Sins of the father gain a symbolic monster in the castle package with as much horrific imagery as Stuart Gordon can pack under 100 minutes. As often with Gordon most of the pleasure is in watching how his stage trained rather artificial mise en scene will adapt to a different horror format, in this case 60’s Italian gothic which doesn’t get revived often enough. It can be slow going in spots, but not often one gets to watch the symbol of weak patriarchy getting beat up by a naked deformed monster and few filmmakers can sell this kind of imagery as well as Gordon.