Not even bad in a good way

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

Back in 1985, Mel Brooks produced a Gothic horror film with a former 007 agent and a former Captain of the Starship Enterprise. That film was called 'The Doctor and the Devils', and is based on real events from a few 19th century murderers in England. And I'm not talking about the infamous Jack The Ripper, but rather 'Burke and Hare', who went on a big killing spree, where they took their deceased victims and sold them to a Dr. Knox, who would experiment on the cadavers to further the knowledge of science and the human anatomy.That is more or less of what is going on with 'The Doctor and the Devils' here. You can add to that with the iconic poet Dylan Thomas writing the screenplay for the film, who was recently seen in the film 'Interstellar' with the 'Do not go gentle into that good night' piece of dialogue. The film centers mostly on one Dr. Thomas Rock (Timothy Dalton), who is a a professor and doctor who examines and studies the human body.Dr. Rock wants to further the science and research of the human body, while others think that his methods aren't exactly kosher, including Professor Macklin (Patrick Stewart), who constantly tries to expose and stop Dr. Rock. Since Dr. Rock is needing more and more dead bodies to do his experiments on, he enlists the help of Robert Fallon and Timothy Broom (Jonathan Pryce and Stephen Rea), who hear about the "good" doctor's needs. Fallon and Broom both embark on a killing spree and deliver the newly dead to the doctor for a hefty fee and no questions.It seems like a reasonable deal, but Broom and Fallon (Burke and Hare) start murdering innocent people wherever they are, instead of doing the deed more rationally. There is an unfleshed out side story with Dr. Rock's apprentice (Julian Sands) and his lover (Twiggy), but it doesn't go anywhere really. To add to the Gothic horror tones, Thomas focuses on the religious themes of what happens to people's souls and bodies after death. And Rock must struggle with whether to keep accepting these dead bodies when he finds out that they were innocent murders.Everyone does a great job here with their roles, even if it seems a little too Gothic, but the dialogue is delivered perfectly. 'The Doctor and the Devils' is a great look with one hell of a cast and crew at some of the most horrific murders ever to grace the newspapers, and it still holds up thirty years later.

Grave robbers supply a doctor (Timothy Dalton) with bodies to test on.Coming from a screenplay by Dylan Thomas with modifications from playwright Sir Ronald Harwood, directed by experienced horror director and cinematographer Freddie Francis and produced by Mel Brooks.Now let us mention the cast: besides Dalton, we have a pre-Trek Patrick Stewart as a higher-up doctor who suspects Dalton of doing something wrong, and Julian Sands as Dalton's assistant. Sands actually has a rather large subplot of being romantically involved with a prostitute before he starts to think his boss is a little shady.Coming from Francis' background with Hammer, there should be no surprise this has some Hammeresque qualities to it. And thank goodness!

This movie is well acted and literate, and boasts a regular Masterpiece Theatre cast. So why is it not more satisfying? The miserable lives of the poor and homeless of 1828 Edinburgh are vividly detailed. I have seldom seen a more alcohol soaked movie. Practically every scene has people drunk already, getting drunk, or scheming to get more liquor. The pervasiveness of alcoholic excess as a way of driving off the demons of poverty and hopelessness has seldom been shown in more graphic detail.The truly appalling characters of Fallon and Broom are portrayed with utter conviction by Jonathan Pryce and Stephen Rea, with excellent support from other British television and movie stalwarts such as Patrick Stewart and Sian Phillips. Former model Twiggy turns in a very moving portrayal of a young prostitute ,hardened by life at too early an age to accept the love of an earnest young medical student (Julian Sands.) Where the film falls down is in its mixed presentation of gruesome historical reality, lurid horror movie story telling, and the desire to have the film be a class act like something for the BBC.The nasty reality of the real life crimes of Burke and Hare is hardly something that could be overdone, in even the most Grand Guignol of horror movies. This film does not flinch from portraying the ugly reality of the sordid murders, including the two jolly killers getting an old woman drunk, so they can murder her more easily later on. These are matters of historical record.But there's a sense that the movie wants to be more respectable and holds back a little, unlike the all out Gothic horror of the 1959 Flesh and the Fiends, which conveys the genuine horror of the murders, its chiller movie presentation somehow working to emphasize, rather than diminish, the dreadful catalog of greed and brutality.Oddly, the more conventional horror movie presentation of Flesh and the Fiends tends to work better than its more respectable successor.One reason might be the large amount of gallows humor and absurdity in it, unlike the extremely serious Doctor and the Devils. The script is very witty, with George Rose and Donald Pleasence delighting in their ghoulishly humorous characters.The Doctor and the Devils is a well made, serious movie worth seeing. It is a bit long and flat at times, and arguably a little too real for its own good, with a bleak and despairing tone prevailing, rather than the Gothic horror of Flesh and the Fiends. This somber approach may work against the film, in the long run, but it deserves to be seen by a wider audience.

As others have noted, this should have been an excellent Hammer-style film, and it seems to me that that's how most of the actors were instructed to play it... but the screenplay is so leaden, poorly paced, and filled with a lot of dull soliloquies (poor Timothy Dalton is saddled with most of them) that it's all too overblown and self-important. This is an uncharacteristically weak performance from Dalton, although he quietly nails the climactic scene where Dr. Rock finally realizes what he's done. The only actor who comes off really well is Patrick Stewart who is a most welcome sight. Freddie Francis may have been a great cinematographer, but he was a lousy director.