Walker's first horror film is an intriguing and enjoyable mix of sex and chills set in an abandoned theater; interestingly, in the accompanying interview on the DVD, he states that the nudity was deemed obligatory at the time if the picture was to hope for a distribution deal (particularly since Walker was his own financier).
The plot starts off by having eight out-of-work actors being convened to the aforementioned remote location by a mysterious employer; though they occasionally indulge in the kind of silly yet pretentious improvisational exercise also at the core of Jacques Rivette's insanely-long (13 hours!) OUT ONE: NOLI ME TANGERE (1971), they're often just interested in getting laid and the girls in particularly act like sluts most of the time!! At first, I was annoyed by this apparent laziness in scripting (by Alfred Shaughnessy, a respected if little-known director in his own right) but, then, it's revealed that this was the reason these young and 'morally corrupt' folk were called upon to begin with (as the continuation of a notorious incident from the wartime era which had actually caused the theater's closure).
The male members of the cast are effectively enough led by Ray Brooks (from Richard Lester's Swinging London comedy THE KNACK [1965]) and also include Robin Askwith (soon to rise to dubious prominence with the smutty "Confessions" films) and veteran Patrick Barr (who turns in a bravura performance, particularly once his true identity is exposed). As for the girls, they all look great in and out of clothes particularly Jenny Hanley (who, interestingly, discovers to have an inextricable link of her own with the gloomy theater) and Luan Peters (who escapes the murderer{s}' clutches the first time but not the second).
The film attempts a reasonable imitation throughout of the Italian Giallo style (that country, then, paid it the compliment by borrowing its single setting for Lamberto Bava's popular but third-rate DEMONS [1985]) though it culminates with a rather unnecessary 3-D gimmick (which Walker had already utilized in the lackluster "Rashomon"-type sex comedy THE FOUR DIMENSIONS OF GRETA [1972]). For the record, of the director's horror outings, I've yet to get my hands on SCHIZO (1976) and HOME BEFORE MIDNIGHT (1979)
