“It was buried for 100 years… but never laid to rest!”

An excuse for an escalating series of brutal death setpieces, Terror is daft, and scary, and action-packed - a British answer to nutty European fare like Susperia.

Starting with a brutal witch hunt and decapitation, revealed to be a "film within a film" which has more plot than the next 75 minutes, Terror is never less than entertaining.

The film is being watched in the very house where hundreds of years before, the events being portrayed on-screen actually happened. Now all that remains is for the ghost of the said headless witch to exact her bloody and violent revenge on the ancestors of her persecutors, one of whom is the director of the film.

After a spot of amateur hypnosis goes awry at the party (nearly resulting in the be-swording to death of the director), the ghost witch decides to get rid of the "softly softly" approach and starts hacking her way through a variety of half remembered faces from 70s TV.

Glynis Barber (yes, her off Blake's 7 and Dempsey And Makepeace) is the first to get it, following a pursuit through the woods. She's later found pinned to a tree trunk by knives. As well as providing a rare frission of actual tension, the knifing by the unseen assailant is also remarkably graphic. This sets the tone for the film, which alternates between brilliant setpieces (the coming-to-life of an entire canister of film leading to beheading by broken window; red paint seeping through the ceiling turns out to be red paint, but that doesn't save the victim) to the absolutely bloody awful (there's a mad segment where a Rover car starts floating around a forest for no reason at all) and the blatantly over-done (another Rover - or possibly the same one - comes to life, follows a policeman around for a bit, and then runs him over several times in extreme close-up).

The ending is mind-boggling, the deaths bear little relationship to the initial curse. If you like your horror short, bloody and daft, Terror is for you.