The Strange Case of Dr. Jekyll and Mr. Hyde is a 1968 Canadian/American television horror film directed by Charles Jarrott based on a teleplay by Ian McLellan Hunter (The Amazing Mr. X), based on Robert Louis Stevenson’s 1886 novella of the same title. The Dan Curtis production stars Jack Palance, Denholm Elliott, Leo Genn and Billie Whitelaw. Dr. Henry Jekyll experiments with scientific...

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The Possessed is a 1977 American made-for-TV supernatural horror feature film directed by Jerry Thorpe from a screenplay by John Sacret Young, The movie stars James Farentino, Joan Hackett, Diana Scarwid, and Harrison Ford. Plot: Kevin Leahy, an alcoholic Catholic priest who has strayed from his faith, crashes his car and is pronounced dead at the scene. As penance, he is sent back to Earth to...

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Cruise Into Terror – aka Voyage Into Evil – is a 1978 American made-for-television horror feature film directed by Bruce Kessler (Deathmoon; Kolchak: The Night Stalker; Simon, King of the Witches) from a screenplay by Michael Braverman. The movie stars Dirk Benedict, Frank Converse, John Forsythe and Christopher George. Gerald Fried (Maneaters Are Loose!; Survive!; The Baby)...

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Devil Dog: The Hound of Hell is a 1978 American made-for-television supernatural horror feature film directed by Curtis Harrington (Ruby; The Dead Don’t Die; The Cat Creature; Night Tide; et al) from a screenplay by Stephen and Elinor Karpf (Gargoyles). The movie stars Richard Crenna, Yvette Mimieux, Kim Richards and Ike Eisenmann. Artie Kane (Eyes of Laura Mars; The Bat People) composed the...

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‘Guess who’s back? The nightmare continues…’ When a Stranger Calls Back is a 1993 American made-for-cable-television psychological horror feature film written and directed by Fred Walton, based on characters he created with Steve Feke for the 1979 cult film, When a Stranger Calls. Carol Kane and Charles Durning reprise their roles in this sequel which also stars Jill...

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Ritual of Evil is a 1970 American made-for-television horror feature film directed by Robert Day (The Initiation of Sarah; Fear No Evil; Grip of the Strangler) from a screenplay by Robert Presnell Jr., based on characters created by Richard Alan Simmons. Produced by David Levinson, the Universal movie stars Louis Jourdan, Anne Baxter, Diana Hyland andWilfrid Hyde-White. Plot: Psychiatrist Dr.

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The House That Would Not Die – aka The House That Wouldn’t Die – is a 1970 American made-for-television horror feature film directed by John Llewellyn Moxey (I, Desire; Home for the Holidays; The City of the Dead) from a screenplay by Henry Farrell (How Awful About Allan; Hush… Hush, Sweet Charlotte; author of What Ever Happened to Baby Jane? novel), based on the 1968 novel Ammie...

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Culture Shock aka Into the Dark: Culture Shock is a 2019 American horror feature film directed by Gigi Saul Guerrero (making her feature debut) from a screenplay co-written with Efren Hernandez and James Benson. The movie stars Martha Higareda, Richard Cabral, Shawn Ashmore, Barbara Crampton and Creed Bratton. Into the Dark is a horror event series from prolific producer Jason Blum’s independent...

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‘They said it was over. They were wrong.’ Omen IV: The Awakening is a 1991 American supernatural horror feature film directed by Jorge Montesi (Night Visitors; Friday the 13th: The Series) and Dominique Othenin-Girard (Halloween 5: The Revenge of Michael Myers; After Darkness) from a screenplay by Brian Taggert, based on a storyline co-written with Harvey Bernhard. The movie stars Faye...

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Trilogy of Terror II is a 1996 American horror anthology made-for-cable feature film, and a sequel to the 1975 television film, Trilogy of Terror, both directed by Dan Curtis (Dead of Night; Burnt Offerings; Bram Stoker’s Dracula; House of Dark Shadows; et al). The film was co-written by Curtis and William F. Nolan (The Norliss Tapes; The Turn of the Screw; Burnt Offerings) except for ‘Bobby&

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Caved In aka Caved In: Prehistoric Terror is a 2006 American-Canadian horror feature film about a group of criminals seeking huge emeralds in an old mine guarded by giant beetles. Directed by Richard Pepin (The Sender, 1998; Dark Breed; Cyber Tracker and its sequel) from a screenplay written by Neil Elman (House of the Witch; Lavalantula and sequel; The Sea Beast; et al).

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Buy VHS: Amazon.com The Dead Don’t Die is a 1975 made-for-television neo-noir American horror film set in the 1930s directed by Curtis Harrington (Night Tide; Whoever Slew Auntie Roo?; The Killer Bees) from a screenplay by Robert Bloch (based upon Bloch’s story of the same name that first appeared in Fantastic Adventures, July 1951). Bloch’s opinion of the movie is given in his...

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8216;This house belongs to her’ House of the Witch is a 2017 American made-for-TV horror feature film about a haunted house inhabited by a demonic witch. Directed by Alex Merkin (No Escape Room; House of Bodies; Across the Hall) from a screenplay written by producer Neil Elman (Lavalantula and sequel; I Spit on Your Grave 2; Mongolian Death Worm; Caved In; et al)...

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8216;Ghouls just want to have fun…’ In the Midnight Hour is a 1985 American made-for-TV comedy horror feature film about a witch’s curse that brings the dead back to life. Directed by Jack Bender (Mr Mercedes TV series; Child’s Play 3; Deadly Messages) from a teleplay written by William Bleich (Poltergeist: The Legacy TV series; From the Dead of Night; The Hearse)...

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Into the Dark: Pilgrim is a 2019 American horror feature film about a Thanksgiving dinner that turns into a nightmare. Pilgrim is the latest instalment of the second season of Blumhouse’s ‘Into the Dark‘ horror anthology series which is aired by Hulu. Directed by Marcus Dunstan (The Collector and sequels; Saw sequels) from a screenplay co-written with Noah Feinberg and Patrick Melton...

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8216;There’s no escape’ Glass Trap is a 2005 American science-fiction comedy horror feature film about an army of radioactive ants in a skyscraper. Directed by Fred Olen Ray (as Ed Raymond) from a screenplay written by Lisa Morton and Brett Thompson. The made-for-TV movie stars C. Thomas Howell (Attack of the Killer Donuts; Bigfoot Wars; Camel Spiders), Stella Stevens (Megaconda.

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Scream Factory is releasing Frankenstein: The True Story on Blu-ray on March 24th 2020. As usual, the sleeve sports a choice of artwork, with a new design by Mark Maddox and the original on the reverse. Extras will be announced nearer the release date.

Meanwhile, here’s our previous coverage of the movie:

Frankenstein: The True Story is a 1973 British-American made-for-television horror feature film loosely based on the novel Frankenstein by Mary Shelley. It was directed by Jack Smight, and the screenplay was co-written by novelist Christopher Isherwood and Don Bachardy.

The movie stars Leonard Whiting, Jane Seymour, David McCallum, James Mason and Michael Sarrazin.

The character of Doctor Polidori, who did not appear in the original novel, was based on the character of Doctor Pretorius from Universal Pictures Bride of Frankenstein but named after the real-life John Polidori, an acquaintance of author Mary Shelley who was part of the competition that produced her novel. Polidori’s own contribution was the first modern vampire story The Vampyre (1819).

A notable feature of the production is that, instead of being ugly from the start, the Creature is portrayed as physically beautiful but increasingly hideous as the film progresses, similar to the plotline in Hammer Studios’ The Revenge of Frankenstein. The make-up was by Hammer horror veteran artist Roy Ashton.

It was originally broadcast in two 90-minute parts but is often seen edited into a single film. Its DVD debut date was September 26, 2006. Included at the beginning is a short intro featuring James Mason wandering through St. John’s Wood churchyard, London. He suggests that this is where Mary Shelley is buried, which is incorrect (she is in fact buried in the family plot in Dorset).

Plot:

Victor Frankenstein is a man training as a doctor, engaged to Elizabeth Fanshawe. After Victor’s younger brother, William, drowns, Victor renounces his belief in God and declares that he would join forces with the Devil if he could learn how to restore his brother to life.

Shortly afterwards, Victor leaves for London to train in anatomy. He immediately meets a scientist named Henry Clerval, who Victor later learns has discovered how to preserve dead matter and restore it to life.

As Victor becomes fascinated by Clerval’s experiments Clerval reveals his ultimate plan: creating a new race of invincible, physically perfect beings by using solar energy to animate “the Second Adam” constructed from parts of corpses. Clerval is unable to complete it on his own due to a worsening heart condition. Frankenstein volunteers to help and the lab is completed.

Word reaches the pair that several peasant lads have been killed in a mine collapse. After their burial, the doctors quickly dig up the bodies and stitch together a physically perfect human. The night before the creation, however, Clerval discovers in a most disturbing way that a reanimated arm set aside for weeks during the construction of the lab and of “Adam”, has become diseased, unsightly and deformed. Shocked and overcome, Clerval suffers what appears a heart attack, and unable to get his medication on time dies in the middle of recording his horrible discovery in the journal.

The next morning, Victor finds Clerval’s body and misreads the incomplete journal entry (“The process is r–“) as meaning “the process is ready to begin” rather than the intended meaning of“reversing itself”. Since neither of them wanted the perfect body to have the brain of a peasant, Victor transplants Clerval’s brain into their creation and he is able to complete the experiment. Victor introduces his creation into high-class London society, passing him off as a friend from a far-off country with little grasp of English.

Victor’s sweet and guileless creation wins the admiration of London’s elite class, but Victor soon discovers the still-living but now repulsive arm in Clerval’s cupboard. He realises some flaw in the process causes it to reverse itself…

Buy DVD: Amazon.co.uk

Reviews [click links to read more]:

“For a while it comes on like bad Hammer, until the arrival of the monster – a handsome lad, but the process is reverting – perks things up considerably. Particularly memorable is a scene where the monster’s demurely virginal Bride sings ‘I Love Little Pussy, Her Coat Is So Warm’, before gleefully attempting to strangle a sleepy Persian and lasciviously licking a drop of mauve blood from her scratched arm…” Time Out

“Michael Sarazin’s monster is the most believable I’ve yet seen, Leonard Whitting hits just the right combination of drive and naivety as Frankenstein himself, Ralph Richardson invests Lacey with a humble species of dignity that only British actors seem to be able to pull off, and even daffy old Agnes Moorehead does a good job as daffy old Mrs Blair.” 1000 Misspent Hours and Counting

“Overlong, handsomely mounted reworking of the Shelley story that takes too long to get going and then goes nowhere.” Alan Frank, The Horror Film Handbook, Batsford, 1982

“The True Story is best enjoyed not as a straight adaptation, but as a different take on the same idea. It is not without flaws. The dialogue is occasionally stilted, no effort is made to make the animation of the two creatures look like anything but cheap science fiction…” The Terror Trap

” … if you’re not put off by the lengthy running time and can appreciate 1970s made-for-TV production values it can be quite engrossing, and, despite not having the gore of the Hammer films or the quirky charm of the original Universal films, it hits the right beats and doesn’t do the story any harm at all.” One Metal

Cast and characters:

• James Mason … Dr. John Polidori
• Leonard Whiting … Dr. Victor Frankenstein
• David McCallum … Dr. Henri Clerval
• Jane Seymour … Agatha / Prima
• Nicola Pagett … Elizabeth Fanschawe
• Michael Sarrazin … The Creature
• Michael Wilding … Sir Richard Fanshawe
• Clarissa Kaye-Mason … Lady Fanschawe (as Clarissa Kaye)
• Agnes Moorehead … Mrs. Blair
• Margaret Leighton … Francoise DuVal
• Ralph Richardson Ralph Richardson … Mr. Lacey
• John Gielgud … Chief Constable
• Tom Baker … Sea Captain
• Julian Barnes … Young Man
• Arnold Diamond … Passenger in Coach
• Yootha Joyce … Hospital Matron
• Peter Sallis … Priest
• Dallas Adams … Felix
• Derek Deadman … 1st Seaman (uncredited)
• Paddy Joyce … 1st Helper (uncredited)
• Norman Rossington … Seaman (uncredited)
• Elizabeth Spender … Ballroom Guest (uncredited)
• Jeremy Young … 2nd Helper (uncredited)

The post Frankenstein: The True Story – UK | USA, 1973 – reviews and Scream Factory Blu-ray news appeared first on MOVIES & MANIA.

‘A long time ago, in a galaxy far, far away…’

The Star Wars Holiday Special is a feature-length television programme aired once (and only once) on American television on November 17th 1978.

I saw a charming young lady from Canada the other day with a Star Wars T-shirt featuring one of the more recent JJ Abrams-trilogy characters. Which started me on an accustomed rant: What if there were a Star Wars movie sooooo bad that it was only screened widely once… just once. And never again. Most evidence for its existence has been erased from the Star Wars universe. Only bootleg copies and internet uploads testify to its existence. I think I rather frightened the aspiring young Jedi/Jedienne from Toronto with my description. “You’re not exactly selling this very well,” I think she said.

Nonetheless, it is true, a chapter in the Star Wars saga untouted and, for the most part, unloved. Even though it reunites Mark Hamill, Harrison Ford, Carrie Fisher, Anthony ‘C3PO’ Daniels and Peter ‘Chewbacca’ Mayhew, and perhaps a few seconds of James Earl Jones’ voice.

It’s the infamous Star Wars Holiday Special, broadcast near Christmas, 1978, by CBS television. And never repeated. George Lucas’ reported shame over this shot-on-high-end-videotape, semi-musical (!) production reached urban-legend proportions. Wide-eyed fanboys would whisper tales about how the introvert mogul prevented any possible revival of the Holiday Special by personally destroying any available copies.

But there existed a network of people – think of them as a Rebel Alliance – who owned those old top-mounting VCRs back during the President Carter administration and knew well how to use them for such momentously important airings. They saved the Holiday Special during its one and only airing. And, thus, in the comic-con underground and via private collectors and obsessives, third and fourth-generation home recordings of the infamous affair circulate in VHS and DVD form. And it’s even occasionally online too.

Timing of the airing of the Holiday Special, just before the American Thanksgiving holiday, inspired the loose plot: Chewbacca must go to his home planet to celebrate “Life Day.” As Han Solo pilots the Millenium Falcon through a blockade of Star Wars movie clips (which was cheaper than shooting fresh F/X dogfight scenes, after all), Chewie’s treetop-dwelling Wookiee family – wife Malla, father Itchy and son Lumpy endure a Gestapo-style branch-to-branch search by Imperial Stormtroopers. One is to assume the Empire is very cross at their Death Star just having been exploded.

We observe a typical, middle-class Wookie household. Dirty old Itchy sits in a virtual-reality chair and experiences a suggestive serenade by the (recently deceased) singer-actress Diahnne Carroll, far from Las Vegas and Broadway. With the use of his controls, lascivious Itchy makes the image coo to him “I adore you! I adore you!“ repeatedly.

Malla, in an apron, tries to follow a TV cooking show acted out by a malfunctioning droid (comic actor Harvey Korman). Lumpy scans Rebel cartoon-comics that depict further perils of Luke Skywalker.

This animated portion is treasured by Star Wars completists for introducing galactic bounty hunter Boba Fett, prominent later in Lucasfilm mythology. The animation was accomplished by Nelvana, the Canadian studio responsible for adult-oriented cartoon features Heavy Metal and Rock and Rule and a television spinoff of Beetlejuice. It is definitely a notch above what passed for kids-TV animation being peddled by Hollywood at the time, although this is faint praise indeed.

Less venerated: an interlude at the famed Mos Eisley cantina, which allows viewers to savour Stuart Freeborn’s alien-makeup creations (along with a few newcomers whipped up by Rick Baker) under flat lighting that tends to emphasize how fake they really are. And who happens to own the cantina but American TV sitcom star Bea Arthur, who, as Imperial Stormtroopers browbeat her into calling it a night, sings a torchy closing-time song in Marlene Dietrich fashion. And who plays her suitor, who pours his drink directly into a hole atop his head? Harvey Korman again.

Assorted television scriptwriters and directors apparently put the whole entertainment together without much of a clue as to what the Stars Wars mystique is all about besides space creatures and bizarre costumes. In fact, the Holiday Special‘s original director, David Acomba, quit over “artistic differences” and was replaced by Steve Binder, who had created the legendary Elvis Presley 1968 Comeback Special that in the views of most critics, rescued the legacy of the King of Rock and Roll from years of negligible film vehicles. Binder was very, very good for Elvis. Less so for Leia (and yes, Carrie Fisher sings a sort of Wookie Life Day carol, and it does not go over well).

There are some interesting aspects. In an infamous detail that George Lucas himself was allegedly uncompromising about, the Wookies speak throughout their segments in their usual animalistic growls and barks, with no English subtitles whatsoever. The treatment credits the audience with enough brains to figure out from the context what they’re yelping about. This, for many viewers, is the most intolerable thing about The Holiday Special; one newcomer to it told me she found the Wookie scenes like “a bad acid trip.”

Yet, only a few years later, Besson’s Le Dernier Combat and Annuad’s Guerre de Feu/Quest for Fire would also present fantastic narratives entirely in sub-verbal, mime format, and were widely acclaimed. Perhaps if only CBS had hired a French director? No, probably not.

I suppose I am not doing a very good job selling The Star Wars Holiday Special as a viewing experience. When I last looked, an entire namesake website devoted to the Holiday Special had gone up, and perhaps it exhibits more enthusiasm.

For those brave enough, here are some technical details, such as they are. A VHS version I bravely secured ran about 90 minutes. Length, not to mention picture quality, may vary. Sometimes the “generation loss” of multiple VCR-to-VCR transfers fuzzes the images into a brownish scanline haze. Some bootlegs added related ephemera like the commercials for Kenner Star Wars toys featuring a very young and of course then-unknown Christian Slater.

Charles Cassady Jr., MOVIES & MANIA

Cast and characters:

• Mark Hamill … Luke Skywalker
• Harrison Ford … Han Solo
• Carrie Fisher … Princess Leia Organa
• Anthony Daniels … C-3PO
• Peter Mayhew … Chewbacca
• James Earl Jones … Darth Vader (voice)
• Bea Arthur … Ackmena (as Beatrice Arthur)
• Art Carney … Saun Dann
• Diahann Carroll … Mermeia Holographic Wow
• Marty Balin … Holographic Band Singer (as The Jefferson Starship)
• Craig Chaquico … Holographic Band Member (as The Jefferson Starship)
• David Freiberg … Holographic Band Singer (as The Jefferson Starship)
• Paul Kantner … Holographic Band Member (as The Jefferson Starship)
• Harvey Korman … Krelman / Chef Gormaanda / Amorphian Instructor
• Mickey Morton … Malla

The post The Star Wars Holiday Special – USA, 1978 – review appeared first on MOVIES & MANIA.

Into the Dark: Good Boy is a 2020 American horror feature film about a young woman whose emotional support dog turns out to be nasty.  Good Boy is the latest instalment of the season of Blumhouse TV’s ‘Into the Dark‘ horror anthology series.

Directed by Tyler MacIntyre (Tragedy Girls; Patchwork) from a teleplay by Aaron Eisenberg and Will Eisenberg, the movie stars Judy Greer (Halloween Kills; Halloween 2018; War for the Planet of the Apes), Steve Guttenberg, Ellen Wong, Maria Conchita Alonso (The Lords of Salem; Predator 2; The Running Man), Elise Neal, McKinley Freeman and Chico.

Plot:

Maggie (Judy Greer) gets herself an emotional support dog to help quell some of her anxiety. She finds him to be even more effective than she imagined… because unbeknownst to her, he kills anyone who adds stress to her life…

Release:

Into the Dark: Good Boy will stream on Hulu on June 12th 2020 during Pet Appreciation week.

Reviews [click links to read more]:

There are no reviews of Good Boy available currently; please bookmark MOVIES and MANIA and return again soon for a range of independent, aggregated reviews.

Related:

Tragedy Girls – USA, 2017 – reviews

Patchwork – Canada | USA, 2015 – reviews

The post Into the Dark: Good Boy (2020) – preview with first trailer appeared first on MOVIES and MANIA.

The Woman in Black is a 1989 British TV movie and is the first adaptation of the Susan Hill novel that is better known as the source for the hugely successful 2012 Hammer film. Interestingly, the screenplay is by Nigel Kneale, who of course had a long history with Hammer Films through the 1950s and ’60s.

The story follows young solicitor Arthur Kidd (Adrian Rawlins), who is sent to a small English market town to attend the funeral of client Mrs Drablow, and deal with her estate at the remote Eel Marsh House, readying the property for sale. It becomes clear that the old woman had no local friends, and only Kidd and Mr Pepperall (John Cater), a local solicitor attend the funeral – though Kidd sees a mysterious third mourner, a woman. However, mention of her sees to unnerve Pepperall.

Upon visiting the house – cut off by high tides for all but a few hours a day – Kidd soon begins to understand why the locals were so frightened, as the mysterious Woman in Black (Pauline Moran) seen at the funeral is seen again, and clearly seems to be a ghostly figure. Investigation of Mrs Drablow’s papers and wax cylinder recordings suggest a family tragedy, and he hears the ghostly sounds of a horse and buggy, along with its passengers, vanishing into the marshes.

Through Sam Toovey (Bernard Hepton), a local landowner he met on the train up from London, Kidd hears of the curse of The Woman in Black – Mrs Drablow’s sister, Jennet Goss, had given birth to a son but was unable to raise him. The Drablows adopted the boy but refused to allow his mother to ever reveal her true relationship to the child. Eventually, the desperate woman kidnapped the child but was caught in the rising tides as she fled. Her ghost now haunts the house, and whenever she is seen, a local child will die soon afterwards…

The Woman in Black was broadcast by ITV in the UK on Christmas Eve 1989. It was a popular and critical success but has only been re-run once (in 1994, by Channel 4) and although released on VHS video has never been made available on DVD in the UK – a US DVD did appear but is long deleted. Oddly, no-one thought to re-release it to cash in on the success of the more recent version.

We are therefore pleased to report that The Woman in Black will creep onto Blu-ray for the first time ever in a restored special edition, with an audio commentary from horror experts Mark Gatiss (Sherlock) and Kim Newman and star Andy Nyman. The package includes  booklet by Andrew Pixley and will be available exclusively from August 10th via Network

Review:

Unlike the 2012 film, this version of the story stays fairly true to the original novel, save for a few curious changes – the dog Spider has been changed from female to male, the lead character’s name is changed from Kipp to Kidd, there is no phonograph in the novel (this change was presumably to help dramatise scenes of Kidd reading through paperwork) and there are several other small changes and one or two dramatic alterations towards the ending of the film.

It is, however, much more of a faithful version of the story than the Hammer film, which makes a number of variations and goes for more cinematic shocks. As a result, this is a rather more low key affair than the better known recent version, aiming for a gradual creepiness than outright horror. There is only one, rather ineffective moment where the Woman in Black becomes a malevolent and upfront figure of horror rather than a haunting presence, a scene that director Herbert Wise, unfortunately, fluffs by allowing it to be too brightly lit and too long.

As such, the story is more realistic but perhaps less effective as a horror film for audiences raised on high-octane shockers. It is deliberately subtle and aims to be creepy rather than terrifying and explicit. As such, it fits well with Nigel Kneale’s other horror works. Although best known for his science fiction dramas such as the Quatermass series, Kneale had written several supernatural stories such as The Stone Tape in 1972 and the mid-Seventies TV anthology Beasts. The Woman in Black differs from these by being a period piece, but there is certainly a sense of connection between the works – the idea of ghosts being ‘recordings’ of the past that were explored in The Stone Tape seems to be again at play with the constantly replayed ‘recording’ on the tragedy on the marshes that is central here.

While this version of The Woman in Black seems destined to remain the most obscure adaptation, lost behind the 2012 film, the stage play and the original novel and currently unavailable from legal sources, it is nevertheless an interesting variant on the story that anyone who enjoyed the newer film – or admires the novel – would certainly find worth their while.

David Flint, MOVIES and MANIA

Other reviews:

“The Woman in Black is a seminal story, and this shot-on-film version is probably the best to date. With commendable restraint and taste, The Woman in Black elevates the material while staying true to the ancient roots of the genre.” Film Authority

“Thanks to solid performances, a superb adaptation by the legendary Nigel Kneale and Wise’s crisp direction on a presumably meager budget, this is one of the most underrated cinematic ghost stories out there, though the recent Hammer effort will hopefully raise some awareness.” Horror 101

“The film only turns out a couple of tepid scares with the appearances of the title figure (Pauline Moran). In its ventures inside said haunted house, this is a ghost story remarkably free of the spooky atmosphere one associates with a haunted house film.” Moria

“Together with an intentionally slow-moving atmosphere…and revealing itself methodically piece by piece, this film is a ghost tale of calculation as well as of spirit. The climax of The Woman in Black alone should assure its standing as a first-rate bone chiller.” The Terror Trap

Cast and characters:

Adrian Rawlins … Arthur Kidd
Bernard Hepton … Sam Toovey
David Daker … Josiah Freston
Pauline Moran … Woman in Black
David Ryall … Sweetman
Clare Holman … Stella Kidd
John Cater John Cater … Arnold Pepperell
John Franklyn-Robbins … Reverend Greet
Fiona Walker … Mrs Toovey
William Simons … John Keckwick
Robin Weaver … Bessie
Caroline John … Stella’s Mother
Joseph Upton … Eddie Kidd
Steven Mackintosh … Rolfe
Andy Nyman … Jackie (as Andrew Nyman)

Technical details:

102 minutes
Eastmancolor
Aspect Ratio: 1.33: 1
Audio: Mono

The post The Woman in Black (1989) reviews and Blu-ray news appeared first on MOVIES and MANIA.