Die Geisterstadt der Zombies

This is a creepy horror film plenty of brutal images and gory events . A New Yorker heir ( Katriona MacColl, Fulci's ordinary ) moves an old mansion-hotel in Louisiana and she wishes restore it . She investigates the weird deeds happened in a room and by basement of the old motel that is built on top of the door to the beyond. Bloody and purulent specters roam there. She is confronted with rare happenings as a worker has a lethal fall, the plumber is cruelly murdered and her blind friend is bitten by a dog that breaks his neck. When she escapes to the hospital along with friendly doctor McCabe ( David Wabeck ) she doesn't know what a new horror is waiting there . Early rare deeds begin to happen to them, as they start hearing noises, rare characters and tragic killings. Quote from the book of Eibon: "And you will face the sea of darkness, and all therein may be explored¨.

Chilling Italian terror flick full of screams, chills, thrills and lots of blood and guts. Gory, gruesome , pretty repellent , and ghastly gore feast in which the stumbling stiff dead are reanimated and committing astonishing murders . This is a classic excruciatingly splatter film in which the intrigue,tension, suspense appears threatening and lurking in every room, corridors , cellar , hospital , morgue and many other places . This unrelenting shock-feast packs good make-up and special effects make-up by the maestro Gianetto De Rossi. Produced on a tight budget by Fabrizio De Angelis , Fulci's usual producer and occasionally director. Eerie musical score composed and conducted by Fabio Frizzi . Usual secondary actors as Veronica Lazar , Al Cliver and of course special appearance of Lucio Fulci as librarian clerk . This genuinely frightening story with correct utilization of images-shock is well photographed by Sergio Salvati on location in Louisiana and Italy . The motion picture is realized by one of the most controversial filmmakers of terror movies ,Lucio Fulci in his usual style with flaws and gaps but is professionally made because he is a skilled craftsman . He creates a strange horror thriller that manages to be both scary and skilfully made, deserving its cult status . Reviewers are divided over booth the morals and talents of Fulci (1927-1996) who sometimes directed under the alias ¨Louis Fuller¨. For some critics many of his movies are cruel and shockingly violent, yet their gory surface often conceals religious, social commentaries or intelligent issues. Whether he should be viewed as a cheap sensationalist or just a genius Fulci has a loyal fan base and undeniably has an important and unique influence on the terror genre , creating great works on a low budget such as proved in ¨ The black cat ¨, ¨Manhattan baby¨, ¨Gates of Hell¨, ¨Island of the living dead¨, ¨New York ripper¨ , among them. this is one more imaginative horror pictures in which the camera stalks in sinister style . It's just one long unrelenting guts-feast and passable budget horror movie that still packs a punch for those who like to be terrorized out their wits . This gore-feast that tried to disguised itself under many other titles will appeal to Lucio Fulci aficionados.

The Beyond is one of Fulci's best films. The film takes place in modern day Louisiana as a woman oversees the the renevation of an hotel that she inherits. Strange and gory things start to happen and poof the hotel just happens to be over one of the 7 doors to hell. Very bloody with a slightly incoherent plot the film is a lot of fun and I suspect that no Fulci fan should be without their copy. Visually I think this is Fulci's best film (that I've seen) and the acting is what you'd expect. 7 / 10: FULCI LIVES

A woman attempting to fix up an old southern house she inherited accidentally stumbles upon one of the seven doors to hell and unleashes a torrent of nightmarish terror into the world.

Lucio Fulci films can be an acquired taste. While his talent for creating unforgettable and gory images is obvious, his scripts don't always make the most sense and this is no exception. It gets by on mostly style and gore effects alone and the script is nothing more than a skeleton.

This is probably my favorite horror movie of all time, and that stacks up against the pure genius of stuff like Phantasm, Evil Dead, Phenomenon and Dead Alive or any Romero. We have "Shocktoberfest" at my place every year over several nights, and I remember it being the 2008 election season when we watched The Beyond (like we do just about every year). We were totally blown away by John McCain and Joe the Plumber being in the same movie from 1981!!! Well, it's actually "John McCabe" but being that close to the election we could only hear "McCain," and our heads probably weren't on completely straight. Fulci is a master and transcends space-time to bring us the ultimate in fear and gore.

A Louisiana hotel is discovered to be one of the seven gateways to hell. The other world does not wish the hotel opened, so a horde of zombies is unleashed on the town. Also, there is a character named Joe the Plumber.

Starring the lovely and talented Catriona MacColl, directed by Lucio Fulci and written by Dardano Sacchetti... who has a virtual monopoly on Italian horror. This is a great cast and crew.

Howard Maxford says the film's "occasional visual flair may commend it to Fulci completists." I was under the impression this was considered one of Fulci's stronger films, but his comment makes me wonder.

Indeed, the visuals are Fulcis' strong point. An eye getting torn out, a crucifixion, eye piercing, shards of glass, tarantulas, acid... he does the best gore one can expect from a low budget film. (Thank you, effects wizard Giannetto de Rossi.) Luca Palmerini, who calls the film "first rate", claims there are many references to classic Italian horror, the films of Tobe Hooper and Winner, and the literature of Graegorius and Sidney. These were clearly over my head, but only add to the greatness of the film.

My horror idol Jon Kitley sums it up best: "Fulci isn't interested in a coherent storyline, with all the loose ends tidied up at the end of 90 minutes. He is more concerned with creating a series of sequences meant to scare you. Horrify you. And hopefully, even gross you out." This fits Fulci perfectly, but also is not a bad way to describe Italian horror in general. (Fulci freely admits the film has "no logic" and is "plotless".) I love the smile Catriona MacColl flashes as David Warbeck tries to put a bullet in the front of a pistol while in the elevator. Clearly, anyone who knows how to use a gun would not load it this way. But also, Fulci could have cut the film a second earlier and avoided the momentary smile that appears in an otherwise tense and terrifying scene.

Any die-hard horror fan or fan of Italian horror must see this film. It is a true classic, regardless of the fact it may be overlooked by some horror historians (Italian horror has always taken a backseat to American or British horror, and even among Italian films, Fulci takes a backseat to Argento.) Check this one out.