The music, which ranges from the dub sounds of UB40 and the rock of The Pretty Things, was also released on record – now quite collectable, fetching up to US$400 on e-Bay. It was his final feature film, and also that of Subotsky. Vincent Price (who shot his scenes between 15 and ) appears in the framing device as a vampire who inducts John Carradine’s horror writer into a club for monsters, and it’s these scenes where the film is at its weakest – mainly due to the cheap make-up effects used for the club’s denizens and an embarrassing final dance scene (check out my monster mash-up on YouTube here). But there are some stand-out moments, namely Kellerman’s grisly demise, the fog-shrouded town that Whitman tries to escape from, and Price’s big speech in which he declares that man is the biggest monster of them all.Īuthor Ronald Chetwynd-Hayes was struck dumb by how badly his source material was rewritten, while the great Roy Ward Baker (who’d been pulled out of retirement) directed without his usual flair. The final episode concerns a film producer (Stuart Whitman) whose ideal horror movie location proves to be populated by real ghouls…

The second is an autobiographical film by producer Lintom Bustosky (Anthony Steel) involving his vampire dad (Richard Johnson) and the cop (Donald Pleasance) trying to kill him. The first story deals with a shadmock, the professor of a lethal whistle (James Laurenson), and the woman (Barbara Kellerman) who tries to steal from him. But the film has since attracted a cult following. This attempt by Milton Subotsky at resuscitating the horror anthology formula that he started back in 1965 with Dr Terrors House of Horrors, but in a semi-comic vein, proved a disappointment on its release (it had a London premiere on 2 April 1981 before having a short run on ) and was the final film from his Amicus outfit.

Fear street the thrill club