A Hammer horror classic starring Christopher Lee as Rasputin, the monk who the Russian Tsarina takes under her wing. The story begins with Rasputin, after using his powers to cure an innkeeper's wife, throwing a party, raping the innkeeper's daughter and cutting off the hand of her suitor. He then refuses to apologise to the Abbot of his monastery and leaves for St Petersburg, deciding to use his faith-healing powers for his own hedonistic ends. It is here that he eventually wangles his way into the Tsarina's court and she allows him more and more power.

'60's British B-movie chiller featuring voodoo, the supernatural and general dark arts. A comely young British teacher takes up a remote posting in darkest Africa where the local juju man lays a hex on her. She has a breakdown and is forced to return to the UK. There, she takes up a post at a rural school where all appears well on the surface. It turns out, however, that the place is a hotbed of witchery and darkness and that a virgin sacrifice is planned for the near future. The film was directed by Cyril Frankel, who'd made Hammer's 1960 child abuse drama 'Never Take Sweets From a Stranger', and the script was by Quatermass author Nigel Kneale. Their depiction of sinister undercurrents in a pastoral setting wasn't sinister enough for the BBFC, however, who only granted the film an 'A' certificate. Hammer persuaded them to reconsider, but this accomplished film still failed to find an audience.

Hammer Horror film set in Egypt 1920. Sir Basil Walden, with his assitants Claire, Harry and Paul, stumble on the sealed desert tomb of the young Pharoah Kah-To-Bey. When the expedition fails to return on time, Stanley Preston, father of Paul and financier of the expedition is forced into joining the search for the missing archaeologists. Against all local advice they excavate the tomb, releasing the mummy's spirit and body.

Hammer version of the popular TV series. When prehistoric skulls and the remains of an alien spaceship are discovered in the bowels of London's Underground during an excavation, a weird and powerful force is unleashed. Professor Quatermass (Andrew Keir) is called in to investigate.

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During the dozen years in which I have been actively interested in oil pollution, not only has the quantity of petroleum products con sumed in industrially developed nations (and thus the volume of crude oil shipped to them) greatly increased; disastrous accidents, particularly the wreck of Torrey Canyon in the approaches to the English Channel and the blow-out of Well A-21 off Santa Barbara, California, have made the public in general aware for the first time of the implications of their growing appetite for oil and the goods made from it. Concern over the pollution of coastal waters and sea-shores has been expressed ever si nce the 1920s by a small but active band of ornithologists, wildfowlers and seaside hotel-keepers but, even now, the international legislation which their efforts initiated adequately regulates only a fraction of the world's tanker traffic. In Britain, Torrey Canyon sparked off an interest in oil pollution and, by extension, other environmental troubles which had previously been aired only rarely in the mass communications media. Biologists and workers in various technologies were stimulated to carry out a wide variety of investigations both in the field and the laboratory, while even the most laggard member of the oil industry must now feel bound to give some thought to the effect of spills and discharges on human amenity or the natural environment."

In this sequel to 'Evil of Frankenstein' (1964), the Baron (Peter Cushing) has taken up residence with well-meaning inebriate Doctor Hertz (Thorley Walters). When Hertz successfully revives Frankenstein after freezing his body, the latter deduces that the human spirit does not leave the body after death, and can therefore be transmuted into another form. He gets the chance to prove his theory when his young assistant, Hans, is hanged for a murder he did not commit, and Hans' disfigured lover, Christina, commits suicide in despair. After performing cosmetic surgery on Christina, the two scientists successfully transfer Hans' spirit into her body. However, Hans now sets out to take revenge on those responsible for his death.