for the studio, the American Horror tradition had already been lobbing hard competition over the water for years. With the release of 'The Exorcist' and the new wave of Euro Horror (Spain's 'Tombs of the Blind Dead' for example), the machinery was set in motion. Hammer's once world-renowned status as 'the' place to be in horror films was replaced as a provincial 'also ran'.

As a free-standing movie, 'Frankenstein and the Monster From Hell' has all the needed ingredients to compete and more, making the onset of this unhappy state of affairs almost incomprehensible. Cushing delivers easily his best performance as Frankenstein since the first (dare we include the second, also?) movie in the series. Briant is ideal as his young protege and the supporting cast is stellar (note Patrick Troughton shining at his pre-Omen best). The monster itself makes for an enthralling examination of extreme horror and extreme pathos. No Hammer monster has been more ferocious to behold, and yet there is a Cocteauesque quality that is nearly very moving by the time his destruction occurs. The setting of the asylum is ingenious, logical (given the precarious nature of being a Frankenstein in the outside world by the sixth film) and authentically treated by director Fisher. The gore factor is great but never gratuitous and augments the horror rating of this production.
Overall, this is Hammer's finest offering from the Seventies and provided it with much-needed weight in the struggle to keep rule of the roost against usurpers like Amicus (whose compendium productions are first rate). It is almost easy to understand why anything that Hammer did after this could not get close. The studio's greatest fund had never been in money (a chronic problem in the UK) but talented actors and enhusiastic production teams. After a handful of efforts following this release in early 1974 (including the far-fetched and self-neutralizing genre hybrid 'Legend of the Seven Golden Vampires' and the standard fare semi-dud 'To The Devil A Daughter'), the studio latched onto television ...
... Cue the thirteen-strong 'Hammer House of Horror' classics.
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Frankenstein and the Monster from Hell (Blu-Ray + DVD) [1973]
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