Força Satânica

Apart from the always solid, Robert Forster, this film features some very telegraphed performances, an uneven script, connect-the-dots direction and the sizzling Lydie Denier, who steals the show every time she peels off an article of clothing, which is in just about every second scene. Kudos to director Bert Gordon for at least understanding that when you're dealt a bad script, there's always the lovely Lydie to keep the interest levels up.

I caught this movie at 3:00 a.m. on local t.v. I didn't know the premise or anything about it but it got my attention with the typical early 90's sleaze and cheese.

The plot is something we have seen before in many 80's efforts but what makes it interesting on this case is the sexy-wicked performance by Lydie. How hot is she?. There are other aspects to consider like decent gore that looks like syrup, steamy sexual situations, cheesy rock music, and strange performances.

This isn't by means a movie I could recommend to you fellow Horror fans, I could only recommend it if you are into early 90's Horror (very peculiar).

If you can stand cheese and sleaze, this may please you.

My review was written in December 1990 after watching the movie on Paramount video cassette.

Fifties sci-fi maven Bert I. Gordon is back with the sexy horror film "Satan's Princess". Okay performances lift this mundane direct-to-video release.

Robert Forster comfortably essays his familiar role as a down-and-out detective hired by Nick Angotti to find his missing daughter Leslie Huntly.

Trail leads to vampiric beauty Lydie Denier (a stunning Canadian actress) who runs a modeling agency. She turns out to be over 500 years old, periodically killing people to stay young.

Plenty of nude scenes keep the viewer awake until Forster predictably fights fire with fire by unleashing a flamethrower on Denier in the final reel.

Alternately running through several shooting titles, including "Heat from Another Sun", "Princess of Darkness" and "Malediction" (last named referring to a 17th Century painting Denier owns), film is poorly structured. After reels of searching for the alluring young Huntly, Forster accidentally bumps into her at the modeling agency, chases her and she commits suicded rather than be apprehended.

Typical epilog to set up sequel possibilities is trite. A subplot establishing Denier as a lesbian is not followed up but merely included for its titillation possibilities.

Forster, Denier and underutilized heroine Caren Kaye all deserve more challenging assignments than this potboiler.

Burnt out retired cop Lou Cherney (Robert Forster) reluctantly takes the case of a missing 19-year-old girl. He has no clues until a model is killed in downtown L.A. and a search of her apartment produces a picture of the missing girl. This leads Lou to a modeling agency run by Nicole St. James (Lydie Denier), who just may or may not be a soulless human (like everyone else in the fashion industry). This was Bert I. Gordon's last film to date and nary a colossal beast is seen during its quick running time. Instead, audiences get a real genre blender that is part cop flick, part satanic possession flick, part softcore Skinemax outing, and part monster movie. Perhaps the most surprising aspect of it is that that Forster really gives his all for the performance of the wounded ex- cop. There is also a good performance given by the kid who plays Cherney's retarded son (Phillip Glasser, who did the voice of Fievel in the AN American TAIL flicks). Denier is stunning, but has a really thick French accent that makes her "w" heavy dialog rough to hear. Gordon is definitely trying to deliver a competitive modern flick with all the T&A on display (including a Forster/Denier sex scene where he slaps her ass), but it is surprisingly low on blood. Well, until the end where St. James rips off her skin to reveal a goofy SPECIES-looking dread-locked beast underneath.

A burnt out cop (Robert Forster) searching for a missing woman runs afoul of a woman possessed by a demon that seduces men into her lair and then brutally kills them. Why Caren Kaye and Robert Forster ever made this beyond me. They do what they can, but they are not enough to keep one entertained in this poorly made, cheap looking film with scant effects. Rated R; Sexual Situations, Graphic Violence, and Profanity.