"As good as it sounds."
Ed Naha, Horrors: From Screen to Scream

"Legendary (thanks to that title) low-budget horror film about hideous goings-on at a carny side show, with lots of rock numbers thrown in. Truly bizarre film features gorgeously saturated color, awful acting, hideous dialogue, haunting atmosphere and little plot."
Leonard Maltin's Movie and Video Guide

"... unbelievably well photographed..."
Michael Weldon, The Psychotronic Encyclopedia of Film

"Of great historical significance, this neglected exploiter boasts the dual distinction of having the longest title in horror movie history and of being the only movie of any kind shot in 'Hyponovision.'"

Gene Wright, Horrorshows
"Tight direction and editing also make the most of the shoestring budget so that, all in all, the film (unusually) delivers as much as it promises."
Phil Hardy, editor, The Aurum Film Encyclopedia of Film: Horror

This bottom-of-the-barrel chiller... features surprisingly imaginative photography (particularly an impressive nightmare sequence)...
Stephen Jones, The Essential Monster Movie Guide

"... horror fans will snooze with boredom, sleaze fiends will squeal in delight, and fans of crappy night-club routines will fall head over heels at the awe-inspiring 'musical' interludes... plenty of Incredibly Bad Acting, Incredibly Dull Dialogue and Incredibly Lousy Music... it kinda grows on you..."
Steven Puchalski, Slimetime

"It's not as good as its title--how could it be? What weighs the film down are too many scenes that drag interminably--pacing was always Steckler's biggest problem. Amazingly, Steckler went on to make other films on even less money--this was the biggest budget with which he ever had to work with."
TV Guide

"Steckler's imagination seems to have stalled after thinking up the title(s), neither of which is especially valid. A few cheap masks don't transform lurching extras into creatures strange or zomboid... The carnival setting could have been tackier, weirder, more sinister if, instead of stopping at cribs from House of Wax (1953) and I Was a Teenage Frankenstein (1957), the makers had indulged in a bit of imaginative theft from Nightmare Alley (1947).
Time Out

"... this movie has more padding in it than a girl on prom night."
Crystal Guillory, Horror-Wood.com

"In other words, every cult/drive-in/exploitation/kooky film fan should have a copy of this on their shelf pronto!"
Casey Scott, DVD Drive-In

"One thing that is incredibly strange about the film is the amount of incredibly strange noises on the soundtrack, one apparently an ominous heartbeat resembling someone using a sink plunger on a blocked drain, and that's without mentioning the theme music over the titles that sounds like someone leaning randomly on the keys of an electric organ...With some eccentrically non-Hollywood touches such as the drunken leading lady you can see Steckler was playing by his own rules as usual, and they don't make them like this anymore. "
Graeme Clark, The Spinning Image

"As if sideshow atmosphere, mesmerized psychos, mixed-up zombies, juvenile delinquents, and views of long-vanished Los Angeles area attractions aren't enough to rock your mind, Steckler makes the whole thing a musical of sorts. Frequently, incredibly amateurish song and dance numbers from the stages of the carnival pier, and even a bit of horrible stand up comedy, are dropped into the mixed-up milieu. Some scenes combine all these elements, lifting ISCWSLABMUZ into the stratosphere of psychotronic cinema classics."
Brian Thomas, Cinescape

"This infamously titled exploiter is a lot better than you might expect...with lots of silly, arty directorial touches, lengthy (and out of place) dance numbers, fairly effective makeup, and plenty of laughs."
James O'Neill, Terror on Tape

"..the Theatre Marquee Dressers of America complain about this movie - every time it plays, they run out of letters."
John Stanley, Creature Features

Compiled by Richard Harland Smith