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REVIEW – Absurd

Christian Sellers — Fri, 23 Jul 2010 17:13:09 +0000

Having spent the 1970s shooting a variety of sexually explicit adult horror flicks, Joe D’Amato eventually decided to aim for a more commercial market with The Anthropophagous Beast. Notorious for the scene in which the cannibal monster (portrayed by frequent collaborator and writer George Eastman) removed a foetus from a woman’s womb and devours it, the film soon found its way onto the UK’s ‘video nasty’ list under the alternative title The Grim Reaper. Having followed its minor success with such dubious efforts as Porno Holocaust and Le notti erotiche dei morti viventi/Erotic Nights of the Living Dead, it wasn’t long before D’Amato decided to direct another horror movie for the American crowd. Once again penned by Eastman, 1981’s Rosso sangue (literally translated as Red Blood) was a brutal slasher that would also encounter censorship issues in Britain, whilst during its run it would be released under a variety of different names including Absurd, Horrible and Antropophagus 2.

Mikos Stenopolis (Eastman) is a dangerous psychotic on the run from a priest (Edmund Purdom). Whilst attempting to climb over a gate his abdomen is sliced open by the railings and is believed to have died. Yet Mikos is the victim of a scientific experiment in which his tissue is able to regenerate itself, making him almost indestructible. But when Sgt. Engleman (Charles Borromel) begins to investigate, the priest informs him that Mikos brain is still vulnerable and it must be destroyed before he kills again. He soon sets his sights on Emily (Annie Belle), a beautiful young woman who is babysitting two children (Katya and Kasimir Berger). But can Engleman and the priest find Mikos before he strikes or is Emily doomed?

Each one of D’Amato’s horror movies has suffered from the same shortcomings – he was not a good director. The reason for his popularity and cult status is his willingness to show what many of his contemporaries shy away from. Whilst most filmmakers understand that too much of a good thing can eventually dilute its impact, D’Amato (much like his Spanish counterpart Jesus Franco) clearly felt that filling the screen with excessive violence, nudity and stomach-turning special effects were enough to guarantee them notoriety. In this respect he was correct and many of his movies have encountered all manner of controversy over the years. Whilst Italian cinema during the early 1980s was renowned for its unflinching portrayal of violence and bodily mutilation, few relied on it as strongly as D’Amato, whose films would often feature no other redeeming values.

The viewer’s opinion on D’Amato’s horror movies will depend on how much they value characterisation, plot, tension and other elements that both fans and critics often comment on. Fans of mindless splatter will no doubt revel in the excessive violence, although his decision to neglect every other aspect of his films means that the scenes in between each grotesque set piece can become long, drawn-out and tedious affairs. Whilst The Anthropophagous Beast had the exotic location and the isolation that created to help fill in the gaps, Absurd’s contemporary setting and all too familiar set up (a babysitter stalked by the boogeyman) add little to relieve the boredom. Eastman’s script is so full of inconsistencies and pointless scenes that it seems to be the violence alone that saves the movie from being unwatchable.

Where D’Amato often does succeed is with the brutal violence and gruesome effects. Although his staging of these scenes is somewhat less effective than Lucio Fulci, whose own work was often criticized for its barbaric nature, D’Amato does score points for giving horror fans what they really want. One of the murders are as memorable as The Anthropophagous Beast’s foetus showstopper, but several of the kills are unpleasant and sleazy. Whilst Paramount would often back down to the MPAA with the violence on display in the Friday the 13th movies, Absurd makes no such compromise. Thus, those that feel that American slashers often short change fans will no doubt enjoy watching Eastman mutilate his victims in all manner of grizzly ways.

Although the role of Mikos hardly required a talented actor, Eastman at least attempts to give a menacing performance, although more often than not it is more humorous than scary (his turn in Mario Bava’s Cani arrabbiati/Rabid Dogs was far more effective). Belle is certainly no Jamie Lee Curtis, despite the movie being modelled on John Carpenter’s Halloween, but she makes an adequate final girl and Eastman receives a suitable demise. Whilst the score (composed by Carlo Maria Cordio, who would later work on Troll 2) lacks any kind of style or tension, the special effects are without a doubt the star of the show. Viewers may want to watch out for appearances from future filmmaker Michele Soavi (La chiesa/The Church) and early ’80s veteran Edmund Purdom (Pieces, Don’t Open ‘Til Christmas).

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REVIEW – Best Worst Movie

Christian Sellers — Sun, 28 Mar 2010 02:19:31 +0000

Once upon a time there was a dentist from Alabama who dreamt of becoming an actor. His wish finally came true when he was cast in a low budget horror movie called Goblin. The film was released straight to video and those involved would try to distance themselves from it and forget that it ever happened. One day, the dentist discovered that the movie, now known as Troll 2, had become a cult classic and earned the reputation of ‘worst movie of all time.’ Unable to escape its curse he finally embraced it, and the result was Best Worst Movie.

Troll 2 was shot in Utah in 1989 by Italian filmmaker Claudio Fragasso and penned by his wife, Rosella Drudi, and would feature a cast of inexperienced actors. The story told of Michael Waits, who relocates his family to the remote village of Nilbog for vacation, only to discover that the sinister residents are really goblins and want to transform them into plants so they can eat them. The only one who can save them is his son, Joshua, who, with the guidance of his late Grandpa Seth, attempts to rescue his family from a fate worse than death.

Almost two decades after its original release, Michael Paul Stephenson, who played young Joshua in the movie, decided to revisit the world of Niblog, but this time as a filmmaker. Best Worst Movie is his exploration of both the making of Troll 2 and the phenomenon that its legacy has created. Reuniting most of the original cast and crew, Stephenson has produced a frank and honest documentation of one of the most ridiculous films ever made.

At the heart of Best Worst Movie is George Hardy; the dentist in question who would only act in one feature before returning to his chosen profession. An instantly likable and charismatic individual, it is Hardy’s journey from failed actor to cult celebrity that drives the narrative of the film. For those not familiar with the camp delight that was Troll 2, viewers are treated to an array of footage, as well as clips of Hardy and his co-stars reenacting their lines two decades later.

What could have been a simple behind-the-scenes featurette works as a film in its own right; with Stephenson showing himself as a competent storyteller. Best Worst Movie is in turn hilarious, moving and as camp as the film that spawned it. Highlights include Fragasso’s journey to the States to observe the fans himself, an uneventful trip to England where no one has heard of the movie and bizarre cameos from Troll 2 actors Robert Ormsby and Mongo Prey. A must see!

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REVIEW – High Plains Invaders

Christian Sellers — Mon, 22 Mar 2010 00:04:32 +0000

Castel Film has been responsible for a mixed bag of genre offerings over the last few years. Often shot on low budgets in Romania and sold to the Sci-Fi Channel (or Syfy, as it is now known), the majority of these efforts have been disappointing sequels to fledging franchises. Following on from back-to-back sequels to The Return of the Living Dead, Pumpkinhead, Anaconda and Hellraiser, their latest production is High Plains Invaders. The title gives a hint of what to expect: a pun on the Clint Eastwood western classic High Plains Drifter, blended with the alien tripods of H. G. Wells’ literary classic War of the Worlds.

1892: Avaranth is a peaceful mining community in Colorado, where former army captain-turned-train robber Sam Danville (James Marsters) faces death by hanging after being found guilty of murder. Into the town comes Rose Hilridge (Sanny van Heteren), a loudmouthed bounty hunter who boasts about how ruthless and deadly she is. Sam’s execution is suddenly interrupted by the arrival of a giant robotic bug, that proceeds to rip apart the residents of the town. Escaping from his noose, Sam and a group of survivors – including Silich Cure (Angus MacInnes), a middle-aged shopkeeper; Jules Arning (Sebastian Knapp), a scientist recently arrived to view the mine and Abigail Pixley (Cindy Sampson), the local doctor and Sam’s ex-girlfriend – hide out as they attempt to formulate a plan. But it isn’t long before more of the creatures begin to turn up.

Castel Film’s recent track record of Romanian-produced science fiction and horror movies has never been very impressive, but High Plains Invaders succeeds in being both entertaining and ambitious, if somewhat derivative. Whilst Marsters may be best known as Spike in the cult shows Buffy the Vampire Slayer and Angel (as well as Milton Fine in Smallville), High Plains Invaders finally gives him the chance to be the leading man in a genre picture. Not resembling his famous TV character in any way, Marsters proves to make a likable-if-reluctant hero, forced to take over as leader of the town when the useless sheriff (James Jordan) is killed.

The supporting cast ranges from impressive to annoying, with van Heteren proving to be the biggest offender: a role that seems to reference the Man With No Name, yet far less effective. Thankfully, despite the film being shot in Romania, the majority of the cast are American actors, which would make sense as the story is set in the Wild West. Yet a couple of the actors do come with strong Romanian accents (Castel have a habit of hiring local actors for American roles), which seem very out of place. Sebastian Knapp, who had previously appeared in the Hammer internet series Beyond the Rave, gives his role as the scientist an interesting edge, making the viewer unsure as to whether or not they should trust him.

To say that High Plains Invaders was shot on such a low budget, the special effects are surprisingly effective. The robot bugs are CGI but are relatively convincing, due to their metalic surfaces. They also blend in well with their western environment, which is complimented by Pierre Jodoin’s minimal cinematography. Horror fans may be interested to know that the script was written by Richard Beattie, previously known for Prom Night IV: Deliver Us from Evil. What could have been another disappointing waste of time proves to be an enjoyable ninety minutes.

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REVIEW – Do Not Disturb

Christian Sellers — Sat, 20 Mar 2010 00:59:27 +0000

The problem with independent films these days is that the majority of them are shot on digital with no professional cast or crew and the results are often abysmal and embarrassing. Patrick Rea and his SenoReality collaborators have made a name for themselves over the last few years with a string of critically acclaimed shorts that have even earned Rea regional Emmy awards. Shot in Lawrence, Kansas and running at fifteen minutes, Do Not Disturb is one of their latest offerings, having first debuted last summer.

Hiding from Wichita police after murdering a dozen women, Philip Davenport (Allen Lowman) takes refuge in a hotel where he hopes to remain hidden until the media frenzy dies down. With a ‘Do Not Disturb’ sign on the door, he intends on hiding out whilst watching the news on television to keep up-to-date with the hunt. But his peace and quiet is short lived when a card is pushed under the door the claims ‘I know who you are.’ But when he opens the door and looks outside the hallway is deserted. Angry and confused, he phones the reception to make a complaint about being harassed, but when the woman offers to send a police officer up he decides to deal with the matter himself.

It is always advisable for filmmakers working on low budgets to shoot in one location and with as few actors as possible. Rea has clearly taken note of that as Do Not Disturb is based entirely in one room and with one single character. Surrounding himself with his regulars (including cinematographer Hanuman Brown-Eagle and composer Julian Bickford), Rea has crafted an atmospheric and beautifully shot thriller that shows his protagonist/antagonist haunted by what appears to be the ghosts of his victims.

In the principal role, Lowman (who also appeared in the imaginatively titled Bonnie & Clyde vs. Dracula) gives a suitably creepy performance, carrying the film by himself. Whilst the ending is not entirely satisfying, the slow burning pace of the film shows that Rea has a talent for creating tension, more from what is not shown that what is revealed.

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REVIEW – Ghoulies

Christian Sellers — Thu, 18 Mar 2010 00:03:32 +0000

Following a stint as a bit-part actor, Luca Bercovici decided to make the leap to directing with the 1985 horror Ghoulies, which would see him once again collaborate with cult producer Charles Band. Often dismissed as a rip-off of Joe Dante’s creature feature Gremlins (as would Stephen Herek’s Critters, released the following year), the low budget fantasy would become a surprise hit and would help launch the reputation of John Carl Buechler and his special effects workshop Mechanical and Makeup Imageries. The movie would eventually spawn three sequels, although only the first would come close to the popularity of the original, which would be produced at the height of Band’s Empire success.

Having almost been sacrificed as a baby, Jonathan Graves (Peter Liapis) has no memory of his parents or former life when he inherits a derelict mansion from his family. Moving in with his girlfriend, Rebecca (Lisa Pelikan), he decides to quit school so that he can fix up the house and discover the truth about his parents. But he soon becomes obsessed with black magic and incantations, eventually summoning up a horde of dangerous creatures from the other side. He then commands two dwarves, Grizzel (Peter Risch) and Greedigut (Tamara De Treaux), to do his every bidding and help him in his quest for power. But Rebecca grows concerned as his behaviour changes but he refuses to allow anyone or anything to stand in his way.

Ghoulies was typical of the kind of products that were produced by Empire during the 1960s. Other efforts from the studio would include Buechler’s Troll, Trancers and Cellar Dweller, although the occasional gem (such as Stuart Gordon’s Re-Animator) would sneak through. Ghoulies had been conceived by Bercovici and co-writer Jefery Levy shortly after Bercovici had worked as an actor for Band on the 3D movie Parasite. Shot on an extremely low budget, the restrictions that the filmmakers faced is evident in every frame of the movie, with the disappointing visual effects highlighting the issue and making the film extremely dated.

Whilst setting the story in one location would help keep the cost of the production down, it would also bring down the pace of the movie and cause it to drag in places. The majority of the cast lack any kind of charisma and their characters seem somewhat irrelevant, making their deaths even more so. It is also a shame that it takes so long for the ghoulies to move centre stage, although overplaying them is a mistake the sequels would make. The plot is ridiculous and the first half of the movie certainly becomes stale, but Liapis’ camp performance (he would return to the role for Ghoulies IV a decade later) keeps it all from falling apart.

Where the movie does score major points is with the creature effects, designed by Empire regular Buechler. As with Troll, which would appear soon afterwards, his talent for prosthetics and fantasy is unbeatable and gives the film an ‘80s charm. Richard Band, who would be another regular to the studio and brother of the owner, gives another tongue-in-cheek score that gives the film an element of fun. All in all, Ghoulies is not one of the better B-movies from the era but it is certainly not the worst. Above average, but definitely worth checking out for fans of schlock.

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REVIEW – Shutter Island

Christian Sellers — Sun, 07 Mar 2010 02:33:26 +0000

Martin Scorcese has spent the last four decades creating work that has ranged from masterpieces to atrocities. For every Taxi Driver or Raging Bull, he has also been responsible for a Boxcar Bertha or The Last Waltz. He has become most known for his gangster epics, including Mean Streets, Goodfellas and The Departed, although he has flirted with almost every conceivable genre: musical (New York, New York), biopic (The Aviator) and even biblical (The Last Temptation of Christ). With a career so varied, Shutter Island would see him explore the horror genre, yet far removed from his 1991 psychological thriller Cape Fear.

Arriving via ferry to the isolated maximum security mental facility Ashecliff Hospital on Shutter Island, Marshal Teddy Daniels (Leonardo DiCaprio) and his new partner, Chuck Aule (Mark Ruffalo), are introduced to Deputy Warden McPherson (John Carroll Lynch), the head of security, and the chief psychiatrist, Dr. Cawley (Ben Kingsley). Their task is to investigate the disappearance of one of the patients, Rachel Solando (Emily Mortimer), but Daniels becomes convinced that the doctors and staff are withholding the truth about what has really happened. But the more Daniels and Aule suspect foul play, the more they believe they were brought to the island for a reason.

Even with 2006’s The Departed, Scorcese still shows that he has the same kind of style and intelligence that his work has always boasted. But the hype surrounding Shutter Island would seem somewhat unfounded as it would prove to be a clichéd, if well made, affair. Scorcese’s direction is as flawless as ever, whilst his regular collaborator DiCaprio (on their fourth movie together) gives his usual strong performance, but the script (from Pathfinder’s Laeta Kalogridis and based on the novel by Mystic River’s Dennis Lehane) lacks any kind of unique touch that has not been explored in horror movies countless times before.

Unfortunately, Scorcese brings nothing new to the genre with Shutter Island, simply resorting to the usual trademarks of horror movies – thunderstorms, creepy mental patients, untrustworthy authority figures and heroes like fish out of water. Several dream sequences remove the viewer from the tension and seem somewhat pointless, particular as it is established in the opening sequence that Daniels’ wife was killed in a fire several years earlier. It is a shame that such an established actor as Kingsley, and indeed Max von Sydow, would be given such generic roles time and time again. Ruffalo proved to be an effective detective in David Fincher’s Zodiac but here he is given little to do except watch DiCaprio slowly go insane.

By far the most irritating aspect of the movie is the score, which overplays the dramatic element regularly and becomes something of a nuisance. The very fact that Scorcese’s name is attached to Shutter Island means that die-hard fans have been quick to praise it, yet it seems closer in tone to the strong of gothic remakes from Dark Castle (Ghost Ship, Gothika). Shutter Island is a nice film to look at and is competently acted, but sadly it lacks that true Scorcese touch and is something of a disappointment.

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REVIEW – Maximum Overdrive

Christian Sellers — Thu, 04 Mar 2010 22:55:28 +0000

Having been the author and inspiration for such classics as Carrie, Salem’s Lot and Christine, it was inevitable that one day Stephen King would try his hand at directing. He had, after all, expressed disappointment at Stanley Kubrick’s adaptation of The Shining, so by 1986 the time had come for him to show what he was made of. The the soundtrack of rock legends AC/DC and featuring ‘actor of the moment’ Emilio Estevez (The Breakfast Club, St. Elmo’s Fire), King’s one and only directorial attempt would be Maximum Overdrive, which would saw machine finally turn against man. Whilst this one-sentence premise may sound reminiscent of James Cameron’s classic The Terminator, the two could not be further apart.

When Earth passes through the tail of a rogue comet, all of the electrical appliances on the planet suddenly develop a life of their own and turn on their masters. After a drawbridge raises unexpectedly, causing severe damage to both cars and passengers, other machines begin to show signs of erratic behaviour: drink dispensers fire out cans like missiles, a diesel nozzle sprays an attendant in the eyes and (in a cameo from the director) an ATM calls an uptight man an ‘asshole.’ As a variety of misfits congregate at a truck stop known as The Dixie Boy, a group of survivors attempt to escape from both the danger inside and the trucks that wait for them outside.

As with 1984’s Repo Man, Estevez once again portrays a rebellious punk from the wrong side of the tracks, although this time he is promoted to the role of hero. Lacking his usual sarcastic charm, his turn as former con Bill Robinson is hardly amongst his most memorable, and sadly there are no other truly likable characters that the audience can side with. Having also taken on duties as director, it seems that King did not put as much effort into his script as he does with his books, as the story is thin on character and suspense. After watching Maximum Overdrive, it seems amusing that he would have the cheek to criticize a master filmmaker such as Kubrick.

Where the movie does score points is with its villain: a menacing truck with a Green Goblin face attached to the front, which sports a Happy Toyz Co. logo on the side (hence the playful design). The truck is truly menacing and stands alongside Cujo as one of King’s most underrated mosters. Unfortunately, the trucks are so effective that when they are not on screen the movie suffers greatly, as almost every other aspect of the film is somewhat mediocre. The special effects are mostly impressive for such a low budget horror (except the visual effects, such as in the games machine room early on in the film), although there is little gore to satisfy the hardcore fans.

Whilst some of the AC/DC songs used are up to their usual standard (released separately as Who Made Who), they often distract from the horror aspects of the movie, unintentionally ruining what should be tense moments. Some of the supporting cast are a little irritating as well, most notably Yeardley Smith (known to fans of The Simpsons as Lisa) and her on-screen husband John Short. Maximum Overdrive is far from King’s best movie and lacks any real character or suspense, but as a mid-’80s flick it is a lot of fun.

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REVIEW – The Crazies

Christian Sellers — Wed, 03 Mar 2010 23:34:52 +0000

Forty-one year old Timothy Olyphant has been struggling for over a decade to find the suitable vehicle for his charming-yet-somewhat demented persona. Gone in 60 Seconds and Dreamcatcher, his career has recently flirted with the mainstream with roles in Hitman and Live Free or Die Hard. With neither assassin nor villain bringing him major success, Olyphant is now trying his hand at playing the hero. But is he leading man material and is he capable of carrying a movie by himself or should he keep to stealing scenes as a bit-part actor?

Ogden Marsh is a small town in Iowa with a tight-knit community and warm feeling of hospitality. David Dutton (Olyphant) is the local sheriff and his wife, Judy (Radha Mitchell), is the general practitioner at a nearby surgery, but their idyllic life is ruined when he is forced to shoot one of his citizens after brandishing a weapon at a high school game. The following evening, another local burns his family alive in their attic and seems to show no signs of remorse, only pure anger. Soon afterwards, David finds a plane underneath the surface of the lake and suspects that its cargo has infected the water supply. The military appear to place the town under quarantine and both David and Judy are separated from each other. Determined to save his wife and unborn child, David vows to escape from the soldiers and save his town before it is too late.

There have been an array of pointless and disappointing remakes over the last five years, primarily due to the success of The Texas Chainsaw Massacre and Dawn of the Dead, both of which scored major points at the box office. But it would be easier to count the good remakes, as they have been few and far between. Full of unnecessary CGI, MTV-style editing and every cliché imaginable, most of the current wave of remakes horror fans could do without. With several of George A. Romero’s classics having been brought into the modern times, it was perhaps inevitable that his 1973 thriller The Crazies would eventually get the same treatment.

Having previously directed Sahara, Breck Eisner decided to try his hand at the horror genre by giving The Crazies a modern spin. This is not as simple as it sounds, however, as Romero’s original had already been a major influence on every kind of outbreak movie from David Cronenberg’s Shivers to Chuck Russell’s 1988 update of The Blob. So how do the filmmakers approach the material in a way that does not seem derivative or overused? Truth is they haven’t, but as remakes go The Crazies is surprisingly effective and entertaining and Eisner has defied all expectations by making a half-decent, if not entirely original, thriller.

Olyphant proves to be a likable hero, and whilst his role hardly stretches his acting abilities he plays it competently. Mitchell is as equally impressive as his wife, adding an emotional aspect amongst all the bloodshed and macho gunfights. The script, from Scott Kosar (who also wrote The Texas Chainsaw Massacre and The Amityville Horror) and Ray Wright, is not entirely original but does attempt to flesh the two main characters out the best it can between the non-stop action. There are moments of gore for those who like their horror violent, but it is not as graphic as many recent horror movies. The world could have lived without The Crazies but it is still an effective movie that performs its functions adequately.

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REVIEW – Amityville 3D

Christian Sellers — Sun, 14 Feb 2010 03:51:35 +0000

Much like the Hollywood of today, the early 1980s saw a sudden and somewhat brief revival of 3D, with even popular franchises such as Jaws and Friday the 13th jumping on the bandwagon. Following on from Damiano Damiani’s disturbing prequel Amityville II: The Possession (which surpassed the original in every way), cult producer Dino De Laurentiis decided to embrace the latest craze and shoot the next installment with the added gimmick. Drafting in the talents of legendary filmmaker Richard Fleischer (10 Rillington Place, Mr. Majestyk), De Laurentiis set out to compete with the other big budget 3D flicks of the year.

Journalist John Baxter (Tony Roberts) assists in a sting operation to drive two fake psychics out of the legendary haunted house, before relocating his family there after striking a deal with estate agent Clifford Sanders (John Harkins). But after finding Sanders dead in the house soon afterwards, John is still not convinced that anything strange is afoot, even when his partner, Melanie (Candy Clark), claims that something within the house had tried to harm her. But whilst John’s daughter, Susan (Lori Loughlin), also feels that there is a strange presence in the house her best friend, Lisa (Meg Ryan), is too fascinated with the previous incidents to be concerned.

The Amityville Horror failed to live up to its reputation as a terrifying or effective horror classic and so the bar was set rather low from the very beginning. Haunted house movies had been a standard fixture of the horror genre for decades and Stuart Rosenberg’s film added little to the formula. Damiani, however, seemed to have an understanding of the genre and lent the film a European gothic feel, resulting in an uneven yet disturbing thriller. The critics were hardly convinced but and the series continued to be less respected than many of its contemporaries.

The third entry in such a tedious franchise was hardly going to be a classic, and with the added 3D aspect the result could have been far worse. In fact, what is most surprising about Amityville 3D is that it is actually a well made and entertaining movie. Fleischer was an extremely gifted filmmaker and added an element of style to the movie, aided by an effective score by Howard Blake and brooding cinematography from Fred Schuler. The cast all perform relatively well (including an early appearance from Meg Ryan) and whilst the script maybe somewhat clichéd the film still flows along at a decent pace.

The wise decision that the filmmakers took was to avoid throwing unnecessary objects at the screen in an effort to justify the use of 3D (something that Friday the 13th Part 3 would be guilty of). Aside from a few dated effects, most are quite effective (particularly a steel pipe that smashes through a windscreen) and do not interfere too much with the story. Whilst the movie is hardly a classic (and the ending is a little disappointing), it was certainly among the more entertaining of the ‘80s 3D craze and was far more effective than the sequels that followed.

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REVIEW – The Living Dead at the Manchester Morgue

Christian Sellers — Sun, 14 Feb 2010 01:52:30 +0000

In the wake of the international success of George A. Romero’s seminal masterpiece Night of the Living Dead in the late 1960s, filmmakers around the world began to take a renewed interest in the tired zombie formula. Amongst those that would make an impact were Amando de Ossorio’s La noche del terror ciego (Tombs of the Blind Dead) and Bob Clark’s Children Shouldn’t Play With Dead Things, but perhaps the most acclaimed of all these was Jorge Grau’s 1974 Spanish-Italian co-production Non si deve profanare il sonno dei morti, more commonly known as Let Sleeping Corpses Lie and, most infamously, The Living Dead at Manchester Morgue. Although set in northern England, the movie consisted of Spanish, American and Italian actors, who would be later dubbed over by rather preposterous British accents. Such is the way of European horror.

Antiques dealer George (Ray Lovelock) decides to leave the city for the weekend and head up to Windermere to meet up with a group of friends. When his motorbike is damaged at a pretrol station, he accepts insists that the girl responsible, Edna (Christinie Galbo), drives him to his destination. Having become lost, George asks for directions but Edna is attacked by a strange man. Eventually arriving at the home of her sister, Katie (Jeannine Mestre), to discover that her husband, Martin (Jose Ruiz Lifante), was killed by a rabid stranger. But George is forced to remain in town as a possible suspect when the Police Inspector (Arthur Kennedy) believes that they may have assisted Katie in murdering her husband.

Outside of Hammer, England was a rare setting for a horror movie, particularly one that involved an outbreak of zombies. Shot on location in Manchester and Derbyshire (with various scenes filmed in Madrid and Rome), the setting is suitably eerie and would pave the way for An American Werewolf in London’s use of the Moors almost a decade later. But the ridiculous dubbing, which makes every character sound either posh or Cockney, adds an unintentional camp element, especially when Grau could easily have cast English actors in the role instead.

Much like with Children Shouldn’t Play With Dead Things, the makeup of the zombies are not very convincing, whilst their body language is hardly inspired. They lack any really threatening element, which sadly takes away from the film’s overall impact. Whilst the likes of Romero and, several years later, Lucio Fulci would portray their living dead as something to be truly feared (particularly in the case of City of the Living Dead and Day of the Dead), here they are slow and boring creatures that groan unnecessarily load, something which ceases to be creepy and simply becomes irritating very quickly.

Despite the poor dubbing, the performances from the two leads are rather likable, with Lovelock giving a humorous turn as the reluctant hero. Spanish beauty Galbo (previously seen in Cosa avete fatto a Solange?/What Have They Done to Solange?) also manages to attract the viewer’s sympathy, although every other character is sadly underdeveloped. Whilst Giannetto De Rossi’s special effects would be largely responsible for the success of Fulci’s Zombi 2 (Zombie Flesh Eaters), here they are mostly absent until the final reel. Atmospheric and entertaining, if a little slow and uninvolving, The Living Dead at Manchester Morgue stands as one of the better of the early ‘70s zombie flicks.

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