Las siete puertas del infierno

If you think Dario Argento doesn't give a damn about coherent plots, check out Lucio Fulci! 'The Beyond' does have a (Lovecraftian) plot as such - a woman inherits a hotel in Louisiana that contains one of the doorways to Hell - but that is basically an excuse for Fulci to string together a series of fantastic and frequently gory images. These include zombie attacks, eye gougings, a better dog attack scene than 'Suspiria', the crucifixion of a Satanist, and a sequence involving tarantulas which has to be one of the high points of horror, anywhere, anytime.

'The Beyond' is sensational and a bona fide modern horror classic. Absolutely essential viewing!

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.

This film has great atmosphere. There are some great moments and elements here.

I like it's approach to horror. To me it inspires the imagination.

It holds up as a gory film, even today. Which is an accomplishment.

However this film is not for everyone. You have to be able to appreciate older movies. And have a little open mindedness. But it does hold up well.

With movies like this, with giallo in particular, it won't be appreciated by some close-minded modern viewers.

Because this film works on inspiring the imagination.

With movies like this, it taps into that sense of wonder connected with fear and mystery.

A capacity for wonder is sorely lacking in our day.

Why this film works well is that it taps into wonder, fear and mystery. It implies more than it shows.

In usual Fulci style, it zooms up and focuses on the gore instead of cutting away from it, or whatever. Which I really appreciate.

But if you truly understand this movie, the impact comes not from gore but from what is implied in the story. And the atmosphere.

The film has a great ending which really makes the film for me.

Now it is a little bit of a slow burn. But even in that there is death and gore happening so it certainly shouldn't be considered boring.

But it takes time to build into the crescendo of the final act.

Some might consider it dated but in actually it has that charm of time. It has this late 70s horror vibe that can be really enjoyable for a genre fan.

(Yes, I know it was made in '81)

Ultimately, an objectively great film.

But I would only recommend it to open minded, perceptive viewers who can appreciate it like it deserves.

The idea of a gateway to hell being opened has potential but this movie doesn't pull it off. The story lacks details, the characters trait's are not developed enough, and the dialog is utterly ridiculous ("Attack Dickie! Attack!"). The only reason someone might want to see this movie is because of the gore, which the movie has a lot of, but some scenes are unrealistic. I advise people that aren't fans of Fulci's work to steer clear.

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