The Oracle

Jennifer and her husband move into an apartment formerly occupied by a medium, and Jennifer discovers the writing device the former occupant used to converse with the dead. After dinner with friends, Jennifer uses the device and all kinds of weird things begin to happen, as various characters meet untimely ends and Jennifer has to contend with the widow of a murdered man and the obese lesbian hitwoman she employs to keep Jennifer quiet. Will the madness never end?

This off-kilter little exercise in no-budget filmmaking was directed by Roberta Findlay who, along with her late husband Michael, created a particularly putrid brand of grindhouse fare in the late 60s. Their flicks were virulent cocktails of lesbianism, violence, torture and perversion, and it's nice to see that the passage of time hadn't improved Roberta's filmmaking abilities one bit! Wires attached to books to make them fly off shelves, a man's head being pulled off by big booga-booga Halloween laytex hands, gratuitous disfigurement via noxious industrial waste-- sheez, this film seems like it's from another era. This thing must have only played in the handful of drive-ins and grimey remnant of flop houses that still operated in the mid-eighties, because no savvy viewer then would have accepted this as the gruesome slash-fest it was touted in ads to be. Only slightly amusing in it's incompetence

A young couple rent a New York City apartment previously occupied by a strange elderly soothsayer. The wife plunders the deceased old lady's belonging and finds an oracle(a hand-shaped device used to communicate with the dead). She unwisely tests the item's power, gradually becoming a living instrument of revenge for a recent murder victim. As her involvement in the situation deepens, so does her frustration when her husband and friends express concern for her mental health...they dismiss her strange experiences as hallucinations, despite a rash of mysterious deaths taking place around them.

For a Roberta Findlay film, this one is actually not as spectacularly awful as it should be, and does manage to maintain interest and deliver some fairly gory moments. Standing on its own merits, however, it's a throwaway picture with typically staid performances(a couple of the secondary characters are commendably played, most notably the sadistic lesbian psychopath), and the special effects are...well...neither special nor effective.

Not recommendable, but beneath the crust of cheapness is a semi-worthy watch...*IF* you're willing to take a brain laxative and dumb yourself down for 90 minutes.

4/10

I guess this is on DVD now, but I watched it a couple of nights ago in the only true format worth watching a movie like this on: a washed-out VHS with blurry images and lousy sound. How many movies like this did I watch under such conditions as a kid? Countless. Anyways, it isn't all that scary but it is hilarious and the murderous corpse at the end is one of the most craptacular special effects I've ever seen. And the plot? Let's see: an old man is murdered and made to look like suicide while his much younger wife is still alive and inherited his fortune. You don't suppose she had anything to do with the murder, do you? Nah. You either love stuff like this or you hate it. I love it and there are a couple seriously entertaining moments in this movie that any lover of cheap horror will appreciate.

"The Oracle" isn't exactly what you'd call a masterpiece of horror, but it definitely surpassed my expectations and I can't deny having enjoyed it immensely. This movie is like a prototype of super-cheesy 80's horror, with silly plot lines and gooey special effects throughout the entire playtime. As long as you're an undemanding fan of the genre, it'll be pretty difficult NOT to enjoy it, actually. Quite a couple of low-budget 80's horror movies revolved on possession and spiritual media, and even though none of them are able to scare the crap out of you, they always deliver at least some bloody murders and/or atmospheric scenery. The ghostly medium in "The Oracle" is an ancient stone hand carrying the restless soul of a murdered businessman and possessing the life of a newlywed girl that moved in to the apartment where the eerie device was kept. The ghost forces Jennifer to seek contact with his widow as well as his murderers, but also eliminates everyone that tries to help the young woman getting rid of …The Hand. It's very good and original idea of the script to not only follow Jennifer but also the killers right from the beginning. Early in the film, we witness how a genuinely uncanny battleaxe (Pam La Testa) sadistically hacks up a prostitute. We have no idea who she (he?) is at that point, and it's only much later before Jennifer identifies her as one of the killers during a vision. I wouldn't go so far to call this idea intelligent, but it's certainly more creative than I'm used seeing of independent 80's splatter. The massacre of the prostitute is pretty graphic and disturbing, yet the other kills are delightfully cheesy. One guy stabs himself to death because he imagines monsters crawling over his skin, another victim is assaulted by a floating skull and another bloke even has his head clean torn off by a pair of green-clawed hands! It's rather peculiar to notice that Roberta Findlay directed this flick and even in the same year she also made "Tenement: Game of Survival". That movie is completely opposite in tone to "The Oracle", as it's raw and sickening exploitation centering on gang wars, rape & revenge, drug issues and urban decay. I guess Roberta just was a versatile filmmaker...

.When a young couple move into an apartment, they find a box that belonged to the deceased former tenant. Inside is an ornate planchette, a ceramic hand which holds a quill pen and can communicate with the dead. After using it at a dinner party, the wife (Caroline Capers Powers) becomes psychically linked to a series of murders being committed by an obese killer. There's also an effort by the husband (Roger Neil) to get rid of the planchette, which keeps returning, though usually after facilitating the gruesome death of whoever was unlucky enough to come into contact with it.

This is better than most of the dreck Findlay and her husband made back in the 60's and 70's, when they were two of the most successful sexploitation filmmakers on the NY scene. Michael Findlay was killed in a freak helicopter accident in 1977, and Roberta continued to make movies, mostly hardcore porn, before moving into more legitimate filmmaking like this movie. It's still not a good film at all, really, but it has enough goofy plot twists and chintzy special effects to make it worth seeing once for bad movie fans. Yet I can't just lie to you and give it an average rating.