The Viking Queen (1967)

Taking much of its inspiration from the folk hero Boudicca, Hammer Studio's story is set in Britain during the Roman occupation. The political sea change that's forced upon the country's native tribes results in an armed uprising led by Queen Salina, played by Finnish fashion model Carita Järvinen.
Amid the calls to war a romance blossoms, failing to add as much emotional conflict as it ought to have done. The blend of politics, religion, state, and family concerns is equally as underwhelming at times. I'm guessing the makers were aware of the failings, so added some side-boob to spice it up.
The exterior scenes feel authentic, whereas many of the interior scenes have the usual stage-like Hammer theatrics, the kind that I adore.

2½ blue bandits out of 5

Sinbad and the Eye of the Tiger (1977)

Columbia's third and final Sinbad movie with Ray Harryhausen as visual effects artist had the highest budget of the trio but is the least enjoyable overall.
The lead role was once again recast, with the softly-spoken Patrick Wayne now taking the helm. Wayne looked the part but was too passive to be believable as a legendary seafaring swordsman. It's perhaps for the best that the lazy script give him very little to do. Jane Seymour has great hair, but her princess role-play is less impressive. In fact, the entire cast give the impression that they're part of an elaborate and badly acted play.
The saving grace is that there's a lot of stop-motion, although the mythical creatures were lessened, replaced mostly with some less exotic prehistoric animals. It's perhaps one for Harryhausen fans only.

2½ cheers for Trog out of 5

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

Scars of Dracula (1970)

Scars does things a little differently. It has a priest that isn't a dick and it places at the beginning of the film what’s traditionally nearer the ending. The bulk of the rest is taken up by the more familiar hunt for a missing person; yes, the one that went to the castle despite being told not to.
One of the highlights is the semi-tragic character in the vampire’s employ played by a hairy Patrick Troughton. I suspect the Count’s recurrent need to have a weathered manservant at his beck and call and a busty lady in his parlour points to some deep-rooted psychological problems.
The villagers are equally troubled. Burn the STONE castle! Good idea, lads, that always worked in the past.

2½ shocking bats out of 5

The Omen (1976)

The film that single-handedly caused kids named Damien to get bullied at school, the Omen is a 1970’s suspense/horror film that relies on mood and pace to elicit an eerie sense of dread in the viewer. Gregory Peck is utterly believable as the Senator with an evil little shit for a son.
Throw in horror convention, a creepy nanny, a house that lacks life and a biblical poem and you have a classic that looks dated but still manages to shock and entertain. Goldsmith's score adds an extra layer of eerie.

4 kitchen utensils out of 5