Third in Boris Karloff's 1968 Mexican quartet, "House of Evil" (Serenata Macabra or Macabre Serenade) just might be the best of the bunch, though that's still not saying much. Julissa costars in her third and final entry (replaced by Christa Linder for "Incredible Invasion"), and Quintin Bulnes returns from "Snake People," otherwise an entirely new cast carries a more familiar plotline that almost threatens to make sense toward the conclusion. The picture opens with a second female corpse discovered with the eyes missing, gouged out of their sockets by human hands, with Karloff as Mathias Morteval convinced that the evil of his brother Hugo has returned, guilty of the same type of horrendous crimes in Vienna and Budapest because he felt that eyes followed him everywhere. Dr. Emerick Horvath (Bulnes), Morteval's only friend, knows all about the family history (the year is 1900) and promises to be on hand to welcome the surviving heirs to the old man's fortune, especially as Mathias has yet to actually meet them, his niece Lucy Durant (Julissa) accompanied by her police inspector boyfriend Charles Beasler (Andres Garcia). Also present are nephew Ivor (Angel Espinoza), shedding additional light on Hugo's days at the asylum, nephew Morgenstern (Manuel Alvarado), and cousin Cordelia Rash (Beatriz Baz), listening intently to an organ recital by their benefactor, whose odd nature and callous disposition are forgotten when he doesn't live to join them for dinner. Ivor also shows off the Morteval playroom, filled with lifelike toys said to kill on command, Morgenstern shot in his room by cannon fire, Cordelia slain with a blade wielded by a dancing sheik, and Ivor stalked by a murderous knight. Lucy finds herself left alone with Charles as they learn about the one culprit responsible for all the murders, then watch in amazement as Uncle Mathias emerges to conclude his macabre serenade. Boris looks splendid in red robes and mutton chop whiskers, a sterling 18 minutes screen time and not just a wasted cameo as in "Snake People." Many critics complain about the poor nighttime photography, the fault of substandard, murky prints of its various home video releases, otherwise considered among the more watchable entries in this Mexican final four, only "Incredible Invasion" left to conclude a screen career lasting six decades (the VHS boom would see a new, butchered version called "Dance of Death," not worthy of examination).