Madhouse (1974)

        One of the films from the tail end of the golden age of British horror (arguably the Golden Age of Horror full stop) is finally getting a UK Blu-ray release courtesy of Eureka. MADHOUSE stars Vincent Price, Peter Cushing and Robert Quarry and is getting a 1080p HD presentation with the original UK mono audio and a bunch of extras.

But is the film any good? Well it’s early 1970s, British, with Price and Cushing so if you’re a fan of the era then it’s a must-see. Add Linda Hayden, Natasha Pyne and Adrienne Corri to the mix and, again, if you love this era of film-making then you have to have this one in your collection. However, if you’re a little more discerning in your horror movie tastes…

Vincent Price made MADHOUSE just after appearing in THEATRE OF BLOOD, arguably the pinnacle of his career, and it cannot help but suffer by comparison. The premise is a lot of fun - at a bitchy Hollywood party horror star Paul Toombes (Price) finds his bride to be Julie Crosthwait with her head cut off. The killer is never found. Paul undergoes rehab, and then when he returns, to television rather than film, he finds that people around him are being bumped off in a variety of grisly ways. But who’s responsible?

All of that sounds marvellous, doesn’t it? The main reason MADHOUSE isn’t as lauded as THEATRE OF BLOOD or THE ABOMINABLE DR PHIBES is that this entire premise gets a bit squandered with a script (rewritten several times) that doesn’t really know how to do this sort of thing in a style writers like Brian Clemens had perfected. Amicus made this as a co-production with AIP which allows use of the AIP back catalogues (ie the Corman Poe films) for clips of Toombes’ career which we get to see on the Michael Parkinson show. If you can isolate MADHOUSE from those other classics the chances are you’ll have a better time with it. At least it’s a lot better than Angus Hall’s source novel.

Eureka’s Blu-ray comes with a nice nine minute introduction to the film from Stephen Laws who amongst other things gives you some (highly recommended) post-film reading to look up. There's an academic video essay from Mary Going that looks at how MADHOUSE fits in to the traditions of the gothic and the slasher film (26 minutes), and a commentary track from David Del Valle that's up to his usual standard. There’s also a decent eleven minute archival making of featurette from 2015 that concisely tells you a lot about the making of the film. Eureka’s limited edition (2000 copies) also comes with an O card slipcase, a new essay on AIP, and an archival interview with director Jim Clark by John Hamilton which was originally published in The Dark Side and which is well worth a read. 

MADHOUSE is getting a limited edition Blu-ray release from Eureka on Monday 22nd June 2026

Cry of the Banshee 4K (1970)

For the first in their ‘Hammer Presents’ line, in which Hammer Films are releasing classic British horror from other studios, we’re getting the American International Picture CRY OF THE BANSHEE in a 4K restoration, which is going to be available in a two-disc set of either two UHD discs or two Blu-rays.

We're in sixteenth century England, and magistrate Lord Edward Whitman (Vincent Price) divides his time between sentencing witches and dealing with his Jacobean tragedy of a family. One case of the latter leads to him disrupting a pagan ritual led by Oona (Elizabeth Bergner) in which a number of cultists are killed. Oona curses Whitman’s entire family to die by the hand of the ‘Banshee’ which manifests itself through foundling child groomsman Patrick Mower, and once the revenge is set in motion there’s no stopping it.

Famously (to BritHorror obsessives if no-one else) available in two versions, CRY OF THE BANSHEE is present here in both, which accounts for the two discs in the set. Disc one has the UK version (called ‘Director’s Cut) here, available in two aspect ratios (1.85:1 and 1.37:1) and will be the one most familiar to UK viewers who may well have encountered it on ITV screenings if not at the cinema. It’s a bit of a mess of a film, rambling and lacking focus, with the revenge plot only kicking on about halfway through. 

Disc two has the US (here called ‘Theatrical’ cut) which has both pros and cons. On the good side, the attack on Oona’s ritual has been moved right to the front of the film which is where it should be, and offers us a rare example of AIP messing round with a finished picture and actually doing something positive with it. However it loses Terry Gilliam’s weird opening animated titles and we get a pretty poor Les Baxter score replacing the UK one by Wilfred Josephs.

But, in either form, is CRY OF THE BANSHEE any good? Chris Alexander, who provides a commentary track on Disc one seems to think so, and he helpfully talks about the US edit as well. The film feels like a very uneasy follow-up to AIP / Tigon’s WITCHFINDER GENERAL, where part of the point was that witches aren’t real. Instead CRY OF THE BANSHEE plays along with the numerous rip-offs of that film which all wanted to have their cake (torturing of witches) and eat it too (they actually are witches, allowing for all sorts of demon shenanigans). Vincent Price hated the film, while the rest of the cast includes the likes of Pamela Farbrother (FRIGHTMARE), Michael Elphick (TV’s Boon), Hugh Griffith (that bottle probably contains the real stuff), Hilary Dwyer and Swedish film star Essy Persson who gets to go memorably mad. All that said, it’s definitely not the film to show someone to demonstrate why you love British horror films as they’ll likely be left scratching their heads as to its appeal.

Other extras include Kim Newman talking about the film for 13 minutes and on disc two the 18 minute interview with director Gordon Hessler has been ported over from the old MGM Midnight Movies release. You also get the usual image gallery, TV and radio spots and a trailer. 

Gordon Hessler’s CRY OF THE BANSHEE is being released by Hammer Films in both two disc UHD and two disc Blu-ray sets on Monday 9th February 2026

The Oblong Box (1969)

"AIP from the BFI"

The BFI gives us a dose of gothic nostalgia as it releases American International Pictures' THE OBLONG BOX on Blu-ray.

It's 1860 and Sir Julian Markham (Vincent Price) is keeping his horribly scarred brother Edward (Alister Williamson) locked up in the attic. But Edward has bribed some crooked associates to drug him so he will appear dead and then dig him up after his 'funeral'.

Unfortunately body snatchers get to the coffin first and deliver it to Dr Neuhartt (Christopher Lee). Revived, the even more mad than he was before Edward embarks on a vendetta against those who messed up his escape, although when he finds out why he acquired his terrible injuries he comes after his brother as well.

By 1969 AIP's Poe cycle, which had started with FALL OF THE HOUSE OF USHER in 1960, had changed radically. Original producer-director Roger Corman had left, as had many of the personnel that had made those films so special. Michael Reeves was due to direct THE OBLONG BOX but was replaced by producer Gordon Hessler. For detailed reasons why listen to Steve Haberman's commentary, which goes into great detail about Reeves' contribution to the picture. 

It's by no means a great film, and one has to wonder why Christopher Lee didn't get cast as Edward so the two great stars could face off against one another. That said the combination of Hessler and screenwriter Christopher Wicking always yielded interesting results and their desire to produce something different from the horror cinema of even five years' previously is certainly in evidence here. 

As well as the commentary, extras include the short films THE PIT (1962), previously available on the BFI's disc of SCHALCKEN THE PAINTER, and two silent pieces: PRELUDE (1927) inspired by the Premature Burial, and THE BELLS (1913) based on a Poe poem. There's also a new 17 minute interview with Price's daughter Victoria and ten minutes of Roger Corman on Poe. The disc also comes with a booklet featuring writing on the film from Peter Fuller (about the film) Benjamin Halligan (about Michael Reeves' involvement) and James Bell (about THE PIT).

THE OBLONG BOX is out on Blu-ray from the BFI on Monday 21st October 2024

Dr Goldfoot & the Girl Bombs (1966)

“Like the Chuckle Brothers tried to make a Bond film”

Another dose of kiddie-orientated comedy (at least I hope for all concerned that was the intention) arrives on UK DVD and Blu-ray courtesy of 101 Films in the form of this sequel to DR GOLDFOOT & THE BIKINI MACHINE. 

Vincent Price about to explain the plot of this one to the camera

         This time the dastardly super villain (Vincent Price once again, thank goodness) is blowing up NATO generals using girls in gold bikinis who explode when they’re kissed. Despatched to stop him is SIC agent Bill Dexter (1960s pop idol - it says here - Fabian - no, me neither). Helping, or rather ‘comedy hindering’ Bill are two Italian agents who respectively resemble Ron Perlman’s dad and Freddie ‘Parrot-Face’ Davies, whom nobody but the most obsessive of fans of 1970s British TV comedians will probably remember. Neither of them is as good an actor or as funny as Freddie, who was never that great in the first place, but he was much better than what we have to put up with here. 

Parrot face, Ron Perlman's dad, and two other people

         The exploding girl plotline is really the excuse on which to hang a series of increasingly poor comedy routines and chase sequences, culminating in a great long run around a park where Vincent Price gives up and disappears, only to pop up briefly again in the very end bit on a plane. It’s all supremely painful stuff, with the only reason to watch this being Price himself, who appears once again to be having a whale of a time. Although, when the highlight of a movie is seeing Vincent dress up as a nun, you know this is a film in trouble. 

Possibly the ONLY reason to watch this one

         Otherwise DR GOLDFOOT & THE GIRL BOMBS is unremittingly dire. Nobody else in the cast can act, there are lots of comedy effect boing noises, and the music by Les Baxter is reminiscent of the very worst of Max Harris or Ed Welch and wouldn't be out of place in ON THE BUSES or CONFESSIONS FROM A HOLIDAY CAMP.

More inspiration for Mike Myers

         DR GOLDFOOT & THE GIRL BOMBS was directed by Mario Bava when he was apparently having an off week. Certainly the only reasons to watch this are if you’re a Vincent Price completist (like me), a Mario Bava completist (like me) or if you’re a very undemanding seven year old (not me anymore). 101 Films offers a pretty good-looking transfer for the Blu-ray in 1:1.85 aspect. There are no extras and the film doesn’t really deserve any. Not the film to ever show to someone who wants to know what a Mario Bava film is like. 

DR GOLDFOOT & THE GIRL BOMBS is out now on DVD & Blu-ray from 101 Films

Dr Goldfoot & the Bikini Machine

"Exactly what you'd expect from a title like that"

Just after GOLDFINGER (1964) but way before AUSTIN POWERS: GOLDMEMBER there was this cheerful children’s adventure picture from the AIP stable, now given a new UK Blu-ray release courtesy of 101 Films.

Naughty Dr Goldfoot and his creations

The villainous Dr Goldfoot (Vincent Price - hooray!) plans to become incredibly rich through a fiendish plan only possible in 1960s spy spoofs. He has created an army of beautiful, golden bikini-clad robots whom he intends to marry off to the world’s richest men. On his case quite by accident are the men from SIC (the Security Intelligence Council). Or at least Craig Gamble (Frankie Avalon) is. His boss and father (Fred Clark) doesn’t believe him and is too busy banging his head on lampshades and falling out of the window because it’s that kind of film.

A face we all love

Robot Diane (Susan Hart) seduces millionaire Todd Armstrong (Dwayne Hickman) and together Craig and Todd track the shenanigans to Dr Goldfoot’s mansion. Imprisoned and taken to the dungeons, they encounter a number of ‘star’ cameos whom nobody these days is likely to recognise, before Todd ends up in the climax to AIP’s PIT & THE PENDULUM - complete with recycled stock footage! You’d expect it to end there but instead we get a jolly good natured car / trolleycar / motorcycle / etc etc chase through the streets of San Francisco, with Price dressed splendidly in a big floppy hat, before we get to the end, which was probably funny at the time but reminded me of Mario Bava’s LISA & THE DEVIL.

Widescreen distraction

DR GOLDFOOT & THE BIKINI MACHINE is very much of its time, and is mainly going to be of interest to Vincent Price fans (and he’s simply marvellous in it) and AIP scholars, who will relish the bits of stock footage that pop up, and the production design of Price’s castle (from Corman/Poe regular Daniel Haller). That said, it’s actually rather charming in a kids’ TV kind of way. The entire thing is daft and the comedy never gets above RENTAGHOST level, but the ninety minutes breeze past more quickly than you might expect.

If this still doesn't make you want to watch this film it's probably not for you

101’s transfer offers the film in its original 2.35:1 aspect ratio despite what it says on the back. The image does look slightly stretched (as does the Kino Lorber Region A release of this) but it’s not really bad enough to impair your viewing pleasure. There are no extras, which is a shame because the Kino release has a David del Valle commentary track that presumably couldn’t be licensed.

Add music to make this scene come alive!

Undoubtedly a strong influence on the Mike Myers AUSTIN POWERS movies, if you’re a fan of 1960s US drive-in pictures, or just love Vincent Price (and who doesn’t?) DR GOLDFOOT & THE BIKINI MACHINE is worth a look to see a different side of the master of horror. 

AIP's DR GOLDFOOT & THE BIKINI MACHINE was released on UK Blu-ray and DVD by 101 Films on 25th January 2016

Six Gothic Tales (1960 - 1964)

Christmas has come (slightly) early for fans of Roger Corman’s Edgar Allan Poe adaptations in the form of this gorgeous box set that contains six of the movies he made that starred Vincent Price. We’re missing MASQUE OF THE RED DEATH (because Arrow don’t have the rights to that one) and THE PREMATURE BURIAL (presumably because it starred Ray Milland instead) but otherwise the gang’s all here - a splendid smorgasbord of crumbling castles, eerie matte paintings, Daniel Haller’s elegantly creepy production design, Floyd Crosby’s smooth, economical camera setups, music that varies from adequate to absolutely marvellous, and of course the unsurpassed and unsurpassable Vincent Price, without whose central performance to anchor these pictures they would be simply be elegant exercises in low budget gothic. With him, however, they are so much more.

As I’ve said above, Arrow’s box set gives us six films, all on Blu-ray. Two of these have been released previously in separate standard and steelbook editions. The transfers and extras here are all the same so if you want to read what I thought of THE FALL OF THE HOUSE OF USHER and PIT AND THE PENDULUM then click on the titles and you’ll be whisked away to my reviews. Remember to come back here when you’ve finished, however, so we can talk about the others. 

All done? Ok. Let’s start with

TALES OF TERROR (1962)

        Before Amicus resurrected the DEAD OF NIGHT-style anthology film (several short stories plus a framework), Roger Corman put together three Poe shorts without a linking sequence under the above title. We open with Morella, which is a bit like an entire Corman Poe film condensed into twenty minutes. Vincent Price is still mourning the passing of long-dead wife Morella in his crumbling castle when his daughter Lenora (Maggie Pearce) calls on him. Morella died in childbirth and, perhaps understandably, wants to be reborn in her daughter's body. It all ends predictably in flames, but this is one of the very best bits of Poe Corman ever made, and it’s a shame it’s not longer. Everyone seems to like the second story, The Black Cat, even though it’s actually The Cask of Amontillado with a cat in it and played for laughs. I have to say it’s the one I always skip over, but Peter Lorre and Vincent Price do have a whale of a time as rival drinkers. The Facts in the Case of M Valdemar finishes the film with Price, kept alive at the moment of death by hypnotist Basil Rathbone, liquifying all over him when Rathbone’s control fails. 

       Arrow’s transfer carries over a few scratches but otherwise is pristine and clean. Extras include a quite charming featurette by Anne Billson on cats in horror films, an hour long documentary on Roger Corman, Kim Newman talking about Poe, a short film of The Black Cat from 1993, a trailer and a reversible sleeve.

THE RAVEN (1963)

        Using Poe’s poem as a springboard, THE RAVEN immediately turns into a comedy in which magicians Vincent Price and Boris Karloff wage war while Peter Lorre watches from the wings (sorry). Hazel Court is there to egg them on. Arrow gives us another excellent transfer, and the extras here include a 1984 documentary on Peter Lorre (Harun Farocki’s The Double Face), a featurette on Richard Matheson, the short film The Trick (from the director of The Black Cat short), the promotional record that was released at the time (featuring voices of the actors, including Lorre reading the poem), a trailer, still and poster galleries, and another reversible sleeve.

THE HAUNTED PALACE  (1963)

       Quite often this is my favourite of the “Poe” pictures, even if it is adapted from an H P Lovecraft story. And what a fine adaptation it is. Corman’s Arkham is suitably decaying and filled with the mutated results of experiments from the palace on the hill, as well as plenty of suspicious locals with a terrible secret and monsters of their own in the attic. Possibly Vincent Price’s finest acting moment in the entire cycle occurs when he transforms from innocent Charles Dexter Ward into his evil ancestor Joseph Curwen. Sets and photography are as top notch as usual, but where THE HAUNTED PALACE goes one better is in having Ronald Stein do the music. Les Baxter is the composer most commonly associated with these films and I’ve always found his music passable, if not exactly inspiring. Stein’s score for HAUNTED PALACE, however, is a masterpiece, with the opening titles a waltz of sheer gothic perfection. 

Arrow’s transfer is, like the other films in this set, most likely the best this film is ever going to look. For extras we get a superbly chatty commentary track from David Del Valle and Derek Botelho. Kim Newman talks about H P Lovecraft in cinema, there’s an interview with Roger Corman, still and poster galleries, a trailer, and a reversible sleeve.

THE TOMB OF LIGEIA (1964)

        The last of the Corman Poes and pretty much the least. Whether it’s the slight script, Elizabeth Shepherd’s aristocratic air of disbelief that she’s even in one of these, or the opportunity for location shooting that seems to have so overwhelmed Corman that many of the set-ups distract massively from what is actually going on, TOMB OF LIGEIA really isn’t the best by a long way. Still, it's fun to see British character actors like Frank Thornton, Richard Vernon and PSYCHOMANIA’s Denis Gilmore in one of these but otherwise it’s a pretty lame affair.

It looks lovely here, though, and the extras we get this time include two commentaries (by Corman and Elizabeth Shepherd), and a set of new interviews with composer Kenneth V Jones, co-writer Paul Mayersberg, 1st AD David Tringham and camera assistant Bob Jordan. Most of these run for around ten minutes each except for the Mayersberg which last for about half an hour. 

       As well as the six films (and the lovely box they come in) you also get a 200 page book with writing on the Poe cycle as well as three comic books published to tie in with TALES OF TERROR, THE RAVEN and TOMB OF LIGEIA. Arrow will be releasing the Blu-rays separately for those of us who already have USHER and PIT. If you haven’t, however, then grab this set now - it’s a beautifully presented example of 1960s gothic cinema at its best. 

Arrow Films released SIX GOTHIC TALES as a Region B Blu-ray set on 8th December 2014

The Monster Club (1980)

       There's not a lot of love around for THE MONSTER CLUB.

There are a number of very good reasons for this. Limping along in 1980 as the death rattle of a very specific subgenre (the Amicus-style British anthology horror film), it's a sad example of one man not knowing when to stop and perhaps, with his final contribution, showing he didn't really understand why the kind of film he'd popularised had worked in the first place. Milton Subotsky, Amicus producer who ended up going it alone with his self-named Sword & Sorcery Productions, should really have left the anthology format alone with FROM BEYOND THE GRAVE, one of the very best Amicus anthologies and a fine British ghost story movie in its own right. But he didn't, instead giving us the fairly hopeless cat anthology THE UNCANNY (1977) before killing the subgenre stone dead with THE MONSTER CLUB, a horror movie aimed at kids (what?) with intermittent rock music numbers from performers who had mostly crawled out from under stones for their three minutes and thirty seconds of fame when what they really should have done is remained in the damp and the dark.

On paper THE MONSTER CLUB looks great, but that's because on paper THE MONSTER CLUB was a book by R Chetwynd-Hayes, author of the collections THE UNBIDDEN, COLD TERROR & THE ELEMENTAL, from which the stories for FROM BEYOND THE GRAVE were taken. So pleased was RCH with the result of that film that he consciously wrote THE MONSTER CLUB as an Amicus movie, with a framework story tying five short stories together. It's a great book - witty in some places, disturbing and scary in others. Every now and then the silly sense of humour that marred some of his later work creeps in, but on the whole it's kept in check.

For some reason, Subotsky seems to have started with 'silly sense of humour' as his baseline. He then jettisoned all but one of the stories (The Humgoo), used the title and concept of another to come up with a completely different story (The Shadmock) and then to finish off, picked a story from COLD TERROR (My Mother Married A Vampire) and had that completely rewritten as well to come up with one of the most embarrassing segments in any British film ever. Why any of this was thought to be a good idea is anyone's guess. Suffice to say, it's the script and Subotsky's attitude to the material that kills what could have been a great movie before it even has a chance.

Against my better judgement, there's a tiny, masochistic part of me that can watch the film without cringing, simply because it IS the final bow of a subgenre I love. It's the last time we get to hear Douglas Gamley writing music for a British horror film (he does the titles and The Shadmock sequence and he does it well -this film does not deserve him). It's the last time we get a story with an Amicus-style punchy ending (The Shadmock story again and come on - it almost works). It's the last time we get to see Geoffrey ASYLUM Bayldon doing his psychiatrist routine (no producer used him better than Subotsky did). It's the last time, and by the end titles, when Vincent Price and John Carradine are dancing to that awful song amongst all those people in those shitty masks, we are glad of it. It's a movie that achieves that rarest thing of making me feel terribly sad, as well as rather stupid for having watched it.

       THE MONSTER CLUB is a film I could write about for much longer, and I have probably watched it more times than I should, mostly because every time I want it to be so much better. The opening has a bookshop window filled with actual books by R Chetwynd-Hayes who, more than anyone, embraced the Amicus style. It should have been a great start to a great film. But sadly it's all downhill from about a minute in.

        Network's Blu-ray of THE MONSTER CLUB might just look ever so slightly better than its Scorpion Releasing Region A counterpart. Extras include the option to play the film with an isolated music score, a trailer, a promo, textless title sequences and an image gallery. Someday someone is going to find that edition of ITV children’s movie show CLAPPERBOARD where Subotsky was interviewed. He had the skeleton used for the stripper animation on his desk and demonstrated at least one of the awful masks, telling the presenter about the milkman he had discovered who made them as his hobby. Or perhaps they have, but, like so much else, Milton Subotsky’s version of THE MONSTER CLUB doesn’t really deserve it.

Network released Milton Subotsky's version of THE MONSTER CLUB on Region B Blu-ray on 18th August 2014

Pit and the Pendulum (1961)

        Arrow Films continues its series of lovely Blu-ray and steelbook releases of classic Vincent Price films with arguably the most famous of them all (even my parents can remember watching this one on its initial release). Made in the wake of the success of FALL OF THE HOUSE OF USHER, Roger Corman’s second adaptation of an Edgar Allan Poe story is a triumph of inspired matte paintings, clever writing on Richard Matheson’s part, a spooky and creative Les Baxter score, but above and beyond all that a terrific central performance by Vincent Price. 

In the kind of fifteenth century Spanish castle that could only exist painted on glass and projected above a California beach, Vincent Price is slowly going mad. Bad enough that as a child he witnessed his mother and her lover killed by his insane Inquisitor father, now his wife (Barbara Steele) has died, but he can hear her playing the harpsichord late at night. Discovering that Barbara was entombed alive doesn’t help his fragile mental state, which takes a turn for the worse as the film reaches its climax. Insane aristocratic Vincent Price and a handy torture dungeon equipped with fully functioning swinging pendulum that he’s been keeping oiled even when he was presumably a little bit more sane is going to spell trouble for anyone, not least those who have been plotting against him.

While it’s not as good as some of the later Poe pictures (especially MASQUE OF THE RED DEATH which remains my favourite) the last twenty minutes of PIT AND THE PENDULUM  is a gothic triumph, managing to combine Price at his most lip-smackingly evil, a massive torture device, and Barbara Steele, barefoot, beautiful and distressed, being locked up in an iron maiden. Forever. It was rare for a film of this period to end on quite such a shocking note, but Roger Corman knew that if you’ve got the imploring eyes of a poor imprisoned Barbara Steele to make use of, you really can’t fade out on anything else. 

The first hour or so of the film does suffer a bit in being simply preparation for the big reveal at the climax, but on the whole it’s not bad, with the usual sumptuous sets and photography. But it’s the pendulum that made such an impression on sixties audiences, and with good reason - despite numerous attempts, the final twenty minutes of this film has yet to be matched in its use of this macabre mechanical murder device.

Arrow’s Blu-ray transfer is pretty good, but there is some print damage and quite a few scratches, most noticeably in the scene where Price looks on in horror as a bloody hand emerges from a coffin. Extras include two commentary tracks - one by producer-director Roger Corman that’s been ported over from the previous DVD release, and a new fact-filled track by Tim Lucas. There’s a new 45-minute making of documentary that includes interviews with Corman, Victoria Price, Brian Yuzna and Barbara Steele, who also touches on her experiences with directors Riccardo Freda and Mario Bava. 

Also included, and previously unavailable in the UK, is the Vincent Price TV special AN EVENING OF EDGAR ALLAN POE. This consists of Price in costume and amid appropriate sets telling four Poe tales - The Tell-Tale Heart, The Sphinx, The Cask of Amontillado, and The Pit and the Pendulum. There’s also an isolated music and effects track, a trailer, and a collector’s booklet written by Jonathan Rigby. Depending on which you prefer there’s either the lovely steelbook or the standard edition to choose from, both of which have splendid cover art. 

Arrow Films released Roger Corman's PIT AND THE PENDULUM on Blu-ray in steelbook and standard editions on the 19th May 2014