I love this movie so much

That was an excellent one.

Instant Favorite.

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

I'm a sucker for an anthology film. More horror for less I guess. This one sounded pretty interesting, with a surprisingly effective wraparound story that is more than just filler.The first segment, "Frozen Fear", is a typical wronged spouse revenge story but with a nice beyond the grave twist. There are some creepy scenes involving animated body parts (creepy AND funny, I should say).The second, "The Weird Tailor, despite having Peter Cushing in it, is weaker than the first. It's mostly goofy and none too scary.The third, "Lucy Comes to Stay", is easily the best segment. It's about a woman with a split personality that manifests itself as another person, and while it's mostly a scenario that's been played out before, this one at least has good fun with it and never pretends the audience isn't in on the twist.The fourth, "Mannikins of Horror", actually evolves out of the wraparound segment in a neat little surprise. An absolutely baffling, but strangely compelling premise is completely undone by a poorly paced ending. Watching that mannikin walk around the hospital was some kind of torture (even the laughs subside long before the scene does).The wraparound keeps your interest and resolves like you expect, however it's effective for what it needs to do. This is a solid anthology film, with the usual ups and downs, but most of them right around the median.

Young Dr. Martin (Powell) arrives at his new job at a British insane asylum. He is told by Dr. Rutherford (Patrick Magee) the administrator in charge that the last doctor in his position went insane and is now a patient upstairs. Dr. Martin must figure out who the former doctor was in order to secure the job. This clever wrap around story from Amicus highlights one of their best anthology movies. The first story is "Frozen Fear" telling the story of an adulterous husband named Walter (Todd) who buys a freezer and installs it in his basement with the idea of chopping up his wife so he can be with his lover Bonnie (Barbara Parkins). Once the ghastly job is done, the parts wrapped in brown paper and tied off with rope come to life on their own with revenge in mind. This segment is the most chilling of them all with jump scares and truly horrifying moments, tense and scary. The second story is "The Weird Tailor" a slow moving but involving tale of a tailor (Barry Morse) named Bruno who is about to go bankrupt until Mr. Smith (Cushing) shows up at his shop. He wants Bruno to make a suit for his son made of special material. In need of money, Bruno accepts the bizarre job that requires him to work on the suit at odd hours. There is a great end twist that serves up the horror of this segment. This segment is slow paced but the payoff is worth it. The third story "Lucy comes to stay" tells of Barbara (Charlotte Rampling) who is recovering from a mental breakdown that had her split personality known as Lucy (Britt Ekland) take complete control. Lucy repays Barbara a visit and the murders start again. The final story "Mannikins of Horror" ties back into the wrap around story centering on a brilliant, but mad man named Byron (Lom) who is a patient in the hospital. He makes little robot mannikin's that have real human faces that he can control with his mind. This odd ending segment is creepy and has many enjoyable moments of terror. The final wrap around twist could be the best of all and is sure to catch the viewer off guard. This Amicus film benefited from having all the segments written by Robert Bloch of "Psycho" fame and they're great. Directed cleverly by Roy Ward Baker, this is certainly one of the best of the Amicus 1960's and 1970's horror anthologies. The stories have some grit and a decent amount of gore mixed with shocks, and suspense making this a must see film, especially for fans of anthology horror.

Roy Ward Baker directed this horror anthology set in a mental asylum, as a new doctor is introduced to the back stories of four inmates: 'Frozen Fear' - A man is terrorized by his murdered wife. 'The Weird Tailor' - A tailor is paid to make a most unusual suit for a grieving father. Starring Peter Cushing & Barry Morse. 'Lucy Comes To Stay' - A woman(played by Britt Eckland) believes her brother is conspiring against her. 'Mannequins Of Horror' - A man(played by Herbert Lom) builds tiny dolls, one that looks just like himself, that must kill. Mediocre film with the second tale being the only one of note. Framing story has a surprise ending, which isn't enough to save it.

Viewed in 2013, this film is a strange mixture. A lot of its plot elements seem corny and it's let down badly by the mannikins in the final episode, which fall laughably below the description given by their creator in the dialogue. Douglas Gamley's music score seems a cop-out in some respects, stealing great chunks of Mussorgsky's Night on Bare Mountain and Pictures at an Exhibition without mention in the credits. However, in its quieter moments the music is wonderfully atmospheric, creating an eerie ambiance unmatched by any other composer in horror films of the period - managing to evoke the 1970s with clever use of a Vibraphone, mixing in other "period" instruments like an electric organ and yet somehow never sounding "cheesy".The script is excellent except for a few bits of clunky dialogue. "No-one can stop me now" would have sounded much better as "No-one will stop me from doing this." That the film still works is down largely to the excellent cast. The number of good (even great) actors that was affordable within the Amicus budget is amazing - Geoffrey Bayldon, Megs Jenkins, Patrick Magee, Robert Powell, Charlotte Rampling, Sylvia Syms, Richard Todd, James Villiers - a roll-call of British acting talent. Probably the best of all are Barry Morse and Peter Cushing, both giving performances that outshine many more respected actors, and depicting a vaguely absurd storyline with utter conviction. Barry Morse even manages to be convincing while affecting an eastern European accent - an achievement for any Anglophone actor - and the double act between these two greats turns their episode into a genuine tragedy.Asylum is never less than watchable and, in its best moments, is genuinely chilling.