Originally released under the less hook-like Scream Bloody Murder, Claw Of Terror opens with a young farmers lad Matthew starting up the family bulldozer and running over his father, as well as his own hand. Cut to ten years later, and Matthew is now a weird loner with a claw for a hand, who sees red whenever his mother Daisy is kissing someone else, and it doesn’t take long – he comes home from the hospital to find Mr Parsons is sleeping in the big bed with Mommy. The honeymoon doesn’t last long: Matthew gives Mr Parsons a few whacks with the ax, mama falls on a rock, and before you can say “rigor mortis” he’s hitched a ride with newlyweds. But, as he’s plagued with visions of his dead mother in increasing stages of decay, THEIR honeymoon doesn’t last either. And this is in the first twenty minutes of the movie!

Claw Of Terror doesn’t waste celluloid plunging you, the unwitting viewer, into a Freudian whirlpool of psycho-sexual deviancy. He’s befriended by red-haired Vera, a hooker with a heart of gold, who becomes his Mommy substitute – not surprisingly, as she’s played by the same actress. She lets Matthew call her Daisy and starts to believe his outrageous lies about his rich family, which he feels he must prove. Ingratiating his way into a mansion, he slices his way through the household; strangely enough, the one killing in the movie he is squeamish about is the family dog! He proceeds to romance his prostitute Mommy substitute with a closet full of dead bodies, and then – and only then – do things start to get weird.

On one hand there’s an utterly unsympathetic portrayal of a deviant serial killer, and an almost unbearable streak of cruel humor underpinning the carnage. Matthew of course gets the best lines like “I get groceries and art stuff and kill people – but do you appreciate it? No!” On the other hand… there’s some incredible imaginative photography you don’t usually see in B-grade horror, with fantastic distorted angles, almost as distorted as the minds who dreamt up this celluloid nightmare.