The Curse of Frankenstein (1957)

A trio of firsts for Hammer: their first horror in colour, their first Frankenstein film and the first of their productions to feature Christopher Lee.
The story is a confessional flashback, meaning the Baron’s evolution from cultivating an infectious curiosity to succumbing to an isolating obsession is paced by his own telling, working inexorably toward the creature’s reveal. Universal forbade the use of their existing iconic image, so Hammer had to make their own more gruesome version, sans 'neck-bolts'.
It’s money that enables the Baron to carry out his work; had he been a pauper the creature would never have been born, because meddling in pure science at that level is the preserve of the rich.

4 energies turned out of 5

The Masque of the Red Death (1964)

Masque isn't just the best of Corman’s Poe adaptations, it’s arguably the best film he ever made, period! Equal credit must go to cinematographer Nicolas Roeg for the stunning array of colour that he helped realise. By bringing hues typically found in the costume department to every facet of the production the two men created a thing of beauty. It’s never lurid; it’s as striking as fresh blood on white lace would've been to an audience used to B+W.
Even the performances are colourful. Vincent saturated his character with a vile substance; he's a Prince of vices in the service of an even greater one.

5 changing rooms out of 5

The Raven (1963)

It begins with Vincent reciting the classic poem in a suitably spirited way, but afterwards becomes something very different: it’s a spoof of what Corman had achieved with the Poe works prior to it. It’s 80+ minutes of great men goofing around, playing scenes for laughs but failing to hit the funny-target most of the time. Price and Lorre appear to be enjoying themselves; Karloff not so much; me even less, despite having expectations adjusted after suffering through a previous disappointed viewing many years ago.

1½ stirrings out of 5

The Premature Burial (1962)

Just as dwelling on a problem can make it appear loftier than it actually is, an irrational fear can drive an otherwise sharp mind from being merely perturbed about something into realms of utter madness... Poe-esque madness.
Vincent was tied to contract elsewhere, so the role went to Ray Milland. He brought a very different aspect; he’s more sedate, more subliminally creepy, perhaps, but much less dramatic. The main problem, however, is that the film is too similar to what came before, which lessens its impact. It would be best to leave some time between viewing, but I didn't.
The recurring musical trigger is an obvious nod to Lang; I liked that a lot.
The notion of insanity must've been contagious; whoever was responsible for the dry ice was clearly suffering from some form of it.

3 alternative strategies out of 5