A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
Harry Angel has a new case, to find a man called Johnny Favourite. Except things aren't quite that simple, and Johnny doesn't want to be found. Let's just say that, amongst the period ... See full summary »
A newspaper reporter and a retired, blind journalist try to solve a series of killings connected to a pharmaceutical company's experimental, top-secret research projects and in so doing, both become targets of the killer.
A shape shifter (Burke) comes from the desert in search of victims, a spirit the locals call "The Dust Devil". He prays on the lonely and the unloved, those that have already lost everything but life itself. Wendy (Field) has broken up with her husband and wanders aimlessly in her car. She picks up a stranger and begins having misgivings about picking him up when strange things begin to occur. Meanwhile a local police officer (Mokae) tracks the killer. Aided by a shaman's admonishments about witchcraft he sets off to try and stop the beast before it can complete its grisly task. Written by
Ed Sutton <firstname.lastname@example.org>
Richard Stanley's first cut of the film was 120 minutes long. US distributors Miramax hated it and produced its own 87-minute version without Stanley's permission or cooperation. This cut removed all references to the supernatural and almost completely disposed of the nominal hero's role (played by Zakes Mokae); it was released in the European market, however Stanley has never seen this version. Stanley came to an agreement with the producers over a 95-minute compromise cut. At this point the film's British backers, Palace Pictures, went bust, making it increasingly unlikely that the film would ever see the light of day in a UK cinema. Then after about a year of frantic searching, Stanley discovered that the original negative was being held by PolyGram. He went to the film's original investors, Channel 4 and British Screen Finances, which were naturally keen to see what had happened to their investment. PolyGram was obliged to hand over the negative, which Stanley re-cut to his own specifications, and with his own money. See more »
When Wendy slams on the brakes of her VW Beetle, she doesn't touch the clutch, but the car stops without stalling. See more »
The desert knows her name now. He has stolen both her eyes. When she looks into a mirror she will see his spirit, like a shawl, blowing tatters round her shoulders in a haze. And beyond the dim horizon a tapestry unfolding of the avenues of evil. And all of history set ablaze.
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The producers would especially like to thank the government and people of Namibia for their help in the making of this film. See more »
Very dark, gory, mystical film with strong, haunting atmosphere, much in the spirit of Stanley's work for occultist rock band Fields of the Nephilim. A demonic entity hitchhikes across the desert taking possession of bodies with which to commit ritualistic murders - the crime scenes, their walls minutely detailed with glyphs and sigils painted in the victims' blood, are stunningly effective. Skeptical detective finally enlists the help of an old shaman who knows the creature's vulnerabilities and the killer is stopped - or is it? --Really remarkable; anyone who enjoyed Stanley's earlier "Hardware" should make the effort to find it.
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