SunnyHello Nice effects though.

GurlyIamBeach Instant Favorite.

Matialth Good concept, poorly executed.

Mabel Munoz Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

mike48128 Not played entirely for laughs. The false faces on both Mr. Hydes look too large, as they have to be applied over the head, like "Frankenstein"! Great transformations of both Boris and Lou into the monster, not unlike the famous "Wolfman" sequence! It is way too scary for little kids and I suspect that's why the critics disliked it. Like "Ghostbusters" it's humor was misunderstood. Lou also turns into a giant fuzzy mouse after accidentally drinking a weird formula meant for one of the lab animals. Very atmospheric with excellent sets and costumes. A bit unusual with the doctor showing a slightly unhealthy interest in his young "ward". The lab worker is demented-looking. A really unnecessary character? The two "monsters" are chased all over London as they are both dressed in similar clothing with capes. Great ending when Costello bites several policemen that all turn into "Mr. Hyde" temporarily. Still one of my favorite A&C comedies. I saw many of these around 1956, often a free Saturday Matinée, with a wrapper from a Mars candy bar! Probably disliked by the critics due to the fact that two villains "die" along with a few extras? I guess it's okay to kill some other monsters off in the rest of the series? Costello remains the "Prince of Prat-Falls" as always. The 2015 re-release (2 discs-4 movies) is wonderful with clean, crisp copies.

gavin6942 Two bumbling American cops (Tubby and Slim) hunt for the mysterious Mr. Hyde (Eddie Parker) in London, England.For whatever reason, the more popular Abbott and Costello horror films seem to be with them meeting Frankenstein, the Mummy or "the killer". But this one is really exceptional, with great makeup and transformation scenes and plenty of humor. It also happens to be one of the few that could arguably called scary.I have credit Eddie Parker as Hyde because he should be recognized. With all due respect to Boris Karloff, Parker made the role with his jumping around and acting the part of the monster. Parker was such a huge figure in Hollywood, but no one has ever heard of him. (Somebody please write a book about him.)

jacobjohntaylor1 I do not like a lot of comedies. I think there are to many made for people who will laugh at any thing. And there are to many that are not funny at all. But this one is very funny. P.Is Bud and Lou are out catch a murderer (the monster) Mr. Hyde. This is very funny. It is very well written. It is based on one of the best books ever. It has great acting. It also has great special effects. It is very scary at time. It is a comedy. But it is also a horror movie. Boris Karloff is great as Dr Jekyll and Mr. Hyde. It is a great movie. I like that classic horror movie look and feel of this film. This is one of the best comedy horror movies ever.

lugonian ABBOTT AND COSTELLO MEET DR. JEKYLL AND MR. HYDE (Universal-International, 1953), directed by Charles Lamont, marks another well-intentioned horror spoof variation featuring that dynamic dual of Bud Abbott and Lou Costello in another thrill and chill venture outing. Following the pattern that started it all with ... MEET FRANKENSTEIN (1948) along with other assortment of other Universal monsters as Count Dracula (Bela Lugosi) and the Wolf Man (Lon Chaney), followed by ... MEET THE INVISIBLE MAN (1951), and eventually their long overdue prospect of ... MEET THE MUMMY (1955), JEKYLL AND HYDE pits Bud and Lou's in what would be classified an two encounters for the price of one, both played by Boris Karloff. Unlike the aforementioned monster meetings, Jekyll and Hyde was not actually a Universal product, though it could have been. Earlier adaptations dating back to the silent era were those distributed by other studios, notably Paramount (1920/John Barrymore, 1931/ Fredric March) and the Metro-Goldwyn-Mayer (1941/surprisingly enacted by Spencer Tracy). While Universal succeeded in placing this classic Robert Louis Stevenson character(s) as part of their package for the comedy team, the opening credits reveal its story element to actually been written by Sidney Fields, the same Fields who played Bud and Lou's landlord in their weekly TV series, "The Abbott and Costello Show" (1952-54).Set in 19th Century England, the story opens in the streets of London where a Doctor Stephen Poole is brutally murdered by a hideous monster in Hyde Park. Bruce Adams (Craig Stevens) of The Daily Reporter is assigned to investigate along with similar crimes that have taken place in the area. He soon encounters Vicki Edwards (Helen Westcott), a militant leader speaking out for women's rights in the park. Her singing of "Equal Rights for Women" stirs a riot between men and women in the crowd. Slim (Bud Abbott) and Tubby (Lou Costello), a couple of American policemen assigned to study British methods in crime control, enter the scene only to end up in jail instead. Also in separate cells are Bruce and Vicki getting better acquainted during his "interview." Released on bail by her guardian, Dr. Henry Jekyll (Boris Karloff), a well respected research scientist, Vicki, a dance hall can-can girl by profession, starts seeing more of the crime reporter, much to the dismay by the overly jealous Jekyll. Dismissed from the police force by the harassed Scotland Yard inspector (Reginald Denny), Slim and Tubby attempt to redeem themselves by going out and capturing the monster. Because the former policemen seem to be getting closer to his secrets, Jekyll hires Slim and Tubby as his live-in assistants in order to place the blame on one of them for the ghastly murders. During their stay, Tubby encounters the secret laboratory full of experiments along with a muted servant, Batley (John Dierkes), Jekyll's zombie-like assistant, frightening enough to pass for an undertaker's undertaker.Having already appeared opposite Bud and Lou in ABBOTT AND COSTELLO MEET THE KILLER, BORIS KARLOFF (1949), Karloff, always a welcome presence is films such as these, has more to do this time around, especially opposite the derby bobbling Lou Costello. How interesting that Karloff's alter-ego throughout the story is identified solely as The Monster, never as Mr. Hyde. Considering Karloff's transformation from kind doctor to monstrous character with huge nostrils and wolf-like sounding and physical appearance, it's a wonder the movie wasn't titled "Abbott and Costello Meet the Werewolf of London" instead. Paging Henry Hull! As in the previous fright comedies, the supporting players, especially Karloff, play their roles straight, leaving the comedy for the bumbling heroes. Good comedy moments include barking rabbits; Costello's transformation to either a giant mouse or Hyde's monster; the big chase about town resulting to Reginald Denny's facial expression of disbelief; and the ever presence of Karloff himself. There's even a slight in-joke where Costello's Tubby inside a wax museum with figures of Dracula and the Frankenstein monster. Slick trick photography, Universal stock music scoring, and plenty of pratfalls (Costello, naturally) round up this otherwise amusing horror-comedy tale that reportedly did quite well in theaters upon its release.Distributed to home video and later DVD, ... MEET JEKYLL AND HYDE's cable television broadcasts consisted of The Comedy Channel (late 1980s), The Disney Channel (1995) and American Movie Classics (2001-03), Turner Classic Movies (TCM premiere: April 16, 2016), among others. As much as there are those who might feel this to be a weak attempt in the A&C horror stories, it's certainly improves over the some recent Abbott and Costello offerings as LOST IN ALASKA (1952) or ABBOTT AND COSTELLO GO TO MARS (1953). (**1/2)