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This is a treat for fans of Z-grade movies. Here you will find writing and acting bad enough to rival anything Ed Wood ever produced. Veteran bad movie actor Cameron Mitchell is a former makeup man from "Paragon Studios" who, after a nasty acid-in-the-face incident at a social gathering, becomes an embittered Mad Scientist (tm) with a rubber scar on his face who takes revenge by kidnapping Paragon actors and turning them into living statues in his Secret Laboratory (tm) handily located in the local wax museum. Or are they zombies who do his bidding? He's not sure.

Happily, many of your favourite movie clichés are here. Check out the villain's lab! Are those mysterious steaming vats of liquid? Test tubes of coloured water with no explained purpose? Yay! And what ho, do we see spare arms and legs arranged kinda casual-like on a wooden rack? You betcha! Marvel at the bumbling detectives acting with straight out of Plan Nine! Now, enjoy a stupidly tame car chase, and hear more dizzy bimbo screaming than you could possibly want. Raise an eyebrow at the screwy plot line, made even more opaque by the totally meaningless ending that seems to have no connection to the rest of the movie.

Cheesy trash and much fun for the bad movie connoisseur.

Definitely not a good film but nowhere as bad as some would paint it to be. Nightmare in Wax tells the story of a man, having had his face disfigured in a typical flashback scene, wreak his vengeance on those directly responsible and those indirectly for the losses in his life - most notably the love and companionship of a beautiful young actress. Cameron Mitchell plays the artist with his typical flair, albeit limited flair. Actually, I thought he gave one of his better performances. What exactly does that mean? Mitchell wears an eye patch, endlessly smokes cigarettes, wears a motley tunic, and talks to his creations in wax. They are not your ordinary wax dummies, but rather people still alive controlled by some serum that makes them lose control of all neurological function. They become zombies in effect. I thought the premise here was inventive if nothing else. It has some ludicrous explanation, but does serve the plot. This is a film of the 60s to be sure with some psychedelic camera-work by Bud Townsend and company. The acting is mediocre but Mitchell, Scott Brady, and Barry Kroeger give interesting turns. The wax figures of Hollywood's bygone era are done very effectively and most of the location shooting was very credible. The end of the film dissipates into something not quite real - either another example of 60s cultural cinema or the end of the scriptwriter's creativity. I'm banking on the latter. Despite its many flaws, I enjoyed the film. The opening scene showing an actor being needled was effectively done as was a police chase on the waterfront.

I'm not sure what the 80's repackaging with the burning skull has to do with it but............ It's like someone filmed a community play. What's wrong with that? Definitely some good shoe clicking foley artist work. It's good to see a movie where people smoke cigarettes as they work/act - improv smoking. Cameron Mitchell movies are always watchable. Especially when there is an eye-patch involved. Some people called this a "Z" Movie and that's what it is, but good still under proper conditions. Would be good in IMAX 3-D. Gave it a "5" because it's definitely one of those get it or not movies. I think I bought a lawnmower from that detective guy in scene 29 over at ACE in 1974. Would actually be good at a drive-in with a six pack.

The career of Cameron Mitchell is fairly typical of a good, but second line actor after the collapse of the studio system. Left adrift they took work where they found it and Mitchell appeared in some awful films after the Fifties. Nightmare In Wax could be considered one of them, but the screenplay makes this film a camp delight with Mitchell leading an entire cast in an object lesson in overacting.

Cameron Mitchell is our protagonist in this film, he plays a former studio makeup artist who was burned and lost an eye as a result of an accident. He starts a Hollywood Wax Museum, but this man through a combination of drugs and hypnosis is using live subjects as his exhibits. He's planning revenge on those he felt wronged him. Scott Brady is a cop who suspects, but can't prove his involvement in the disappearance of some Hollywood notables.

Anne Helm is the girl Mitchell once loved, Berry Kroeger does a great caricature of a studio head, casting couch and all. Kroeger's latest squeeze is blond bimbo Victoria Carroll. Carroll in her own way gives the best performance in the film.

Nightmare In Wax is a fun black comedy, not to be taken seriously. It's hardly a great film, but far more enjoyable than I thought.

I love this flick. It's sleazy and mean without being xplicict. It's tacky and way entertaining. If you want Citizen Kane, look elsewhere, otherwise this House of Wax rip -off is a clunky blast! Cameron Mitchell is an eyepatch wearin' wax museum curatin' psycho who "freezes" various Hollywood hacks...if you can find it and you like bad movies it's well worth 90 minutes of your life.

I enjoyed Nightmare in Wax, taking it on the pulpy level that it intends and achieves. It's fun. It's not mindlessly sadistic (so if you want that, look elsewhere). Not hopelessly incompetent, either (just a bit, maybe, but hope is there).

I admit that at first I confused it with a wax museum horror featuring a curator with a false hand, which is interchangeable with a hook or a cleaver. Were there two versions of this film? No; the man with the cleaver was Patrick O'Neal in Chamber of Horrors (1966). It gave me a restless night figuring that one out. These things worry horror fans.

The Patrick O'Neal film is a classier offering. The photography is much glossier, and Wilfred Hyde-White adds his own charm to the proceedings. But Cameron Mitchell in Nightmare in Wax adds his own special (if not too refined) touch of wickedness, pursuing Anne Helm through his Faustian workshop, hypodermic in hand. That chase between tottering dummies and bubbling vats doesn't quite elevate the film into the realms of horror achieved by Lionel Atwill and Fay Wray... but it's pretty good, all the same.

A couple of years before Nightmare in Wax, Cameron Mitchell starred in a Spanish/West German co-production of Island of the Doomed (1967) (a.k.a. The Bloodsuckers, The Maneater of Hydra, etc.) I was fortunate enough to see that sharing a double-bill with Slaughter of the Vampires. That was in my long-ago teens. Much more recently I bought it on DVD (with the widescreen sadly cropped). Now wouldn't it be great if someone had the discrimination (I shan't say the taste) to bring out a restored widescreen double-DVD of both Nightmare in Wax and Island of the Doomed. We can only hope!

While IMDb doesn't say so, this film is a remake of a remake. The original film, "Mystery of the Wax Museum", was okay but the 1953 remake, "House of Wax" is a brilliant horror classic. So why remake it in 1969? And, why bother if you are going to spend so little for makeup or talent?

Cameron Mitchell was not a bad actor--but he wasn't very good here in the film. His personality and style didn't put the part over like Vincent Price did in the previous version...and that's an understatement! Additionally, while Mitchell's character is supposed to be horribly disfigured, the facial makeup actually looks like it was made up of a flour/water paste and clumsily applied to him! It simply looks ridiculous.

As for the story, it's a lot like "House of Wax" but set in modern Hollywood. And, because of this, the actual Movieland Wax Museum was used as the setting. Aside from this, there is NOTHING in the film that would make it worth recommending. The writing is terrible, the direction is terrible and the entire effort limp and uninspired. The bottom line is that I suffered through this bad film--you don't have to yourself!

1966's "Nightmare in Wax" and "Blood of Dracula's Castle" were destined to be paired together theatrically as both were scripted by producer Rex Carlton, whose May 1968 suicide resulted in their May 1969 issue under Crown International Pictures, one the first collaboration between John Carradine and Al Adamson, the other a rare Hollywood lead for Cameron Mitchell shot three months later in November 1966 as "Monster of the Wax Museum" or "Crimes in the Wax Museum." Even more than its human star, the film serves as a tribute to the Movieland Wax Museum in Buena Park, which existed from 1962 to 2005, seen to great advantage during its heyday with figures of stars like Rudolph Valentino and Gary Cooper (the building was eventually demolished in 2016). Berry Kroeger's Max Black is the head of Paragon Studios, in love with top starlet Marie Morgan (Anne Helm) and jealous of her various relationships, but sent into a blind rage at her engagement to Mitchell's makeup artist Vincent Rinard, tossing a glass of brandy into his rival's face while lighting a cigarette, his head engulfed in flames (half his face a bloody mess), to leave him a bitter, scarred misanthrope newly ensconced as wax museum proprietor. Though he keeps his former fiancée at a distance, Rinard has already laid the groundwork for Black's destruction, using a serum to induce paralysis in his kidnapped victims, all talents employed by Paragon Studios, turning them into rigid statues for his museum that can still be seen blinking on occasion. Scott Brady's Detective Haskell may be quick to recognize the figures as missing persons but he utterly fails to connect the dots in regard to his going nowhere investigation. Eventually the madman captures his longtime nemesis and taunts him about his impending fate, until a last second twist renders the whole thing rather pointless. Unlike those classic performances of Lionel Atwill in "Mystery of the Wax Museum" or Vincent Price in "House of Wax," Mitchell commands not an ounce of compassion as he goes about his sadistic business in self serving fashion, frequently talking to the inanimate figures and framing Max Black to mislead the easily duped cops. It's no better or worse than John Carradine's 1973 "Terror in the Wax Museum," which at least boasts a superior cast (Ray Milland, Elsa Lanchester) though it's really more a simple whodunit. This also marked the debut feature for TV director Bud Townsend, who actually worked with Carradine on a 1961 episode of DEATH VALLEY DAYS, "Miracle at Boot Hill," in which the venerable veteran was suitably cast as a mysterious stranger who announces that he is an emissary of the Lord able to restore life to the deceased, which does not sit well with the townspeople who have reason to let the dead on Boot Hill stay buried. Townsend had to wait six years for a second movie, the not uninteresting "The Folks at Red Wolf Inn," producer Michael Macready's follow up to his Count Yorga films starring Robert Quarry, before one mainstream success with Cathy Lee Crosby's cult item "Coach." It was a noteworthy period of genre outings for Cameron Mitchell ("Blood and Black Lace," "Maneater of Hydra," "Autopsia de un Fantasma") that preceded his casting on the popular TV Western THE HIGH CHAPARRAL, effectively leaving him in heavy demand for low budget horrors by the following decade (not such a bad thing for an actor who twice was forced to declare bankruptcy). The part of Vincent Rinard was hardly a stretch but one that eerily foreshadowed his most notorious vehicle, 1977's "The Toolbox Murders," in each case offering up a warped murderer who enjoys terrorizing his victims before dispatching them. The stalking of pretty Victoria Carroll in particular recalls the fate of gorgeous Kelly Nichols from that later film, a larger role than usual for Victoria, whose mostly comedic career continued well into the 21st century. It's a mid 60s vibe in her introductory sequence, featuring the hip sounds of The T-Bones doing "Look for the Rainbows" to the engaging gyrations of Rini Martin and The Gazzari Dancers in chic go-go boots. This band had just scored a #3 hit months earlier with the instrumental "No Matter What Shape (Your Stomach's In)," three members of which would soon become Hamilton, Joe Frank & Reynolds (Dan Hamilton, Joe Frank Carollo, and Tommy Reynolds), later enjoying more chart successes with "Don't Pull Your Love" (#4 in 1971) and "Fallin' in Love" (topping the Billboard charts in 1975).

I must really like you folks to sit through $#%^ like this so you don't have to.As painful as it is I'll recap some of the plot.Excuse me if I start yawning.

Vince Renaud was Paragon Studios' top make up expert. He is in the middle of an affair with Paragons top female star. She is coveted by the studio head who built her career.When Renaud informs the jealous man at a party the studio boss sets Renauds face on fire.Instead of having the boss arrested Renaud opts for a bygones be bygones out look.Yeah, I can understand that.

Actually Renaud is crazier than a loon and has worked out an evil plan of revenge. After opening up a wax museum Renaud perfects a serum to put people into suspended animation.Then he starts kidnapping and "freezing" actors from Paragon Studios. The actors are put on display as wax figures. They need a shot of the old serum every once in a while to keep them rigid.Good thing these folks are stiffs as actors.

Renaud (who runs around in a strange outfit complete with a short cape)commits a few murders.One very unnerving scene has him motoring around town with a woman he just killed. He's planting a few kisses on her as well. YUCK!Of course the Police are absolute morons (led by Scott "I have no talent" Brady).The movie crawls on to an absolute horesbleep ending.

To say this movie reeks is an understatement.Cameron Mitchell (Renaud) chews up the scenery rolling his eyes and whispering stupid lines like"I love to hear you scream!It excites me!"So glad somebody is excited about this waste of film.The acting is horrible, the plot & dialogue just screams of incompetence and the director has no clue.

Your time would be better spent dry shaving a pit bull.Hold your nose and run from this garbage!

A scarred, embittered owner of a wax museum with a twisted mind devises horrible fates for those who cross him.

This piece of trash was written by the prolific Rex Carlton, and directed by Bud Townsend (who went on to direct the much more memorable film, "Alice in Wonderland" -- the porn version). It comes to us with below average film quality, at least on the Mill Creek disc. Star Cameron Mitchell ("Blood and Black Lace") probably regretted appearing in this one.

There is an interesting, bulky head bandage with the victim smoking... unintentionally scary... but that's like the only nice thing i can say about it. There is a pointless go-go dancing scene with a band called the T-Bones... really dates the film, for better or worse.

There is no point in ever seeing this movie.

Cameron Mitchell plays an actor who is dating a young actress who used to date the head of a movie studio (she's too young for both of them!). At a party, when he's lighting his cigarette, the studio boss throws a high alcohol content drink in his face, and he catches fire. In the hospital, his face is entirely bandaged and he still lights up a cigarette! He becomes the resident sculptor of the Movieland Wax Museum and Palace, where he also lights up cigarettes!

Mitchell recovers, more or less, having really poorly done burn makeup on one side of his face that looks like gray spackle and tape, and an eyepatch. When Mitchell isn't smoking, he's killing people. Well, he only kills people sometimes, since he prefers to inject them with something that puts them in a sort of waxy coma. If he doesn't administer it regularly (and he never seems to remember), they start to move again a little, although they're in a sort of hypnotic zombie state. Not all his sculptures are people, though. He evidently does have talent as a sculptor.

The ending, which seemed to have been struck from a much poorer print than the rest of the movie, is really absurd. They seemed not to know what to do, and went back to the title for an idea. Apart from the oddly grainy final shots, the rest of the movie is in fairly good shape, except for the audio in some scenes which sounds like it was run through a blown speaker. Definitely not one of the better wax museum movies.

While no grade Z classic; this film does have some of the perverse spunk of Rex Carlton's other well know slummer; "The Brain That Wouldn't Die." The drink in the face scene is indeed a nice shocking moment. Too slow and talky overall, though, and they didn't really find anywhere interesting to take the silly premise. Some enjoyable hamming all around though.

Rex Carlton supposedly committed suicide because he owed the Mob money he borrowed to fiancé his grade Z cheapos. Well, it's nice to know someone gave there all to bring us "The Brain That Wouldn't Die", or even "Nightmare in Wax" for that matter.

Nightmare in Wax (1969) is another horror movie based on the same premise of Mystery of the Wax Museum (1933) and this was the weakest entry in that attempt.

Positives for Nightmare in Wax (1969): Despite having the same premise as the other Wax Museum movies, this is still an interesting idea on paper. The acting from the cast is good enough. The movie moves at a quick enough pace that will keep your attention. And finally, there is some use of trippy imagery throughout the movie.

Negatives for Nightmare in Wax (1969): I am just beyond tired of watching a House of Wax movie that goes for the same plot with the same beat. The movie looks like crap with the camera that are being used. And finally, the ending of the movie was weird and made no sense whatsoever.

Overall, Nightmare in Wax (1969) is the weakest of these House of Wax movies and I am tired really of them, but luckily the next movie I have to watch is actually different from these older movies.

A former Hollywood make-up artist who now runs a wax museum after his face s disfigured by a movie mogul seeks revenge on all those he feels have wronged him. A nicely subdued performance from Cameron Mitchell is really the only reason to catch this dull low-budget House of Wax remake. The direction and editing are crude to say the least, and apart from Mitchell, the performances are amateurish. Director Bud Townsend does manage a couple of creepy scenes, but that's hardly enough to justify sitting through so much dross.

Cameron Mitchell is Vincent Renard, a wax figure maker who's waxworks are very life-like - too life-like! He murders his enemies and turns them into waxworks! But why all the enemies? The film is mystery-horror and it's not all that bad of a film even though it's not the best film about a wax museum it's certainly not the worst.

The move does not a have lots of blood and gore but it does have a fairly good story - it's just not great. And if you do like horror movies about wax museums then you might like this one - just don't expect it to be one of the better films in the category.

6/10

When movie makeup man Vincent Renard (Cameron Mitchell) and actress Marie Morgan (Anne Helm) publicly declare their love for each other, Marie's previous boyfriend, movie mogul Max Black (Berry Kroeger), throws a drink in Vincent's face in a fit of jealous rage. Unfortunately, Vincent is smoking at the time and goes up in flames like a roman candle; after plunging himself in a nearby lake, he emerges badly burnt and missing one eye.

Disfigured and bitter, Vincent rejects Marie and becomes curator of the Movieland Wax Museum, creating the exhibits; his latest lifelike figures are of movie stars, all of whom have have had a romantic connection to Marie and who have subsequently disappeared. I wonder...

Unlike films like Mystery of the Wax Museum (1933), House of Wax (1953), Mill of the Stone Women (1960) and Carry On Screaming (1966), in which figures are created by covering corpses with molten wax, this low budget cheezefest sees Vincent using a special serum to paralyse his victims, after which he puts them on display. Amazingly, no-one who views the exhibits realises that they are looking at living people, not even museum guide Nick (Hollis Morrison), even when he sees one of them blink!

Directed by Bud Townsend, Nightmare in Wax is an incredibly dumb film, one that starts off in fine B-movie form, but which gets less and less enjoyable as it progresses. Cameron Mitchell seems to lose interest after a while, as does Townsend, who pads out his film with a pointless musical scene featuring a group called The T-Bones and a bunch of scantily clad go-go dancers, and closes his movie in an extremely clumsy manner that makes very little sense.

3.5/10, rounded up to 4 for the bloody aftermath of Vincent's flaming head.

THE MYSTERY OF THE WAX MUSEUM (1933) with Lionel Atwill and Fay Wray was remade in 1953 as HOUSE OF WAX with Vincent Price. Both of these films are horror classics in their own right. NIGHTMARE IN WAX is a remake of the remake, with Cameron Mitchel in the role of bitter, disfigured, wax figure creator, Vincent Renard.

True to the original plot, people are disappearing, shortly before new wax dummies appear in Vincent's studio. There's a new "twist", in that these are more like zombies than corpses dipped in wax. Vengeful and totally bananas, Mitchell plays Renard like he's channeling eeevil Captain Kirk in an eye patch, with oatmeal on his face!

Absurd and thuddingly boring, enduring this movie is like swimming through mud. Sans any terror, drama, or suspense, even its attempts at humor fall dead. Seemingly made over a long weekend, the production values are much like those found in TV commercials of the period. This is cinematic cruelty, a dull knife through the viewer's brainpan...

Nightmare In Wax is a typical wax museum horror film which is a rip-off of the Vincent Price classic House Of Wax which is a remake of 1933 Mystery Of the Wax Museum. The plot isn't really the same besides being based on a wax museum and a man who gets scars from being burnt. Nightmare is overdone and corny (particularly the eye-patch, Berry Kroger with sunglasses and a band performing known as The T-Bones). It's plot is rather far fetched as well, ending is pointless yet the entire film really is. Nightmare defines bad horror with bad acting and a bad plot, everything is so bad throughout which keeps it entertaining and fun. It came out in 1969 and is going to be extremely campy and dated, it was probably dated even in 1969. Nightmare is all style over substance. If you want to watch a real horror classic, check out the original '33 Mystery Of the wax Museum or the Vincent Price remake but if you want to watch one of the best bad horror movies, check out Nightmare. Also check out Terror In Wax starring Ray Milland, another good wax museum/horror film.