Death Movie Reviews

As of late there have been many Lugosi movies released on DVD. This double feature is among the best. The Devil Bat (1940) is Lugosi's only movie for Producer's Releasing Corporation, one of Hollywood's many infamous Poverty Row studios. Bela plays Dr. Carruthers, a mad scientist out for revenge against the partners he felt double-crossed him. His instrument of revenge is an electronically enlarged bat, attracted to its intended victims by the odor of a strange perfume Bela has concocted for just this purpose. With a plot such as this, the movie could be simply flat and unwatchable. If not for Bela, that is. Faced with such a prospect and being the dedicated actor he was, Bela plays it up beautifully. Instead of merely being hammy and letting it go at that, he brings certain nuances to his role, using double entendres at times. (Inducing a potential victim to try his shaving lotion, he declares that the victim "will never use anything else.") In fact, he ends up winning our sympathy in a scene with one of his "partners" where it becomes somewhat apparent that poor old Bela was swindled into an inferior deal. No wonder he's mad. Assisting Bela in this wonderful nonsense is Dave O'Brien (Reefer Madness) as the hero, Donald Kerr as the hero's sidekick, and Suzanne Kaaren as the ingénue. Look for Arthur Q. Bryan, more famous as the voice of Elmer Fudd, as O'Brien and Kerr's boss.

Scared to Death is Lugosi's only color film, and as such, is a must for Lugosi fans and collectors. It is a tepid story narrated by a recently deceased woman from her slab in the morgue as to how she got that way. Billy Wilder later used a variation of this in Sunset Boulevard, but, of course, he did it much better. Given the almost total lack of any action in this film a more appropriate title might have been Bored to Death. Nat Pendleton and George Zucco offer whatever support they can to the proceedings. A note of interest is that while suffering from a form of dementia in a psychiatric hospital, George Zucco was said to have scared himself to death with visions of ghosts and demons coming after him. It certainly couldn't have been from watching this film.

Excellent quality of video transfer and easy to use menus make this a bargain for the price.

OK. The plot of Devil Bat doesn't sound that impressive, but Bela Lugosi's performance earns the movie five stars from this reviewer. Lugosi plays Dr. Carruthers, a doctor and scientist beloved by everyone in the village of Heathville; he is the last person anyone suspects when a series of strange murders take place. The first three victims are all sons of the rich and powerful Heath and Morgan families. These two families made their fortunes, it turns out, on one of Dr. Carruthers' formulas, and all the doctor got out of the deal was a measly ten thousand dollars compared to their millions. Ah, yes, we have a motive. Of course, these are no ordinary murders; they seem to have been made by some type of unknown wild animal. It couldn't be a bat, of course, because the killer was definitely a pretty large specimen. Carruthers' plan is hokey but brilliant. He still works for the cosmetics firm, and he has just come up with an experimental new aftershave formula. Naturally, he wants the Heaths and Morgans to try the product out themselves before marketing it-just a few drops spread across the neck, where the skin is always tender. He doesn't bother to tell his victims that bats really, really hate the smell of the formula's secret ingredient, nor does he mention the fact that he has figured out a way to use electrical stimulation to turn a normal bat into a Devil Bat. Everything is going according to plan until a nosy reporter shows up and starts snooping around.

Lugosi is great in this movie. By 1940, he had the whole mad scientist act down to a science, and his secret scowls are enhanced by just the right touch of madness in his eyes. Best of all is the way he tells his victims "Goodbye" in a sinister voice once he has them in the soon-to-be clutches of his Devil Bat. One thing that bothers me about great old horror movies like this is the fact the moviemakers always felt compelled to provide some comic relief in the form of a goofy character-this time around, we have the newspaper photographer "One Shot" McGuire who is more interested in shooting pictures of the Heath's French maid than any silly old bat. The Devil Bat itself isn't very impressive; without the grainy, far from perfect black and white print, I am sure it would look quite ridiculous. It never even moves when Carruthers is handling it, it looks more like a hawk or eagle to me when it is flying, and its swoop attacks on unsuspecting victims make me think of the scene in Naked Gun where Frank Drebbin struggles against a towel thrown in his face. None of that matters, though, because Lugosi is just so much fun to watch.

What a pleasant suprise I got one Sunday when I put my Bela Lugosi Collection Vol.1 in to watch Devil Bat and it turns out my DVD isn't what I expected. No Devil Bat or Scared to Death. What you get and it is a FAR FAR Superior DVD is 'The Apeman'(Monkey scientist hokum set during WW2, so all the male actors are draft dodgers or something),Bela Lugosi meets the Brooklyn Gorilla(More monkey scientist shenanigans - only watch on a wet Sunday it is of a time that humour forgot) and Halperin Brothers finest nay THE Finest Gothic Fairy Tale EVER "WHITE ZOMBIE". All I can add to the vitriol of comments said about this film is IT IS THAT GOOD...unlike Tod Brownings Dracula for example. Buy it cry a little and tremble with fear at Bela in his finest role. Not bad for a phonetic actor

A clever whodunit, set in a vintage Hollywood movie studio, that reunited three stars from the acclaimed 1931 release, "Dracula". When the star of the fictional production "The Death Kiss" is murdered on the film set during a take, screenwriter David Manners (top-billed here) launches his own investigation into how and why the murder was committed. Among the many suspects are Bela Lugosi as a suspicious production manager and Edward Van Sloan as the film's bombastic director. Manners' detective work involves touring the many different departments at the studio, offering an intriguing look at how early talkies were made. The script includes some subtle satire of early 1930's film personalities (now who could the studio head whose every statement is a malapropism be?!) and there are plenty of red herrings thrown in to complicate the plot. The mystery is solid, and the studio setting is guaranteed to appeal to cinema buffs.

The DVD's biggest drawback is the source print from which the video transfer was mastered. "The Death Kiss" has been in the public domain for many years, and is desperately in need of restoration. There are many breaks in the film during which bits of dialogue are lost; these "jumps" are particularly plentiful during the first half of the DVD. Still ... until a better transfer comes along (which is admittedly unlikely), this is definitely one worth adding to your home video collection, particularly for the fine cast and the unusual setting.

The Death Kiss (1933) is actually a fairly interesting little who-dun-it mystery. The drama unfolds on the set of a movie called-predictably-The Death Kiss. The big scene features a gang of thugs gunning down the character played by Miles Brent after he receives a Judas kiss from a stranger played, wouldn't you know it, by Brent's ex-wife Marcia Lane. To everyone's surprise, Brent doesn't get back up after the scene is finished; this is especially sad given the fact that his death swoon was not convincing enough to satisfy the director. An uproar ensues when it becomes clear that Brent was murdered. None of the eight guns used in the scene turns out to be the murder weapon, complicating matters for the police. Further complicating the work of detectives is the insinuation of studio mystery writer Franklyn Drew into the investigation. Drew basically takes over the investigation himself, while the detectives remain a step or two behind him at all times. Everyone is a suspect to some degree, including studio executives. When the first suspected perpetrator apparently kills himself after being proven innocent, the plot becomes even more complicated. Marcia Lane has a clear motive, and all of the clues keep pointing in her direction, but her boyfriend Drew, with the help of the comically inept head of studio security, is determined to prove her innocence.

One of the suspects is studio manager Joseph Steiner, played by the incomparable and quite dashing Bela Lugosi. This seems something of an odd role for Lugosi to have played two years after bringing Count Dracula to life, for it is a bit of a minor part. Here Lugosi sports a bow tie and actually smiles good-naturedly a time or two; he does have one scene in which he gets rather perturbed, though, so Lugosi fans such as myself can take delight in getting at least one quick glance of the classic Lugosi scowl.

This movie is both a comedy and a murder mystery; seemingly, all murder mysteries of the era were required to have a Keystone Kops element to them. The comedic elements seem needless at first but somehow become rather endearing by the end. The mystery is also pretty compelling, and I admit my guess as to the identity of the murderer was incorrect. Besides the inclusion of Bela Lugosi in the cast, this movie is also somewhat significant for offering an early behind-the-scenes look at how the still rather revolutionary talkies were produced. Lugosi fans should enjoy seeing a softer side of the legendary actor, and I believe the movie is quite capable of sustaining the interest of even modern-day viewers.

I picked up this DVD even though I had never seen the movie before because I figured, it's inexpensive and it has Bela Lugosi in it, so how can I go wrong. I was pleased to discover that this is a pretty good mystery, with a charming performance from David Manners and a few twists to the plot. I would have liked to see more of Bela as a studio executive.

The only thing that keeps me from giving this 5 stars is the fact that, as other reviewers have mentioned, the picture and sound quality is not the best. I don't always mind the scatches, because it can add to the "old movie" atmosphere, but there are too many instances of missed dialogue and skips in the picture.

Movie starts when some morons are spraying pesticide all over the grapes that are used for making wine. Then the peasents drink the wine (supposively) and slowly turn into psychotic zombies. Then it goes to a woman who jumps out of a train and finds herself in a town filled with zombies and a blind lady. Then she meets two guys who are killing the zombies. Then they go to a house and eat bread, then the chick reunites with her boyfriend in which is turning into a zombie and one of the guys kills him and that idiotic broad kills the guy and the other guy. THE END!

Whoever compared this movie to NIGHT OF THE LIVING DEAD is a moron. This movie is completely different. It's gore is a bit above average, the story is original and decent. It's very good for what it is, but this movie can get boring from time to time.
(some zombies)

most entertaining part: when a zombie was making out with a severed head.

Fans of Jean Rollin will not be disappointed. This film capitalizes on many of the staples that make his films unique. There is a pretty gal travelling all over the french countryside facing peril, atmospheric and lingering cinematography, a quirky soundtrack, breasts, a tragic love story, and plenty of surprises to keep viewers guessing. Add the special appearance by the lovely Brigitte Lahaie and you've got a winner, but certainly lacking the cohesion (though wildly subversive and surreal -- though not so bizarre as Jess Franco's pictures) and tension of some of his more successful ventures like La Morte Vivante (The Living Dead Girl), Requiem for a Vampire, The Shiver of the Vampires and others.

I'm unfamiliar with Rollin's work, but found this entry to be fascinating. To say this is a zombie movie would put it too simply. There is a mystique about this movie, a very apocalypic quality that held my attention throughout. Yes, the music's a bit cheesy and it's not very gory, but it's a must-have by those who appreciate old, overseas horror. This movie took me in a good direction, and I hope it takes you in the direction of your billfold, because this will always be welcome in my DVD collection, as it should be in yours.

a nice and charming story about obsession. John Hurt plays a writer who walks into the wrong movie and finds the handsome Jason Preistley fasinating and he goes and becomes so obsessed with the actor he goes to Long Island to seek out where he lives, he eventually finds out and meets him threw his girlfriend because he told her hes such a big hit in London, so they meet and they become friends. Hurt's passion for Preistley grows(only if it where someone other then a old man loving a guy, ehhh) and then people are rejected. good filmmaking with superb performances all around. Maury Chaykin and his fellow restaurant staff are hilarious, especially the highlighted scene where they all talk about dog names. a wonderful film

This really is a great film. Fans of films like XXX steer clear.
It is dark and very thought provoking, and watching Hurts obsession with the young actor grow is fantastic. Who'd have thought that jason priestly would appear in a good film!!

I am surprised that this film has not been better received by the reviewers below, as it is well-made, thought-provoking, atmospheric, and even poignant. It tells the tale of a stodgy old British author (expertly played by William Hurt) who, by accidentally wandering into the wrong movie theater, conceives an odd appreciation for Ronnie Bostock (Jason Priestley), a B-movie star of teen flicks. This rare ability to find raphaelite beauty in low pop culture troubles the author for weeks, until his obsession over Ronnie gets the best of him and he travels to Long Island to try and meet his idol. The film does an excellent job of portraying Long Island in the winter as an eerie, vacant place. When the author at last talks his way into Ronnie's home, the ensuing machinations and emotions are played so perfectly that I watched the film twice in a row to see them again, and the plot kept me interested throughout. (The tone of the climax in the diner is just great. Jason Priestley does a fine job here.) We are left with the sense that impossible longing is both heartbreaking and inevitable within us; human truth onscreen.

a nice and charming story about obsession. John Hurt plays a writer who walks into the wrong movie and finds the handsome Jason Preistley fasinating and he goes and becomes so obsessed with the actor he goes to Long Island to seek out where he lives, he eventually finds out and meets him threw his girlfriend because he told her hes such a big hit in London, so they meet and they become friends. Hurt's passion for Preistley grows(only if it where someone other then a old man loving a guy, ehhh) and then people are rejected. good filmmaking with superb performances all around. Maury Chaykin and his fellow restaurant staff are hilarious, especially the highlighted scene where they all talk about dog names. a wonderful film

This really is a great film. Fans of films like XXX steer clear.
It is dark and very thought provoking, and watching Hurts obsession with the young actor grow is fantastic. Who'd have thought that jason priestly would appear in a good film!!

I am surprised that this film has not been better received by the reviewers below, as it is well-made, thought-provoking, atmospheric, and even poignant. It tells the tale of a stodgy old British author (expertly played by William Hurt) who, by accidentally wandering into the wrong movie theater, conceives an odd appreciation for Ronnie Bostock (Jason Priestley), a B-movie star of teen flicks. This rare ability to find raphaelite beauty in low pop culture troubles the author for weeks, until his obsession over Ronnie gets the best of him and he travels to Long Island to try and meet his idol. The film does an excellent job of portraying Long Island in the winter as an eerie, vacant place. When the author at last talks his way into Ronnie's home, the ensuing machinations and emotions are played so perfectly that I watched the film twice in a row to see them again, and the plot kept me interested throughout. (The tone of the climax in the diner is just great. Jason Priestley does a fine job here.) We are left with the sense that impossible longing is both heartbreaking and inevitable within us; human truth onscreen.

I think the Ice Warriors are probably one of the best monster's created for Doctor Who and Patrick Troughton was an excellent Doctor. Unfortunately, this was probably not one of his best stories. This was one of those Doctor Who adventures originally released in the 1980's that was edited to be a full length movie. This technique has never set very well with me. It also makes the episode seem ten times longer than it really is. The storyline is too slow moving that you feel like you're being lulled to sleep. My advice is get the "The Mind Robbers", "Tomb of the Cybermen" and "The War Games" instead. They are far better examples of Patrick Troughton's talents.

An extremely enjoyable and campy Troughton adventure that heralds the return of the Ice Warriors. Some fans might not get much enjoyment out of this one, due to horrible editing, OTT acting and atrocious dialogue and scientific credibility thrown out the window. My review might be little biased, due to the fact this was the first Troughton serial I ever saw. The design of the production is pretty good, and the Ice Warriors with the first appearance of an Ice Lord and Grand Marshall are very effective. But it does feel like the whole production is very rushed, characters repeating themselves throughout the story(such as Zoe informing Ms Kelly that T-Mat is working again, when Ms Kelly had already repaired it in the previous episode). Fewshum steals the show as he informs his moon buddies, "I want to LIVE! " What makes up for the tediousness and contradictions is the humor. Trougton is absolutely wonderful, "You can't kill me..... I'm a genius!" Yes, there are better Trougton stories than this, but I often wonder if fans forget why they started watching the program. It certainly can't be the special effects.....

"You Can't kill me, I'm a genius!" Classic dialogue from one of the best of the remaining Pat Troughton stories. Basically, a remakeof season 5's "The Ice Warriors", but Troughton, Hines, and Padbury turn in some terrific performances. The Ice Warriors, with their hissy voices, are terribly menacing. Troughton's Doctor was more of an eccentric scientist as opposed to Tom Baker's mad scientist. Pat's performance puts Tom Baker's to shame. I do like Tom Baker, but given a choice between one of Tom's & one of Pat's, I pick the Pat Troughton one every time.

Essentially, buying this DVD is equivalent to paying for a cover picture of Joe Pesci. If you really want a small little picture of Joe Pesci in his first movie and have some use for a little mini frisbee, then buy this movie.

The plot itself seems to have no connection whatsoever. Joe Pesci is not even the star of the movie. He ends up dead in an ice box in a Ramada Hotel in New Jersey, along with his stupid sneaker wearing friend Serge. They are both slain by a Shaft look-alike assassin. This loss is heartbreaking to the main character who proceeds to sabotage Shaft's car, and he shoots him in the chest with his sawed-off shotgun.

Of course within this entire plot, there are a plethora of useless scenes. For example, Pesci and pals are in the hotel lounge throwing peanuts at the lounge singer. None of these scenes have anything to do with the movie. Then to top it all off, the same black Cadillac is driven by at least three different people. However, the only thing that saves this movie is the lighting. In some of the scenes it is impossible to make out some objects because there is so much light on them. The director chose to make people's faces glow, and the sky became a brilliant white. Similarly all windows blazed with whiteness. All the light reminds me of the fire that I threw this movie into after I finished watching it.

This movie is also called "Family Enforcer", but "death Collector"is the original title. Re-released after Joe Pesci's rise to fame a'la "Goodfellas" et al, this movie set the stage for all those to follow, including that film. Pesci's character is a minor role in this film. It follows the career of an italian guy "in the know" (not pesci) as he becomes, by steps, a mob collector, and believe me he enjoys his work. As the film progresses, he seeks to collect a debt from a deadbeat "made guy", and he makes no exception. This of course leads to feuds and an eventual contract on his head, which is enforced. In a way (thought I don't want to spoil it) the film starts at the end. This movie has a great shoot out at the end also. Great vintage 70's imagery. Truly a lost gem. I would recommend it as "homework" if you like goodfellas, casino, heat, et al. You will recognize more than just Pesci, by the way. Stands on it's own as a very good film, and a slice of another era, the fab 70's. I particularly love when they "whack" the guy on the toilet!

This story revolves around Joe Pesci's character. He is in the mob and his friend is also in the mob. He is a hot head and starts a war with another mob over an unpaid $400.00 loan. Soon revenge attacks in response to revenge attacks, etc. etc. is too much for the mob boss to tolerate because he originally advised that Joe Pesci's friend just keep the peace. In the end, the mob boss has his own guy killed because he is tired of disobeyed orders causing conflicts with rival previously on friendly terms mobs. Pesci is already dead also at this time as he always gets taken out near the end in all his mob films. That is the Pesci formula if you haven't noticed.

I hear rumors that this is Pesci's first film. Also look for cameos by Robert DeNiro, Harvey Keitel, and Al Pacino. Look for them but you won't find them anywhere in the film. They are not there. That's because Pesci carried this one on his own. Go Joe!

With this kind of movie you know three things are going to happen: (1) lots of explosions, (2) naked women, (3) none of it will make sense.

As mentioned by another reviewer, most of the "action" is seeing a bunch of motorcycles being driven around fields, rocks, and something that appears to be borrowed from a monster truck rally.

The climatic swordfight has only one good choreographed move, when Moor does a nice somersault kick--too bad Oshay forgot to react. Almost the entire sword fight is filmed really close-up so you don't see them actually hitting the swords together, just swinging elbows. Of course, since the "crystal" swords are clear plastic, they would have broken on the first hit.

If you really want to see this movie, wait until you can rent it for free at your local video store. Should you get the VHS or DVD? With a movie as lousy as this, does it really matter?

This DVD lacks all but the bare essentials as far as special features go. There's a scene index, some trailers, mini-biographies, and the movie, and that's it. The Roger Corman interview by film critic "Lenard" (sic) Maltin is listed on the case, but it is absent on the disk! Even the Corman data booklet is missing, although it too is listed on the case. I guess they just ran out of'em,

The movie itself has all the bare essentials--a bare Claudia Jennings (Playboy Playmate, Nov. '69) and a bare Valerie Rae Clark (Penthouse Pet, May '77.) Their nude scenes in Lord Zirpola's torture chamber are about all that make this film worth its price. And Claudia Jennings alone would be worth it. Her career was cut short when she died in an auto accident in 1979, at age 29.

David McLean plays the evil Lord Zirpola, in what was evidently his last movie role. He's best remembered by most as the unfortunate Marlboro Man, but I remember him for his short-lived 1960 TV series "Tate" in which he played a one-armed gunfighter!

David Carradine plays Kaz Oshay, a "Range Guide," a wanderer in the wilderness, in what is basically the same role he's played many times before and after, that of a rebel outcast fighting what little structured society there is left in a post-apocalyptic wasteland.

Richard Lynch is Zirpola's henchman Ankar Moor, a Range Guide, once good, but now gone bad, who serves the oppressive, corrupt city-state of Helix. Sound familiar? Everything about this movie is familiar. Except the dialog, which is ludicrous, particularly the Range Guide mantra chant. And in the escape scene Carradine says to the others "We'll fire together, one at a time!" Good trick!

The action scenes are mostly just long, confusing motorcycle chases through desert terrain, although the sword duel at the end is nicely done. The motorcycles are called "death machines." They seem to cause the deaths only of their riders. The special effects--lots of explosions, red laser blasts, mutant makeup, etc.--are pretty good for a low budget film. I recommend this DVD to all hard-core Roger Corman fans!

Death Sport is the greatest movie ever made. It was on clearance ...and although i own 100,000 copies i couldnt resist so i bought it. the movie has some great action scenes all leading up to the final duel between some guy and another guy who looks like chuck norris. In one scene you can actually see a rope connected to the stuntman. Also scenes are used over and over just with different noises. there is some great machines in the movie such as a scooter painted silver made to be a motorcycle. this movie shows that with the trillions of dollars it costed to make it the movie was great

Jean-Claude is at it again as a cop who goes undercover in the prison system to investigate a plot involving corruption among the cell guards.

The film heats up when Van Damme's arch-rival, a psychopathic killer who for some reason, which is never explained, can withstand bullets and other fatal moves, shows up at the prison and exposes him as an undercover cop.

If you're in for Van Damme, you know what to expect though this is a lot slower and less action-filled than a lot of his other features.

If you would of said Van Damme back in 1990,people would of responded he was in Bloodsport or Kickboxer which were simply martial art type of films.Van Damme stepped up to the level with Schwarzenegger and Stallone in this box-office hit.Even though jail movies have been done before like Stallones "Lockup" and Sean Penn's "Bad Boy's" Death Warrant took it into overtime,having a convincing villian in the "Sandman" and a believing hero in Van Damme.An undercover cop in jail?Dangerous if you ask me but Van Damme fights the odds and comes up victorious in an all out supercharged war.With fast pace kicks and fight sequences Van Damme is your ticket to nonstop action...

Van Damme (immortal genius) goes undercover to investigate mysterious murders in a prison. That's the whole plot. How genius of the writers and director. He encounters "The Sandman" and fights him in front of the whole ward. "The Sandman" thought he was smooth by breaking a lightbulb and trying to hurt Van Damme with it. He didn't succeed and Van Damme kicked him with his trademark noise and facial expression. Ultimate appreciation for that lord. The man wouldn't go down; Van Damme tried everything, until an ultimate Van Damme kick sent him to destruction. Astonishing!

Italian director Mario Bava (1914-1980) is one of the giants of the horror film genre. Bava's big break into came with his 1960 black and white classic "Black Sunday" starring Barbara Steele. This was only the beginning, as Bava churned out a series of gruesome shockers over the next seventeen years. His films always promised great style mixed with scenes of murder and mayhem. The Bava legacy continued with son Lamberto, one of the guiding lights behind "Demons," an instant cult favorite with gorehounds worldwide. Perhaps Mario's biggest contribution to horror movies was his 1972 picture "Twitch of the Death Nerve," also known as "Bay of Blood." It doesn't take too long to realize "Friday the 13th" shamelessly cribbed from Bava's bloodbath. At least two of the murders in this film appear almost unchanged in the first installment of the Jason Voorhees franchise. That's right: Mario Bava gave birth to the modern slasher film.

The Countess Frederica Donati is a wealthy woman who owns most of the land around a beautiful bay. It is quite unfortunate for her that there are many people interested in gaining control of the land in order to build shopping malls or a resort then in keeping the bay in pristine condition. Donati refuses to sell out her interest, however, and this sparks a jealousy and greed with tragic consequences for anyone in the area. Someone will have Donati's land, even if they have to murder anyone who gets in their way. The first murder (there are ultimately thirteen of them'ring any bells? Remember the trailer to the original "Friday the 13th" trailer that counted up the murders?) claims the countess herself, strung up with a noose in a particularly cruel way. Throw in a greedy lawyer and his secretary, an illegimate son who fishes for squid in the bay, a nature lover and his loony, tarot card reading wife, a quartet of kids looking for some fun, and a family of four with a personal stake in the disposition of the bay's land and you have the makings for a non-stop blitz of murder and mayhem. Just when you think you know who the murderer is, Bava throws a curveball and reveals a little more of the background concerning the struggle over Donati's inheritance. By the time you get to the conclusion you have no idea where this thing is going to end up. I am still shaking my head over the last minute of the film, trying to decide if what I saw is the most ridiculous ending in film history or one of the most brilliant. "Twitch of the Death Nerve" may have loads of graphic killings, but it also has one of the most convoluted plots in horror film history.

The secondary elements of the film, namely gore, atmosphere, and acting, are all well done for this type of movie. You don't often expect great acting with Italian horror films, and you don't exactly get that here, but it is above average. The atmosphere is spectacular, with lots of fade-ins and outs, excellent use of colors, and an oppressive sense of doom hanging over the entire movie. "Twitch of the Death Nerve" is definitely not made by some yuck with a video camera looking to make a few bucks on the straight to video market. Mario Bava knows how to craft atmosphere and scenery, and he does a great job here. The gore is slightly more problematic, with some scenes really working while others looking decidedly cheesy. Still, the intention is here, as the film possesses a streak of cruelty not seen in many horror films.

The biggest difficulty in watching "Twitch of the Death Nerve" falls squarely in the lap of Image Entertainment, the company that released this DVD version of the film. The extras aren't the problem, as there are enough goodies here to satiate every horror aficionado. Image throws in a "murder menu" where you can go straight to the grue, a funky trailer for the film under the title "Carnage" that is one of the most inventive movie trailers I have ever seen, two cheesy radio spots, a biography and filmography of Mario Bava, and trailers for SIX other Bava films released under the Image banner. How can it all go wrong after such a bonanza? It's the sound, my friend. The audio for the film is the worst I've ever heard on a DVD. Dialogue is tinny, drops out with cringing regularity, and then swells up so much I feared my system would explode. In fact, I thought my sound system wasn't working correctly until I saw other reviewers complaining about the sound on the DVD. I cannot imagine any company releasing a product with audio this bad. There is a "Bay of Blood" DVD released under the Scimitar label that supposedly has good audio, but the picture quality on that disc is reportedly mediocre. If we can find a way to transfer that audio track to this disc's picture quality (which is pretty good with a minimum of grain), maybe "Twitch of the Death Nerve" would be the total package. Yes, the audio is THAT bad! What a shame, too. The soundtrack for this film is excellent, with lots of drums and orchestral movements that really add a suspenseful element to the movie.

I'm looking forward to seeing other Mario Bava films in the future, hopefully with better sound quality than this. Mario was quite the technician with his films, not only sitting in the director's chair but working on the special effects and scripts as well. He's probably rolling in his grave right now over Image's mutilation of his movie.

In short, another masterpiece from horror maestro bava and a beautiful widescreen transfer dvd with one litte exception, in terms of sound quality this is the worst dvd ever released!!!
The music is as loud and distorted as each dialogue is low and barely audible unless you have a stadium sound equipment of course. So DON'T BUY IT and go for a vhs or dvd english edition of this one, it's not uncut but the sound is perfectly OK. Shame, shame, shame Image Entertainment!!!

And it does so many times in this movie. A double-murder within the first ten minutes of a movie gets the pace going in what has been called the utmost in Mario Bava's ouvre of horror movies. Minutes after Countess Federica is murdered by her husband Filippo Donati, he himself is killed by an unknown person and his body dragged away.

Many people then come down to the bay. There's Albert and his wife Renata, the latter being Donati's daughter. Frank Ventura is the scheming architect who wants to turn the bay and the area into some unspecified development project. There are also some teenagers who arrive in a yellow dune buggy and carouse in the abandoned night club by the bay. They are murdered most foully. It is the scene involving these people that served as the guiding inspiration for the Friday The 13th series, you know, brainless teens getting chopped up. But they are quick and brutal, or surprising in one case. Brunhilda, a German girl who looks like Penny Irving (House of Whipcord, Are You Being Served?) has a nice nude swim and a shocking surprise before her demise. She's actually one of the more decent of the four.

Of the residents, entomologist Paolo Fosatti, who is too involved in his Coleoptera (that's the taxonomic order of beetles, BTW) than in his complaining, wine-bipping, fortune-telling wife Anna, and when she was alive, Countess Federica, are opposed to turning the bay "into a sea of cement," the former for the insect life, the latter for its natural beauty and serenity. Simon, the Countess's illegitimate son, hunts squid and lives by the bay.

This movie is also known as Bay Of Blood, Carnage, The Last House On The Left Part II, Ecology Of A Crime, Reazione a Catena, and Antefatto, so take your pick, but Twitch Of The Death Nerve is the official English title. Whatever the title, this film sports a very high body count and brutal blood flow. Despite the cover boasting it being the uncut version, running 84 minutes, I read in one of my film books that the running time was 90 minutes, so a discrepancy there.

The only face I recognized here was Claudine Auger (Renata), who played vivacious Domino in the Bond movie Thunderball. Here though, there is not a shred of decency or compassion in this Lady Macbeth of a woman. Mario Bava's stylish technique on lingering on victims and blood plays a large part here, as does Stelvio Cipriani's piano score, which resembles that of the Rachmaninoff-like love theme in his first movie, Black Sunday.

It's difficult to filter out the message of human greed and also that of preserving the environment. Simon says it best: "Man should live and let live and without any interference." When Fosatti points out that the squid he was eating was alive, Simon retorts, "At least I eat my squid. I don't kill as a hobby like you do. If you kill for killing's sake, you become a monster."