Rating: 
Summary: A rare horror film in which the monster is a woman
Review: "The Reptile," the 1966 film directed by John Gilling, is set in the turn-of-the-century Cornish village of Clagmore Heath, where the superstitious villages are once again succumbing to an unknown malady after a wealthy stranger has moved into the local mansion. Even when a local man is attacked and his throat bitten, the village officials call in heart failure despite the fact the victim foams at the mouth and turns green. What makes this particular monster mystery interesting is that this time we are dealing with a female! Again, it is painfully obvious that is it is the reclusive Anna (Jacqueline Pearce in her most sensual role) who is the snake-woman in question. As the father who tries to protect her, Noel Willman provides one of the better and even complex roles in a Hammer film as it heads towards its inevitable tragic outcome. But the star of the show is Roy Ashton's makeup for the title creature, in what proved to be his final film for the studio. "The Reptile" makes an excellent double-bill with "The Plague of Zombies" since they are made by the same studio, same director, in the same setting, using the same sets, with obvious parallels to the stories as well.
Rating:
Summary: A rare horror film in which the monster is a woman
Review: "The Reptile," the 1966 film directed by John Gilling, is set in the turn-of-the-century Cornish village of Clagmore Heath, where the superstitious villages are once again succumbing to an unknown malady after a wealthy stranger has moved into the local mansion. Even when a local man is attacked and his throat bitten, the village officials call in heart failure despite the fact the victim foams at the mouth and turns green. What makes this particular monster mystery interesting is that this time we are dealing with a female! Again, it is painfully obvious that is it is the reclusive Anna (Jacqueline Pearce in her most sensual role) who is the snake-woman in question. As the father who tries to protect her, Noel Willman provides one of the better and even complex roles in a Hammer film as it heads towards its inevitable tragic outcome. But the star of the show is Roy Ashton's makeup for the title creature, in what proved to be his final film for the studio. "The Reptile" makes an excellent double-bill with "The Plague of Zombies" since they are made by the same studio, same director, in the same setting, using the same sets, with obvious parallels to the stories as well.
Rating: 
Summary: Another Good film from Hammer
Review: A soldier and his wife arrive at the village of his recently deceased brother. His plans to live in his brother's cottage are met with warnings from the locals that bad things have been happening in the area including mysterious deaths. The quest to discover what is killing the locals then takes place as weird visits from the occupants of the nearby castle begin. It turns out that the curse of the snake people has been placed upon the daughter of the doctor living in the castle causing her to turn into a reptile periodically and bite people during the process. The storyline is somewhat cheesy but it is carried out with straight-faced conviction by a good cast of actors. This is vintage Hammer horror, the acting is solid, the screenplay is coherent, the scenery and sets are attractive and the special effects come off leaving the film's dignity intact. As others have noted, this movie was made on some of the same sets and with a very similar cast to the "plague of zombies" film. Both movies make excellent entertainment.
Rating:
Summary: Good Hammer Horror
Review: A very good Hammer horror flick. The colors and acting were all good, but there was a slight lack of gore. A few parts were semi-scary enough to make one jump a bit, but not much else. A couple relocates to a new country town in ... Cornwall I think. Strangely enough, when the new guy enters the town bar, everyone clears out. The bartender explains that they "don't like strangers." A neighbor girl decides a great way to welcome the new couple would be to illegaly enter their house and put flowers all over. The couple makes friends with the town drunk, who dies after dinner at their house with the ever-present black-face, foaming mouth and "cobra-like" bite-marks on his neck. The father of the girl who put flowers all over proves useless as a doctor (they didn't teach any medicine when he got his PhD in Theology). A strange Indian (as in country) guy lives with the doctor and his daughter and seems to have a strange hold on them. The new couple becomes increasingly curious about the activities at the doc's house and begin snooping. The plot was fairly predictable, but overall it was a good movie.
Rating:
Summary: Flawed but still worthwhile Hammer chiller
Review: Another Victorian-styled horror movie from Hammer Films, this one revolves around a retired military officer and his wife (David Baron and Jennifer Daniel) who inherits his brother's cottage in a small Cornish village after the brother dies under mysterious circumstances. When he moves there with his wife, he discovers that there has been a rash of deaths and that all of them can be attributed to a rare poisonous animal found only in remote India. The obvious purpetrator behind these dastardly deeds to the reclusive doctor of theology (Noel Williams) who has made a career out of studying obscure religions in the Far East and who keeps his daughter (Jacqueline Pearce) a virtual prisoner in their manor house. But throw in a mysterious swarthy fellow, the daughter's strangely hypnotic effect on her father when she plays the sitar, and things are a little less clear. Will the newly arrived couple's only ally in the area (Michael Ripper) help them stop the spreading evil before it consumes them all? "The Reptile" is the most strongly gothic in genre of all the Hammer horror flicks. There's the ogre-like father and the oppressed daughter; there's the mysterious Outsiders who are bringing a corrupting influence to wholesome British society, and there are curses and victims and victimizers who may not be what they seem. It's a well-mounted film that contains several moments of genuine chills. "The Reptile" would have gotten a Five Star rating if not for the inexplicable over-acting displayed by all the principles in the first half of the movie; inexplicable because the leads in the film director John Gillig helmed immediately prior to this one ("The Plauge of the Zombies, which even used many of the same sets) was blessed with beautifully restrained performances that made the film even creepier and more believable. It's even odder because Michael Ripper gives the same type of understanded performance he did in "Plaugue." As the film evolves, the over-blown performances start to fit with the tenor of the going-ons, but they seem so out of place early in the film that it's an irritant. The movie's resolution is also a bit weak, with the title creature going down without much of a fight. The combination of the overacting in the first reel and the shaky climax were enough to knock off a star. Still, it's an entertaining film if you enjoy Hammer-style movies or gothic tales.
Rating:
Summary: "Possibly John Gilling's finest work..."
Review: Filmed back-to-back with the bracing PLAGUE OF THE ZOMBIES, this is the more delirious and sexual of Gilling's Cornish duo. As the estimable David Pirie has pointed out in his essential A HERITAGE OF HORROR, THE REPTILE works on a more imagistic level. Although, I would add that it does seem on this recent reviewing to be as thematically layered as its companion. The brief, atmospheric and suspensful precredit sequence sets up a sort of paradigm which will structure the rest of the film. A high-angle view of the desolate landscape of Cornwall, in the immediate foreground the stark branches of a tree reach down into the frame like threatening tentacles of some offscreen menace. A beckoning sounds of a flute playing a vaguely Asian enchantment wafts through the evening. We pan from left to right and pick up on a man walking toward an imposing manor house, the windows are lit up and the man continues in. As he wanders upstairs we are led to expect a sort of Romantic assignation as our well appointed invader is obviously in the mood. Suddenly, a shout, our intruder turns toward an older man behind him. A door opens and he starts to turn again as a green skinned thing in a slinky wrap is upon him striking into his throat with its long fangs. It withdraws into the room (tilted angle) the door closing it in as our man now staggers out of the house, face blackened and mouth foaming, finally dropping onto a tomb in the family graveyard. High angle of his body draped on the cross. Roll credits. It's a masterful opening. Hammer was usually adept at grabbers and this is one of the very best. The judicious camera set-ups, use of sound to establish suspense, tight editing, and paucity of dialogue all combine to create an admirably filmic overture. Both of the Cornish films deal with an alien plague devastating an isolated are in Britian. The use of the same sets from PLAGUE, and sometimes the same set-ups on those self-same sets, gives one a sense of interface and continuance. Of course, the class structure is as dominant a theme in THE REPTILE, only the rotter of PLAGUE, is replaced by the distinguised, now tormented and quite erratic Doctor. The manor, Oakley Court, according to the liner notes is now a luxury hotel. couldn't be a more appropriate facade. Besides being a familiar location near Bray studios, it here functions as kind of ornate class barrier, even moreso, perhaps, than in PLAGUE> The rest of the town is distinctly working class to merchant class, typified by the estimable Michael Ripper in one of his very best turns as the wily innkeeper who is helpful in finally ridding the area of the pestilence. There are only two murders and an exhumation until the climax which doubtless frustrates some who need constant "action" if not gore on the menu. But for the patient and discerning the film holds multitiered rewards of a more subtle kind. Perhaps most subtle of all is the quiet interplay of glances and eyes between the superb Jacqueline Pearce and Noel Willman's fallen man. Seeking out a snake-cult in Malaysia he found his goal only to be pursued back to England with a curse hanging over his daughter. Anna turns into a lunging, fanged, green skinned, yellow eyed reptile which agressively goes after anything which gets near it. Death is assured, hideous and painful. Locals call it the Black Death. Erotic currents eddy between daughter and father, and by implication, toward the other men lured into the manor. The subterranean grotto where it retreats to shed is built around a steaming pit of magma, which resonates as kind of a matter dissolving pit where sexual desire and the ancient fluids which will fuel a raging return of the repressed seethe. The performances are superlative here, especially Pearce, Willman and Ripper. The metaphor is a potent one, and elucidated with considerable elegance and suspense, given the set-up, the recycling, the shared cast members and obviously rushed circumstances. Rating: 4 out of 5 Grade: B+ 91%
Rating: 
Summary: Hammer's lizard monster flick is a re-hashed mediocrity
Review: Hammer did at least one film about each type of monster that was somewhat popular in American monster films in the 1930's and 50's, hence this entry in the Creature from the black lagoon lizard-creature films. The story revolves around a couple who move to a village and discover people being killed in way that causes them to become badly discolored by a cheap make-up job. Noel Willman plays a wealthy man with an odd daughter that he is trying to confine. This film seems similiar in plot to the Gorgon, only this film is uneven and less convincing in it's plot. The acting is overall decent, but the story is thin and the ending is predictable. The monster is amusing beacuse it is hilariously bad. This is not a terrible film, but the problems in the story causes it to be only average. The Reptile is worth one viewing, but not a whole lot more.
Rating:
Summary: overlooked Hammer delight
Review: Hammer was a class act. They gave us great films, with lush attention to settings, costumes and location shooting. They gave you incisive writing, witty dialog (well, most of the time) and they are unsurpassed for creating atmosphere. They made screen legends out of Lee and Cushing, and brought old horror tells into vivid color, with plenty of sexy-babes around to please the lads. For some reason, The Reptile, one of their better efforts works, tends to go unnoticed or dismissed. Could it be because of the "creature" was a mere female instead of the tall dashing Lee?
Well, now that time has passed, people can rediscover this classy Hammer tale. The Reptile (like the old grade C class The Alligator People) rather lets the cat out of the bag as soon as the title is flashed. However, stick with the tale and enjoy
Hammer's gorgeous lensing, and excellent location work. Directed by John Gilling (who directed Lee in Hammer's Pirated of Blood River and a pairing of Lee and Cushing in The Gorgon - two other overlook great films) and written by Anthony Hinds, who pens such other stylish Hammer classics (The Brides of Dracula, the Curse of the Werewolf, Kiss of the Vampire), The Reptile is a moody film. Ray Barrett and Jennifer Daniel play Harry George Spalding and his wife Valerie, a young couple who inherits the husband's cottage in Cornwall, England after his uncle's mysterious death. Michael Ripper, the perpetual also ran of Horror, does a fine character role as the tavern owner who helps them. No sooner than they unpack, they learn a serial killer has been murdering villagers and likely killed Harry's uncle. The film suffers from the obvious, we know there is a Reptile, so the impact is blunted from the start.
Shot back-to-back with the Plague of the Zombies, if you are familiar with one film, and watch the other, you will recognize the same village for the shoot. It builds suspense in an understated fashion, creating really spooky atmosphere. I think this leisurely pace causing some to dismiss this worthwhile film, while those with a more discerning taste will enjoy the non-hysterical approach.
Rating:
Summary: Pardon Me While I Shed My Skin...
Review: Harry and Valerie Spalding (Ray Barrett and Jennifer Daniel) have just moved into a nice little cottage in a nice little town. Well, Harry's brother Charles (David Baron) used to live in the nice little cottage before his sudden death from... what?? The coroner calls it "heart failure", but the townsfolk know that Charles actually died from the mysterious "black death"! We know they're right, as we get to watch Charles die by turning black and foaming at the mouth Cujo-style! Soon, Harry and Valerie encounter Dr. Franklyn (Noel Willman) and his shy, beautiful daughter Anna (Jaqueline Pearce), who live in a huge mansion with a menacing indian guy. This man seems to have a strange hold on the Franklyns, especially Anna. When another man called Mad Peter falls victim to the "black death", Harry and newfound friend Tom (Michael Ripper) find two small holes on old Pete's neck. Putting things together, they dig up Harry's brother, and discover the same bite-marks on his neck as well! Harry pays another visit to the Franklyn estate, only to be attacked by the now fanged and bug-eyed Anna, who bites through Harry's shirt collar, sparing him from the full effects of her venom. While Harry lies in bed recovering, Valerie goes to help Anna, who has sent a note asking for help. Anna is in her secret lair beneath the house, recooperating from her latest molting. Her father has come down there to kill her, but is interrupted by Valerie's screams. Somehow, Dr. Franklyn manages to catch the house on fire, waking Anna from her slumber. We finally get a good look at snake-gal and boy is she ugly! All green and whatnot! Anyway, Anna attacks dad and does him in, while Valerie tries to escape the burning mansion. Snake-Anna and Valerie meet at last! I'll leave you hanging there. THE REPTILE is a well made gothic with loads of atmosphere and good characters. Check it out...
Rating:
Summary: Great movie all around
Review: I have a thing for Horror, especially for the 60's, 70's stuff. This here is a truely great one, one of the best Hammer films I've ever seen. It's like a much better version of "The Golem" which exposes similar themes. A man moves with his wife to the village where his Brother lived and died ( he died mysteriously ). They inherit his House and soon enough, People start dying. The Townsfolk is scared and bullies the couple, exept for the Barkeeper, who is trying to help them solve the mystery. Could it be that Dr. Franklin has a secret? And who is that creepy servant in his house? And why does he do anything to keep his Daughter at Home?
Everything you want is there : Moors, Spooky Graveyards, A really cool looking Creature ( It would be way cooler if it wasn't on the Box ). The Acting by everybody is great, nobody hams it up here, which is a good thing. Especially Jacqueline Pearce, I wonder what she's doing now. Her performance shines all around she really makes you feel for her. Hail Jacqueline! Her performance alone makes this movie worth watching. Her performance would make "Grim" worth watching. One Thing most Monster Movies try but horribly fail is to make us feel for the Monster. This movie doesn't try and I nearly cried at The Reptile's final words. The "Mad Peter" Character was funny, his line "I don't take part in some things that people take so serious these days, for example..." is hiliarous. If you're in the Mood for some good ol'fashion Horror, check out the Reptile, it's perfect stuff. Sure there are a lot of plot holes and the suspense doesn't always hold up but still, this is one great movie and shouldn't be forgotten.
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