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Slow pace in the most part of the movie.

Clever, believable, and super fun to watch. It totally has replay value.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

I was hoping that these newer Frankenstein movies would be better than the original Universal trash but I was very wrong. The only original idea in the entire movie is Victor marrying his cousin. Not a good idea but I don't recall that in the dozen or so other Frankenstein movies I have seen. To me the best thing about this movie is that it opens with on screen text telling us that Frankenstein is from Switzerland. THANK YOU! In all those old movies they never once mentioned where they were. Not that it matters. Just like in the rest, the majority of the people have British or American accents. The eyeball salesman has a full blown Cockney accent, probably very common in Switzerland. If you have trouble falling asleep this movie is for you.

I like "The Curse of Frankenstein" which is a 1957 British horror film by Hammer Film Productions, loosely based on the novel Frankenstein (1818) by Mary Shelley. It was Hammer's first colour horror film, and the first of their Frankenstein series. Its worldwide success led to several sequels, and the studio's new versions of Dracula (1958) and The Mummy (1959) and established "Hammer Horror" as a distinctive brand of Gothic cinema. The film was directed by Terence Fisher and stars Peter Cushing as Victor Frankenstein, Hazel Court as Elizabeth, and Christopher Lee as the creature.Peter Cushing, who was then best known for his leading roles in British television, was sought out by Hammer for this film. Christopher Lee's casting, meanwhile, resulted largely from his height (6' 5"). Hammer had earlier considered the even taller (6 '7") Bernard Bresslaw for the role. Universal fought hard to prevent Hammer from duplicating aspects of their 1931 film, and so it was down to make-up artist Phil Leakey to design a new-look creature bearing no resemblance to the Boris Karloff original created by Jack Pierce. Production of The Curse of Frankenstein began, with an investment of £65,000, on 19 November 1956 at Bray Studios with a scene showing Baron Frankenstein cutting down a highwayman from a wayside gibbet. The film opened at the London Pavilion on 2 May 1957 with an X certificate from the censors.

The original Hammer Horror film, that is if you count the earlier QUATERMASS films as science fiction. And as you would expect, it's brilliant. This film contains Peter Cushing and Christopher Lee's first appearances in a horror film, they were to pair up again many times in the next two decades to star in lots of similar roles, usually as antagonists but occasionally allies. This is the first of the '50s Hammer Horror trilogy (remakes of the Universal classics from the '30s), Dracula came next and then THE MUMMY. Although Lee doesn't have much to do in this film, let's face it, it was the kickstarter for his career. Cushing never got away from his Frankenstein character either, he came back another five times playing the increasingly ruthless Baron, the first time a year later in THE REVENGE OF FRANKENSTEIN. Although slow and talky by today's standards, THE CURSE OF FRANKENSTEIN succeeds due to having excellent actors, and being filmed in vivid colour, which helps add to the then-gory experiments and makes the costumes and sets scrumptious.Peter Cushing portrays the Baron as cold, ruthless and heartless in his pursuit of science. His role is quite definitive and not many actors have achieved his standard. Instead of Colin Clive's nervous role in 1931's FRANKENSTEIN, his character is utterly dedicated to his work and will use any means to achieve his role. Robert Urquhart is annoyingly stubborn as the tutor who turns against him but the pair work up an interesting and hostile chemistry as the film progresses. Hazel Court (THE RAVEN) is suitably beautiful in her role and is more than just the love interest, she does indeed bring both depth and warmth to her role. Christopher Lee also acts well although he has no lines, he makes us feel for the Creature and pity him as well as fear him.Terence Fisher directs with typical Gothic flair while James Bernard's music is up to the usual dramatic standard. Hammer certainly weren't expecting the success this film gave them, instead they were more worried about distancing it as much as possible from Universal's feature, in fear of a lawsuit. Seen today, the film may have dated a little in the naïve values depicted by the characters, and sometimes the low budget and lack of sets is all too apparent. But THE CURSE OF FRANKENSTEIN really redefined the genre, breathing life into a stale decade where the only monsters had been ones created by atomic explosions. The gore, while scarce, is still effective, especially the eyeballs, severed hands and wax head. It's a great film with a great atmosphere and featuring great actors. A winner on every level.

One of the earliest Hammer horror movies, THE CURSE OF FRANKENSTEIN tells a familiar tale, one that closely follows the plot of other adaptations, notably James Whale's groundbreaking film for Universal in 1930.What makes Terence Fisher's version so compelling is the way in which the story has been treated; for the late Fifties it is surprisingly explicit in the way it depicts Baron Frankenstein (Peter Cushing) handling various body-parts - eyes, limbs - and at one point is shown sawing the head off the corpse that forms the basis of the monster (Christopher Lee). The principal female characters Elizabeth (Hazel Court) and the maid Justine (Valerie Gaunt) wear period costumes whose décollété leaves little or nothing to the imagination. The only concession to the more squeamish viewers that Fisher makes is to refrain from showing the Monster killing his various victims, notably Grandpa (Fred Johnson) in gory detail.Cushing turns in a memorable characterization of the Baron - an enthusiastic scientist who has spent much of his life being spoiled. In early sequence, the Baron is shown as a young boy (played by Melvyn Hayes) running the house on his own - ordering the servants around, and engaging a tutor Paul Krempe (Robert Urquhart) to teach him about life's basics. This independence, acquired at so early an age, has both positive and negative effects: the Baron learns to fend for himself, but at the same time proves reluctant to take advice - even when it is well-intentioned. The adult Baron becomes more and more committed to the project of creating the Monster, even if it means contravening the laws of Nature. Krempe tries his best to dissuade him, but the Baron takes no notice; on the contrary, he becomes quite frenzied in his efforts to finish his experiments. Cushing suggests this cleverly through a series of bird-like movements; his body taut, his hands flitting across the instruments and test-tubes that clutter his laboratory.In the end the Baron gets his comeuppance, as he is sent to jail and hanged. But Fisher does not send him to his death without providing a memorable denouement, which does not exist in the source-text but emphasizes the extent to which the Baron's brilliant intelligence has been corrupted by his scientific work.Although only just over eighty minutes long, THE CURSE OF FRANKENSTEIN still has the capacity to startle audiences through its combination of memorable sequences and taut storytelling. Definitely worth repeated viewings.