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Such a frustrating disappointment

The film makes a home in your brain and the only cure is to see it again.

if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

This may be the revenge of the establishment against those depraved "rock" persons although the music of that singer is much more MOR pop ,totally harmless.A good-looking crooner comes back after a six-year gap;his marriage is on the rocks (whereas he left showbiz to his wife 's request-and he is to record a new album.1978 was perhaps not the right moment when disco and punk reigned over the musical world,but who cares?At night,he hallucinates (don't panic !although the house has something Gothic ,it's a far cry from "the haunted" (1963).Besides,something nasty (directly borrowed from Hitchcock's "psycho" )happens in his former house.Moderately interesting ,with a rather original ending with the death chamber

THE COMEBACK is a British horror movie directed by Pete Walker.I bought this movie as part of the Pete Walker Collection, a wonderful coffin shaped boxset containing this movie, along with FRIGHTMARE, THE HOUSE OF MORTAL SIN, THE HOUSE OF WHIPCORD and DIE SCREAMING MARIANNE. The said boxset is loaded with extras and is a must have for any fan of the director's movies.In this movie Pete Walker continues to demonstrate that he, along with the equally great director, Norman J. Warren, were the natural successors to Hammer, Amicus and Tigon. The three companies in question had dominated the British horror movie industry for over a decade, having made some truly superb productions. All three had ceased to produce horror movies at this point, paving the way for the two mentioned excellent directors to make independent movies now rightly appreciated as minor classics of low-budget cinema.I'm going against the tide here by declaring this to be Pete Walker's second best movie, second only to HOUSE OF THE LONG SHADOWS.As with most of Mr. Walker's efforts, he starts by choosing a topic perhaps more akin to a drama or a thriller. But due to his superb direction, he translates the original idea into an effective and genuinely disturbing horror movie.As with most of Pete Walker's movies, there is an exploitation element at work, although the movie is far more restrained in this respect compared to his previous efforts.The plot sees Nick Cooper returning to England after a recent divorce. He aims to reinvigorate his singing career after being misled by his selfish wife into moving to America. Nick's seemingly normal life is soon disrupted by a series of events, including an affair with an attractive young groupie and the constant ambitious demands of his recording manager. But more disturbing are the sounds of crying and horrifying screams Nick is hearing at night. Could he be losing his mind? Find out in this terrifying well-paced shocker that leads to a truly chilling climax you will absolutely not see coming.As with most of Mr. Walker's movies, his direction is the best element. And Mr. Walker is on top form here with superb attention to detail despite statements to the contrary.First, just about every scene shows evidence of meticulous planning.Second, Walker makes terrific use of settings, including a creepy penthouse accessed via an even creepier gear-operated elevator. Also, the creepy manor house where Nick stays goes beyond the mere Gothic set-piece you might expect to find in a British movie - it comes across as an incredibly foreboding place out of a real nightmare!Third, Walker uses superb imaginative camera angles to create the best "someone's watching you" atmosphere I've seen since PSYCHO. Without revealing spoilers, I advise new viewers to pay close attention to the opening scenes in the penthouse.Fourth, Walker directs some truly vicious uncompromising killing scenes that leave you with an unpleasant physical and psychological feeling. With the lingering on the killer's viciousness, the victim's pain and the bloody corpses, these killing scenes are amongst the most effective and disturbing slasher moments I've seen committed to film.Finally, Walker's best instrument for effective horror here - the lovely orchestral music. As another user correctly points out, the music trickles with an understated chilliness. The actors react perfectly to compliment the technique in building genuine tension. In every instance, the tension builds into a harrowing crescendo with the music guiding it perfectly.Jack Jones delivers an underrated performance as Nick Cooper. He is charismatic without being overconfident. His character is genuinely insecure and very scared despite the charm. And the character is easy to sympathise with as he goes through incredible psychological torment. Don't be put off by those who claim that Jack Jones can't act. He certainly can and he gives the role the best he's got. I agree with the user who stated that Jack Jones would have made a good villain for Columbo.Pamela Stephenson makes an effective groupie girl. She is flirty yet introverted and her character's every reaction was truly interesting to observe on the screen.David Doyle - famous for his role as John Bosley in CHARLIE'S ANGELS - plays the recording manager. At first he did seem like a very odd choice for this role. But he pulls it off perfectly. His character is very slimy, opportunistic and selfish and is my favourite in the whole movie.Bill Owen - famous for playing Compo in LAST OF THE SUMMER WINE - plays Mr. B, one of the staff at the manor Nick stays at. Fans of his usual comedy roles will be in for a big surprise when they observe the truly sinister edge provided to his role.Holly Palance has a great time playing Nick's very selfish, manipulative wife - Gail.Pete Turner has an equally great time playing Nick's trusted friend, Harry. He stole every scene he was in and I wish he had been given more. I also wish this actor had been given more roles like these since he had me hooked every second with this one.But the best on the cast list is Sheila Keith, a veteran of Walker's movies. Sheila Keith gives the performance of her career as Mrs B. She is the standout that every viewer of the movie will remember the most vividly. Walker clearly realises Keith is the most valuable asset and he shows it by giving her some truly great one liners, all of which are delivered in a superbly chilling manner.Overall, THE COMEBACK is an unfairly maligned Pete Walker movie that is actually one of his best. It is a must-see for all his fans and fans of British horror movies from the heyday of British cinema in the 1960s and 1970s.

American pop singer Nick Cooper returns to England to resurrect his singing career, after being in a six-years relationship that just ended. His recording manager gets him a quiet old vacation house run by two elderly folks, so he can concentrate on his musical comeback and sweet talk his manager's secretary. However every night he spends there he's plagued by horrifying screaming, and a rotten corpse that looks like his former misses, and it only gets more stranger and unnerving until he finally cracks under the anxiety. Unknowingly to Nick, just after he left to England his ex-wife is brutally murdered and left to rot in his play house. My first taste of director Pete Walker's exploitation/horror forays almost didn't eventuate. My luck the tape I had of "The Comeback" was that of bad quality, as the sound was hissing and the screen was rolling. After twenty minutes of that distraction, I was about give up and in the bin it would go. However it came through, and I could finally watch it… clearly. Now the movie itself is a grim, unpleasant little mysterious psycho-shocker presentation with very little in the way of surprises and even jolts, as it goes about things in a conservative manner. Walker's direction is dry, subdued with only small moments of fast outbursts. There was potential within, but the kitsch-like premise can stumble into silliness and become convoluted, while the red herrings aren't particularly useful, but Walker springs up few imaginative images and effectively creepy and inspired set pieces that do rally up some mindless fun. The death scenes are minor, but still they pack a punch due to the fact they are gruesome, sudden and jarring in detail. Even the setting of house comes off eerie, and a Gothic atmospheric tenor is released with good use of foreboding sound FXs. The music score trickles with an understated chilliness, but still has a sting in its tail and agile cinematography feels like it's on a leash as it follows the figure with different angles and framings. The pacing can stall too often, with a stop and go approach. The talky material plays the usual "Am I going insane" trump with clichéd predictability, but that dozy of a climax is one over-the-top revelation that you don't see coming. Suspense has no say and it never draws upon building any, because everything is mostly telegraphed. The characters are an odd bunch and the acting comes off admirably well. A likable Jack Jones is sound enough and the ravishing Pamela Stevenson is satisfyingly good. David Doyle is enjoyable as the recording manager and Shelia Keith's glassy turn is professionally convincing. Odd, ghastly British horror fable that can't escape its plain and ponderous style.

It has taken me a while to become a Pete Walker fan, but you can officially include me in the club. The Comeback may be one of his weakest films that I've thus far seen, but it's still a solid little thriller with a few great moments along the way. For example, Walker handles the first murder scene quite well. The murderer comes out of nowhere to commit an incredibly brutal and violent act against his victim. Walker is able to catch a real sense of malice and hatred on the part of the killer – something quite nice when compared with the usual unemotional serial killer. Another real plus for The Comeback is the presence of Walker regular Shelia Keith. She may not have as much to do here as in something like House of Whipcord or Frightmare, but she's incredible in the scenes she does have. The woman could chew scenery with the best of them. She has an air about her that works in Walker's films. The creepy old house, the elevator scenes, and Walker's use of red herrings are also among my favorite bits of the movie.But, as my rating would indicate, it's not all good. My biggest problem is the casting of Jack Jones in the lead. He's dull and unappealing. He can't carry most of the scenes he appears in let alone the entire movie. During the film, I began to dub him "The Anti-Shelia Keith" as he lacks anything approaching the screen presence of scene-stealing Keith. My other big problem is with David Doyle as Jones' manager. As is evident even in his performances on Charlie's Angels, Doyle cannot play "serious" believably at all. He comes across as far too goofy to add the required gravity to a given scene. He's just bad.If you're a fan of Pete Walker and enjoy his work with Shelia Keith, you should be able to find something enjoyable in The Comeback. If you're new to Walker, I would suggest starting with another of his films.