SincereFinest disgusting, overrated, pointless

ChicDragon It's a mild crowd pleaser for people who are exhausted by blockbusters.

Ella-May O'Brien Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Payno I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Wizard-8 I saw this when it was first released on video, but I forgot just about all of it as the years went by. Finding a DVD rental copy at my local video store, I decided to give it another glance.There are some good things about this Menahem Golan production, which he made shortly after splitting from his producer cousin Yoram Globus. First, the movie looks very nice. Granted, some scenes are obvious backlots, and there are not a lot of "wide" shots (probably due to the movie's low budget), but the cinematography makes everything look more expensive than it was. Also, I thought the performances were good. Robert Englund wisely subdues his acting for the most part so he doesn't come across as a Freddy Kruger wannabe.But the movie has some problems. First, the story moves very slowly - possibly due to the fact that there isn't a lot of story here. Also, the characters of the Phantom and Christine were pretty thin - you don't get to learn much about their backgrounds, and they come across as pretty one-note. Also, some cuts that were made to the movie in order to secure an "R" rating are pretty evident.Not really a bad movie, just a mediocre one overall. It does pass the time, but that's about all.

SnakesOnAnAfricanPlain Gory slasher interpretation of the story. Overall I liked it. It did pander to a wider audience by beginning and ending in present day. This was also just a bit confusing, and seems to have been done in an attempt to lay the groundwork for some sequels. The makeup was very well realized, and I enjoyed how it allowed the Phantom to go out and about. The kills were gruesome and cruel, and Englund mostly managed to keep his performance away from Krueger territory. A bit of classical literature, mixed with 80's slasher, and some class act British performances, such as a young Nighy, make this a worthwhile watch. Perhaps the music could have been a little bit more engaging/hypnotic.

swedzin First of all, I must say that this movie was terrible! A darker approach to the book and musical sounds pretty fine, but here... it was used in wrong way. The director Dwight H. Little should first read the book. Was that too hard for him? He made a story in New York that brings us a horrific tale that occurred in London? OK, I am not gonna talk anymore and compare book to the film, or the earlier versions or even new versions. Let's just concentrate one the film. Well good things... acting was good, Robert Englund was good as always, he is a good actor, but... damn...! After I saw a scene of his face, I though... It's Freddy Kruger! I mean, it's "A Nightmare on Elm Street" all over again! Englund cannot escape this character, I mean, he was supposed to be a Phantom, not Freddy! Typecasting is sometimes a really boring, huh? Jill Schoelen was fine as Christine, and it was very, very interesting to see Bill Nighy in some of his earlier appearances on US film. Also, the music and costumes were good. Now, bad... what's with all that gore and crazy violent scenes? Was Phantom that crazy? Really ... what the hell!? Phantom did kill a few people, but not in that way. Than story itself is funny, script is nothing special and the Phantom is, this is the most ridiculous, a superhuman! He can jump high, he can run fast, he can do this and that... that was very annoying! And of course,again, I am not going to talk about the book comparing. You can see it, if you are interested... but it's your funeral.

Woodyanders Gifted, but deranged and disfigured composer Erik Destler (superbly played with great gusto and passion by Robert Englund) takes sweet aspiring opera singer Christine Day (a winning performance by the always spunky and appealing Jill Schoelen) under his wing and grooms her to become a major star. Moreover, Destler murders several folks in Christine's honor. Director Dwight H. Little, working from a shrewd and compelling script by Duke Sandefur, brings real style, flair and elegance to the often-told tale: the evocation of London in the past is very rich and flavorsome, the production values are stunningly opulent (Destler's subterranean sewer lair is simply amazing!), the music is exquisitely beautiful, the murder set pieces are handled with suitably gruesome panache, and the fiery climax is truly exciting. Little and Sandefur earn bonus points for making a few bold changes to the narrative. For example, Destler in this movie isn't your standard pitiable simpering lovesick fool; instead he's a decidedly unsympathetic lethal and vicious killer who made a pact with the Devil in order to achieve immortality as an artist and now has to bump folks off for their skin. The wrap-around scenes set in modern-day New York are another nice touch; they help make the point that love and music are forever. Englund portrays the juicy role of Destler with deliciously lusty aplomb. Schoelen is likewise excellent as Christine. There are additional praiseworthy contributions by Alex Hyde-White as Christine's dashing suitor Richard Dutton, Bill Nighy as slimy worrywart opera house co-owner Martin Barton, Terence Harvey as the hard-nosed Inspector Hawkins, Stephanie Lawrence as snooty diva La Carlotta, Nathan Lewis as Hawkins' bumbling partner Davies, Molly Shannon as Christine's supportive friend Meg, and Peter Chapham as mean opera critic Harrison. Both Misha Segal's robust, shuddery score and the glossy cinematography by Peter Lyons Collister and Elemer Ragaly are up to par. A worthy and satisfying fright film.