In 1904 China, a visiting Van Helsing helps combat a Dracula-led vampiric uprising. The last pic of the Hammer cycle innovates through genre mash-up (and a deal with Shaw Brothers). It’s messy, but fun: martial arts showcasing, twists on undead lore, plus some location spectacle all helps.
Dracula seeks revenge on the modern-day Van Helsings. This series reboot revisits plot elements from Taste The Blood Of… and … Has Risen but sets them in then-contemporary Chelsea. The swinging London stuff was dated in ’72, but this is still a brisk romp with a time-capsule attraction and some grittier asides.
A revived Count seeks revenge on the priest whose exorcism has barred him from his castle. Continuing from Dracula: Prince of Darkness, this series entry doesn’t offer much that’s new, but Francis’s direction is fun, and a dull second act leads to a lively climax.
Vampire hunters tackle an ancient evil. Innovative, brisk and for-its-time revolutionary version of the gothic horror classic, here telescoped admirably into a pacy visual thriller. Played straight, fluidly directed and still influential. Recommended. Eight sequels followed.
Three debauched Victorian gentlemen agree to a satanic ritual. Middling series entry (following directly from Dracula Has Risen From The Grave) balancing Stoker and Dennis Wheatley. Slipshod storytelling and a struggle to innovate doesn’t help, though the movie’s enlivened by a decent cast of character actors and some new talent.
English tourists find themselves at a remote Carpathian castle against locals’ advice. Brisk direct sequel to Hammer’s 1958 Dracula, without Cushing this time, but instead using bits of the Stoker (like the Renfield subplot) not co-opted first time. Some effective direction and visual imagery, plus sly humour from Philip Latham as manservant Klove.