User reviews

Jack Jones, the seventies MOR crooner, doesn't disgrace himself with his central performance in this memorably demented chiller. Jones plays a pop singer attempting to record a new album in the surroundings of an apparently haunted country retreat, but he's distracted by the creepy staff (Sheila Keith and Bill Owen), his smarmy, secretly cross-dressing manager, the brutal murders of his ex-wife and trusted colleague, and a burgeoning relationship with groupie Pamela Stephenson. Whilst not as gory as FRIGHTMARE nor as fast-paced or compelling as HOUSE OF WHIPCORD, THE COMEBACK has more than enough touches of eye-popping kinkiness, blood-spattered madness and hallucinatory menace to keep discerning genre fans entertained. Just be warned that Jones's music on the soundtrack isn't his best (it sounds like a particularly wayward Scott Walker solo album), and if you're expecting another nonthreatening pop star movie vehicle, you'd do better to avoid this completely.

True, this is rather more pedestrian than Walker's infamous horror trilogy and this clearly would have benefited from a McGillivray script. This is much more one dimensional and at times rather plodding with the fabulous Sheila Keith unfortunately sidelined. However, this is nothing like as bad as has been made out, has vigorous kills a most eerie atmosphere and decent performances from both Jack Jones and Pamela Stevenson, not to mention a restrained but most effective one from the aforementioned Ms Keith. Keeps you guessing but by the end there is nobody else it could be. Despite comments I have seen elsewhere, both leads do disrobe even if the flesh is carefully shot. Enjoyable.

After having unleashed no less than FOUR genuine cult-shockers upon the British horror market in collaboration with David McGillivray ("House of Whipcord", "Frightmare", "House of Mortal Sin" and "Schizo"), Pete Walker falls back on the writing skills of Murray Smith, with whom he made his very first horror film ("Die Screaming Marianne") as well as a couple of light-headed sex-comedies. Smith's imagination isn't as offensive or twisted as McGillivray's, and thus "The Comeback" is an overall politically correct horror effort. That DOESN'T mean it's bad or unmemorable, mind you! The story's subject matter is fairly original, the character drawings are morbidly eccentric and Walker masterfully alters long scenes of suspense with some of the grossest killings in 70's cinema I've ever seen. Real life singer Jack Jones stars as crooner Nick Cooper, working hard on making a comeback after he divorced his dominating wife Gail. His former record producer still believes in his qualities and even arranged for Nick to live in a large mansion, complete with two loyal – albeit oddly behaving – servants at his disposal. Troubles appear when the rotting corpse of Nick's ex-wife, who has been violently murdered in their former penthouse, begins to haunt him at night along with petrifying sobbing sounds of a small child. It soon begins to look like someone intends to boycott Nick's new career and even hurt him personally. Despite most of the red herrings and sub plots being implausible and far-fetched, the whodunit-element of "The Comeback" keeps you alert and interested up until the satisfying denouement (that I didn't see coming, I may add). The faster the ending approached, I began to fear that Murray Smith would make the same mistake as he did in "Die Screaming Marianne" – loose control and drown in all the deceptive plot twists -, but experienced director Walker neatly fits everything back together during the shlocky finale. He also makes great use of terrifically sinister set pieces, like the creepy penthouse and the totally uncanny rooms in the mansion. The film contains multiple homage references to classic films (although some people tend to call them rip-offs), such as "Psycho" and "Citizen Kane" and I wondrously even loved the corny song called "Traces of a long forgotten tune". The acting is adequate, although Sheila Keith's performance is a cut above the rest as usual. "The Comeback" was one of Pete Walker's last achievements, followed by only two more movies. His work may very well be an acquired taste, but I definitely consider him to be among the most talented horror filmmakers that were active in Europe.

A singer (Jack Jones) holes up at a sinister estate to write new songs for his act. The ghost of his murdered wife (Holly Palance) begins to haunt him, then the person who actually killed her shows up at the mansion.

How did this title wind up in the hands of Troma? Granted, over the years a number of decent films (many of them horror) have found their way into Troma's catalog, but this one is strong enough that it could easily have been picked up by MGM or Warner or someone with a little more respect.

I am not familiar with Jack Jones' singing or acting career. I only know he performed the "Love Boat" theme and was the third husband of Jill St. John. I think he did a great job here as the lead, and makes a believable everyman. Another reviewer said he looks like Robert Redford. I guess I can see it, but let us not get carried away!

As for Pete Walker, who was ignored and unappreciated in his day, this is probably among his best work. On top of the decent plot, we have gore, blood and rotting corpses... everything you want from a horror film.

Being famous can have its drawbacks. Famous singer Jack Jones plays Nick Cooper, a well-known pop singer who relocates to a London estate to start recording music again following his divorce from his wife Gail(Holly Palance). Little does he know while he was flying to England, his ex-wife is brutally murdered. While he was trying to reclaim his past fame, the people he is staying with have a secret that is even well- hidden from Nick. The stay at the estate was not very pleasant to him. He would hear moans, sobbing, and crying from within, and the caretakers take his complaints very lightly. Not only that his wife gets killed, his friend Harry (Peter Turner) gets stabbed as well. So when Nick began to start losing his mind, the insanity points out to the people he is staying with. To me, that estate was nothing more than tourist trap. Jack Jones has put a performance on both music and the big screen. David Doyle has been well known as John Bosley on "Charlie's Angels". This movie is quite subtle, and not too violent. Has plenty of suspense though. This one is great for the music buffs. 2 out of 5 stars

Perhaps the most terrifying thing about this late 70's British set horror is that it features bill owen, he of u.k old folks fave tv show 'last of the summer wine' fame, amongst it's cast. Anyone familiar with bill's family friendly sitcom work, will be perturbed to find him appearing in a film that features various stabbings , a shot of actress Pamela stevenson's bare behind and a scene where a character describes his favourite breast size.This is truly as far from Sunday teatime tv as you can possibly get. Bill's casting aside, this is standard pete walker fare, it's all bawdy, bloody fun for 90 minutes and then back to reality with the vaguest recollection of what you just saw. Don't get me wrong pete walker, like his contemporary Norman j Warren did offer a very distinctive British flavour to 1970's horror cinema and his film's were never less than enjoyable, it's just 'the comeback's tale of singer returning to the limelight, whilst being tormented by a bloodthirsty killer, feels to me like every other script for his work and that is that it's underwritten and the finished film undercooked.

Nick Cooper (Jack Jones) is a singer in desperate need of a comeback. So he holes up at a creepy country estate (that's your first mistake right there) hoping to be inspired. He instead finds himself tortured by the restless spirit of his murdered wife (get it? She COMES BACK?).

The film features New Zealand star Pamela Stephenson (Bloodbath at the House of Death, History of the World, Part I), who can be depended upon to show great nudity, and she briefly exposes herself here.

Not too crazy about the ending. but you do get to see Charlie's Angels' Bosley in full drag.

Watch closely, as Jack Jones sings in the new film American Hustle.

A passable and acceptable English Terror that keeps you intriguing , suspenseful and guessing . It deals with singer (Jack Jones) holes up at a sinister and isolated state run by an elderly marriage (Bill Owen , Sheila Keith) to write new songs for his career . But a ghost starts to haunt him . He hears screams and a disfigured woman shows up at the mansion. But then things go wrong , going on a criminal spree . A scream is not a scream...Unless it's heard! More haunting than any melody... Is she the victim of a bizarre murder... or will she be back? If you like this , have you brain examined ! ..more than a bad dream ! World than you most shocking nightmare ! Daré you see the film that shocked the critics ? Far beyond a nightmare . What terrifying craving made her kill ... and kill..and kill... Millions loved him, could someone hate him enough to kill and kill again?.

Scary slasher movie with disturbing chills , eerie intrigue , twisted suspense and violent events with gory , bloody scenes . It is far better written and played than you might expect , if the first part results to be slow-moving as well as boring , lacking exposition, but when appears the creepy marriage : Sheila Keith and Bill Irwin things get better . This chiller packs a simple and basic formula , with neither deep exploration of characters , no analysis of environment or circumstances , but massacres without much sense . Main and support cast provide functional interpretations . Stars Jack Jones giving a so-so acting as a famous singer . Accompanied by a good cast with plenty of familiar faces , such as : Pamela Stephenson , David Doyle , Holly Palance and brief appearances from Richard Johnson as a doctor and June Chadwick as a nurse . While Sheila Keith gives a nice acting as the housekeeper and Bill Irwin is fine as her faithfully hubby .

It contains adequate cinematography by Peter Jessop , adding frightening musical score by composer Stanley Myers who composed the classic soundtrack for ¨Deer Hunter¨. This gory picture was professionally directed by Pete Walker , though it has some flaws , gaps and failures. He was an expert on Terror movies , though he also made other genres and TV series . As Pete Walter directed the following ones : " House of the long shadows¨, ¨Home before Midnight¨ , ¨The Comeback¨ , ¨Schizo¨ , ¨House of Mortal Sin¨, ¨House of Whipcord¨ , ¨Frightmare¨ , ¨Tiffany Jones". With "Frightmare" following on "House of Whipcord" , David McGillivray's scriptwriting undoubtedly having a marked effect on Pete Walker's pictures . Pete Waker's "Nightmare" filmmaking is on another level , altogether from " Cool it Carol ¡" or "The Flesh and Blood Show". Most his films made in exploitation style and used to settle for routine or run-of-the-mill storylines ; however , nowadays , being better considered than in the 70s past . Rating The Comeback (1978) : 5,5/10 . Regular but passable , though it tends to leave a highly unpleasant aftertaste .

American pop singer Nick Cooper returns to England to resurrect his singing career, after being in a six-years relationship that just ended. His recording manager gets him a quiet old vacation house run by two elderly folks, so he can concentrate on his musical comeback and sweet talk his manager's secretary. However every night he spends there he's plagued by horrifying screaming, and a rotten corpse that looks like his former misses, and it only gets more stranger and unnerving until he finally cracks under the anxiety. Unknowingly to Nick, just after he left to England his ex-wife is brutally murdered and left to rot in his play house.

My first taste of director Pete Walker's exploitation/horror forays almost didn't eventuate. My luck the tape I had of "The Comeback" was that of bad quality, as the sound was hissing and the screen was rolling. After twenty minutes of that distraction, I was about give up and in the bin it would go. However it came through, and I could finally watch it… clearly.

Now the movie itself is a grim, unpleasant little mysterious psycho-shocker presentation with very little in the way of surprises and even jolts, as it goes about things in a conservative manner. Walker's direction is dry, subdued with only small moments of fast outbursts. There was potential within, but the kitsch-like premise can stumble into silliness and become convoluted, while the red herrings aren't particularly useful, but Walker springs up few imaginative images and effectively creepy and inspired set pieces that do rally up some mindless fun. The death scenes are minor, but still they pack a punch due to the fact they are gruesome, sudden and jarring in detail. Even the setting of house comes off eerie, and a Gothic atmospheric tenor is released with good use of foreboding sound FXs. The music score trickles with an understated chilliness, but still has a sting in its tail and agile cinematography feels like it's on a leash as it follows the figure with different angles and framings. The pacing can stall too often, with a stop and go approach. The talky material plays the usual "Am I going insane" trump with clichéd predictability, but that dozy of a climax is one over-the-top revelation that you don't see coming. Suspense has no say and it never draws upon building any, because everything is mostly telegraphed. The characters are an odd bunch and the acting comes off admirably well. A likable Jack Jones is sound enough and the ravishing Pamela Stevenson is satisfyingly good. David Doyle is enjoyable as the recording manager and Shelia Keith's glassy turn is professionally convincing.

Odd, ghastly British horror fable that can't escape its plain and ponderous style.

There are certainly are a few (so called)well made, big budget horror films that are not as entertaining as this one. Jack Jones gives it all he's got as an actor and looks like he is having a ball. All in all IMHO an enjoyable piece of late night hokum.

1977's "The Comeback" marked a downturn for exploitation director Pete Walker, coming off well known titles like "House of Whipcord," "Frightmare," "House of Mortal Sin," and "Schizo," here reuniting with screenwriter Murray Smith, author of earlier efforts "Cool It Carol," "Die Screaming Marianne," and "Four Dimensions of Greta." With this and the subsequent underage sex drama "Home Before Midnight," Walker seems handcuffed with more conventional storytelling, few characters in this small scale mystery about an American pop star, Nick Cooper (Jack Jones), who had put his career on hold for controlling spouse Gail (Holly Palance), now a free man working on a comeback album in London, his ex viciously butchered in their former apartment, the corpse occasionally revisited by Walker as it gradually decomposes in gruesome fashion. His manager (David Doyle) puts him up at a country manor with his only companions the married caretakers, Sheila Keith as Mrs. B and Bill Owen as the silent Mr. B, and a welcome attraction toward secretary Linda Everett (Pamela Stephenson) to take his mind off his recent marital troubles. While the lovebirds spend time together, Nick's buddy Harry (Peter Turner) is also murdered in the same building as Gail, this time hacked in the elevator after discovering her fetid corpse. Sleepless nights accompany Nick with screams and apparitions, but with Walker regular Sheila Keith dismissing them as figments of a vivid imagination you know something strange is afoot! There's precious little meat on these bare bones apart from the well staged, bloody set pieces, the killer donning an old hag mask and wig, a surprisingly predictable outing quite unlike Keith's memorable "Frightmare," the recordings sounding like nothing current that might engender further success, neither disco nor punk, strictly middle of the road like Engelbert Humperdinck. The singing son of actors Allan Jones and Irene Hervey, Jack Jones isn't bad but displays about as much charisma as Pat Boone in Terence Fisher's "The Horror of It All," it could have been far more interesting with Ringo Starr, Cat Stevens, or Bryan Ferry of Roxy Music playing the part (Walker would actually sign Mick Jagger's younger brother Chris to play a rock singer in his next picture). Pamela Stephenson's considerable charm and awesome physical attributes make up for her being cast as the girl in peril, first considered for Melanie Griffith or Kim Basinger, the guest star cameo supplied by Richard Johnson as Dr. Ian Macauley, a psychiatrist who cautions his nurse (June Chadwick) to be 'tactful' with Nick following an apparent nervous breakdown; her response: "you went nuts!" The acting daughter of Hollywood's Jack Palance, a smiling Holly Palance achieves yet another regrettably early exit as in her previous horror film "The Omen," in which she played Damien's doomed nanny who hangs herself at a birthday party full of terrified children. Pete Walker would follow "Home Before Midnight" with one final effort, an old fashioned throwback called "House of the Long Shadows," uniting Vincent Price, John Carradine, Peter Cushing and Christopher Lee under its dark and gloomy roof.

I haven't seen The Comeback since 1980 or ‘81. I was ten when I caught this one on cable television and a few of the more horrific scenes have stayed in my mind ever since. Just a few days ago I rediscovered this great ‘70s slasher and bought it on DVD (a copy). For fans of this genre, the killer's appearance/costume and murdering style will definitely please. While there's not a ton of carnage to be found, the slayings are frantic and brutal and bloody. The film arguably keeps a creepy atmospheric setting from start to finish. The dreary warehouse penthouse and its gated levels and gear-crunching elevator, the minacious manor house and its two curious elderly keepers, are both good examples. As well as gore, the film also provides a few psychological jolts. Jack Jones and the rest of the cast deliver believable performances with good material. The dialogue is perfect and there's a plausible, solid storyline with a few interesting subplots, to boot. As with similar films the ending here is not so predictable. Pamela Stephenson in the role of Linda Everett is total eye candy, and I kept thinking how much she looks like a younger Pamela Anderson. And how can anyone pass up seeing Charlie's Angels' Bosley in full drag, tearful over the secret crush he has on his number-one male recording artist. Humorously, until just now discovering this film again, I'd always confused Jack Jones for Skip Stephenson of the TV series Real People. In summation I really think this UK slasher is much better than many of the Italian giallos I've seen. It's just a creepy flick that I highly recommend; Pete Walker did a hell of a job. The rating should be much higher.

Entertaining British slasher with an intriguing storyline and a cast which is better than it is on paper. Crooner Jack Jones start as a recording star making a comeback after 6 years and separation from his wife. What follows is the usual storyline of is he going mad (hearing and seeing frightening things in this creepy house), or is it something else. Mr and Mrs B, in charge of the house, are certainly creepy enough. A few red herrings do leave you guessing the ending and Jones does a decent job playing the lead role. Add a young Pamela Stephenson as the female lead and you have an interesting 90 odd minutes of suspense.

Pete Walker has something of a cult following; and that isn't surprising considering films such as House of Whipcord and House of Mortal Sin, but he's a very hit and miss director; evidenced by misses such as Die Screaming Marianne and House of Long Shadows, and while The Comeback is not as bad as Pete Walker at his worst and certainly has it's moments; it's not the British cult director at his best either, unfortunately. The plot will be fairly familiar to anyone who is a horror fan as its basis has been seen in many films previously, and focuses on a man who is haunted by his dead lover. Nick Cooper is a pop star who has fallen out of public favour. His wife was violently murdered in the couple's penthouse, and Nick has gone to live in a picturesque mansion complete with a pair of odd servants. Trouble starts when Nick stars seeing his dead wife, and despite everyone believing him insane; the visions continue and the troubled pop star begins to suspect that someone is trying to meddle with his life...

The main problem with this film is that for large amounts of time; it is really rather boring. Pete Walker takes time to build his characters and the situation; which is all well and good, but with this film he takes too long over it and the plot actually suffers as a result. The lead role is taken by American singer Jack Jones who is actually not too bad in the lead role despite not actually being an actor; although I have to admit that I wasn't surprised to find that he hasn't been in many other films. The rest of the cast isn't particularly memorable, although Pete Walker regular Sheila Keith has a small but pivotal role. The film does contain a few decent set pieces including a fairly graphic murder and a very well worked, although rather silly, final revelation. Walker does manage to create something of a mysterious atmosphere for the film; although it does unfortunately feel just a bit cheap. Overall, The Comeback is not a great horror film; but it's not too bad and Pete Walker certainly has done worse. Walker's fans will find something to like.

"The Comeback" stars singer Jack Jones as a faded singer Nick Cooper,returning to Britain from the States to record a comeback album.Meanwhile,a transvestite maniac in a wig,fright mask and granny-dress has killed his ex-wife and starts knocking off everyone close to him.Typically gruesome Pete Walker's shocker filled with suspense and bloody murders.There is also an air of self-parody here plus a good deal of humour,still fans of Grand Guignol horror shouldn't be disappointed.I have only seen two other horror films made by Pete Walker "Schizo" and "Flesh and the Blood Show" and I'm highly impressed.So if you are a fan of British horror or slasher flicks in general give this one a look.

The Comeback starts off looking promising, with a brutal death scene by a mask wearing killer. The mask itself is pretty cool too, and looks almost identical to the one used in the 1990's slasher film "Granny". From then on the film is mostly boring. We get a few more deaths, which again are good, but there's not enough of them. The reason the deaths are so good is because they are frenzied and bloody. The story behind the film is actually rather interesting and would have worked very well had it not been so boring for the most part.

I would avoid this unless you're a die-hard collector - there's not enough here to even make it an average slasher flick.

Friday the 13th step over! There is officially a worse movie than your hateful series out there. I won this movie in a contest at college, and it was a waste of money even if it was free. Jack Jones stars as a truly awful singer whose trying to find some murderers or something. At least Friday the Thirteenth never bored me. I'd rather have my fingernails pulled than see this again.

I recently watched the UK picture 🇬🇧 The Comeback (aka Encore, 1978) on Tubi. The storyline follows a song writer who is staying at the estate his wife was murdered in hoping to be inspired to develop his next project. When the killer of his wife is also at the estate, he has far more than inspiration to worry about.

This picture is directed by Pete Walker (House of the Long Shadows) and stars Jack Jones (Airplane II), Pamela Stephenson (Superman II), David Doyle (Charlie's Angels), Holly Palance (The Omen) and Penny Irving (House of Whipcord).

This movie is such a fun watch. The storyline is straightforward but works perfectly for the genre. The villain is awesome with great masks and slasher style circumstances. The kills are a lot of fun with great use of an ax, flying appendages and the right amount of gore and blood splatter. The storyline has some fun twists and turns and a great final reveal. There's a lot to like here for horror enthusiasts.

In conclusion, The Comeback and a worthwhile addition to the horror genre that I would strongly recommend. I would score this a 7-7.5/10.

The Comeback is the kind of Seventies flick that is usually high on my radar but it's so very bad, that it's not so bad it's good. It's just bad.

Glen Campbell yacht rock type records his first single in six years, as he took a break from making albums during his brief marriage. The film starts out fine with an almost immediate kill, and a costumed murderer reminiscent of Italian giallos.

However, the writing is terrible. The viewer is forced to sit through repeated plays of a faux yacht rock song while a way too obviously creepy personal assistant harasses the musician and nearly sexually assaults his employer's date. We never really understand why the date is so eager to run off with the creep in the first place. Or why this successful singer lives in a ruined squatter's industrial building.