Perry Kate Very very predictable, including the post credit scene !!!

Cebalord Very best movie i ever watch

Stellead Don't listen to the Hype. It's awful

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Nigel P Planet Film Productions, who distributed (as far as I can tell) a total of six films, beginning in 1951 and ending their run with this, have put together a good, solidly made production featuring an scholarly Peter Cushing. Also, amidst the nicely creepy locations beautifully captured by director Terence Fisher, are the reasons for the 'terror' extolled by the title: b-movie style slithering 'Silicates', long-necked snail-like creatures that move around with staggering slowness. These monsters either destroy the nicely conveyed spooky atmosphere, or provide a somewhat silly high-point among the serious faces and long coats - depending on your point of view.The bodies of a series of murdered humans/animals have one gruesome thing in common: their bones have been liquefied, leaving the cadavers 'all soft and flabby.' Dr. Bryan Stanley (Cushing) and his authoritarian gang Drs David West and Reginald Landers (Edward Judd and Eddie Byrne) investigate, together with Toni Merrill (Carole Gray) - who has constantly to fight against their 'stay here, things might get dangerous', and then screams in terror whenever they are confronted by the Silicates. Girls, eh? The actors do a good job of staring in terror at these wonderfully daft creatures, who occasionally exude slimy spaghetti when attacked. Gray in particular does her best with Merrill, who looks pretty but is written as the wilting female who needs to be looked after.Terence Fisher doesn't make much of effort to make these monsters look particularly terrifying. A couple of zoom-ins, otherwise it seems to be a case of 'point the camera at them and let them get on with it.' ("They don't seem to be moving very fast," Stanley says at one point.) And yet the briefly seen boneless corpses are very effective, as is the depiction of something unpleasant happening to stoic Dr. Stanley's hand toward the end, which is genuinely shocking.Overall, this is good fun. The island setting is authentic and the sets are packed with convincing rural detail. It remains a lesser-known Peter Cushing film, however. "We were lucky this is an island. If it had happened anywhere else, I don't think we would have been able to destroy them," says West shortly before the film ends with an ominous final scene. Tremendous.

Goingbegging Like most Peter Cushing vehicles, this one makes a nice rest for the brain. We almost prefer the horror-effects to be amateurish - plastic dungeons, baffled police, cod-scientific arguments - and we are not disappointed.A top cancer researcher has set-up his laboratory on a small island off the Irish coast, and feels he is close to finding a cure. But he has accidentally let loose a genome that mutates into an entirely new kind of creature that feeds on bone-marrow. When a human body is found, literally filleted, a mighty alarm is raised. It turns out that the tentacled and bullet-proof creatures (oddly named 'silicates') keep dividing into two, and at that rate, they will soon dominate the island.This is more-or-less H.G. Wells' 'War of the Worlds' all over again, and the methods by which the silicates are eventually killed-off need not detain us. The film has more to do with atmosphere, and there is always something Dracula-like about a small remote community coping with the supernatural.The cast do not get many opportunities to excel, which is bad luck on the only significant female, Carole Gray, clearly capable of better. But the dialogue is depressingly poor - literally not one notable line. ("Nasty little creatures, aren't they?" is a fair specimen.)The surprise ending, not to be revealed, is easily recognisable as a little slice of 1966, echoing the irreverent humour of the Bonds.

sydneyswesternsuburbs Director Terence Fisher who also created another classic flick, Dracula 1958 has created another gem in Island of Terror.Starring Peter Cushing who was also in Terrence Fisher's classic flick, Dracula 1958.Also starring Edward Judd.Also starring Carole Gray.I enjoyed the special effects.If you enjoyed this as much as I did then check out other classic sci-fi flicks, Nineteen Eighty-Four 1984, The Chronicles of Riddick 2004, Dune 1984, Equilibrium 2002, The Island 2005, Knowing 2009, Light Blast 1985, Metropolis 1927, Pitch Black 2000, Rollerball 1975, Steel Frontier 1995, Tetsuo 1989, Tetsuo II: Body Hammer 1992, Things to Come 1936, THX 1138 1971, Dredd 2012, Annihilation 2018 and Videodrome 1983.

kevin olzak 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.