Crawlspace

Crazy old landlord, and former Nazi, preys upon the lady tenants of his building via a system of passages.

Being directed by David Schmoeller (maker of 1979's excellent Tourist Trap) I expected a better-than-average horror film and was sadly disappointed. While Crawlspace has its moments of creepiness, it doesn't possess hardly any of the tension or suspense that one would hope for. It basically becomes a run of mill killer-psycho movie with little imagination.

However, the film is not a complete waste. Klaus Kinski does make for a decent villain, who is one very sick and twisted character. Kinski fans will likely enjoy this movie more than most viewers.

Over all, an OK effort that could have been much better.

** out of ****

Klaus Kinski was one of the great underrated actors of our time. Perhaps because he was too wild, uncompromising and tragically self-destructive to play the Hollywood game. Sure, CRAWLSPACE is low-budget, and he did it for quick cash. But his performance as the tortured, enigmatic, and totally twisted Dr. Gunther corruscates with understated brilliance.

Scenes from this film will always stay with me: Kinski playing Russian roulette with himself after he kills each victim and announcing "So be it!" when fate spares him and he can keep on killing. Kinski's deadpan voiceover as he writes his demented philosophical musings into his madman's diary. Kinski's almost touching monologues to the woman who's tongue he has cut out and whom he keeps in a cage to ward off loneliness. Kinski holding his hand over the gas burner as he waits for a prospective tenant/victim to take the apartment. Kinksi with lipstick and makeup in full SS drag, saluting "Heil Gunter!"

I could go on, but then again I'm a diehard Kinski fan. Even though this movie is low-budget, I think it is well-written, well-acted, and successful on many levels. It's one of my sentimental favorites, which I have seen more than once. Deserves to be redone!!!

Karl Gunther is the superintendent f an apartment complex. His discerning tastes lead him to rent to only the choicest of tenants….female and beautiful. Does his leaning to the fairer sex have a more sinister reasoning or is he just a supreme pimp-daddy. Klaus Kinski is by far what makes this movie fun. There are a lot of good things happening in this movie but it would only be half the film without him. This film is producer by Empire Pictures, a now defunct Charles Band headed studio that was responsible for a lot of cool mid-80's genre films (Troll, Ghoulies and Eliminators come to mind). The direction has flare and the script is decent. The music by Pino Donaggio is excellent. It's fun but the script should have had more. I wanted to know more about the character, in particular the Gunther characters past.

The Lesson Learned: That said it wouldn't make a high brow top ten list for that year but it would make a genre fan happy. I enjoyed it and you might too. So be it.

I saw this one back to back with "Cobra Verde" and, surprisingly, actually liked it better. It's an inexpensive little serial killer film, rather low on violence on the contemporary "Saw" scale, but with excellent camera-work and music (composer Pino Donaggio worked with Brian de Palma and Dario Argento, and cinematographer Sergio Salvati shot some of Lucio Fulci's best movies). Kinski gives a very beautiful performance here: He's in almost every scene, and his characterization of the evil nazi/doctor/landlord is restrained, faceted and balanced, meandering between the light-hearted and ugly. I didn't know that his acting in the mid-eighties still had such quality. If you get a chance, watch director David Schmoeller's (he wrote all the Puppet Master movies and directed the first one) hilarious short movie about his collaboration with Kinski, aptly titled "Please kill Mr. Kinski" (1999). Making the movie must have been hell for the poor guy, but the result is quite rewarding.

The movie consists of: Kinski being a creep, a chase scene, a few booby trap kills. That's it. Short, forgettable, and cheap. Not much to see in the end.