A group of auditioned stage actors rehearse for an upcoming musical production. While locking themselves in the theater for rehearsal, not knowing that an escaped psychopath sneaked into the theater with them.
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.
A spree of grisly murders is perpetrated in Frankfurt by a group of Satan worshippers. A school teacher almost runs over an old man with a box and takes him in. It's no accident that the ... See full summary »
A young rich orphan loses his fiancée to voodoo doll mischief on the part of his housekeeper who is jealous of his attentions. He digs his girlfriend up, cleans her out, stuffs her, and ... See full summary »
A masked killer, wearing World War II U.S. Army fatigues, stalks a small New Jersey town bent on reliving a 35-year-old double murder by focusing on a group of college kids holding an annual Spring Dance.
The 1960's counter culture limped into the 1970s dragging with it a legacy of social confusion, dependency on drugs and promiscuity. In STAGE FRIGHT, shot in Baltimore, the era is satirized... See full summary »
A little girl named Cathy tries to keep her mother from making out with a man while driving one day, and she inadvertently causes her mother's death in the car crash. 16 years later, Cathy ... See full summary »
A troupe of struggling stage actors is rehearsing for a small-town production of a play. Everything seems to be as it should until one of the cast members turns up dead. In a panic, the others try to get out, only to find they are now locked in the theater with the killer! Which one of them committed the murder, and who will get out alive? Written by
Jean-Marc Rocher <email@example.com>
The scene where Brett bows in front of the mirror to reveal Wallace standing directly behind him is a homage to Dario Argento's film Tenebre (1982), which Michele Soavi was an assistant director on. See more »
In the shower scene, after Alicia wakes up, the shower curtains are shown closing, but then they suddenly move; they are clearly two separate shots. See more »
[the survivors hear classical music start to play]
He's enjoying himself! Do you realize he's enjoying himself!
See more »
A group of actors become trapped in a theatre with a rampaging maniac who has just escaped from the nearby psychiatric clinic...
DELIRIA not only marked the directorial debut of Euro-cult favorite Michele Soavi (billed here as 'Michael' Soavi), it also marked a reunion of several prominent figures from the heyday of Italian exploitation. Produced by renowned sleaze merchant Joe D'Amato (Aristide Massaccesi - "Buio Omega", "Emanuelle in America") and written by splatter stalwart George Eastman (Luigi Montefiore - RABID DOGS, ABSURD), and co-starring John Morghen (Giovanni Lombardo Radice - CANNIBAL APOCALYPSE, CITY OF THE LIVING DEAD), this deceptively modest shocker attempts to subvert many of the clichés associated with 'traditional' slasher movies, and does it with style and grace. Viewers weaned on a diet of bland Hollywood 'horrors' may not succumb immediately to the film's wayward plot developments (including the central device of an off-off-Broadway stage musical which celebrates the very same serial killer who winds up massacring most of the cast!), but once the basic premise has been established, the narrative assumes a near-demonic life of its own.
Beginning with a frankly horrific sequence in which the masked killer is mistaken for an actor during rehearsals and encouraged to 'kill' a female co-star (only to commit the bloody deed for real!), Soavi's direction is razor-sharp and visually appealing. The murders are outlandish and gruesome, though also tragic in places (watch out for a shower sequence which operates both as a suspense set-piece and as a vivid demonstration of human cruelty), and Eastman's clever screenplay strips the characters down to their emotional core, revealing a gamut of fears and prejudices which leave many of them vulnerable to the killer's predations. The climactic sequence - in which a frightened young actress must retrieve an all-important key from its hiding place within inches of the killer's feet - is ghastly, beautiful and terrifying, all at the same time. Outside of these major set-pieces, Soavi's relative inexperience is betrayed by a couple of ragged camera movements and some odd editing choices, while the performances are compromised by flat post-sync dubbing. But overall, the movie is a triumph, one which plays Soavi's mentor Dario Argento at his own game and succeeds beyond all expectations.
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