Noutions Good movie, but best of all time? Hardly . . .

Chirphymium It's entirely possible that sending the audience out feeling lousy was intentional

Mathilde the Guild Although I seem to have had higher expectations than I thought, the movie is super entertaining.

Nicole I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Nigel P Director Pete Walker (whose 'Schizo' film was reviewed earlier) is notorious for his low-budget horror films throughout the 1970's. This, his first, is a horror in title alone, and a couple of mildly grisly moments. The film aims to be some kind of slow-burning psychological thriller concerning Marianne's crooked relatives attempting to kill her so to claim her vast inheritance, but contains too few surprises and a pace far too slow to sustain that.Susan George plays the titular character and is terrific throughout, her initially headstrong behaviour played as naïve and confused rather than as reckless as she first appears (also, for an exploitation picture, she wears her various skimpy costumes extremely well). Barry Evans is the good guy, Eli. Evans seems too fey for the role (Patrick Mower and Ian McShane were also considered), but his niceness is reassuring against the shenanigans of ratty Sebastian (Christopher Sandford). Judy Huxtable gives probably the best performance as Hildegarde, but the character's decline into madness is beyond even her talents.Sapphire and Steel composer Cyril Ornadel produces a memorable musical score (his theme was written so as to be in time with Susan George's stylish and much-discussed go-go dance routine during the opening credits) including a haunting, possibly 'cheesy' song illustrating Marianne's plight that is repeated at various intervals to arresting effect.Ultimately, like other Pete Walker ventures, the project might well have been improved if slightly shorter, possibly cut back to 80 or 90 minutes. Marianne's relentless plight becomes too elongated to care about, the most potent moment being a nicely staged slow poisoning in a sauna that Marianne cunningly defeats by climbing out of the window.

Bryan Kluger The title suggests a decent horror movie with tons of gore. With a title like 'Die Screaming, Marianne', I would have thought that as well, but that's not the case. Instead, this is more of a incestuous thriller than straight horror. The lady playing Marianne is Susan George, who starred in the original 'Straw Dogs'. Marianne is an exotic dancer who is wanted by some criminals. She escapes their capture, and takes refuge with a guy named Sebastian (Christopher Sanford) who is a little too nice for my comfort.Marianne figures out that Sebastian is not the guy he says he is after he suddenly proposed marriage to her, as he has partnered up with Mariannes father (Leo Genn), a corrupt authority figure who is after Marianne's fortune, a large wealth of money left to her by her mother, which she will inherit on her 21st birthday. And Marianne's father is not the only one after her fortune, as Marianne tries to avoid capture and being killed by family.This is one of those films that has a good plot, but was poorly executed. The script isn't that good, and each climactic moment utterly fails to bring any kind of resolution. It keeps a decent pace, but with its terrible dialogue and anticlimactic moments, it runs longer than it should. Susan George looks great in this film though, especially when she is almost nude.

gavin6942 After their parents divorce, one daughter lives with her mother in England while the other lives with her father in Portugal. After the untimely death of her mother, the one daughter stands to inherit a large sum of money and also a number of documents containing information that will incriminate her father, who was a crooked judge.Another reviewer wrote that despite having Susan George, this is a rather boring film. I have to generally concur -- this is not the horror or exploitation that Walker fans have come to expect, and for those thinking this will be as good as "The Comeback"... well, expect disappointment.Not to say it is a bad film, because it is not. But for a film that is called "Die Screaming", you get precious little dying and screaming from this one.

Tom May Not particularly gripping tale of a 'free spirited' Susan George becoming embroiled in a seedy crime racket, led by a 'defrocked' Judge.Not just *a* Judge, but 'The Judge' - Leo Genn's character who is continually accorded the definite article by sundry friends and enemies - who are largely interchangeable. This melodrama, with a heavy accent on the corrupt authority figures, bears some resemblance to Pete Walker's later baroque horrors. But the formula isn't developed as of yet - and he had yet to work with the waggish scriptwriter David McGillivray. Walker followed this film with the relatively interesting curio, "The Flesh and Blood Show" - collaborating with the talented veteran Alfred Shaughnessy of "Upstairs, Downstairs" fame - and then his fecund period began with "The House of Whipcord" in 1974.Susan George and Judy Huxtable are done a great disservice by Walker and scriptwriter Murray Smith here with their reductive portrayal of female characters. Such as shame for George in particular, subject of much brutality in Peckinpah's "Straw Dogs" the following year, but also Huxtable, who was the evocative beauty at the heart of the whimsical "Les Bicylettes de Belsize" two years earlier.There is always some degree of objectification of women in Walker's films, but what is lacking here is the suspenseful, charged context of his later films. "Frightmare" and "House of Mortal Sin" have something of the Hitchcockian about them: Hitchcock-meets-the Grimm Brothers-meets-British exploitation cinema of the 70s. This is a rather more humdrum affair, with even the exotic locations eliciting no more than a Gallic shrug in this viewer.