The Two Faces of Dr. Jekyll (1960)

aka House of Fright / Jekyll's Inferno

A Hammer Studios production based on Robert Louis Stevenson's tale, starring Paul Massie as both the Dr. Henry Jekyll and Mr. Edward Hyde characters.
Some intriguing concepts are discussed prior to the inevitable potion and transformation scene, including thoughts on how shame and morality might connect to notions of personal freedom. The talking sections are used to highlight how two opposing forces struggle for supremacy in each and every one of us, a conflict that gets its manifestation in a surprising way, when compared with cinema's handling of the same in previous years.

2½ locked-door keys out of 5

Gor (1987)

A limp Physics Professor with a calculator wristwatch and magic ring is weirdly transported to planet Gor where he rubbishes his way through a barbarian training montage, eventually becoming a saviour of the people.
The sci-fi/fantasy yarn isn't that bad, at least no worse than a lot of other films in the same crossover genre, it's when someone speaks that things go very South. The unlikely hero is about as tough as a wet tissue and the villains as threatening as a week-old cheesecake at sale price.
It features Ollie Reed as a tyrant with a love of athletic slave women and silly plastic armour; he does okay, all things considered.

1½ branded thighs out of 5

Castaway (1986)

Who wouldn't want to trade the filth of city life for a desert island? I'm not sure I’d want to do it with Gerald (Ollie Reed), though, especially if I was female. Lucy (Amanda Donohoe) does just that. Gerald’s laziness and increasing desire for sex push their relationship to breaking point.
The two leads give it their all, but the story just isn't very exciting.
It’s Roeg’s cross-cutting technique that surfaces as the most interesting aspect of the film. It’s not his best work, but his contrasts are always interesting to me and the island setting is well-suited to his talents.

2½ stormy nights out of 5

The Pit and the Pendulum (1991)

Having grossed us out with Lovecraft more than once, Stuart Gordon moved onto Edgar Allan Poe. Keeping it faithful to the period meant he could present the Spanish Inquisition in all its terrible glory.
Lance Henriksen’s Grand Inquisitor Torquemada is a lecherous, masochistic bundle of moral and religious contradictions that embodies well the kind of obsessional traits that haunt many of Poe’s literary characters. His fascination with the beautiful Maria (Rona De Ricci) will leave no one in any doubt where the film is headed, but it pendulums (*ahem) in quality.
If you like it, Gordon’s Masters of Horror episode, The Black Cat (2007), saw him return to Poe, along with Jeffrey Combs.

3 nipples for Satan out of 5

The Brood (1979)

A film that explores the manifestations of Rage and the violent impact it has on society, particularly the family unit, in an unconventional way.
It’s a candid blend of autobiographical realism and fantastical psychological horror that turns the intimate into something perverse, as only David Cronenberg can.
Ollie Reed is perfectly cast as a doctor that dabbles in some rather odd therapy techniques. His primary subject, Samantha Eggar, gives a performance that will shock and repulse most viewers.

3 bumps out of 5

The Big Sleep (1978)

Robert Mitchum's second outing as Raymond Chandler's Philip Marlowe was poorly received at time of release, but that doesn't stop me loving it.
Director Winner transposed events from California to London and updated it to a modern setting. I think it works. It shows that Noir storytelling can be effective even when bastardised by a pompous Brit. It's also much more graphic than the earlier Howard Hawks version.
Mitchum's intensity is restrained but his methodological effectiveness isn't; he's no time for fools and he makes every word count.

4 long drives out of 5

GLADIATOR [2000]

Director Ridley Scott brings the historical epic drama back to the big screen in the hugely successful Gladiator.  

Russell Crowe does a fantastic job at portraying the larger-than-life lead role of Maximus while still scaling the character down to give him an every man feel.  With some extravagant sets & costumes, beautiful photography and hypnotizing score courtesy of Hans Zimmer & Lisa Gerrard, Gladiator sets out to entertain and it does so with jaw-dropping flair that will leave an impression for many years to come. 

4 wheat fields out of 5

Women in Love (1969)

Two sisters and two men become intertwined in each other’s lives and the nature of love and commitment is explored from a number of different perspectives. All four of the main cast are on top form.
It gets a little flabby three quarters of the way in but not enough to warrant a press of the FFWD button. Very British. Very good.

4 fireside struggles out of 5

Tommy (1975)

Tommy is psychosomatically deaf, dumb and blind but he plays pinball like a boss; and he has Jesus hair.
Ken Russell and Oliver Reed team up again, this time for a musical with the “rock opera” of the The Who as a basis; I can’t imagine how that came about. Ollie Reed’s singing voice isn't great, but it suits his character. Ann-Margret does a fantastic job with her part as a guilty mom.
Much of the fail comes from the musical guests; Eric Clapton and Tina Turner’s sections are especially awful.
It makes sense that the band chose a British director, but I would have thought Russell way down the list. He brings his usual unique/genius/film whore technique into play and mostly it’s a success. I like it.

4 suds and mud and beans to bathe in out of 5

The Devils (1971)

Violent, offensive, sexual and blasphemous - all the good things all in one place. Plus, Ollie Reed! Yes, he was maybe a useless drunk in real life, but he could play a bastard onscreen better than anyone of his era. He delivers his lines with a Shakespearean feather in his cap.
Many films mistake shock value for quality; The Devils has both.
Perfect Sunday viewing. Deserves its place in my top 100.

4½ finger frenzied nuns out of 5