Diabólico terror absoluto

After an incident that should have been fatal, starving artist, George Miller (Dennis Lipscomb) begins exhibiting odd behavior and certain mental abilities. George sets out to use these powers to enact grisly RETRIBUTION on a few "old friends", even though he's never met them before. What's going on? Is George possessed? Cracking up? Both?

As 1980's horror cheeeze goes, this is a double mozzarella masterpiece!

IT CONTAINS: #1- Supernatural, telekinetic terror! #2- George's romance with Angel (Suzanne Snyder), the proverbial "prostitute with a heart of gold"! #3- Hoyt Axton as Lt. Ashley!

EXTRA POINTS FOR: George's glowing green eyeballs!

Drop everything and watch this right now!...

Solid B-movie with OK performances and slam-bang special effects. This is one of those neglected little thrillers that set out not to offer anything new to the genre, but at least to give fans of those movies their money's worth. And this one generally seems to know its business (although it does get a little too loud near the end). (**)

One really good episode of TALES FROM THE DARKSIDE that I remember is "Dead Man's Shoes," where an average Joe finds a pair of shoes and decides to put them on. The shoes, however, belonged to a recently deceased mobster, who decides to possess the man and seek revenge on those who sent him to his grave. RETRIBUTION is just like that, only a lot bloodier.

George is a depressed painter who's had it with life. On Halloween night, he jumps off the roof of his apartment building and dies. However, he is brought back by some paramedics, but something isn't quite right with him. Whenever he falls asleep, he has dreams of killing people in gruesome ways, and when he awakens, these people are actually dead. You see, he is now possessed by a mobster who not only shared his birthday, but he was gunned down at the same time George realized he can't fly, so now, the mobster is killing those who killed him. Can George stop him before the killing begins again?

RETRIBUTION is a decent enough watch, but it could have been a whole lot better. Considering this was released in the trash-tastic year of 1987, they managed to have a really intriguing plot, great actors, and good gore effects. Unfortunately, they underplay everything except the actors.

Yes, there is a lot of talking and a lot of character building, which is both a good and a bad thing. Good, because we actually begin to like and connect with the characters. Bad, because it keeps us away from the good stuff.

The kills in RETRIBUTION are all gory, all inventive, and there aren't many of them. There are only four people who gunned down Vito (the mobster), and he doesn't even get his revenge on all of them. There is some great build-up and suspense with the deaths and the "possessed George" is frightening enough to work.

There are a lot of scenes where George's possession takes hold, like when they go to a spiritualist, or when he paints several portraits of the charred Vito (which looks eerily similar to Freddy).

Don't get me wrong; RETRIBUTION is from being a bad movie, it's just not all that great. I liked all the characters, I liked the gore, and the scares were good, it's just that each of these is either underplayed or overplayed. It's "technically" a lot better than most late-eighties direct-to-video garbage; it's just not as entertaining as it should be.

Still, it's worth watching.

Surprisingly good!

A plain, somewhat overweight, nerdy-looking man stands on the edge of the roof of the Don Hotel (no "tiny bubbles" jokes in the movie, though). From the masks on the people below, we can tell it's Halloween. He jumps, and the monsters below look sad. We see the tunnel of light, but a burnt or mutated face appears as emergency responders try to revive him.

In the hospital, he's rehabilitated, though he now walks with a cane and limp. The people in the Don Hotel, a somewhat strange bunch, are sympathetic, as is a neighborhood hooker he's friendly with. However, he has horrible vivid nightmares involving murder. Additionally, while he paints blood appears out of nowhere, and does at other times too and isn't just a hallucination it seems.

In the nightmares, he visits people and brutally kills them with some sort of telepathic abilities while his eyes glow. In the morning, the deaths are in the paper. Though there aren't a lot of murders, the scenes are pretty strong. One begins with some particularly graphic (possibly real) shots of a slaughterhouse. The way a man dies there is quite memorable.

While a Catholic priest works at the hospital, and the main character visits a church, the one attempt at exorcism is done by a "Dr. Rasta"! Perhaps more surprisingly, he's a friend of the hooker.

Starving artist George (Dennis Lipscomb) decides to end his life by jumping off his apartment building on Halloween night. As he lays dying, his body receives the spirit of a man who shares his birthday and is killed at the exact same time (confused?). He lives and the spirit takes over when George goes to sleep and seeks retribution on folks who burned him alive (Freddy who?). Of course, his psychiatrist Dr. Curtis (Leslie Wing) thinks he's crazy and Lt. Ashley (Hoyt Axton) thinks he is the killer. This is a pretty solid horror flick that I liked even more watching it now than back in the 80s. You can hear the filmmakers whisper, "It is like ELM STREET, see?" (the burned villain even looks like Freddy), but writer-director Guy Magar does enough to make it stand apart. The only misfire is a visit to one Doctor Rasta, a Rastafarian voodoo doctor. Oh, and lots of 80s neon. Was it really that prevalent? Lipscomb, looking like a nerdy Christopher Walken, is an interesting choice for a leading man and I like that casting. On the technical side, there is lots of great camera work and some interesting use of lighting. The gore appears to be cut, but is still plentiful. Magar cut his teeth on TV work and this was his first feature. He went on to do THE STEPFATHER III, which I also thought had great cinematography, and one of the CHILDREN OF THE CORN sequels.