Instant Favorite.

Good concept, poorly executed.

Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

Exactly the movie you think it is, but not the movie you want it to be.

By itself, this is one of better Hammer movies. From movie to movie improvement in every aspect is obvious, from screenplay, to scenography, effects, directing and acting. At the other hand, this is God knows how many in a row Dracula movie that recycles same old plot, and does not offer much novelty. Although this one has bit different approach and some new details, like symbolism of the doll on Maria's bed, essentially it's same crap in different package. And that really starts to bore...6/10

Dracula Has Risen from the Grave is the fourth film in Hammer Films' Dracula series. It is directed by Freddie Francis and written by Anthony Hinds (under his alias John Elder). It stars Christopher Lee, Rupert Davies, Veronica Carlson, Barry Andrews and Barbara Ewing. Music is by James Bernard and cinematography by Arthur Grant.Very much a case of style over substance, Dracula Has Risen from the Grave is still very much a top line Hammer Dracula pic. Story sees the famous Count accidentally revived and embark upon a mission of revenge, which spells trouble for the inhabitants of the village that sits in the shadow of his castle. Enter a scenario where Dracula is very much on the periphery as he tracks Carlson's sultry babe for his nefarious ends. Lust, blood, breasts and religious zeal does follow.That's about it as story goes, but even though strands such as religious beliefs - or otherwise - are dangled but not pulled hard enough, the screenplay is not without interesting merit. A number of great scenes lift the pic out of the ordinary, from a terrific "body in a bell" opening, to the grandiose splendour of a crucifix blood splatter, the craft on show engages and thrills. The middle section slow moves as we are party to young lovers under duress via Drac, but Drac pops up from time to time to menace humans and horses alike.The super craft doesn't stop there, the costuming and sets are ornate and very appealing, with the various colour lens choices also superb. Standing out are the roof top sequences, we get high level views of an angular landscape, with jutted slates, odd chimney tops (one even looking like a magic mushroom), all of which is shrouded in mist. There's even green smoke coming out of some stacks, just what are the villagers burning on their fires?! While Bernard scores it with menacing relish, some of the title music having shades of Berlioz at his most unnerving.Competently acted and directed with a keen eye for detail, this is one of the better Hammer Dracula sequels. 7/10

This is Sir Christopher Lee's third outing as Dracula, and this time he has some dialogue. Already the character is far more effective here than in his last appearance, despite not being directed by the poetically-inclined Terry Fisher. Instead, Freddie Francis is at the helm, and marks his territory with heavy use of toned camera filters framing certain scenes that enliven the sometimes drab greys of the sets.To once again make up for the lack of Peter Cushing as Dracula's sworn enemy Van Helsing, we have two heroic types. Monsignor Ernest Mueller (Rupert Davies) is the man with the relevant vampiric experience, and to take on the brawnier side of things is Paul (Barry Andrews). For the young hero to be a hot-headed atheist is an interesting departure (even if such a development makes the character somewhat arrogant and hard to like), and also reveals that you cannot successfully stake a vampire without believing in the powers of good. I like this idea. It provides a nicely grisly scene when Dracula is staked but refuses to die. Lee, who made something of a habit of publicly lambasting these films, felt this went against the wishes of Bram Stoker – but there's no denying the impotent staking is one of the highpoints of the picture.As the title suggests, blood plays a big – if fairly impractical – part in proceedings here. Who would have thought that that gash on the fallen priest's head (Ewan Cooper) would produce a trail of the red stuff that should trickle down a rockface and into the very mouth of the Count to resuscitate him? Perhaps it is Dracula's inexplicable will that this should occur. Also, the first time we see Dracula is in a reflection, despite the fact that vampires cast no reflection.Despite these flaws, this is an entertaining film, from its psychedelic opening titles to the (somewhat implausible) revelation of a drained girl stuffed into a church bell, and especially the impressive rooftop scenes which muster up the dreamy atmospherics Terry Fisher favoured. The casting is good; Veronica Carlson's debut is delightful as the somewhat chaste Maria, as is Barbara Ewing as the more worldly-wise and therefore doomed Zena.

If you manage to overlook the continuity issues and rather large plot holes, you can have some fun with this installment of the Hammer Dracula series. The continuity problems begin right from the start if you consider how "Dracula: Prince of Darkness" ended, but if accepted as a stand alone film I guess it doesn't make too much difference. Still, I had to wonder why the Count would have wound up on the side of a mountain in a glass topped coffin to make his first appearance. His revival did look cool though, utilizing the blood dripping off the injured priest's (Ewan Hooper) forehead, which if you noticed, disappeared and reappeared again at the door of Dracula's castle.What I think intrigued me the most in the story was the way Maria (Veronica Carlson) made her way over to Paul's room and back atop the pub, walking along rooftops and never once exhibiting a fear of heights. That method of transportation didn't seem to bother anyone else either, anyone out for a bit of fresh air simply hopped out of a window and found a convenient ledge to walk out on.I was a little surprised to see that the traditional stake through the heart didn't work very well this time around, but as soon as I saw that iron cross from the castle door go over the side, I knew it telegraphed Dracula's eventual demise. Actually, it seemed pretty easy the way Paul (Barry Andrews) defeated the Prince of Darkness, a neat double whammy coming into play with the fall on the cross and a rising sun finale. I wonder if the shadow of the Castle touching the village church in the evening was ever a problem again.