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Cassandra (1986)


Cassandra is a great film, but one that's more in the vein of classic horror pacing than modern attention deficit syndrome-caterers. Scenes develop slowly and there are very subtle, Eraserhead-like pauses between bits of dialogue in some sections, as well as an exemplary conveying of unspoken communication.

Other than saying that Cassandra is about a young woman who is experiencing visions of horrors that she's not sure really occurred or not, I would rather not describe the plot. Much of the effectiveness of the movie hinges on a gradual realization of what's going on and what the various characters' roles are. However, just so you're not completely in the dark (if you're reading this trying to decide whether you'd like to check out the movie or not), the premise concerns an upper-middle-class Australian family with apparent marital problems. The husband, a photographer, is having an affair, and the wife, a fashion designer, always seems uncomfortable, although we don't know why exactly. Cassandra is their daughter, and her nightmares are getting worse and interfering with her daily functioning.

The first half creates and continues to build a strong sense of foreboding. Although it alters somewhat when the first `real time' killing occurs, the alteration is equally successful, as the foreboding evolves into a story of increasing distrust that conveys the sense of the floor falling out from underneath you that is inherent in distrust. The last third or so - when it turns into a more by-the-numbers stalker story - is a bit less engaging, but it still works.

Cassandra is a lower-budget film with a minimum of sets/settings, but those that are there are used to maximum potential. Particularly captivating is the "old farmhouse" seen in both black and white (in Cassandra's nightmares) and in color at different times. The farmhouse comes across like an evil Andrew Wyeth painting come to life. Also particularly effective is the score, which in its minimalist and slow-moving way, is as responsible for buildling tension throughout the film as any other element.

Any horror fan who doesn't need constant action and gore to be entertained should seek out Cassandra on video, as well as anyone else who enjoys films that masterfully create various atmospheres of unease.

Written by: Brandt Sponseller - classic-horror.com


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Hellroller (1992)


''Fourteen dead bodies. Eight breasts. Dumpster-diving. Siamese-twin rapists. Death by barbell. Stabbing. Hand-hacking. Female mugger shishkabob. Hooker offed with a laundry iron. Eye-gouging. Head rolls. Drive-In Academy Award nominations for Penny Arcade, as the weird aunt, for saying "I should have aborted you!"; Ron Litman, as The Wheelchair Kid, for twitching with hate and screaming "I want my own place!"; David Sterry, as the King of the Bums, for wearing a World War I aviator's hat and giving orders to kill people from his Lazy-Boy recliner; and Michelle Bauer, for being nekkid a LOT, and for telling a maniac rapist "I do it with men, not apes! Why don't you get yourself a rubber doll?''
Joe Bob Briggs Reviews

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Ghosthouse (1988)


AKA: La Casa 3

This Italian haunted-house outing begins with strange, paranormal emanations being picked up as radio signals by a group of Boston youths, who trace the signal to an abandoned estate. When they enter to investigate, they are attacked by the malevolent spectre of a young girl and her sinister-looking clown doll, who manages to decimate nearly the entire cast. The ensuing mayhem incorporates some of the goriest effects ever to grace a haunted house film, including axe murders, acid baths, impalements, and decapitations -- the nastiest of which features an unfortunate teen bisected by a falling pane of glass. Despite a fairly rich atmosphere and an ominous mood, this is really just a prolonged excuse for gruesome (though, admittedly, well-staged) giallo-style death scenes. After a spooky initial setup, the endlessly repeating musical ghost-message becomes profoundly annoying. ~ Cavett Binion, Rovi

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Bodycount (1987)



AKA:  Camping del terrore

Italian director Ruggero Deodato is best known for his notorious Cannibal Holocaust and the brutal action film Inferno in Diretta. In this derivative slasher entry, Deodato shows very little of the vicious realism which distinguished those films. A group of average teenagers vacation at a campground run by the vituperative David Hess (Last House on the Left) and his wife (Mimsy Farmer). The teens are murdered one by one by an unseen killer, and the massacre turns out to be the result of Farmer's adulterous affair with local policeman Charles Napier years before, which caused her son to go insane. The main attraction of this film is its cast, which also includes horror veterans John Steiner and Ivan Rassimov, because although Deodato generates a fair amount of suspense in the murder scenes, the effect is weakened by the overly familiar structure. Hess and Farmer are typically strong leads and Napier is at his two-faced best, but Camping del Terrore remains one of Deodato's least interesting films. ~ Robert Firsching, Rovi

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Skull: A Night of Terror (1987)



Released in the U.S. as "Don't Turn Out the Light". AKA: "Night of Retribution" and "The One Eyed Killer"

A gang of escaped convicts take over a farmhouse and hold the woman living there hostage. It turns out that her husband is a cop, who among other things is in trouble because he has accidentally killed an innocent girl.

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The Return of the Living Dead (1985)


Middle-aged family man Frank (Jim Karen) trains teenaged Freddy (Thom Matthews) for his new job at a medical supply warehouse. In an effort to impress and frighten his young charge, practical joker Frank reveals that the warehouse basement contains a cannister full of a mysterious chemical capable of bringing the dead back to life. It seems that the cannister fell off the back of an army truck during an accidental outbreak of zombiedom. Frank and Freddy unwittingly inhale the chemical and release it into the warehouse. Turning to the operator of a nearby crematorium for help in destroying the suddenly undead specimens that surround them, they unwittingly awaken the residents of a nearby cemetary just as Freddy's pals arrive to party amidst the headstones and wait for their friend's shift to end. Meanwhile, Col. Glover (Jonathan Terry) waits for the call that his missing chemical weapon has been unleashed. ~ Brian J. Dillard, Rovi 

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Fragile (2005)


A malevolent supernatural force besets a dilapidated children's hospital on the Isle of Man, terrifying the young patients and breaking their bones in this supernatural thriller from Spanish horror specialist Jaume Balagueró (The Nameless, [REC]). Mercy Falls Hospital has been in operation for nearly a hundred years, but now the authorities have declared it unfit for human inhabitation. As a result, the time has come for the hospital to close. But just as the helicopters arrive to transport the children to a new facility, bad weather forces them to remain grounded. Later, as Nurse Amy (Calista Flockhart) tends to her young charges, the children's bones begin to fracture for no apparent reason. Though the doctors remain baffled by the inexplicable injuries, the children sense something that the grown-ups do not. Somewhere in these crumbling corridors lurks a force of darkness consumed by pain, and filled with hatred. The children have dubbed it "The Mechanical Girl," and they claim to have stolen glimpses of it sobbing in the shadows. In order to banish the spirit and save the children, one brave soul will have to summon the courage to face a force powerful enough to cause physical damage, yet so fragile it might be completely destroyed by the slightest touch. ~ Jason Buchanan

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