Christopher-Lee Movie Reviews

In 1906, a train races out of China and into the snowy wastes of Siberia. Unknown to the passengers, the spirit of an ancient alien resides in the fossil of a prehistoric ape locked in a cage in the baggage car. As the train hurtles through the night, the dark angel of death casts the evil eye on unwary victims. One can have fun with this odd little European movie, just don't take it seriously. It blends the X Files, demonic possession, ancient astronauts, and unintended humor. All encased in an ersatz Hammer-type horror package. The plot moves swiftly along and doesn't waste time. Both Christopher Lee and Peter Cushing are present as scientists who help the police fathom the mystery. Telly Savalas struts around as a Cossack chief. There is a wildly improbable climax. To buy the ending, disbelief is not just suspended, it is exiled. Amid your groaning laughter, you may wonder if you missed some important plot detail. The film is best viewed as an entertaining horror movie spoof, albeit unintended by the filmmakers. The mysterious background music is an added delight. Enjoy the ride. ;-)

Any film that has Telly Savalas portraying a cossack has to be worth a second look. Peter Cushing and Mr. Lee are in fine form as they track a 'riddle" while on a very long train ride.
This film packs a punch..never seems to end..this might be why many of the folks on the train seem to have eyes that go bad.
Its a well mounted thriller that takes quite a few turns..with zombies galore....all aboard??

I first saw "Horror Express" as a child on a late night horror movie show during the days before there were VCRs, cable movie channels, and infomercials. I saw it again on video because I have recently become a big fan of British horror film actor Christopher Lee. I highly recommend this movie.

In the mountains of early twentieth-century Manchuria, archaeologist Christopher Lee discovers a frozen ape man. Unaware that the find is possessed by an alien life form, Lee transports the discovery on a passenger train and havoc ensues when the creature thaws out.

Some parts of "Horror Express" are downright ridiculous. The medical science in the movie is absolutely laughable. Telly Salavas hams it up and plays a Russian cossack almost as if he were police lieutenant Theo Kojak(Coincidentally, Savalas' character in the movie is named "Kazak").

Nevertheless, I must admit that "Horror Express" still manages to be a very frightening and entertaining movie. When I was a child, I had a lot of trouble sleeping on the night that I saw it. I also had a lot of fun seeing Christopher Lee and Peter Cushing both playing good guys in the same movie. The film also features an eerie and creepy whistling tune that will never leave your head.

A must-see for all horror fans.

This Amicus film has haunting music by Laurie Johnson. Based on a story by Robert Bloch ,the theft of the Skull of the Marquis De Sade was a true incident. The film improves on the Bloch story and is very cleverly plotted by the screenwriter to center around two collectors of occult memorabilia (Peter Cushing as "Christopher Maitland" and Christopher Lee as "Sir Matthew Phillips") They are supplied their goods by a very shady dealer in antiques known as Mr. Marco who stumbles upon the Skull and sets up the Maitland character with an initial purchase of a book on the notorious life of the Marquis De Sade with a binding made out of human skin. It is important to remember that this book is only a prop. I say this because I have seen advertisements in antiquarian book trade magazines where the dealer states "customer is looking for a book bound in human skin" Incredible but TRUE! The initial sale is followed up by the offer of the Skull and after a short discussion based on Havelock Ellis's "Love and Pain" Maitland considers purchasing it but asks for time to think about it. He is advised against it by former owner and friend,Sir Matthew Phillips during a discussion over a game of snooker. The film has true "scare-ability" in the dream sequences and the mysticism surrounding the collections of both characters. It also has atmosphere. Some of the angles and lighting are really good, especially as Maitland is reading in his library (we have a view from within the fireplace!). When Maitland is kidnapped he enters into a new relationship with evil based on the power of the Skull and ultimately fails to realize that without protection he cannot fight the powers of darkness that are displayed so prominently in this work.If the film has a weakness, it is in the end where the "floating skull" sequences are rather ridiculous (wires can be seen). Otherwise it is an excellent adaptation of the original story and contains some memorable scenes and camera work.

First of all The Skull, (Amicus, 1965) is not a Hammer film.
The Skull has a few of Hammer's alumni, such as Peter Cushing,
Christopher Lee (in a small role), Patrick Wymark, and Michael
Gough. The Director Freddie Francis directed a few Hammer Horror
shockers himself, so The Skull can easily be mistaken for being
a Hammer film. The Skull is adapted from a short story by Robert
Bloch (Psycho) called, The Skull of The Marquis deSade, which
originally appeared in Weird Tales back in the late 1940's.
The Skull is a very interesting little film, highly recommended
to fans of sixties British Horror Cinema. The Skull's cast of
players alone tells something of the quality of this Amicus
Films production. Get The Skull before it gets you.

This is a very good "B" Hammer horror movie. If you are a Peter Cushing & Christopher Lee fan, as I am, you will just love it. Nothing like the stupid horror movies they are "attempting" to make nowadays. If you liked this one you should watch House of the Long Shadows made in or around 1979. It has all the greats Cushing, Lee, Price & Caradine. Just enjoy this movie of long ago when they had so little to work with but knew the true meaning of horror so unlike today.

The male protagonist doesn't have much as far as status goes. He is a waiter/caterer and sleeps with his landlord. He is obviously frustrated with his situation but does not express it to anyone. He is on a quest for a "real blonde" for purity and symbolism! But I think it really has something to do with obtaining status. There are many far more potentially offensive R movies than this. If it were not for some brief explicit lines the movie could have a PG-13 rating instead of an R rating. The movie actually has some sweetness near the end and has a positive message without being "preachy".

Watch this with a group of friends and each may have a different interpretation.

Tom DiCillo's THE REAL BLONDE is a tale about today's american way of life. And there is nothing to be proud of according to this director. Our individual nature is lost among the multiple lies that society produces each day. Nobody knows what's really important and what's only futile entertainment anymore. So the love of a coloured Manhattan woman for a dog seems soon the sole feeling really alive and authentic in the Big Apple.

Like in BOX OF MOONLIGHT, director Tom DiCillo precedent movie, the atmosphere is romantic and delicately comic with actors who are obviously pleased to be in the adventure. Nonetheless, I will make the same remark than for BOX OF MOONLIGHT. The cinema of Tom DiCillo is a cinema of metaphors, allegories and symbols and one can easily get tired to look behind each scene for the hidden intentions of the director. But it is also a compliment to DiCillo who writes his own screenplays and so develops personal themes movies after movies. At least, here is a movie director who does have ideas !

Audio and video OK for me. A trailer as bonus feature.

A DVD for Steve Buscemi.

If you don't enjoy this movie, you won't enjoy watching HBO's "Sex & the City" either -- there's no question about it . I jumped back to some scenes again and again (like Bob's fiasco with the real blonde, Madonna's music bit, the self-defense class' RRQ ratings, Sahara and the foreign male model, etc...) and I laughed my butt off every time. Anyway, it's not surprising that "The Real Blonde" was underrated, given that "Scary Movie" was a box office hit. Tastes differ, that's all.

I loved this picture. First, the twist of the story itself and a moral dilemma in it, second - brilliant performance by Nick Mancuso - his character , who used to be IN CONTROL AND LOVING IT, now being on the edge of insanity... Well, Nick Mancuso IS IN CONTROL of your attention till the very end. Add music, photography... An hour and a half very well spent!

This movie was so good, all I can say is, "wow." One of the best thrillers I have seen in a long time. Peter Liapis who starred in Ghoulies and Ghoulies IV wrote and directed this movie. It was creepy and suspenseful.

Andrew Divoff stars in this movie as a petty thief who gets caught trying to steal a car owned by Holden Down (Nick Mancuso) and ends up trapped in the car.

During the middle/end of the movie, Andrew (Robert Breed) gets out and then things get really interesting. From the beginning to the end the movie kept up with the plot, and it never got boring.

I think in the beginning though, it is kind of hard to understand until you see Andrew's character and his Brother going after Holden's car, then it starts from there when Holden catches his Brother and breaks his arm. The acting was really good, Andrew Divoff was the best actor in this movie. I enjoyed his performance as well as Nick Mancusos.

Just like to say simply, that this is one of the best straight to video titles I have ever seen.

It's one of those movies that is SO much better than it sounds, and therefore greatly under -rated!

I was on the edge of my seat all the time!!

I loved this picture. First, the twist of the story itself and a moral dilemma in it, second - brilliant performance by Nick Mancuso - his character , who used to be IN CONTROL AND LOVING IT, now being on the edge of insanity... Well, Nick Mancuso IS IN CONTROL of your attention till the very end. Add music, photography... An hour and a half very well spent!

This movie was so good, all I can say is, "wow." One of the best thrillers I have seen in a long time. Peter Liapis who starred in Ghoulies and Ghoulies IV wrote and directed this movie. It was creepy and suspenseful.

Andrew Divoff stars in this movie as a petty thief who gets caught trying to steal a car owned by Holden Down (Nick Mancuso) and ends up trapped in the car.

During the middle/end of the movie, Andrew (Robert Breed) gets out and then things get really interesting. From the beginning to the end the movie kept up with the plot, and it never got boring.

I think in the beginning though, it is kind of hard to understand until you see Andrew's character and his Brother going after Holden's car, then it starts from there when Holden catches his Brother and breaks his arm. The acting was really good, Andrew Divoff was the best actor in this movie. I enjoyed his performance as well as Nick Mancusos.

Just like to say simply, that this is one of the best straight to video titles I have ever seen.

It's one of those movies that is SO much better than it sounds, and therefore greatly under -rated!

I was on the edge of my seat all the time!!

For some reason, whenever Hollywood tries to make a movie out of a Joseph Wambaugh novel, the film tends to fall flat. And "The Onion Field" is a good example of how a good book can be turned into a bad film.

"The Onion Field" has all the makings of a good film: A good cast, high drama and a true-life story with a poignant message. However, this film does not make full use of these characteristics and the end result is a movie that never realizes its potential. If anything, "The Onion Field" is a long, boring film that leaves you feeling empty and drained.

Those are the bone-chilling words spoken by kidnapper and soon-to-be killer Gregory Powell (brilliantly portrayed by James Woods) just seconds before fatally shooting Sgt. Ian Campbell (sensitively portrayed by a pre-"Cheers" Ted Danson) near an abandoned onion field in the disturbing, psychologically intense film THE ONION FIELD (1979). This film, directed in an appropriate brooding, deliberate style by Harold Becker, recounts the events that took place on March 2, 1963, as well as the aftermath of subsequent trials that took their mental toll on Sgt. Karl Hettinger (brilliantly portrayed by the underrated Method actor John Savage).

Brilliant police novelist Joseph Wambaugh, whose earlier work "The Choirboys" became warped in the screenplay adaptation process and, as a result, got turned into an occasionally funny but ultimately unsatisfying movie in 1977 (in which James Woods, not coincidentally, had appeared), made sure this time that he had complete control over the screenplay for THE ONION FIELD. In doing so, the film version remains faithful to the events described in the book, as it recounts the slow build-up to the terrible crime in parallel scenes; one showing the criminals, and the other showing the police officers before their fateful meeting. It also shows the slow psychological breakdown that is suffered afterwards by the surviving officer, who is tortured by a seemingly endless cycle of trials as well as the derision of his police superiors who felt that he could have done more to prevent the tragedy.

The only major fault that I find in the film is its irregular chronology of the aftermath; it provides no dates for each scene, which is bad because a scene that takes place days after the previous one will be followed by a sudden jump of ten or more years into the future. This gets confusing to the viewer, who will suddenly--an unexpectantly--find a longhaired 1970's Gregory Powell spouting out prison law to a fellow inmate following a scene where the crewcut '60's Powell is defending himself in court. Also, the landmark 1973 Supreme Court decision that (temporarily) outlawed capital punishment, thereby instantly commuting Powell and Jimmy Smith's death sentences to that of life imprisonment, is barely even mentioned, despite its obvious significance. Nevertheless, THE ONION FIELD is a compelling, and faithful, dramatization of one of the most shocking murder cases of the 1960's. It is just another small piece of American history, and is recommended for anyone who wants more insight into the development of our modern legal and law enforcement systems. Of course, I also recommend it for everyone who considers themselves to be film buffs. HIGHLY RECOMMENDED

"The Onion Field" is another one of those gripping cop dramas that makes it puzzling that the film didn't receive a single Academy Award nomination. Based on the true story and scripted by former cop Joseph Wambaugh (who also wrote the book), "The Onion Field" describes the mental breakdown of a cop (portrayed with excellence by John Savage) who witnesses his partner's murder in an onion field in California, the frustrating nature of the justice system and the loopholes it contains. The chilling contrast between Savage's fragile cop and James Woods' disturbing killer is highly intriguing. But most importantly, "The Onion Field" is a film that gives big screen cop figures a human, emotional quality, all filtered here by the high calliber acting and well written script.

For some reason, whenever Hollywood tries to make a movie out of a Joseph Wambaugh novel, the film tends to fall flat. And "The Onion Field" is a good example of how a good book can be turned into a bad film.

"The Onion Field" has all the makings of a good film: A good cast, high drama and a true-life story with a poignant message. However, this film does not make full use of these characteristics and the end result is a movie that never realizes its potential. If anything, "The Onion Field" is a long, boring film that leaves you feeling empty and drained.

Those are the bone-chilling words spoken by kidnapper and soon-to-be killer Gregory Powell (brilliantly portrayed by James Woods) just seconds before fatally shooting Sgt. Ian Campbell (sensitively portrayed by a pre-"Cheers" Ted Danson) near an abandoned onion field in the disturbing, psychologically intense film THE ONION FIELD (1979). This film, directed in an appropriate brooding, deliberate style by Harold Becker, recounts the events that took place on March 2, 1963, as well as the aftermath of subsequent trials that took their mental toll on Sgt. Karl Hettinger (brilliantly portrayed by the underrated Method actor John Savage).

Brilliant police novelist Joseph Wambaugh, whose earlier work "The Choirboys" became warped in the screenplay adaptation process and, as a result, got turned into an occasionally funny but ultimately unsatisfying movie in 1977 (in which James Woods, not coincidentally, had appeared), made sure this time that he had complete control over the screenplay for THE ONION FIELD. In doing so, the film version remains faithful to the events described in the book, as it recounts the slow build-up to the terrible crime in parallel scenes; one showing the criminals, and the other showing the police officers before their fateful meeting. It also shows the slow psychological breakdown that is suffered afterwards by the surviving officer, who is tortured by a seemingly endless cycle of trials as well as the derision of his police superiors who felt that he could have done more to prevent the tragedy.

The only major fault that I find in the film is its irregular chronology of the aftermath; it provides no dates for each scene, which is bad because a scene that takes place days after the previous one will be followed by a sudden jump of ten or more years into the future. This gets confusing to the viewer, who will suddenly--an unexpectantly--find a longhaired 1970's Gregory Powell spouting out prison law to a fellow inmate following a scene where the crewcut '60's Powell is defending himself in court. Also, the landmark 1973 Supreme Court decision that (temporarily) outlawed capital punishment, thereby instantly commuting Powell and Jimmy Smith's death sentences to that of life imprisonment, is barely even mentioned, despite its obvious significance. Nevertheless, THE ONION FIELD is a compelling, and faithful, dramatization of one of the most shocking murder cases of the 1960's. It is just another small piece of American history, and is recommended for anyone who wants more insight into the development of our modern legal and law enforcement systems. Of course, I also recommend it for everyone who considers themselves to be film buffs. HIGHLY RECOMMENDED

"The Onion Field" is another one of those gripping cop dramas that makes it puzzling that the film didn't receive a single Academy Award nomination. Based on the true story and scripted by former cop Joseph Wambaugh (who also wrote the book), "The Onion Field" describes the mental breakdown of a cop (portrayed with excellence by John Savage) who witnesses his partner's murder in an onion field in California, the frustrating nature of the justice system and the loopholes it contains. The chilling contrast between Savage's fragile cop and James Woods' disturbing killer is highly intriguing. But most importantly, "The Onion Field" is a film that gives big screen cop figures a human, emotional quality, all filtered here by the high calliber acting and well written script.

I loved this movie as a child. We taped it off the tv, and I cant find that old tape anymore. Im going to order the dvd. I work with school age children and Im sure they will love this as much as I did as a child. Obviously it isnt as technically advanced as Harry potter, or the new childrens movies..but that doesnt mean its a bad movie. Its exciting! Kids of all ages will like this movie!

this movie is strangly good. I dont know why, it's pretty [strange] really, but very enjoyable in the end. you just have to see it, trust me

Bosse Ohlsson is an average boy living in Stockholm with his horrid Aunt Edna and Uncle Sixten. On one particularly cruel day he goes out with his best friend to fly kites and on the way home(when he was already late), boys take his hat and get it dirty. Aunt Edna makes such a bad fuss that Bosse decides to run away to find his father. He visits the local shop and the owner gives him an apple and a letter to mail. He stops at a bench area and just as he's about to eat the apple, it turns golden and a spirit comes out of a bottle lying on the ground. It turns out that the spirit is from the land of faraway and has been sent to bring Bosse there to meet his father. Bosse goes to the land of faraway and his finds out his real name is Mio and he has a horse named Miramis. Joy is short lived though because he finds out that an evil night Kato has kidnapped all the children and is keeping them prisoner outside of the land. Since Mio is the only child of royal blood, he must journey with Jum Jum and Miramis to save the children and destroy Kato.

I love this movie as it is one of my childhood favorites. It's a wonderful tale and should be more honored.

This film is a forgotten contribution to public understanding of the history no history teacher wants to tell you. That is precisely why you need to see this movie. While it is not at the same quality level as "Gangs of New York" there are definitely highlights of quality work. Christopher Walken has a special style of playing villains. When you are ready to shoot him, you have to realize he just "got you." This is the mark of a real actor in a villain role. This is basically one of the most compelling stories of political corruption, and was the largest lynching in American history. Many good Italian American families suffered in the process.

Turn of the century New Orleans boasts a bustling port, a key revenue maker for the up and coming Italian immigrants struggling to cross the barriers installed by the WASP establishment and now tolerated Irish. Christopher Walken plays the key figure in the established world of commerce who can't seem to buy or bully his way into the market the Italians have locked up. He uses his political influence to bring further pressure to bear, and when the local police Chief, portrayed by Clancy Brown, now making a career of playing lawmen and prison guards, is assassinated he'll use the law of the courts and if that fails - the mob, to get his way. This true story is a strong testament to the slimy underside of the 'land of opportunity'. The combination of the posionous weeds of bigotry and the greed of finance capital proves a deadly one as a handful of Italians, including Walken's key business rivals, are rounded up for the murder of the Chief. An excellent courtroom drama makes up for an uninteresting romance between a young Italian boy and Irish girl that the film uses to lighten the load. The sterling performances of Clancy Brown and Bruce Davison, unrecognizable despite his dozens of TV movie appearances, in a tour de force role as defense attorney, earn this drama it's fourth star.

When we hear of lynchings we often think of African-Americans being strung up by the KKK. But the biggest mass lynching by a vigilante mob in the U.S. happened in 1890 to the Italian immigrants of New Orleans. HBO should be commended for having to courage to make a film about the most tragic time in Italian-American history.

In the film, 20 Italians were arrested at random and put on trial for the shooting murder of Police Chief Hennessy, an Irishman who may have been prejudiced towards Italians but would not lock them up unless he had concrete evidence against them. In other words, conspiracy and membership in a group whose name was heard for the first time--the Mafia.

In the trial, the Italians were acquitted. But that didn't stop a crazed vigilante mob from breaking into the city jail with shotguns and blowing them all away. (The film, however, shows that two do survive.) When the king of Italy heard about this he almost started a war with the US. Instead, then President Benjamin Harrison gave $25,000 in restitution, and everyone forgot about it. But not the Italians who witnessed the bloodshed for themselves. It's too bad the Mafia weren't there at that time; they could've fought back.

All the trouble starts when Mr. Houston, played by Christopher Walken, wants to get control of the docks which are run successfully by Mr. Macheca and the Provenzano family. He relies on the corrupt law system, but even the DA, played by Edward Herrmann, believes there's no case. He says, "Why would Macheca be with the Mafia? He's rich. He's got nothing to gain and everything to lose." The prejudice of the city fathers is remarkable. They always refer to Italians as either dagos or Italians with "I" pronounced like "eye".

In the end Mr. Houston takes over the business which Macheca built up from the bottom by himself. A statue is raised to the memory of Hennessy; but is there a monument in New Orleans to the killed Italians? It's amazing to see how some people thought nothing of toting shotguns and committing murder. Viewers of the film "Rosewood" will find this familiar ground.

One more thing: Unlike other ethnic groups, Italians have never bought into the cult of victimology. They do not issue calls for reparations. But every Italian-American should be aware of what happened a century ago in New Orleans. To this day there are still morons who believe that all Italian-Americans are part of the Mafia. And TV shows like "The Sopranos", now matter how riveting, do not help the image of these people, either. If you are Italian, and you see this movie, you will cry like the Jews after the Holocaust--"Never Again! Never Again!".

This film is a forgotten contribution to public understanding of the history no history teacher wants to tell you. That is precisely why you need to see this movie. While it is not at the same quality level as "Gangs of New York" there are definitely highlights of quality work. Christopher Walken has a special style of playing villains. When you are ready to shoot him, you have to realize he just "got you." This is the mark of a real actor in a villain role. This is basically one of the most compelling stories of political corruption, and was the largest lynching in American history. Many good Italian American families suffered in the process.

Turn of the century New Orleans boasts a bustling port, a key revenue maker for the up and coming Italian immigrants struggling to cross the barriers installed by the WASP establishment and now tolerated Irish. Christopher Walken plays the key figure in the established world of commerce who can't seem to buy or bully his way into the market the Italians have locked up. He uses his political influence to bring further pressure to bear, and when the local police Chief, portrayed by Clancy Brown, now making a career of playing lawmen and prison guards, is assassinated he'll use the law of the courts and if that fails - the mob, to get his way. This true story is a strong testament to the slimy underside of the 'land of opportunity'. The combination of the posionous weeds of bigotry and the greed of finance capital proves a deadly one as a handful of Italians, including Walken's key business rivals, are rounded up for the murder of the Chief. An excellent courtroom drama makes up for an uninteresting romance between a young Italian boy and Irish girl that the film uses to lighten the load. The sterling performances of Clancy Brown and Bruce Davison, unrecognizable despite his dozens of TV movie appearances, in a tour de force role as defense attorney, earn this drama it's fourth star.

When we hear of lynchings we often think of African-Americans being strung up by the KKK. But the biggest mass lynching by a vigilante mob in the U.S. happened in 1890 to the Italian immigrants of New Orleans. HBO should be commended for having to courage to make a film about the most tragic time in Italian-American history.

In the film, 20 Italians were arrested at random and put on trial for the shooting murder of Police Chief Hennessy, an Irishman who may have been prejudiced towards Italians but would not lock them up unless he had concrete evidence against them. In other words, conspiracy and membership in a group whose name was heard for the first time--the Mafia.

In the trial, the Italians were acquitted. But that didn't stop a crazed vigilante mob from breaking into the city jail with shotguns and blowing them all away. (The film, however, shows that two do survive.) When the king of Italy heard about this he almost started a war with the US. Instead, then President Benjamin Harrison gave $25,000 in restitution, and everyone forgot about it. But not the Italians who witnessed the bloodshed for themselves. It's too bad the Mafia weren't there at that time; they could've fought back.

All the trouble starts when Mr. Houston, played by Christopher Walken, wants to get control of the docks which are run successfully by Mr. Macheca and the Provenzano family. He relies on the corrupt law system, but even the DA, played by Edward Herrmann, believes there's no case. He says, "Why would Macheca be with the Mafia? He's rich. He's got nothing to gain and everything to lose." The prejudice of the city fathers is remarkable. They always refer to Italians as either dagos or Italians with "I" pronounced like "eye".

In the end Mr. Houston takes over the business which Macheca built up from the bottom by himself. A statue is raised to the memory of Hennessy; but is there a monument in New Orleans to the killed Italians? It's amazing to see how some people thought nothing of toting shotguns and committing murder. Viewers of the film "Rosewood" will find this familiar ground.

One more thing: Unlike other ethnic groups, Italians have never bought into the cult of victimology. They do not issue calls for reparations. But every Italian-American should be aware of what happened a century ago in New Orleans. To this day there are still morons who believe that all Italian-Americans are part of the Mafia. And TV shows like "The Sopranos", now matter how riveting, do not help the image of these people, either. If you are Italian, and you see this movie, you will cry like the Jews after the Holocaust--"Never Again! Never Again!".