Despite the trio of big names, noted 1960s comic Alfred Marks largely dominates the policier segments as a tough cop, Popeye Doyle-style, who is investigating murderous proceedings. His attempts to track down a seemingly super-human killer are intercut with a hospital bed scene where a patient repeatedly wakes up to find further limbs removed. In such a surreal film, it almost feels like a let down to have a third storyline involving Christopher Lee tracking down Vincent Price, explaining that he was heading up the usual secret government plot to create genetically modified super soldiers. Played by Michael Gothard, this crazed killer can rip off his own arm to avoid a handcuffing to a police car bumper and preys on post-club ‘dolly birds’. Meanwhile, Peter Cushing’s character plays politics in a police state vividly depicted in a few nightmare sequences in the mould of 1984, a science-fictional vibe that runs against the grain of a film that is clearly 1967 London down to the inevitable psychedelic freak-out performed by Amen Corner.