Good start, but then it gets ruined

Critics,are you kidding us

It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

While many would argue that Frankenstein or The Mummy are far superior, I find The Body Snatcher to be Karloff's magnum opus. He pulls you into every scene he's in and leaves you wanting more. Perhaps it is the wit of dialogue behind the eerie smile of his cabman, the way he lumbers to and fro with a body bag slung over his shoulder, or his stealth-like omnipresence prowling in the guise of some twisted grim reaper lurking in the shadows. Robert Wise directed this tale beautifully. Bela Lugosi and Henry Daniell were both excellent, as was Edith Atwater. However, the only complaint I had with this Stevenson masterpiece was Russell Wade's performance, who finished scenes extremely weak or over dramatic. Overall, this film is a must see for any lover of classic horror, Hitchcockian noir, or just your basic black and white feel of old timey.

This movie shows why Karloff makes the ultimate evil person. He just oozes nasty. I was hoping for a painful death for him because he killed the dog.A man who will kill a dog for no reason other than barking, their is no redeeming quality in him. Even with that, this is quite possible the best preformance of Karloff. This movie has it all, strong story, great dialog, superior actors, creepy atmophere. This is the measuring stick of great movies.

"The Body Snatcher" from 1945, is the greatest horror film from producer Val Lewton.Boris Karloff certainly had a character to get his acting chops into, in the title role. Rarely has he played such an evil character. The way he is by different turns, sly, cunning, ruthless and vindictive makes for a fine performance from Karloff.Henry Daniell offers excellent support. This film was the last time those two horror legends Boris Karloff and Bela Lugosi would work together. The latter has a handful of brief scenes but the plot allows the two actors one last time to share a scene. It is a highlight as well.The dialogue is better than usual and the director Robert Wise does a fine job.The film works best as a horror film of atmosphere and suggestion.

An apprentice doctor accepts promotion by his revered teacher, but finds he must make a ghastly compromise if he wishes to survive ...The first thing I noticed was the architecture in the opening shots - emphasising hierarchy and dominance. Then we get into a drama of class and ignorance, which is mostly a crime story that just about clears the horror hurdle in the last sequence. It's really a study in déformation professionnelle (yeah, I looked it up on wikipedia).The story is a bit jumbled, as the hero is way overshadowed by the villains, and the women have no impact other than exposition and snoozy sentimentality. But the villains are played brilliantly, with a whiff of Iago and Shylock. Karloff is magnificent - particularly in a murder scene with Lugosi, where he tosses off the word "tosspot" without a hint of a snigger.It really is a talkie-talkie, so not a great movie, but the pace is OK for such a short run time. The music is standard orchestral nerve tinglers, but not overwhelming. Didn't notice much in the editing, but the sets and photography were nice and moody.Overall: engaging, and elevated by the performances of the doctor and his nemesis.ps. Does Jeremy Irons channel Karloff?