Descanse en piezas

And oh, what a waste of time. Weak plot, unscary 'scary' moments, and very little in the way of gore. The collection of characters was the main thing "Rest in Pieces" had going for it: the blind man, the preacher, the doctor, the slutty maid, and so on. But what exactly was going on here? Are these people the thinking, talking, otherwise normal version of the living dead, similar to the much better (and earlier) film "Dead & Buried"? Why do they slaughter the string quartet? Is the doctor a mad scientist who has brought these people back from the dead, just like the old coroner from "Dead & Buried"? Were we supposed to be frightened or laugh at the repeated appearances of the aunt's ghost? Do the resurrected need hypnotism to 'get adjusted' to their new form of existence, just like they do in "Dead & Buried"? I think I'm starting to see a pattern here. ..

There are more stupid parts – the preacher with his switchblade and the cars in the garage come to mind. In general this movie was just bad. Now that I think about it, the only reason I wanted to see it was the description on the box made it sound a lot like "Dead Alive" (neighbors...undead...kill, kill, kill). I'm sorry I suckered myself into renting this based on that. Don't bother with this one. Watch instead that other horror movie made a few years before this one that was also about people being brought back from the dead to lead almost-normal lives - oh, what was that one called. . .

I don't know about you, but I would like to see Rest in Pieces come out on DVD. I agree that this movie is seriously underrated and that maybe this is the reason.

This movie is definitely a must-have for any avid horror buff. I have Rest in Pieces on VHS. What I really enjoy the most about this fine, suspenseful masterpiece is the music that is played throughout the story. I also enjoy the fact that this movie was made on a highly restricted budget. This does not subtract from a great horror film, but actually adds to its enjoyment potential. You can see the imagination and th ingenuity that was made behind it. You can get a break from special effects and from the Hollywood saturation that is so prominent in so many films, especially the ones of today.

The music and sounds allow for the better movement from the story from one scene to the next. It is very similar to Stanley Kubrick's 1980 production of The Shining. The music allows you to use your own imagination and is so spooky that it actually does a far better job of keeping you on the edge of your seat and be completely entertained. This is why I believe Rest in Pieces should be released on DVD.

I also enjoyed the scenes where Helen is being haunted by visions of her laughing aunt who appears to torment her at various snatches of scenes. Some were peppered with sound effects of when her aunt is speaking to her. I cannot help but laugh, as I can almost see the humor behind it.

I would like to know the piece that was played by the string quartet in the concert scene. It is such a lovely classical piece. If anyone knows the title and the name of the composer, please let me know.

LOL, is this movie for real?

At first I was tempted to dismiss this as Jose Ramon Larraz' attempt at a horror comedy that wasn't quite horrific or funny enough to rate as either. It's more droll social commentary that is perhaps a reaction to WITCHES OF EASTWICK or other high-profile A list horror comedies, but with the catch being that the A list material is being lifted from Euro Horror rather than Hollywood. This isn't a "bad" movie, it's just that the Hollywoodized viewers who have been trashing it are not hip to who is involved, why they should care, and what the point of it all is. See, there are two types of artists: "Hacks" who make work because they are good at it and can make money, and "craftspeople" who have talent and a love for the process of making work. For them the art itself is a by-product of the creative process -- The finished film is only worth whatever other films come after it, or what other art the work results in. The same can apply to basically every trade I can think of except a plumber.

Now back to square one: Jose Ramon Larraz is the fiery, occaisonally brilliant Spanish/British director responsible for VAMPYRES, BLACK CANDLES, WHIRLPOOL, SYMPTOMS and DEVIATION, so don't worry, it has bared tits, sex, shockingly unexpected graphic violence, and a sort of arty flair for visuals that belies the Mastercard budget the film was made with. He is a craftsman who works with film. The movie contains all of the traditional Larraz formula bits such as the creepy house with a former life of it's own, the closed society acting outside of the norms of everyday life, the young woman weaned into the society in a ROSEMARY'S BABY type manner, forced drug usage, barbaric social practices disguised by surface sophistication, a sexy eagerly willing live-in maid, psycho sexual dream imagery, women lingering in steamy baths or showers, characters with dual identities, and the blasphemous corruption of religion to excuse antisocial behavior.

Aside from Mr. Larraz we also get a veritable stable of Euro Horror veterans, at the end of their long careers making dozens of such low budget efforts to be sure but still filled with a joy for making movies that is evident just seeing them on screen, in a movie, together;

JACK TAYLOR: Veteran of more Jess Franco movies than I care to think about, plays an old blind guy with a cane that has a switchblade in the shaft. Steals every scene he is in just by being present.

PATTY SHEPARD: Paul Naschy's Countess Wandessa -- or whatever her name was -- looking downright psychotic as a society matron who carries a meat cleaver with her everywhere. Looking her age for a change but still with that gleam in her eye.

TONY ISBERT: Spanish Euro Horror's answer to Robert Redford, the guy got to do a nude scene with Helga Line and I bet Mr. Redford would give his whole salad dressing franchise up for such a chance. Here he is cast as a sneering Nazi war criminal working as a gardener.

FERDINANDO BILBAO: The Giant from VAMPIRE'S NIGHT ORGY and probably three dozen Spaghetti Westerns Giallo slashers, sort of Euro Cult Cinema's answer to Richard Keil or Andre the Giant. Effectively cast as a Giant.

Yes those are just four members of the cast, but seeing them *TOGETHER* on screen and in character will be a treat for fans of their work. The best part is that they are nearly unrecognizable in their roles: You have to know that Jack Taylor is in the film to know which person he plays, and once you do just his casting in the film earns it the merit to be seen. Same with the others, though the two Americanized leads are about as memorable as an empty box of Kleenex. They are nice I guess, but not the reason to see this, and neither is the plot so I won't bother describing any of it. You've seen that all before.

But Larraz actually did try something "new" for him with the film, which was to go straight ahead and try to make an Americana horror comedy ... in Spain. The cars are all boxy little Euro schnitzel burners with their funny license plates, and the neighborhood the movie is set in shares about as much in common with a California bedroom community as it does with a village of Eskimo igloos. The film has a very strange appearance to it that is closer to a pop art exaggeration than just another stupid horror movie set in Los Angeles, resulting in a visual tension that is best summed up by observing that even the garage door on the house doesn't look quite right.

In the long run this is a movie who's sense of utterly black humor you will either "get" or you won't, and I will give you a pass for not "getting" it if you do not know who any of the people described above are or what they have done. Why not follow their names and that of director Larraz to see what else they have done, track some of those examples down, then come back to this one after you have "The Dracula Saga", DR. JEKYLL VS THE WEREWOLF, WITCHES MOUNTAIN and SCREAM AND DIE! under your belt, which is perhaps one of the objectives of the film: To try and share the rich history of where this movie came from to a bunch of skull-chucked, dim witted American consumers who wouldn't know a Templar Knight from a Chubacabras. REST IN PIECES is an awful movie to be sure but is utterly priceless, stupid, fun, sleazy and empty headed enough to warrant a second or third viewing, and that is often the definition of a cult movie. This one most assuredly is.

6/10

A woman inherits an estate from her dead aunt who orchestrates her suicide via video tape and, immediately after moving in, she and her husband experience strange haunting-esque activity and odd stalkers.

What Rest in Pieces has going for it is a fairly unpredictable script that just so happens to be told in a pedestrian and unexciting way. It also doesn't help that the leading lady doesn't provide much in the way of excitement or rational human responses throughout. Her line readings sound like they were dubbed by a robot, but the script's oddly paced twists and turns still take the viewer by surprise occasionally and the random bursts of violence and gore do shock after the mostly restrained and by the numbers first half hour.

"Rest in Pieces" follows a young woman and her husband who move to the Pennsylvania estate she inherits from her eccentric grandmother who recently committed suicide (on camera!). Pretty soon, it becomes clear that things are not quite normal, as her dead aunt's coterie of bizarre neighbors/friends seem to be sticking around the sprawling property, for reasons unknown.

This later entry in Jose Larraz's filmography is not one of his best, but it does have a number of features that, as is the case with many of his films, make it extremely unique. This flick has goofy written all over it, from the oddball bumbling characters, to the abysmal performance by the lead actress, who blurts out some of the most hilarious (and horrible) line deliveries you will ever hear.

While "Rest in Pieces" does not offer much in the way of scares, it more than makes up for it with numerous head-scratching moments, borne of a screenplay that is muddled and largely incoherent. Was the great aunt in a death cult? Are they all ghosts? It's hard telling. That being said, goofiness aside, there are a few truly eerie sequences in which the deceased aunt (played by Dorothy Malone) appears as a ghostly figure to her niece. These moments are quite spooky, and offset some of the film's more ridiculous elements.

All in all, "Rest in Pieces" is a pretty middling film, and probably one of the weakest in Larraz's filmography--I feel that his other films from this era, particularly as "Edge of the Axe" and "Deadly Manor", both have more redeemable qualities than this does. That being said, "Rest in Pieces" has just enough in the way of absurdity to appeal to '80s schlock fans who are looking for a brainless 90-minute romp. 5/10.