Category Archives: Might See
From the man who gave us Tentacles, The Visitor, Beyond the Door and Piranha II: The Spawning, Ovidio G Assonitis, comes Madhouse (aka And When She Was Bad/There Was a Little Girl), an Italian-made/Savannah, Georgia-shot slasher that was once on the UK’s video nasty list – and its a genuine find, courtesy of Arrow who have dusted it off and given it a 2k-restored release.
Julia (Trish Everly), a teacher in a school for the deaf, has spent her entire adult life trying to forget the torment she suffered at the hands of her twisted twin Mary (Alison Biggers)… but Mary hasn’t forgotten. Escaping hospital, where she’s recently been admitted with a disfiguring illness, Julia’s sadistic sister vows to exact a particularly cruel revenge on her sibling – promising a birthday surprise she’ll never forget…
While nothing as gut-wrenching violent as the British authorities felt necessary to outlaw, Madhouse is a curious concoction of serial killer thriller, giallo whodunit and gothic histrionics. Think Happy Birthday to Me (also made in 1981) meets Rebecca, but with added camp – courtesy of character actor Dennis Robertson doing his best Roddy McDowall impression as the overly-friendly and rather odd Father James.
Indeed, director Assonitis told his cast to go over the top with their characterisations and indeed they did – which makes for some wonderful LOL moments (especially Alison Biggers as the bonkers mad Mary). And true to his honorific title as the ‘Rip-Off King’, Assonitis also chucks in a purely Omen-esque element – a Rottweiler trained to attack on command. It’s grisly demise – a power drill to the head – will most undoubtedly upset dog lovers everywhere, but the special effects will have you howling…
WHAT’S IN THE BOX?
• Brand new 2K restoration from the original camera negative
• High Definition Blu-ray (1080p) and Standard Definition presentations
• Original Stereo Audio (Uncompressed PCM on the Blu-ray)
• Optional English subtitles for the deaf and hard of hearing
• Audio commentary with The Hysteria Continues
• Interviews with cast and crew (my favourite is Edith Ivey – who knew she was Indian Princess Summerfall Winterspring on The Howdy Doody Show?)
• Alternate Opening Titles
• Theatrical Trailer, newly transferred in HD
• Reversible sleeve featuring artwork by Marc Schoenbach
• Booklet featuring new writing on the film (first pressing only)
Heading up the survivors are tough army sergeant Mac (Jim Sweeney) and cowardly Major Gibson (Joe Rainbow), who are transporting the alleged architect of the virus, Dr Sykes (Eric Colvin), to the city of Imperion; the golf-mad Beaumont (Danny Brown) and his teenage daughter, Becca (Rachel Nottingham); office worker Gandhi (Simon Burbage); Essex slag Harden (Jade Colucci); and a pint-sized, heavily-pregnant, religious nutter (Shamiso Mushambi).
Once inside, however, the survivors discover they are not alone – a messiah-like zombie (Rupert Phelps) with the power to heal the infected is wandering the corridors. Believing him to be the cure, Sykes convinces his captors to try and capture the unholy undead dude. But their task isn’t made easy when the virus starts spreading amongst the survivors…
‘Die down the negative energy, it’s not the end of the world!’
This low budget zombie comedy horror from Hampshire-based film outfit Charmed Apocalypse Pictures (aka Andy Phelps and Jake Hawkin) is way better than it ought to be. If you can forgive the copious amounts of swearing and questionable acting ability, this homemade horror is a riot.
It’s got a cracking script, whose black humour owes a big debt to Monty Python, Blackadder and Shaun of the Dead; gory special effects that really do deliver (decapitation by golf club, anyone?); some nicely twisted takes on the horror genre’s stock-in-trade characters; cool comic book style graphics; and a catchy darkwave electronic theme tune (that sounds not unlike Laibach).
Much fun is made about death and religion and some of it is very dark, like when the Bible-spouting Esther tries to crucify herself. It’s also incredibly inventive – who knew wearing a coat of rotting human skin will make you invisible to zombies? Then there’s the fatalistic central theme of being eaten, resurrected and eaten again: now that’s really scary. If there’s one downside, it’s that the comedy ends up taking the back seat as the grisly theme plays out. But then, we wouldn’t have the film’s Romero-esque final shot…
The Butterfly Room (2012) | This dark psychological thriller demands to be seen by a wider audience of horror fans
Reviewed by Alan Hoare
The Butterfly Room is a 2012 American-Italian psychological thriller-horror film directed by Jonathan Zarantonello, based on his unpublished novel Alice dalle 4 alle 5 (Alice from 4 to 5). A reclusive, butterfly-obsessed, elderly lady suffering from bipolar disorder develops a disturbing relationship with a mysterious but seemingly innocent youngster…
Barbara Steele as Ann
Ray Wise as Nick
Erica Leerhsen as Claudia
Heather Langenkamp as Dorothy
Camille Keaton as Olga
Adrienne King as Rachel
P. J. Soles as Lauren
Ellery Sprayberry as Julie
Julia Putnam as Alice
James Karen as Sales Clerk
The film opens with a young girl taking a bath, as her mother knocks on the door, the girl’s period starts and her mother bursts in, calling her a filthy child and saying she was so much nicer when she was younger. The mother pushes the child’s head into the bath water.
We next see Ann, a reclusive elegant lady, walking down the street, kicking a workers ladder causing him to fall of the ladder, only being saved by his lanyard. His supervisor, Nick, apologies to Ann, claiming it was the workers fault. Ann returns to her apartment and hears the sobbing nine-year-old Julie in the hallway. It seems her mother has failed to collect her from school, so Ann invites her in, and introduces Julie to her world of butterfly collecting.
Julie’s mother, Claudia, eventually turns up and thinks Ann, inviting her to dinner the following evening. Before leaving, Claudia queries the frequent banging noises emanating from Ann’s apartment. Ann denies any such noise, but as Claudia and Julie return arguing in their apartment the banging starts.
The narrative takes its first jump and introduces us to Ann’s earlier meeting with the eerily beautiful young Alice whilst in a shopping mall. Using her seductive innocence, Alice establishes a disturbing mother/daughter relationship with Ann, which is based around receiving money from Ann. We soon learn Ann craves this relationship to replace the loss of her own daughter. Each time they meet Ann has to pay more and more money to Alice.
Once again the narrative jumps and we see Ann in full fumigation gear in a lift spraying acid on bodies hidden in the lift shaft. The scene is made even stranger when an obviously stoned passenger joins her. As the relationship between Ann and Julie continues to develop, the back-story of Alice’s other “mothers” unfolds. Ann soon learns of this and begins to murder them, throwing one down the lift shaft and causing an air embolism in the other. Anne is now free to look after Alice, however they have a row, and the resolution of this is never resolved.
Claudia asks Ann to look after Julie whilst she is away for a romantic weekend. With the inevitable curiosity of a child, Julie begins to explore the corners of Ann’s apartment, discovering the dark secret of the girl (Alice) hidden in the walls of the forbidden butterfly room. No one believes what Julie has seen except for Ann’s estranged daughter Dorothy.
The next day, Ann asks Janitor Nick to block the door to the butterfly room with a large wardrobe. Nick offers to do some cash in hand work for Ann as he knows she is illegally breaking down a plasterboard partition in the apartment. She reacts violently to this and throws him out. Ann’s estranged daughter Dorothy visits Ann and it becomes clear she was the girl seen in the opening scenes. They argue, causing Julie to hide in the wardrobe where she discovers the back is flimsy and can gain access to the butterfly room.
Claudia returns from her weekend to collect Julie and is drowned in the bath by Ann, just as Julie learns the terrible truth of the butterfly room. Nick arrives to find Claudia’s dead body and the body of his missing co-worker and see Ann chasing Julie with a sledgehammer Ann and Julie run out to the street where Ann is run over and killed by Dorothy who has just arrived at the scene after summoning up the courage to confront an evil that has haunted her for years.
The narrative jumps forward and we see that Julie now lives with Dorothy’s family and as they pose for a family photo Dorothy says the chilling words to her son ‘you were so much nicer when you were younger’.
Jonathan Zarantonello has produced a marvellously-complex, dark psychological thriller that examines the human psyche on many levels. His use of the regular jumps (backwards and forwards) in narrative confuses and misinforms the viewer, however all the disparate plot strands come neatly together in the final reel when we discover the true nature of the psychotic Anna.
Barbara Steele is amazing in the role of Anna, making her both malevolent and sweet at the same time. She clearly relishes the role and has some wonderfully playful dialogue and marvelouslly bizarre scenes, such a meeting the dope head in the lift whilst she is fully dressed in bug spraying costume. It’s not made clear if Anna is psychotic from the start, or has been made this way by her own experiences with her daughter Dorothy, and surrogate daughter Alice. But this just adds nicely to the mystery and darkness of the plot. All the characters, except Julie, appear to have agendas that will benefit themselves, at the expense of others. Alice has several mothers for reasons unexplained, Claudia has a clandestine affair with a co-worker, Ann certainly has her own agenda and Nick appears to be besotted with Ann.
The use of former horror scream icons is handled well and they all play their part very well in this densely plotted well acted film. The soundtrack is suitably dark and aggressive and matches the on screen action very well indeed. The film won the Denis-de-Rougemont Youth Award at the 2012 Neuchâtel International Fantastic Film Festival, but seems to have been relegated to sell through DVD Oblivion. This is a real shame as the film certainly demands to be seen by a wider audience of horror fans.
The iconic 1980s horror Fright Night is out in a dual-format special edition from Eureka Classics in the UK featuring a 4k digital restoration of the film and a coffin load of bonus material (check them out below). And the best news? It’s currently available on Amazon for just 8 quid (while the Limited Edition Steelbook is fetching £69.99).
This 1985 vampire movie certainly has plenty of bite – but also strikes the perfect balance of blood and guts horror and darkly comic humour. And alongside the same year’s, The Return of the Living Dead, it remains one of my personal favourites that I return to time and again.
If you love being scared, it’ll be the night of your life…
No-one will believe teenager Charley (William Ragsdale) when he tells them that a vampire called Jerry (Chris Sarandon) has moved into the house next door and is seducing and murdering young maidens there. He then turns to TV horror host Peter Vincent (Roddy McDowall) for help. Lured by a $500 incentive by Charley’s girlfriend (Amanda Bearse), who happens to look like Jerry’s long-lost love, the one-time Great Vampire Killer discovers that Jerry is indeed a vampire as he casts no reflection in a glass – and so the deadly games begin…
Sarandon is every inch the smoothie-savage bloodsucker, while Stephen Geoffreys steals every scene he’s in as Charley’s bestie turned beastie ‘Evil Ed’. But the real star of this late night horror show is Roddy McDowall, whose character name is made up of two iconic horror actors – Peter Cushing and Vincent Price. Alongside his turns in the Planet of the Apes films, this must rank as one of his career-best turns.
• 4K digital restoration, with original stereo PCM soundtrack and 5.1 DTS-HD Master Audio options, plus English subtitles
• You’re So Cool, Brewster! Exclusive to this release, a two-hour version of the 2016 documentary on the making of Fright Night.
• What is Fright Night? 2016 video piece featuring cast and crew interviews (BLU-RAY ONLY)
• Tom Holland: Writing Horror, a 2016 video piece featuring interviews with Holland and his collaborators (BLU-RAY ONLY)
• Rowdy McDowall: From Apes to Bats, a 2016 video piece featuring archival footage of McDowall and cast and crew interviews (BLU-RAY ONLY)
• Fear Fest 2 2008 reunion panel featuring Tom Holland, Chris Sarandon, William Ragsdale, Stephen Geoffreys, Amanda Bearse, Jonathan Stark and moderated by Rob Galluzzo (BLU-RAY ONLY)
• Shock Till You Drop Present Choice Cuts with Tom Holland and Ryan Turek, a three-part video interview on the film (BLU-RAY ONLY)
• The full electronic press kit, featuring extensive on-set interviews and behind-the-scenes footage (BLU-RAY ONLY)
• Stills and memorabilia from Tom Holland’s personal collection (BLU-RAY ONLY)
• G-rated and R-rated theatrical trailers (BLU-RAY ONLY)
• Collector’s booklet (STEELBOOK EXCLUSIVE)
Pieces (1982) | Juan Piquer Simón’s bonkers Spanish slasher gets a 4k restored limited edition Arrow release
Back in 2011 Arrow Video released Juan Piquer Simón’s 1982 splatter hatchet job Pieces uncut on DVD, with just a handful of fun extras. Now, they have gone further by creating a new 4k transfer from the original camera negative to present both the US theatrical version and the original director’s cut (Mil Gritos Tiene La Noche) with the original score (by Librado Pastor, who only ever composed four film scores) in a limited edition 3-disc dual format box-set loaded with bonus content.
These include archive interviews with the director and actor Paul L Smith (of Midnight Express fame), new interview with art director Gonzalo Gonzalo (Slugs), a fan appreciation featurette, and an audio interview with producer Steve Minasian (Don’t Open Till Christmas, Slaughter High). The alternate re-score by Umberto is also a special feature, while a separate disc features the original 16 track score. Podcasters The Hysteria Continues supply the well-informed audio commentary, while artist Marc Schoenbach has come up with the new artwork (way less gory than Jeff Zornow’s 2011 artwork), and a collector’s booklet is also included.
Best served as a splatter spoof than an exercise in excessive violence, Pieces is a real guilty pleasure despite its flaws (and there are many), and this new release from Arrow is a real step up from their 2011 DVD release. So, if crazy Spanish splatter is your bag, then I’d highly recommend adding it to your collection.
Now, I haven’t seen any of the House films since their original releases, and while they’re a perfect example of ‘the law of diminishing returns’, they’ve been dusted off and given a sparkly 2k restoration by Arrow Video for a new Blu-ray/DVD release. Fans of trashy, cheesy 1980s comedy horror will certainly be adding the box-set to their collection, not only because they boast some might sine fine transfers, but for bonus content which includes new ‘making-of’ documentaries alongside some replicated Anchor Bay DVD extras.
So, for what its worth, here’s my take on these blasts from the past…
William Katt (TV’s Greatest American Hero) inherits his dead aunt’s neat Victorian gothic mansion where his troubled author Roger hopes to finish his novel about his experiences in Vietnam. But the house has other ideas, and soon Roger finds himself facing off monstrous apparitions and a vengeful spook…
Fusing spooky scares and funny thrills is certainly no mean feat when it comes to creating the perfect slice of comedy horror (Return of the Living Dead and Fright Night being of the superior kind), and while this first visit to the House franchise means putting up with a lot of silliness and some stage-bound Vietnam scenes with a bunch of extras that look like they belong in a gay porn, the pay-off (involving Roger trying to rescue his missing son from the great beyond) is worth putting up with the crappy bits. For me, the best scenes involve Katt (sporting a chest revealing 1980s cardi) teaming up with George Wendt (of Cheers fame) to battle a really cool Lovecraftian-inspired monster in the closet.
• Audio commentary with director Steve Miner, producer Sean S. Cunningham, actor William Katt and screenwriter Ethan Wiley
• Ding Dong, You’re Dead! The Making of House: documentary featuring interviews with Steve Miner, Sean S Cunningham, Ethan Wiley, story creator Fred Dekker, stars William Katt, Kay Lenz, and George Wendt, composer Harry Manfredini, special make-up and creature effects artists Barney Burman, Brian Wade, James Belohovek, Shannon Shea, Kirk Thatcher, and Bill Sturgeon, special paintings artists Richard Hescox and William Stout, and stunt coordinator Kane Hodder
• Stills Gallery
• Theatrical Trailers
HOUSE II: THE SECOND STORY (1987)
Arye Gross’ fit nerd Jesse gets into all sorts of inter-dimensional scrapes when he digs up his mummified great-great-grandfather (Royal Dano) while searching for a mystical crystal skull…
Coming off like a live-action episode of Scooby-Doo, this light-hearted supernatural sequel is pure 1980s, boasting a typically naff party sequences, lots of big hair and neon attire and really bad synth pop. It’s also got some cute Henson-styled puppets (a baby pterodactyl and a caterpillar-dog), which just adds to the cartoon-like atmosphere.
Another Cheers favourite, ohn Ratzenberger, has a cameo, but the film’s big star is the Stimson House, the 19th-century Richardsonian Romanesque LA mansion which stands in for the film’s Aztec-temple home (it’s also appeared in Mad Men, Pushing Daisies and the Vincent Price episode of The Bionic Woman).
• Audio commentary with writer-director Ethan Wiley and producer Sean S. Cunningham
• It’s Getting Weirder! The Making of House II: The Second Story – documentary featuring interviews with Ethan Wiley, Sean S Cunningham, stars Arye Gross, Jonathan Stark, Lar Park Lincoln, and Devin DeVasquez, composer Harry Manfredini, special make-up & creature effects artists Chris Walas, Mike Smithson, visual effects supervisor Hoyt Yeatman, and stunt coordinator Kane Hodder
• Stills Gallery
• Theatrical Trailer
HOUSE III: THE HORROR SHOW (1989)
Lance Henriksen’s craggy cop Lucas McCarthy finally nails serial killer ‘Meat Cleaver Max’ (Brion James). But when Max is sent to the electric chair, he’s transformed into a vengeful evil spirit which sets his sights on putting Lucas in the frame for a new series of gruesome murders…
This schlocky shocker bears no relation to the previous two House entries apart from its production team. It’s also a much more serious affair. But while the execution scene is staged with flair and James (a favourite of director Walter Hill) brings some excellent crazy-eyed charisma to a role that hits all the right slasher movie buttons, it’s just not that great and pales against Wes Craven’s Shocker, which came out the year and had the exact same premise.
• Uncut Version, for the first time on Blu-ray.
• Audio commentary with producer Sean S. Cunningham
• The Show Must Go On – interview with actor/stuntman Kane Hodder
• House Mother – interview with actress Rita Taggart
• Slaughter Inc. – brand new featurette with special make-up effects creators Robert Kurtzman, Greg Nicotero and Howard Berger
• Behind-the-Scenes Footage
• Stills Gallery
• Theatrical Trailer
HOUSE IV: THE REPOSSESSION (1992)
This direct-to-video entry got William Katt back (albeit very briefly) as Roger Cobb who is killed in a car accident at the very start. The rest of the film has his widow Kelly (Terri Treas) and crippled daughter Melissa (Melissa Clayton) experiencing ghostly goings-on and the greedy machinations of Roger’s brother (Scott Burkholder), while a Native American spirit guide tries to help them contact Roger from the other side…
I think one of the reasons I’ve never really clicked with the House franchise is that there is a real lack of cohesion between them – unlike Cunningham’s more successful Friday the 13th series, which I return to time and again. This final nail in the coffin is by far the weakest of the lot and confusingly has Katt return as Roger Cobb, but he’s a completely different character with a different back story and family. Even the house is not the same as the original one. Instead, we have what looks like a studio set like the house in Tobe Hopper’s Eaten Alive (which is a real guilty pleasure, check it out here). The best thing to do is listen to the commentary as director Abernathy is far more entertaining than the movie.
• Audio commentary with director Lewis Abernathy
• Home Deadly Home: The Making of House IV: documentary featuring interviews with director Lewis Abernathy, producer Sean S Cunningham, stars Terri Treas and William Katt, actor/stunt coordinator Kane Hodder, and composer Harry Manfredini
• Stills Gallery
• Theatrical Trailer
US short’s director Jackson Stewart makes his directorial debut with Beyond the Gates, a nostalgic tribute to 1980’s horror films and board games that’s like The Big Bang Theory meets Jumanji and Fright Night.
Seven months after their drunken dad’s latest disappearance, estranged brothers Gordon (Tales of Halloween’s Graham Skipper) and John (The Guest’s Chase Williamson) have the task of clearing out his video store. Coming across a vintage VHS board game, the brothers decide to play the game for laughs, but are shocked to learn from its mysterious host Evelyn (Re-Animator‘s Barbara Crampton) that it is in fact a portal to an inter-dimensional world where their father’s soul has been trapped. With the help of Gordon’s girlfriend Margot (Dexter’s Brea Grant), the trio set out to save him…
The DVD cover art makes this indie shocker look on par to Stranger Things. But while it can’t touch the thrilling heights of that Netflix sensation, it’s still an enjoyable ride. Now, not much actually happens when the trio are lured into the board game, but suspense and a sense of dread seem to be the name of the game here. And apart from an exploding head, there’s not that much in the way of gore.
Despite the lack of all-out shocks and action, I was drawn in by the story (which is basically about two geeky chalk-n-cheese brothers reconnecting) and the solid performances of the cast, especially Williamson as the moody John (he’s my one to watch, by the way) and everyone’s favourite scream queen Crampton as the spooky black-eyed host.
The shots of Crampton staring immobile, waiting for the lads to play their next move, really sent a chill up my spine, while her breaking the fourth wall inside the TV reminded me of 1986’s Escapes, in which an elderly Vincent Price played a similarly sinister role. The cool synth score is by Wojciech Golczewski, who also did Crampton’s 2015 horror We Are Still Here.
Best known for her roles in the 1960s classics, Women in Love and Dr Who & the Daleks, British actress Jennie Linden made her big-screen debut in Hammer’s 1964’s Nightmare, which get its first-ever UK Blu-ray release from Final Cut Entertainment.
Aged just 23 at the time, Sussex-born Linden was hand-picked by Hammer’s producers to replace Julie Christie for the role of troubled teenager Janet ,who is haunted by memories of witnessing her mother killing her father when she was a child.
Expelled from boarding school, Janet is sent home to High Towers, a vast country mansion, to live with her guardian Henry Baxter (David Knight). But when the nightmares persist, Janet starts to loose her mind…
Originally given a title that gave away the film’s shock reveal 45-minutes into the story, Nightmare was Hammer’s fourth psychological thriller to be written by Jimmy Sangster, who wanted to move away from the Gothic horrors he was best known for.
Like 1961’s Scream of Fear, 1962’s Paranoiac and 1963’s The Maniac, Nightmare shares its DNA with Henri-Georges Clouzot’s Les Diaboliques and Alfred Hitchcock’s Psycho, while returning director Freddie Francis and Hammer’s in-house production crew imbues the gripping mystery with lashings of atmosphere, especially those initial 45-minutes, where the film’s Grand Guignol horror tropes come out to play.
The film’s second half, which plays like a straightforward whodunnit, may not be as polished as those early scenes in which an excellent Linden brings pathos and hysteria to the fore, but it does give Moira Redmond, playing Janet’s nurse with a hidden agenda, a chance to strut her stuff.
Keen eyed fans might recognise actress Clytie Jessop, who plays David Knight’s scarred wife – she was the spectral Miss Jessel in The Innocents.
This cracking little chiller originally went out in a double-bill with The Evil of Frankenstein, but has remained in the shadows of its better known siblings, like Paranoiac! This new Blu-ray release, however, which looks and sounds superb, is the perfect opportunity to pay it a revisit, and hopefully gain a new appreciation. It also benefits from three insightful extras.
• Madhouse: Inside Hammers Nightmare: A 13-minute look at production with insights from The Hammer Story author Kevin Barnes, English Gothic author Jonathan Rigby and others.
• Nightmare in the Making (26min): Hammer historian Wayne Kinsey retraces the history of the thriller from concept to release, and includes archive interviews with screenwriter Jimmy Sangster, art director Don Mingaye and actress Jennie Linden (using elements not used in her own interview).
Available from Amazon
The found-footage genre gets an inventive twist in this Israeli apocalyptic horror, which puts a pair of smartglasses through a test drive that’s literally hellish.
‘Remind me never to take travel advice from you every again’
Newcomer Danielle Jadelyn is our geeky heroine Sarah who, along with her clueless pal Rachel (Jane the Virgin’s Yael Grobglas), gets trapped inside Jerusalem’s Old City following a suspected airstrike during Yom Kippur.
But as the girls attempt to find sanctuary deep beneath the city walls with the help of pot-smoking hostel manager, Omar (Tyrant’s Tom Graziani) and anthropology student, Kevin (Yon Tumarkin), they discover the city has become ground zero for an army of dark angels to be unleashed from the gates of hell.
Have you heard the one about the Muslim, the Christian and the Jew all trapped in a cave surrounded by an army of dark angels…?
Like Gareth Edwards’ Monsters, this found-footage shocker defies its modest budget, with filmmakers Yoav and Doron Paz successfully creating a sense of scale where there is none, and their clever use of smartglasses makes the over-used POV gimmick more believable – plus you get a first-person tour of the city’s most important religious sites (the Church of the Holy Sepulchre and the Wailing Wail) alongside the apocalyptic tale.
Cynics might say this is just an ad for the technology, but the filmmakers also make room to touch on issues of privacy and our every increasing need to stay connected 24/7. It’s a Fatal Error indeed, especially when Sarah’s navigational elements pack up…
And with Israel being the most hotly contested places on the planet, the Paz Brothers don’t shy away from some self-deprecation: and this is best summed up in a taxi-driver’s remark that: ‘we have a beautiful tradition of killing each other’; while their tongue-in-cheek irreverence for religion is touched when Kevin is locked up when he’s suspected of Jerusalem Syndrome, a psychosis which affect more Catholics than Jews or Muslims (according the film-makers); even the stereotyped characterisations of the girls (as stupid, but beautiful American Jewish princesses) is done on purpose.
While the film does get bogged down with some racing around a dark cave malarkey, the pay off is a sinister treat that begs a sequel – something that’s already in the works.
JeruZalem is out on DVD and Blu-ray in the UK from Solo Media and Matchbox films, and also gets its premiere today on Sky Cinema Premiere (Virgin 401/431) at 10.05pm.
Alan Marlowe (Malcolm Stoddard) and his TV presenter wife Kate (Cyd Hayman) lead an idyllic life in their country cottage with their four children. When a mysterious pregnant woman (Angela Pleasance) vanishes after giving birth to a baby girl in their home, Kate and Alan decide to raise the girl as their own, naming her Bonnie. But tragedy soon strikes their own brood: their infant son Matthew is found dead in its cot, son Davy drowns in a lake, and Sam dies after fall in the barn.
When Alan blames Bonnie, Kate cannot bear the thought her beloved daughter could be responsible. But the seemingly angelic child with the snow white hair and blue eyes is, in fact, a human cuckoo, who refuses to share her ‘nest’ with anyone else… which doesn’t bode well for sister Lucy or the fetus growing inside Kate…
This 1980-horror thriller was based on Bernard Taylor’s 1976 debut novel of the same name, which rode the wave of Bad Seeds reads, including The Exorcist, The Other and Rosemary’s Baby, that came out during the era, and like them, ended up transferring to the big screen.
The papers of the day called the novel ‘a shocker’ and ‘a splendidly readable and creepy story’ and its premise was indeed inventive. But in the hands of screenwriter Olaf Pooley (who also contributed to the mess that was 1985’s Lifeforce) and TV drama director Gabrielle Beaumont (who’d do much better with Hill Street Blues later on), the movie adaptation is a flaccid affair, with little in the way of suspense, atmosphere or imagination, particularly the death scenes, which all happen off-screen. There are certainly no memorable Omen-esque set pieces on offer here, while the scenes of sun-drenched picnics and country walks looks more like something out of Comic Strip Presents… Five Go Mad in Dorset.
Angela Pleasance is the only star name amongst the cast, and she certainly elicits a genuinely chill when she’s on screen. But she only book ends the film, which concludes with the devastated Alan spotting her at London’s Serpentine Lake befriending another family. Fans of Hammer’s TV 1980s series might like to know that Wilhelmina Green (one of the two actresses who play Bonnie) was one of Diana Dors’ brood in the episode, The Children of the Moon.
The Godsend is out on Blu-ray in the US from Scream Factory (released on this day in 2015)