Holocaust 2000

According to an old interview Kirk Douglas really liked this film, and I understand him. Not many italian horror movies has this international quality and while many call it an italian Omen, I'd say in that case this movie is at least equally as good if not better. Alberto de Martino guaranteed quality in the 70's, with films such as Blazing Magnums, The Antichrist and The Killer is on the Phone - and this one could be his best film. It's eerie, violent and full of great acting as well as a decent story with some politic statements. Well worth seeing!

There's no question about it: Italian film-makers used to make the most enjoyable crap – and this one is a prime example. Whenever a Hollywood movie became a runaway box office success, the Italians would waste no time in making their own carbon copy of it and, in this field, director Alberto De Martino was one of the top "go to" guys in the country; having recently made his own "pasta" versions of THE GODFATHER (1972) and THE EXORCIST (1973) – in THE COUNSELLOR (1973) and THE ANTICHRIST (1974) respectively – it was natural for him to be entrusted with concocting an Italianized clone of THE OMEN (1976). As it happens, this was an Italo-British co-production (as that impressively star-studded cast can attest) and the end result is, as I said, far more enjoyable than a half-arsed imitation has any right to be.

The film's ageing American star, Kirk Douglas (in the first of 4 horror/sci-fi outings he did in quick succession – the others being Brian De Palma's disappointing THE FURY [1978], the maligned-but-fair SATURN 3 [1980] and THE FINAL COUNTDOWN [1980], which I haven't watched in ages), does have one up on Gregory Peck from THE OMEN in that he gets to share a nude love scene with leading lady Agostina Belli! The rest of the cast, unsurprisingly, is a mix of established Brits and Italians: Geoffrey Keen, Alexander Knox (as the requisite professor who unravels the diabolical scheme and who's given a memorably subtle death scene), Virginia McKenna (like in the subsequent BLOOD LINK [1982], also from De Martino, she's killed off during the opening scenes!), Anthony Quayle, Simon Ward (effectively cast as a cold-blooded Antichrist), as well as Adolfo Celi and Romolo Valli (playing the equally indispensable and ill-fated priest).

The plot comes up with an ingenious modernization of the Apocalypse prophecies, illustrating a plausible analogy between mythical and modern monsters. Among the film's most notable sequences is Douglas' surreal nightmare (in which he's stranded stark naked in the desert, witnesses the demons rising from the sea and is haunted by the presence of a religious fanatic in a Diabolik-like outfit!) and one where a Middle Eastern political leader – opposed to industrial progress – gets the top of his head chopped off by a helicopter blade (thus anticipating the more celebrated moment in George A. Romero's DAWN OF THE DEAD [1978]). Once again, Ennio Morricone's score may sound overly-familiar (given that he composed THE ANTICHRIST and also EXORCIST II – THE HERETIC [1977])…but there's no denying that it serves the taut proceedings admirably.

Ultimately, though, the film results in not being at all scary: for one thing, the Antichrist has no direct relation to the 'accidental' deaths of those who stand in his way; also, he's left pretty much to his own devices (with no diabolical helpers as in THE OMEN), yet, nobody ever seems to question his decisions. Besides, there's no explanation as to just how Ward became "the chosen" (one of the titles by which the film's also known, as seen in an alternate opening sequence included on the DivX copy I watched) – in THE OMEN, at least, it was a case of babies exchanged at birth! Other narrative flaws: why is the Agostina Belli character afraid of entering a church – considering that the child she's carrying turns out not to be the Antichrist after all (as Douglas himself had feared)?; the second scene in the psycho ward (with the religious fanatic going berserk and inciting his fellow inmates to kill Douglas) is baffling and somewhat redundant – since the latter has, by this time, become aware of Ward's true intentions!

The film concludes rather abruptly with the fairly ludicrous – and pretentious – suggestion of a new 'Holy Family'; I much preferred the alternate ending also found on the (once again) problematic DivX copy I have, after missing out on this title more than I care to remember on Italian TV over the years: while admittedly conventional, at least, we're shown Douglas willing to keep up the fight the only way he knows how – through violence. Finally, I have to wonder what's holding up the film's release on DVD; it doesn't seem to be available in any region and, while no classic, it's eminently watchable – apart from being, definitely, a commercially viable item (especially for fans of "Euro-Cult")...

Having already ripped off The Exorcist with his pretty dreadful 1974 movie The Antichrist, director Alberto De Martino has a bash at copying one of the other major horror successes of the '70s, The Omen—and he does a slightly better job this time around.

The decent cast certainly helps: Kirk Douglas stars as industrialist Robert Caine, who slowly comes to realise that his plans for a nuclear power plant in the third world might lead to the Apocalypse, as prophecised in the Bible; Simon Ward is his son Angel, who is determined to see the project to completion at whatever the cost; the lovely Agostina Belli plays Sara Golan, Robert's love interest, whose unborn child may or may not be The Antichrist; and Anthony Quayle appears as scientist Dr. Griffith, who unravels the truth but pays for his discovery with his life.

With such solid performers at his disposal, De Martino is able to deliver an entertaining slice of horror hokum despite the script's somewhat talky nature, its preachy anti-nuclear message and more than a few implausible plot turns, with the film's highlights being the juicy decapitation of a political leader by helicopter blade, beautiful Belli getting nekkid for a raunchy romp with ageing Kirk (such a coupling might sound unlikely, but if Michael can get it on with Zeta Jones in real life, then why not?), Caine's trippy dream sequence (which delivers the truly horrific sight of a naked Kirk Douglas), and a chilling scene where a room full of newborn babies are accidentally poisoned by a negligent nurse.

6.5 rounded up to 7 for IMDb.

great film. about the apocalypse and done very well, bringing the apocalypse into reality before your eyes. Kirk Douglas took on a different role for this film and one that works. the apocalypse was firmly & skilfully brought into the twentieth century in this film and it was so realistic it was frightening. saw this film some years ago and wanted it ever since but cannot get hold of it. it was on TV in 1992 or 1993 and i missed it but a friend of mine down the street came knocking on my door in early hours as she was terrified having just watched it that night! i am not a person who cares for 'horror' films and this is far from being one of those. it sure is scary but that's because it is based on things that could be so real.don't knock it! watch it. also, if anyone can tell me how i can get this film on video or DVD i would be very grateful, but it doesn't seem to be available according to HMV stores.

Holocaust 2000 is directed by Alberto De Martino and co-written by Martino and Sergio Donati. It stars Kirk Douglas, Simon Ward, Agostina Belli, Anthony Quayle and Virginia McKenna. Music is by Ennio Morricone and cinematography by Erico Menczer.

Nuclear industrialist Robert Caine (Douglas) refuses to heed warnings that the Antichrist is closer to home than he ever could have imagined...

Caine and Angel

Casting aside the fact that it is a cash in on the success of the far superior The Omen, it simply isn't smart or good enough to make its own mark. Knowing what is going on in the first instance is not a great thing for the audience, it would be were the narrative strong enough to keep us on our toes, but it never is. The plot speeds along merrily following the same trajectory as expected; mysterious deaths, pregnancy, loads of ominous warnings, repeat sequence of doom and on to the unsubtle reveal in preparation for a less than satisfying ending.

The makers do try to add some salt to the satanic broth, such as having Douglas roam around naked in a feverish nightmare, and some moments are kinda fun in that tacky Italian/England production way, but the zip, the originality, is sorely lacking. Cast seem to be working off of a different screenplay to each other, though Douglas is at least working hard to make the duff regurgitation come alive. It looks nice on occasions, and it's fun for the wrong reasons, but its low standing reputation is fully justified and therefore near impossible to recommend to anyone but Kirk Douglas completists. 5/10