Draws a lot from classic American horror movies of the previous decade, but the end result is, surprisingly, NOT a hot mess. Slightly stale, but the haunting and vague ending carries echoes from the more excellent The Beyond, and there's a great ghoul at the focal point. Relatively dreamlike and creepy, just not my favorite Fulci.
I really struggle with Lucio Fulci's horror offerings. They tend to be poorly acted, poorly dubbed and the premises are both ridiculous and unconvincing. A lot of the same criticisms can be levelled at Argento and Bava but at least those two consistently deliver on an aesthetic level. Don't get me wrong, there are some beautiful sequences and striking imagery here, but there's also a lot of awkward and clunky ones.
Critiquing art is not a science. It's intuitive, an investigation of emotion felt while experiencing it. And, Lucio Fulci, is a filmmaker that often lacks comprehension, and thus, purely invokes an emotional response. That's also why I go through long periods of loving, then hating his work, and then liking it again, etc. This nears The Beyond's lucid nightmare state: fleetingly tangible, if emotionally cryptic.
Fulci's take on the slasher genre. Considered part of his "Gates of Hell" Trilogy but very unlike the other two. Lacking in creativity and plagued by a generic soundtrack. When Freudstein finally shows up, the film comes alive, but one is left frustrated by the out of place twist ending. The fabricated Henry James quote that Fulci ends the film with is just the cherry on top of a very confusing, maggoty cake.
Somber landscapes, cobwebs and dust with melancholic atmosphere and of course, worms and rotting flesh. Taking into account that it functions somewhere between Frankenstein, haunted house and zombie flick, this movie brings almost every little horror detail to celebrate whether if it wants to be a grindhouse trash or the art macabre. Perfect for All Saints Day because it's too much of a downhill for Halloween.
Disappointing Fulci. Yes, the special effects are great, but it feels a little like a cashing-in on films like "The Amityville Horror" rather an effort stamped with Fulci's own fertile imagination. It lacks the chilling novella economy of "Seven Notes In Black" or "The Beyond", even if the ending (Henry James and all) nods to the neatness of those films.
Lucho you crazy bastard, the third film in his "it came from hell to kill you" trilogy, from which City of the Living Dead and The Beyond form part, is another delicious nightmarish spectacle of the grotesque and the supernatural. I was surprised at how conventional the movie remains, and yet how it still manages to surprise you. Fantastic ending.
Starts off really slowly, and the incident is absurd, but it's all worth it for Dr. Freudstein. Italian horror isn't usually known for its monsters but Freudstein is creepy enough to rival the likes of Freddy Krueger and Pinhead. A faceless ghoul with one hand who bleeds maggots? Yes, please! However, the dubbing of the child actor (who, incidentally, looks like a very young Klaus Kinski) is extremely annoying.
We all know Anne will die. It's foretold. Is this just Bobby's imagination? Maybe nobody really died, but the young boy definitely escaped the horror he witnessed into a type of purgatory. Great, now I feel as if I am watching (a far gorier) Phantasm. I do not quite have all of the kinks worked out in my mind, but neither should the adults who look into it. The thin air manifestations are what holds Villa together.