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The Burning Moon (1992)

| Horror | 1992 (Germany)
The Burning Moon centers on two bedtime stories that a delinquent brother reads his kid sister. These disturbingly morbid stories focus on a serial killing blind date and a murderous, ... See full summary »

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Cast

Credited cast:
Beate Neumeyer ...
Julia Sanders
Bernd Muggenthaler ...
Cliff Parker
Ellen Fischer ...
Linda Sanders
Alfons Sigllechner ...
Vater
Barbara Woderschek ...
Schwester
Helmut Neumeyer ...
Chris
Andrea Arbter ...
Prostituierte / Vergewaltigtes Mädchen / Folterknecht
Herbert Holzapfel ...
Großvater
Thomas Deby ...
Autofahrer
Karl-Heinz Nebbe ...
Arzt
Karin Dellinger ...
Ärztin
Rest of cast listed alphabetically:
Peter Ahrendt ...
Hochzeitsgast
Frank Baars ...
Polizist (Cliff's Tod)
Ingrid Breitling ...
Nachrichtensprecherin
Peter Breitling ...
Polizist
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Storyline

The Burning Moon centers on two bedtime stories that a delinquent brother reads his kid sister. These disturbingly morbid stories focus on a serial killing blind date and a murderous, psychotic priest. Written by Ryan Keberly <rkeberl@cms.cc.wayne.edu>

Plot Summary | Add Synopsis

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When the moon is full, the blood tide rises.

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Horror

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Release Date:

1992 (Germany)  »

Also Known As:

Lua Sangrenta  »

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Box Office

Budget:

DEM 70,000 (estimated)
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Did You Know?

Connections

References Black Past (1989) See more »

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User Reviews

 
Marks the time when Lucio Fulcis gore-flicks started to look like Oscar contenders
1 February 2013 | by (Germany) – See all my reviews

Right, if you're not a complete gore-hound, you might well stop reading now and click that little "x" on the top-right-side of your screen.

If you compare Horror-flicks like "The Exorcist" or "Halloween" to fine French cuisine, you might liken the gore- and splatter-fests of Lucio Fulci and Umberto Lenzi to plain working-class food. In that case you'll view the works of Olaf Ittenbach to the cheapest, greasiest burger you've ever put into your mouth. Or, in the case of you being German, "Curry-Wurst". Not the fresh variation, mind you, but rather yesterday's leftover sausage, re-heated.

"The Burning Moon" can be considered the grandfather of the bottom-of-the-barrel, Z-grade horror-flicks from Germany (in other words: trash that is produced by people like Andreas Bethmann, Oliver Krekel or Marc Vorlander). In other words: expect nothing. Acting that resemble anything in the classical sense? Forget it. A story with a twist, or more depth than a 3rd graders high school-play? Not even close. Any technical talent or finesse? Zilch. But all those lacks are compensated for with gore, gore and more gore. It seems that the few measly bucks that went into the production went solely into the special effects, which consist of a few lackluster murder and torture scenes and the film's highlight, a torture scene in hell which lasts an estimate 20 minutes.

If you're familiar with the genre, you know what to expect: red food-colour mixed with hot-chocolate powder and egg-yolk (for consistencies sake), buckets full of them and generously dumped over the "actors".

The reason for giving this piece any points at all is the fact that back in 1997 "The Burning Moon" was more or less a "first"; a curiosity rather than a real film. Nowadays these kinds of products have become rampant, especially in Germany. That is no longer the case and Orson Wells prophecy that "everybody wants to make movies and my stupid brother too" has fulfilled itself; an army of "stupid brothers", incompetent and unable to the last one (see above mentioned names). Makes you long for the days when producing films meant that you needed a budget, sponsors, producers and an able team technicians and artists.

So, if you want to make a movie, hey, why waste your time with film-school or talent? Assemble a crew of friends and neighbours, invest 100 bucks in a digital camera, find yourself a back-lot or piece of forest where filming is free, and raid the kitchen for special-effects items. Then write yourself a couple of glowing reviews on IMDb and applaud yourself for being "a real film-maker". Again, for above mentioned "film-makers", including director Olaf Ittenbach, this hasn't only become employment but a sport and a virtual way of life.

4/10 points – one for being a first, one for the ambition, one for the "hell"-scene and one for the general nihilistic, morbid and misanthropic aura that surrounds the stories.


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