The Friday Night Horror Movie: Beyond the Door III (1989)

image host

Beyond the Door (1974) was an Italian horror film that basically rips off The Exorcist and Rosemary’s Baby. The Italians were good at that. They’d take a popular American film and remake it without giving credit for the original story and make a few bucks. Rinse, repeat.

The Americans are good at it too. Beyond the Door was quite successful. So in 1977, when Mario Bava directed a supernatural film called Shock, when it came to American theaters, they renamed it Beyond the Door II. More than a decade later, the Italians made a completely unrelated (to either film) supernatural horror flick, and some crude individual dubbed it Beyond the Door III.

It is surprisingly good.

A group of American students travels to Yugoslavia to witness a sacred ritual that is only performed once every 100 years.  They are told it is a Passion Play, but also that it takes place from the time before Christ. Which should have probably been their first red flag.

They are met in Yugoslavia by Professor Andromolek (Bo Svenson), who seems very nice.  We quickly learn he is not so nice when he receives a telegram for Beverly Putnic (Mary Kohnert), one of the students (and our main protagonist), informing them that her mother has died in a tragic accident, and he rips it up without telling her.

He puts them on a boat, and they travel to the middle of nowhere, where they get off, walk through the woods, and come upon a small village full of strange people in Eastern European peasant garb who just stare at them menacingly.

Without further ado, they put the kids to bed. Everybody but Beverly is asked to sleep in a single cabin, but Beverly is taken on her own to a special place. They give her a white nightgown and probably drug her, for once she’s asleep an old hag checks to ensure she’s a virgin (gross!).

In the morning they set fire to the other student’s cabin.  All but one escape with their lives. Beverly awakens from her slumber, and they take off running. All but two of them jump on a train rolling down the tracks.  One girl misses it, and a chivalrous dude jumps off to be with her (hurting his leg in the process.)

The train is full of more strange-looking characters who are utterly unhelpful. And then things get really weird. There is a supernatural force that causes all sorts of blood-soaked harm. This is a film that isn’t afraid to let its freaky gore flag fly. It has some terrific kills with some gooey practical effects.

The train is apparently unstoppable. Sometimes the magic flips the rail switch, and it will just run straight into the ground and keep on going (making great use of some very cool miniatures.) Interspersed with these scenes are some cuts to some presumably Yugoslavian government workers who seem to be monitoring the train’s movements.  They presumably speak in Slavic, definitely not English, and AMC+ did not provide English subtitles. I assume they were just freaking out about the runaway train, but who knows?

The cinematography by Adolfo Bartoli is surprisingly great.  This film looks amazing. There are lots of scenes at night and in the dark, but it is so well lit you can see everything beautifully. This is especially true during the numerous scenes lit by fire. Seriously, this film has no reason to look this good.

It has no reason to be this good. I mean, the plot is rather silly, and the acting isn’t great. But for a little low-budget sort-of (but not really) final part of a horror trilogy, Beyond the Door III is well worth watching.

The Friday Night Horror Movie: Whistle (2026)

whistle

I get pretty spoilery in this post so if you don’t like those stop reading.

ted me. It begins with a scene that takes place before the real movie sets in, designed to give you a little fright before it has to do the boring work of developing characters and building a plot. 

There is a high school basketball game. Our presumed heroes are down by a few points, and there are only a few seconds left. Our presumed main character takes the ball and makes a basket, narrowing the margin to one more point. Then he sees something in the stands. Smoke billows, and there is a strange figure standing there.  He shakes it off and gets the ball again. He runs. He shoots. He…the basketball does that thing it always does in basketball movies where it bounces back and forth around the rim in slow motion before it goes in. While it is doing that, a smoky, charcoal creature appears before the boy.

He runs to the locker room, takes out some kind of relic, and begs for his life. The creature appears again, and the boy smashes the relic. The creature disappears. Hurrah. The rest of the team comes in, and our boy takes a shower. Then he’s burnt to a crisp by the monster.

Flash forward three months. Nobody cares about that dead kid. He isn’t our hero. Neither are any of his friends or family. He exists so we can so the film can start with a bang.  Oh, and I guess so our actual main character can easily find the relic.

She’s Chrys Willet (Dafne Keen), and she’s new to the school. She gets the dead boy’s locker, and even though it has been three months since he died, and presumably that was a tragic event for the school, no one has bothered to clean out his locker. She grabs the relic and puts it in her bag.

She makes a few friends who seem to be the only people at this school. Seriously, she goes to her first class, and the only students are like the five people she just met in the hallway. They aren’t really her friends either. She just met them, and two of them were mean to her. One stared at her like she knew who Chrys was, but she doesn’t like her. The other is her cousin. They will become friends in the next scene because the film needs them to be. It needs some characters it can kill off to keep things exciting.

The relic does look cool. It’s kept inside this black crystal-like box, but the real thing has a groovy skull on one side and a little whistle thing on the other. When you blow it, death comes knocking.  You see, when you are born, your death is also born. Death spends its, um, life looking for you. When it finds you at the slated time, it kills you.  But the whistle summons your death early. Each person’s death looks like them at the slated time of their death, and if death comes early, you get killed in the manner you were always going to die.

This makes little sense but does create some fun kills. So, let’s say you are supposed to get run over by a bus in twenty years. You blow the whistle, and death comes calling sooner than expected. When it finds you, your body gets mutilated just like it would if you were hit by that bus.

I’m probably saying too much. I’ll have to add a spoiler tag at the front. But honestly, this film is dumb.  I can’t really recommend it anyway.

Our heroes (and us in the audience) learn this lore through the typical creepy old lady character we always find in this type of movie who collects ancient artifacts and knows all about spooky spells.

This movie reminded me of The Craft. Partially because it is about a weird new girl coming to a school, bonding with some newfound, and fighting supernatural powers. But also because it really isn’t that great, but I fully suspect there’s a group of teenagers who will become extremely nostalgic about it in twenty years. 

At least The Craft took some time developing its characters and developed its story. This film just throws everything together without bothering to make something cohesive.

Nick Frost is in it, and that’s always a good thing.  He plays the teacher who is the first adult to get a look at the relic and figure something out about it. But then he exits the film way too early. So much so I’m surprised someone of his status agreed to the role. Sophie Nélisse is one of the friends who becomes the love interest. That seems to be her thing now.  But I’m here for it.

Whistle is a dumb movie. It doesn’t take the time it needs to tell a good story. Instead it just jumps from scene to scene, advancing the plot in very familiar ways. But it never made me care about these people and their story.  It tries very hard to be cool. Chrys is a goth and a lesbian, and she listens to bands like The Cure and Iron Maiden on vinyl. At one point the film has her lying on her back, the camera shooting her from above, her super cool records neatly laid out around her head like a halo. Like I say, this is a film a certain type of teen will identify with, and I look forward to their essays on how misunderstood it was when I’m a much older man.

But the thing is, I kind of had a good time. The actors are decent. The directing does what it needs to do. The kills are pretty fun, even if they do use too much CGI. I won’t watch this again, and I certainly won’t feel nostalgia over it in a couple of decades, but I don’t hate myself for watching it.

The Friday Night Horror Movie: What Lies Beneath (2020)

WHaT LIES BENEATH poster

Robert Zemeckis had an incredible run in the 1980s through the 1990s. It started with Romancing the Stone in 1984 and ran through the Back to the Future Trilogy, Who Framed Roger Rabbit?, Death Becomes Her, and Contact. I was a big fan. When I learned he was making a thriller with Michelle Pfeiffer and Harrison Ford, I was completely on board. I believe I saw it opening weekend in the theater. I was highly disappointed. I’ve not seen it since.

The Criterion Channel is currently running a bunch of horror films from the 2000s. This is one of them. Lately, I’ve been revisiting films from my youth that I didn’t much care for at the time to see if the decades since might have made me more attuned to their wavelength. This is especially true for films that my critic friends seem to like.

So, I figured it was time to revisit this one and see if I’ve changed my mind. Friends, it still stinks. Well, okay, it isn’t that bad, but it is a bit of a mess.

This is basically Zemeckis doing Hitchcock, but that’s not really a thing in his wheelhouse. 

It begins like a Rear Window homage. Claire Spencer (Pfeiffer) and her husband, Norman (Ford) live in a big, beautiful, lakeside house in Vermont. He’s a fancy researcher at a fancy college. She gave up her musical career to be a mom. As the film begins, they are saying goodbye to their daughter, who is headed off to college. Claire is having a hard time with this.  She’s lonely and bored.

She notices the new neighbors are often fighting. Loudly. One rainy night she spies him loading something (a big covered something) into the trunk of his car. Did he just murder his wife? Suspicions run even higher when she stops by with a welcoming package and realizes that the wife’s car is in the garage, but she seems to be gone. And the husband is being cagey.

But just as that idea gets going, the film shifts gears. Now Claire is seeing ghosts. She hears whispers, the front door keeps finding itself open, and the bath is filled with hot water when nobody’s home. 

All of this works well enough. Ford and Pfeiffer are too good of actors, and Zemekis too talented a director for it not to, but it never rises above. It never quite thrilled me. I never really believed the ghost angle, and without that there isn’t much more to the story. I kept half expecting the neighbor to show back up and to be an actual killer. I think I would have preferred that to what we actually get. 

The trailer for the film famously spoils half the movie and the big twist towards the end. I won’t do that in case you haven’t seen it. The first time I watched the film, I felt the ending really killed the film’s momentum, but this time I found the final act to be the most interesting. That’s when Zemeckis goes into full Hitchcock mode, allowing himself to move away from the problematic script (by Clark Gregg!) and into pure direction. Although, I’ll still admit there are some really silly bits to its conclusion.

It isn’t a terrible film, just not a great one. And with the benefit of hindsight, it is easy to see how this marks the beginning of a downside to the director and his two stars.