text: Director / writer Michael Winner's feature is a better than expected offbeat supernatural horror film (although still schlock efficiently catered for), which really does by go unnoticed. Sure it might borrow ideas from other similar themed horror movies of this period, but still manages to bring its own psychological imprint to the smokescreen material (of good vs. evil) and a unique vision that has a fair share of impressively expansive, if somewhat exploitative set-pieces. As a whole it's sketchy, however remains intriguing by instilling an ominous charge without going gang-busters with the scares. Actually there's always something going on amongst its busy framework, but it's rather down-played with its shocks steering to soapy patterns and atmospheric tailoring, up until its vividly repellent and grisly climax with a downbeat revelation. Winner's dressed up craftsmanship might feel pedestrian, however it's the ensemble cast that really holds it together as you try to spot the faces. There's plenty too. Some having more to do with the scheme of things than others, but there's no doubts every one of them are committed, despite the ludicrously crude nature of it all. It's interesting to see names like Sylvia Miles (who's significantly creepy!), Beverly D'Angelo (likewise), Deborah Raffin, Eli Wallach, Christopher Walken, William Hickey (a neat cameo), Jeff Goldblum, Jerry Orbach and Tom Berenger in bit parts. Then you got a mild-mannered Chris Sarandon and movingly gorgeous Cristina Raines in the leads. Offering able support José Ferrer, Martin Balsam, Ava Gardner, John Carradine, Burgess Meredith and Arthur Kennedy. The script does throw around many characters, as well as notions but gets disjointedly sidetrack by trying to squeeze all of it in. However it's disorienting air works in its favour in establishing the suspicion and deception of what's really going on here. Is there a reason for all of this, and why is it surrounding Raines' character? The emphasis is mainly built upon that moody angle, as it begins to slowly shed light of her inner goings and that of the strange/worrying experiences she encounters when she's moves into her new apartment. This is where Winner tries to pull out the eerie shades, which projects some icy moments. Gil Melle was the man responsible for the grand, overpowering orchestral score that never misses a cue and Richard C. Kratina instruments the sweeping, scope-like photography.