Hellen I like the storyline of this show,it attract me so much

AboveDeepBuggy Some things I liked some I did not.

Neive Bellamy Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Hank Sampson If you happen to like classic sci fi films with a healthy dose of B movie vibe than you will enjoy this. I give it extra points because of it's British'ness as that's never a bad thing in my book. Sure it's low budget and the special effects are unintentionally humorous, but there's a good story here, right up until the final scenes when we learn that eyeballs are out to conquer the world. I think if the monsters had been kept in the shadows this would have made for a far superior film but there is something endearing about a time when SFX people had to rely on their ingenuity without the option of turning it over to the CGI department. I can remember watching this as a kid with my mom when a local station was carrying an all night movie marathon on Halloween night. Therefore the film will always rate at least a seven out of ten in my book. Harmless, fun and nostalgic.

AaronCapenBanner Quentin Lawrence directed this British science fiction horror film that stars Forrest Tucker as UN science investigator Alan Brooks, who goes to a remote mountaintop Swiss Village where a series of mysterious decapitation murders have taken place. Also there is Professor Crevett(played by Warren Mitchell) and a young woman with psychic powers(played by Janet Munro) who discover strange aliens who are crawling eyeballs who travel in the fog! The survivors try to escape their hotel to find a way to defeat them. Strange film is atmospheric but hurt by its silly monsters and inadequate F/X. Would have been better to keep them more in the fog, where they would have been eerie.

MARIO GAUCI One of the late Jimmy Sangster's 'extra-curricular activities', as it were, was taking some time off from Hammer Films and contributing scripts to other 'brand names': this, in fact, is among a handful he made for the movie-making team of Robert S. Baker and Monty Berman. While here he was dealing in science-fiction, he would also pen their JACK THE RIPPER (1959) and THE SIEGE OF SIDNEY STREET (1960), both of which attempted to recreate notorious real-life incidents and whose own viewing will follow presently.Like Hammer's own QUATERMASS titles (scripted by Nigel Kneale), which were the prototype of this subgenre, the film under review saw its origins as a TV serial: actually, Sangster had earlier been responsible for X–THE UNKNOWN (1956), the very first off-shoot of that classic franchise (again made by the famed British House Of Horror). Still, even if the writing is reasonably intelligent (feeding on the alien invasion/mind control themes then prevalent within the genre), the 'lower-berth' nature of the production does render the proceedings slightly less than persuasive: for one thing, the design of the creature (The Crawling Eye, as the U.S. moniker would have it, though there is actually more than one and it can perhaps best be described as an over-sized octopus!) is more silly than scary, their telepathic connection to Janet Munro's character never properly explained…nor, for that matter, just what kind of threat she was supposed to pose for them that they had to send 'zombies' – whose flesh literally disintegrates when exposed to extreme heat – in order to eliminate her, since she is mostly so distraught by these visions that she faints outright after each experience! Another illogical detail pertains to the walls of the fortress-like conservatory (to which the severely under-populated village retreats during the alien clampdown), which are shown as not able to withstand the sheer impact of the invaders' weight, yet we are asked to believe that the bombs fired away by the stock-footage planes that come to the rescue will not harm the edifice! This is not forgetting the monsters' victims, which are bafflingly left beheaded (though this may have been merely a way of incorporating gory effects, which were becoming fashionable around this time!).I cannot say whether it was done on purpose, but it seems to me that the Central European setting in this case was a direct nod to the Universal FRANKENSTEIN films (which had just been revived by none other than Hammer with the involvement of Sangster himself!), down to the iconic moment in which an innocent young girl comes face to face with the monster – though here she is saved by hero Forrest Tucker. Typically, an American lead (albeit hardly a star) was recruited to secure overseas commercial appeal: actually, he had already appeared in Hammer's fine THE ABOMINABLE SNOWMAN (1957; scripted by Kneale and co-starring company and genre icon Peter Cushing) and would also make the even less distinguished THE STRANGE WORLD OF PLANET X (1958; which I have yet to watch, even if I do have a TV-sourced copy of it somewhere!).Mind you, while I seem to have been rather harsh on the film, I enjoyed it a good deal: if anything, apart from the familiar suspense situations and exciting action sequences, it is well-enough cast – numbering among its other protagonists future Hammer alumni Jennifer Jayne (from KISS OF THE VAMPIRE {1963} and THE REPTILE {1966}) as Munro's elder sister and the other half of their clairvoyant stage-act, Laurence Payne (who had been the protagonist of the interesting Poe adaptation THE TELL-TALE HEART {1960}) as an initially suspicious figure who, revealed to be a scoop-seeking reporter, eventually turns heroic and Warren Mitchell as the obligatory eccentric scientist (who has summoned former colleague Tucker to Trollenberg after a similar 'radioactive cloud' occurrence – which the aliens utilize to travel in! – at another mountain-top setting, the Andes, some years before).

Dr Phibes (some of the details discussed my be considered "spoilers" for anyone unfortunate enough that they have not already seen this movie... several times)The Crawling Eye is both excellent sci-fi and a study in the psychology of 50's culture.Only the special effects suffer in this B&W classic, though not badly for the era. Produced in the atmosphere of the dawning nuclear age it was a pioneering effort, speculating on the possibility of life on other worlds. Special effects at the time were limited for the most part to chocolate syrup for theatrical blood and scaled miniatures and backdrops to add depth to a studio scene, and silly rubber costumes. The fact that the monsters seem a little artificial shouldn't spoil this film for anyone.The storyline is quite brilliant for the era. Xenobiology and serious scientific speculation on the nature of life, what form it might take, how it might look, didn't exist yet. We had only our imaginations and the understanding that life on other worlds would likely be very different... a huge bulbous brain/eye with tentacles, was as valid at that time as any other guess, and it was creepy, gross, and unexpected. What the Crawling Eye was NOT, more than anything else... was a monster that looked like some poor guy dressed up in 50 pounds of latex.Comments by scientific giants of the day that discounted the notion that intelligent life was unique to Earth as hubris, became the seed for the wonderful Sci-fantasy stories that followed. The possibility that we might not really be alone, but drama requires a villain. The bigger the threat, the greater and more dramatic the effort required to overcome it.We had just finished a horrible world war, Russia had gone from our ally to our most powerful enemy almost overnight, unrest stirred in Asia as Korea was embroiled in civil war and we replaced these threats in cultural fiction with much more fearful threats. More terrible than Hitler and Stalin combined, alien life with advanced technologies beyond our understanding, space flight, tremendous intellect, and inhuman evil provided the antagonist. Once again the Earth was saved not by brilliance, or super weapons, but by heroism, stalwart character, and the refusal to submit to tyranny... The paragon of western values. Our fictional monsters had to be more horrible than life, because we'd already beaten Hitler... and we really had to dig down into our imaginations to find something more evil, more cunning, and more horrible to defeat... We found it for the moment in a tentacled abomination with one huge eye and the force of will to control men's thoughts, even onto death.I suggest a large box of popcorn, a soda in a too large leaky paper cup and more ice than necessary, and a bit of gum or a milk-dud stuck to the seat for the full effect.