Horror Extreme Movie Catalog - Editorial Reviews

The year is 1816. A sprawling villa in Switzerland is the setting for a stormy night of madness. On this night of the "Haunted Summer," five famous friends gather around an ancient skull to conjure up their darkest fears. Poets Lord Byron and Percy Shelley, Shelley's fiancee Mary Godwin, Mary's stepsister Claire Clairemont and Byron's friend John Polidori spend a hallucinogenic evening confronting their fears in a frenzy of shocking lunacy. Horrifying visions invade the castle - realizations of Byron's fear of leeches, Shelley's fear of premature burial, Mary's fear of birthing a stillborn child - all brought forth in a bizarre dreamscape. They share the terrifying fantasies that chase them through the castle that night. The events of that night later inspired Mary Shelley to write the classic "Frankenstein" and Dr. Polidori to pen "The Vampyre," which became the basis for the creation of Dracula. Gabriel Byrne, Julian Sands, Natasha Richardson

Lurid, kitschy, over the top--what more does one expect from Ken Russell, director of The Devils, Tommy, and Altered States? Gothic purports to tell the story of a night that Lord Byron, Percy Shelley, and the future Mary Shelley spent at a country estate and decided to write ghost stories--a night that ultimately resulted in Mary writing the novel Frankenstein. These three and a couple of friends romp around the mansion, freaking out at shadows and the sounds of a storm, getting increasingly hysterical and hallucinatory as the night progresses. Thrown into the mix are a mechanical belly dancer, nudity, walking suits of armor, an orgy, seances, grotesque masks, leeches, a pig's head, stigmata, snakes, and God-awful dialogue like "We are the gods now--we have dared to call ourselves creators!" Gabriel Byrne (Byron), Julian Sands (Shelley), and Natasha Richardson (Mary) are all terrible; it's a miracle any of their careers survived. But good or bad isn't really the point with Ken Russell, who aspires to a kind of visual delirium. Gothic isn't the masterpiece of excess that The Lair of the White Worm is, but towards the last half-hour it does achieve a creepy state of disorientation entirely suited to its subject matter. Russell isn't afraid to be trashy in the pursuit of unfettered cinematic symbolism. It's a dirty job, but somebody's got to do it. --Bret Fetzer