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Dr Terror's House of Horrors is a 1965 British anthology horror film from Amicus Productions, directed by veteran horror director Freddie Francis, written by Milton Subotsky, and starring Peter Cushing and Christopher Lee. [3] [4]
The film includes footage from Roger Corman's Edgar Allan Poe adaptations. The similarity of its title to Amicus Productions ' hit Dr. Terror's House of Horrors led to numerous enforced title changes, including Return from the Past , The Blood Suckers , Alien Massacre , and most commonly Gallery of Horror (on-screen) and Gallery of Horrors (on ...
The films, Dr. Who and the Daleks (1965) and Daleks' Invasion Earth 2150 A.D. (1966), are the only theatrical film adaptations of the series. In these films, Peter Cushing played "Dr. Who", a human scientist rather than an alien, with Who as his actual surname, disregarding the backstory of the TV series. [11] [12]
Dr. Terror's House of Horrors: Freddie Francis: Peter Cushing, Christopher Lee, Roy Castle: United Kingdom United States [13] The Embalmer: Dino Tavella: Luigi Martocci: Italy [14] [15] The Face of Fu Manchu: Don Sharp: Christopher Lee, Nigel Green, Howard Marion-Crawford: United Kingdom [16] Fanatic (a.k.a. Die! Die! My Darling!) Silvio Narizzano
Dr. Terror's House of Horrors, a 1965 British horror film; The Haunted House of Horror, an early "slasher" film first released in 1969; The Sweet House of Horrors, a 1989 Italian horror film; Hugo's House of Horrors, a 1990 computer adventure game
In rural Texas, go-go dancer Cherry Darling runs into her mysterious ex-boyfriend El Wray at the Bone Shack, a restaurant owned by brothers J.T. and Sheriff Hague. . Meanwhile, the demented Lt. Muldoon and his men make a transaction with chemical engineer Abby for mass quantities of DC2, a deadly biochemi
Torture Garden is a 1967 British horror film directed by Freddie Francis and starring Burgess Meredith, Jack Palance, Michael Ripper, Beverly Adams, Peter Cushing, Maurice Denham, Ursula Howells, Michael Bryant and Barbara Ewing. [2]
The preponderance of long-shots ensures that, despite the presence of Britain's two most prominent horror stars, The Creeping Flesh is above all an ensemble film, concerned with the interconnection of actions and drives. It also distances the spectator, encouraging him to see each action in the context of the total pattern rather than isolating ...