Tyreece Hulme One of the best movies of the year! Incredible from the beginning to the end.

Arianna Moses Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Brennan Camacho Mostly, the movie is committed to the value of a good time.

Sienna-Rose Mclaughlin The movie really just wants to entertain people.

Jackson Booth-Millard The first film in the British Hammer (Horror) Studios series of Frankenstein movies is the best, the second was worth watching, the third was terrible, the fourth was alright, the fifth was good, the sixth entry (more a remake) was rubbish, this seventh and last entry I hoped would be a fitting end, directed by Terence Fisher (Dracula, The Hound of the Baskervilles, The Mummy). Basically a Bodysnatcher (Patrick Troughton) is caught trying to rob a grave and is arrested, he snitches, giving the name and address of his client, Dr. Simon Helder (Shane Briant), the doctor is arrested and sentenced to five years in a psychiatric institution. The mental asylum is run by corrupt and perverted director Adolf Klauss (John Stratton), there Helder is tortured by the orderlies, Helder also discovers the asylum surgeon, under the alias of Dr. Carl Victor, is in fact Baron Victor Frankenstein (Peter Cushing). Helder is an admirer of the Baron's work, and Frankenstein is impressed by Helder's talents, he takes Helder under his wing to become his apprentice in his continued experiments in the creation of man. Together Frankenstein and Helder work on designing a new creature, unknown to Helder, the Baron is using the body parts of his murdered patients, he does discover this and is uneasy. Frankenstein's hands are badly burned, so the shabby stitch-work is done by beautiful young assistant Sarah (Live and Let Die's Madeline Smith), nicknamed the "Angel", she is mute, because Frankenstein attempted to rape her. The hulking ape- like creature Monster (Dave Prowse), formerly homicidal inmate Herr Schneider, is completed, with the hands of recently deceased sculptor (Bernard Lee), it is given new eyes and a brain, but it is lumbering, hairy and dumb. Frankenstein is convinced that they have created something magnificent, Helder foolishly agrees with him, soon enough however the experiment goes wrong when the monster is angered and gets aggressively vicious, until eventually it is overpowered and destroyed by a mob of inmates. In the end, Sarah regains her ability to speak, Helder is disappointed by the failure of the experiment, but Frankenstein it was the best thing to happen for the creature, he already has plans for a new creature, using involuntary donors, the three of them seemingly prepare themselves. Also starring Norman Mitchell as Police Sergeant, Charles Lloyd Pack (Roger's father) as Professor Durendel, Sydney Bromley as Muller, Philip Voss as Ernst, Clifford Mollison as Judge and Janet Hargreaves as Chatter. Cushing just about remains sinister, despite his ridiculous wig, the monster played by Prowse to too absurd looking, I don't know fully why critics consider this a fitting final film for either the series of the career of director Fisher, it is predictable, there is no creepy atmosphere throughout compared to the previous films (the good ones), and I was not that happy with the unresolved ending, they could have just left it at the last one where the mad scientist was meant to have been burned alive, there are moments I liked, overall I found it an average horror. Okay!

one-nine-eighty As the title would suggest this is a 'Frankenstein' adventure. A young scientist determined to follow in the footsteps of his hero is arrested and sent to a lunatic asylum - as his hero had previously been too apparently. Upon getting admitted to the asylum Dr Simon Helder (Shane Bryant - Captain Kronos the Vampire Hunter) does a bit of snooping and eventually encounters Baron Victor Frankenstein going by the name Dr Carl Victor (Peter Cushing) who is working as chief medical staff within the asylum. Baron Frankenstein is presumed dead however going by the name Dr Carl Victor has allowed him to stay undetected and continue his experiments. Unfortunately an accident has reduced Dr Victors ability to operate precisely and as such he has groomed dumb/mute Sarah (Madeline "Live and Let Die" Smith), upon learning the Dr Helder is a doctor of surgery he takes the opportunity to take him on as an assistant, initially just with the regular inmates of the asylum but later begrudgingly with Dr Victors 'private' studies too. Curiosity eventually gets the better of young Dr Helder and he tricks dumb Sarah (Angel) into leaving the door to Dr Victors private lab open so that he might have a snoop around. Within the lab is version Frankenstein's monster built from inmates, as the film progresses and Dr Helder fights his conscience the monster is let out to cause mayhem and havoc within the institute. This is Hammer's last Frankenstein film (the 7th in a brilliant series) and it's a good one albeit the monster has seen better days. Terence Fisher directs this outing and you'll find all the usual Hammer House trademarks from wobbly walls to atmospheric intensity to rubber monsters. This Frankenstein film stands out as one of Hammer's finest but it also closes the arc of Frankenstein film's produced which have been brilliantly directed by Terence Fisher and starred Peter Cushing. The musical score bu James Bernard in this film is creepy and eerie much like you'd expect. Additionally Shane Bryant adds to his already growing reputation in Hammer films with a suave but potentially dangerous delivery which keep the audience bolted in for the ride. While it's undoubtedly Cushing who is driving the films narrative vehicle its Bryant who acts as navigator for the audience vocalising things that need to be said and asking questions that need to be answered. If Cushing is the drive and Bryant is the navigator then Madeline Smith is the soul and heart of the film. Madeline Smith is her usual stunning self, while she keeps her clothes on in this Hammer film (sorry) she manages to bring real emotion and feeling to film using expressions, smiles and her eyes to convey feelings. The two let downs for me in the film are a) the scale model of a asylum used in long shots - it looked too fake even for Hammer, previous Hammer films have used random locations and beautiful buildings - this film however missed out on that. Secondly, b) the Monster's appearance was a little unbelievable. It wasn't supposed to be a bronzed Adonis but it's more like a papier-mâché caveman with Tom Selleck's body hair glued to it, fortunately it doesn't detract too much from the film as the actors in the film help carry it through to it's ultimate demise. Keep an eye open for the rest of the star studded cast: David "Darth Vadar" Prowse is Frankenstein's monster John Stratton plays the creepy and slimy asylum warden Patrick "Dr Who" Troughton plays a dirty body-snatcher Bernard "M" from James Bond" Lee plays a genius/inmate All in all a great film, one for the die hard horror fans rather than the new style-over-substance audiences.

BA_Harrison The last of Hammer's Frankenstein series, "…and the Monster From Hell" once again stars Peter Cushing as Baron Victor Frankenstein, who, having faked his own death in an asylum, now works there as the resident doctor, continuing his experiments on the side. When young surgeon Dr. Simon Helder (Shane Briant) is sentenced to five years in the asylum for following Frankenstein's ghoulish work, he recognises Victor and confronts him; before long, Simon is assisting the Baron in building another monster (played by Dave 'Darth Vader' Prowse) using spare parts from inmates who have conveniently passed away. For once, Victor succeeds in creating a cognisant creature, one that can think, talk and do advanced mathematics, but eventually the body begins to take over the brain—not good news since it originally belonged to a violent ape-like man with a fondness for stabbing people with broken glass.This set up allows director Terence Fisher to explore some interesting themes, not least the emotional trauma of waking up with a face like a baboon's backside and more body hair than Tom Selleck: as Baron Frankenstein's creations go, this is one of the most pitiful, and is rightfully miffed at his predicament. Fisher also makes great use of the film's harsh asylum setting, delivering plenty of atmosphere, with the gibbering inmates adding to the overall sense of madness and the sleazy director of the institution proving to be as much of a monster as Frankenstein and his creature. Fans of Hammer glamour might feel a little cheated—Madeline Smith, as beautiful mute Sarah, remains frustratingly fully clothed throughout (what a waste of a great cleavage!)—but gore-hounds will be more than happy, Monster From Hell offering up such delightfully bloody sights as jars full of eyeballs, a man hanging from his neck by violin strings, a juicy brain transplant operation, a savage throat slashing, and the monster eventually being reduced to a bloody mess by the lunatics.7.5 out of 10, rounded up to 8 for IMDb.

Mikel3 Warning the following contains plot spoilers'FatMfH' is probably my least favorite of the Hammer Frankenstein series. I believe it was also the last in the series. I'm not saying it's a bad film. In fact I did enjoy it. I just didn't enjoy it as much as some of the other Hammer Frankenstein films featuring Mr. Cushing. You really can't go wrong when you combine the acting of Peter Cushing with the direction of Terence Fisher. I believe this was the last feature film that Mr. Fisher directed and the last time that Peter Cushing played the Baron in the series. It had all the charm of a typical Hammer production with Mr. Fisher at the helm, wonderfully realistic characters, fine acting, and the sort of period colorful atmosphere Hammer excelled at. The film did drag slightly at times, fortunately Peter Cushing and the other lead Shane Briant more than made up for that. My major complaint about the film is the poor makeup on the monster. It looked very phony to me, sort of a cross between a costume store gorilla suit that was losing it's hair and a neanderthal man. The monsters bare chest and back looked too much like a Halloween costume and not realistic. To me it was only a few steps up from the look of the comical gorilla like aliens in 'Robot Monster'. In spite of that I still enjoyed the film. It was a scary enough looking creation not to ruin the fun. The story did manage to show just how cruel Mr. Cushing's Dr. Frankenstein really was beneath his gentleman like facade. For instance he stated he did not want to murder an insane genius in order to use the poor man's brain for his creature. Still he didn't mind setting up a situation where the disturbed man was bound to commit suicide. Frankenstein then took his brain with a clear, if sick, conscious. Also, Frankenstein was willing to sexually sacrifice his gentle female assistant, Angel, to the monster for the sake of his experiment. It was both chilling and sad to see the disturbed genius who had killed himself wake up with his consciousness inside the body of a hideous monster. The poor man was bemoaning his plight saying over and over 'why why why....'. He had wanted to die and instead was doomed to this life instead, thanks to the cruelness of Frankenstein. At one point he even dug up his old body and looked at it face-to-face. This reminded me of a similar and memorable scene from an earlier Hammer Frankenstein film.In conclusion this film is well worth seeing and was almost a fitting end to the Hammer Frankenstein series. Fans of Peter Cushing and Terence Fisher should not be disappointed.