A cop chases two hippies suspected of a series of Manson family-like murders; unbeknownst to him, the real culprits are the living dead, brought to life with a thirst for human flesh by chemical pesticides being used by area farmers.
Sheriff Dan Gillis has a nice life with his wife, the teacher Janet Gillis, in the small coastal and friendly town of Potter's Bluff. When visitors are mysterious killed in the town, Sheriff Gillis investigates the cases carefully and finds that dead people are reanimating and coming back to life. Dan finds a book of witchcraft and voodoo in his wife's drawer and he suspects that she might be practicing black magic. Dan meets the coroner-mortician William G. Dobbs and learns the dreadful and surprising secret. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
During filming Gary Sherman purposely avoided letting the color red be visible in any scene, so the sight of blood during the murder sequences would be all the more shocking. Sherman even went as far as to have the tail lights of cars replaced with purple lights, instead of the normal red. See more »
When the young female hitchhiker is taken from the truck, she is thrown onto the muddy ground. Her face is covered in mud, before the rock is smashed onto her face. Later when we see the videos of Dobb's "murders and creations" the young female hitchhiker is being held down on the hood of the truck, and her face is clean before they smash the rock down on her face. See more »
How do you do it? How did you bring them back to life?
Call it black magic. Call it a medical breakthrough. I'll take my secret to the grave.
See more »
Gary Sherman's horror masterpiece begins with one of cinema's best beatings (and burnings) of a fellow human being. The scene takes place on a beach in Potter's Bluff (Mendocino, No. Cal) and is a hypnotic, brutal, black shock to the system.
The beating is filmed by a mild-mannered pipe-smoking old man, a waitress, a mechanic and many other affable citizens of the area. It sets the scene for much grotesquery to come.
DEATH LINE (aka RAW MEAT) demonstrated that Sherman had the goods. DEAD AND BURIED cements him into the brickwork of the horror hall of fame.
Future Freddy Kruger (Robert Englund) makes an appearance, as does sexy Lisa Blount from AN OFFICER AND A GENTLEMAN. But the film's real star is the (now dead and buried himself) Jack Albertson as the coroner of Potter's Bluff. Albertson's is an eccentric, layered, career-best performance.
The tone is dream-like and ethereal. Even interiors are filled with mist. A foghorn is heard constantly. Nobody is who they seem.
A stand-out is a Super-8 home video shot by some students. Its climax provides a not unexpected revelation and the film itself perfectly embodies the horror of corruption which director Sherman is pushing.
The film did zero theatrical business because it's too damn weird for most audiences, and too damn good. But it has developed a cult on video.
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