Robert Miles is a psychic that can communicate with the dead. He also has the ability to control the mind of his cat (who incidentally is black). He uses the cat to take vengeance upon his ... See full summary »
A clairvoyant woman, inspired by a vision, smashes open a section of wall in her husband's home and finds a skeleton behind it. Along with her psychiatrist, she seeks to find the truth ... See full summary »
In New York, Dr. Norman Boyle assumes the research about Dr. Freudstein of his colleague Dr. Petersen, who committed suicide after killing his mistress. Norman heads to Boston with his wife Lucy Boyle and their son Bob to live in an isolated house in the woods that belonged to Dr. Petersen. Bob befriends the girl Mae that only he can see and she warns him to leave the house. Soon his parents hire the mysterious babysitter Ann and creepy things happen in the house, When Bobby goes to the basement, his parents discover the secret of the house. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
When Laura Gittleson, the real estate agent, is killed by Dr Freudstein, we see her body lying on the floor with her eyes closed and her mouth open. A few moments later, Freudstein drags her into the basement and her eyes are now open, but her mouth is closed. When she is hanging in the basement near the end of the film, her eyes and mouth are both open. See more »
Mae, time to go home and remember your manners. Now that Bob is staying with us, be sure to treat him like a Freudstein. For other guests are surely destined to drop in.
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In the end credits: "no one will ever know whether children are monsters or monsters are children." - Henry James See more »
"The House By The Cemetery (Quella villa accanto al cimitero)" is, by far, the best of Fucli's horror film. Any fan of Maestro Fulci's work, or of the horror genre in general must try to see this film.
Film fans who are familiar with Fulci's visual techniques and atmospheric elements will not be disappointed, as that "The House By The Cemetery" has all of the familiar elements (maggots, a zombi, foreboding omens galore), but the real difference here is in the film's perspective. The story is seen from a child's point of view, or at least is centered around a child's view. This is what makes this film such an excellent horror study. The most extreme horrors, the most fantastic fears, are allthemore real as viewed from a child's world. The classic fears of childhood are relentlessly forced upon the viewer.
When I first saw this film, in the cinema upon it's release, the film began before a packed crowd. By the end of the film, all but a few people had left, horrified or disgusted. The concession boy commented, as I was leaving the cinema, that he had not seen the film, but wondered what could be forcing that reaction. In every showing, he told me, audiences seemed to leave, shaken, before the climax of the film.
I merely smiled and said, "It is a very scary movie."
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