The Sorcerers

1967

Action / Horror / Sci-Fi

3
Rotten Tomatoes Critics - Certified Fresh 100% · 13 reviews
Rotten Tomatoes Audience - Spilled 59% · 250 ratings
IMDb Rating 6.2/10 10 2378 2.4K

Director

Top cast

Boris Karloff as Prof. Marcus Monserrat
Susan George as Audrey Woods
Ian Ogilvy as Mike Roscoe
720p.BLU 1080p.BLU
699.27 MB
1280*720
English 2.0
NR
24.000 fps
1 hr 26 min
Seeds 2
1.24 GB
1920*1080
English 2.0
NR
24.000 fps
1 hr 26 min
Seeds 2

Movie Reviews

Reviewed by hitchcockthelegend 8 / 10

Ecstasy with no consequence.

The Sorcerers is directed by Michael Reeves who also co-writes the screenplay with Tom Baker from an original idea written by John Burke. It stars Boris Karloff, Ian Ogilvy, Catherine Lacey, Victor Henry and Elizabeth Ercy. Music is by Paul Ferris and cinematography by Stanley A. Long.

When aged scientist Marcus Monserrat (Karloff) tries a new hypnosis machine on bored young man Mike Roscoe (Ogilvy), he and his wife find they can control his actions and experience what he is experiencing. Initially this breakthrough is a rewarding one, but Marcus' wife Estelle (Lacey) wants more and soon things start to get decidedly amoral.

Michael Reeves sadly died of an accidental drug overdose aged just 25, this having crafted the Cruel Britannia brilliance that was Witchfinder General. Prior to that he helmed The Sorcerers, an equally great production, a sci-fi horror fusion that pulses with a pessimistic tone. There's no great budget for the talented young director to work with, but it barely matters, in fact it benefits the film greatly, as the two elders (Karloff wonderful, Lacey magnificent) live vicariously through Roscoe's (Ogilvy fresh faced and perfectly exuding a bored man after further thrills) misadventures. But the kicker here is that it is Karloff's scientist who recognises things are going out of control, and it is he who strives to stop his obsessed wife from committing heinous acts.

Set to the backdrop of swinging sixties London, with mini skirts, Brit pop music and Norton motorbikes firm period reminders, The Sorcerers captures the zeitgeist of the time. Blending psychedelia with sci-fi and amoral horror with wistful yearnings, film comes out as an original piece of work. Thematically, as has been noted by the critics who have afforded this under seen classic some time, it says youth is wasted on the young while also planting us the film viewer in the metaphor chair. If Reeves was being caustic we will never know, sadly, but it does bear thinking about in light of how horror films, and their blood thirsty fans, would evolve come the millennium. Michael Reeves a visionary?

From Lacey bringing one of horror's forgotten monsters to life, to a no cop out ending of pure bleakness, The Sorcerers never lets up on gnawing away at the senses. An original film made by an original director, and deserving of more widespread exposure. 8/10

Reviewed by Leofwine_draca 7 / 10

Cult swinging sixties horror

An interesting addition to the swinging '60s sub-genre of urban horror movies, this rarely-seen film is the work of brainchild Michael Reeves, the guy who made WITCHFINDER GENERAL and then died in mysterious circumstances shortly afterwards. The storyline focuses on an old-fashioned science fiction standby – that of the telepathic link between two characters – and breathes new life into the tale by developing some highly interesting personalities. The main characters are an elderly couple desperate to re-experience some of the excitement of modern youth; the hypnosis machine is merely a method of making this dream come true. Like all of the best scientific inventions, it is created for the good of mankind (the Monserrats plan to use it to help other elderly people have the same experiences) but eventually ends up being used for the worst evil.

The film is as stylish as any set in swinging London (cf. BLOW UP) and Reeves adds enough intrigue and artistic touches into the brew to make it consistently interesting from a technical viewpoint. Although slowly-paced, there is a focus on gritty realism which reminds me of another similar – and no less disturbing – film from the same year, CORRUPTION with Peter Cushing. The budget limits the use of expensive special effects but the story is good enough so you won't care. Another strong element is the acting, with three outstanding performances from the leads and some surprisingly good turns from the supports. Watch out for a young Susan George, once again on the receiving end of some unpleasant male violence.

Acting towards the end of his lengthy career, Boris Karloff plays not the mad scientist – as you might expect having watched the earlier body of his work – but instead a genuinely misguided and flawed creator who is too physically weak to be able to defend his young protégé when the time calls for it. Thus he is not really the villain of the piece but instead a helpless victim, and Karloff's strong acting evokes sympathy for his plight. It's nice to see the ageing actor get a meaty role for a change and I would rank this as possibly his best performance of the 1960s.

Catherine Lacey is simply astonishing as Karloff's wife, whose transformation from a kindly OAP to the very embodiment of vengeful and sadistic evil is frighteningly good. Unsurprisingly, considering his close friendship with director Reeves, the young male lead is played by Ian Ogilvy who is as good as ever in a rather subdued and fairly deep part. Although some may complain that the ending is a little predictable and old-fashioned, I for one thought it finished off the tragic tale nicely. Fans of the genre should keep their eyes peeled for this imaginative and underrated talent-filled offering.

Reviewed by TheLittleSongbird 7 / 10

Atmospheric and entertaining, don't let the first ten minutes deceive you

There will be inevitable comparisons to The Sorcerers and Witchfinder General(from the same director), from personal opinion Witchfinder General is the better film, technically and dramatically but The Sorcerers is the more entertaining one, Witchfinder is very shocking even now(easy to see why it was banned at the time) and while both have great atmosphere The Sorcerers a little more so. The Sorcerers is not the perfect film, but you don't really expect that, the first 10 minutes did come across as gaudy and trashy which will put put anybody off, while Estelle's descent into madness could have taken longer to develop and been less abrupt and the script-while mostly solid- can have a tendency to be turgid and overly silly. The Sorcerers is decently shot and the evocation of the 60s hippie era is effective and accurate. There is a great soundtrack, and the atmosphere is both fun and creepy. The story can have some dull spots but has a good sense of terror, suspense and thrills. Michael Reeves, who died tragically far too early, directs assuredly, while the acting is good by all. Ian Ogilvy, Victor Henry and Susan George hardly disgrace themselves in support, but they are outshone by both Boris Karloff and especially Catherine Lacey. Karloff is very dignified, menacing and adroit, even when not as active and towards the end of his career he still has what made him a good actor in the first place. Lacey overdoes it a tad at times but that doesn't matter at all when she is such fun to watch and is as scary as she is. In conclusion, atmospheric and entertaining, the first 10 minutes are a turn-off but if you stay with it you'll find a film, even with its imperfections, that is much better than it's given credit for. 7/10 Bethany Cox

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