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Following the murder of her sister (played by a young Brooke Shields) twelve-year-old Alice Spages becomes the suspect in the ensuing investigation.

'Alice, Sweet Alice' is a heavily atmospheric part-slasher, part-psychological drama which successful maintains a disturbing undercurrent despite minor shortcomings in the technical department. The story is markedly if not abundantly complex despite a semblance of simplicity and the hastened pace in the final act elevates the tension and serves to give the film a distinctive, almost unique flavour. It is therefore unfortunate that the rather clumsy mishandling of pace at times detracts from the experience. However, in spite of this flaw the exhilarating, tense and powerful final stages of the movie greatly compensate for previous failings. Unfortunately, the most glaring failing with the film is the mediocre-to-inept acting abilities of the majority of the cast with Jane Lowry giving a particularly obnoxious, hammed and hard to tolerate performance (incidentally, Ms. Lowry would only appear in one further movie) and central performers Linda Milla, Paula Sheppard and Niles McAster providing only a minor guise of acting competence.

Perhaps the most accomplished aspect of this low-budget chiller can be found in Stephen Lawrence's masterfully ambivalent score which fuses the enchanting with the malevolent and the tepid with the zealous. The proficient, if not quite polished cinematography and presentation of director Alfred Sole readily coalesces with the haunting soundtrack to set the tone and ambiance of the movie in order to provide a great deal of thrills and chills as the captivating story unfolds. The atmosphere is heavy, brooding and inspires feelings of alarm and anxiety as the macabre imagery goads the senses and the grizzly occurrences provoke suitable revulsion which later become pure uncomfortable apprehension when the plot evolves to its conclusion. Alfred Sole's use of coincidence and camera-trickery aid in causing confusion and manipulating the thoughts and feelings of the audience, casting blame and doubt and leading to question after question. While the eventual climax seems forced and awkward it is not without power and is certainly unexpected. The various sub-plots assist in provoking strong emotional responses and even when all is said and done there is a lingering sense of discomfort as one considers just what has transpired.

It is perhaps impossible to ignore the all-too-glaring faults of this film but considering the budget will perhaps lessen negative feelings towards such faults. The overall film is strong and an admirable example of the essence of Seventies American horror film-making. Stylistically potent if lacking the elegance of similar movies and with a plot-driven approach, 'Alice, Sweet Alice' is recommended viewing for the horror fan.

Oliviero (Luigi Pistilli) is an alcoholic, sadistic and despicable has-been writer, whom has recently lost his mother, regularly abuses and humiliates his wife Irina (Anita Strindberg) and engages in illicit relationships at any given opportunity. When one of his mistresses is found brutally murdered the suspicions of both the police and his wife fall on Oliviero whose problems are confounded by the arrival of Floriana (Edwige Fenech), his young and beautiful niece with an unclear agenda.

Following on from the success of his earlier gialli with the name being a reference to 'The Strange Vice of Mrs Wardh (1971)', director Sergio Martino presents this sleazy, violent and thoroughly nasty film which experiments with new ideas and style while remaining true to the elements of his previous work that yielded such positive results. The story is awash with complexity and subtext, lacking the famed ambiguity of some similar films yet with a unique and pronounced outlandishness that serves to augment the resplendent qualities by providing distraction from the more orthodox traits of the story. Perhaps unusually for the genre, characterisation is fundamental as each character becomes progressively defined and both their motivations and psychological status come to be analysed and as such this aspect is as integral to the film as any other. Themes such as misogynism, sadomasochism, the treatment of sex as a weapon, voyeurism and most notably a trenchant concentration on the Oedipus-complex add substance and depth to the characters and story in an area of cinema often criticised for not having such and even the motivations of an ominous cat fittingly named Satan become important as the events unfurl. The narrative moves at a slow, deliberate pace, perpetually ripening, twisting and turning, leading us to believe one thing before proving the untruth and even changing genres to a point. All of this builds up to a rapid chain of events towards the end that seek to overturn everything we already know and this leads to a mostly satisfying, if somewhat predictable, climax.

'Vice' is also a stylistic treat. Martino collaborates with cinematographer, Giancarlo Ferrando and composer Bruno Nicolai and the three ensure that the visual and audible elements of the film are near perfect. The beauty of the film is predominantly founded upon the malevolent aspects of the storyline. The chronic use of darkness and shadow help to create a mesmerising yet distinctly intimidating and alarming atmosphere invoking uncomfortable feelings of trepidation while the tension and suspense is allowed to build to boiling point. Violence is filmed in such a way that the loathsome nature of the act is harnessed with erratic camera-work and quick splices of cruelty, while the bloody aftermaths are displayed to full, gruesome effect. Sex is treated ostensibly and despite a poetic presentation there is often an unquestionably vile and repugnant aura to the act which becomes more discernible as events progress. One particular stylistic flourish sees a quick insertion of the menacing cat's eyes during scenes, becoming more frequent to the end and perhaps used symbolically to represent the mental breakdowns of the characters and the relationship breakdown between Oliviero and Irina. Furthermore, these quick flashes of menace coupled with several darkened sequences involving the snarling and vicious cat add a disorienting effect and engender yet more discomfort from the viewer. The subtle use of the soundtrack, which mostly comprises soft, unostentatiously elegant music blends with the visuals in a pleasing manner and helps to control the ambiance unobtrusively.

The somewhat predictable conclusion is perhaps the most glaring shortcoming. Those who have seen Martino's earlier gialli may regard one particular aspect of the end as indicative of being formulaic while those who recognise the principal influence for the story will be less surprised at the eventual outcome. These are minor complaints but worthy of note. Vice could also be criticised for being a character-driven film that leaves several key questions unanswered. One could theorise as to why this is but perhaps the most likely explanation is that Martino wished for there to remain an element of mystery. Whether this is welcome or unwelcome will no doubt depend on the subjectivity of the audience. Criticisms aside, 'Vice' is fine film-making and certainly ranks amongst the genres elite as Sergio Martino once again excels.

Detailing the supposed true events of the haunting of a family be a violent, supernatural entity in 19th Century United States, 'An American Haunting' follows the story of the Bell family whose lives are disrupted by this malevolent being.

It has often been said that the two most important elements to great horror are mystery and suspense and while 'An American Haunting' may fall outside of the remit of true greatness it certainly succeeds in offering up more mystery and suspense than nigh-on any other film of its era. Here we have a constantly progressive and evolving cinematic work that utilises these traditional elements of horror to evoke the purest feelings of trepidation, and at times, outright distress. The way in which the subject is handled shows an unequivocal savvy and appreciations for the nuances of horror as director, Courtney Solomon, cunningly opts to slowly but surely increase the intensity of the horror portrayed within the film until the production becomes more of an exercise in endurance for the viewer as much as the characters and through this hell that Solomon clearly wishes to inflict upon us we perhaps become more sympathetic towards the Bell family and the torment through which they must suffer in much the same way that one may sympathise with the plight of Reagan and Chris in the similarly themed, 'The Exorcist (1973)'.

These traditional methods of inducing uneasiness are blended with more contemporary methods of capturing them. Cinematographer, Adrian Biddle (who had previously worked as the Director of Photography on James Cameron's 'Aliens (1986)'), truly compliments Solomon's storytelling with some splendid sweeping shots reminiscent of 'Brotherhood of the Wolf (2001)', highly-stylised colour distorted images as popularised in 'Natural Born Killers (1994)' and featured prominently in the recent 'House of 1000 Corpses (2003)' as well as what may well be a nod to the pioneering film-making of Sam Raimi in 'The Evil Dead (1981)'. Perhaps because of this there is an inherent beauty about 'An American Haunting' that sporadically shines through before being savagely torn apart by the ferocious, supernatural assaults inflicted upon the Bell family and undoubtedly this helps to enhance the terror of the movie even more. Further to this, the superlative use of sound, whether it is from the soundtrack or from within the world we are presented with, embellishes the quality of the film further, reinforcing the dread and provoking further, visceral reaction from virtually each noise.

Donald Sutherland and Sissy Spacek were perfectly cast as the heads of the Bell family while the young Rachel Hurd-Wood is exceptional in her role as the daughter. In all, the acting throughout from the minimalist cast is of a high-standard with only a few (noticeable) instances of hammed-up acting. This is a minor flaw, however, and rarely detracts from the movie. On the other hand, despite praise for the progressive nature it does seem appropriate to also criticise what feels like repetition that eventually sinks in towards the end and the movie does struggle to justify what is actually a rather short run-time. Complaints aside this may well be the best American horror film for five years.

Edwige Fenech stars as Julie Wardh, a beautiful woman with a colourful past, trapped in a dull marriage and stalked by her sadistic ex-lover, Jean (Ivan Rassimov). All the while, a series of savage murders are taking place in the city eventually drawing Julie into a twisted game.

Italian director Sergio Martino's first foray into the giallo is a luscious and vibrant picture, brimming with violence, subversive sexuality, misogynism and treachery. Perhaps the most endearing quality of Martino's film is the way in which it transcends the somewhat standard and overdone concept of the giallo's black-gloved butcher and is instead given a more plot-heavy approach. In essence, Martino takes the viewer by the hand and leads forth on a journey of discovery through a nightmarish world of both questionable and despicable characters culminating in one of the more impressive finales this particular brand of film-making has to offer. Ernesto Gastaldi's screenplay takes an imaginative and ingenious approach to relaying both common and unique themes and one cannot doubt that 'The Strange Vice of Mrs Wardh' is all the better for it. Clearly, this startling piece of cinema adds new intelligence to this class of film-making and aims to supplement such positive points with a strong coherency in a genre notorious for incoherency and illogic and it is this story, with its serpent like twists and strong nightmarish qualities, which leaves such a lasting impression upon the viewer. Perhaps the conclusion lends itself to the fanciful but 'Wardh' is such a celestial experience that this matters little.

While gialli are often considered inherently visual experiences, 'The Strange Vice of Mrs Wardh' is first and foremost a profoundly aural experience. Martino may lack some of the visual flair of genre auteur Dario Argento or Italian horror Godfather Mario Bava but the way in which he makes use of audio elements is virtually unsurpassed. Every footstep, door opening and creak is presented ominously; every shrill scream stabs at the viewer's soul; every slash of the killer's blade leaves a sickening impression. Such masterful use of simple auricular elements works to both thrill and engross as Martino seizes the onlooker by the throat and never once relents until the inventive and bleak climax and one cannot forget the enchanting musical score that impresses further still. This fine use of sound is accompanied sublimely by some truly alluring cinematography courtesy of Emilio Foriscot. With an emphasis on making the important sequences as absorbing as possible, Martino and Foriscot merge their respective talents begetting a thick atmosphere rife with a funereal gloom. Foriscot's photography fully aids and develops Martino's almost unique way of filming such harrowing scenes of violence and Martino also demonstrates a true understanding of the importance of suspense, creating almost unbearable tension while Foriscot ensures with aplomb that the director's efforts are fully supported.

'The Strange Vice of Mrs Wardh' is not a beautiful film. There are no lavish shots of the breathtaking cities of Europe nor does one see any overt attempt to dazzle the viewer with style. Instead, we are presented with a sleazy, bleak and repellent film brimming with atmosphere and brutality and from which one can take a vulgar sense of enjoyment. A few minor pacing problems aside, 'Wardh' is perhaps as close to perfection as one may ever see from a giallo and unquestionably this film redefines the rules while Martino elevates this to the highest echelon of excellence. 9/10

Following the sudden death of his sister, Francis Barnard (John Kerr) travels to Spain to question her husband, Don Nicholas Medina (Vincent Price), son of a notoriously barbaric Inquisitor. Medina openly mourns the death of his wife but Barnard is unconvinced by his story and is determined to discover the truth.

Proceeding from 'The Fall of the House of Usher' (1960), director Roger Corman's second film in his now-famous cycle of Edgar Allan Poe adaptations was this delightfully lurid and lavish offering that can at once be both repugnant and resplendent. 'Pit and the Pendulum' is a uniquely and profoundly visual experience. Dazzling colour and abhorrent darkness coalesce to invoke the most unpleasant aura of trepidation. The luxuriant cinematography of Floyd D. Crosby coupled with the artistic eye of Corman merge eminently, ensuring that mood and atmosphere remain constant and that the viewer feels the agony of the events depicted on-screen. Furthermore, Richard Matheson's screenplay is both intelligent and eloquent and Corman makes full use of what he is gifted here. The pacing of the film is superb, constantly moving onwards, never lingering too long and remaining thoroughly enthralling throughout. Truly this film is perfect in presentation and direction.

Sadly, there are imperfections in the performances of the cast, most notably John Kerr whose continually wooden, dull and tepid acting is too explicit for a leading role. Similarly, while the linguistical talents of Vincent Price lend themselves to an almost Shakespearean delivery of his lines, he occasionally allows himself to sink into ham-acting which detracts somewhat from the more serious nature of the film. However, minus these minor distractions, the performances of the cast are more than adequate to support what is in essence a strongly visceral experience. Luanne Anders and Anthony Carbone offer masterful performances in their supporting roles and cult-favourite, Barbara Steele, makes short appearances as Medina's deceased wife.

If the Corman/Price collaborations are to horror what the Scorsese/De Niro collaborations be to drama then this may well be Corman's 'Goodfellas'. A sublime entry into the genre that offers numerous thrills and chills, inherent beauty and one of the strongest screenplays to grace Sixties horror cinema. What few flaws that there are cannot truly undermine the hard work that went into making this magnificent horror film.

Inspector Tellini (Giancarlo Giannini) must investigate the bizarre murder of two seemingly unconnected women, paralysed by their killer so that they may be horrifically violated while conscious.

It has often been said that Italian cinema is all style and no plot but here is a definite example to the contrary. 'The Black Belly of the Tarantula' is indeed a stylish Italian offering laced with some truly exquisite photography and novel camera trickery but it also consists of a strong plot that surprises and captivates while maintaining a profound aura of trepidation. It is, however, perhaps the most apparent downfall in the film that the plot becomes the central focal point as several aspects to the story are left unexplored, subsequently leaving no acceptable closure of the respective plot aspect. Unfortunately because of this, the prevalent incoherency of Italian cinema is once again revisited and due to the nature of the film it is perhaps more difficult than usual to ignore. With this in mind, one should realise that the central storyline is stark enough to arouse and preserve viewer interest while only the sub-plots weaken the overall presentation of the film.

Despite the mainly superficial criticisms one can direct at the film, 'The Black Belly of the Tarantula' still takes a firm position as one of the finer examples of this particular brand of Italian film-making. Unquestionably, the opening thirty minutes are immensely powerful, offering some of the most intimidating murder sequences ever confined to the cinematic medium. The use of gloomy visuals, point-of-view shots, intentionally disorientating photography, a wonderful musical score blending both prominence and subtlety and a lavish use of dark colours and shadows creates an almost unsurpassed eerie and brutal ambiance to accompany the violent actions depicted on screen and the shrill, short, terrifying shrieks of the killer's victims seek only to underline the artistic craftsmanship of the picture. The brusque transition to silence that immediately follows the first attack of the murderer in each individual case is so overwhelmingly haunting that the following actions are immeasurably disturbing in their tranquillity. Undoubtedly, these sequences are the pinnacle of creativity from Paolo Carvara in this picture; sublime in their splendour and disconcerting in their substance.

The most apt way to summarise 'The Black Belly of the Tarantula' would be to simply describe it as flawed genius. Arguably too plot-heavy and with an unmistakably clichéd outcome, the superlative qualities fortunately shine through and leave the film as impressive, not disappointing. Perhaps those more highly versed in the Italian Giallo will appreciate the effort and artistry slightly more than others, but in any case, 'The Black Belly of the Tarantula' is worthy viewing for all fans of cinema. 7½/10

In this darkly humorous vampire offering directed by Paul Morrissey and Antonio Margheriti and produced by Andy Warhol, Count Dracula (Udo Kier), desperately requiring the life-force sustaining sustenance of virgin's blood travels to Italy on the advice of his servant, Anton (Arno Juerging), in order to take advantage of strong religious beliefs and pray upon innocent young women.

Bearing stylistic similarities with the cycle of Hammer vampire films of the time, Blood for Dracula differentiates itself from the former with sharp mood changes, graphic violence and a slight but notable change in traditional vampire lore. The result of this is a suitably distinct new direction for the perhaps now-tired Dracula formula, and consequently a more fulfilling experience than one might at first expect. Perhaps the most surprising accomplishment of Blood for Dracula is in the perspicacious use of dialogue, negating the requirement for tedious, protracted sequences to explain and develop and therefore allowing the film to progress at a steady pace. The explorative dialogue coupled with an adept technical ability succeed in producing a vastly altered image of the monstrous Count Dracula and contrary to conventional dogma, this incarnation of the inhuman abomination is actually a weak, feeble and pathetic specimen devoid of the awesome presence viewers are accustomed to; instead laughable in inferiority. It is in this singular likeness that horror looms, for this apparently vulnerable figure is still not without the ability to commit heinous acts of pure, malevolent evil and impatiently waits to strike.

Aesthetically the film is stunning, mixing gloomy, foreboding Gothic visuals with lighter, playful sequences and even in the darkness, there is still an unequivocal beauty to be found in the presentation. It is perhaps the most daring feat of this unconventional film that the truly horrifying actions undertaken by the demonic being are not confined to the dark. As haunting as the gloomy, brooding and atmospheric darkness may be, it is in the traditionally safe light, amidst the majestic splendour that the awesome and malicious power of Dracula can be felt the most. However, the horror can be unleashed at any time as the directors are happy to build the tension, misleading the audience and only when the end credits roll can one be assured that it is over. In essence, one has to look to Udo Kier as the foremost reason for this, as his performance blends extravagance with subtlety; occasionally subdued, occasionally forthcoming. He is complimented perfectly by the devilish Arno Juerging who is always forcibly commanding as the Count's malicious assistant. Sadly, a mixture of tragic overacting and horrible non-acting from the other cast members (particularly the highly annoying Joe Dallessandro) harm the atmosphere and production and seem to have prejudiced more than a few against an otherwise fine work.

To call Blood for Dracula a classic would be a misnomer, but to call it an accomplishment would easily be justifiable. In spite of some poor performances, comical pro-socialist ramblings and one or two poor effects, Blood for Dracula remains one of the foremost examples of how to create an intriguing and entertaining vampire film outside the confines of the traditional story. Those who want to see something a little different should certainly watch this one. Look out for a brief appearance from Roman Polanski! 7½/10

Legendary Swedish director, Ingmar Bergman's probable precursor to Wes Craven's notorious 1972 shocker 'The Last House on the Left' is a far more compelling and emotionally draining film that adroitly and continuously switches the viewers sentiments up until the despondent, tranquil and haunting ending. While one minute the viewer is laughing along with the youthful, if naïve, exuberance of the young Karin (Birgitta Petterssen), the following minute will encourage different emotions as Bergman plunges the viewer into the middle of a nightmarish crime perpetrated by nothing less than the evil inside man. Although the portrayals of the acts committed in 'The Virgin Spring' are far less graphic than the modern viewer may have become accustomed to, they still retain an immense power to horrify as one cannot ignore the great lengths Bergman has gone to in order to give his characters a base in order to harden the impact of what we see. With just the simplest of dialogue, the viewer continues to learn about the relationships and personalities of each of the characters so that we may appreciate the consequences and, in some ways, forgive the actions that we see. This film is, after all, a tale of morality and repentance and therefore, even while in some cases the actions may be evil, it is necessary to accept the goodness that is still there. This thought is made no clearer than during the solemn and subdued final scene which fades out abruptly and leaves the viewer in a state of quiet reflection.

Bergman's pacing and subtle direction which at one point leaves the viewer in suspense for what seems like an eternity is surely the reason for the greatness of this film. As if he were playing chess, he manipulates not only the characters, but the emotions of the viewers with intelligent and surprising maneuvers while pressing home his own sentiments regarding the story so that we may at least take into great consideration the events that we have seen. Bergman has an amazing ability to flip the atmosphere of a movie in a split second using various lighting and camera angle techniques as well as motivating his performers to follow suit. The simple expression changes on the faces of Birgitta Petterssen, Max von Sydow, Birgitta Valberg and Gunnel Lindblom at various points throughout the film quickly alter the mindset of the viewer and indicate that all is not well; so beautiful in undeniable simplicity.

'The Virgin Spring' is nothing short of a masterpiece and a film that few will be able to forget. 9½/10

Following the death of her parents, Staci (Amy Paliganoff), an aspiring young artist, begins a move across four states to start a new life with her little sister, Jodi (Andrea Johnson). Little does she realize the terror that she and her sister will soon encounter at the hands of a recently escaped mental patient.

Undoubtedly, 'Freak' owes a lot to movies such as 'The Texas Chain Saw Massacre' (1974) and John Carpenter's classic 'Halloween' (1978). However, 'Freak' retains enough of its own power to make the open-minded viewer refrain from cries of 'rip-off' and concentrate on the movie, which is certainly not without its own charms and horrors. Perhaps a stylistic influence for the following year's harrowing shocker, 'Scrapbook', relatively new director, Tyler Tharpe, displays directorial ability that could make him a huge name in the future. His use of location is powerful and the near-deserted, desolate back-roads of Fort Wayne, Indiana (although the setting is supposed to be Ohio) coupled with an isolated, decaying and mouldering house reminiscent of those seen in such films as Tobe Hooper's classic 'The Texas Chain Saw Massacre' and the more recent 'The Blair Witch Project' both provide shocking, repugnant and unsettling visual elements. Through this wonderful use of locations and settings, Tharpe is able to take full control of his film and create a haunting atmosphere equivalent in malevolence to some of the most renowned and revered horror films. Considering the budget and limitations, 'Freak' is almost a visual masterpiece.

Of course, the film is not without flaws. The acting performances range from mediocre to simply adequate and the film takes a few minutes longer to end than it really should. It is also likely that some viewers will find the truly brutal, barbaric and traumatic opening to be something of a red-herring when eventually considering the rest of the film's content. Following this beginning, there is also a ten or fifteen minute lull which may turn some viewers off, but may also attract some viewers to the film more so than other, similar efforts. One of the main criticisms that many have with the horror genre is the continual lack of character-development in such movies. However, Tharpe withdraws from the horror aspect for a short period of time to develop his characters and we learn enough about them to eventually care about them to some extent. Although Tharpe is not entirely successful in what he attempts to accomplish, one learns to care about the characters slightly more than they would while watching similar films. This, quite aptly, leads to some moments of truly heart-pounding later in the film when the protagonist's almost idyllic journey is shattered and the horror begins. This all leads up to a fantastic, nerve-wracking climax as the elements of horror truly combine to create a surprisingly memorable finale!

Although not without flaws, 'Freak' is an entertaining, modern, low-budget horror film that acts more as homage to its inspirers, rather than simple plagiarism of the classics. The poor performances are far less distracting than in similar movies due to Tharpe's surprising abilities in the director's chair. Perhaps not as violent and gory as one would expect following the opening, 'Freak' still manages to become an immensely suspenseful, haunting, disconcerting and thus enthralling movie if predicitable in a few places. Recommended for low-budget, horror fans. My rating for 'Freak' – 7/10.

After nearly running over an ageing man (Herbert Lom), Miriam (Kelly Curtis), feeling responsible, offers the old man a place to stay for a short while. However, this innocent invitation triggers a series of events that would change her life forever.

'The Sect' is at once an enthralling, mesmerising and stylish offering from Michele Soavi, the protégé of writer and producer, Dario Argento. Blending several styles of horror, Soavi's own unique presentation of the subject matter succeeds almost in entirety at being haunting, atmospheric and compelling. While one can see the influence of his mentor, Soavi is daring enough to put forth his own, unique brand of directorial style and flair to give 'The Sect' a distinctive appearance that sets it aside from many similar works of the era. His respect for the story and viewer is clear for all to see, never once opting for a style-over-substance approach, instead offering the stylistic elements as an accompaniment to what is already a considerably impressive film. The slow-pacing is an advantage to the film rather than a detriment and is unequivocally intentional. Soavi's methodical approach to storytelling allows him to not only develop his central character, but to gradually increase the tension in a way that does not feel forced and thus makes the climax all that more meaningful. Surrealism, unsettling visual elements and intriguing POV shots are all used to add to the atmosphere but never to become the main focal point. Above all, the keys to the grandeur of 'The Sect' are subtlety and mystery; everything else is but a bonus.

To say that 'The Sect' is without flaws would unfortunately be inaccurate. However, the flaws are particularly minor in the scale of things and the negative effects of these lapses are virtually negligible. While great care has quite obviously been taken to ensure that the storyline remains rational, there are a couple of instances where illogical behaviour and actions are briefly noticeable. As mentioned, these have very little negative effect on the overall film but their use as plot devices is questionable to an extent. It is also worth pondering whether on occasion Soavi went into too much detail perpetuating the tension of certain sequences and disregarded the actual climax of the scenes? For the most part, Soavi took full advantage of the script, presenting an array of memorably shocking and surprising scenes, yet once or twice, the 'money shot' was lacking in the impact that one had come to expect and had a rather unsatisfying short-term effect. Despite these instances, it is worth considering that 'The Sect' managed to almost wholly steer clear of becoming predictable, almost as if Soavi and Argento could predict themselves how an audience would react and what they could expect.

For those who doubt that modern Italian cinema is capable of producing innovative and enthralling horror, free of the paper-thin plots and unnecessarily excessive gore that has scarred so many other genre productions, 'The Sect' is the film that can prove otherwise. An occult horror/thriller full of twists and turns, shocks and surprises, surrealism, nightmarish dream sequences, symbolism, mystery and style, 'The Sect' is a film that only uses a bare minimum of special effects and instead acts almost as homage to the suspenseful horrors of yesteryear, such as 'Psycho' (1960), 'The Innocents' (1961) and 'Rosemary's Baby' (1968). Almost a pure work of art, 'The Sect' is Soavi staking a claim as possibly one of the best directors of the modern era. My rating for 'The Sect' – 8/10.

In this South African/UK co-production, a strange, ominous figure prowls the desolate Namibian desert and slaughters those he meets in an apparent ritual of black magic origin, although the truth may well be even more alarming.

'Dust Devil' is an extraordinary film from director, Richard Stanley that at once manages to be chilling, creepy, surreal, elegant and beautiful. In a visual sense alone, this film is purely a masterwork with such luscious imagery that can be strikingly picturesque yet in an instant become frightfully lurid and menacing. The desolate terrain of the Namibian desert is often presented with a vivid red tint, as if the landscape itself is drenched with the blood of the Dust Devil's victims. Such magnificent, awe-inspiring backgrounds seek and succeed in evoking the purest of overwhelming feelings of desertion and thus act as the ideal environment for such a daring and challenging film. The character of the Dust Devil (played by Robert John Burke) when presented against the mesmerising background has a strong, commanding presence and blends into the ocular grandeur as if part of the desert. One could also draw parallels between the visual delights on display here and that in the finest spaghetti westerns. To appreciate the visual splendor of 'Dust Devil' is to grasp just the very basics of what is a unique, intelligent horror film. Laced with symbolism and subtlety, Stanley has obviously put a great deal of thought and effort into creating a fantastically intricate world where what one sees can not necessarily be believed and every moment appears to provide more insight into what will come.

If perhaps let down somewhat by a failed socio-political commentary, the superlative qualities of 'Dust Devil' are copious enough to ensure that little damage is done to the overall production. Accompanying the evocative imagery is a haunting soundtrack blending elements of tribal chanting with music similar to that which can be found in Italian western movies. Although the simplicity of the soundtrack is apparent, the utilisation is incredible and it contributes heavily to an induced sense of apprehension and dread. The seemingly sparse and controlled use of the sometimes menacing, sometimes graceful music gradually draws one into the film and allows one to experience the movie, rather than simply watch it. The production is then completed with sterling performances from the entire main cast. Robert John Burke is perfect in his role as the deceitful being, delivering his lines with quiet malevolence. Chelsea Field's takes the role of the lead female, fleeing her homeland and while her character does unfortunately remain somewhat underdeveloped, her performance is quite adept and good enough to allow an audience/character connection. South African born, Zakes Mokae (of 'The Serpent and the Rainbow' (1988)) also offers up a credible, sympathetic performance and truly excels during the scenes involving his character's own, spiritual journey.

Perhaps on occasion a little too intellectual for its own good, 'Dust Devil' is a criminally overlooked film. Despite a number of grisly shots, the film almost solely relies on atmospheric build up to generate tension and steers clear from many of the ailments that modern horror movies are suffering from. Don't listen for ultra-loud bangs whenever a viewer is meant to be scared and don't look for two-dimensional teenagers – this is a pure, visual horror film that is purposely confusing and builds up slowly to a near-perfect ending. If you like challenging movies, then you can't go far wrong with this. My rating for 'Dust Devil' - 8½/10.

In an all-too-familiar scenario, a group of teenagers traveling in Europe discover an isolated villa and choose to stay there overnight, unaware of the mansion's dark, war-time past.

Italian filmmaker, Lucio Fulci, ventures into the realms of Nazi-exploitation with this crudely produced, yet strangely entertaining, obscure, low-budget film. 'The Ghosts of Sodom' begins in a typically sleazy manner, with a short portrayal of a drug-laden Nazi party of debauchery being filmed by one member of the party who we will soon come to know as Willy (Robert Egon). Despite the pseudo-eroticised nature of the opening segment, the sequence soon takes a rather unpleasant, repellent tone before the cut-shot quickly transports the viewer back to the present day. It is here that we are introduced to the main characters and, rather characteristic of a Fulci film, these characters remain underdeveloped throughout and seemingly have no individual personality. This is an unfortunately consistent flaw with a large number of Fulci's movies but more so with this film. Despite a few brief instances, the majority of lines in the film could have been spoken by any one of the six main characters. Sadly, this rather glaring fault is coupled with numerous instances of wholly pointless and asinine dialogue.

However, this is not to say that 'The Ghosts of Sodom' is an entirely bad movie. In fact, for a production of this type, it is a rather accomplished piece of film-making. Fulci utilises a beautiful, enchanting soundtrack in a professional, productive way to create a dynamic, dramatic and foreboding atmosphere when coupled with the astonishingly gloomy, despairing and mesmerising visual elements that had become one of his trademarks. Although there are only a few gory shots to satisfy those viewers who have become accustomed to Fulci's often-excessive usage of gore, one should be able to appreciate that the erotic and supernatural elements of the film provide the fodder here. Unfortunately, the rather slow-pace and often empty, prolonged instances of tedium can certainly subtract from the viewing enjoyment and distract the viewer from appreciating the more intricate and important plot-aspects; a true concern as the story is far from enormously intricate. However, in reality, how many similar films do not suffer from these same problems?

One can appreciate this film for the superb, atmospheric presentation if they are able to ignore the predictability, plot/character flaws and kitsch of the whole production. Despite the somewhat inane storyline (although adequate for the production) and often-ridiculous scripting of the movie, one can certainly waste eighty minutes on films far poorer than this. 'The Ghosts of Sodom' is quite simply Nazi-exploitation with a supernatural twist which, in places, is full of tension with the 'Russian Roulette' sequence being the absolute peak of heart-pounding suspense. Fans of Fulci's other films may be disappointed, but fans of the sub-genre may find various things to like about this film despite the movie not being as explicit as other movies of its type. My rating for 'The Ghosts of Sodom' - 6½/10.

The girls of a sorority house are being tormented by a twisted prank caller who continually calls to convey increasingly vile and abusive sentiments. What at first appears to be a sick joke eventually turns violent for the girls during the season of supposed goodwill and merriment.

The original and maybe even the best, ‘Black Christmas' set the ball rolling for the slasher genre and was the biggest influence for the phenomenally successful John Carpenter classic, ‘Halloween' (1978), which was, in fact, originally conceived as a sequel. Although Italian director, Mario Bava, had previously created what some see as the first slasher movie, ‘Bay of Blood' (1971), it was ‘Black Christmas' that was to become recognised as the catalyst for one of the most lucrative sub-genres of horror cinema. Bob Clark (who previously made the kooky, enjoyable, low-budget zombie film ‘Children Shouldn't Play With Dead Things' (1972)), still at this point something of an amateur director, took a simple yet naturally frightening concept and turned it into one of the most unsettling and nerve-wracking one hundred minutes in cinematic history. Only a select few films such as ‘The Haunting' (1963) and ‘Alien' (1979) are atmospheric enough to truly equate to the eeriness and feelings of apprehension that are to be induced by ‘Black Christmas'.

The simplicity of the production is what makes it so endearing. There are no overly bloody death sequences or unlikely, comic-book style events; the viewer is just presented with an unnerving tale which could easily have a strong basis in reality. Inventive camerawork and POV shots as well as a superlative use of lighting are the elements that combine to achieve the desired results. The often pseudo-claustrophobic environment of the sorority house, from where the vast majority of events occur, offers the perfect, vulnerable and unguarded location susceptible to intrusion and thus attributes to the continual foreboding atmosphere. Clark was not afraid to take time building both the story and characterisation as well as introduce the viewer to the aspects that he would use to build the suspense. This is prepared before plunging the viewer into a seemingly uncontrolled nightmare that one experiences along with the protagonists. Another aspect that firmly stands out is the mysterious way that everything is presented; even at the very end, very little has truly been explained yet everything seems like it should have an obvious explanation. Even in its undoubted simplicity, ‘Black Christmas' has complicated facets that require thought from the viewer to entirely comprehend the film. In some ways, the concealing of several key points puts the viewer's knowledge of events on a par with the actual characters.

‘Black Christmas' is also complimented wonderfully by strong acting performances from Olivia Hussey, Margot Kidder, John Saxon and a highly pleasant and amusing turn from Marian Waldman. Despite the tiny budget, this is a highly polished horror film that genuinely belongs among the elite of the genre. This is where it all started and those familiar with later slasher films such as ‘Halloween', ‘Friday the 13th' (1980), Slumber Party Massacre (1982) and ‘The House on Sorority Row' (1983) should be able to spot several of the now-clichés that first materialized in ‘Black Christmas'. My rating for ‘Black Christmas' - 8½/10.

Horror legends, John Carpenter ('Halloween' (1978), 'The Thing' (1982)) and Tobe Hooper ('The Texas Chainsaw Massacre' (1974), 'Poltergeist' (1982)), team up to bring us this fun, cheesy 80's-style horror anthology presented in the morgue by the creepy and ever-so-slightly deranged Coroner (John Carpenter).

In the first of three ghoulish tales, we learn that a serial killer is stalking the town of Haddonfield (déjà vu anyone?) and while dismembered corpses are being found by the roadside, Anne (Alex Datcher), a psychology student, is working the nightshift at a gas station where she has just begun employment. A fun and eerie way to kickstart this frightfest, this first segment (entitled 'The Gas Station') displays the directorial flair that helped make John Carpenter a household name. While not bearing much resemblance in terms of presentation to his earlier slasher-masterpiece, 'Halloween', this segment does provide the viewer with a few of the thrills and chills that made many of his earlier films so endearing. Despite the time constraints, there is a noticeable build up of tension and Carpenter utilises both camera and character-based trickery to unsettle the viewer, all the while retaining the exuberance and merriment of the overall movie. The segment is predictable but that does little to detract from the overall enjoyability and 'The Gas Station' is a reasonably agreeable way to start this horror anthology.

Unfortunately, the second segment, simply entitled 'Hair', is a huge letdown and feels almost entirely out-of-place in this movie. Veteran actor Stacy Keach stars as the balding Richard who distraught by his ever-thinning hair seeks help from Dr Lock (David Warner), a new-in-town doctor who claims to have a miracle hair-regeneration treatment. The remedy appears to work, but naturally, there are unforeseen complications for Richard. The premise of the segment, although far from original, is one that does possess potential if used to the greatest extent. Unfortunately, the segment is quite flat and far too slow in developing which leaves the already dubious conclusion as a laughably short series of ludicrous plot-twists. Still, one has to commend Stacy Keach on his portrayal of his undeniably feebly-written character.

The third and final segment auspiciously returns the movie back into the almost forgotten realms of enjoyability. In 'Eye' we meet Brent Matthews (screen legend, Mark Hamill), a lower-league baseball player, destined for the MLB who is involved in a horrific car crash which causes him to lose sight in one eye. Desperately depressed, Brent agrees to undergo an experimental eye-transplant which may well solve all his problems. Despite the rather slow and tepid beginning, 'Eye' eventually becomes the most entertaining segment of the entire film. One can easily draw parallels between this quick story and the modern Asian masterpiece that is 'The Eye' (directed by Oxide Pang Chung and Danny Pang), although the latter film is far superior. 'Eye' succeeds by introducing an element of psychological horror, which is fitting as this is the segment directed by Tobe Hooper who made it big in horror with the psychological horror tour de force that is 'The Texas Chain Saw Massacre' (1974). Hooper showcases for the viewer elements that many of his post-TCM films have gravely lacked such as characterisation and atmosphere. If not for the TV-movie presentation, this short segment could easily have become a dark and chilling horror effort, and Tobe Hooper appears to realize this. He tortures the viewer with nigh-on harrowing imagery that just stops short of being extreme. The violent hallucinations are presented in a nightmarishly realistic way and bear resemblance to sections of the similar imagery from movies like 'Henry: Portrait of a Serial Killer' (1986) and 'Candyman' (1992). Unfortunately, due to time constraints and other factors, Hooper could only hint at what he was directorially capable of which is also kind of fitting and ironic as he has been doing the exact same since TCM. 'Eye' is easily the most accomplished segment of the movie.

So, all-in-all, we have a watchable, often enjoyable, piece of early 90's campy horror with an 80's presentation. A notable offering from the two horror auteurs which, despite flaws, is possibly one of the better films either of these two have produced recently. In some ways, the first two segments of 'Body Bags' could be described as an unintentional commentary on the works of John Carpenter. After a bright start, making creepy, suspense-based horror, he changed his style to lose the suspense and incorporate nonsensical story lines with bizarre and often disadvantageous plot-twists. It is mainly because of the second segment that the film suffers and may encourage people to give up on it. The first segment, kooky as it may be, is enjoyable enough to keep the viewers attention but 'Hair' almost destroys the film and does inflict irreparable damage on the film overall. It may only be a short segment, but as it accounts for almost a third of the total running length, it is hard to pass over. My overall rating for 'Body Bags' - 6½/10.

In this remarkable sci-fi horror produced by Hammer Studios an extension of the famous London Underground is halted by the discovery of prehistoric humanoid remains. An excavation team is brought in headed by Dr. Matthew Roney (James Donald) but their work is also soon halted by the discovery of what at first appears to be an unexploded bomb. However, the device shows no parallel with any other weaponry that the military are aware of and soon the bomb disposal unit calls in Colonel Breen (Julian Glover), an expert on weaponry. Breen is accompanied by Professor Quatermass (Andrew Keir) who upon examining and studying the strange object, as well as local folklore, becomes convinced that the bomb is far from what it seems.

‘Quatermass and the Pit' remains one of the most intelligent and detailed films produced by the legendary Hammer Studios. While the story itself is somewhat fanciful it does manage to raise significant questions about the origins and actions of mankind all the while remaining a compelling sci-fi/horror movie and never resorting to the dubious social commentary that one could anticipate from such a film. Instead, ‘Quatermass and the Pit' identifies itself within the sci-fi/horror boundaries and the structure of the scientific aspects to the story is rooted firmly in mankind's desire to substantiate and attest to its own existence while offering a theatrical explanation for those supernatural occurrences that have besieged history yet remain startlingly inexplicable. However, it would be somewhat ludicrous to suggest that ‘Quatermass and the Pit' has accurately realised the truth behind humanity; instead it has given itself a base and a reality. When considering the movie within the confines of itself and accepting the story as just a story, ‘Quatermass and the Pit' has successfully been able to attain its own veracity and this is the reason why the film is able to become great. Of course, the scientific discussions would not have been as effective without incredibly strong performances from Andrew Keir, James Donald and Barbara Shelley who display some superlative acting abilities and further the believability and pseudo-realism of this extraordinary film.

Nigel Kneale did a remarkable job of penning a story which fully explains itself while retaining a certain degree of uncomfortable peculiarity and unknown. This was fully capitalised on by director Roy Ward Baker who seemingly managed to represent the creepy and eerie aspects of the film so that they linger on in the minds of the viewer yet move the film along at a steady pace so that the film never appears to be dragging. Baker's direction, while not appearing to be anything extraordinary for the genre, is adept enough to build an atmosphere equivalent to the most terrifying of genre films as well as filming some exceptional scenes of panic, mass-hysteria and a near-apocalyptic vision of London. The only real downfall for the film was the lacklustre and cheap looking special effects that the film partially relied on in places. Still, one can forgive this even if they are fairly detrimental to the quality of the film in places. The production team had already managed to produce an exceptional film considering the low-budget.

So, to summarise, ‘Quatermass and the Pit' is a thinking person's horror film. Perhaps the scientific proposition and ideas do get rather carried away sporadically but the sheer quality and integrity of the film upholds it further than the majority of sci-fi films from the era. Fans of intricate and thought-provoking horror films should be rather impressed with the way that ‘Quatermass and the Pit' presents and portrays it's case and events and when one is able to engross themselves in this theatrical world then there is a definite essence of horror and fear when the seemingly impossible happens in a disturbing and shocking way. My rating for ‘Quatermass and the Pit' – 8/10.

Katherine Atwell (Jaclyn Smith), the wife of a wealthy businessman, unwittingly finds herself embroiled in a sinister murder plot when her lover decides to murder her husband and steal his money so that the two may elope together.

Ted Post directs this Hitchcock-style horror/thriller about murder and deception and one has to say that he does a very good job in doing so. Post takes a screenplay based on a story by the relatively unknown John Case and turns it into an intricate and generally compelling ninety minute piece of criminally underrated cinema. Although Post obviously lacks the directorial flair of his inspirers Hitchcock and Argento (there are a couple of instances where light is used in a similar fashion to Argento as well as some Argento-style trickery), one cannot really fault his execution of the work and instead has to admire the way that he turned such a low-budget into a thrill fest of suspense and intrigue. The subtle blending of the foreboding orchestral soundtrack with the continuing tension Post is able to create through some rather adept use of lighting and slow-yet-adequate pacing is probably the main reason that this movie is able to succeed and become quite a shining of example of great, low-budget cinema.

Jaclyn Smith, from the TV series ‘Charlie's Angels', is exceptional in her role as a woman pushed to the brink of madness following a series of bizarre and inexplicable happenings – as if being an unplanned accessory to the murder of her husband wasn't enough! Smith's performance is all the more credible due to the whole array of emotions her character is forced to portray. Despite Smith's character being a wrong-doer, it becomes quite easy to sympathise with her plight and understand her actions. Robert Mitchum takes the main role of the supporting cast as Lt. Donner and just adds to the credible acting performances that help to make ‘Nightkill' what it is. Unfortunately, the rest of the supporting cast were not exactly up to par except for a somewhat brief performance by the near-legendary B-movie actress Sybil Danning.

‘Nightkill' is a movie built on suspense, fortified by extraordinary acting performances (for a movie of this type) and cemented with a truly remarkable and haunting finale. Those who appreciate thrillers such as those by Hitchcock and Argento should find something enjoyable in this film as well. Certainly not for those who have had their attention spans stolen by MTV, but for those who appreciate subtle, slow and suspenseful thrillers. Yes, there are problems such as a rather unnecessary piece of character interaction towards the end, a brief decline in quality during the middle of the film and the obvious limitations of the budget. The final twist is also a little clichéd and does become a little obvious but not really enough to take away from one's enjoyment. ‘Nightkill' is still a very accomplished film and one that psychological thriller fans should find quite enjoyable. My rating for ‘Nightkill' – 7/10.

Roger Corman presents this horror anthology based on three stories by Edgar Allen Poe, where all three segments are introduced by and star Vincent Price.

‘Tales of Terror' is a movie which generally is hard to accept as a serious horror film, but fun when considered as a camp and kooky entry into the genre. Vincent Price is excellent in all three of his fairly contrasting roles and one could certainly see this film as a major piece of evidence when attempting to ascertain just how great and diverse a performer the late Mr. Price actually was. Roger Corman's directorial lavishness served to give the entire a movie a certain air of pomposity that lacked from some of his previous efforts and the varying directorial styles that Corman utilised throughout the film are the most prominent reason for the enjoyability of the movie.

In the first segment, entitled ‘Morella', Vincent Price stars as Locke, a man traumatised to the point of insanity following the death of his wife (Leona Gage). Locke blames the early passing of his wife solely on his daughter Lenora (Maggie Pierce) and is therefore unimpressed and enraged when she shows up at his door twenty-six years since he last saw her. However, the relationship between the two starts to grow strong, before events take a horrifying turn. Easily the most solemn and horrific of the three stories, ‘Morella' is unfortunately too short a segment for one to really enjoy the production. It seems that Corman preferred to concentrate the majority of the segment solely on the relationship between Lenora and her father, thus leaving the ending scenes looking rushed and the viewer to feel rather unsatisfied. That is not to say the story itself is not entertaining, it just does not appear to have fulfilled its potential. Good performances, some magnificent (albeit brief) haunting scenarios and a frightful image of a decomposed corpse are the highlights to this segment and certainly help to save it from the problems with pacing.

The following segment is far more corny and amusing. Entitled ‘The Black Cat', this story follows the drunk, cat-hating Montressor (Peter Lorre) who during one of his less sober moments, challenges Vincent Price's wine-critic character of Fortunato to a wine-tasting contest and shortly Montressor begins to wish the two had never met. This segment seems so far removed from the opening segment that one could be forgiven for thinking they were watching a different movie. ‘The Black Cat' takes a far more light-hearted tone as the entire segment is laced with camp humour – particularly the facial expressions and general mannerisms of Vincent Price during the wine-tasting contest. This is a far more extravagant Vincent than we had previously seen. Despite one or two dramatic moments of tension and suspense, the segment never really sends any chills down the spine and is quite obviously present mainly for comedy value. It is in this story that Corman primarily chooses to utilise camera effects and visual trickery to set the mood, which is usually to enhance the humorous aspects of the film, such as during the wine-tasting contest where the effects are obviously used to show the increasing state of Montressor's intoxication. Even a hallucinatory sequence where Vincent Price's character plays with a severed head has an undeniable camp, comic charm. All in all, this segment is fun but far from truly horrifying.

The final segment, called ‘The Facts in the Case of M. Valdemar', stars Vincent Price as a terminally ill man receiving pain relief through a form of hypnosis. Valdemar (Price) agrees to be hypnotised at the point of death by Carmichael (Basil Rathbone), much to the dismay and disgust of Valdemar's wife (Debra Paget) and physician Elliot James (David Frankham). Unlike the first segment, this one suffers by moving too slowly. Corman does an excellent job of building the tension where required, but he seems to take a rather lethargic approach to moving the story along. Performances from the entire cast were excellent and are the main positive aspect to the segment. Overall, this seems a fitting way to end the film and features one particularly gruesome scene. Just like the previous two segments, the story never really seems to fulfil its potential but can hardly be described as poor.

Generally, the film is entertaining despite the pacing problems and intermittent moments of overabundant camp humour. Horror fans should not go into this movie expecting a serious fright fest. Instead it is best to view when ready to see some great performances from Vincent Price in three rather differing types of story. Excluding a couple of scenes, one should not find anything horrifying about this film, but should find multiple amusing aspects and a jolly good time. My rating for ‘Tales of Terror' – 7/10.

In this chilling haunted house tale eccentric millionaire Frederick Loren (Vincent Price) offers five strangers $10,000 to stay one night in a sinister house with a murderous history.

William Castle's classic haunted house flick is a testament to the quality of atmospheric, low-budget horror films that talented directors were able to produce back in the 1950's and 60's. Made for a mere two hundred thousand dollars, the movie captivates and enchants the viewer from the very beginning with truly eerie introductions from protagonists Frederick Loren and the slightly troubled Watson Pritchard (Elisha Cook). Castle proficiently uses these opening monologues as the mood-setter for the film and one immediately becomes acquainted with Price's famous devilish charm. Some basic, yet wonderful visual shots of the cars approaching the ominous mansion act as the perfect catalyst for the audiences anxiety; a feeling which is managed and increased dexterously through Castle's breathtaking direction and superb use of lighting nearly all the way through the picture. Throughout ‘House on Haunted Hill' there is a constant, unpleasant but welcome eeriness that lacks in so many modern horror films and while there are only maybe two or three truly startling moments, the continual foreboding tension of the piece is overwhelming enough to genuinely grab the viewer and absorb them into the world. How appropriate it therefore is that during Price's opening speech he essentially invites the viewer to bare witness to what unfolds during this fateful night.

Of course, like all low-budget films there are flaws in the production which are rather noticeable. The storyline of the film seems to become somewhat confused and drawn out during the final third of the movie but picks up enough at the end to leave the viewer feeling satisfied. One could suggest that the virtuosity of the first half of the movie led to its own downfall during the second. With a horror movie such as this that begins with such malevolence and cunning, it is always difficult to continue to appreciate it when the movie fails to deliver later on what the early stages gave the viewer by the bucket full. Even so, the relative short running-time of the production allows for such problems in pacing and chills, and while one may start to become a little uninterested in the events periodically there is always a swift return to standard not too far away.

During the sporadic moments when the story takes a minor turn for the worse, one can always be entertained by the remarkable character interaction and entertaining dialogue (as written by Robb White) and in particular, the performance of one Vincent Price. As usual, Price is commanding on-screen and convincingly portrays his calculating and baleful character. The early interaction between the character of Frederick Loren and his wife, Annabelle (Carol Ohmart) allowed Price to fully assert his character's persona into the film. These early scenes also aptly set the viewer's mind to work in figuring out just how this night will end. The two warring spouses are joined by Elisha Cook who is pleasant in his role as Watson Pritchard, despite being painfully irritating on minor occasions. Carolyn Craig also joins the cast as Nora Manning, a young woman quickly driven to apparent hysteria by the seemingly supernatural happenings in the house. It is a credit to Carolyn's acting ability that her performance was not only convincing but also commanded sympathy on occasion from the audience. The only real negative point one can give regarding the casting of the film was the inclusion of Julie Mitchum in the role of Ruth Bridgers. One has to question the point in including Julie in the production when for the vast majority of the movie it is far from obvious that her character is even there. One particular piece of dialogue towards the beginning gives the impression that she was only included to make up the numbers.

Despite some flaws, ‘House on Haunted Hill' makes great viewing for the horror fan. While not up to the standard of amazing haunted house films like ‘The Haunting' (1963), ‘The Legend of Hell House' (1973) and ‘The Changeling' (1980), there can be little doubt that ‘House on Haunted Hill' is generally creepy with a couple of truly staggering moments. Not quite as predictable as one may expect and with a final plot-twist that displays a hint of originality, the movie is a horror-mystery which benefits from fine direction and forceful performances, especially from the legendary Vincent Price. My rating for ‘House on Haunted Hill' - 7½/10.

In this horror anthology, a writer (Peter Cushing) attempts to prove to his sceptical publisher that cats are really menacing supernatural beings by relating three stories of feline terror.

This horror anthology had the potential to be great, yet through overly prolonged storytelling and less than adequate acting in most places it is unfortunately condemned to resting in the mid ranks of the genre. Cushing, as usual, was delightful in his role as the seemingly paranoid writer Wilbur Gray, but his rather short screen time meant that the gauntlet would fall to the rest of the cast who, with the exception of a select few performers which most notably included Donald Pleasance, were never able to perform to the standards required to make the lengthy segments enjoyable. While one can obviously see that the intention from director Denis Héroux (his final directorial effort) and writer Michel Parry (who went on to co-write the underrated sci-fi/horror fest ‘Xtro') was to create a suspenseful and unnerving film, the recurrent sequences which border on non-eventful lead the viewer to become bored, thus lessening the impact of the movie. That is not to be taken as a reproachful statement as the film is far from entirely lamentable; it's more of a regrettable observation when one considers what might have been.

The first segment in this tale of mental moggies concentrates on the servant of a wealthy elderly woman. After her employer Miss Malkin (Joan Greenwood) changes her will in favour of her cats, servant Janet (Susan Penhaligon) is convinced by her boyfriend and employer's nephew, Michael (Simon Williams), to steal the copy of the new will and testament from the safe of Miss Malkin and destroy it in order for his Aunt's money to be bequeathed to him. As expected, the theft of the will is bungled and Janet faces a revenge attack from Miss Malkin's feline friends. In my opinion, this segment is by far the most enjoyable of the three. Although it suffers from some of the problems that I have already mentioned, the sporadic nature of such occurrences doesn't have the negative impact that they would have throughout the rest of the film. There is a wonderful blend of suspenseful horror and quite graphic scenes of violence which culminate to make this segment enduring to the viewer. Easily the most horrific and by far the most entertaining, this segment would receive 8/10 from me.

The following segment, set in Canada, tells the story of young Lucy (Katrina Holden, who would never work in film again) who goes to live with relatives after the death of her parents. Her only friend, a black cat named Wellington, is the subject of unwanted attention and maltreatment from the jealous Angela (Chloe Frank, who previously appeared in the far superior horror anthology ‘The House that Dripped Blood'). As Angela's malice towards Lucy and her cat grows, Angela becomes more determined to have the cat removed from the household. The poorest of the three main segments is an unwelcome change in pace for the film. Virtually the entire segment seems incongruous to the rest of the film, and while some additions to the story seem to fit the theme when considered at face value, the ludicrous nature of the tale is little but damaging to the movie. Asinine storytelling accompanied by imprudent special effects and atrocious acting results in this segment getting a lowly 3/10 from me. The only true saving grace about this segment is that one really does come to despise Angela as was so obviously the intention.

The final segment stars Donald Pleasance as a wife-murdering, adulterous Hollywood actor who becomes the target of retribution by his deceased wife's cat. Not great, but this segment helps to rebuild the film after its near demolition due to the previous segment. Once again, the movie falters in the already mentioned areas, but Donald Pleasance's wonderful, if hammy performance is almost capable of carrying the segment off alone. The length of the segment is the most damaging to this particular part of the film, but overall there is enough to keep the viewer entertained to at least some degree. There is almost a return to the more graphic horror that can be seen in the first segment, but generally the horror is induced through some well executed suspense building techniques which occasionally resulted in a gruesome climax. This segment may not be up to the standard of the first, but it certainly adds the credibility back to the film and is enjoyable enough. This segment would get 7/10 from me.

The closing scenes featuring Peter Cushing end the film well with a couple of truly haunting images. While no image could match the haunting aura of the final scenes of ‘The Wicker Man' (1973) or ‘The Omen' (1976) (the two films that I believe to have the most distressing final image), the final scene that features Cushing is remarkably quite unsettling, especially when you consider the rather barmy subject matter. ‘The Uncanny' is far from a great movie, but it has enough redeeming features to make the film enjoyable for one watch. Unfortunately, it is quite hard to take the film seriously, especially when taking the absurd second segment into consideration. It is hard to forget the detrimental effect that the second segment had on the film and thus my rating has been lowered to some extent. My rating for ‘The Uncanny' - 6½/10.

Four tales of terror regarding the events at a creepy old mansion are recounted to sceptical Scotland Yard investigator Holloway (John Bennett) as he investigates the whereabouts of the latest occupant of the house that dripped blood.

One can only struggle to find the words to describe the true brilliance that is ‘The House That Dripped Blood'. This Seventies horror anthology is quite remarkable in the way that such a visually innocent movie is capable of inducing horror in even the most discerning of viewers. Incredibly, the number of depictions of violence on-screen can be counted on one hand but the film is still able to portray brutality and succeeds in conjuring up the most horrific images in the viewers own imagination, all the while refraining from taking the obvious route of graphic violence. In a rare feature of early Seventies horror the technicalities of the movie are virtually flawless, from the faultless performances of the star-studded cast (featuring the legendary Peter Cushing, Christopher Lee and Ingrid Pitt) all the way to the superb direction and story telling courtesy of Peter Duffell and master of the macabre writer Robert Bloch (the author of the novel ‘Psycho'). The only real complaints that one may have with ‘The House That Dripped Blood' are the somewhat asinine plot-twists at the end of the first two segments and the predictable ending of the picture, but even these minor details fail to detract from the overall viewing enjoyment.

The first segment, entitled ‘Method for Murder', tells the story of Charles Hillyer (Denholm Elliott), a horror author who rents the creepy house while he works on his latest novel. While working on the novel, Hillyer continues to start seeing the murderous character from his story in and around the house and soon begins to question the difference between fiction and reality. Elliott's performance in this piece is truly exceptional and his character is given a surprising air of believability. The key to this segment, as with the others, is the mystery surrounding the events that take place. The viewer is made to question whether the sight of the murderous character of Dominic is merely a hallucination, a schizophrenic disorder or whether the character is actually there. Duffell's direction succeeds in creating an unsettling atmosphere coupled with a slow, methodical approach to engendering the tension and suspense required to make the segment greatly enthralling.

The following segment features Peter Cushing as the new occupant of the sinister house. During a trip into town he comes across a wax museum of horrors and decides to venture in. While there, he discovers a wax model of a beautiful woman that seems all too familiar to him. Cushing's character (Philip) is then joined by his friend Neville (Joss Ackland) who also wishes to visit the museum, much to the dismay of Philip. In this segment the viewer is given no more than very subtle clues as to the mystery of the wax woman but in general the viewer is left in the dark. There is far less tension to this particular story yet the segment still succeeds in maintaining its air of mystery through a particularly harrowing dream sequence and the general ambiguity of the story. Duffell's direction is once again exceptional and while this is quite possibly the weakest of the four stories, there is no denying that through some creative direction and credible acting ‘Waxworks' is still a delightful entry into the film.

‘Waxworks' is followed by what is, in my opinion, the greatest of the four segments – ‘Sweets to the Sweet'. Christopher Lee stars as John Reid, the father to a young girl who to begin with has an inexplicable fear of fire which is soon remedied by caring nanny Ann Norton (Nyree Dawn Porter). However, John appears to be harbouring a dark secret about the family. ‘Sweets to the Sweet' is easily the most sober and intricate of the four stories and that is why the segment is undeniably compelling to the viewer. Throughout the segment small and subtle clues are released about the truth behind the family, but it is not until the immensely horrific final scene that everything slots neatly into place. This is the best example of how Duffell used dramatic tension and suspense to create the foreboding atmosphere that made the entire film great. Accompanied by a wonderfully arranged soundtrack, ‘Sweets to the Sweet' is an exercise in sustained fear that grabs the viewer by the throat and refuses to let go until the agonising screams that end this piece finally cease. Personally, I believe that this short segment would have made an entertaining and haunting feature length movie and I would give this segment a rare 10/10.

The film is ended with the story surrounding the missing performer that the investigator was originally interested in. Jon Pertwee and Ingrid Pitt star as two performers who are currently working on a horror movie. Pertwee's character is disgusted with the amateurish production and props of the film and so he purchases his own vampire cloak from a strange shop of mysteries. However, strange things begin to happen when he wears the cloak and soon he begins to fear the worst. This segment, which places the inspector amongst the events, is a nice way to wrap up a wonderful anthology. Although there is an irrefutable air of camp to the segment this is, in a way, what makes the story so enjoyable. Unfortunately, there is little in this segment that could be classed as frightening in any sense and the predictable ending could have been executed better but nonetheless the segment has its redeeming features. Horror buffs should definitely look out for Pertwee's brief comment on Bela Lugosi's and Christopher Lee's portrayal of Dracula. This slightly comical and light-hearted approach to the final segment is in essence an adequate and almost natural way of ending the picture even if it lets down the film when compared to the earlier examples of suspense-driven horror.

To sum up, ‘The House That Dripped Blood' is one of the greatest horror anthologies that features an incredible cast, great stories and above par direction. There are certainly worse ways to spend one hundred minutes of your life and while blood and guts fans will be highly disappointed, fans of more tense horror efforts should enjoy this film immensely. My rating for ‘The House That Dripped Blood' – 8/10.

This fifth entry in the Hammer ‘Frankenstein' series sees Baron Frankenstein (Peter Cushing) blackmailing a young doctor, Karl (Simon Ward) and his fiancée Anna (Veronica Carlson) into helping him kidnap the mentally incapacitated Dr. Brandt (George Pravda) and perform the first ever successful brain transplantation.

It is always difficult to make a fair and accurate assessment of a Hammer horror production, particularly one with the superlative quality of this particular work. ‘Frankenstein Must Be Destroyed' is something of a change in pace for the series as Frankenstein himself appears to have fallen into madness rather than practicing misunderstood and unethical medicine as in the previous instalments. His methods are still unethical, that cannot be debated, but there is a noticeable emphasis this time around on the Baron's work being for his own advancement rather than for the benefit of man. Although the typical self-promoting dialogue from Frankenstein would indicate that he is attempting the surgery for the benefit of mankind, there is an undoubted distinction between the Frankenstein of this movie and the ones of the past. This new direction for the character is coupled with a monstrous personality that continually dictates that nobody matters as long as the Baron gets what he desires. Frankenstein is willing to go to any lengths necessary in order to accomplish his goal and his pure focus towards his goal only wanes a mere couple of times. The Baron's deterioration into lunacy is exceedingly well portrayed during a particularly violent (but short) rape sequence. The intensity on Cushing's face adds to the believability of the scene and the image is so powerful that it could linger in the viewers mind and give the movie a new, raw and brutal edge. Peter Cushing is able to adapt his style of acting to fit the new persona of the Baron and offers a remarkably visceral performance rather than the calculated performances of the past. As with almost every movie that Cushing participated in, his on-screen presence is powerful and commanding and this alerts the viewer to the necessity of paying attention to his character.

The film follows the archetypal pattern for Hammer horrors. The film starts off powerfully with two predominantly memorable sequences, the most sensational of which is the entrance of the diabolical Baron when he terrifies a petty thief. From there, the film moves towards the mechanics of the Baron's actions and his resolution to accomplish all that he seeks out to undertake. It is during this `mid-section' of the film that everything slows down while the emphasis is no longer on scares or action. However, through some very proficient direction from Terence Fisher the pacing and structure of this movie almost makes ‘Frankenstein Must Be Destroyed' pre-eminent when compared to other movies of the era. Without a shadow of a doubt, ‘Frankenstein Must Be Destroyed' should be held in the highest echelon of excellence within the Hammer family if only for its superb composition alone. The movie ends with an exhilarating climax yet the viewer could feel cheated by the abrupt nature in which the film ends. The hasty ending is one of the few faults in this movie but in retrospect serves the series well as it does leave certain questions unanswered. The other faults with the movie are so intermittent that although they are noticeable, they rarely detract from the viewing experience. Having said that, there are a couple of scenes which seem to be unnecessarily prolonged which temporarily obstruct the otherwise smooth, flowing feel that the movie has. These scenes represent the very few moments where a viewer could temporarily lose their concentration on the movie. However, even considering the prolonged nature of the scenes in question, one cannot fault the pacing of the movie as Terence Fisher's direction shows impressive capability and he makes these scenes fit into the movie almost seamlessly.

Even with the sporadic lapses in quality ‘Frankenstein Must Be Destroyed' is fundamental viewing for any serious horror movie fan. This is a movie based around great performances, stunning visuals, a haunting and atmospheric soundtrack as well as quintessential Hammer-style horror. My rating for ‘Frankenstein Must Be Destroyed' – 8/10.

Roy Ward Baker directs this horror anthology from the pen of macabre master Robert Bloch. Dr. Martin (Robert Powell) is a psychiatrist who wishes to work at an asylum for the incurably insane. In order to gain employment he is set a task by the house chieftain Dr. Rutherford (Patrick Magee) whereby he must discover the identity of a former doctor-turned-patient. Dr. Martin speaks to four different patients in an attempt to discover who used to be the psychiatrist and each patient relates to him their own particular terrifying story.

Robert Bloch, the man responsible for writing the novel of one of horror’s greatest movies, ‘Psycho’ (1960), writes for us four intriguing and pleasurable short horror pieces bound together wonderfully in the confines of an asylum. The film (produced by Amicus studios and now available in the UK in a wonderful box set) has a distinct feeling of a Hammer Horror production to it. The emphasis is on the story and artistic merit rather than cheap shocks and Roy Ward Baker does an excellent job throughout the production of building tension so that each shock has a desirable effect on the viewer. Each segment benefits from a marvellous cast which features the undeniable talents of the legendary Peter Cushing in ‘The Weird Taylor’ and the beautiful Britt Ekland in ‘Lucy Comes to Stay’. Britt Ekland would go on to co-star as the seductive landlord’s daughter Willow in the classic British horror ‘The Wicker Man’ just one year later.

The various segments themselves vary in quality, although not too dramatically. The opening segment, ‘Frozen Fear’ is a deliciously campy story about a man whose murdered wife seeks revenge on him and his lover. This particular segment may be a little too silly for some horror fans but it works as a perfect mood setter for the rest of the movie. The directorial style is what makes this segment worth watching. There are some wonderfully flowing shots which seek to give the short segment a distinctly unsettling edge despite the short falls of the script and story. A wonderful performance from Barbara Parkins of ‘Valley of the Dolls’ (1967) fame in the role of Bonnie caps the segment exquisitely and the climatic scene back in the asylum following the story give the segment an overall horrific nature.

This segment is followed by ‘The Weird Taylor’ which stars Peter Cushing as a devastated father who turns to the occult to resurrect his deceased son. He enlists the help of Bruno (Barry Morse), a taylor desperately in need of money, to make for him a suit to specific instructions. This segment is possibly the weakest of the four yet remains enthralling as the viewer cannot help but wonder just where this particular story is headed. Once again Roy Ward Baker’s direction during this segment is powerful as he creates a dark and despairing atmosphere despite the limitations of time and the story. Cushing’s performance is certainly memorable as is Barry Morse’s. The climax of the story is well portrayed but is unfortunately harmed by an air of unnecessary camp. Still, ‘The Weird Taylor’ is entertaining nonetheless but may be off-putting due to its overly slow nature.

Up next is ‘Lucy Comes to Stay’ which tells the story of a young girl (Charlotte Rampling as Barbara) who apparently has been recently released from a mental institution for her schizophrenia. She is still haunted by her imaginary friend Lucy (Britt Ekland) who soon makes an appearance and convinces her to leave the safety of her brother’s house. Murder and mayhem follow and the despairing Barbara reaches breaking point pretty quickly. This particular segment works more on the basis of the storyline rather than direction as there is little in the way of atmospheric build-up. Britt’s on-screen presence is commanding and powerful and her portrayal of a horror villain is so good that one wishes this segment had been made into an entire feature length movie as opposed to the short segment that it is. The shock scenes are blended into the story seamlessly with a superb accompanying soundtrack. This is my favourite of all the segments.

The film finally finishes with ‘Manikins of Horror’ where a former doctor believes that he can make and control little dolls. This segment takes place wholly back in the asylum and unlike the previous three stories there are no flashbacks to past events. This segment is possibly the most original of the stories and could even be possible influence for ‘Child’s Play’ (1988). Unfortunately, the story falls short as it becomes hard for one to suspend their disbelief yet the segment works as an excellent precursor to the genuinely surprising and shocking ending. Undeniably camp yet strangely intriguing this is a fitting ending to a generally entertaining horror film. For those who like horror anthologies and Hammer-style productions, one cannot go too far wrong with this entertaining British horror film. The film fails to maintain quality from start to finish but does not fail to entertain, surprise or shock. To sum up - an entertaining piece of horror anthology fare with some excellent direction, beautifully atmospheric scenarios and accompanying music and a strong cast who all give credible performances. My rating for ‘Asylum’ (1972) – 7/10.

‘Eaten Alive' is known as ‘Death Trap' in the United Kingdom and thus I shall be using this alternate title in reference to the film.

Judd (Neville Brand), a deranged southern psychopath, runs the Starlight Hotel and even keeps a pet crocodile in the swamp next to it. The guests of this hotel soon learn about Judd's eccentricities and discover (to their own dismay) that the crocodile will eat just about anything.

Tobe Hooper's follow up to the immensely successful ‘The Texas Chain Saw Massacre' (1974) is a slow and dull failure of a movie lacking all the charm and intrigue that TCM possessed. Whereas TCM was a near-perfect exercise in psychological terror, ‘Death Trap' is here to provide all the `goodies' (gore) that TCM, despite its title, only ever implied. Instead, we are left with an often unintentionally hilarious and downright feeble horror outing from a director who, in my opinion, lives off the reputation he has garnered for just a couple of films. This film is certainly not one of them. Accomplished stars of the big screen are paraded across the film in short roles in a desperate attempt to give ‘Death Trap' some sort of cinematic credibility, most notably Neville Brand in the leading role and previous Oscar-Nominee Stuart Whitman (The Mark (1961)) as the Sheriff. There is also an appearance from a pre-‘Nightmare on Elm Street' Robert Englund in the role of Buck. Incidentally, the character of Buck is one of the few highlights in this otherwise abysmal movie. If anything, one cannot really complain about the performances from the main cast even if half of Neville Brand's dialogue was completely incoherent.

The story itself is basic. People show up at the hotel, get dispatched for one reason or another and then along come the next group of people. While horror (particularly during this time period) is not predominantly famed for any sort of intricate storyline, for a film such as this to work requires an adequate building of tension/suspense and a lot to happen. Unfortunately, ‘Death Trap' fails on both counts. There is so little that happens in this movie that it becomes nigh on impossible to actually remain interested and although the `money shots' are in general worth watching, the rest of the film falls flat on its face. Sadly, attempts to build up tension fail as well due to the overly predictable nature of the work and the long, drawn out process in which suspense is attempted. Tobe Hooper is certainly no Alfred Hitchcock and this is certainly no ‘Psycho' (1960).

Fans of ‘The Texas Chain Saw Massacre' are better skipping over this one as this is a shadow of the ability shown by director Tobe Hooper. In fact, one should probably skip over a few and go straight to ‘The Funhouse' (1981) (which is a masterpiece compared to ‘Death Trap') or the Spielberg/Hooper co-production of ‘Poltergeist' (1982). ‘Death Trap' unfortunately had some potential but failed to deliver on virtually every opportunity. To sum up, ‘Death Trap' is a distinctly slow and dull production that could not really be saved by a couple of good scenes and some credible acting performances. My rating for ‘Death Trap' – 4/10.

In an attempt to enhance his own reputation, General Mireau (George MacReady) orders his troops to advance and seize the heavily fortified `Ant Hill' from the German army. Despite realising the hazardous nature of the order, Colonel Dax (Kirk Douglas) reluctantly agrees to lead the charge. As expected the attack goes badly and many French troops lose their lives which results in a large number of men refusing to leave their trenches. General Mireau sees this from his safe position and, refusing to admit that the attack was suicide from the outset, blames the cowardice of those who refused to fight for the devastating outcome of the battle. As a result Mireau demands that three soldiers from the regiment be held accountable and face an immediate court martial followed by death by firing squad. Dax seeks for the French military hierarchy to admit the truth.

This dramatic condemnation of the politics-over-people attitude of military forces during World War I is an all too accurate portrayal of how the conflict resulted in one of the largest and most pointless losses of life in all known history. Taking place in the trenches amidst the height of the futile conflict between France and Germany, director Stanley Kubrick (in only his second feature film) seeks to press home a fiercely anti-war statement backed up by actual historical facts rather than the typical embellishment that can be found in more modern war films. While the story itself is somewhat fanciful, the portrayal of the morally corrupt military leaders that sent hundreds of thousands of men to their deaths for no more reason than to satisfy their own expanded egos and enhance their perfidious reputations is, unfortunately, all too accurate and a powerful indictment of not just the French army, but all those who participated in one of the most bloody conflicts in human history. What makes the film so stinging in its approach is the flat out lies told by protagonist Mireau, who claims that one man's life is worth more to him than a reputation, yet when presented with the opportunity for political acclaim and honours is all too willing to send troops to battle when freely admitting that four thousand will probably perish in no man's land. A quick glance through history proves such on-screen bald faced lies to be inherently and tragically true off-screen, even in relation to Britain's very own Field Marshall Hague. The French government found the representation of their military too close to fact and banned ‘Paths of Glory', eventually lifting the ban in 1970.

The film does not stand out in mere message alone. For those familiar with Kubrick's later work such as ‘2001: A Space Odyssey' (1968), ‘A Clockwork Orange' (1971) and ‘Full Metal Jacket' (1987) the director's soon-to-be trademarks can easily be spotted. As with many Kubrick films there is a remarkable ability to portray to the viewer what is not seen on the screen. The full carnage of the war is displayed in a darkly amusing, yet chilling scene where one soldier questions another on whether he is scared of death or merely getting hurt. As this precedes the actual battle scenes by a matter of minutes the viewer becomes rapidly acquainted with the carnage, fear and suffering these men faced despite a distinct lack of on-screen bloodshed. One could argue that the short, virtually bloodless battle scene in ‘Paths of Glory' is even more powerful than the bloody, disturbing and prolonged beach scenes from ‘Saving Private Ryan' (1998). Kubrick wonderfully crafts this movie around the composition of the filming rather than relying on any sort of special effects or visual trickery. Throughout the movie, particularly during the battle scenes, the viewer is given a third person perspective of the struggles of men to come to terms with life and death under such harsh conditions. Incredible acting performances from Kirk Douglas, George MacReady and Adolphe Menjou attract the viewer's attention and become the central focus in a war film with scarce amounts of action. Kubrick condemns the politics of war through the use of the politics that control war.

It is very difficult to write about this film and fully do it justice. The pre-Vietnam anti-war sentiment is easily the main focus of the movie and it is through competent acting that the movie is made great. It becomes somewhat irrelevant that the movie is set in WWI as the same message applies to every major war, particularly the following decades Vietnam War. It wasn't until Oliver Stone's ‘Platoon' (1986) that viewers were again treated to an historically based condemnation of war that focused less on heroes and more on the way things really were in battle. Wisely, the movie opens with a narrated epilogue which informs the viewer of the absurdity of WWI and then ends with a melodramatic and almost tear-inspiring scene which, although not in place when compared to the sombre and melancholy feel of the previous eighty minutes, ends the film in such a way that the film itself must be contemplated. ‘Paths of Glory' is easily one of the most powerful films of all time and a pejorative anti-war statement where the only real failing is the short length of the movie and occasional poor performances from the supporting cast. My rating for ‘Paths of Glory' - 7½/10.

After a prank goes wrong a group of sorority girls end up killing their domineering house mistress and are forced to hide the body. Soon after the girls start being systematically dispatched by an unseen murderer.

The premise may not be particularly original and the film adds nothing special to the horror genre, yet strangely the film is extraordinarily captivating and stands up well against the flood of similar films from the Eighties. Without attempting to over-complicate matters with preposterously impractical plot-twists unlike so many other slasher films, writer and director Mark Rosman seems to be completely aware of the limitation of the material. He obviously sought to provide genre fans with a simple slasher based more on character development/interaction rather than an overly implausible storyline and, one can argue, that he accomplished almost everything he set out to do. Granted, the characters were nearly entirely clichéd and there were sporadic moments of insignificant dialogue but even so, there are no more faults with this slasher than with one of the other supposed elites of the sub-genre - 'Friday the 13th' (1980). In fact, one could even be of the point of view that 'Friday the 13th' is made to look inferior by 'The House on Sorority Row'. 'Friday the 13th', although fairly unnerving in places, was always rather slow and attempts to build tension occasionally fell flat because the direction and excessively methodical approach to building this tension forced the movie into featuring inherently tedious sequences. On the other hand, 'The House on Sorority Row' may be lacking in any real scares, but the movie is paced and directed well meaning that there are very few scenes that end up being tiresome. It is doubtful that anybody would be immersed in this movie to the degree that one could become engrossed in Bob Clark's 'Black Christmas' (1974) or Michele Soavi's 'StageFright' (1987) but there are certainly enough pleasant aspects for the average slasher fan to be impressed to some extent.

The acting performances, while of no real distinction when compared to similar movies, were of a high enough quality as to not negatively affect the movie in any real way. The performances were all of standard B-movie quality but helped to make the movie nonetheless. Despite a silly plot-twist towards the end, 'The House on Sorority Row' is recommended to slasher fans and casual horror fans looking for something a little obscure. An impressively written and directed slasher film which despite a run of the mill premise and occasional flashes of scrappy dialogue is able to impact on the viewer and become an enjoyable experience. My rating for 'The House on Sorority Row' - 7/10.