‘The Wicker Man’ is the defining piece of work in the folk horror subgenre, and remains one of the most influential British films of all time. Exploring themes of religious and cultural conflict, ancient traditions, and the consequences of blind faith, it is more than just a straight up horror film. At times it almost feels like a musical. Even now, 50-years on from its initial release, Robin Hardy’s chilling and atmospheric masterpiece provides one of the strangest and most unsettling viewing experiences. 

A weird and tonally inconsistent film, full of jaunty folk tunes, and filmed almost entirely during the day, there’s nothing particularly scary about ‘The Wicker Man’. But the gradual slow-burn of the central mystery draws us into the world of this strange Island community, before curdling our blood in the shocking and unforgettable climax. A finale which has become an iconic moment in cinema history.

As the devout and morally upright Sergeant Howie, sent from the mainland to investigate the disappearance of a young girl, Edward Woodward gives one of the standout performances from his career. His portrayal of a man struggling to reconcile his rigid Christian beliefs with the strange and disturbing customs he encounters on Summerisle is at the very heart of the film, and plays brilliantly against Christopher Lee’s charismatic community leader.

Even with its relatively brief running time, ‘The Wicker Man’ has created a lasting legacy with its potent mix of disturbing imagery, powerful performances, and thought-provoking themes. In the pantheon of folk horror it sits proudly at the top, and remains essential viewing for those seeking intelligent and psychologically unsettling cinema. Its enduring impact on the genre continues to resonate with audiences, making it a true classic that has more than withstood the test of time.

The 4K UHD presentation brings a level of depth and definition that is quite incredible, however it should also be noted that it doesn’t perform miracles. Those familiar with previous restorations of the Final Cut will know full well that certain scenes are of a much lower picture quality. That is no different here. There are some scenes however, most of which are exterior, where the UHD transfer is truly stunning. The final sequence in particular has never looked better.

Disc One presents the Final Cut of ‘The Wicker Man’ in UHD. As well as the feature, we also have all the extras from the 40th anniversary Blu-ray edition. We also get a number of brand new featurettes exclusive to this release, including a short documentary revisiting the locations of the film, Justin Hardy (son of director Robin Hardy) interviewing filmmakers and critics about the film, and a rare insight into Hardy’s original copy of the script with Lord Summerisle’s epic final monologue which was cut from the film.

Also new and exclusive to this release is an interview with Britt Ekland, and a gallery of behind the scenes stills. Although not a new feature, there is a 2001 documentary, ‘The Wicker Man Enigma’, which wasn’t included in the previous Blu-ray edition and has instead been ported over from the 2001 DVD release.

If the Final Cut isn’t your favourite version, then disc two gives you UHD restorations of both the director’s cut and the theatrical cut (my personal favourite). There is also an audio commentary with Robin Hardy, Christopher Lee, and Edward Woodward on the director’s cut, and a behind the scenes short film about the commentary. Both of these were available on the previous Blu-ray release. Discs three and four, repeat the above in BD format.

Cast: Edward Woodward, Christopher Lee, Britt Ekland, Ingrid Pitt Director: Robin Hardy Writer: Anthony Shaffer Released By: StudioCanal Certificate: 15 Duration: 92 mins Release Date: 25th September 2023

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As we noted in our review of ‘The Three Musketeers‘, the two Richard Lester movies are a terrific achievement in bringing together a magnificent cast, remaining truthful to the Alexandre Dumas novel from which they are adapted, and offering viewers some of the longest, dirtiest and most impressive sword fights ever committed to film. ‘The Four Musketeers’ rounds out the plot of the Dumas novel which is a labyrinthine tale of counterespionage, political machinations and international intrigue involving France and England. Essentially though, it is a charming film about camaraderie. “One for all, and all for one!”

‘The Four Musketeers’ is less jocular than the original. This is in evidence not least in that the cast remains the same apart from Spike Milligan, who has no part to play in this one. Comedic and slapstick elements remain, but they are woven into the bonhomie that bubbles away between the principal actors. Indeed, their brave and unlikely rescue of the villainous Rochefort (Christopher Lee) in the opening sequences sets the tone admirably. It’s not just Roy Kinnear providing light relief but even Richard Chamberlain, who proves his mettle with comic timing as the romantic Aramis.

But this time, the Musketeers must confront the consequences of their actions in going against Cardinal Richelieu, just as the villains must pay a price for their sins. Not only that, but Athos (Oliver Reed) must reconcile himself with the fact that the villainous and lethal Milady de Winter (Faye Dunaway) is a former lover of his that he had once left for dead. Unlike ‘The Three Musketeers’, not every character emerges unscathed and still breathing by the time that the credits roll.

Christopher Lee and Faye Dunaway, established as fine villains in the original, are given more screen time here and this is greatly to the benefit of the film. As the merciless and seductive Milady, Dunaway is especially impressive. Lee and Michael York (playing D’Artagnan) lock swords once again in dramatic fashion. It is Rochefort’s fight with Porthos (Frank Finlay) inside a burning building that gives the film one of its most memorable sequences.

Out of the Musketeers, it is once again Oliver Reed who impresses the most. He is well-suited to playing the wistful, inebriated, end of the evening scene in which Athos reflects upon his romance with Milady. It proves a pivotal moment. Intriguingly, they are in the same climactic sequence in ‘The Three Musketeers’, though admittedly at something of a distance, leaving it plausible that they had not recognised one another earlier. The scenes between Reed and Dunaway are amongst the best in the film as the electricity crackles between them.

When watched in isolation, both ‘The Three Musketeers’ and ‘The Four Musketeers’ feel like an incomplete story. When watched together or in quick succession, the played-for-real stunts and the long sword-fighting sequences can become overwhelming. The story, though convoluted and intriguing, feels too slight to warrant over three hours of running time. Yet you can’t have one without the other. When they were released in cinemas, there was a gap of a year between them. Whichever way you approach the films, there is an awkwardness to the format.

The best thing is to take them for what they are, which is highly-engaging pieces of cinematic escapism. There are good reasons why they have been loved and cherished by generations who first experienced them in childhood. They have a good moral heart and give a gentle and persuasive lesson about the corruption of power, and the necessity for ordinary people to confront it. Director Richard Lester’s earthy approach to shooting and reliance on location filming successfully creates a sense of authenticity. Whatever your age, it’s possible to immerse yourself in a swashbuckling tale set in Seventeenth Century France. Both films look stunning upscaled to 4K, and as they are already set in a historical period, it’s hard to believe they are now half a century in age since they look so pristine. Extra features comprise part two of the 2002 documentary with the cast and crew and an original trailer.

Cast: Michael York, Oliver Reed, Frank Finlay, Richard Chamberlain, Raquel Welch, Jean-Pierre Cassel, Geraldine Chaplin, Charlton Heston, Faye Dunaway, Christopher Lee, Simon Ward, Roy Kinnear Director: Richard Lester Writer: George MacDonald Fraser Certificate: 12 Duration: 106 mins Released by: Studiocanal Release date: 8th May 2023 Buy ‘The Four Musketeers’ now

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Several generations will have grown up enjoying this delightful adventure story closely based on the bestselling and enduringly popular novel by Alexandre Dumas. It probably remains the best big screen adaptation. The director Richard Lester was fresh from success directing two of the Beatles’ acclaimed films. His approach with ‘The Three Musketeers’ was to shoot it using multiple cameras (a technique closer to television of the era) in order to capture long distance and close-ups at the same time, and thus to minimise the need for stunt doubles. Doubtlessly, the film is impressive for some highly imaginative and daring stunts that each of the bankable actors take part in, not least through more sword fights than you can shake a stick at. But this came at a high price in the sheer number of injuries the actors sustained behind the scenes. Anecdotally this is somewhat amusing until you consider that a later sequel, 1989’s ‘The Return of the Musketeers’, (also directed by Lester) lead to the premature death of Roy Kinnear following a horse riding accident. This tragedy retrospectively inevitably casts a long shadow over the trilogy.

The film follows the story of D’Artagnan (Michael York), a young man from the French provinces who heads to Paris with the aim of becoming one of the celebrated king’s musketeers. Upon arriving in the city, the plucky young upstart has run-ins with Athos (Oliver Reed), Porthos (Frank Finlay) and Aramis (Richard Chamberlain), who are established king’s musketeers and fine swordsmen. They separately challenge him to a duel, but when the four assemble at the designated fighting place, guards of the villainous Cardinal Richelieu (Charlton Heston) arrive. Suddenly realising that he has insulted the very men he was aiming to impress, D’Artagnan teams up with them against Richelieu’s men. The musketeers then become embroiled in thwarting Richelieu’s plot to embarrass the Queen (Geraldine Chaplin) who has rekindled a romance with the English Duke of Buckingham (Simon Ward) at a time when England and France are mortal enemies. The rest of the film involves a cat and mouse game between the musketeers and their temporary alliance with the English Duke against Richelieu and his henchmen (Christopher Lee and Faye Dunaway). It unfolds with an abundance of epic stunts, sword fights, camaraderie and frivolity. It’s brought to life against the backdrop of the sunny Spanish countryside, which doubles for Seventeenth Century France.

A major selling point for the film is its all-star cast. Leading names from Hollywood and Britain were queuing up to be in it, and each one has their moment to shine. Michael York (‘Cabaret’, ‘Logan’s Run’) is suitably squeaky clean and endearing as D’Artagnan, and he delivers many an adventurous and improbable stunt with immaculate timing. The established musketeers all have showier parts. Oliver Reed (‘Oliver’, ‘Gladiator’) is glowering and magnetic as Athos, and he livens up the action sequences with his dangerous and erratic qualities. Steady character actor Frank Finlay (‘A Bouquet of Barbed Wire’) grabs his chance of the spotlight as the refined and slightly pompous Porthos (and he later also plays the Duke of Buckingham’s jeweller – was that just an opportunity for him to show his considerable range?) American star Richard Chamberlain (‘The Towering Inferno’) is given the least to do in this one.

Complementing the all-star heroes, the villains are all superb. Charlton Heston (‘Ben-Hur’, ‘Planet of the Apes’) is the scheming Cardinal Richelieu. He underplays it splendidly, as this makes him all the more menacing. The towering and always reassuring presence of the late, great Christopher Lee, in scarlet red velvet and eye patch, is enough on its own to make the film a rewarding watch. As he is keen to point out in interviews, he was the finest swordsman of the cast, and this shows. But Rochefort is a more charismatic villain that Lee’s dour, scowling Dracula. He gives the impression that he is relishing the role. His pairing with Faye Dunaway (‘Network’) as Milady de Winter is inspired casting. The two supporting villains instantly click and have an excellent rapport.

Another interesting piece of casting that pays off is Spike Milligan as the landlord Bonacieux, the husband of Queen’s dressmaker Raquel Welch. The very idea is enough to raise a chuckle. Outside of the madcap worlds that he created for himself, Milligan rarely works on film because he can’t help but take you out of the drama by drawing attention to his wild eccentricities. ‘The Three Musketeers’ is a notable exception, and Milligan’s comedic performance isn’t out of step as director Lester leans heavily into humour. Perhaps unexpectedly, the film is laden with slapstick moments and a quick wit. You can tell that the screenplay was written by George MacDonald Fraser, best-remembered for his series of ‘Flashman’ novels based around a dandy with loose morals who is somewhat redeemed by his bravery. The Musketeers as presented here could easily slot into a MacDonald Fraser novel.

As the cast is at pains to point out in the extra feature interviews (recorded in 2002), the sword fights were played for real, using genuine metal swords rather than safe lightweight props. The fight sequences, which take up much of the screen time, are superbly choreographed. You can see exertion in the actors’ faces. The two problems that arise with this approach is that Lester has a tendency to lock off his camera in order to capture the full range of the fight, so the direction can feel oddly static in contrast to the derring-do of the actors. Secondly, it is possible to have too much of a good thing, and considering that there are many more long and drawn out fight sequences in ‘The Four Musketeers’, the clash of metal on metal can eventually induce a certain ennui. What is to be commended though is just how gutsy the fights are. The director dispenses with the idea of gentlemen using only their swords in combat. Rather, the musketeers and indeed the Cardinal’s Guards are more than happy to kick, punch, roll around in the dirt and pull any stunt that may give them the upper hand. Whilst the dialogue is light and witty, the fights are down and dirty. It’s a winning combination.

Our overall verdict is that, for a swash to buckle ratio, you can’t do better than ‘The Three Musketeers’. It benefits from a world class international cast. We especially adored Oliver Reed’s carefree, animalistic Athos. Deep and meaningful it is not. But as a period film about camaraderie and how the little people can foil the machinations of the rich and powerful, ‘The Three Musketeers’ has a strong moral message and a good heart. There’s a great pleasure in watching a competently-assembled film that everyone involved with it clearly enjoyed making. The well-chosen Spanish locations help to give it veracity as Seventeenth Century France, and the hot summer of the early 1970s when it was filmed looks especially bright and stunning in 4K UHD. Part one of an interview with some of the remaining cast members (filmed in 2002, as sadly Frank Finlay and Christopher Lee have left us since then, and Raquel Welch died earlier this year) provides an anecdotal background to the making of the film. If you grew up with Richard Lester’s ‘The Three Musketeers’, the good news is that it stands up to this day as a thoroughly entertaining movie.

Cast: Michael York, Oliver Reed, Frank Finlay, Richard Chamberlain, Raquel Welch, Jean-Pierre Cassel, Geraldine Chaplin, Charlton Heston, Faye Dunaway, Christopher Lee, Simon Ward, Spike Milligan, Roy Kinnear Director: Richard Lester Writer: George MacDonald Fraser Certificate: 12 Duration: 107 mins Released by: Studiocanal Release date: 8th May 2023 Buy ‘The Three Musketeers’ now

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Back in 1959, they starred together in one of the most highly-revered Hammer horror productions in their long and illustrious history, ‘The Mummy’. The title, along with 1974’s ‘Frankenstein and the Monster from Hell‘, from the dying days of the franchise, are about to receive limited edition Blu-ray treatment from Second Sight Films. The titles will be released with a host of extra features and packaged in a card slipcase. They include a booklet with comprehensive essays about the making of the movies embellished by publicity photographs, as well as a set of five colour production stills including Graham Humphreys’ striking cover art printed on high-quality card.

‘The Mummy’ is from the early days of Hammer’s success and features many of its most iconic ingredients, including a host of talented British character actors, a period setting and a classic monster borrowed from Victorian Gothic fiction. It plays on the nation’s long-standing interest in Egyptology that followed Howard Carter’s discovery of the tomb of Tutankhamun in 1922.

Peter Cushing plays archeologist John Banning. Along with his father and uncle, he discovers and opens the tomb of Princess Ananka who served the god Karnak. Unbeknown to any of them, Ananka was buried along with her high priest Kharis, who was entombed alive for violating her grave. Fiercely loyal to the princess he loved, Kharis will protect her, even from beyond the grave after one of the archeologists accidentally awakens him. When a modern day worshipper of Karnak brings Kharis’ mummified remains back to England to exact a revenge for violating the tomb, those involved in the expedition find themselves in mortal danger from the stalking and super-strong bandage-clad horror. Only the chance resemblance of Banning’s wife to Princess Ananka stands between them and a gruesome death.

Running to eighty-five minutes, the story of ‘The Mummy’ is told at breakneck speed even for cinema of the era. Peter Cushing is one of those actors who had monumental talent, though seldom the opportunity to star in something worthy enough to fully test his ability. Hammer films must be taken for what they are – highly entertaining Gothic horror films – but their construction is often mechanical. An actor of Cushing’s calibre makes even expositional lines of dialogue believable and interesting. The ‘showier’ part certainly belongs to Christopher Lee, who is large, tall and menacing in grimy bandages. We see him without the extravagant make-up and costume job in flashback sequences, as the events that led up to Kharis’ fate are retold. As his tongue is cut out, Lee is left with few lines of dialogue, but his silent screen presence is nevertheless memorable. Yvonne Furneaux has a duel-role of Banning’s wife Isobel as well as Princess Ananka. She distinguishes between the two with consummate skill, and is equally credible as an Egyptian princess and a loyal Victorian wife. An actress with a fascinating career, only a year later she would appear in Fellini’s most lauded work, ‘La Dolce Vita’.

Among the rest of the cast you will find familiar actors with celebrated résumés. Playing Peter Cushing’s father is veteran actor Felix Aylmer, who had played Polonius in Laurence Olivier’s Oscar-winning 1948 film version of Shakespeare’s ‘Hamlet’. In ‘The Mummy’, Aylmer gets to play mad and has a memorable final scene. The modern day Egyptian worshipper of Karnak is George Pastell, a Cypriot actor who appeared in a lot of classic British television and film, notably in the James Bond movie ‘From Russian With Love’ and as the villainous Eric Klieg in the Patrick Troughton ‘Doctor Who’ classic ‘The Tomb of the Cybermen’. Hammer regular Michael Ripper also has a small role as a poacher. There is an experience of sheer joy in watching a cast as legendary as these actors assemble for a Hammer production of considerable panache. There are so many classic moments there are too many to mention, but Cushing protecting himself from Lee in his office using whatever weapons he can find to hand before he is cornered and throttled is brilliantly tense. It is surely the part that terrified contemporary viewers the most.

‘The Mummy’ is undoubtedly up there with the all-time best of the Hammer Film Productions. All of their titles were shot quickly and on a limited budget. None of the stars were paid a fortune. Yet what they achieved in terms of quality entertainment is almost miraculous, and ‘The Mummy’ stands up today as a thoroughly entertaining horror film with more than its share of classic sequences. Terence Fisher’s direction is light of touch but thoughtful, and with a view for keeping the pace high. The set design is excellent (if one is willing to suspend disbelief over Twentieth Century wardrobe handles on MDF sheets representing the doors of Princess Ananka’s tomb) and, along with the costumes, it captures the period setting with an unerring eye for detail.

This release by Second Sight Films presents ‘The Mummy’ in high definition Blu-ray, but this is the ultimate collector’s edition, coming with a whole host of extra features. There is the choice between watching the film in original UK theatrical ratio 1.66:1 or in full-frame 1.37:1. There is a new audio commentary with academic Kelly Robinson as well as archive commentary by Marcus Hearn and Jonathan Rigby. No fewer than five featurettes give viewers plenty of insights into the making of the film and its historical significance, especially in its relationship to other Hammer Film Productions. All of it is encased in limited edition card slipcase and comes with a forty-eight page colour booklet and five lobby art production stills reproduced on card. This is a must-have for all Hammer fans. Over six decades since its original release, it’s time for ‘The Mummy’ to be torn from the tomb to terrify the world all over again!

Cast: Peter Cushing, Christopher Lee, Yvonne Furneaux, Felix Aylmer, Raymond Huntley, George Pastell, Michael Ripper Director: Terence Fisher Writer: Jimmy Sangster Certificate: 15 Duration: 85 mins Released by: Second Sight Films Release date: 29th August 2022 Buy ‘The Mummy’

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The House that Dripped Blood is a 1971 British anthology horror film from the Amicus studios. It is not dissimilar in style to their 1972 production Asylum, which we have also recently reviewed.

The over-arching story is that a police detective (John Bennett) investigates an old, delapidated country house. Speaking to his sergeant, he discovers that all previous tenants met violent ends.

In the first story, Denholm Elliott (A Room With a View) is a successful horror writer with a glamorous younger wife (Joanna Dunham). He looks for inspiration and starts to imagine he is seeing a ghoulish murderer which he calls ‘Dominic’ (Tom Adams). Though when the visitations become more terrifying, he wonders if he is losing his mind. The segment is perhaps the weakest, not least for its unlikely depiction of a writer, and the fairly well-trodden twist.

The film picks up in the second instalment, not least because it stars the wonderful Peter Cushing as a lonely man who becomes interested in a waxwork emporium depicting murderers. The proprieter’s wife, Salome, is captured in wax. She is very beautiful, and strangely life-like… Look out also for Joss Ackland as Cushing’s friend.

From one horror legend to another – Christopher Lee could have played the role of a severe widower, cold and distant with his young daughter Jane, in his sleep. Nyree Dawn Porter (The Protectors) is the girl’s tutor in a ‘The Turn of the Screw’-like scenario. A power failure leading to flashes of lightening across Lee’s granite face are among the iconic moments in the film. But why is it exactly that Lee keeps convulsing in pain?

There’s a strong shift in tone into comedy for the final segment. Jon Pertwee, who was starring in Doctor Who at the time, plays a hammy horror film actor who seeks real vampiric powers to revive his flagging fortunes. He features with Ingrid Pitt, who was in many Hammer films and starred opposite Pertwee in Doctor Who, as well as Amicus regular Geoffrey Bayldon, who is best-remembered as Catweazle.

Of course, the film rounds out in a ghoulishly predictable manner, with a nice nod to Dracula in the name of the estate agent of the unfortunate house.

Whereas some Amicus movies, such as Asylum, were very tightly put together, The House that Dripped Blood isn’t quite as clever, and has moments where the action sags. Nevertheless, director Peter Duffell is able to keep the viewer’s interest, and horror-specialist Robert Bloch’s script has enough high points to leave an overall favourable impression. As usual with Amicus output, the finished product is astoundingly cinematic and polished considering the tight shooting schedule and relatively miniscule budget. The House that Dripped Blood undoubtedly deserves its reputation as a cult classic British horror film of the Grand Guignol style.

This limited edition high definition Blu-ray release from Second Sight Films comes in rigid slipcase featuring new striking artwork by Graham Humphreys, as well as a 40-page booklet and reversible poster. Extras on the disc include the featurette ‘A Rated Horror Film’, which captured the thoughts of actor Geoffrey Bayldon and director Peter Duffell before their recent deaths, and includes archive footage of Ingrid Pitt (who died in 2010). There’s also audio commentaries with director Peter Duffell and author Jonathan Rigby, as well as another with Troy Howarth. You can find a ten-minute interview with assistant director Mike Higgins. Fans of Amicus movies or classic British horror will especially enjoy this highly collectible release.

Cast: John Bennett, Denholm Elliott, Tom Adams, Peter Cushing, Joss Ackland, Christopher Lee, Nyree Dawn Porter, Jon Pertwee, Ingrid Pitt Director: Peter Duffell Writer: Robert Bloch Certificate: 12 Duration: 101 mins Released by: Second Sight Films Release date: 29th July 2019 Buy now

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The House that Dripped Blood, director Peter Duffell’s screen debut, written by renowned screenwriter Robert Bloch (whose book Psycho was turned into a cinematic masterpiece by Alfred Hitchcock), is set for one of Second Sight’s renowned must-have Limited Edition Blu-ray releases this Summer. Exciting news indeed for fans of the Amicus studio’s work.

The star-studded anthology film is presented in a stunning box set featuring original artwork from Graham Humphreys alongside a whole host of fantastic new special features. These include new essays from horror aficionados and a forty-page booklet. The House that Dripped Blood arrives on Blu-ray on 29th July 2019.

The story sees Scotland Yard’s Inspector Holloway (John Bennett – Watership Down, The Fifth Element) investigating a mysterious mansion with a ghoulish history and a chilling fate for its occupants in these four tales of terror…

Another segment stars Denholm Elliott (Indiana Jones, A Room with a View) as a hack horror writer haunted by visions of the murderous, psychopathic central character of his latest novel.

You’ll also find Peter Cushing (The Horror of Dracula, Star Wars) and Joss Ackland (The Hunt for Red October, Lethal Weapon 2) as a pair of friends fixated with a macabre waxwork museum that appears to contain a model of a woman they both knew.

Horror icon Christopher Lee (The Wicker Man, Lord of the Rings) appears as a widower who appears to mistreat his young daughter in Sweets to the Sweet. But when a well-meaning teacher intervenes, will she realise her mistake in time?

Jon Pertwee (Doctor Who, Worzel Gummidge) plays a temperamental horror film actor in The Cloak. When he buys a cloak for his vampire costume from a mysterious local vendor, his co-star (Ingrid Pitt – The Vampire Lovers, Countess Dracula) soon notices its strange powers.

Terror awaits you in every room of The House That Dripped Blood. Enjoy the Blu-ray with audio commentaries by director Peter Duffell and author Jonathan Rigby and film historian and author Troy Howarth.

See Second Sight Films to pre-book.

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This film version of the true story, made in 1948, recreates the events of 1912 and casts the era’s go-to man for stiff upper lip heroism, John Mills, in the title part. Scott’s mission came shortly before World War One, and this film version was made in the immediate aftermath of World War Two. Both actual and fictional came at a time when society needed a hero.

Scott of the Antarctic depicts the assembly of Scott’s expedition in England as well as the actual journey across Antarctica. It is a product of its time, and whilst the restored picture quality for Blu-ray is beautifully clear, it does show up the artifice of the film, with ‘ice’ crafted from polystyrene and clingfilm, and the actors doing their best to look cold under hot studio lights. The performances are great, though, with the ever-reliable John Mills (Ice Cold In Alex, Great Expectations) marrying charisma with humility – a rare skill. That other great British leading man of the time, Kenneth More, also stars, at a time when he was in the ascendancy. It’s Derek Bond as Oates who most often shares the screen with Mills, though look out for brief appearances by Barry Letts, who later went on to produce Doctor Who, as well as Christopher Lee, before he hit the big time. He’s nevertheless instantly recognisable through his height and saturnine good looks.

Scott of the Antarctic is a well-structured movie, though the constant whiteness of the snow and the slow trudge of the expedition quickly becomes repetitive. The undemonstrative way in which Scott selects his final team, leaving a few of his men in the Antarctic before the final push to the pole, is realistically British, but feels oddly undramatic now. Charles Frend’s direction of the climactic scene is compellingly still. It’s a memorable movie moment which makes up for the earlier pedestrian moments.

This release has, unusually for films of its age, some excellent extra features. History enthusiasts will enjoy the interview with explorer Ranulph Fiennes, who offers the best-documented explanations for where Scott’s expedition went tragically wrong, busting plenty of myths about Scott and Oates in the process. Andrew Davies talks about Ralph Vaughan Williams’s famous score for the movie, whilst there’s also home movie footage of John Mills and a featurette on Jack Cardiff’s cinematography.

Cast: John Mills, Derek Bond, Harold Warrender, James Robertson Justice, Kenneth More, Barry Letts, Christopher Lee Director: Charles Frend Writer: Walter Meade Released By: Studiocanal Certificate: U Duration: 105 mins Release Date: 6th June 2016

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Lee carved out a hugely successful movie career, mostly using his tall, slim, saturnine, handsome, yet severe good looks to play villainous parts. Most memorably he was, alongside Peter Cushing, one of the stalwarts of the Hammer Horror film franchise, and for many he remains the definitive big-screen Dracula, having played the vampire over half a dozen times for the studio.

Lee also lent his talents to several other major film franchises. He sparred with Roger Moore’s James Bond in The Man With The Golden Gun, playing the title part, and his Scaramanga, with a distinctive third nipple, is a memorable Bond baddie. He also scowled demonically in the new Star Wars films, as well as in Peter Jackson’s The Lord of the Rings and The Hobbit trilogies.

Looking back over his six-decade plus career, Lee would often cite The Wicker Man as the film he was most proud to be involved in, and it’s easy to see why. The creepy British movie about paganism on a remote Scottish island is a classic, and sees Lee facing off against Edward Woodward, and even in drag at one point. Lee’s Lord Summerisle, once seen, is never forgotten.

Lee had a second career in music, and had aspirations to be an opera singer, an ambition somewhat unfulfilled. What was classical music’s loss was cinema’s gain.

We would like to extend our condolences to Christopher Lee’s family and friends.

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It’s with a very heavy heart that we say goodbye to a film legacy that will stand the test of time. It’s hard to believe that it’s been 13 years since we were first introduced to Gandalf and company in The Lord of the Rings: The Fellowship of the Ring. Now, six movies later, J.R.R. Tolkien’s entire saga has been brought vividly to life by the visionary Peter Jackson. The Hobbit: The Battle of the Five Armies brings this series to a glorious, emotionally-charged end and it delights throughout.

‘An Unexpected Journey’ may not have been the instant win we were all expecting after laying down such a high marker with the original trilogy, but ‘The Desolation Of Smaug’ more than made up for that shortfall with a blockbuster that was both captivating and hugely enjoyable. This trend continues in ‘The Battle of the Five Armies’ – a blisteringly paced action-adventure that relentlessly enthrals and leaves you on the edge of your seat. This is, in essence, one giant battle sequence that shifts focus between all of the principal players. It’s wonderfully done and always keeps you glued to the screen, thanks to breakout sequences, amazing effects and assured performances.

By now, we all know how good the cast of this trilogy are. Martin Freeman, Ian McKellen, Benedict Cumberbatch, Aidan Turner, Cate Blanchett, James Nesbitt, Stephen Fry and everyone else all deliver a truly memorable chapter that stays with you for long after the credits roll. It’s fantastic to see Luke Evans, Lee Pace, Richard Armitage and Evangeline Lilly play such pivotal roles this time around and they all impress greatly. Orlando Bloom also steals his scenes as the legendary Legolas, providing a glorious, binding link between the old trilogy and the new.

The Hobbit: The Battle of the Five Armies is a thoroughly enjoyable blockbuster that ends the Lord of the Rings legacy with appropriate spectacle, fanfare and emotional grace. Making full use of the fact that this is the far more action-heavy part of the story, Jackson has crafted a wonderful movie that delivers at every turn. It’s hard to let go of such endearing characters, involving stories and impassioned filmmaking. But thanks to its legacy, these movies will be enjoyed for generations to come. At around 20 hours, the prospect of watching all of the extended editions together in chronological order also excites and that’s where fans can seek solace after the sadness of this finale sets in. Thank you Peter Jackson for creating such game-changing, immersive cinema, with stories that resonate to one and all.

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The Hobbit: An Unexpected Journey arrives with a huge amount anticipation and expectation. With Peter Jackson once again at the helm, this prequel to The Lord Of The Rings saga has been a long time coming. It’s hard to believe that The Fellowship of the Ring came out way back in 2001. 12 Years later and it’s safe to say Jackson’s trilogy irrevocably changed the landscape of modern filmmaking.

The challenge that lies ahead of The Hobbit is two-fold. Can it replicate the vibe of the original trilogy whilst amazing a knowing audience who have now become used to huge technological leaps? With 3D now prevalent and the huge box-office success of projects like Avatar and Harry Potter well-engrained into pop culture, do J.R.R Tolkien’s stories still hold a place in moviegoer’s hearts?

Thankfully The Hobbit seamlessly blends into the style, structure and ambience of the original trilogy. From the scenery to the title treatment, this is every bit a Lord of the Rings adventure. Jackson has worked hard to retain that sweet, relatable element of the original trilogy and has certainly put a lot of effort into making The Hobbit feel warm and knowing.

All of the characters are well rounded with particular nods going to Sir Ian McKellen (who once again graces the screen as Gandalf) and Martin Freeman who makes a fetching Bilbo Baggins an easy hero to champion. Of the dwarfs, Richard Armitage leads the line well and is at the heart of a lot of The Hobbit’s best action sequences.

The welcome re-emergence of a few familiar faces like Elijah Wood, Hugo Weaving, Cate Blanchard and Christopher Lee also works wonders for The Hobbit – especially when the plot noticeably slows down. Their appearances add some much needed gravitas.

The downsides are that this all feels very familiar, and that’s not always a good thing. Granted the story of The Hobbit follows along very similar lines to Fellowship – a band of unlikely allies trek across dangerous terrain to reach a far deadlier threat at their eventual destination. There are a lot of moments when you feel like you are just retreading old ground. You’ll either love that or find it a bit tiresome. Then there’s the inexplicable reasoning behind spitting this story into 3 movies. At a stretch, two movies would have done The Hobbit justice. At nearly 3 hours long, An Unexpected Journey is at least 45mins too long.

Then there is the biggest problem with The Hobbit – the 3D frame rate. Peter Jackson has persevered with a new advanced frame-rate (48fps format) that disorients and distracts in equal measure. If you’ve ever watched an up-scaled DVD you’ll know exactly what I mean. The advanced frame rate does conjure up some breathtaking clarity and detail but as a by-product, it also makes things move extra quickly. The start of The Hobbit feels like you are watching a film in fast forward. Simple scenes like people walking down the street take on comedy effect due to unbalanced speed – that then makes everything look odd. It also makes every major sequence feel like a computer game cut-scene rather than an immersive experience.

Basically, the technology still has a few issues to iron out before it’s the finished article and until then, it just distracts rather than enhances the viewing experience. That’s the fundamental flaw of The Hobbit and it tarnishes the film needlessly. If you get the choice, I would recommend you watch this in a standard 2D or 3D setting.

When it’s good, The Hobbit really delivers for spectacle and scope. There are some amazing battle sequences and the sweeping landscapes, especially towards the end give the film an epic appearance, even if the story is lightweight in comparison to the layered structure of the Rings trilogy. We also get tantalising glimpses of the dragon Smaug and the damn scary Necromancer who both suggest that this trilogy will mature well with each progressive chapter (The Desolation of Smaug opens December 2013 and There and Back Again concludes the saga in July 2014).

The Hobbit: An Unexpected Journey is a perfectly watchable blockbuster that will certainly find a good, dedicated audience. It has problems and I strongly urge you to see this in 2D or standard 3D to enjoy the story more. If you can get over the fact that this is basically a lighter version of Fellowship, you’ll enjoy the ride. For anyone looking to Peter Jackson for game-changing cinema once again, you’ll be left a bit disappointed.

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One of the most well known of Dracula films finally gets an uncut release, with a full blown restoration to the colour and sound. It’s a testament to Hammer Productions that they have given this gem such a wonderful re-issue, by going through the archives and adding missing footage. This film is the one that really started everything off for Hammer Horror, and some people might view it nowadays as slightly tame. Yet, it’s far from tame as this is one of the greatest horror films ever made.

Everything seems to pull together to make Dracula such a classic horror film. Regular Hammer director Terence Fisher keeps the direction tight and constantly focussed on the main storyline. The incredibly creepy score from James Bernard lives long in the memory. The production values may have been very low, but you would never guess from watching this film.

It’s clear to see that the entire crew gave their all to make this film look as glamorous as possible (even if it is a horror film). But what makes this film are the constant battles between Van Helsing and Dracula, it set the template for all other Dracula films and is still one of the greatest good vs evil stories ever told on film.

Peter Cushing delivers a performance that is graceful, yet edging towards psychotic with his tracking and killing of Dracula. It is one of Cushing’s finest ever performances on screen and the one he will always be remembered for. As for Lee in the title role, well this was a game changer for his career – his demonic stare, his blood red eyes and his sharp pointed fangs are now as iconic as a Star Wars Lightsaber. Lee’s downright demonic evilness is pitched brilliantly, and he brings real menace to Dracula.

This release of Dracula see’s a couple of cut scenes re-established into the film. First is “Dracula’s seduction of Mina”, which is key to the main storyline and shows how downright sexual Dracula could become. The second is “Dracula’s Sunlight Disintegration”, which was cut from its initial release back in 1959 due to Hammer worrying about its grizzly nature for audiences of that time. It’s great to see this part of the film at last, and it looks way ahead of its time – Raiders Of The Lost Ark copied it many years later.

Dracula is, without question, one of the finest horror films ever made. It still stands the test of time even by today’s standards, and this amazing re-issue is the pinnacle for such a glorious film. Good vs. Evil has never been so intense.

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Every forty-five minute episode is narrated by Radio 4’s Sue MacGregor in her familiar reassuring dulcet tones. Its excellent approach allows the actors to simply talk without the imposition of an interviewer. There are no direct questions, nobody else in shot, and no Jonathan Ross-like clown constantly interrupting: British Legends Of Stage And Screen gives the actors the time and space to tell their own stories unhindered, opening up a thoroughly engrossing and mesmerising compilation of theatrical and showbiz tales linked by well-chosen clips.

Almost uniquely, British Legends Of Stage And Screen covers the stage careers of these great British thespians, recognising the equal importance of their theatre work as compared to their big screen outings. It makes this series a positive goldmine for lovers of the British stage, especially the names on this collection, who, for the most part, continue to tread the boards and delight audiences all over the world with the magic of live performance.

There’s a wonderful contrast between individual contributors. Michael Gambon spends virtually the whole interview taking the proverbial out of himself and others, his eyes streaming at times as he recalls moments of stupidity. An inveterate prankster, Gambon remembers how during his early years as an actor he was threatened with the sack if he didn’t stop giggling during performances! Gambon is honest too, recalling his unhappiness over a stage performance of Uncle Vanya, affording his perceived failures with as much insight and lucidity as he reserves for his successes. Naturally, clips from The Singing Detective are used, but more commendably still, scenes from the controversial The Cook, The Thief, His Wife And Her Lover. Viewers of a squeamish disposition be warned! Another delightful segue sees Gambon remark that he’ll accept almost any offer of work, so long as he’s available, which cuts to a still of him in the remake of Doctor Who.

Claire Bloom has an interesting story, as she relates her upbringing with immigrant Jewish parents, and the close bond she had with her mother. She’s also forthright on her marriage to Philip Roth, and is surprisingly regretful about her career, concerned for a lack of variety in her parts. She comes across as self-effacing more than anything else, sharing this in common with Derek Jacobi, who bewails his smooth, warm face which has always seen him looking younger than his years and cast in mostly kind parts. It’s hard to imagine anyone other than an actor lamenting their lack of haggard facial features – but it’s just one of those things that distinguishes them as a breed apart. The feature on Jacobi rightly recognises the significance of I, Claudius, not merely as the springboard to international recognition for him, but as landmark television in its own right.

The second disc profiles three remarkably diverse actors: Christopher Lee, Diana Rigg and Michael York. Lee is the odd-person out amongst his peers on this collection because he’s significantly older, and isn’t from a stage background at all. It could also be argued that his film career as a Hammer Horror stalwart, Bond-villain and supporting actor in the thrilling The Lord Of The Rings trilogy and execrable Star Wars franchise is less artistically significant and meritorious than the canons of his peers. Nevertheless, he’s an entertaining raconteur, relating how he fell into acting and revealing some startling facts about his ancestors. Someone should politely tell him not to sing.

Diana Rigg is unremittingly engaging. Like Lee, she has a following for populist works such as The Avengers and as a James Bond girl (the word she uses to describe her co-star George Lazenby is unpublishable here – but one has to admire her gutsy honesty!) but they came after building up a stage career, and her lead role in classics such asMedea are generally regarded as modern benchmarks.

The foppish Michael York offers another contrast, bringing a touch of glamour to the proceedings with his work inCabaret alongside cult icon Liza Minnelli, and for director Franco Zeffirelli. Interviewed in cool shades, he provides an abundance of fine anecdotes.

The final disc sees Glenda Jackson and Ian McKellen take the final two slots of the series. It’s an appropriate pairing, given their political activism; which for Jackson meant a change of career to become a fully-fledged Member of Parliament. Arguably the greatest female actor of her generation, and one of Britain’s most decorated performers, it’s possibly a shame. But an impassioned defence of the arts in her interview reveals another truth – that in a time of severely slashed funding for the arts, someone of Jackson’s capability and persuasion is in the best place to do the most good. From her film career she offers an interesting reflection on Oliver Reed, opposite whom she thrice starred.

Ian McKellen’s activism didn’t force him to change profession, but coming out and fighting for gay rights in the 1980s at the time of Section 28 was a hugely significant watershed moment for the cause, and it’s proper that McKellen’s instalment examines this in detail, as well as his decision to accept a knighthood from the Thatcher government. Trevor Nunn’s RSC production of Macbeth is rightly identified by McKellen as one of the best screen adaptations of Shakespeare’s tragedy, and his performance in the lead role is, for my money, about the best acting you’ll ever see.

What’s so special about this generation of performer seems to be their knowledge of life and understanding of deprivation, suffering and loss from an early age, borne out of the devastating World War II that formed the backdrop to their childhoods (or in Christopher Lee’s case, meant active service). The early hardship, the fought-for scholarships to drama schools and the cutting of teeth in repertory theatre, earning their stripes in a company before the big roles and better money came along divide these actors from the stars of today. Then there’s the National Theatre, newly formed by Laurence Olivier at the time many of them were starting out, where they undertook their apprenticeships. There’s a huge amount of affection for the often-intimidating giant of Twentieth Century theatre amongst the contributors.

This series is a remarkable achievement, and a great insight into hugely significant actors who are able to now look back over (in many instances) the first half-century of their careers. Undoubtedly many or all of them will add further achievements to their CVs, but they will do so having already shaped their identities as performers and reserved their slots in theatre history. This intimate series reveals how their lives and careers were shaped, and how the two often interweaved.

British Legends Of Stage And Screen is terrific, and a must-have for all fans of great British actors and theatre history. Sure, it’s possible to wonder why John Hurt, Patrick Stewart, Tom Courtenay, Helen Mirren and Judi Dench aren’t included, but this is pure greed from a reviewer who was left wanting more, and is hopeful of a further series…

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