Ojos asesinos

As a horror-film fan who likes certain types of chillers, I would say this bit of work is solid in atmosphere and fairly gripping at times.The musical score is out of this world, and John DiSanti was brilliant.The directing by Mr.Weiderhorn was very creative and was at the near peak of perfection in capturing the mood and atmosphere of the stalk scenes.I found the conclusion somewhat anti-climatic, but most all else was captivating.This film arrived on the scene right at the high water-mark for slasher-chiller flicks,and it is easily lost in the clutter of all the other famous and even not-so famous films of this genre.Once again the music was delightfully scary.

A series of gruesome sex murders is plaguing a coastal community of Miami and the police seem to be well behind the eight ball. Jane, a local TV news reader urges viewers each time a murder happens to ring up with any sort of information to catch this killer. This really strikes a nerve with her, as her blind and deaf sister Tracy who she lives with was raped and left for dead when she was a child. Causing this traumatic condition. After some unusual coincidences, Jane starts to suspect her neighbour Stanley Herbert might be behind the murders.

After making the sorely underrated 70s horror gem "Shock Waves" (which appears in the film in a couple of shots focusing on a TV), director Ken Wiederhorn returns back to the genre with an low-budget Hitchcock inspired thriller, which to fit the trend of the times it also threw in many 80s slasher traits. While derivatively clichéd and filled with some implausible scenarios, it's still well made and actually can be creepy, suspenseful and at times a clever exercise in familiarity. The voyeuristic plot, yep it's got one. Rings true to "Rear Window (1954)" and even "Wait Until Dark (1967)". The killer's identity is brought up quite early, so there's no surprise there and through flashbacks we actually see what happened to Tracy. Which goes a long way to show how hard it hit Jane and the guilt that plagues her with her involvement in getting this predator. The characters here are capable of looking after themselves and have good judgement of common sense.

After a strong opening half and being realistically staged in parts, it then it falls away gradually and becomes the run-of-the-mill stalk and slash vehicle that simply leaves you waiting for it cracking conclusion. What little substance it generates is broken up by the ridiculously nonthreatening phone calls taunting his victims and its random acts of unpleasant violence. Make-up artist Tom Savini is the master behind the death-sequences and crafts some good effects. While, one or two moments stand out, sadly most of the scenes were off camera or were cut out. The suspenseful situation really does lose out to the basic slasher set-ups and seedy intentions of its material. Wiederhorn's tight direction is sturdily achieved and he doesn't go at a cracking pace. The grimly washed-out look of the film enhances the eerily sordid atmosphere. The moody lighting, Richard Einhorn and Red Neinkirchen's ominously alarming electronic music score and leering camera-work by Mini Rojas simply soaked up the encroaching menace of a city plagued by a vicious killer. The cast provide spot-on performances. An effectively worthy Lauren Tewes (Love Boat fame) gives it her all as the gusty TV news reader Jane and the delightfully stunning Jennifer Jason Leigh in her first major screen role plays it accordingly assured as the blind/death Tracy. Looking the part, John DiSanti's lumbering physic and unnerving attitude is rather convincing as the murderer.

It's nothing out of the ordinary and it can get contrived, but it's well-made and provides potently active lead performances.

(**1/2 out of *****)

"The Love Boat"'s Lauren Tewes and Jennifer Jason Leigh (in one of her first roles) star in this derivative, unpleasant, but not-too-bad movie about a serial rapist-killer who makes obscene and threatening phone calls to his potential victims before murdering them (like in "Black Christmas"). One male victim is decapitated and his head is stuffed in a fish tank (like in "He Knows You're Alone"). Tewes plays a local news anchorwoman who suspects that the tenant in the apartment across the yard from hers is the killer, so she spies on him and conducts her own investigation (like in "Rear Window" and "Sisters"). In spite of the obvious influences from better films and the near-misogynistic depictions of women being stalked, raped and murdered, this movie does manage to generate some genuine suspense here and there, particularly in the frightening climax. Tom Savini did the make-up effects, but it looks like a lot of the potentially bloodier stuff was cut out. Wiederhorn also directed the much-better ‘77 underwater-Nazi-zombie thriller "Shock Waves," which, in this film, is shown playing on television in two different scenes (and, curiously, also features one victim being stuffed in a fish tank -- does this recurring motiff make Wiederhorn some kind of an auteur?)

HIGHLIGHT: Alone in the apartment with Leigh, who plays Tewes' deaf, mute, and blind younger sister, the killer toys with her by moving plates and knives out of her reach while she tries to cut a piece of cake.

Set in Miami, Florida, the film follows Jane (Lauren Tewes) a TV news reporter who covers the murders of a serial murderer/rapist. Jane lives with her sister, Tracy (Jennifer Jason Leigh in her first film role), who after an encounter with an abductor as a child renders her blind, deaf and mute leaving Jane with survivor's guilt. Jane sees suspicious behavior from a neighbor in the adjacent apartment block, Stanley Herbert (John DiSanti), and suspects he may be the killer. Jane's suspicions are confirmed and Jane uses her skills and resources to turn the tables on the killer.

Released in 1981, Eyes of a Stranger marked director Ken Wiederhorn's third feature film following the cult zombie film Shock Waves and forgotten Animal House rip-off King Frat. The film was unique among most slasher films having come from a major studio, Warner Brothers, and forgoing the isolated country sides or suburban settings that defined the ambiance of Friday the 13th, Halloween, and the subsequent films they inspired and went for a more urban environment. Eyes of a Stranger doesn't follow the typical slasher formula wherein we focus on a group as slowly one by one the characters are killed in various fashions, but instead the movie is told from the point of view of Jane as she investigates her suspicions in an almost Noir-ish approach to the material there's a decent story idea at the core of Eyes of a Stranger, but it feels like it's rather unsure of itself as it wavers between traditional thriller tropes and slasher tropes with both ends feeling rather underdeveloped.

I think the biggest mistake the movie makes is in letting us the audience know that Stanley Herbert is a killer from the get go. While initially Stanley's face is obscured in shadow or off camera during the initial kills, the movie eventually drops this and it's made clear he is the killer. The fact we already know who the killer is robs much of Jane's investigative story of its tension as conversations with her lawyer boyfriend where they debate whether he is the killer feel pointless since we already know Jane is right and it's just the movie spinning its wheels until the inevitable climax. The kills are very much inspired by slasher trends and the gore work (in the uncut version I saw) by Tom Savini is par for the course well done and carries weight and impact, but we know so little about the people being killed because they're not main characters and you feel nothing when they die because there's no investment. It's not to say that this kind of framework can't work as there's been a number of Giallo films from the likes of Mario Bava or Dario Argento that cover material in this fashion, but those films usually try to have a sense of moral ambiguity to them with time taken to establish intrigue or character. We do get an idea of the impetus as to what motivates Jane's plan against Stanley, but it isn't all that fleshed out and feels like a footnote. Stanley himself isn't all that interesting and basically plays a standard quiet loner but even with that we don't get much of an idea as to who Stanley is outside his kills. His apartment is spotless and bland with only a Cuckoo clock that serves as a plot point standing out and we have no idea what he's like outside of the killings so he's basically just a murder machine for Jane to fight against.

Eyes of a Stranger is technically superior and has a more interesting story core than most of its contemporaries of the 1980s Slasher Glut, but it doesn't fully commit to being a thriller or a slasher and wobbles un easily between the two not really satisfying the standards for one or the other. The movie does have an intriguing noir-ish style that made the film more visually interesting in comparison to other films of similar ilk and the effects work by Savini is good as usual, but at the end it feels a hodgepodge of ideas from Rear Window, Wait Until Dark, and Peeping Tom with some contemporary gore work added that doesn't give the film much of its own identity. It's serviceable, but I can't give it much more than that.

It's not bad at all but it has some flaws. What killer leaves his muddy shoes in the closet to be found there by a lady who's living in the same building? Only a stupid killer. What killer throw a shirt dirty with blood in the garbage bin from the garage at the base of the block where he lives? The same stupid killer. But they're all stupid, the killers, since they commit crimes. I wanted to watch this because of Jennifer Jason Leigh. But she has a small role of a deaf-mute almost blind. She's very young, one of her first roles. OK, let's accept that she has a very strong shock, being almost raped by the killer-psychopath and that helps returning her sight and speech. The interesting idea of the movie is the killer watched by the neighbor, tortured by phone, as he watched and tortured his victims. Lauren Tewes looks like Agnetha Fältskog, the blonde of ABBA, and John DiSanti, the killer, looks like Rod Steiger. They are both very good, specially DiSanti.