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Directed by Lucio Fulci
...E tu vivrai nel terrore! L'aldilà
An atmospheric, brutal horror.
New Yorker Liza Merril inherits an old hotel in Louisiana and invests her savings to reopen the place, unaware that the hotel houses the body of a dead painter murdered decades earlier, and that the location is about to become a gateway to Hell.
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The second this movie starts it's already too late. Every moment seems off, wrong, dreadful. Scenes hazily slide into each other and even the spaces between spaces break down. Hell is a steady leak. Doom is slow but inexorable.Forgive the anachronistic comparison, but this is Fulci's PRINCE OF DARKNESS.
A short report of me watching the Beyond:Cool, opening gore, that's always good!YES! A house built on one of the gateways to hell! This can only get better!Why am I listening to seventies porn music all of a sudden?Cool, some gore.What's up with the blind chick with the creepy eyes?Why is everyone screaming all the time?Again with the porn music.What's up in the morgue? Why is everything happening in slow motion? Why is the little girl blind now? WHY?Everyone is screaming again.Now books are disappearing all of sudden.Lightning in the library? Where did those spiders come from? AND WHY ARE THEY MAKING KITTEN NOISES???Bit of porn music.Cool, a zombie that sounds like Darth Vader. Blind chick, what are you doing?'Attack Dicky, attack!!' Somehow I expected porn music there.Yay, gore!Stop ringing that bell. It is rather annoying...Now there's lightning in the cellar. And the paintings are bleeding. WHAT IS GOING ON??Zombies!!The little blind girl again. In the morgue. Again. Why? Again.A spot of gore. Nice!Darth Vader zombie rules!Huh? What? Teleportation?They play the flute in hell apparently.The end. THE END?? What the fuck did I just watch and why did I like it??End of report.
This movie is simply obsessed with squishing people’s eyeballs out of their heads like a Panic Pete stress toy. Lucio Fulci was horrified by the human body, which he depicts here as a wet, mostly hollow container of tendons made of chewing gum and packed with almost magenta blood that shoots out of you like a t-shirt cannon if you so much as scratch yourself. The gore is beautiful and Fulci presents it to you like a cat bringing you a mole. Gruesome but almost sweet. But by the tenth mole you begin to have some questions about the situation with your yard.There’s a mystery here about a doorway to hell but the characters are constantly and brutally punished for investigating it. The dawning realization that the movie has no interest in answering its own mystery is powerful. In fact you almost get a sense that movie is demonstrating what will happen to you and your eyeballs if you start asking too many questions. Just enjoy the ride, don’t think about it too hard. If only more movies taught us that the price of saying “so you mean to tell me” or “wait, so in the logic of this movie” is a four minute scene where tarantulas eat you while you scream and somehow fail to defend yourself. Maybe it’s me. I make art that people are not shy about responding to with a “everything okay, Branson?” or a “did you mean this?” and I found it deeply cathartic to watch people get exploded for that kind of behavior.
An inheritor of an old Louisiana hotel discovers the building sits directly atop one of the seven gateways to hell, unleashing supernatural terror.
The film was directed by Italian filmmaker Lucio Fulci in 1981, renowned for his contributions to splatter and surrealist horror cinema.
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