Category Archives: Roy Ward Baker

The Monster Club-1981

The Monster Club-1981

Director Roy Ward Baker

Starring Vincent Price, Donald Pleasence, John Carradine

Scott’s Review #1,378

Reviewed July 16, 2023

Grade: B

Any horror feast, including Vincent Price and Donald Pleasence, is worth a watch, and The Monster Club (1981) features both actors, though not in any scenes together.

The British horror anthology is uneven and a tad too silly, with only two of the three chapters recommended. They are based on the works of the British horror author R. Chetwynd-Hayes.

The graphics and art direction are surprisingly superior for such a low-budget production.

In between chapters, there is a jarring and unnecessary musical performance by one of the creatures. While sort of fun, it takes away from continuity and feels like it’s been thrown in rather than serving any real purpose.

Below is a summary, review, and rating of each vignette.

Prologue: B

Author R. Chetwynd-Hayes (John Carradine) is approached on a city street by a strange man (Vincent Price) who turns out to be a starving vampire named Eramus.

He bites the writer and takes the confused man to an odd club. It’s a haven for supernatural creatures as they dance, drink, and carry on together.

Eramus introduces three stories about his fellow creatures of the night.

This chapter is relevant to tie the chapters together, and any scene involving Price is good in my book. It also serves as a learning experience to explain the different types of creatures, but little more than that.

The Shadmock: A-

Angela (Barbara Kellerman) is a financially struggling woman who takes a job at a secluded mansion owned by Raven (James Laurenson), a creature called a Shadmock.

Along with her greedy boyfriend (Simon Ward), they hatch a plot to steal Raven’s great wealth after he proposes to Angela. When she is caught unlocking Raven’s safe, his demonic whistle comes into play at the expense of Angela and her boyfriend.

This chapter has a great setup and an unrequited love vibe. With a Beauty and the Beast comparison, the audience sympathizes with Raven. All he wants is love, and the ultimate climax is heartbreaking with the knowledge that he is being duped.

I longed for Angela to come to her senses, dump her boyfriend, and be carried away by Raven, but it’s horror after all, and not romance.

Starting slowly, the grotesquely exquisite gothic mansion and the fine luxuries contained are fun to feast one’s eyes on, and the sinister conclusion is not to be missed.

The Vampires: B-

A shy young boy (Warren Saire) from a kind family of vampires leads a lonely life, bullied at school, while his father (Richard Johnson) spends little time with him.

The father is hunted by a team of vampire killers led by Pickering (Donald Pleasance), who attempt to drive a stake through the father and kill him. But the tables are soon turned.

This chapter is cute but uninspired, adding more humor than horror. Pleasance isn’t given a great role, and neither is former ‘Bond girl’ Britt Eklund as the supportive mother.

It pales sharply against ‘The Shadmock’ and ‘The Ghouls.

The Ghouls: A

A movie director (Stuart Whitman) scouting locations for his next film pays a visit to an isolated village, Loughville, where the sinister residents refuse to let him leave.

While imprisoned by the ghouls, he meets Luna (Lesley Dunlop), the daughter of a ghoul father (Patrick Magee), who agrees to help him escape. But can Luna or the resident police be trusted?

The Ghouls is my favorite because it feels the most unpredictable, and I love the early shots of a movie production studio. The ghostly-looking creatures are appealing because there is an ambiguity about their motives and the secrets held in the village.

It’s also fun balancing the sophisticated style of the movie producer against the drudgery of the villagers. Also, the inclusion of actor Magee from A Clockwork Orange (1971) is a win.

Epilogue: B 

At the end of the film, Eramus cheerfully tells the other club members about all the imaginative ways humans are horrible to each other and declares that humans are the most despicable monsters of all.

Thus, Chetwynd-Hayes is made an honorary monster and member of the club.

The quick chapter is a clever wrap-up to the story and culminates as a bit of a ‘message’ about kindness and humanity.

Vault of Horror-1973

Vault of Horror-1973

Director Roy Ward Baker

Starring Curd Jürgens, Daniel Massey

Scott’s Review #1,038

Reviewed June 26, 2020

Grade: A-

Horror anthologies are usually a treat and a nostalgic reminder of childhood afternoons watching Twilight Zone reruns on television.

This is hardly much of a stretch since Vault of Horror (1973) is a British anthology based on Tales from the Crypt (1972), which in turn was based on stories from the EC Comics series.

Each chapter is superior storytelling, providing bloodthirsty horror viewers with suspense, adventure, and surprise endings.

Below is a summary, review, and rating of each vignette.

Framing Story- A

Events get off to an intriguing start as, one by one, five businessmen enter an elevator in a corporate office in downtown London. They are taken to the basement level, though none of them has pressed that floor, and emerge to find a gentlemen’s club.

With no way to get back onto the elevator, they begin to drink, each discussing a recurring nightmare.

This segment immediately grasps the viewer as we ponder questions. Is someone holding the men there for a reason, who is behind it, and why? Are the men’s nightmares only nightmares, or are they revealing deeper secrets?

Midnight Mess- A

Harold Rodgers (Daniel Massey) is a suave, well-dressed man who tracks down his missing sister Donna (real-life sister, Anna Massey!) in a peculiar village. He fiendishly kills her to acquire her share of their father’s inheritance.

Working up an appetite, he dines at a local restaurant that serves blood soup and blood clots as the main course. Sophisticated vampires inhabit the village, and his sister is one of them!

This vignette is my favorite because the restaurant decor is warm and toasty, the village provides a stylish ambiance, and the writing is clever throughout. The bloody feast the eatery serves is a devilish delight in macabre humor.

And the fangs are great.

The Neat Job- A

Arthur Critchit (Terry-Thomas) is an elegant man suffering from obsessive-compulsive disorder. He is married to Eleanor (Glynis Johns), a trophy wife, who, despite wanting to please her husband, is a lousy housekeeper.

Constantly criticized for being incompetent, Eleanor loses it and kills Arthur with a hammer. She proudly cuts him to bits and stores his remains in glass jars, all neatly labeled.

This story is simply delicious, offering elegant British furniture to salivate over and macabre, witty comedy as the viewer eagerly anticipates what Eleanor will do when she finally snaps, and we know she will snap.

Bravo!

The Trick’ll Kill You- A-

Sebastian (Curd Jürgens) is a magician on holiday in India, where he and his wife Inez (Dawn Addams) are searching for new tricks for their act.

Frustrated, they encounter a girl charming a rope out of a basket with a flute. The couple persuades her to come to their hotel room, where they murder her and steal the enchanted rope. They gleefully plot how to incorporate the rope into their act, assuring them of riches.

Inez experiments with climbing the rope only to disappear with a scream. An ominous patch of blood appears on the ceiling, and the rope coils around Sebastian’s neck and hangs him. Their smirking victim reappears alive in the bazaar.

This vignette provides a good glimpse of the Far East and is culturally outstanding. The story is compelling, though a letdown from the earlier entries.

Bargain in Death- B+

Maitland (Michael Craig) is buried alive as part of an insurance scam concocted with his friend Alex (Edward Judd). They each plan to double-cross and kill the other to get the money.

Two trainee doctors bribe a gravedigger to dig up a corpse to help with their studies. When Maitland’s coffin is opened, he jumps up gasping for air, and the gravedigger kills him. At the same time, Alex’s car crashes into a tree, and he dies.

In humorous comedy, when trying to close the sale of the corpse, the gravedigger apologizes to the doctors for the damage to the head.

This segment is more comical than the others, and a nice aside is that the trainee doctors are named Tom and Jerry. The plot is a bit convoluted and doesn’t succeed as much as the other stories.

Drawn and Quartered- A

Moore (Tom Baker) is a struggling painter living in Haiti. When he learns that his paintings have been sold for high prices by art dealers after being praised by a critic, he goes to a voodoo priest for help in exacting revenge.

He is instructed that whatever he paints or draws can be harmed by damaging its image.

Returning to London, Moore paints portraits of the three men who cheated him and mutilates the paintings to exact his revenge. After the displays, his portrait, each one, including Moore, suffers an agonizing experience.

This story is top-notch, and the loss of the eyes and the hands is the highlight of the fun.

As the film wraps up, we learn the mysterious puzzle involving the five men satisfyingly.

Vault of Horror (1973) is a horror anthology that hardly disappoints. I am eager to watch this one again, which is a major achievement for a cinematic offering to have on a viewer.

The Anniversary-1968

The Anniversary-1968

Director Roy Ward Baker

Starring Bette Davis

Scott’s Review #52

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Reviewed June 21, 2014

Grade: B+

The Anniversary (1968) is a British film based on a play of the same name.

The story centers on the Taggert family reunion, celebrating the anniversary of the matriarch (Bette Davis) and the deceased patriarch.

The film is set like a play, and most of the action takes place inside the Taggert family mansion.

The film is all Davis, and she gives a deliciously over-the-top performance as a vicious mother intent on controlling her son’s life and terrorizing their wives or significant others with cutting remarks and insults.

Davis must have had fun with this role, as her storied career was clearly on the downturn, and this role allowed her to let loose.

One must wonder if Davis chewed up the actors in the cast as much as the characters- rumor has it she was pretty intimidating to her fellow actors and a terror to work with, which adds to the macabre enjoyment.

Her physical appearance, with an eye patch, wig, cigarette, and bright red lipstick, all work in her favor. Her maniacal laugh is incredibly campy and wonderful to watch.

Bette Davis is one of the greats, and The Anniversary (1968) serves as a late-career romp that is fun to watch.