Laikals The greatest movie ever made..!

Micah Lloyd Excellent characters with emotional depth. My wife, daughter and granddaughter all enjoyed it...and me, too! Very good movie! You won't be disappointed.

Keeley Coleman The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Darin One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Michael Ledo In the opening scene we see Gail ( Holly Palance ) pop star Nick Cooper's (Jack Jones) separated wife get killed with a scythe across the face. Nick is attempting a comeback. Although he is described as a sinful gyrating pop star, his music is more akin to Andy Williams. At night Nick has visions of his rotting wife and hears her voice, although only the killer knows she is dead.This is the film where the killer wears a hag mask so that the people (s)he kills can't identify him (her). The film was mildly camp. Once the killer is revealed and why, it only gets worse. I didn't like it. Lovers of old mildly campy films might like it. I prefer "House of Whipcord" for era camp.F-bomb. Near sex. near nudity.

Scott LeBrun Pop star Jack Jones, the man best known for belting out the 'Love Boat' theme song, does reasonably well here basically because he doesn't have to stretch himself all that much. He plays a pop star named Nick Cooper, who's been out of the limelight for six years and is now launching a comeback. He retires to an isolated country mansion, also occupied by the gregarious Mrs. B (Pete Walker favourite Sheila Keith) and her husband (Bill Owen). Nick begins to be plagued by hideous visions of his dead wife Gail (Holly Palance) and other disconcerting sights and sounds. Could he be losing his mind?Not bad slasher type film from cult favourite Walker certainly has its moments. Fans will be more or less satisfied with the resulting bloodletting every time there's a murder set piece. However, these are few and far between, in a story (concocted by Murray Smith) that is overly plodding, and rather trite. For the most part, this story is just not that engaging. One might get their hopes up early on due to a particular killing, but the balance of the film doesn't measure up. Walker has done better in this genre, with efforts such as "Frightmare" and even "Schizo".The excellent international cast gives it some curiosity value. Jones is kind of bland as a leading man, but isn't unlikable, at least. The lovely Pamela Stephenson ("Superman III", 'Saturday Night Live') is an appealing leading lady, and David Doyle ('Charlie's Angels') is quite fun in his role. June Chadwick ("This is Spinal Tap", "Forbidden World") plays a nurse and Penny Irving ("House of Whipcord", 'Are You Being Served') an aspiring singer. If you're watching this to see Richard Johnson ("The Haunting" '63, "Zombi 2"), be warned that he doesn't show up until the film is three quarters of the way through, and even then it's only for a few minutes. Palance, the daughter of Jack P. who will go down in history as the nanny who hanged herself in "The Omen" '76, is stuck in a very thankless role.Entertaining stuff, but overall not one of the directors' better films.Six out of 10.

Woodyanders Washed-up American singer Nick Cooper (a credible and likable performance by real-life crooner Jack Jones) hasn't recorded an album in six years, so he relocates to an old manor in the English countryside to work on his career comeback. However, Nick's ex-wife Gail (well played by Holly Palance) gets murdered and her ghost begins to haunt Nick. Or is Nick going mad? Director Pete Walker, working from a crafty and compelling script by Murray Smith and Michael Sloane, relates the absorbing story at a steady pace, ably creates a good deal of tension and eerie atmosphere as well as a strong aura of intriguing mystery, grounds the premise in a believable everyday reality (Nick is shown singing and recording songs for his latest album), and delivers a few effectively harsh bits of nasty gore. Moreover, the fine acting by the excellent cast holds the picture together: Lovely Pamela Stephenson provides a winning surplus of charm and spunk as perky secretary Linda Everett, David Doyle smarms it up nicely as pushy and slimy music producer Webster Jones, Walker regular Sheila Keith and Bill Owen are in top sinister form as a creepy housekeeping couple, and Richard Johnson does his customary professional job as helpful psychiatrist Macauley. The nifty nods top such cinematic classic as "Psycho" and "Citizen Kane" further enhance the macabre fun. Both Robert Jessop's crisp cinematography and the moody score by Stanley Myers are up to par. Recommended viewing for Walker fans.

Coventry After having unleashed no less than FOUR genuine cult-shockers upon the British horror market in collaboration with David McGillivray ("House of Whipcord", "Frightmare", "House of Mortal Sin" and "Schizo"), Pete Walker falls back on the writing skills of Murray Smith, with whom he made his very first horror film ("Die Screaming Marianne") as well as a couple of light-headed sex-comedies. Smith's imagination isn't as offensive or twisted as McGillivray's, and thus "The Comeback" is an overall politically correct horror effort. That DOESN'T mean it's bad or unmemorable, mind you! The story's subject matter is fairly original, the character drawings are morbidly eccentric and Walker masterfully alters long scenes of suspense with some of the grossest killings in 70's cinema I've ever seen. Real life singer Jack Jones stars as crooner Nick Cooper, working hard on making a comeback after he divorced his dominating wife Gail. His former record producer still believes in his qualities and even arranged for Nick to live in a large mansion, complete with two loyal – albeit oddly behaving – servants at his disposal. Troubles appear when the rotting corpse of Nick's ex-wife, who has been violently murdered in their former penthouse, begins to haunt him at night along with petrifying sobbing sounds of a small child. It soon begins to look like someone intends to boycott Nick's new career and even hurt him personally. Despite most of the red herrings and sub plots being implausible and far-fetched, the whodunit-element of "The Comeback" keeps you alert and interested up until the satisfying denouement (that I didn't see coming, I may add). The faster the ending approached, I began to fear that Murray Smith would make the same mistake as he did in "Die Screaming Marianne" – loose control and drown in all the deceptive plot twists -, but experienced director Walker neatly fits everything back together during the shlocky finale. He also makes great use of terrifically sinister set pieces, like the creepy penthouse and the totally uncanny rooms in the mansion. The film contains multiple homage references to classic films (although some people tend to call them rip-offs), such as "Psycho" and "Citizen Kane" and I wondrously even loved the corny song called "Traces of a long forgotten tune". The acting is adequate, although Sheila Keith's performance is a cut above the rest as usual. "The Comeback" was one of Pete Walker's last achievements, followed by only two more movies. His work may very well be an acquired taste, but I definitely consider him to be among the most talented horror filmmakers that were active in Europe.