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The City of the Dead

The City of the Dead

Mystery · Horror · 1960

In Whitewood, Massachusetts, a presumed witch places a curse on the town before she is burned at the stake. 300 years later, a college student arrives and checks into the mysterious Raven's Inn to research the town's history with witchcraft.

Movie details

The City of the Dead

“300 years old! Human blood keeps them alive forever!”

1960 Mystery · Horror 1h 18m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

In Whitewood, Massachusetts, a presumed witch places a curse on the town before she is burned at the stake. 300 years later, a college student arrives and checks into the mysterious Raven's Inn to research the town's history with witchcraft.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The City of the Dead?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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The Hound of the Baskervilles

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When a nobleman is threatened by a family curse on his newly inherited estate, detective Sherlock Holmes is hired to investigate.

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Twice-Told Tales

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Dracula

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Names above the title

The people responsible.

Directed by

John Llewellyn Moxey

Written by

Milton Subotsky · George Baxt

D

Dennis Lotis

Richard Barlow

Christopher Lee

Christopher Lee

Prof. Alan Driscoll

Patricia Jessel

Patricia Jessel

Elizabeth Selwyn / Mrs. Newless

Tom Naylor

Tom Naylor

Bill Maitland

Betta St. John

Betta St. John

Patricia Russell

Venetia Stevenson

Venetia Stevenson

Nan Barlow

Valentine Dyall

Valentine Dyall

Jethrow Keane

Court is in session

Put The City of the Dead on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.