Demonia

..But she's no Catriona Macoll. Wow.....I like "Zombie," "The Beyond," even have a special place for "The Gates of Hell." For some idea of this one's rank in the Fulci canon, "Aenigma" is better. This one makes no sense, the gore is cheap, and everyone, including Lucio must have been sleepwalking when they made this. Sure it ain't the worst thing ever, but it's pretty bad. Flatly directed with a potentially interesting storyline, Fulci missed the target big time with this.

Demonia seems to be a movie by Lucio Fulci that I don't know about... the death scenes in this movie are corny and are not the same to other death scenes in Fulci's earlier films, mainly the ones from the late 70's to middle 80's. I think it was because of the special effects director was changed or something, I'm not sure. But the one I remember was the one scene where the guy is caught upon a trap while trying to get his son from one of the nuns or whatever, and the guy is split apart from his son tripping upon a rope or something. The effects looked terrible, I'm sorry.

Otherwise, the movie was weird to me. Not saying that the movie is a piece of crap, though it could be better. The music was... well, I think it could be better. I liked the intro music, plus the music following the intro scene.

So, final verdict? Well, Demonia is a mixed bag of good and bad. If you're a true Fulci fan (like me), then this is your movie. If not, then... I guess you should give it a try. Demonia, the 'What the Babuguganosh!?' moment of Fulci's career.

Also, Al Cliver (Zombi 2) actually is in this movie, though he is credited as Al Clever... clever, I must say, eh? Ha ha ha... ha???

It didn't stink, but it was nowhere near the brilliance of "Zombie." It was more like "Gates Of Hell," a so-so plot with some decent scenes to keep us interested.

Italian nuns get crucified in medieval Italy for...wait for it...being a secret satanic coven. Years later (aka present day) they rise and attack a Canadian archaeology team digging under the ancient churches.

Lucio re-did his zombie films with nuns. There's some good creepy atmosphere here. And the story itself isn't bad, it just doesn't really take off.

Al Cliver gets a cameo role and the Maestro himself shows up as a (what else?) high-ranking cop. And Canadian Brett Halsey does a good job in the lead.

The drawn and quarter scene, despite the shoddy effects, (DeRossi where were you?) will make a few of you cringe. It seemed to ape Deodato's "Cut And Run" scene stealer.

It makes a good addition if you're a completist, but Lucio's done better.

"Demonia" of 1990 is one of the last films by Italian Horror/Gore deity Lucio Fulci, and while it certainly ranges among the man's lesser achievements it is still a stylish little film that should be enjoyed by his fans. The film's main problem is that it is a bit of a mess, and that it truly pales in comparison to most of Fulci's other achievements, even becoming a bit boring in some parts (which is a very rare fault in a Fulci film). Yet the film is interesting in its Fulci-typical style and atmosphere and features several truly creepy moments as well as some spectacular gore-scenes. What also makes the film worth checking out is the fact that the master himself has a role - Fulci plays a police Inspector. The storyline is actually very promising Horror-material: In 15th century Sicily, a Covent of nuns who are suspected of conspiring with the devil are lynched by angry villagers. Five centuries later, Canadian archaeologists come to the area and are met with hostility by the superstitious locals. The locals fear that the strangers and their archaeological work might raise the demons of the past; and their worries are not entirely unfounded... Overall, the film has a promising premise but the execution is too messy. Yet it is recommendable to Fulci fans, as it does include many moments of pure creepiness. The master does show his talent for haunting atmosphere, and once again proves that his moniker "The Godfather of Gore" is justified. While "Demonia" should entertain many of my fellow Italian Horror buffs, it might make others roll their eyes. My advice to fellow Fulci-fans: check it out! Others, never mind.

No, it's not the name of a disinfectant used by exorcists, but rather the title of Lucio Fulci's 1989 film about demonic possession on the island of Sicily.

Brett Halsey and Meg Register star as a pair of archeologists, one sensible and scientific, the other sensitive and superstitious, whose latest dig is plagued by a series of violent, non-Mafia-related deaths. It seems a local Medieval nunnery was once the site of devil worship, flagrant carnality and ritualistic murder - until the locals banded together to exorcise the evil by crucifying the nuns (depicted in the film's prologue). Turning a deaf ear to the warnings of the village leader and the local butcher, the archeologists carry on digging, and ultimately loosing the hounds of Hell, Fulci-style.

DEMONIA is a largely uninteresting affair, sluggishly paced and directed with apparent indifference by Fulci. Everything seems a bit tame (artfully placed blankets throw cold water on the orgy scenes) and second hand, from Giovanni Cristiani's corny, tympani-heavy score to the use of such hoary spook-cinema devices as double exposures to suggest ghostly apparitions and echoey dream voices (has anyone in your dreams ever spoken with an echoey voice?). Fulci stumbles further by having his heroine plagued by nightmares that offer no information beyond what we already saw in the prologue.

Fulci himself turns up late in the film as an inspector from Scotland Yard, only to turn up clues to a mystery that is no mystery to us; worse yet, Fulci's Inspector Carter's last scene finds him eyeballing a piece of cloth (torn from the habit of one of the murderous ghost-nuns), identifying it as centuries old, and then disappearing from the film entirely). Al Cliver (aka Pier Luigi Conti) appears as Porter, a fellow archeologist who meets an untimely end at the hands of a transparent, headless, speargun-toting haint (Fulci regular Cliver is billed in the credits as Al "Clever").

The film perks up a bit halfway through, when the local medium (a character similar to one played by Rada Rassimov in Mario Bava's BARON BLOOD) meets her predetermined demise by dint of half a dozen cat hand puppets, but DEMONIA is still slow going. A third act disemboweling of one of the dig members is gross but unconvincing, and the film climaxes on an ambiguous note that fails to satisfy or justify the investment of an hour and a half.