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Synopsis

A wax museum owner uses his horror exhibits to unleash evil on the world. —IMDb

Director

Original

Anthony Hickox

Anthony Hickox (born 1964) is an English film director, actor, film producer and screenwriter.

His works include Waxwork and its sequel, Waxwork II: Lost in Time, Sundown: The Vampire in Retreat, Hellraiser III: Hell on Earth, “Prince Valiant”, “Children of the Corn”, “Warlock: Armageddon”, “Payback”, “Carnival of Souls”, “Knife Edge”" and “Yellow” (2012).

Anthony “Tony” Hickox comes from a family of filmmakers. He is the eldest son of the director Douglas Hickox and Academy Award winning editor Anne V. Coates and brother of editor Emma E. Hickox and director James D.R. Hickox. He is also the great grandson of Lord J. Arthur Rank who controlled the British film industry for many years.

After starting as a club premotor in london he came to LA in 1986 and became one of the most prolific horror writer/directors of the late 80’s and 90’s. His visual style often uses a dual-focus technique in which one person’s face takes up most the screen in profile, with another… read more

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Coheed 2.5

8Apr13

By its end, it becomes a fascinating take on how we watch cinema. Unfortunately its within a film with completely unlikable characters and a weak plot.

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domina vegrandis

11Sep12

Heee-larious. I like how Marquis de Sade is the ultimate villain. Now I just want to watch 80s B-rated horror until Halloween comes around.

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Christopher Smith

5Aug12

Very fun 80s B-horror that doesn't take itself too seriously. Pretty cheesy, but it knows what it is and has some great moments of weird humor, and a number of the horror scenes are stylishly effective as well, despite its low budget. A whole lot of fun for cult movie fans.

HKFanatic likes this

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HKFanatic

28Jun12

Deserves to be seen at last once by any fan of Eighties horror. A few hokey performances aside, director Anthony Hickox genuinely nails it when he goes for moments of dark sensuality or bloody terror, particularly the two sequences involving vampires and the Marquis de Sade. It's the broad attempts at comedy and the general low-budget, slapdash feel of the entire production that holds the rest of the enterprise back.

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