Hands down one of the worst films in history. as others have said, Anna friel. is very good given the mess she had to wade through. great scener, costumes and sets but an appalling script and uneunneces y comedy. the net result is a blood soaked mess.overall i cannot recommend this amateurish offering from a director who should know better.dont waste your time watching this.clean the fridge instead.

It's true that a myth has been built around Elisabeth Bathory. But that myth is not her reputation as a monster: that is wholly deserved and borne out by historical fact. The myth is that of Bathory as vain, beauty-obsessed blood-bather. While there might be some genuine basis for this -- serial killers, after all, have been obsessed with stranger notions than the ones legend has attributed to Bathory -- the bottom line is that this lesbian murderess was a sadistic fiend who extracted intense sexual pleasure from the torture and murder of young girls. The revised version was manufactured in the Victorian era, because people couldn't bear to acknowledge that the "gentler sex" could be as bloodthirsty as men. This was, after all, the era of John Ruskin, "separate spheres," and the notion of woman as civilizing influence. Thus, Elisabeth Bathory was turned into a supernatural fiend whose story mainly served to warn women of the evils of "female vanity."Apparently, we have not come very far from the mentality of the nineteenth century, for we still live in a culture that cannot or will not view women as anything other than wholesome pillars of moral rectitude. Thus, Karla Homolka's depredations were whitewashed in a loathsome and factually corrupt straight-to-video movie. Aileen Wuornos is turned into some kind of culture hero. And gender feminists refer to the likes of Homolka and others as "classic examples of female victims of male sadism."Now we have this pack of lies, in which Bathory is victimized by power hungry men while she valiantly strives to protect her children. Yes, the old standby, folks: when you want to make excuses for evil women, just portray them as nurturing and self-sacrificing, willingly shouldering the burden of undeserved ignominy for the sake of their children. The kind of characterization which has nauseated feminists and gelded Marxist males for generations, but which they never fail to exploit when it suits their purposes.I'm a huge fan of the beautiful and talented Anna Friel. Her presence and performance are the only reasons I give this piece of dreck two stars. May everyone else involved with its production rot in hell.

It's true that a myth has been built around Elisabeth Bathory. But that myth is not her reputation as a monster: that is wholly deserved and borne out by historical fact. The myth is that of Bathory as vain, beauty-obsessed blood-bather. While there might be some genuine basis for this -- serial killers, after all, have been obsessed with stranger notions than the ones legend has attributed to Bathory -- the bottom line is that this lesbian murderess was a sadistic fiend who extracted intense sexual pleasure from the torture and murder of young girls. The revised version was manufactured in the Victorian era, because people couldn't bear to acknowledge that the "gentler sex" could be as bloodthirsty as men. This was, after all, the era of John Ruskin, "separate spheres," and the notion of woman as civilizing influence. Thus, Elisabeth Bathory was turned into a supernatural fiend whose story mainly served to warn women of the evils of "female vanity."Apparently, we have not come very far from the mentality of the nineteenth century, for we still live in a culture that cannot or will not view women as anything other than wholesome pillars of moral rectitude. Thus, Karla Homolka's depredations were whitewashed in a loathsome and factually corrupt straight-to-video movie. Aileen Wuornos is turned into some kind of culture hero. And gender feminists refer to the likes of Homolka and others as "classic examples of female victims of male sadism." Now we have this pack of lies, in which Bathory is victimized by power hungry men while she valiantly strives to protect her children. Yes, the old standby, folks: when you want to make excuses for evil women, just portray them as nurturing and self-sacrificing, willingly shouldering the burden of undeserved ignominy for the sake of their children. The kind of characterization which has nauseated feminists and gelded Marxist males for generations, but which they never fail to exploit when it suits their purposes.I'm a huge fan of the beautiful and talented Anna Friel. Her presence and performance are the only reasons I give this piece of dreck two stars. May everyone else involved with its production rot in hell.

This version about the famous countess Barthory is a big mistake in all aspects. Although the finest art direction, the film is fake in many ways and the rhythm is unstable.The storyline is confused with too many characters and the director didn't decide what to do with Barthory reputation (at the end are a ridiculous notice about the crimes of the countess)The introducing of the Italian painter, as well as the stupid spies and the English version misrepresent the historical facts. After 30 minutes the plot is boring and uninteresting. Frankly: the countess Barthory deserve something better. Let's wait for Julie Delpy's version 2009.