This movie is the proof that the world is becoming a sick and dumb place

A Masterpiece!

This story has more twists and turns than a second-rate soap opera.

It's easily one of the freshest, sharpest and most enjoyable films of this year.

Horror Hospital is a campy exploitation classic that has to be seen to be believed. Heart-throb of the day, Robin Askwith, known for his "Confessions of..." series of softcore pseudo-comedy romps that spawned an endless series of imitations, matches wits with Michael Gough, the man better known for his roles as the butler Alfred in Tim Burton's Batman movies.How can you go wrong with a "hospital" advertising "hairy holidays" - apparently all they needed to do to attract legions of hippies - and then lobotomising said legions to create an army of braindead automatons? Marvel at the mad doctor's most lethal weapon, a Rolls Royce with a retractable blade in the side that never fails to decapitate runaway hippies, complete with a sack next to it to catch the severed heads. There is also an inexplicable steaming pool of acid on the hospital grounds, where one of the doctor's "army" of motorbike thugs - who never take their helmets off, perhaps to hide the fact that they are always played by the same two people - meets his end. Was there ever a pool of acid in a movie that someone didn't fall into?This one is great fun, and a must see for fans of campy '70s schlock horror.

Although the majority of Robin Askwith's movies were bawdy British sex comedies, the cheeky chappy with the ability to charm any bird into bed briefly lent his talent to scary movies, one of which is this completely bonkers slice of high camp horror.Whilst not a great film in the classic sense, Horror Hospital still proves to be a hugely entertaining romp thanks to lots of knowingly cheesy performances, some delightfully bloody gore, a spot of nudity from the very lovely Vanessa Shaw, another likable performance from Askwith, and above all else, a real sense of fun.Askwith plays songwriter Jason, who, deciding that he needs a break to recharge his batteries, books a holiday at a country retreat run by the mysterious Dr. Storm (Michael Gough). On the train journey there, Jason meets Judy (Shaw), who is also going to the clinic to meet her Aunt Harris (Ellen Pollock), who just happens to be Dr. Storm's partner.Once at their destination, Jason and Judy soon discover that the wicked Dr. Storm has been operating on his guests, turning them into obedient 'zombies', and that he has the same planned for his newest arrivals!!!This one really lays on the clichés, what with its Gothic mansion setting, a creepy dwarf assistant, brutal zombie motorcycle goons, taps that run with blood, a horribly disfigured monster, and even a treacherous boggy woodland surrounding the resort, but that's what makes the film so entertaining: no-one involved is taking it seriously, and neither should the viewer. Pop open a few cans of beer before watching this and simply revel in its demented goodness.

Another story of mad scientist who uses rock musicians as guinea pigs for his experiments?If we look below the surface of the trite screenplay we could see the revenge of the establishment against those hairy young men and the horrible sounds they make ,their silly ideas of peace and love ....What saves this flick is its black humor:from the very first line about keeping the car clean to the girl's family 's racy past:Wasn't her auntie the owner of a brothel in Hamburg ?Wasn't her mom an unwed mother? and hadn't the aunt a lot of nerve to call her names? Michael Gough is the sinister-looking saw bone;the aforementioned aunt is his assistant (sounds like Franju's classic :"Les Yeux Sans Visages" aka "Eyes without a face" );and the rockers provide the raw material.It is not food for thought but it's rather entertaining if you do not demand too much.

This film is a wonder. If one was to happen across it one Sunday afternoon, sober and alone, one might struggle to immediately spot its worth.However, do NOT pass this film by. Director Balch has here crafted a masterclass in horror/b-movie aesthetic and inconsistency. The gleeful abandon with which the film disposes of continuity and good sense is a constant joy - it impossible not to shout "REWIND" every 10mins.Robin Askwith's frottage, Dennis Price's priceless mirror speech, the musical motorcycles, the guard Dalmatian, the zombie ticket-man, the slugman escape, the "sandwich incident", the hilarious incomprehensibility of Michael Gough's Doctor Storm's central plan, the delectable Judy Peter's, the greatest chat-up line in screen history (sadly unrepeatable here...) and one very fine facial performance after another from the diminutive Skip Martin.Please, rent or buy this film, grab a your mates and a crate of cheap beer and keep the remote control nearby - this film, from the same year as The Wicker Man and Don't Look Now, defines the genre with its aggressive deconstruction of horror clichés and sizzling script.