premiered on February 12, 1931, at the Roxy Theatre in New York again with Lugosi in the title role. Contemporary critical response to Dracula was described by Tom Weaver, Michael Brunas and John Brunas, the authors of the book Universal Horrors, as "uniformly positive, some even laudatory" and as "one of the best received critically of any of the Universal horror pictures." Film historians have differed on what films belong to the series. Ken Hanke wrote in A Critical Guide to Horror Film Series that Universal produced only three films (Dracula, Dracula's Daughter, and Son of Dracula) that "can properly be called part of a loosely grouped Dracula series" though Son of Dracula is really a distant cousin and that the films where Dracula makes "token appearances" were more incorporated into the Frankenstein series. Gary D. Rhodes wrote in his book Tod Browning's Dracula that Universal had produced five films in their classic era whose plotlines assume the audience would be familiar with the Count Dracula character from either viewing or being aware of the 1931 film. Rhodes noted that the later films that include Dracula such as The House of Frankenstein and House of Dracula have the character portrayed differently, as a Southern gentleman with a moustache with only limited appearances in the films, such as his character only appearing for 15 minutes in The House of Frankenstein. In the 1940s and 1950s, Dracula usually appeared as a supporting character in a handful of films. Hammer originally began developing American-styled science fiction films in the early 1950s but later branched into horror with their colour films The Curse of Frankenstein and Dracula (1958). These films would birth two horror film stars: Christopher Lee and Peter Cushing. Hammer's Dracula series would continue up to the 1970s where it was updated to contemporary settings with Dracula A.D. 1972 (1972) and its sequel The Satanic Rites of Dracula (1973), after which, Lee retired from the Dracula role. In the late 1970s, remakes of Dracula were made, including John Badham's Dracula (1979) and Werner Herzog's Nosferatu the Vampyre (1979). Other European productions enchanced the eroticism of the Dracula story such as Paul Morrissey's Blood for Dracula (1974). In the 1980s, Dracula rarely appeared in film outside nostalgia-themed films like The Monster Squad (1987) and Waxwork (1988). Following the release of Francis Ford Coppola's Bram Stoker's Dracula (1992), a small wave of similar high-budgeted