Rent Crucible of the Vampire (2019)

A modern take on the Hammer genre. - Crucible of the Vampire review by PM

A modern film; perhaps a nod towards the Hammer classics, nostalgic, with greater subtlety and some wonderful photography.

OK, it was made on a budget, some of the acting at the start lacked the polish of major productions but may be this adds to the charm. The Shropshire setting is fantastic and atmospheric, it was shot in real places. Both of the female leads carry the film well and hopefully we will see them in the future, they are a match for Hollywood.

An intriguing story line, with plausible links to uk history and folklore, the pace develops with plenty of, "It's behind you" moments. The climax is not too enigmatic, but also prods your imagination.

This film is a great piece of escapism for a dark and stormy autumnal night. Suspend your scepticism, get your log fire lit, crack open a bottle of port and be entertained.

Absolutely terrible - Crucible of the Vampire review by GBK

This is a movie that you do not want to waste your time on, The acting is terrible, The quality and story is awful and must have had an extremly limited budget, Very surprised that Neil Morrisey was involved in this as i thought he was a lot better than this film was but even his performance was poor

Ambitious story-telling on a small budget. - Crucible of the Vampire review by NP

Director Iain Ross-McNamee makes very good use of what is clearly a small budget, for this UK horror story. Veteran actors Brian Croucher (Doctor Who, Blake’s 7 and EastEnders) and Neil Morrissey (Boon, Men Behaving Badly) feature alongside newer names to give a good variety of ages and acting.

Special effects are used with great restraint, and when they do occur, are pretty impressive. The locations, and the vampiric atmospherics they bring about due to fine cinematography, are more immersive than the story being told, however. Rather than a traditional ‘Wicker Man’-style tale of mysterious locals and cavorting sects, I think a weirder, more personal story would have benefitted from McNamee’s talents. There is a certain Jean Rollin-esque style to some of the latter scenes and the way they are composed. Rather than embracing a style of film that has been told more expensively elsewhere, a more dream-like narrative would have been more suitable. There are several nods in that direction, with a certain erotic charge involving the excellent Katie Goldfinch (as Isabelle) and Florence Cady (Scarlet) and some fine locations (beautifully lit) with a dark fairy-tale quality. A little more of this and this enjoyable 96 minutes might well have been even more absorbing.