6.8 | / 10 |
Users | 0.0 | |
Reviewer | 4.0 | |
Overall | 4.0 |
A Chamber of Horrors! Special in-film devices called The Fear Flasher and The Horror Horn cue viewers to the terror in this frightfest. A condemned man chops off his manacled hand (Fear Flasher! Horror Horn!) to escape, outfits his stump with tools designed to chop, rip and skewer, and goes on a death spree.
Starring: Patrick O'Neal (I), Cesare Danova, Wilfrid Hyde-White, Laura Devon, Patrice WymoreHorror | 100% |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
English: DTS-HD Master Audio 2.0 Mono (48kHz, 24-bit)
BDInfo
English SDH
Blu-ray Disc
Single disc (1 BD)
Region A (B, C untested)
Movie | 4.0 | |
Video | 4.5 | |
Audio | 4.5 | |
Extras | 3.5 | |
Overall | 4.0 |
1966’s “Chamber of Horrors” was originally intended to be the start of a television series, with the pilot exploring the detective skills of two men who run a Baltimore house of wax, remaining close to the ways of evil. When the show was deemed too dark for network T.V., a theatrical release was cooked up, necessitating the addition of a William Castle-style gimmick to help encourage curious customers to purchase a ticket. With the “Horror Horn” and the “Fear Flasher,” audiences were offered a chance to avoid promised on-screen violence, provided with warnings to get around the ghastly events making up the “Four Supreme Fright Points.” As with many of these superbly marketed B-movies, there isn’t really anything upsetting about “Chamber of Horrors,” but what’s refreshing about the endeavor is how well it’s put together. While it’s obviously intended for television, the film creates an engrossing tale of murder, revenge, and sleuthing with unusual participants, offering procedural elements and macabre ideas to secure interest in the ways of wax museum employees and the killer creep they’re hunting down.
The AVC encoded image (1.85:1 aspect ratio) presentation, "Chamber of Horrors" explores interesting textures during the story, dealing with human elements and wax figures, which retain a smoother, polished appearance. Skin particulars on the cast come through satisfactorily, with glamour and age open for inspection. Interior decoration is also appreciable, including the wax museum, which is filled with ornate displays. Period costuming is fibrous, surveying elaborate dresses and stiff, heavy suits. Colors are distinct, securing crisp primaries throughout, with directorial style choices offering bright reds. Clothing carries more varied hues. Skintones are natural. Grain is heavier and film-like. Source is in good condition.
The 2.0 DTS-HD MA mix delivers clear dialogue exchanges, helped along by distinct line deliveries by many of the performers. Scoring is a bit more aggressive, but instrumentation is appreciable, and volume never overwhelms the actors. The specific "Horror Horn" noise (which is awful) also handles with intended shrillness.
Jason's ultimate plan for his return to crime is intriguing, going extreme to make his presence understood. It sets up a compelling mystery to follow, broken up by occasional physical altercations, which offer the feature some jolts of action in a largely talky endeavor. What holds the production together is the cast, finding the actors really digging into their roles. Especially O'Neal, who seems to love playing a refined lunatic, making sure the character's illness pops off the screen. Equally entertaining is Hyde-White, who brings humor to "Chamber of Horrors" and thespian confidence, sharing agreeable chemistry with Danova. This professional and dramatic partnership was originally intended to carry on for multiple seasons of television, and the premise certainly supports such crime show escapism, as the ending attempts to open the door for weekly endangerment featuring the house of wax crew. It's a shame the show didn't happen, as "Chamber of Horrors" is an effective launch for a series, offering an askew depiction of heroism and criminal profiling. The "Horror Horn" and "Fear Flasher" are here to attract attention, but the movie ends up working just fine without the gimmicks.
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