Dèmoni 2... l'incubo ritorna (1986)

... aka: Dämonen

... aka: Dance of the Demons 2

... aka: Demonen 2 huiveringwekkend leuk (Demons 2: Chilling Fun)

... aka: Demons 2

... aka: Demons 2: The Nightmare Is Back

... aka: Demons 2: The Nightmare Returns

... aka: Meng gui fan sheng (The Devil's Reincarnation)

Directed by:

Lamberto Bava

The original DEMONS (1985) was such a hit with Italian audiences that this sequel was immediately rushed into production, began filming a mere seven months later and was already in theaters nearly a year to the day of the first film's debut. Clearly not aspiring to do anything other than give fans a second helping of what they loved the first time out, director / co-writer Bava, producer / co-writer Dario Argento, additional writers Franco Ferrini and Dardano Sacchetti and special effects man Sergio Stivaletti repeat pretty much the exact same formula here. We're talking a very simple plot of trapped people fighting for their lives as a demonic contagion quickly spreads (with a nearly nonexistent explanation behind these events), a loud rock music soundtrack, a very high body count, identical looking ugly, green, veiny-faced demon designs, a lengthy film-within-the-film that somehow unleashes the evil and plenty of bloodshed, gruesome make-ups and elaborate special effects.

This at least makes one very good decision to alter the location. Instead of being set inside an old, dark, dingy, comparatively small flea pit movie theater, this one takes place inside an expansive, modern luxury high rise apartment building, giving it kind of a sleeker, more industrial feel that's accentuated with a consistent steely blue color palette. It also means we get a much larger playground for the demons to do their thing in. Not only are there various apartments with personalized art direction to reflect the occupants, but this building also has a gym, sauna, tanning salon, large parking garage, elevators, stairwells and more for all of the horror scenes to play out in. Sure this idea was likely cribbed from Cronenberg's Shivers (1975), which also features an outbreak inside a hi-tech apartment building, but the location change actually does make a big difference here.

As far as the characters are concerned, it's the usual assortment of thinly-defined fodder just as it was before. The closest thing to heroes we got in the first time out were hunky George and pretty music student Cheryl. Here we get another hunky student named George (David Edwin Knight) and his pretty wife, Hannah (Nancy Brilli). This does add a few slight details in that George is an extremely busy student who's also working a full-time job while his wife is 9 months pregnant and about to pop at any moment, but otherwise it's about the same routine. The more colorful and entertaining folks in the original film were those in smaller supporting parts, which is, again, mimicked here.

There's Mary (Virginia Bryant), a claustrophobic high priced call girl who's there visiting a john. There's the Haller family, including young daughter Ingrid (10-year-old Asia Argento in her feature film debut), who loves horror movies much to her father's (Antonio Cantafora) chagrin. Nearby is an even younger boy named Tommy (Marco Vivio), who's scared because he's been left all along by his mother (who's out on a date), and there's a spinster (Anita Bartolucci) and her beloved pet pooch in another unit. A number of actors return from the first film, though they're all playing different roles here. Fan favorite Bobby Rhodes (Tony the pimp from the original) is cast as drill instructor-like personal trainer Hank, while Lino Salemme (Ripper the punk from the original) is front desk security guard Frank and Eliana Miglio, featured in the film-within-a-film segment in the first, also turns up in the film-within-a-film segment here.

Early on, quite a bit of focus is placed on an incredibly shrill and irritating teen girl named Sally (Coralina Cataldi Tassoni), who is made even more annoying via the extremely whiny voice given to her in the English version. Sally is hosting her own birthday party but refuses to leave her bedroom for, hmm, reasons. When a friend complements her, she loudly shrieks "Not true! My hair stinks! This dress stinks!" She then has a meltdown over her "disgusting" shoulder pads and sleeves. Why? Well, because they "go back and forth" (?) And then when she finds out a boy she doesn't like has accidentally been invited, she has another screaming meltdown ("GET OUT!!!") and runs back into her bedroom to pout. I'm not sure if they were intentionally trying to make her unbearable so that audiences would be cheering on her demise or it just turned out that way, but spending ten minutes listening to this chick scream and complain is eleven minutes too long.

Like in the first film where the initial demon is able to enter into our world through a theater screen showing a film about demons, the one here manages to pop right out of a television set showing a movie about demons. And it immediately does us all a huge favor by choosing Sally as its first victim. Her ear-piercing whines are soon replaced by the much more pleasant sounds of deep-voiced moaning, groaning and yowling as she starts shredding her party guests with her freshly-sharpened claws and fangs, transforming the entire event into a bloodbath and creating a mini-army of demons in the process. Afterward, Sally expels some acidic ooze that eats right through the floors and enters into other apartments downstairs, contaminating even more folks. The same goo melts through the wiring, cuts out the power and phones and makes it impossible to leave the building.

George and Mary both become trapped inside the elevator, the spinster is attacked by her own dog after it laps up some contaminated blood, Hannah has to face off against a demon kid and the awful Gremlins-style rubber puppet that pops out of its chest (with the silly scene made that much worse by constant strobe lighting, grating rock guitar cues and piercing shrieks and giggles from the creature) and a group of resourceful survivors (led by Rhodes) eventually congregate in the parking garage, try to find weapons, make some Molotov cocktails, barricade the doors with cars and try to stay alive. There are some goofy murder scenes, like a woman roasted alive in a tanning bed, a guy getting smooshed in gym equipment and a demon claw squashing a guy's crotch.

It's not just the plot being rehashed here, but also some of the more memorable shots from the first film (like a group of backlit, glowing-eyed demons running down a long dark corridor in slow motion) are repeated. This also seems to repeat the mistake of constantly cutting away to irrelevant activity outside of the apartment building to show Sally's parents, Tommy's mother and a quartet of obnoxious punks (AGAIN!) driving around seemingly for the sole purpose of being able to cram more rock songs onto the soundtrack. However, I'm willing to let that slide here because the director at least uses our familiarity with the events of the original to subvert expectations and uses these characters to set up an unexpected event right outside the building.

While this suffers from the same exact issues that plagued Demons 1 (bad acting, dumb dialogue, terrible dubbing, nearly nonexistent plot...) it's just as visually stylish, handsomely shot / lit, fast-paced, brainlessly entertaining and filled with fun make-up fx. One could mark it down for recycling too much material from the first, but the change of location mostly makes up for that. 

The Simon Boswell score is perhaps not as memorable as the previous one from Goblin, but it's still pretty good, while the soundtrack (featuring The Smiths, Love and Rockets, The Art of Noise, The Cult, Gene Loves Jezebel, Dead Can Dance, Peter Murphy and more) swerves away from 80s glam metal to include a more diverse sound that includes new wave, alternative, post-punk, Gothic rock and synth-pop. As for which of the Demons films is actually better, I can now officially call it a draw.

Like its predecessor, this was a big VHS hit in much of the world, which led to the development of a third film soon after. However, that ended up going through a number of abandoned story ideas before the sequel idea was scrapped altogether. Bava and Sacchetti both left the project to do other films, but it eventually took shape as Michele Soavi's La chiesa / The Church (1989), which both Argento (a producer and writer) and Ferrini (writer) were involved with.

Similar to the very loose Zombi series, there were a few other films released under the Demons banner in different countries, though none of these are really official sequels. The aforementioned The Church was called Demons 3 in Japan. La casa dell'orco / "The Ogre's House" (1988), which was made by Bava for the Italian TV series Brivido giallo, was released in certain markets (including the U.S.) as Demons III: The Ogre. Umberto Lenzi's Black Demons (1991), an Italian production filmed in Brazil, was released in many European countries as Demons 3. 

Soavi's La setta / The Sect (1991; U.S. title - The Devil's Daughter) was called Demons 4 in Japan. Bava's La máscara del demonio / The Mask of Satan (1989), a made-for-TV loose "remake" of Bava Sr.'s BLACK SUNDAY (1960), was released in Japan and the U.S. as Demons 5: The Devil's Veil. Luigi Cozzi's Il gatto nero / The Black Cat (1989), his unsanctioned conclusion to Argento's "Three Mothers" trilogy (which Argento would officially finish himself a few decades later), was called Demon 6, or Demons 6: De Profundis, in France, Japan and the U.S. Finally, Japanese distributors (who are the ones mostly responsible for turning these unrelated films into bogus sequels) got their hands on Soavi's Dellamorte dellamore / Cemetery Man (1994) and rechristened it Demons '95 for the home video release.

For its limited 1987 theatrical run here in America, Artists Entertainment Group had around 4 minutes of gore removed so it could secure an R rating. The same cut turned up on home video courtesy of Imperial Entertainment, which claims to run 88 minutes. To my knowledge, all later DVD and Blu-ray releases, from Anchor Bay, Synapse, etc., are the uncut version running just shy of 92 minutes.

★★1/2

Due occhi diabolici (1990)

... aka: Oczy szatana (Satan's Eyes)

... aka: Pahan silmät (Evil Eyes)

... aka: Two Evil Eyes

Directed by:

Dario Argento

George A. Romero

Originally conceived as an four-part anthology of Edgar Allan Poe adaptations with short segments to be directed by Argento, Romero, John Carpenter and Wes Craven (Stephen King was also considered), this instead ended up as a two-parter with segments from just Romero, who directed and co-wrote the first story, "The Facts in the Case of Mr. Valdemar", and Argento, who directed and co-wrote (with frequent collaborator Franco Ferrini) the second story, "The Black Cat." While it would have been interesting to see what Carpenter and Craven's contributions would have looked like (neither had done a Poe film before), it's also cool that whittling this down to just two segments that run nearly an hour apiece gives us essentially two features for the price of one. Not that the results here are flawless by any means, or anywhere near either director's best work, but there's still plenty of interest here for fans of both.

Revisiting this for the first time since my teen years, back when I much preferred Argento's segment, I've had a change of opinion now that I've looked at this again through adult eyes. Unsurprisingly, Argento's segment is much more bizarre, exploitative, flashy, attention-grabbing and visually creative and thus obviously would have appealed more to the instant gratification seeking teenager I used to be. However, it needs to be said that Romero is trying for something completely different with his take, something much more measured, moody and with reverence to both the tone and style of the source material. The brevity of most of Poe's classic stories didn't allow for much plot complication and most were structured as a steady atmospheric build toward a final shocking moment. That's similar to how Romero has approached this job, with respect for Poe's writing style, as opposed to Argento, who opted to stick to his signature directorial style. Both offer up imperfect visions with rewarding moments done in two completely different ways so it's impossible for me to say one is "better" than the other.

"The Facts in the Case..." opens with Jessica Valdemar (Adrienne Barbeau) paying a visit to family lawyer Steven Pike (E.G. Marshall) to liquidate a large portion of her dying husband's stocks. It would appear that the elderly husband, Ernest (Bingo O'Malley), who has just three to six weeks left to live, wants to make sure his much-younger wife is well taken care of in his absence. As for her feelings, she rather bluntly points out, "I was a flight attendant that Ernie brought home off the Red Eye to the shock and dismay of you and everyone else in this town. I married a rich old man. I let him use me for pleasure and for show. Now I'm going to let him pay me for my services." Jessica wants her payment for services rendered in the form of large sums of cash and doesn't want to wait the eighteen months to two years it would take to settle the estate. She not only has the signed paperwork to prove her husband's intent but she even puts her husband on the phone to have him personally ensure it's what he wants. Though suspicious, Pike prepares the paperwork as instructed.

Naturally, all is not what it appears to be. While Ernest is indeed on his deathbed, he's being kept in a state of hypnosis by Dr. Robert Hoffman (Ramy Zada). Using a pyramid-shaped electronic metronome and voice commands, he's able to control what his subject says and what he does, including making him sign important documents he'd otherwise not be signing. When out of the trance, Ernest is in such excruciating pain that all he can do is curse, scream and denigrate his wife, though apparently he wasn't a kind and decent man even in good health. Hoffman turns out to be Jessica's former lover who now wants to rekindle things. Though the two are conspiring to gain complete control over Ernest's estate, Jessica's still not completely sold on getting back together with Robert on a permanent basis. Both have their doubts about how trustworthy their partner in crime may, or may not, be.

A wrench is thrown into the scheming duo's master plan when Ernest dies before they're able to get his signature to receive the bulk of his money. Instead of reporting his death, Robert hatches a plan to hide his corpse in a freezer in the basement and pretend like he's still alive long enough to have Jessica forge the remaining documents herself. However, because Ernest was in a hypnotic state when he passed, he's become trapped in a limbo between our world and the next. While his corpse lies frozen solid, he's still able to continue communicating and, wherever he's now speaking from, it's dark, cold and "there are others..."

Albeit visually unimpressive and routine / predictable at points, this certainly isn't bad from a technical standpoint. Romero both works in some of his trademark social commentary ("Sick stuff always turns out to be rich people") and does a fair job of extending the short story by adding the conspiring-against-the-corpse angle to the works. Most of the highlights are quite subtle, so I'm not surprised many critics and viewers have completely overlooked them. Take the character Barbeau plays for instance. What probably would have been a one dimensional gold-digger role in another filmmaker's hands is more fleshed out than is the norm here thanks to both the script and Barbeau's performance. We're given enough information (working class background, abusive husband, upper class "polite society" never accepting someone with her background into their ranks...) to make both her motivations and her cold, hard exterior (used to mask her insecurities) all make sense.

Romero had originally wanted to update "The Masque of the Red Death" to comment upon the AIDS crisis and growing wealth disparity in Reagan-era America, which honestly sounds much more interesting than what we get here, but his concept was reportedly rejected by Argento (the executive producer of both segments) so he settled for this instead. Minor roles are played by Tom Atkins, who shows up near the end as a police inspector, Romero's then-wife Christine Forrest as a nurse and Antone Di Leo Jr. (Day of the Dead) as a taxi driver. The same story had previously been filmed, actually a fair sight better if I'm to be honest, by Roger Corman for his anthology TALES OF TERROR (1963), which starred Vincent Price and Basil Rathbone.

As we swing into Argento's take on "The Black Cat," we're immediately greeted with gore (body parts strewn about), full frontal nudity (a bisected nude female body), Poe references (the victim was killed with a razor-sharp pendulum), Argento's usual weird camera shots (from the POV of a swinging pendulum) and dreary narration talking about depravity and perversity. The near 180 degree change in approach from Romero's slow-moving, steady-handed, routinely filmed and comparatively classy segment to this is quite jarring! We open at a bloody crime scene where Detective Legrand (John Amos) and his men examine the carnage and photographer Rod Usher (Harvey Keitel) is busy snapping away at the grisly findings, completely unfazed by what surrounds him. Usher, who does not work for the police, actually makes his living publishing photographs of mangled and dismembered corpses taken at murder scenes. Is that even legal?

Usher's latest book, "Metropolitan Horrors," stirs up a lot of controversy, but his relationship with a pouty, much-younger violin teacher named Annabel (Madeleine Potter) is crumbling because of his alcoholism and cruel and controlling ways. When Annabel brings home a black cat that she refuses to divulge the name of, the animal is immediately and rightfully leery of Usher and hisses at his mere presence. Rod responds to that by murdering the cat and taking photos of him torturing and killing it, putting said photos into another of his morbid books. 

This all makes for quite an interesting contrast to how the central evildoer was handled in Romero's segment. While Jessica has reservations and moral qualms to work through, and a backstory to work off of, we know absolutely nothing about Rod aside from the fact he's an unpleasant degenerate with sociopathic tendencies. That doesn't enable Keitel to modulate his performance nor provide much nuance and, despite him garnering rave reviews from some fans, he seems completely lost here to me. What he does get to do is suck down about a quart of tequila shot-by-shot over the course of the film, scream and curse a lot and provide the occasional stilted and / or unintentionally funny line read. It's a memorable performance in a strange way, just how he's overwrought one minute and flat the next, but I wouldn't necessarily call it a good one.

Annabel strongly suspects Rod has killed her beloved pet, but he denies it ("It's a fuckin' cat! Meow! Meow! A cat!") and slaps her for accusing him. He then has a weird dream where he's swept back to Medieval times and gets executed (dropped on a sharpened spear that goes through his crotch and out his mouth to be precise!) for killing the feline. He runs into a black cat with the same exact distinct markings while at a bar, which the extremely strange-acting barmaid, Eleonora (Sally Kirkland), lets him take home. He attempts to kill it again, but Annabel interrupts and the two gets into a fight, which ends with him chopping her up with a cleaver. Instead of trying to dispose of the body elsewhere, he puts it in an upstairs closet, builds a wall in front of it and puts a bookshelf in front of that.

Paranoia soon sets in as the phone keeps ringing and Annabel's favorite student Christian (Holter Ford Graham), his elderly neighbors (Martin Balsam and Kim Hunter) and others show up looking for her. Not everyone is willing to buy his excuse that she went on a long concert tour either. As for the black cat that's already been killed a time or two, it shows up yet again in the home, only this time clawing its way through the wall from inside the hidden room housing Annabel's corpse. Though it's chopped in half with a saw, the cat leaves a secret behind that leads to Rod's undoing.

While Romero's segment has a more linear and coherent script, better characterizations and better performances, Argento's certainly has more visual flair, fluid camerawork and panache. Instead of going for a gloomy Poe-esque mood, he's content generally following the primary events of the covered short story and then scattering references to numerous other Poe works throughout the rest. There are not only nods to Cat, Pit and Usher but also The Premature Burial, Berenice, Annabel Lee and more. The best moment here is a protracted suspense scene near the end when Amos' detective and his partner (James MacDonald) show up at Rod's home and, through a series of minor incidents that prolong their visit, are around long enough to hear strange noises coming from upstairs.

Usually listed as a U.S. / Italian co-production, this was filmed entirely in and around Pittsburgh by a mostly American crew and features mostly American actors, though the two production companies who bankrolled it and all of the credited producers (including Claudio Argento) are Italian. Tom Savini was in charge of the typically solid make-up fx and appears in a brief cameo in Argento's segment. Pino Donaggio provided the scores for both segments, which are so different you'd never even guess that the same guy did both!

I can't say for sure how well Eyes did during its theatrical run in Italy, but it was a box office flop here in America when it was dumped into 150 theaters in 1991 and didn't even gross half a million dollars. However, the film likely made up for that with a strong global push on the home video market. I've found releases from nearly every corner of the globe.

After numerous DVD releases from Anchor Bay and other companies, Blue Underground finally gave it the Blu-ray treatment in 2009. Their 2 disc set comes with the 30-minute documentary Two Masters' Eyes (2003) which features interviews with Romero, Savini and a troika of Argento's; Dario, Claudio and Asia (who dubbed some of the characters in the Italian-language version). There are additional featurettes with Savini, as well as a brief separate interview with Barbeau that was originally intended for Roy Frumkes' 1989 Romero documentary Document of the Dead, which also touches on this production.

★★1/2