Appointment with Fear

Don't get too excited... this isn't an obscure movie by director John Carpenter, but rather a supernatural slasher from producer Moustapha Akkad, who fails to repeat the success he had with Michael Myers. This movie is such a mess that original director Ramsey Thomas was fired, with Akkad re-shooting and re-editing the film, slapping the resultant cinematic turd with the shameful pseudonym Alan Smithee. When a horror film gets the Alan Smithee treatment, you know it must be bad.

The film opens with a man staking out a house; he leaves his car to place a tracking device on a station-wagon. A woman emerges from a house carrying a baby; she drives off in the station-wagon, the man following in his car. They are followed by another man in a van.

Next we are introduced to Carol (Michele Little), who is using a parabolic microphone to record her ditzy friend Heather (Kerry Remsen), who is across the street, putting on an interpretive dance/mime performance for some old age pensioners (senior citizens love interpretive dance - who knew?). While this is going on, the woman with the baby pulls up at a nearby house; she gets out of the car, and hides her baby in a bush; soon after, the man in the van arrives. He wants to know where the baby is, and when the woman won't tell him, he sticks her in the side with a big knife and skedaddles.

Having finished her dance routine, Heather goes to see what is wrong with the woman, who has slumped on some steps. Barely alive, she tells Heather, 'Don't let him harm my baby', and hands the nipper over. Now, at this point, any rational person would call the police and give the baby to the authorities, but Heather is ditzy, remember? She keeps the kid, taking it to a party where she, Carol, and some other friends are celebrating their graduation. This makes the girls targets for the man in the van, who is actually the physical manifestation of the spirit of Attis (Garrick Dowhen), a patient in an asylum who has mastered the art of astral projection; he is the father of the baby and believes that he must kill it in order to remain being the God of Nature. Are you still with me?

Now this might not seem all that strange to those who actively seek out bizarre horror films, but there's more weirdness - so much more - guaranteed to have you scratching your head in bewilderment. There's Norman the philosophical bum (Danny Dayton), who sleeps in the back of Carol's pick-up truck; Bobby (Michael Wyle), Carol's love interest, who rides around on his motorcycle with a female mannequin in his sidecar, and who likes to play hide and seek before sex; and Cowboy (Vincent Barbour), boyfriend of Carol's pal Samantha (Pamela Bach-Hasselhoff), who, in the film's most oddball moment, appears outside the house where the girls are partying and joins a dance troupe in gyrating to some bad '80s music.

When Attis shows up for the finalé, the dancers vanish as mysteriously as they appeared, but Carol isn't helpless: she has her handy microphone to help locate the villain, and an even handier AK-47 which she uses to shoot the place up. She eventually destroys Attis by impaling him with a very pointy may-pole, the killer disappearing in a cloud of leaves. During all of this, the man with the tracking device, who we learn earlier on to be police sergeant Kowalski (Douglas Rowe), turns up to take the baby into care - but why are the child's eyes glowing green?

All of this nonsense is told in such a disjointed, eccentric manner, with wooden performances and lousy dialogue, that the film might possibly be the worst horror ever; either that or it's a surreal work of misunderstood genius. I'm torn between giving it 1/10 for being totally crap, or 6/10 for being a one-of-a-kind oddity. The only fair thing for me to do average these scores out to 3.5/10, although I am forced to round this down to 3 for only delivering brief side boob from the well-endowed Deborah Voorhees, who happily went nude for Friday the 13th: A New Beginning.

A thoroughly disagreeable entry into the slasher genre, this film began life as "Deadly Presence". After the producers saw how gawd-awful the film really was, they fired Thomas and shot some more footage. Gowan's detective character and a bunch of others were added in a sort of parallel story and the whole thing renamed "Appointment With Fear." Aside from a couple of performances, this cinematic disaster's only redeeming value is its score. Written by ace composer Andrea Saparoff, the music is the only thing lending a little eeriness to what is otherwise an hour and a half of scare-free tedium.

Recommended audience: Weevils, chunks of granite, D-cell batteries and very very minor Egyptian deities only.

Don't make the same mistake I did, please… If some person, whether it's a good buddy or a complete stranger, ever tells you not to watch this film, then take the advice and DON'T WATCH THIS FILM! "Appointment with Fear" easily ranks in the top 3 most retarded movies ever made and there's more than one reason why it ended up being directed under the pseudonym of "Alan Smithee". The basic premise is imbecile to begin with, not one dialogue in the entire stupid script makes any sense, and – despite being labeled as horror – it's completely gore-free and without tension. Worst of all are the insufferable characters, which give you the impression that this whole film-project had to be one giant lame and very unfunny joke. Allow me to introduce some of them: The 'hero' is a cop who wears suits that already went out of fashion in the 1930's and he has the strange habit of setting his own car on fire by accident. The female lead is a teenager who allows bums to live in the back of her pick-up truck and, as some kind of hobby, she monitors random people's conversations with a giant (and not very discrete) microphone. Her best friend likes to paint her face blue for no reason and she also give mime-shows to her senile grandparents. The heroine's boyfriend, to finish with, is a long-haired loser who keeps a modeling dummy in the sidecar of his motorcycle… Why? Because it's cool, of course! The "plot" revolves on a crazy killer who's in a coma but at the same time he walks around killing people whilst looking for his baby-boy son. He's supposed to be an Egyptian Demigod, even though he looks like an ordinary idiot. The whole thing is slow and every newly introduced sub plot goes nowhere real fast. The music is horrible; crappy 80's dancing is shamelessly used as padding and even the brief nudity-flashes are boring. Oh, and did I mention it's entirely gore-free? What a total piece of crap!

I was looking through the "Videos For Sale" bin at a local Blockbuster and came across this title. I saw that it was produced by Moustapha Akkad and it sparked my interest. I'm a huge fan of the Halloween series, to which Akkad has contributed greatly. On that basis I decided to buy it. The most exciting part of this movie is the ending credits. Only then do you know that the torture session is over. That's also when the true horror of the film set in for me..........I actually paid money for this garbage. Avoid this title at ALL cost. Moustapha Akkad should be ashamed to have his name associated with this title.

I fast-forwarded through most of this movie searching for something, anything interesting,but never found anything. A bunch of bland morons stalk around in the dark and some guy lies around in a coma,and he's possessed by a tree spirit or something. Moustapha Akkad went from HALLOWEEN to THIS. A complete waste of valuable celluloid.