Jenseits des Bösen

A few things about this film should attract cult film aficionados. Firstly, it stars John Saxon and Lynda Day George. It was also released on the infamous video label VIPCO (home of Zombie Flesh Eaters and Shogun Assassin in the early 80's). It's also features some of the cheapest special effects I've ever seen which have aged incredibly badly. In other words, it's great fun and has plenty of things going for it.

A couple move to a tropical island and find a mansion that is so cheap that they have to buy it. But it then becomes apparent that Barbara (George) is showing signs of being possessed by the evil spirit of the wife of the previous owner who was practising the occult before she ended up killing and being killed by her husband.

This is kitsch cult cinema at it's purest- bad effects, bad acting, bad plot. BUT, very enjoyable because of it. This film has, erm, character! This movie would be perfect if you stumbled upon it on an obscure cable channel late at night.

I first noticed the lovely "Linda Day George" in "Pieces" where she made bad-horror-movie history by screaming "BASTARRRRDS!" three times in a row to riotous effect. She's not as overtly hilarious here (in fact, it appears she was probably a decent actor, generally) but she's really the only reason I could recommend this relatively average flick. She rolls her eyes, runs around with an over-sized finger (don't ask!) and, while possessed, does some seductive things. I knew it would be a fun movie during a scene early on where she walked around her apartment, anxious about the rain outside, then finally threw her things down and yelled, "DAMN!" with what seemed like every emotive power she ever learned in acting school! Strassberg would've been proud. And I can't look away! Linda had some great moments later too, but that single moment was the most (unintentionally) funny.

Another nice surprise, during the opening credits I heard this overwrought, sweeping score with lots of strings and lots of starts-and-stops...I thought, "My this sounds like Pino Donaggio!" And it turned out it was! Another satisfying score from the almost-always dependable Pino, who appears to be the busiest composer in history. Most of his usual touches are here--great chase music, an achingly beautiful "love theme" and a finale that leaves you feeling somehow sentimental even if the movie was total crap.

Which this one pretty much was. John Saxon is great--especially kicking ass and going, "Stay!" to a would be attacker. He's cool and this film didn't hurt him a bit, thankfully. Otherwise there's not much here in this "would-be" giallo: **a crossed-eyed ghost woman with green laser eyes **no sex and minimal gore, although what there is was pleasantly repulsive **terrible effects **slow pace **sloppy editing **plots stolen from "Amityville," "Exorcist," "Beyond The Door" and especially "Suspiria," and **no surprises, really. It DOES have some hilariously bad deaths though, if you're in the mood, which I usually am, and if you can stay awake. The death of a guy in a "posessed" car that's barely moving is not to be missed--especially when he spontaneously explodes into fire, but continues to scream! I don't know who Herb Freed was or why he was making cheap horror movies, but this is not the WORST movie ever. Keep the fast-forward button handy and this is an enjoyable piece of mind-sludge.

John Saxon ("Black Christmas"!) and Lynda Day George ("Pieces"!) form a fabulous horror couple in this cheap and bizarre, but nevertheless intriguing little 80's film, set on a remote Southern island. The story isn't exactly original, blending cliché horror premises like haunted houses, soul-possessions, spiritual tribes and witchcraft, and yet, there isn't a dull moment to detect anywhere. This is largely thanks to the enthusiast acting performances and the surefooted direction of Herbert Freed. "Beyond Evil" is quite an oddity, because the special effects are very amateurish (sometimes even downright laughable) and still the wholesome remains a spooky and unsettling horror tale. Upon their arrival at the island, newlyweds Larry and Barbara are offered a beautiful and gigantic mansion to live in. Through a very atmospheric flashback-story, however, we learn that this same mansion was once homed by the sinister Alma Martin and her unfaithful husband. He poisoned Alma but her restless spirit still dwells around the mansion. Now, 100 years later, Alma Martin sees her change to reincarnate through Barbara and she won't hesitate to destroy everyone that tries to prevent this from happening. As previously stated, the special and visual effects are terrible… They often exclusively exist of funky green laser beams projected from the eyes of Alma Martin and they're not very convincing. Still, the film does offer some genuine shocks whenever budget isn't required, like Alma's ghostly appearances out of nowhere or the creepy shots inside the crypt. Especially since it's such an inexplicably fascinating movie, "Beyond Evil" should be categorized under 'interesting failures' and not just under 'worthless horror junk'! If you can pick up the DVD for a reasonably cheap price, it's definitely worth buying.

Larry and Barbara Andrews (John Saxon and Lynda Day George) move into their new mansion only to find it haunted. We know it's haunted due to an opening tipoff scene, and also because the Andrews' are treated to a story / flashback of the previous owners, a sorceress named Alma and her idiot husband.

Now, Alma's back, and she's pi$$ed!

BEYOND EVIL is a preposterous tale of supernatural non-terror. The creepier it tries to be, the funnier it gets! Alma is a riot with her green, laser-blasting eyeballs and leering theatrics!

Be sure to listen for the overwrought musical score and "demonic" chanting!

BEST SCENE: The self-destructing Cadillac!

Drop whatever your doing and watch this right now!...

Beyond Evil represents an ambitious but ultimately misguided attempt to transplant gothic horror sensibilities to an exotic Filipino island setting. The film follows an architect who suspects his wife is possessed by a former resident of the historic colonial mansion they have just moved into, but what should have been a compelling supernatural thriller instead becomes a textbook example of how good intentions and adequate resources cannot compensate for fundamental storytelling deficiencies. The tropical backdrop provides an interesting visual contrast to traditional haunted house narratives, yet the film consistently undermines its own atmospheric potential through overwrought performances and questionable creative choices.

John Saxon delivers a workmanlike performance as Larry Andrews, the concerned husband who gradually realizes his new bride may be under malevolent influence. Saxon's natural screen presence and professional demeanor help ground the increasingly ridiculous proceedings, though even his considerable skills cannot elevate material that seems determined to veer toward unintentional comedy. Lynda Day George faces the more challenging task of portraying Barbara's transformation from loving wife to vessel for supernatural revenge, and while she commits fully to the role's physical demands, the script provides little psychological foundation for her character's journey.

The film's most significant problem lies in its tonal inconsistency and inability to generate genuine suspense. The supernatural elements, including "green, laser-blasting eyeballs" and other optical effects, often feel more ridiculous than frightening. Freed's direction shows clear influence from Italian gothic horror films of the 1960s, but lacks the visual poetry and atmospheric control that made those works effective. The pacing suffers from extended sequences that feel more like padding than dramatic development, particularly during the middle act when the possession storyline should be building momentum.

The horror elements prove disappointingly light, offering suspense rather than genuine scares, which might have been acceptable if the film had committed to being a psychological thriller instead of promising supernatural terror. The supporting cast, including Michael Dante as the duplicitous business partner Del and David Opatoshu as the mystical Dr. Solomon, provides adequate backup but cannot overcome the script's fundamental weaknesses. Mario Milano as the local contact Albanos brings some authentic regional flavor to the proceedings, though his character serves more as exposition delivery than genuine personality.

The film's production values remain consistently professional, with the Philippine locations providing genuinely beautiful backdrops that the cinematography captures competently. The mansion itself becomes an effective character, its colonial architecture suggesting histories of exploitation and violence that the supernatural elements attempt to literalize. However, the musical score tends toward overwrought melodrama that telegraphs every emotional beat, robbing scenes of subtlety and genuine tension.

Despite these considerable flaws, "Beyond Evil" occasionally succeeds in creating moments of genuine unease, particularly when focusing on the gradual dissolution of Larry and Barbara's relationship under supernatural pressure. The film's exploration of possession as metaphor for loss of identity within marriage shows glimpses of thematic sophistication that a more focused approach might have developed effectively.