Karloff’s Shadow Looms Over the Chaos

Read Time:5 Minute, 43 Second

MOVIE REVIEW
Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (4KUHD)
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Genre: Comedy, Horror, Mystery
Year Released: 1953, Kino Lorber 4K 2025
Runtime: 1h 16m
Director(s): Charles Lamont
Writer(s): Lee Loeb, John Grant (story by Sid Fields, Herbert Baker)
Cast: Bud Abbott, Lou Costello, Boris Karloff, Craig Stevens, Helen Westcott, Reginald Denny
Where to Watch: available now here: www.kinolorber.com or www.amazon.com

RAVING REVIEW: There’s a charm to ABBOTT AND COSTELLO MEET DR. JEKYLL AND MR. HYDE that comes from watching two comedic titans wander into a story that was never designed for their style of humor. It’s a strange collision of tones: the fog-drenched streets of a classic horror tale smashed into a vaudeville-rooted comedy act that refuses to take anything seriously. That tension doesn’t always play out as we hope. Yet, there’s an undeniable fascination in seeing the story unfold, especially when Boris Karloff steps into frame with the kind of gravitas that reminds you how powerful the Jekyll/Hyde legend has always been.

This is one of the later entries in Abbott and Costello’s run of monster crossovers, and it shows. The duo’s chemistry is still intact, but the formula is more apparent than it was in the groundbreaking ABBOTT AND COSTELLO MEET FRANKENSTEIN. Instead of using the horror element to elevate the comedy, this film treats the monster as an accessory, something to react to rather than something to integrate. Yet that becomes strangely enjoyable once you adjust your expectations. It’s less about narrative and more about watching seasoned performers—especially Costello—sell fear, confusion, and panic with absolute commitment.

Karloff is the anchor that gives the film its identity. Even though he isn’t playing the transformed Hyde himself, his presence shapes the entire tone. As Dr. Jekyll, he brings a sense of dignity and menace that elevates every scene he touches. Something about how composed he stays, even as chaos swirls around him. Karloff clearly understands that the comedy lands better when the horror figure remains grounded, and that contrast is one of the film's strongest elements. His take on Jekyll feels like a man wrestling with impulses beyond his control, which gives the story just enough weight to balance out the duo’s antics.

Abbott and Costello, meanwhile, lean heavily into their established characters. They may be in London “studying police methods.” Yet, the film knows what audiences came for: verbal chaos, escalating panic, and Costello’s ability to make simple physical gestures feel like the funniest thing on earth. Even in a film where the script plays loose with the ideas, Costello knows how to turn a frightened stumble or reaction into something memorable. Abbott, as always, serves as the exasperated counterweight, grounding the duo so the jokes have someone to bounce off of.

What makes this entry interesting is the attempt to layer commentary into the comedy. The inclusion of the suffragette movement, represented by Helen Westcott’s character, adds a surprising wrinkle. While the film never delves deeper than surface-level humor about changing gender expectations, it offers a unique backdrop that sets it apart from other monster crossovers. Westcott brings a sincerity that benefits the film; her performance helps keep the story from drifting into cartoonish territory. Craig Stevens, playing the romantic interest, offers stability in a narrative that frequently veers toward absurdity.

The transitions between horror and comedy aren’t as polished as they were in earlier entries, and there are stretches where the plot feels more like an excuse for set pieces than a story building toward something cohesive. But even in those uneven moments, the film never loses its charm. There’s an ease to the performances, especially among the supporting cast, that makes the pacing issues feel more forgivable. The film operates with the confidence of a studio system that knew audiences loved seeing these characters in spooky settings, and it never overthinks its own premise.

This film often looked grainy and washed out across decades of home releases until Kino’s blu-ray. Seeing it revitalized through a fresh 4K scan gives it even further clarity, making the fog look thicker, the lighting more deliberate, and the details in Karloff’s expressions more profound. Even if the film isn’t as culturally iconic as some of Abbott and Costello’s other monster outings, this restoration helps it feel renewed rather than forgotten. It allows the craftsmanship—from the sets to the makeup—to shine in a way that enhances the nostalgia without diminishing the film’s personality.

ABBOTT AND COSTELLO MEET DR. JEKYLL AND MR. HYDE's appeal lies in its willingness to blend sensibilities that shouldn’t work together but somehow coexist. It’s a film that understands its performers’ strengths and lets them play to them without restraint. Karloff’s menace counterbalances Costello’s slapstick. The supporting characters add structure to keep the story from spiraling into chaos. And the combination of horror iconography with comedic momentum creates a viewing experience that, while imperfect, remains enjoyable.

The film isn’t aiming for perfection. It’s aiming for entertainment. And despite its uneven elements, that entertainment never stops. It’s the kind of movie you watch for the personalities rather than the plotting, for the performances rather than the precision. It’s a nostalgic reminder of an era when genres could collide, and when a lightning bolt of panic from Lou Costello could carry an entire scene.

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[photo courtesy of KINO LORBER]

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