This offbeat horror film, scripted by Christopher Wicking based on a novel by Peter Saxon, has a rather busy plot. It ties together separate threads: one about political intrigue, one about a "vampire" styled serial killer, and another about a mad scheme to harvest human body parts for some unknown purpose. The perplexed but determined police inspector in charge of the serial killer case is a man named Bellaver (Alfred Marks); even after the killer, Keith (Michael Gothard), is apprehended, he escapes again and leads the cops to the operation of a doctor named Browning (Vincent Price).Fans of Mr. Price, Sir Christopher Lee, and Peter Cushing are likely to feel disappointed after watching this. After all, they're billed as star attractions, yet their combined screen time doesn't add up to much, leading one to believe that they were hired principally for name value. It's the excellent Marks that does the true heavy lifting in terms of acting. He plays his role with humour and charm, and makes "Scream and Scream Again" worth seeing. It's also fun to see a British genre film from this period that so obviously is of its era. We even get to see a brief musical performance by a band named The Amen Corner, who perform two songs, "When We Make Love" and the title track. The actual music score is courtesy of David Whitaker and adds to that off the wall quality because it's rather jaunty, not exactly your typical horror film score. One unqualified highlight that occurs is the protracted chase sequence between the cops and Keith. And it's hard to completely dislike any horror story that includes a couple of acid baths.Lee and Cushing are really rather wasted, but Price has as much fun as he can in his somewhat limited role. In addition to Marks, other actors doing fine work are Peter Sallis as Schweitz, Christopher Matthews as the inquisitive young Dr. Sorel, Kenneth Benda as Professor Kingsmill, and Marshall Jones as Konratz.This isn't all that *good* a movie, in all honesty, but it certainly rates as a real curiosity.Six out of 10.

This is a perplexing yet oddly compulsive grab bag of weird set-pieces and half-baked ideas. In some ways, it's quite unique and in others thoroughly familiar. It veers all over the place, avoids exposition like the plague and explains incredibly little. The narrative jumps around from one thing to another, dropping plot-holes and unanswered questions like breadcrumbs in a forest populated by ravenous breadcrumb-eating birds.A man wakes up in a hospital bed. When he pulls back the sheets his leg has been amputated. He screams. This happens twice more – and each time a limb has been removed. He screams. He becomes a living torso on a bed. He is seen one final time as a severed head in a freezer compartment. This is much later on.Meanwhile a serial killer is beating, throttling, raping, throat-slashing and draining the blood from dolly-bird victims in London. Detective Bellaver (Alfred Marks) is on the case with his thick-eared plod underlings. They all give much the same impression of being largely unable to detect an elephant with dysentery in a snowstorm.Elsewhere, in an unnamed totalitarian state (probably someplace in Europe) Konratz (Marshall Jones) is portrayed as a high-ranking military official. The troops look like Nazi-Commie hybrids and sport a swastika-like symbol. Konratz murders his superior (Peter Sallis) by gripping his shoulder with one hand and squeezing until he dies. It's like the Vulcan neck pinch only it isn't.Back in London the serial-killer is revealed to be Keith (Michael Gothard) who picks up a dolly-bird at a music club where The Amen Corner (actually Amen Corner) are performing a song entitled "Scream And Scream Again." He drives her to a secluded spot and beats the living crap out of her. Next time we see her she's naked on a mortuary slab.Enter Vincent Price as Dr Browning (you can bet it's all gravy for him). He runs a clinic in the countryside where one of the victims worked. Odds are he's somehow involved in all this.Back in Nazi-Commie land, Konratz is carpeted and demoted by his other superior Major Benedek (Peter Cushing) for extreme brutality and torture/murder of suspects. Konratz responds by squeezing Benedek's shoulder and killing him.Then in London serial killer Keith is honey-trapped by an undercover policewoman. He evades capture by tearing off his own handcuffed hand, running to Dr Browning's residence and in a really inspired move hurls himself into a vat of sulphuric acid in a barn. Which is one way of doing it, I suppose.Oh look, now here comes Christopher Lee who appears as Fremont, a government agent involved in shady dealings and political machinations with Konratz.All of this is just the tip of a very convoluted iceberg to be honest. The rest boils down to a Frankenstein re-jig with Vince creating super-human "composite" people from body parts and synthetic materials to bring about world peace and the eradication of disease. Not sure how this works as it will be achieved by Nazi-Commie Konratz who will use them as super-soldiers. Is it just me or are the methods incompatible with the aims here. Konratz turns out to be a "composite." As does serial-killer Keith (RIP). As does the nurse. As does Chris Lee. As does Vince.Wait a minute. Vince makes the composites. If he's one, then who made Vince? Ah-ha, clearly a story for another time.There is plenty of action and a standout car chase so well choreographed and shot that it feels like it ought to belong to a much more prestigious and expensive project. This is back in the days when driving stunts were done for real and stunt-men risked life and limb, unlike that computer-generated Furiously Fast dreck we get today. The vehicles are old and cumbersome, vintage by today's standards. But watching you can almost feel the strain and struggle taking place as a 1969 Jaguar S-Type takes a hairpin bend at speed with a squeal of brakes and a scream of grinding chassis.Much of the film seems to have been shot in perpetual twilight, and this adds a certain distinct atmosphere to the murder set-piece and Keith's increasingly desperate and violent attempts to evade capture. The confrontation with police in the chalk quarry culminating in his leaving his hand behind, still handcuffed to the bumper of a squad car, and then throwing himself into a vat of acid is a particularly gruesome delight.There's mileage in almost any film to feature the triad of Vince Price, Chris Lee and Pete Cushing – even though the first two share no screen time with the latter. In fact, for Cushing it was one day's work and it's little more than a cameo appearance.I'm uncertain if SCREAM AND SCREAM AGAIN has achieved cult status in any quarters, but I'd be surprised if it hasn't. It predates by a significant time frame any number of other cult movies that have cribbed some of its' ideas even if the makers of those films are unaware of its' influence or even its' existence.If you fancy a fix of weird and off the wall horror-thriller action and are prepared to suspend logic and disbelief a little more vehemently than usual then you could do far worse.

I always loved Peter Cushing chasing Christopher lee as Dracula or better yet when Lee,Cushing and Price get together and scare us ,but not this one,all three are not together and have part time duty thru out the movie until Price took over at the end.it a roller-coaster of a film.what we see is James Bond chasing Frankenstein,chasing some Nazi crazies,some kind of mad doctor,don't forget the vampire.I would scream and scream again if they cut my legs off too.This is no Lee,Cushing,Price type of horror film..Cushing only last for 5 minutes and still get top billing.it go from action to finally see a horror ending with Vincent Price showing us once again in what he 's good at .but i wouldn't scream again for this so so movie.Lee stay as Dracula.Cushing stay as Helsing and Vincent stay as alway..the mad doctor.better yet ,see Madhouse instead

A secret military organization is working in concert with a mad scientist conducting experiments using victims kidnapped from London streets, their limbs removed, tendons strenghtened with synthetic technology. There's a series of "vampire murders" where females, frequenting a psychedelic club, are strangled by a madman, with superior power, their blood completely drained. The psychopath just so happens to be a "composite", a created "super-human", thanks in part to the secret experiments..he's in fact a flaw that must be corrected, because his extraordinary condition would draw unneeded attention to the experiments, such as police investigation. Meanwhile, a spy is captured, and used as a bargaining chip in order to retrieve specific information that pertains to the whole investigation regarding the murderer.Christopher Lee is Fremont, a major form of power within the London Police who must surrender the investigative material(..the entireties of the case)to a sadistic military type, Konratz(Marshall Jones)who took control of his fiendish Nazi-type organization after "subduing" his boss, Benedek(Peter Cushing, positively wasted in a nothing role). Meanwhile, Dr. Browning(Vincent Price), the British scientist who must evade constant police activity that threatens his work, will eventually have to contend with a coroner who snoops around his grounds, attempting to understand why the psycho committed suicide by jumping in the doctor's strategically placed acid tank in the barn nearby his mansion.Price fares best of the three horror icons in Gordon Hessler's needlessly over-complicated plot which still is essentially a mad scientist, "supersoldiers" plot reflecting the designs of Hitler, instead relocating the mad plot to England. There's a lengthly chase scene where Superintendent Bellaver(Alfred Marks)and his men pursue serial killer Keith(Michael Gothard)throughout England, often injured in the process. I'm not sure why the composites needed blood as a constant source. The film spends a lot more time with grumpy, acid-tongued Bellaver than with the headlining stars, and a great deal of focus is concerned with the London youth scene of the time.My favorite sequences concerns the reactions of a poor captured victim as every time he awakens from forced inoculations, he finds a new limb missing..it's morbid humor at it's best. The ways Keith constantly gets away from London Police is rather amusing, including how he escapes being handcuffed to a car. This is my first Hessler film, and I think he has a nice style with exciting camera-work, but the material itself is rather uninspired and too convoluted for it's own good..it seems that while dealing with a typical mad scientist plot, the filmmakers try to elaborate the scenario with extended sub-plots.