In the Grip of Terror (2025) Review

In the Grip of Terror (2025) Review

Travelers arrive at a mysterious hospital, met by eerie Dr. Graves Inside, unsettling stories unfold, secrets emerge and life and death blur. In Grip of Terror: an anthology where each visitor’s tale reveals increasingly haunting truths.

I was recently approached via social media by one of the three co-directors of In the Grip of Terror, Megan Tremethick, who asked whether I would be interested in reviewing the film. What truly stunned me, however, was learning that this marked the first production from Amicus Productions since their final original release, From Beyond the Grave. The legendary British horror studio responsible for classics such as The House That Dripped Blood, Tales from the Crypt, and Asylum was returning after more than fifty years—and inviting me along for the ride. Needless to say, I jumped at the chance.

Further reading revealed that Tremethick was joined by co-directors Lawrie Brewster and Calum Paul, with Brewster also co-writing alongside Sarah Daly. Brewster’s name immediately rang a bell. Not only are we connected on social media, but I had previously reviewed his 2013 film Lord of Tears favourably upon its release. Brewster’s own website notes that he leads Hex Studios, serves as president of Amicus Productions, and spearheads the British Horror Studio project. The supplementary material included with the screener offers further insight into his efforts to resurrect Amicus from its long cinematic slumber.

Unfortunately, technical misfortune intervened when my Blu-Ray player failed shortly after receiving the screener disc. Once replaced, however, I wasted no time in finally sitting down with Amicus’s long-awaited return.

For decades, Amicus stood as Britain’s premier horror anthology studio, rivalled only by Hammer Film Productions. While Hammer has largely focused on restoring and repackaging its classic catalogue in recent years, Amicus has returned to its roots with an original anthology firmly in the spirit of its early-1970s heyday. This is not merely a revival in name, but an earnest attempt to recapture the distinctive tone, structure, and atmosphere that once defined the studio.

Visually, In the Grip of Terror is frequently superb. The cinematography, lighting, and rich colour palette evoke the lurid, gothic aesthetic that defined Amicus’s imperial phase. Particular sequences make striking use of shadow and colour, creating an atmosphere that feels both nostalgic and freshly realised. The opening wraparound segment, along with the story involving a vigil beside a dead body, proves especially effective, drawing the viewer in with genuine suspense and intrigue.

However, the film’s greatest weakness lies in its pacing. Despite its visual strengths, several segments linger too long, diluting their dramatic impact. A tighter edit and more disciplined structure would have significantly improved the film’s momentum. At times, scenes feel overly indulgent, as though the filmmakers’ understandable reverence for Amicus’s legacy made them reluctant to trim material that ultimately slows the narrative.

This reverence also extends to the performances, which occasionally echo the theatrical style of classic British horror anthologies. While this approach successfully evokes the period atmosphere, it sometimes results in stilted delivery and awkward pauses rather than natural dramatic flow.

Genre fans will recognise Laurence R. Harvey, best known for his unsettling turn in The Human Centipede 2 (Full Sequence). Alongside him appears veteran actress Jane Merrow, whose presence adds a welcome touch of classic horror pedigree. Much of the remaining cast consists of lesser-known performers who, while committed, are uneven in execution.

Among the individual segments, A Watcher by the Dead stands out as the anthology’s strongest entry, successfully combining atmosphere, tension, and narrative focus. It demonstrates precisely what the film is capable of when all its elements align.

Ultimately, In the Grip of Terror is a mixed but admirable return for Amicus Productions. It is clearly a labour of love, crafted with genuine affection for the studio’s legacy and visual identity. While its pacing and narrative discipline sometimes falter, the film nonetheless shows considerable promise. The foundations are firmly in place; with greater confidence and tighter storytelling, future Amicus productions could mark a true renaissance for this storied name in British horror.

Amicus is back. Imperfect, but unmistakably alive.