Cooper, Ian (2016). Frightmares: A History of British Horror Cinema. Studying British Cinema. Auteur Publishing. p.128. ISBN 978-0993071737.

There is certainly a fine opening scene where scenes of a girl being pursued, strangled and drowned, which is intercut with a baptism and a singer singing a hymn, where Robert Hartford-Davies cuts at appropriate points between lines like “With His blood, set me free … I know what my punishment must be/I have sinned with my every breath and my punishment must be death … And I know with my death I’ll be free.”It's not the most polished of films, but the directing is pretty good and the acting pretty solid throughout - with a convincing enough ratio of ham, menace and believability - with the script and storyline excellent. Overall the results, particularly when taking the fairly small budget into consideration, really are very, very good indeed. Which is why I honestly think this film was years ahead of it's time. The scene of the murder whilst dressed as a cop, I do imagine was a little controversial during the period. The last difference is to the 'meat-hook scene' where one of Kenny's victims (Suzanna East) initially drowned is discovered hanging on a meat hook. Both versions play the discovery slightly different, the Derann version includes a brief shot of the girl on the meat hook as well as a second shot that zooms in on the dead girls face. The BBC version begins with an additional long shot of the dead girl, and ends on a second shot, that's actually the first shot we see of the body in the Derann version but is more drawn out. The zoom shot from the Derann version isn't included in the BBC version. In some ways Brethren is a companion piece or extension to the bleak yet crude Corruption. Hartford-Davis and scriptwriter Brian Comport evidently wanted to comment on the repression and control of organised religion but this becomes lost in the need to titillate the movie goer with topless female victims. This lessens the impact and tension of the story. However, the production design and cinematography do a tremendous amount of work in lifting the on screen value and some images linger in the mind, such as the women’s corpse found hidden in cement, and the climatic crucifixion of Magee’s character. A new religious cult has taken over the church, and all hell is unleashed on the unsuspecting community & congregation, as a psychopath seeks his own interpretation of the Lord's vengeance!

Also included is a booklet with two essays about the film. Jon Dear’s The Fiend and the Flesh examines some the possible inspirations for the film in real life cases of crime and religious cults. Andrew Graves’ UK Grime Scene attempts to contextualise Brethren’s place in the world of 1970s British horror. The always erudite Flipside maestro Vic Pratt contributes an excellent video overview on Hartford-Davis’ career and the film itself in the One Moment in Time (23 minutes). Film historian Melanie Williams offers a pleasing overview of Ann Todd’s career in the A Woman on A Mission (17 minutes). An original cinema trailer and a comparison of the UK cinema and uncut international versions of the film round up the extras. beyond. Costuming remain fibrous, surveying itchy police uniforms and robes, along with hipper wear from the younger cast. Evil activities also Die Atmosphäre des langsam dahinköchelnden klerikalen Wahnsinns, die Aussichtslosigkeit eines Entkommens, die sich brutal entladenen Morde und ein erbarmungslos kreuzigendes Ende finden (für die richtige Zielgruppe) auch heute noch ihre Wirkung. This cookie, set by YouTube, registers a unique ID to store data on what videos from YouTube the user has seen.The AVC encoded image (1.85:1 aspect ratio) presentation offers a healthy amount of detail to help viewers immerse themselves in this distinctly

A delightfully sleazy film which rarely falls into tedium, keeping up the frenzy and the tastelessness to the bitter end. A great double feature would be The Playbirds (1978), another British sleaze-fest which featured a serial killer inspired by lunatic religious beliefs. cinematography reinforces the television ambiance of the effort, which doesn't favor dark twists and turns, but melodrama is periodically broken up bysolitude has destroyed Kenny's perspective on normality, with his need to spread the good word turned into serial killing, unable to deal with the sin

Having recently bought a copy of the 2010 release of this lost gem, finally available fully uncut and beautifully presented in anamorphic widescreen 1.78:1 - Odeon Entertainmant ODNF162 - I can't recommend it enough. Taking into consideration the very strict censorship laws and general climate the time of it's production, it's easy to see why it was butchered and suppressed at the time of it's initial release in 1972, the Mary Whitehouse brigade would have soiled themselves collectively at the subject matter alone. And the murder scenes, whilst fairly tame compared to some in todays more enlightened times, were way out there for early 70's Britain. This blu-ray has had a “2K Remaster from the Original Negative”. It also includes a booklet and a matte laminate slipcase. damnation just don't have the punch they should, with most of "Beware My Brethren" coming across as a television movie that's occasionally Beware My Brethren" does open unexpectedly, which certainly helps to launch the picture with a great deal of promise. Entering the Brethren British production. Set decoration is open for study, moving from the Brethren church to more domestic surroundings, offering a look at home life andFor its original UK cinema release the film was heavily cut by the BBFC with edits to the murder scenes (the torch murder and the strangling/stripping), shots of a girl's body on a meat hook, and the sequence where Kenny listens to the taped pleadings of his victims. The uncut version was once shown on BBC1 though later showings used an edited print. The 2010 Odeon DVD features the fully uncut version. Birdy (Ann Todd) is a widow who's granted access to the Brethren, an Evangelical cult, to build a church inside her house. She's a devout believer, a