An old Gothic cathedral, built over a mass grave, develops strange powers which trap a number of people inside with ghosts from a 12th Century massacre seeking to resurrect an ancient demon from the bowels of the Earth.
Feodor Chaliapin Jr.
After witnessing the murder of a famous psychic, a musician teams up with a feisty reporter to find the killer while evading attempts on their lives by the unseen assailant bent on keeping a dark secret buried.
Art imitating art is the basis of this demonic tale of a group of invited guests who are granted a free lunch in the form of a screening of a horror film that brings naturalism to life. Baited and penned in, this walled-in feeling quickly turns to screams and fear as those who are dead lust after the flesh of those living. The free lunch has turned full circle in the cinema of hell and it is only a question of time before the demons from the abyss are asking for second portions. Written by
The building used for the exteriors of the Metropol theater still stands in Berlin. It's a club called Goya that's been host to several horror conventions thanks to its appearance in this film. See more »
When the helicopter crashes against the floor of the cinema, there are no dead pilots in it. But in the next shot their bodies appear. See more »
WOW! The above quote is what the pimp says to his 'ho after she cuts her face on a mask. A prescient utterance indeed!
With a pounding heavy metal score accented by a phenomenal opening track from Dario Argento's band Goblin, DEMONS grips from the onset and never stops, despite a paper- thin plot that appears as if the filmmakers made it up as they went along. As far as campy genre films go, this one is near the top. I don't consider this a B-movie however, as the production is smooth if not polished and the special effects are very well done. Some of the dubbing is atrocious and the acting is way over the top, but the characters are rich and well cast, and this colorful feature has entertained me greatly many a late night.
The capricious nature of this film and its absence of levity call to mind the lighthearted works of John Carpenter (the throbbing keyboard of the aforementioned title track borrows Carpenter's trademark sound). Carpenter also introduces complex characters with little or no background information or explanation: Stevie Wayne, Adrienne Barbeau's character in THE FOG, obviously has a marked past but the only allusions to such are glances at old newspaper clippings and her deadpan utterance "It's nothing but water Stevie, but it sure beats Chicago." The delivery and structure of the dialog here possesses similar elan: the filmmakers seem to embrace that their work is fiction, celebrating the comical and inane. Characters are killed off with reckless abandon without sentimental moments or glib last words...In this type of film it's not about how long you live, but how well you die!
This lack of pretension creates a freedom to enjoy without conceit, appreciable by viewer as well as production staff. This is integral to the success of many genre films that must compensate for light substance with abundances of style. DEMONS carves its niche in my heart largely with 80's pop culture and stereotypes. The actors here play caricatures more than real human roles. Halfway through the film we see coked up punks cruising Berlin in stolen cars. What needs to be said about them that isn't readily seen? They're all demon fodder anyway, right?
8/10* Terrifically entertaining! Best watched late at night.
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