Nunca Chame o Demônio

A pair of satanists drive around in an old black Cadillac, picking up hookers to sacrifice. A high school student who's always telling tall tales (I was late to school because my mother burned her hair when her hairdryer exploded!) tries to get closer to a female friend, and meets a sexy older woman who moves in next door.

The high schooler witnesses a murder, and even though when the police show up the body is there as described, murdered when and how he described, they don't believe him when he says who the killer is. I found that a bit hard to believe, even given his penchant for making up stories.

A bit randomly, his best friend is a smartass named Sam Loomis, like Donald Pleasance's character in Halloween.

The satanists (of which there are only two) kill some women in their car, and some in their house. They don't seem to actually have any satanic powers.

There's a few recognizable faces in the movie. Michael J. Pollard plays a sort of character he's played before, a man with the mind of a child. Henry Gibson shows up briefly as a police consultant on satanic crimes. Richard Roundtree plays a cop, as he has a thousand times. Elliot Gould is a family friend who the student tries to enlist.

The movie never really takes off at any point. The ending concludes things, and then follows with a musical montage and a freeze-frame which struck me as silly.

It's the solid performances from some recognisable faces that lift this all too typical boy-who-cried-wolf theme in this inconsistent low-budget satanic thriller. What strike me the most was how the storyline is so close to Tom Holland's terrific vampire film 'Fright Night (1985)', but it comparison it does lack the charm and thrills of that film. Vampires no more, but Satanists are the flavour. The hysterically unusual pairing of a wearily scorning Allan Garfield and playfully loony Michael J Pollard was a hammy blast as the two Satanist brothers. Derek Rydall and Teresa Vander Woude make for appealing teen leads that get caught up in the devilish mess. Richard Roundtree's no-bull performance is lean, but potent as the detective on the case and Elliott Gould is amusing as a retired detective who comes out of retirement to help out the teenagers. In support roles the ravishing Shannon Tweed and eventual porn-star Teri Wiegel added some sexual energy. Henry Gibson also pops up. Director Rupert Hitzig hones in a workable display and keeps it on the move, even if his jump tactics inadequately fail. Anyhow the predictably implausible and contrived screenplay seems to be playing it for camp laughs, than actual chills. Just wait for the chainsaw and shotgun clash! It's like it's made up of a bunch of comical errors and eccentric passages, but one or two sequences install some welcoming suspense. But really, the humour does overplay it. And what was the idea of that corn-riddled, over extended ending accompanied with a howling song. It was awful! The whip-lashed musical score drums up the repetitive chanting ala 'The Omen' style, but it doesn't come near Goldsmith's classic piece.

Basically the boy who cried satanist. High schooler Billy Colton (Derek Rydall) thinks his dreams have come true when "working girl" Lisa (Shannon Tweed) moves in next door. He gets more than an eyeful one night when he sees her murdered by a Satanic serial killer who just happens to be Billy's history teacher Zachary Willard (Allen Garfield). Of course no one will believe him since Billy and Willard have a history. So he enlists the help of girlfriend Kelly (Teresa Van der Woude) to try and convince his deceased dad's former cop partner (Elliot Gould) to help him prove it. This is pretty standard stuff and director Rupert Hitzig and screenwriter Randal Viscovich seem to be taking quite a bit from the earlier FRIGHT NIGHT (1985). If I had to recommend it for anything, it would be the loopy performance by Michael J. Pollard as Zachary's brother and co-killer. He really has some funny bits, which I'm sure were improvised, in that always amusing Pollard delivery style. Richard Roundtree is the unconvinced cop and Henry Gibson has one scene as a satanic expert. Surprisingly, Tweed stays clothed the entire time she is on screen (even during her sex scenes).

Even at age 13, when I first saw this film under its much cooler aka title "Never Cry Devil", I thought it was exaggeratedly foolish and implausible. Neat history teachers that turn out serial killers and Satanists? Beautiful call-girls practicing their profession next door? Seventeen (!) prostitutes picked up and killed in a conspicuous black car without the police having any leads? Yeah, sure... The only credible element in the whole plot was that nobody believed teenage Billy Colton when he claims to have witnessed a ritual Satanic killing, but that part then again was very clichéd.

30 years (and far too many bad horror movies) later, I have become a lot more tolerant towards silliness and clichés. "Never Cry Devil" - this time seen as "Night Visitor" - is a below average late 80s slasher/satanic horror flick, but at least it has a few enjoyable moments. There's gratuitous nudity and a couple of brutally gore killings, and for some strange reason I felt sympathy for the teenage protagonists Billy (Derek Rydall) and Kelly (Teresa Van der Woude).

"Night Visitor" seemingly also has a splendid B-movie cast, but you must take that with a pinch of salt. Elliot Gould receives top billing, but he only appears after 45 minutes, and his acting & body language clearly betray that he didn't want to be part of the film. Sexy Shannon Tweed's character doesn't last very long, and the roles of Richard Roundtree and Henry Gibson are mere cameos. In fact, the only two who are having a blast of a time are Allen Garfield (as the Satanist without a cause) and Michael J. Pollard (as his dimwit brother).

Even before "Night Visitor" reaches the end, there will be one question that will keep coming up in your mind: "How did this terrible independent production get picked up by a major Hollywood studio?" Indeed, it's a mystery as to why MGM/UA got the distribution rights, but it's pretty easy to figure out why they subsequently didn't do much with it. (I'm not even sure it played in theaters!) It's a pretty cheap movie, with the low budget making the movie suffer throughout, such as with poor audio and obviously post-dubbed dialogue. But even if the movie had been slickly executed, it would still suffer from a dumb and unlikable protagonist, unfunny comedy, and unthrilling thriller elements. Oh, and some of the most obvious padding you'll see - there's only enough plot for about half a movie. The movie does boast a once in a lifetime cast - Gould, Roundtree, Tweed, Garfield, Pollard - but none of these actors are particularly well used. (And their performances, especially Gould's, suggest they know they are in a turkey.) The movie should only be seen by those curious about how MGM/UA lost its touch by the end of the '80s.