The Legend Of Hell House (Directed By John Hough. 1973)

For those of you who enjoy your terror in the tradition of The Woman In Black and Amicus classics such as The House That Dripped Blood, The Legend Of Hell House will be a devilishly rewarding experience. An outstanding example of what can be achieved with absolutely no special effects or thrills, and carrying with it an atmosphere of supernatural dread heavy enough to put The Haunting and similarly themed haunted house shenanigans to shame.
The film revolves around the story of the deceased Emeric Belasco, who's spirit still possesses the "house" in question. A team of psychic investigators and the only member to survive a previous visit to the house(played with incredible intensity to the very last frame by Roddy McDowell)take residence and attempt to dispose of the unwelcome poltergeist. In true haunted house style, none of the cast get along particularly well with each other, thus leaving the spirit to take advantage of them. Kudos to the wonderful Pamela Franklin, who plays Florence Tanner, the poor lass who manages to attract the undead spirit of Belasco in a far more intrusive and damaging way than the others.


The Legend Of Hell House is classic British psychological horror. From the sinister cobwebs, the continuously prowling black cat to the Hammer inspired dry ice and fog surrounding every exterior shot, you probably know what your going to get here. Add to that a superb and strangely tribal main theme, some fantastic quotes, such as "It's the Mount Everest of haunted houses!" and "If thine eye offends thee...pluck it out!" and you have yourself a creepy, subtle and enticing night in. Just don't expect any gore or modern day horror fare. This one's all about the scares.

The Beyond (Directed By Lucio Fulci-1981)

Where to begin with a film as effortlessly enigmatic as Lucio Fulci's latter day masterpiece The Beyond? Well, I should start by saying I'm more than just a little bit biased when it comes to his films, as this and House By The Cemetery are in my humble opinion some of the greatest moments in horror cinema history. Full stop.
The Beyond is a highly unforgettable experience and one that works on more levels than may be perceived upon first viewing. As with many films of its kind, I think The Beyond simply gets better with each visit.

New Yorker Liza (played by Fulci regular Katherine MacColl)inherits a hotel among the swamps of New Orleans and sets about refurbishing the place. As we learn from the spectacularly spooky sepia prelude, one of the hotels guests - an artist simply known as Schweik - has been accused of being a warlock and must suffer at the hands of the town's lynch mob. Schweik's death then proceeds to open one of the seven gates of hell, thus allowing the dead to cross over into the land of the living. Of course.

This being a Fulci film, the above opening sequence is insanely gory and terrifying enough to have most sane viewers running for the door.



The Beyond is awash with Fulci's trademark otherworldly feel and surreal use of over-the-top zoom cinematography. As with his other gothic undead films of this era, The Beyond has several almost unnervingly timed set pieces. Some are laughably executed, such as the infamous tarantula attack in which, despite being extremely gruelling stuff, it is clear half the creatures are very fake. Other gore highlights include the Suspiria-inspired blind dog/owner's throat attack on Emily, the town's blind pianist (who is somehow connected to Schweik and narrates the film's memorable opening passage) along with numerous other zombie attacks and eyeball atrocities.

Anyhow, what makes The Beyond such a compelling experience not just in the Euro horror scene of the 70s/80s but also cinema in general is its incredible final five minutes in which Liza, accompanied by heroic local Doctor McCabe (played by the handsome Dave Warbeck who did the audio commentary to the DVD of this film on his deathbed! Now THAT'S dedication for you) flees from the cadaver-infested local hospital only to realise the morgue staircase leads directly to the basement of the hotel... or hell, as we soon find out. This sequence alone proves how incredibly gifted Fulci had become as a director by this point and stands alone as one of the scariest endings I have ever seen. Throughout the film, Fulci Soundtrack regular Fabio Frizzi provides what may be his finest film contribution and the poetic end piece lingers in the mind long after the film has finished. It's achingly beautiful. In fact, there's very little that could be improved upon when it comes to any Fulci soundtrack. I just wish they were more easily available.

The Beyond is a difficult film to assess in a few paragraphs. It's excessively grotesque, it has some uncomfortably stilted acting and at times it makes little or no sense, but once you come to terms with Fulci's chaotic Lovecraft-inspired parallel universe you may agree it belongs alongside the Texas Chainsaw Massacres and Exorcists of this world. More Fulci to follow.

LISA LISA (aka AXE) (Directed By Frederick R. Friedel. 1977)

Frederick Freidel's Lisa Lisa is a strange little film that despite numerous viewings(it's only an hour long)still intrigues me in a similar way Texas Chainsaw did upon my first few viewings way back when. In fact the two films have a similar atmosphere at times. Lisa Lisa is a bleak, creepy and sparse piece of 70's horror that if watched at just the right time of night in just the right frame of mind can definitely take the viewer somewhere special. It's by no means that good, but it certainly has a menacing power that sucks you in and compels you until the final poignant and downbeat scene.
The storyline is even more threadbare than most of it's kind but given the incredibly short running time I guess there wasn't much time for character development (something that add's brilliantly to the character Lisa herself, played fantastically by Leslie Lee). Three gangsters are on the run and end up hiding out at the house of Lisa and her mute Grandfather, where they make themselves very much at home. Lisa doesn't take too kindly to the intrusion and takes matters ever so calmly (and savagely) into her own hands. And that's it.
From its' hauntingly beautiful keyboard score to the nowhere script and hopeless despair that linger heavily throughout the film, it's power is in it's refusal to play by the rules or even maintain the forward momentum one expects from a film. I'm sure as hell in the minority of people who rate this film but for some reason I have never quite got it out of my head. I think the lonely rural settings of films such as this appeal to the horror fan in me greatly. Well, that and the sight of Leslie Lee wiping out most of the cast whilst casually decapitating chickens for dinner. In it's own mysterious way, the film is surprisingly shocking considering the low key feel of the rest of the film.
Whilst certainly not for a lot of people, Lisa Lisa (or California Axe Massacre if you prefer it's more sleazy title)is lovingly made and definitely one of a kind. Above is an especially rare poster that makes little sense if you've actually seen the film.

MADHOUSE (1981-Directed By Ovidio G Assonitis)

Madhouse is one of the more obscure titles to make the famous Video Nasties list in the UK in the 80's and also one of the least likely to cause that much offence these days. The story revolves around Julia, a teacher at a deaf school for children who is plagued by memories of her hideously disfigured and demented twin sister Mary, who, with the aid of their completely twisted and almost unwatchable uncle, sets about hunting down and killing Julia. The pacing of the film is often very slow, but the Fulci inspired scope photography and the City Of The Living Dead/Beyond esque locations give the film a mildly poetic feel. Throw into the mix some wildly erratic Cannibal Holocaust inspired music from Riz Ortalani and a bizarre scene involving a rottweiler breaking through a door Jack Nicholson style and getting a powerdrill through the head for it's troubles and you've got quite an odd little film.
Madhouse (or, There Once Was A Little Girl as some publications call it)is available in a few different Dvd incarnations, but I must say, the edition from Film 2000 has one of the worst dialogue tracks I have ever heard on a film, so perhaps avoid this version if you are planning on checking it out as it's highly frustrating and was only properly audible on headphones.

PARANORMAL ACTIVITY 2 (2010 Directed ByTod Williams)

Anyone who enjoyed the first film is pretty much guaranteed to like this one, though the addition of more characters gives the film a slightly less claustrophobic feel.
Paranormal Activity 2 carries on with the same formula of the first film but this time involves Kristi(the sister of Katie from the first film) who's family experience unexplained break-in's to their house which result in them setting up security cameras in every room. Strange things begin to happen immediately, with the swimming pool cleaner removing itself from the pool, baby Hunter waking up randomly throughout the night and kitchen cupboards flying open of their own accord. As with the first film, the source of these paranormal happenings is Katie, who in the first film explains her childhood dealings with demons and unknown entity's and, though discussed much deeper in this installment still seems to be in denial that anything is wrong or that she should keep her distance from her sister's family. Katie Featherston deserves credit agin for her role here as she revives the emotion and terror of the first film with a natural ease.
The film continues in a fairly repetitive but effective style, with pretty much every scene starting with the view from the front door security camera. Perhaps this being a subtle stab at all the mind-numbing reality television the broadcasters try to brainwash us with. However,and as I was hoping, the scares are pretty full on and the film proved to be hugely entertaining on the big screen, with audience members literally whimpering and leaping out of their seats. Also, whilst not being a direct remake of the first one, the familiarity works in the films favour, with similar sound effect cues reminding the audience subconsciously that something very bad was about to happen. Given the twisted, slightly predictable but satisfying ending who knows? Number three will probably be with us in a few months time. Though I'm not sure where else the franchise could be taken.

ROGUE (2007, Directed By Greg Mclean)

For better or for worse it's definitely time more was said about Greg Mclean's surprising follow up to his ass kicking Wolf Creek. Though Rogue is certainly not a horror film in the same way it's predecessor most certainly was, it takes Mcleans highly competent visual flare into overdrive and makes extraordinary use of the scenery and sparse sun drenched outback.
Being a film that revolves entirely around a boat full of tourists stranded in crocodile infested waters, Rogue manages to not only outdo the rather dull Black Water, but most likely every killer crocodile movie made prior to it (Tobe Hooper's Crocodile anyone?). As with Mclean's previous film, there is little humour to be found here and a very real sense of dread that manages to make Rogue appear big budget whilst sticking true to it's b-movie roots. Rogue suffers ever so slightly from it's main characters who often just don't seem to work comfortably along side each other and the conclusion being very different from Wolf Creek. Rogue may not live up to everyone's expectations as there really isn't much bloodshed and the middle of the film does drag on a little bit. However, the survival element is very much the key part of the film and whilst not likely to give anyone serious nightmares, does at times give a good scare. Cgi or no Cgi. I guess they couldn't risk letting a real crocodile walk away with an oscar.
I'm very much looking forward to Greg Mclean's next film, though judging by Imdb he hasn't been particularly busy of late.