Avis Metacritic

Veronica Carlson and Barry Andrews made the strongest couple to fall victim to Christopher Lee’s Dracula. All the supporting cast are excellent. It’s easy to get invested in their lives and wish them a happy ending after enduring Dracula’s horror.

Grave is the fourth entry in Hammer’s Dracula rotation but doesn’t possess a whiff of being a retread, given its innovative formal choices and series-best direction. [24 Jul 2018]

Director Francis films the scenes that center around the vampire with yellow-brown gels around the frames’ edges, giving the impression that they too are from Dracula’s omniscient view. They give Dracula Has Risen From the Grave a musty, jaundiced sensuality (like finding Great Aunt Mildred’s mothball stank-ridden garter belt hidden in the back of her Victorian closet) that characterizes Hammer’s blending of gothic tradition with modern prurience.

One of the last and best of the Hammer vampire flicks has Lee doing his umpteenth turn as Transylvania's thirstiest and most sexually active aristocrat. [05 Jul 1985, p.47C]

Campy horror at its very best, courtesy of Hammer Films, director Freddie Francis and the incomparable Christopher Lee in his third outing as the bloody Count. Sexy, baroque and completely inconsequential. [29 Oct 1998, p.F45]

The fourth of nine Dracula films by Hammer, with the violence and eroticism more up front this time around.

While the film has some full-blooded setpieces and creative visuals - plus one of the franchise's coolest posters - it's a thoroughly by-the-numbers effort. Lee is visibly disengaged with the sequel, the middle section drags on and most of the cast of characters aren't terribly interesting.

Dracula Has Risen From The Grave. Yes, again. And judging by this junky British film in color—asplatter with catchup or paint or whatever, to simulate the Count's favorite color—he can descend again.