A trio of tales told portmanteau style with Boris Karloff as your host; find out more...

The inhabitants of a traditionalist Carpathian village are terrified for their lives as a series of ghastly murders rock the community. The killer demon is the vengeful ghost of Baroness Graps' dead daughter, Melissa, who wants to collect the souls of the hapless villagers. Only a local sorceress, and a visiting 'modern/rational' doctor, stand in the way of the Grap family's evil hold on the people, but is she powerful enough to end the slaughter? And can he lend a hand? find out more...

An intelligent and genuinely creepy adaptation of Edgar Allen Poe's novel. Set in 12th Century Italy; Prince Prospero watches from the giddy heights of his castle as the plague decimates those below him, all the while contempating the delicious torture of his guests. Superbly atmospheric camera work by Nicolas Roeg and the camp wickedness of Vincent Price make for haunting viewing. find out more...

Seminal vampire film, the first to be based upon the Bram Stoker tale. An estate agent's clerk from Bremen embarks on a journey to Orlock's castle, where a client of his resides. On arrival, the full horror of the inhabitants confront him. Wonderful imagery and direction. Imitated but never equalled. find out more...

Thorold Dickinson's 1949 British classic, based on Pushkin's short story, stars Anton Walbrook as Captain Suvorin, an impoverished military captain in 19th-century Russia. Like many of the time, he daringly admires the meritocratic genius of Russia's great enemy, Napoleon, and is obsessed with gambling. Suvorin is galvanised by the rumour that ugly old Countess Ranevskaya, played by Edith Evans, has sold her soul to the devil for the secret of winning at cards; he plans to offer her a chilling n find out more...

Set against the background of the English Civil War, this tale of the violent persecution of alleged witches by the eponymous central character is a masterpiece of 60's British cinema. Excellent performances, (especially Vincent Price's), complement evocative use of scenery. One point of interest is the changes in film stock, which makes the film appear redder at the end than at the beginning, a deliberate ploy on behalf of the director who uses the deepening crimson to symbolise the story's find out more...