Though Hammer was founded in the 1930s, the British studio didn’t find its niche until 1957’s The Curse of Frankenstein, which it followed by ransacking the rest of Universal’s classic monster movie catalogue for versions of Dracula, The Mummy and The Wolfman. But just like Universal’s original creature features, Hammer diluted the effectiveness of its monster “franchises” with endless sequels offering diminishing returns. (Continue reading)
When the 1970s rolled around, Hammer attempted to up the sex quotient of its film to compete with the increasingly graphic content of American drive-in fare. However, no amount of heaving bosoms could disguise the fact that Hammer’s gothic period-piece horrors felt antiquated in a landscape of The Texas Chain Saw Massacre and The Last House on the Left. The studio didn’t survive the decade.
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