For more than four decades, Hammer Films’ unique blend of horror, science fiction, thrills and comedy dominated countless drive-ins and movie theaters. Enjoy this massive collection from the darkest corners of the Hammer Imagination!
Featuring 20 Cult-Classics from the infamous Hammer Studios produced in the 50s, 60s and 70s available together for the first time in high-definition!
The Revenge of Frankenstein (1958)
Baron Frankenstein joins forces with a small town German doctor in his latest and most terrifying experiment. They create a monster out of bits and pieces of several bodies, including the brain of a dwarf.
This entry into the Frankenstein lore breaks from the Universal mold quite a bit to deliver something altogether darker and more disturbing in a way. Peter Cushing (Star Wars) turns in a really incredible performance as the experimental doctor. The supporting cast of characters likewise impress in some well-defined roles. Considering that the audience for these films were likely not too discerning, a fine effort is put in to deliver something well-plotted with some depth. This film uses the fact that it was shot in color to its full advantage, as it allows the film to ratchet up the tension in specific moments. Anyone who has never seen a Hammer Frankenstein film is in for a treat.
The Curse of the Mummy’s Tomb (1964)
An American financier disrupts the coffin of a mummified pharaoh and finds it empty. The mummy has escaped to fulfill a dreadful prophecy.
The Curse of the Mummy’s Tomb is far from the strongest film in this collection, but it serves up some decent moments of entertainment. The film takes longer than it should to get to the real meat of the story and the reason anyone is watching. Even at a manageable eighty minutes the film still falls victim to being a bit aimless and overlong. The mummy does not really offer up any genuine thrills, but it keeps your attention once he finally pops up on screen. The movie does not employ a strong enough underlying storyline or worthwhile characterization to elevate this to anything too great, but anyone looking for some fairly mindless mummy fun should enjoy this somewhat.
These Are The Damned (1961)
An American tourist, a youth gang leader, and his troubled sister are trapped in a top secret government facility experimenting on children.
While it is always enjoyable to spend time with classic monsters, it was this post-war science fiction film that really piqued my interest from its opening moments. The film is very mysterious and employs a steady building of tension throughout. The tale does fall victim to some dull moments, but overall it moves along at a nice pace. A film such as this one really needs strong performances from the children, and thankfully this is among the better instances of youth acting from this time period. The gorgeous black-and-white cinematography does wonders to maintain the sinister tone. These Are The Damned takes some big narrative swings, which is something I very much appreciate. This is an easy recommendation for fans of British science fiction films.
The Two Faces of Dr. Jekyll (1960)
Absorbed in research directed towards freeing the two natures of man, Dr. Jekyll degenerates into Mr. Hyde, a vengeful maniac.
This spirited Hammer film offers a “modern” retelling of the 1886 novella Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson. The oft-adapted story is given some semblance of a new life by transporting the action from Victorian England to the swinging sixties. The film uses lively setting to indulge in both narrative and visual excess. This keeps the film energized, but occasionally messy and lacking emotion. Director Terrence Fisher beautifully composes shots that highlight the lovingly crafted production design and its spirited characters. The indulgences in drugs and sex complement the raucous feelings within Dr. Jekyll. Paul Massie is riveting in the dual roles, while Christopher Lee turns in another impeccable performance in a consistently strong career. There are better adaptations of the classic story in the world, but this attempt at something new is quite entertaining.
The Old Dark House (1962)
An American car salesman living in London is invited to spend the weekend at the Femm Estate. The Femms, trapped in the house due to an ancestor’s will, live in fear as they are taken out one at a time.
William Castle directs this remake of the classic 1932 Universal film of the same name from James Whale. While it appears I may alone in this conclusion, I found this to be a really charming entry into the Hammer film catalog. An oddity for sure, but the way in which the film leans into the comedy really works for me. Hardcore horror fans will note the lack of anything in the way of thrills and chills, but witnessing Tom Poston’s dopey lead character get caught up in this creepy world kept me amused the whole time. This is the type of film you could have seen Don Knotts star in an alternate timeline. The movie also scores points for its use of Addams Family artist Charles Addams’ title sequence design. If you are not strictly into the set for the horror aspects, this should prove to be a fun diversion.
The Gorgon (1964)
In a rural village, a series of murders have been committed where each victim was turned into stone. A local professor investigates and finds an evil Gorgon haunting a nearby castle and is in search of more victims.
This later entry into the Hammer film catalog offers something fresh in the creature feature genre. The film uses classic mythology and deft filmmaking to create a tale that is very atmospheric and engrossing. The main reason for entry is the always welcome sight of Christopher Lee and Peter Cushing, who elevate any film in which they appear. From the mysterious opening scene, the story unfolds at a steady pace that trades quick, cheap thrills for something more genuinely unsettling. Certain aspects of the titular creature’s appearance do not live up to the creepy mood established by the film, but overall The Gorgon is a solid bit of entertainment from the studio.
Cash On Demand (1961)
A man posing as an insurance company detective forces a bank manager to help him rob the bank by holding his family hostage.
We move away completely from horror or science fiction for the first time in this set and on to an effective little crime drama. Peter Cushing once again proves to be a favorite of Hammer, and the film is all the better for it. Cushing plays the unyielding bank manager who makes life hell for all of his employees due to his extremely strict view of the world, but he is soon about to enter a hell of his own. Cushing is the highlight of the film as he welcomes your hatred as an audience at the beginning of the film while slowly making you sympathize with him as it unfolds. The film is an extremely contained potboiler that excels through its tense character interactions rather than any grand dramatic developments. The Christmastime setting makes this one an unexpected holiday tale that offers thrills and character growth. It may not be what the studio is known for, but it ranks as one of the highlights in the set for me.
The Snorkel (1958)
Paul Decker arranges the perfect murder of his wife. He first drugs her into unconsciousness, then he seals the room and fills it with gas appearing to be a suicide. But he didn’t plan on a suspicious stepdaughter.
The Snorkel is a film that has moments of true greatness, but its inconsistency keeps it from being a classic. Peter van Eyck is quite menacing as the villainous Paul Decker, who provides a consistent tension throughout the film by his mere presence. The “wolf in sheep’s clothing” trope is as old as storytelling has been around, but it is a classic for a reason. Watching young Mandy Miller be dismissed by everyone around her as she fights to unveil his ruthlessness is quite thrilling. Some of the acting choices are a bit odd or overwrought, but the negative impact to the film is only slight. The aspect of the film that could have really put it over the top is if they had really gone for the ending they set up instead of kowtowing to the censorship board. This ruthless man deserved a deliciously ruthless ending, but what we got was slightly less satisfying than its potential. This is a good film with enough problems that keep it from being great.
While vacationing in France, an American artist becomes romantically involved with an older woman, Eve, while also attracted to her teenage stepdaughter, Annette. Pulled between them, a plot is hatched to free Eve’s husband from jail but Eve has a different plan in mind.
Hammer attempts to capitalize on the success of Hitchcock’s Psycho with a psychological thriller that fails to capture the magic that the master of suspense brought to the proceedings. The main issue with this film is the erratic pacing employed by director Michael Carreras. The film draws you in with some very mysterious plot threads that get lost amidst the bloated midsection of the picture. The film recovers nicely in the final act, which offers some genuine thrills that may save the movie for a good portion of the audience. For as short as the feature is, though, it should not feel like it is spinning its wheels at any point. Maniac engages with its strong use of moody atmosphere and beautiful cinematography, but it is not top tier among Hammer offerings.
Die! Die! My Darling! (1965)
An elderly religious fanatic, whose son was killed in an auto wreck several years ago, kidnaps her dead son’s former fiancee and keeps her locked up in the basement in order to cleanse the girl’s soul.
There is somewhere within me that has a real soft spot for films tackling unhealthy religious fervor. Silvio Narizzano’s Die! Die! My Darling! scratches that fascinating itch as a horrific drama which succeeds based on the unhinged performance from the legendary Tallulah Bankhead in her final role. The film is very campy but also a lot of fun in the end. This tale offers a bit more palpable violence than some other films in this set, yet it tends to stumble in other areas by feeling at times monotonous or incomplete. Stefanie Powers stands out in the lead role as the beaten-down woman under the thumb of this villainous figure. It is also fascinating to see a young Donald Sutherland show up here, but his role as a mentally challenged person contains all of the problematic elements you would expect from this time period. The film is not perfect, but its use of tension keeps things entertaining throughout most of the runtime.
Stop Me Before I Kill! (1960)
After a horrific crash, race car driver Alan Colby goes on vacation to recover but suffers blackouts and violent outbursts. With his wife by his side, he visits a psychiatrist who promises to cure Alan’s suffering.
This psychological thriller from director Val Guest brings a lot of promise to the table, but the film often struggles to snap all of the elements into place to create the optimal viewing experience. The premise of a man who feels out of control of his own body is ripe for exploration, especially when he fears his actions may bring harm to his wife. Ronald Lewis does a fine job of bringing this mental opposition to life through a performance that conjures up menace in the right moments and sympathy in others. Perhaps the greatest misstep for the film is that it spends so much time setting the table for suspense that it feels all the more unsatisfying when it fails to pay it off in a meaningful way. The third act does provide some expertly crafted thrills, but the potential for the story is never fully reached. This is a decently entertaining but ultimately flawed movie.
Never Take Candy From A Stranger (1960)
A young girl tells her parents that an old man asked her to dance naked in front of him, but the police and the townspeople don’t believe her.
This is the film of the set for me. While not the most widely appreciated film from Hammer, it personally ranks as the best I have seen from them. This story shows more restraint and nuance than you might expect from a company that has had so much success with shockers. The company has featured some of the most horrific monsters imaginable, but none quite beat the unconscionable pedophile played so expertly by Felix Aylmer in a wordless performance. The way in which the townspeople are shown to make excuses for the influential family associated with the predator is as disturbing as anything you will witness. This film feels more spiritually akin to an expertly crafted drama such as Anatomy of a Murder than any of the exploitative narratives that may pop into your head when you hear the name Hammer. The finale of the film delivers a gut punch that makes this one a newly-discovered classic in my eyes. Well worth seeking out for any fan of classic cinema.
Scream of Fear! (1961)
A young wheelchair-bound woman returns to her father’s estate to find he’s away on his business, but she keeps seeing his dead body in various places. Her stepmother and other house guests employ a plan to drive her insane and take her inheritance.
One of the most exciting aspects about Scream of Fear! is the fact that the audience is not in possession of the truth throughout the film. Penny (Susan Strasberg) seems like a reliable enough protagonist, but conflicting evidence arises throughout the film that keeps you swaying from one belief to another. This particular entry into the Hammer catalog is one of the more visually stunning films to come out of the studio. The way in which shadow is employed to heighten the effectiveness of the cinematography is like a work of art. Many films from the studio seem to be trying to ape the style of Hitchcock, but this film seems to pull it off in the most effective manner. Pacing is steady and deliberate, offering genuine dread and surprises at the optimal moments. The entire cast, including Hammer stalwart Christopher Lee, turn in excellent performances across the board which goes very far in allowing the film to succeed. This is a top-tier effort from the studio that should not be overlooked.
The Stranglers of Bombay (1959)
A captain in the East India Company lobbies to investigate an organized crime group of stranglers and thieves.
As we reach the adventure portion of the Hammer catalog, the overall enjoyment becomes a bit more inconsistent for my personal tastes. This journey is epic in scope with exotic locations and detailed production design that is impressive. It is the “exotic” locations that give me the most pause, though. At this time the term was meant as a catch-all term for some very problematic depictions of cultures that leave little in the way of nuance. It is easy to view the movie as a product of its time, but that does not make it any less exhausting to actually view. When analyzing the film objectively, it does offer thrilling moments of boundary-pushing violence that quickens the pulse. These instances may be quaint by modern standards, but they work still deliver on a narrative level. Fans of the genre will likely enjoy this one, but it did not make a huge impression on me.
The Terror of the Tongs (1961)
A British sea captain seeks revenge from a gang of Hong Kong drug and slave traders, known as the Red Dragon Tong, for the death of his daughter. With the help of a former slave, they incite a riot to destroy the group.
It would probably be easier to copy my thoughts on the previous film and offer them up again here. Where The Stranglers of Bombay makes one cringe, The Terror of the Tongs doubles down on such moments. The fear of China is radiating off the film like the stench of a dead animal. From their barbaric depictions to the yellow-faced performances from white actors, this film is just a lot to process, and not in a good way. Much like the previous film, this entry can be quite brutal in the narrative sense. The fates of certain figures in the ensemble are unexpectedly gnarly in a way that may please the more bloodthirsty among us. Other than the brutality, the film is mostly run-of-the-mill and forgettable.
The Pirates of Blood River (1961)
In the village of Devon, Jonathan Standing is exiled by his own father after committing adultery with a married woman. Sentenced to a prison camp, Jonathan escapes but is caught by a gang of vicious pirates.
This is a film where the great Christopher Lee takes some big swings as a bloodthirsty pirate in a way that is very entertaining despite not technically being a good performance. The same sentiment could be echoed about many aspects of the film. This film has noteworthy moments of action and intrigue, but it never comes together as something completely satisfying. This seems like a narrative ripe for a lighter touch that would allow more fun to flow throughout the story. You often feel like the story loses focus of what it is trying to achieve and just becomes aimless for long stretches of time. The film probably could have been a tighter, more fulfilling adventure with another pass at the script. This is not a total misfire, just a bit of a missed opportunity.
Sword of Sherwood Forest (1960)
Robin and his Merry Men must go undercover when they learn of a plot to assassinate the archbishop of Canterbury, and plenty of action and intrigue ensue. Prepare for adventure with the world’s most renowned swordsman.
This Hammer outing attempts to give a fresh spin to the Robin Hood tale to very mixed results. As a technical achievement, the film succeeds on many fronts including gorgeous costumes, well-staged action and some really solid performances. The highlight of the film is Peter Cushing as the Sheriff of Nottingham, a role which Cushing devours with great ease. Robin Hood himself Richard Greene is less bulletproof in the acting department, but does fine with what he is given. Therein lies the problem; this adaptation of the classic tale drains most of the fun and excitement out of the story. Instead, it chooses to hone in on all of the most boring parts of the story while breezing past potentially interesting avenues. Robin Hood is a story ripe for adaptation, but this is not the ultimate example of how to tell it well.
The Camp on Blood Island (1957)
Near the end of World War II, Allied soldiers are held prisoner in a Japanese camp. When Colonel Lambert finds out that the Allies are about to win the war, he knows that the Japanese will kill all of the prisoners in their camp.
While not a particularly exploitative portrayal of World War II, The Camp on Blood Island can be quite visceral in its depiction of wartime brutality. While this film also features unflattering cultural depictions like other films in this set, it feels far less egregious this time out. It would be ridiculous to rank this one among the great WWII films, but it is very effective in the way it conjures up the horrors of trying to survive a war. One of the things that really sells the awful scenario at the core of this movie are the amazing performances from all involved. It would have been very easy to dip into something overwrought, but the performances are surprisingly natural. The film moves along at a pretty nice pace and keeps extraneous moments to a minimum.
Yesterday’s Enemy (1959)
Cut off by the Japanese advance into Burma, exhausted British troops take over an enemy-held jungle village. Yesterday’s Enemy takes an unflinching look at the effects of war on the human psyche.
Out of the two World War II films on this particular disc, this one is more engaging in the long run. Once again offering up unflinching depictions of wartime brutality, Hammer gives more nuance to the conflict than you might expect. The film seems determined to have the viewer draw their own conclusions as to what the moral choices are without trying to sway you in a particular direction. It employs some very effective moments of action, but it is the psychological implications that prove to be the most riveting. By the time we got to this era in film history, we had mostly moved away from the projects that served more as propaganda in favor of something that functioned as a more nuanced narrative. This film is very critical and overall really entertaining.
Creatures the World Forgot (1970)
A stone-age horror film with almost no dialog, it centers around a tribe of cavemen. When the leader dies, there is a rivalry between twin brothers, each of whom want the top spot.
Your experience with the last film in this set will largely depend on your tolerance level for atypical storytelling. In this prehistoric tale, information is provided not through traditional dialogue, but rather measured grunts from our very-game performers. This makes the film feel as “authentic” as a 70s prehistoric tale filled with perfectly coiffed actors can feel. Even with the perceived benefits of such authenticity, the way in which it distances the audience feels like the bigger sticking point. You can get the gist of what is happening from moment to moment, but it is very difficult to allow yourself to become emotionally invested in anything that is transpiring. The attempt is quite interesting, but it does not feel like the right choice in the end. There are many aspects of the film worth praising, but it could be a much more effective experience.
Hammer Films: The Ultimate Collection comes to Blu-Ray with twenty films spread over ten discs. These films share a lot of the same qualities, so I will mostly be judging them in groups while pointing out noticeable differences when necessary. Mill Creek Entertainment has not gone to any great effort to restore these films, so the quality is based on whatever masters they were provided by Sony. Overall, these transfers represent something of a mixed bag in terms of quality. No one presentation in this set represents a 5-star effort, but the quality ranges from very good to quite poor. Every film suffers from some form of print damage and compression artifacting, but the severity varies from film to film.
Thankfully, more than half of the films in this set are presented in what I would deem very good quality. These would include These Are The Damned, The Old Dark House, The Gorgon, Cash On Demand, The Snorkel, Maniac, Die! Die! My Darling, Never Take Candy From A Stranger, The Terror of the Tongs, The Camp on Blood Island, Yesterday’s Enemy and Creatures the World Forgot. To make things easier, that is twelve of the twenty movies. Now, these films are not perfect. There are still minor nicks, and the occasional instance of more noticeable damage and compression artifacts, but the films overall appear very natural and filmic. There is some noticeable softness to some of the shots that likely stems from the quality of the source material. Film grain is present without being too intrusive, which allows details not to be scrubbed away. Textures on clothing and within the production design are way more apparent than they would have been on DVD. The contrast in the black-and-white photography fluctuates at times, but mostly remains stable. Black levels could stand to be a bit deeper on certain transfers, but the results are nonetheless pleasing. The two standouts of the set would have to be Never Take Candy From A Stranger and The Terror of the Tongs, which look pretty wonderful.
The next tier down are films that I would deem to be good or acceptable shape, but have noticeable issues that are hard to overlook. These five films include Curse of the Mummy’s Tomb, Stop Me Before I Kill, Scream of Fear, The Stranglers of Bombay and The Pirates of Blood River. Most of these handle the basics well such as color saturation, while fine detail should be chalked up to middling at best. These films often suffer from more frequent instances of macroblocking or other digital anomalies. Print damage is also more consistently present with odd lines and splotches. Some of the natural film grain has been scrubbed clean which robs the image of detail. The greyscale is less defined that you might want, but they are by no means a disaster. I could possibly be convinced to upgrade a couple of these to the “very good” section, but there is enough wrong that it creates concern.
The final three films are what would be considered to be poor quality by any discerning person. These films include The Revenge of Frankenstein, The Two Faces of Dr. Jekyll and The Sword of Sherwood Forest. Most of these films are littered with pretty severe print damage and really ill-defined textures. The Sword of Sherwood Forest is the worst offender in the set, as fine detail has been almost entirely scrubbed away. What is left is unnaturally smooth surfaces devoid of any vivid colors that you would expect from a film set in a forest. Compression artifacts are also very prevalent, especially in the darkest of scenes. These presentations are a step up from DVD, but they just appear dull and lifeless compared to what you know they could look like. These are flat presentations that disappoint in the end. Nearly all of these films could use a fresh master or restoration, but these three appear to be the most in need. For a budget release, these twenty films get the job done in the video presentation department, but hardcore fans may want to look elsewhere or hold out for better masters for some of these titles.
This Blu-Ray set presents these twenty films with DTS-HD 2.0 Master Audio tracks that once again provide something of a mixed bag. The films with audio that I would classify as very good include Cash On Demand, The Snorkel, Die! Die! My Darling!, Scream of Fear, The Terror of the Tongs and Creatures The World Forgot. Dialogue (or grunts in the case of Creatures) is crystal clear and easily distinguishable throughout this set of films. These films employ some atmospheric sound effects in the mix that thankfully do not get muddled. The score maintains a pleasing fidelity among these titles, and there does not appear to be any egregious instances of age related wear and tear.
The “good enough” tier would include The Revenge of Frankenstein, Curse of the Mummy’s Tomb, The Old Dark House, The Gorgon, Maniac and Never Take Candy From A Stranger. Some of these titles, such as Mummy, could almost be grouped in the tier above, but the sound design lacks detailed separation. Many of these tracks sound pleasant enough until elements such as the score, weather effects and dialogue start to get jumbled into one sonic mess. These films just sound very dated from a sound design perspective, and these tracks do nothing to enhance it.
The films with more problematic audio presentations include These Are The Damned, The Two Faces of Dr. Jekyll, Stop Me Before I Kill, The Stranglers of Bombay, The Pirates of Blood River, The Sword of Sherwood Forest, The Camp on Blood Island and Yesterday’s Enemy. Many of these tracks are very capable in many respects, but suffer some drawback that hinders the overall effectiveness. Several of these tracks, such as These Are The Damned, fall victim to a persistent hiss or fluctuations in audio. More than a few of these have music in the presentation that sounds quite shrill when it kicks in, such as that of Stop Me Before I Kill. There is a nuance to these instruments that is sorely lacking in the core elements. Some of the dialogue also comes across as hollow or weak. These films suffer from age related wear and tear that we hope can be avoided as often as possible. On the plus side, all twenty films included on this set have optional English subtitles provided.
- The Revenge of Frankenstein Commentary: Filmmaker/Film Historian Constantine Nasr and Author/Film Historian Steve Haberman give a detailed overview of the feature in which they discuss it in a historical context, give details about the production, share insights about the cast and crew and much more. These two have a good rapport and keep things lively in a way that makes it feels like you are eavesdropping on two knowledgeable friends having an in-depth conversation.
- The Old Dark House Audio Commentary: The crew from The Monster Party Podcast including James Gonis, Shawn Sheridan, Larry Strothe and Matt Weinhold provide a lively commentary track for the feature. In this track, the crew provides a great amount of historical tidbits including background information on the actors who pop up on screen, comparisons to the original film, the working relationship between Hammer Studios and William Castle and much more. These guys are a wealth of information while also having a fun dynamic between one another that will keep you chuckling.
- The Gorgon Audio Commentary: House of the Gorgon writer/director Joshua Kennedy, a self-described “super fan” of the film, gives a very energetic and highly informative track filled with trivia, personal insights into the project, fun anecdotes and more. It is interesting to hear him point out when certain actors pop up in other Hammer productions, and he also provides a lot of background information that makes you appreciate the film even more.
- The Snorkel Audio Commentary: Writer/Producer Phoef Sutton, Writer/Film Historian Mark Jordan Legan, and Screenwriter/Film Historian C. Courtney Joyner give a very informative commentary track in which they delve into many different aspects of the Hammer output, make connections to other films from the performers, lightly poke fun at certain plot developments, discuss the studio’s meddling with the ending and more. This is like watching the movie with your smart, funny friends.
- Never Take Candy From A Stranger Commentary: Filmmaker/Film Historian Constantine Nasr gives a fascinating breakdown of the film from its controversial beginnings as a play to its bungled release by a scared studio and its impact on Hammer Studio, along with copious amounts of additional insights. This might be my favorite commentary track in the entire set.
- Scream of Fear Commentary: Author/Film Historian Steve Haberman offers a very thorough history of the film from its origins as a spec script, parallels to Hitchcock, creative decisions during the production, its legacy in the Hammer films catalog and more.
- Hammer at Columbia Pictures: An eleven-minute featurette in which Author/Historian C. Courtney Joyner takes you through Hammer’s early success and how Columbia provided a new home that allowed the company to expand its genre focus. This offers a worthwhile spotlight on several features from this set and even includes clips from trailers not provided elsewhere on this set. This is very well produced and informative.
- The Actors of Hammer: An eight-minute featurette in which Author/Film Historian David Del Valle reflects upon some of the names that pop up in the Hammer catalog including Tom Poston, Stefanie Powers, Macdonald Carey, Tallulah Bankhead and more. This is not meant to be exhaustive, but rather offer some interesting tidbits and anecdotes about figures that do not always get featured when talking about Hammer.
- The Curse of the Mummy’s Tomb Retrospective: A nearly eight-minute audio reflection over film clips by Author/Hammer Historian Richard Klemensen in which he breaks down the circumstances leading to The Curse of the Mummy’s Tomb, gives anecdotes about production and the cast members, discusses the score and more.
- The Two Faces of Dr. Jekyll Retrospective: A nearly ten-minute audio reflection in which Klemensen once again gives detailed insights for another classic Hammer title. In this piece, he discusses the development of the script, the issues the creative figures had with the project, the production of the film, cuts made for the censors and more.
The new Hammer Films: The Ultimate Collection set from Mill Creek Entertainment offers up a thrilling collection of twenty films from a wide variety of genres. Not all of the films work, but there is enough quality material here to consider this one a solid investment. The A/V presentation for the set is overall positive, but the video quality ranges from passable to great from film to film. In a nice change of pace, Mill Creek has also delivered a nice selection of bonus features to round out the package. If you are a fan of the studio, this is an easy one to recommend. If you are a newcomer, it may take a few films to become acclimated, but you will learn that what constitutes a Hammer film means different things to different people. It is up to you to figure out what your favorite flavor of Hammer titles suits you best. Recommended
Hammer Films: The Ultimate Collection is currently available to purchase on Blu-Ray.
Note: Images presented in this review are not reflective of the image quality of the Blu-Ray.
Disclaimer: Mill Creek Entertainment has supplied a copy of this set free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.