Sombras Diabólicas

I watched this movie at eight o'clock in the morning after being awake for two days. The front of the box hardly looked promising, but when I read the summary on the back, (She's into her boyfriend, Bob. Just like he's into Satan!) I realized that I had to give this movie a chance. Honestly, it must be one of the worst movies I've ever seen (and I am a fan of Plan 9 From Outer Space). There is plot but hardly a point. The scene when Bob asks "Orange you forgetting something?" made the whole movie worthwhile as well as a few other choice words I'll leave you to discover. I would honestly recommending watching it while you are a little overtired because it provides some laughs and a lot of confusion. Be prepared to giggle and scratch your head at the dialogue and scenarios. I agree with the chap above and gave it a ten. It's cinema at it's worst and that's something to be proud of.

Director Roberta Findley, wife of cult legend Michael, directs yet another bizarre, cheaply made, vulgar film. This one, Lurkers, named for the dead that can be seen by some "lurking" about, primarily tells the tale of a girl having a bad home life in New York in an apartment house where she sees these lurkers. We are introduced to her in a somewhat inventive and at the same time crude opening sequence where the young girl, having just been verbally/physically abused by her mother, goes outside to play and while playing jump rope - the rope mysteriously entwines around her neck as the children idly smile and watch. A young woman who will be seen later in the movie arrives, and the rope stops. Quickly we move to the present when the young girl has turned into a young musician in love with a photographer. The film then relates this relationship - but to say any more would give away the plot. And I wouldn't want to do that to you - or would I(might save you!) I think of all about this film that I did like - and granted that was not much - was the story. It is somewhat talky and you soon know where it is going, but it has shades reminiscent of Rosemary's Baby with regards to the man-woman relationship and a future conspiracy. I even thought the end, reminiscent of The Sentinel, was just quirky enough to be interesting. The real problem with this movie is that it never can shake the cheap look and feel it has. This can be easily seen in the settings, the lack of good, quality actors, and the special effects(what few there are). Christine Moore plays the lead - and she is pretty - but beyond that nothing very special. She is better than virtually everyone else in the film. Findley also has some obvious, how shall we say, peculiar interests as we are shown various scenes suggesting sexual aberration of some kind and scenes suggesting sick violence with a sledge hammer. The film is not particularly gory though. One scene that stood out for me was a scene between two beautiful models - both highly attractive - disrobing and talking about the stock market. It has nothing to do with anything yet has an interesting humorous edge as well as other pluses aimed to peak one's interest.

New Yorker Cathy is haunted by visions of her murderous mother and a mysterious little girl. Good thing she has photographer Bob as an anchor. But for how long, given her horrific delusions.

The logic of this horror flick appears to be that if a spoonful is good, then a truck full has to be better. But it's not. The piling on of scenes, themes, and effects soon gets tedious. That is, how many kissy-faces do we need to show that Cathy loves Bob, or that Cathy is full of delusions if that they be, or that darkness can be dangerous. Too bad, because the basic idea of a hell-house has potential.

With a tighter script and more strategic use of effects, there's a good movie core lurking within. As it is, the producers appear unable to deal effectively with structure, and that includes color photography for its own sake. Now, I'm not up on post-70's horror films. But if you want to check out how similar material can be effectively done, check out Val Lewton's 1943 classic The Seventh Victim. That tight little B-film also shows why audience imagination is horror's most powerful source. And that's especially important given today's overpowering appeal of special effects.

Cathy (Christine Moore) had a pretty rough childhood as she saw her mother murdered. Even worse, she lived in a brownstone that had ghosts ("Lurkers!") coming out of the walls. Things look to be picking up though as she is engaged to Bob (Gary Warner), a photographer who runs his business with former model Monica (Marina Taylor). Of course, this is NYC and you know you can't trust anyone there. This is another of Roberta Findlay's late 80s horror flicks so you'll know what to expect if you are familiar with her work from that period. Not much going on here, although it did confirm my suspicions that the gateway to hell is located in Washington Heights. To her credit, Findlay does get some nice NYC locations in and there are a couple of effective dream sequences. These bits are a bit marred by the ghost girl with the New Yawk accent though. Ed French supplied the Lurkers and they look pretty good for a low budget production. Much of the cast returned for her next production, PRIME EVIL (1989).

The premise of Roberta Findlay's "Lurkers" is certainly fascinating:the group of ghostly tenants are forced to spend an eternity in a creepy New York building.The main character,a violinist is terrorized by the Lurkers. "Lurkes" is an amusing late 80's horror cheapie made by highly prolific Roberta Findlay.The special effects are bad and there is no gore,but some scenes of child abuse are quite unsettling.There are few scenes of nudity,so I am not complaining."Lurkers" is a pure cheese with terrible acting and slow-moving script.If you enjoyed "Prime Evil" any other low-budget horror movie made by Roberta Findlay check this one out.6 out of 10.Just remember:Lurkers are NOT lurking.