An experimental submarine, the "Siren II", is sent to find out what happened to the "Siren I", which has mysteriously disappeared in a submarine rift. Things go awry when they begin to find... See full summary »
A young girl travels to Cairo to visit her father, and becomes unwillingly involved with a bizarre sadomasochistic cult led by the charismatic Paul Chevalier, who is a descendant of the ... See full summary »
An intelligent pulse of electricity is moving from house to house. It terrorizes the occupants by taking control of the appliances, either killing them or causing them to wreck the house in an effort to destroy it. Then it travels along the power lines to the next house, and the terror restarts. Having thus wrecked one household in a quiet neighbourhood, the pulse finds itself in the home of a boy's divorced father whom he is visiting. It gradually takes control of everything, badly injures the stepmother, and traps father and son, who must fight their way out.Written by
Cynan Rees <firstname.lastname@example.org>
The original rough cut of this movie was two hours long. See more »
When David first arrives at the house a mic is visible for a moment above him and Ellen. The mic then pulls away being hidden by an archway. See more »
[about the dead grass surrounding the late neighbor's home]
He blamed us for the dead grass, he thought we were going over to his garden and killing it... like there was some conspiracy involving the whole neighberhood against him
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When the Columbia Pictures logo is shown before the movie starts, there's the rather distinct sound of a flame burst which is dubbed into the soundtrack as the torch on the Columbia logo ignites. This is a reference to the Pulse in the film taking control. See more »
Writer-director Paul Golding's abysmal, completely forgettable thriller distributed by a major studio (Columbia) but filled with low-rent talent. Story has a young boy (Joey Lawrence) attempting to save his dad and stepmother from evil, unseen forces within their home. As the stubborn father, Cliff De Young once again gives his usual knucklehead performance; he has made a specialty out of playing impatient grown-ups who have no ear (or use) for the truth, and yet we're supposed to care what happens to the guy? Lawrence is kept near the verge of hysteria throughout, but this begins to look pretty silly--especially when there's not much happening plot-wise. * from ****
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