A trio of terrors featuring a murderous Giallo, a family falling prey to their vampirous father, and a vengeful ghost haunting a clever thief. If the second tale, The Wurdalak, had been a complete feature, the film would rival Black Sunday as Bava's crowning achievement, but as it stands it is one of the creepiest, most beautiful, and perfectly executed short stories. Bava goes from stark black and white to a surreal and unnaturalstic color palette coupled with more gorgeous sets and amazing camera work. The third entry is what Bava considers to be his most technically proficient film, with the color, sound, and lighting all playing integrally into the overall mood and terror. As Giallo's go, the first entry is a strong effort, complete with the Italian trademarks of overt sexuality, societal taboos like lesbianism, a black-gloved killer, and a plot for revenge. While the first and third entries are still very good, The Wurdalak tends to be the most memorable and best crafted of the three, but the film is a masterpiece and a must see for any horror fan.