A Ilha do Terror

It was the early 70's when I first saw Island of Terror on a Saturday late night horror show called Shock Theatre. I've always been a fan of Peter Cushing and his films so when I read that he was in it that made it a must see. We were hearing more and more about cancer research so this movie had relevence to the times. Growing up as a youngster in a rural area surrounded by livestock, the opening scene with the dead horse spooked me. At the time I first saw the film, the idea of Cancer research going haywire was a possiblilty and having your bones sucked out of your body while you were alive sent chills through my body. As the creatures were shown more and more, took more victims in varying fashions, more and more lights were turned on in my living room where I was watching the movie. The ending put the icing on the cake and I slept with the lights on for about a week. I had seen many horror movies including The Blob, but this was the only one to really get me sacred and keep me scared. I strongly recommend this movie to everyone. It's got suspence, surprises, a bit of humor, some horror, is just an enjoyable movie to watch and is one of my favorites. It's been many years since I've seen the movie so I just ordered a copy to enjoy again and again. Definately a classic for anyone's movie library.

I've noticed some reviews talking about how cheap the special effects were and the weak story/plot line, but these are all comparing the film to the standards of todays filmaking. As a child I didn't notice any of the effects simplistics. I was looking for some entertainment and a good late night scare, and Island of Terror delivered.

Starring horror legend Peter Cushing Island of Terror tells the story of the discovery of a messy boneless corpse on a secluded British island.

When an investigation is done they discover that the island is becoming infested with horrible creatures that put the towns population at threat!

Created by many of the same people who brought us the original Hammer Horror classics this looks great for its age and even the rubber monsters are better than you'd imagine.

Sure it's goofy, cheesy and even Cushing isn't exactly on form here but it's entertaining enough stuff for fans of the genre.

If you can get past the silliness of it all and stomach the sight of Peter Cushing trying to get into a threesome then there is entertainment value to be had.

The Good:

Interesting beasties

Ahead of its time

The Bad:

Leading lady poorly used

Seven different types of cheese

Things I Learnt From This Movie:

Solitaire was Peter Cushings second choice

Working lighters weren't in the budget

I remember watching this movie numerous times as a child(I'm 37 years old and I believe I was around 8 or so when I first saw this movie). I've read all the IMDb reviews of the cheesy special effects but I didn't really notice these faults when I was a youngster. I haven't seen this movie for many years but can remember really enjoying this Peter Cushing movie and seriously being scared of those weird creatures. I'm sure as an adult the faults would be glaring but kids(at least back in the early 70's) didn't seem to care or notice if the effects were flawed. Hopefully I can find this movie on rental or on TV so I can get a refreshed look at this movie.

"Island of Terror" is a modest, little workmanlike British sci-fi-chiller. Director Terence Fisher and genre stalwart Peter Cushing added class to proceedings. Throw in a creative concept involving bone-sucking organisms, who leave some icky effects behind. Cup of chick noodle soup anyone? These nasty creatures (silicates) looked less than threatening in appearance and let out one eerie slurping noise (straw sound fx?), even though some of the attack scenes were in slow-motion (they move real slowly) and daftly pitched (tree dropping). However sometimes it manages to be uncanny, other times silly developments occur, but the danger is always felt. This leads to a couple of intense and surprisingly brutal moments. The choice of location (island) adds to the atmosphere and isolation. At best, a fun low-budget fare.

Tom Blakely's Planet Productions made just four features, three of which were this film, 1964's "Devils of Darkness," and 1967's "Night of the Big Heat" (their last). For ISLAND and NIGHT, they secured the services of Hammer director Terence Fisher and Hammer star Peter Cushing, adding Christopher Lee to the cast of NIGHT for extra measure. DEVILS was an odd footnote, the first British vampire film set not in the Gothic world represented so well by Hammer, but in the modern day, otherwise undistinguished. Terence Fisher expressed no fondness for science fiction, and his early black and white Hammer entries, "Four Sided Triangle," "Stolen Face," and "Spaceways" (all 1952), are all overly talkative and extremely dull. 1964's "The Earth Dies Screaming" was a modest step up, a very low budget alien invasion represented by a tiny cast and one single robot. Fisher's two Planet features make quite a matched set, perhaps not as revered as his better known Hammer efforts, but allowing him to focus on his cast of characters, presenting them in dangerous situations that create tension. Fisher always emphasized the human side of his monsters, and even in these two sci fi entries, he remains true to form. Both scripts benefit from finely etched characterizations, and wonderful actors bringing them to vibrant life. In ISLAND OF TERROR, an isolated island off the East coast of Ireland is the setting of an invasion created by scientists searching for a cure for cancer, creating a form of life that survives by devouring the bones of people and animals. Sam Kydd plays the constable, John Harris, who discovers a missing farmer dead in a cave, the body a mass of jelly. Eddie Byrne (THE MUMMY, THE VENGEANCE OF FU MANCHU, STAR WARS) is the island doctor, scoffing at the apt description of the corpse: "there was no face, just a horrible mush, with the eyes sittin' in it." Both actors, well known faces in British cinema, are so natural in these roles that the horror of the situation is instantly established with great credibility, and this is BEFORE the introduction of the heroic Peter Cushing, who never fails to convey sincerity in even the smallest of parts. Here, Cushing occasionally takes a back seat to second billed Edward Judd, but both work well in tandem, putting together the scientist's notes as to what went on in the laboratory, and learning how to stop the onslaught of terror. Cushing was usually the voice of reason, the authority figure, a character the audience trusts completely to present all the facts to them, yet here, his character is not so sure of himself, a quick quip to try to hide his fear, a more believably written hero, and this marvelous performer delivers one of his very best. The low budget special effects, especially the eating sounds, deliver on a modest scale, and the harrowing sequence where Cushing is attacked and implores Judd to chop off his hand at the wrist is the stuff of childhood nightmares. A first time viewer may be surprised at the unusual depth of characterization, and Niall MacGinnis (NIGHT OF THE DEMON, DR. TERROR'S HOUSE OF HORRORS, TORTURE GARDEN), as the island's leader, Liam Gaffney as the first victim, even the smallest of roles are played faultlessly. Of course, when one puzzled islander remarks "some peculiar goings-on going on on this island," there's always a risk that unintended humor might overcome the intended, but it's not fatal. Superior to NIGHT OF THE BIG HEAT, and proof that Terence Fisher could make excellent science fiction, provided he had a script that presented human characters little different from the ones in his Gothic chillers. Make no mistake, this is definitely a CHILLER, and one of Richard Gordon's infrequent productions, ranging from "Mother Riley Meets the Vampire" (Bela Lugosi), "Grip of the Strangler" (Boris Karloff), "Corridors of Blood" (Karloff and Christopher Lee), "Devil Doll," "Curse of Simba," "The Projected Man," "Tower of Evil" (all four with Bryant Haliday), "Horror Hospital" (Michael Gough), "The Cat and the Canary" (Carol Lynley), and finally "Inseminoid" (Judy Geeson and Stephanie Beacham). Thirty years of genre cinema with the greatest stars of their day.