One of the better anthology films from England's other house of horror, Amicus. The framing story that leads into the final story with Herbert Lom and a really creepy (if a bit slow) robot doll is crazy and the basic idea I think holds up for a series. The other stories are a mixed bag. The first one is quite grisly, but it's unclear how the narrator knows all the details she tells. The second scores points for featuring Peter Cushing and a really bizarre story, but the ending is a bit confused. The penultimate story is unique only for it's casting, the idea of seeing Britt Ekland as Charlotte Rampling's murderous alter-ego seems like it should be reversed. Some of the music is overdone to the point of absurdity, cue the robot Herbert Lom slowing making his way to a dumbwaiter accompanied by a bombastic score that makes every inch it travels like a knife in the ear.

Creaky, funny and rather unsettling.

The house of Amicus productions brings to us a horror anthology directed by Roy Ward Baker and written by "Psycho" scribe Robert Bloch. The four stories center around Robert Powell's job seeking Dr. Martin. Whom upon arriving at the classy, yet foreboding looking Asylum (New Lodge, Winkfield, Berkshire, England), is required to interview the four patients up on the top floor so as to prove his credentials for the position. As with all anthology horror pictures, the stories vary in quality, but what is consistent though is that the atmosphere and mystery element to it all never flags. Atmosphere that is somewhat boosted by Douglas Gamley's impacting construction of Modest Mussorgsky's music.

'Frozen Fear' sees a murdered wife come back to reek revenge on her husband and his lover. Not a bad trick since she was dismembered!.

'The Weird Taylor' has Peter Cushing as a grieving father who will do anything to bring his deceased son back to life.

'Lucy Comes to Stay' features Charlotte Rampling and Britt Eckland in a murderous spin on the "imaginary friend" angle.

'Manikins of Horror' is the last story which stars Herbert Lom as a maker of little robotic dolls that have worryingly realistic faces.

All of which leads us to the finale where we get a nice and rewarding twist. It's a good production is this, the direction and writing is fluid and there are some genuinely creepy and unsettling moments. Perhaps not one to rush out for if you want to be scared on Halloween, but certainly a picture that achieves a high level of genre entertainment. 7/10

Robert Powell (never the strongest character actor) is a young psychiatrist tricked into interviewing four patients in an asylum in order to get a job. Each have a fairly fantastic tale to recount that might explain their current predicament - or, maybe - just maybe, their recollections are true!? My favourite of the four stories features Peter Cushing as a tailor tasked with making a suit from a particularly pliable material, but the others are interesting too with their fair share of voodoo, nasty dolls and some good old family enmity. The narrative is structured well, with each story engagingly self-contained within the asylum environment. Keep an eye out for Charlotte Rampling, and an ear on the rather effective Douglas Gamley score that does much of the heavy lifting required to compensate for some pretty ropey dialogue at times. Made in 1972, I wonder if it might have been more effective had it been a few years earlier, with the additional atmospheric benefits of monochrome?

The wraparound story of a doctor asked to interview patients in an asylum is really clever and ties all of the individual stories together nicely. Speaking of the stories I really enjoyed the opening sequence "Frozen Fear" about a man who thinks he can get rid of his wife. As silly as it all looks the effects are actually well done. It's mostly bloodless but the drawn out revenge sequence builds some neat suspense.

The second story is "The Weird Tailor" which I enjoyed more when "Thriller" adapted it. Barry Morse was good as the tailor but I thought "Thriller" emphasized the strain on his wife better which made for a more impactful final scene. Even Peter Cushing didn't make it much more interesting. "Lucy Comes To Stay" with Britt Eklund is mostly boring. I didn't see the ending coming though which saved the tale for me a bit. Eklund was entertaining in her brief appearance.

The final story was short but exceedingly fun. Herbert Lom just kills in "Mannikins of Horror" about a doctor and some dolls. This story is different in that it ties into the wraparound story and is not a flashback like the other segments are. I don't want to give it away but Lom's portryal of the Doctor is intense and the facial expression of his doll is a little disturbing.