Frankenstein and the Monster from Hell (1974)

Hammer’s seventh and last Frankenstein feature was also director Terence Fisher’s last ever sitting in the big chair. His contribution to the franchise and to the studio's success is impossible to overstate.
What’s also to be applauded is the return of Cushing to the role of the Baron. The modest budget and awful creature effects made it even more important to have such a redoubtable character actor as a focal point. He delivers.
He’s hiding out in a hospital for the criminally insane. Well, he’s not exactly hiding, the building houses people that society at large ignores, which is the perfect environment for the Baron to continue his work uninterrupted. As such, the primary threat to his efforts are ones of his own making.
Despite a less gothic setting there’s a noticeable return to the glory days of Hammer, and a welcome reintroduction of a tragic aspect to the creature.

3½ private works out of 5

Taste the Blood of Dracula (1970)

Not for the first time, if you skipped the previous film in the series, Dracula Has Risen from the Grave (1968), you’ll have the ending of it utterly spoiled by the beginning of the one that followed; i.e. Taste the Blood.
A trio of bordello regulars take their fascination for all things lecherous and ungodly to the next level, simultaneously giving Hammer the opportunity to add black magic and Satanism to their Vampire franchise. You have to give them credit for not resting on their laurels each time.
There’s an aggressive attitude to proceedings, not just in the mannerisms of the characters but in the way it’s shot and in how the Count returns from his semi-death. Lee's role is smaller than before, but it's memorable.

3½ bourgeoisie errors out of 5

The Vampire Lovers (1970)

Hammer Horror starring Scream Queen Ingrid Pitt and featuring the wonderful Peter Cushing. The film attempts to disguise its lack of plot by having Ingrid’s cleavage heaving all over the frame and lusty busty lesbian embraces, but anyone over the age of twelve will see through that instantly.
Besides its enjoyably shameful tactics it’s a fun frolic through the vaults of alternative vampire lore in the usual Hammer style.
It’s the first part of the loosely connected Karnstein Trilogy; the others are Lust for a Vampire (1971) and Twins of Evil (1972).

3 not very clever pseudonyms out of 5