In the English countryside there stands a house, a seemingly benign, ramshackle abode nestled amid the undergrowth and enveloped in mystery. Unfortunate incidents occur to those who stay at the place, as a detective finds out while investigating the disappearance of its' latest dweller. While on the case, he hears of four separate tales of woe that befell those who rented the house, each more macabre and chilling than the last, in Peter Duffell's marvelous horror-comedy 'The House That Dripped Blood.'

An anthology film consisting of four separate stories concerning the titular homestead, 'The House That Dripped Blood' is vintage British horror. Written by Robert Bloch (and an uncredited Russ Jones), the tales within the film are each and all entertaining, full of suspense and chills. The segments vary both in tone and in quality, with the Christopher Lee led "Sweets To The Sweet" impressing and frightening the most, and Jon Pertwee's camp parody "The Cloak" being the weakest offering of the bunch. The other two, "Method For Murder" and 'Waxworks" have their moments, but don't match the sinister atmosphere and psychological terror of Lee's segment and seem unfortunately rushed to market.

In anthology films, it's not uncommon for segments to vary in length, but the first two seem far shorter than the last ones, and this imbalance produces jarring effects. "Method For Murder" and 'Waxworks" breeze by- and while the lengthy, penultimate "Sweets To The Sweet" works brilliantly- the final episode, "The Cloak," feels like it's dragging on in comparison to what came before it. Its considerably lighter tone also means that it feels somewhat inconsequential and pointless. The three preceding stories are full of dark, seedy horror that sometimes drifts into humorous territory; while "The Cloak" fully embraces the comedic and comes across as rather silly and facile.

Though still entertaining, as the whole film is overall- not to mention being technically polished. Ray Parslow's cinematography is striking, and while this isn't exactly a Dario Argento film; it's got an assured visual style that's most impressive. Credit for the film's look must also go to Tony Curtis, whose work as art director has produced distinct results. Additionally, the score from Michael Dress is atmospheric and foreboding, and Peter Tanner's editing is swift and seamless. For a relatively low-budget affair, 'The House That Dripped Blood' has a lot to offer viewers.

Including some fine performances from a large cast of talented actors. Denholm Elliott and Joanna Dunham do good work in "Method For Murder," with Elliott's portrayal of a man descending into madness being especially notable. Peter Cushing is terrific as a lonely man inexplicably drawn to a waxwork figure in "Waxworks," and is on screen for far too short a time. Christopher Lee dominates the film as an austere father in "Sweets To The Sweet," giving a performance both restrained and intense that lingers in the mind long after the credits have rolled. From "The Cloak," Ingrid Pitt does memorable work, though is underutilized and overshadowed by her screen partner; the miscast Jon Pertwee (in a role, one might add, tailored for Vincent Price, who would have been perfect).

'The House That Dripped Blood' is a highly enjoyable anthology film that will thrill and chill in equal measure. Well written by Robert Bloch and featuring stylish visuals and an emotive Michael Dress score, the film readily impresses. Though the segments vary in quality, all are entertaining and one- "Sweets To The Sweet"- is nothing short of brilliant. Boasting a cast of stars performing strongly and deft direction from Peter Duffell, 'The House That Dripped Blood' is a fantastic voyage of fun and fear that is sure to frighten, please and amuse.

Well, wax in two segments.

For four segments of anthology horror in 100 minutes, that's an average of 25 minutes per segment. That means that there's not much time to set up a detailed plot, but just get to the point. Badda bing, badda boom, badda done. It works when you've got a great idea, writers that can make a lot out of a little, and actors who command attention as well as fear.

"Dracula! The one with Bela Lugosi, not this new fellow." Well, Lugosi's long dead, but that other fellow, Christopher Lee, is there, as are Peter Cushing, Denholm Elliott and Ingrid Pitt. The other actors are not as well known to American audiences, so I'd have to research them, some of whom I believe I may have seen before. The segments of this film are each entertaining in their own individual way, featuring some clever twists, funny bits of dialog (mostly ironic or sardonic), and thus the tongue is in the cheek, that is when an ancient vampire's fangs aren't in someone's neck.

Denholm Elliott is convincing as a writer slowly going mad, thinking that he's seeing the country fiend he's been writing about. Peter Cushing meets up with an old friend, finding more than they've bargained for when they come across a strangely familiar wax head. Christopher Lee can't deal with a bad seed daughter who has powers thanks to a wax figure of him, and finally, a vampire cloak proves that it has powers over anyone who wears it. All of these stories surround one house that detectives believe influences over anyone who lives there (or in the case of a film crew) works there. It's silly, unpretentious fun that isn't about grossing its audience out, just providing them with a few chills.

Another in the long line of Amicus anthologies. The connection between these stories is a mysterious house which gives the owners whatever their personality deserves, which basically means that it's an excuse to use the same set over and over again. Certainly the wrap around story sometimes makes these films – who can forget the classic train journey in DR TERROR'S HOUSE OF HORRORS? – but not so here. Little thought or imagination seems to have gone into it and you get the feeling that the title was conceived before the story.

The first segment features the reliable Denholm Elliott as a writer who conjures up a strangler from his imagination. He's horrified when the strangler apparently becomes real. This story has a few shocks but is pretty formulaic and is singularly lacking in atmosphere, creepiness, or any form of terror. There's an interesting double twist at the climax but apart from that, this is nothing to get excited about.

The second story is probably the best, and has Peter Cushing and Joss Ackland in it. Cushing is the lonely man who visits a wax horror show, where he sees a figure which reminds him of a girl he once loved. When his old friend visits town he too sees the figure and becomes obsessed with it. The story is atmospheric in the wax museum scenes and has a typically gruesome climax, and of course Cushing's acting lifts it above the norm. Ackland is also good value for money. I think this is the scariest of the lot when it comes down to it.

The third story has Christopher Lee as a father of a young girl with "problems". A live-in nanny arrives and soon finds out what the problems are - the eerie taint of witchcraft is lurking in this one. Lee is good as his usual pompous, unlikeable self, but apart from him this story is nothing out of the ordinary. There's some fun to be had from trying to guess the resolution and the climax is suitably repulsive.

The final story benefits from having Jon Pertwee in it, and Ingrid Pitt appears to add some glamour too. Pertwee is the arrogant actor who buys a mysterious cape for his new vampire role. However, the cape belonged to a real vampire and is affecting the owner in strange ways, such as turning him invisible in mirrors when he wears it. There's a twist ending as usual and an interesting film-within-a-film premise in this comic instalment. It's dated pretty badly and Pitt's lack of talent is more than evident, but Pertwee's spirited performance makes up for it.

The wrap-around story, about the policeman investigating the deaths, is quite dull, apart from the ending which has some action in it. Altogether this is a very average anthology. It never gets boring to watch as none of the stories last more than 20 minutes. There's an interesting cast too, however it somewhat lacks from being mainly confined to a single set for much of the stories. It's worth having as it showcases the talent from the era, and, of course, it's a '70s British horror film so it gets a recommendation from me. And just look at the cast! Not brilliant, but eminently watchable for nostalgic fans of old fashioned horror.