Being a freshman in college, this movie reminded me of my relationship with my mom. Of course, my situation doesn't parrallel with Natalie Portman and Surandon's situation; but my mom and I have grown up with the typical mother and daughter fights. There is always the mother telling you what to do, or not being the kind of mother you want to be. I was balling my eyes at the end of this movie. Surandon's reaction of her daughter going to the East coast, miles away, after all they've been through reminded me of how I felt, being from a small city in the West coast, going to New York.

The movie is meant for women who have children that are now all grown up. It is very touching, I was moved by the movie. Every feeling out of the characters in this movie was utterly real, you didn't get any phony sentimentality. I was sitting through the credits at the screening of this movie, alone, wishing my mother was sitting next to me so I could hug her and thank her for everything. This movie is a bit corny of course, but everything is trully momentous. Its all about what a mom can learn from her child; and what a child learns from her mother. 8/10


Natile Portman and Susan Sarandon play off of each other like a symphony in this coming of age story about a young girl, who is sentenced to life as the daughter of one of the nuttest women you will ever encounter. Sarandon has this ability, call it talent if you will, to play some of the most off-beat characters and bring their humanity to forefront of any film she makes. As the mother of this obviously brilliant and muture beyond her years young girl, Sarandon alternates between being the mom and being the child with the ease of a ballet dancer. More importantly she does it with strength and flare without stomping all over Portman's portrayal of the daughter. The question is always asked when we deconstruct the film plot, who changes? This film is certainly about the daughter, but if you look close at the dreams and sacrifices that Mom makes you come to understand that she changes in step with her daughter. I am willing to bet this makes all of us in the audience change also. The hallmark of fine drama


My one-line summary hints that this is not a good film, but this is not true. I did enjoy the movie, but was probably expecting too much.

Adele, who is solidly portrayed by Susan Sarandon, did not come off as a very likable character. She is flighty and irresponsible to what would be an unforgivable degree were it not for the tremendous love she has for her daughter. This is the one thing she knows how to do without fail. Adele's daughter, Anna, is a sad girl who is so busy making up for her mother's shortcomings that she does not seem to be only 14-17 years old. This, of course, makes Natalie Portman the perfect choice to play Anna since she never seems to be 14- 17 years old either. Portman pulls this role off with such ease that you almost forget that she has not been making movies for 20 years. Yet, even with the two solid leads, Wayne Wang never seems to quite draw the audience in as he did with The Joy Luck Luck and even more so with Smoke. Though I have not read the book, the film feels as if it has made necessary changes to the story to bring it to the big screen, changes which may drain the emotional pungency of the story. I enjoyed the film for the fun of watching two wonderful actresses do their work, but I never got lost in the experience and I never related to their plight.


I was able to see "Anywhere But Here" last night as a free sneak preview. I absolutely LOVED the film! I was drawn to it because of the realistic portrayal of a mother/daughter relationship...there was definitely a connection between Adele a and Ann. I think that speaks volumes of the outstanding performances of both Susan Sarandon and Natalie Portman. Sarandon was just the right actress to portray Adele and after leaving the theater I could not think of another actress in the role. Portman was also excellent as Ann. She brought a sense of maturity and intelligence to the role that I don't think any other teenage actress could. I think it would the Academy of Motion Picture Arts and Sciences should give credit where it is due and nominate both Sarandon and Portman for Awards in the "Actress" and "Supporting Actress" categories. It would be a shame if they were overlooked.


Anne (Natalie Portman) tells us about how much she hates her mother, Adele (Susane Sarandon). That's how the movie begins. Adele decided that her and her daughter were moving to California without asking anyone and leaving her husband without any reason. The story is about the relationship between the mother and the daughter. It's really deep and touching, thanks to the great work of the actresses. Natalie was nominated to a Golden Globe for that role. She is one of the most talented actresses I ever saw, and so is Sarandon. They really look like mother daughter. The soundtrack is also great. The movie is incredible. *10 out of 10*


The main attraction of Anywhere but Here is the superb performance of Natalie Portman. She gave her rather thankless character a lot of much-appreciated emotional depth. Susan Sarandon, a fine actress, is suitably sincere as the mother figure. I thought the chemistry between the two stars was believable, a chemistry that could have been developed more with a more involving script. I am not saying the script was bad in any way, I am just saying it seemed underdeveloped at times. I don't think it was the script writer's fault. The film did suffer from being overlong, and became sometimes unfocused in the longer scenes. The film does look beautiful, with some good direction and excellent performances. All in all, watchable certainly, but maybe more for an older audience. 7/10 Bethany Cox.


This film is about a single mother who is happy go lucky to the point that she is almost irresponsible, and her sensible teenage daughter who is undergoing adolescent turmoils.

"Anywhere But Here" is an engaging film from beginning to the end. Both Ann and Adele are described well right at the start, so we get to know how different their personalities are. Clashes inevitably ensue, and they are engagingly presented. I find myself so drawn to their state of minds and their circumstances. it is as if I am living their lives, feeling what they are feeling.

Susan Sarandon gives another excellent performance in "Anywhere But Here". She is charismatic, happy go lucky, hedonistic, warm and loving all at once. I have always liked Susan Sarandon, and I think she is grossly underrated.

"Anywhere But Here" is a captivating emotional journey.


I thought Anywhere But Here was a good movie.It stars two wonderful actresses, Susan Sarandon and Natlie Portman, which when I heard they were in a movie together I resist watching it.Overall, it was a pretty enjoyable movie.It had it's moments where I felt as if they tried to hard, and there was also some really overdone and worn-out material, but there wasn't anything in the movie that I absolutely hated.I even liked how they used the pop-up performance of the uncredited Thora Birch, and all the little happy/sad moments are touching and effective.If you want to watch this movie, go ahead, because even though I don't recommend it, it's not something you should avoid, and a 5.9 rating seems unfair in my opinion.


Regarded as another one of the recent over-the-top drama's brought upon us by Hollywood, this movie excels where others have totally failed(especially considering the most underrated performance in recent dramatic character portrayal by that of Natalie Portman), this film is almost unanimously driven by the chemistry that both Susan and Natalie share. They seem to be so natural during the movie that you would mistake them for a real family. They go through so many mother-daughter conflicts in the story its kind of hard not to pick up on their acting abilities. I feel that these two actress' talented performances picked up where the story was lacking and almost too familiar (full of cliche's) and really saved the suffering plot. I would recommend this movie mainly to those who like either of the two actresses or such over-the-top drama's.


Chick Flick? Of course.... Been done before? Many times.... Predictable? Yes..... Worth watching? You bet! I was delighted with Sarandon and Portman's portrayals of otherwise stock characters in a familiar story line. I am a great fan of mother/daughter stories. What makes the difference between the good ones and the weak ones ARE the performances and the character development. Although this is not the BEST of its genre, I will buy it and watch it again. I felt the characters were believable and the acting was superior.


Anywhere But Here is not exactly anything new, but the excellent performances by both of the main actresses made it worth watching. Sarandon and Portman are a mother and daughter who move from rural Wisconsin to sunny Beverly Hills, California, in search of a better life. The main conflict comes from the fact that Natalie would much rather have stayed in Wisconsin with all of her friends and family, and she felt that she was forced to go to California with her overbearing mother.

(spoilers) While it's true that the film as a whole is disappointingly predictable, Susan Sarandon and especially Natalie Portman give performances that are so good that they almost make the material seem new. Anywhere But Here doesn't cover any new ground, but it does have the rare quality of being able to take overused subject matter and make it fairly interesting again. Also seen in this movie is the most heartbreaking facial expression seen in years, seen on Natalie Portman's face when her mother drops her off on the side of the road and she watches the car fade into the distance. Particularly noteworthy is the ironic subplot about Natalie's mother pressing her to become an actress, as well as a very convincing performance from Shawn Hatosy as one of Natalie's very close cousins from back home. His death is a tragic cliché almost always seen in movies like this one, but the rest of the film makes up for numerous weaknesses like this. Not great, but Anywhere But Here is definitely worth a look.


I was impressed with this film because of the quality of the acting and the powerful message in the script. Susan Sarandon plays the part of a flighty, irrational and possessive mother, who constantly gives her daughter the message that they must stick together. She removes her daughter from a dysfunctional but loving family in Indiana to pursue an exciting acting career in Hollywood. The daughter is dubious, but at first she has no choice--- the bond with mother is pathologically strong.

In time the girl sees that the mother is off into flights of fantasy and does not have her feet on the ground. She sees her mother go head over heels for a handsome, seductive guy who loves 'em and leaves 'em. She sees that the mother doesn't get it. So how can she look to her mother for guidance?

The mother directs the girl to a drama try-out and sees the daughter act out the part of the mother in such a way that a shockingly painful mirror is held up to the fly-by-night mother. This causes a period of depression and the girl is horrified at the impact on the mother and is apologetic, but the lesson takes hold.

There is character-growth as the mother realizes her selfish claim on the daughter and eventually is persuaded to let the girl go. It is a touching scene and a valuable lesson, that parents, however emotionally dependent, have to let the child go and become her own separate person.


I was laying in bed, flicking through the channels... and boy do I have channels... 500 of them. With over 70 movie channels, I probably watch a movie on cable, once or twice a month... DVD has spolied me.

Anyway, I'm flicking through and I come to this movie and because I see Natilie Portman, I take interest. 110 minutes later I am still interested. How could this be? When I first saw the previews to this movie in the theater I remember making fun of it. I never thought I'd watch it... nevermind like it.

The story is based on a book, and you can tell. The movie is very episodic, andit's not like the movie has a great plot, it just sucks you in. May-be its that performances that do it. I'm pretty sure in must have been.

This movie was good for no reason...

Peter's Movie Rating (out of 10): 7


it´s a movie to see on tv and only once.. i mean, it´s good, but it´s a little too lengthy and the plot is so well-known, it isn´t very original but it isn´t boring. the best thing of the movie are the performances, natalie portman and susan sarandon are great actress and in this movie they have done a great job. i give it a 7.


Susan Sarandon. She made this movie for me. I've never appreciated her acting more than as I did in this movie. She really acted as though she were Adele August. I can appreciate actors and actresses who leave their individual persona and create a character who's truly believable.

Natalie Portman as Ann August helped create the ideal antagonist as their characters developed through the movie. The movie was about them so the other characters were peripheral.

I gave this movie an eight rating, but Susan received a ten from me because of her performance. As far as relationship movies go, Beaches and Terms of Endearment had a greater impact on me than this movie, but I highly recommend it.


Most families will recognise similarities between their own family and that created through brilliant acting by Natalie Portman and Susan Sarandon. Natalie creates an on screen image that justifies her as one of the best actresses in America and one worthy of a Golden Globe Nomination. The control of her emotions are so in tact that at any point in the movie she can tap into them and release an unforgettable scene. Susan is also amazing in this movie as yet again she chose a role that is so different to any other and carries it through with true professionalism.

Any Natalie fan would've seen the film based on her past successes, but you should also see it for the emotions that are released during the film. It is a truly humbling experience.


Since I am a fan of Natalie Portman, I had to see the movie. I enjoyed every minute of it. It plays out in a very sincere way. Throughout the whole movie at seemed as if Natalie was the mother and Susan was the mother. Susan's character kept making bad decisions and kept getting burned because of it.

I heard that there was supposed to be a love scene involving Natalie and some-guy (he's in Outside Providence) but Natalie would only accept the script if that scene was removed. And I think that is great. I think that a love scene would have ruined the tone of the film.

Natalie must have a knack for picking good movies to be in because I haven't seen her in a bad film yet. So, any movie that has Natalie Portman will no doubt be seen by me.

A good film. 7/10


Its the best movie I have seen in 2000, it has the beautiful and talented Natalie Portman in it. It has a great storyline, cast and soundtrack. I enjoyed it very much. 10 out of 10


Being 15 myself I enjoyed this flick thouroughly!! I related to the character Ann August more than most would. My Mother isnt AS eccentric as Adele, but the feelings of lonliness is the same. This movie is perfect in the ating aspects, and Natalie's, and Susan's performances are so linked together that it's the best onscreen dual i have seen in years. Their chemistry brings the characters to life, they become real people! I would recommend this flick to anyone who is hoping to get away. Because there is genually alot of people out there who would wish to be "Anywhere But Here" including me! and if you can, see this movie with your best friend or your mother. Its the tears that blend everyone around you together more!!


Adam Sandler's movies are my favorite comedies. The Silence of the Lambs is my favorite horror movie. The Matrix is my favorite sci-fi movie. Anywhere But Here is my favorite drama.

Perhaps the single most valuable asset that this movie has is it's acting.

Susan Sarandon is absolutely amazing. By the end of this movie I felt as if I knew her character better than I knew myself. She did a simply amazing job.

Natalie Portman also did a great job. I recently rented her first movie, Leon (1994), in which she played a 12 year old girl. I believe that she is a contradiction in terms; she was a good kid actress. Well, 5 years later she is still just as good an actress. In fact, she's much better.

Not only did Sarandon and Portman portray their characters well, but they also worked perfectly together. I mean, even now I can hardly believe that they are not actually mother and daughter in real life as well as in this movie.

This movie is about a 14 year old girl (Portman) and her restless mother (Sarandon) that leave their home town in Wisconsin for Beverly Hills.

At first Portman hates her mother for taking her away from her cousin and friends, and the two begin a very tumultuous relationship that goes up and down over the course of a couple years (usually down, might I add).

Although this explanation is a little vague, the plot can only be summarized vaguely. But when you see this movie you will see that the plot really is not so vague or weak, for it is actually very deep. What I am saying is that the plot is outlined weakly, but then they focus in on it to make it strong.

And it is very strong, but also the plot sequencing is great. And there are a few brilliant scenes that I hope will someday be seen as "classic".

I loved this movie. I laughed. I cried. And although, admittedly, there are a few loopholes, it's still a stellar movie and it really comes together in the end.


I'm sorry, but "Star Wars Episode 1" did not do any justice to Natalie Portman's talent (and undeniable cuteness). She was entirely underused as Queen Amidala, and when she was used, her makeup was frighteningly terrible. For "Anywhere But Here," she sheds her god-awful makeup and she acts normally. And not only can she act good, she looks good doing it. I'm a bit older than she (she's only 18), and I have little or no chance of meeting her, but hey, a guy is allowed to dream, right?

Even though Susan Sarandon does take a good turn in this movie, the film belongs entirely to Portman. I've been a watcher of Portman's since "Beautiful Girls" (where she was younger, but just as cute). There's big things for her in the future - I can see it.


I just came back from seeing this awesome movie!! I can relate to it so much...It reminded me when my sister had to go to college, we had to move from place to place, and my mom acts like Adele August! Boys might not like this movie since it brings tears to your eyes. One of the best real-life movies I've ever seen!! and Natalie Portman rules!! 10/10


I just saw this movie tonight. Coming into it I thought it would be good because I like Natalie Portman alot and Susan Sarandon is a great actor too, but it was way better than I could have imagined. You come out of the movie feeling great. The acting was excellent, which is something that can be hard to come by lately. Natalie Portman is destined for great things and me being a college student at NYU, think that it is great that she is going to school instead of just being an actor. Anyways, back on subject, the movie keeps you interested the entire way through and I definitely think that everyone should go see it. I would give more details, but I don't want to give away the movie.


I absolutely LOVED this movie! Since I don't want to give much away, it's basically about about a mother and a daughter and the life they have together. It's very heartwarming story, between the struggles they have. I also think Natalie and Susan have perfect chemistry throughout the entire film! This is definitely worth seeing! Two thumbs up, way up!


Being a fan of Saint Etienne and the City of London, I was very excited to see this movie on the list of the Vancouver International Film Festival. This movie has great shots, an absolutely excellent soundtrack and interesting insights into a 'not so well known' London.

The movie is held completely in 'dark' colours, which I personally don't like too much. Furthermore the narration was a little too British and the comments sometimes got a little flat. Other than that, there are some great comments by Londoners and excellent shots. FINISTERRE doesn't glorify London by showing all the great attractions of the city, but rather gives deep insights in what London is really like. From the East end to the vibrant centre with its music scene as well as the 'special little retreats' for Londoners.

All in all:

+Great Soundtrack +Nice shots +great insights

-Narration -Tiering to watch at times -Very dark picture

Worth watching! I give it a 7/10


This movie is about London and it's an amazing movie. it will be released on DVD in april 2003 and I will buy it when it gets out so If you have not seen it until then BUY IT. The music in the movie is even better (saint etienne) have done the soundtrack.


Never, ever, have I been as impressed by a film as this little piece about four groups of people, that faces a crisis, or many. In some ways a little like Short Cuts, but totally different, at the same time.

There are a heap of lead characters, whom we all learn to know very well as their stories unfold, and they are, as persons show their good and their bad sides, their weaknesses and their strengths, with lots of drama and laughter.

The closest equivalent in a US movie, I can think of, which then is far weaker in every respect, is the Royal Tenenbaums.

Four Shades of Brown, as the title would be in English, tells the story about a stressed out hotelier and his wife, and his elderly parents (who are traveling magicians); about the receptionist at an animal crematory and his family misadventures; about the members of a cooking course (who mostly talk about their sorry lives) and fourthly about the funeral for a womanizing trotter jockey, who tries to continue orchestrating the family from beyond the grave, by singing and appearing in 3D during the funeral, thanks to high tech equipment that has cost his entire fortune (the family gets nil, not even the famous horse is given to the family)!

There is a warmth and compassion in this film, that is filled with grief and laughter, that I've never experienced before.

Most actors were new to me, except Robert Gustafsson and one or two more, but they all deserve the big slam the film took at the Swedish Guldbagge extravaganza (= the Swedish "Oscar" Awards) a week ago!

Male, female and male supporting actor prizes went to this film, plus a few more, to boot!

If you have the chance, go and see it - the hours float by very quickly!


I didn't know what to expect from this hugely popular (and hilarious) Swedish comedy & satire team, as they released their first feature film. More broad satire? Well, we do get four contemporary, exceptionally memorable tales of family pains, generation gaps and fatherhood, in particular. But it's drama, thankfully, and what drama! Epic in its scope, as each episode is from carefully picked, geographically different parts of Sweden. But each story could seriously carry a whole movie, if expanded separately.

It's dark, twisted, harrowing, yet massively entertaining and breathtakingly executed. Script, acting and cinematography are absolute world class, as three hours seem to get by in a blink! It's four shades of mastery, and easily one of the best films in the nations' cinema history. It's Sweden's answer to "Short cuts" or "Magnolia", if you like, and instantly on par with those!

9 out of 10 from Ozjeppe


This movie must be exported to the rest of the world! An absolute masterpiece, with a both bizarre and grim film about four different stories from four different locations in Sweden. The one with the newly renovated hotel with the improper wooden figure of an old finance minister is absolutely the best of the four, odd story about love or career. I would love to see all four as a film on their own they can be so much more extended.

Also the unique pause in the middle is something I've never seen before.

Can't wait for the series (if they're doing one) or the extended DVD. Apparently they had cut out a lot to fit it in to just 3,5 hours.


During the making of this movie I once caught a statement on television about it. Something like: "Is Killinggänget now taking off Nazism?"

So, my comprehension of this movie, was from the beginning to get a notion of Nazism. When recently seeing this movie in the TV-version I had this filter before me and it wasn't difficult to see this.

Strangely enough I haven't met this way of interpreting the film ever since I first heard it.

These are the things I found in "Four shades of brown". In all four of the stories the lack of empathy leads to disaster:

1. The crematory-worker shows no realistic empathy to the dead animals or to those who had to say goodbye to them. In the crematory-room in dealing with death and fire it's almost like a cheerful game to him. The seriousness of death and fire is not emphasized by the father and his boy accordingly, in ignorance pushes a button that leads to the disaster that injures his father severely.

Possible lesson: The importance of showing the young adequate emotions. When they grow up they need to know what behavior leads to disaster and what emotions lead to good.

2.The magician maneuvers his wife like an invisible puppeteer. Just when she thinks she has begun to cut off the strings to the masters hand, reaching for personality, integrity and joy, he pulls hard and she is back in desolation and despair.

Their son has tried to revolt in creating his own life with perfection and "good" taste in opposite to his parents "bad" taste. The real problem he is carrying within is far from comprehensible to him: His fathers behavior passes on when suffocating his own wife in his spotless environment.

Possible lesson: Oppression breeds bondage.

3.The father who was abused as a child passes on sadism to his children when he cheats them on their inheritance. He robs them of their childhood and in the end even of their inheritance.

Possible lesson: When no love given you cannot give any.

4.The fathers abuse of his daughter creates in her a ruthless revenger with sadistic aggression. Here the ice cold Nazi-sadism becomes very obvious in physical violence. It gives a possible background and a somewhat plausible explanation to the actions of young "scin-head"-nazists behavior when oppressing others.

Possible lesson? : Can Nazism take birth in a pervert home?

Can the hideous consequence of ignoring empathy in family life, in the long run, be that room is given to sadistic Nazism ?

Very seldom does a movie contains so much. It reveals little by little as I meditate on it. I consider it brilliantly "painted" and the actors are superb. Especially the nice-seeming bloke played by Ulf Brunnberg that turns out to be the worst of all..


I like seeing Linda Blair playing in an actual "horror" movie again. I had been disappointed with her in most everything since the "Exorcist "movies (Which i loved). What was up with all of those nasty "B-movies" she did?

David Hassellhoff on the other hand, all i could do is laugh. He is not cut out to be a horror movie actor. David needs to stick to "Knight Rider" or "Baywatch".

All around, this is an awesome movie. Even for the eighties, this was an awesome film. It has horror, action, and drama. It is a suspenseful, and I loved the way Linda Blair turned out.


Witchery, or Witchcraft as it's commonly known in Europe, beings with Jane Brooks (Linda Blair) waking up from a nightmare involving a witch. Jane's Mother & Father Rose (Annie Ross) & Freddie (Robert Champagne) are interested in buying an old deserted hotel on an island about 50 miles from Boston, renovating it & reopening it. Together with Jane & their young son Tommy (Michael Manchester) Rose & Freddie are planning to travel to the island with an architect named Linda Sullivan (Catherine Hickland) to check on the amount of work that needs doing, they also meet up with the estate agent Jerry Giordano (Rick Farnsworth) & hire a local fisherman named Sam (George Stevens) to take them to the island. Once there they enter the hotel & begin to inspect the property while back on the boat Sam is killed & the boat is let loose to sail off into the distance. They discover two unexpected guests in the shape of a photographer named Gary (David Hasselhoff) & his virgin fiancé Leslie (Leslie Cumming) who happens to be researching a book that she is writing about the gruesome legends & superstitions surrounding the infamous island & hotel. As the night draws on a raging storm outside isolates them from the mainland as a mysterious 'lady in black' (Hildegard Knef) keeps popping up as the ancient evil that resides in the hotel seeks fresh victims for demonic possession, human sacrifice & Satanic rites...

The director of this American Italian co-produced film is somewhat shrouded in mystery as the IMDb lists Fabrizio Laurenti as Martin Newlin but there are rumours that Joe D'Amato did the honours, either way to be honest despite it's bad reputation I found Witchery quite entertaining in a so-bad-it's-good cheesy sort of way. The script credited to Harry Spalding & Daniele Stroppa on the IMDb again is confusing too as the actual credit on the film itself is Daniel Davis, anyway whoever wrote this thing did a decent job, please stop laughing. At heart it's a haunted house horror but adds some gory deaths & a surreal feeling to everything. The different sets of characters have reasonable motives & didn't get on my nerves as much as I'd thought they might, it's not plotted very well, it doesn't make a whole a lot of sense & the dialogue isn't exactly top drawer stuff but as a whole Witchery entertained me for it's 95 odd minute duration plain & simple. It's reasonably well paced, a little slow to get going maybe but there are plenty of surreal, bizarre goings-on & gruesome deaths to keep one amused. One part of Witchery which destroys some of it's credibility is this so-called storm, there is no storm in sight & the sea is probably calm enough to swim in, Witchery's supposed 'twist' ending didn't really work for me either & just check out the dumb expression on Cummings face on that final freeze-frame. The hotel provides for a good isolated location & adds a certain atmosphere to the film which has the distinctive indefinable 'horror' feel throughout, cheap horror at that. Technically Witchery is not too bad at all, it was obviously shot on location so it looks good throughout & while not exactly the pinnacle of film-making finesse it's overall production values are slightly better than expected. The violence & gore is of typical Euro explicitness, a woman has her lips sewn shut & hung inside a fireplace so she can't scream as the others light it, someone is crucified & then burned alive, impaled on a swordfish, someones veins expand & pop & a woman is raped by a man with no lips. Witchery was shot in English so there is no dubbing, as far as acting goes David Hasselhoff & Linda Blair in the same film what more can I say?! Yes ladies Hasselhoff does take his shirt off & for the lads Cummings takes hers off. Both Hasselhoff & Blair are a hoot to watch in this thing, however the little kid is very annoying & really can't act at all. I sure most sane film-goers will disagree with my opinions but I still stand by the fact that I liked it & would happily watch it again, Witchery is pretty good fun & definitely worth a watch if your into 'bad' films or your a horror fan in general.


Linda Blair has been acting for forty years now, and while she will never escape the part of Regan MacNeil in "The Exorcist", few of her subsequent horror films have used her legendary status to such great effect as "Witchery" does. She plays Jane Brooks, a pregnant single woman who travels with her family to an abandoned island hotel that her parents want to purchase. They are accompanied by a couple of real estate agents (Catherine Hickland and Rick Farnsworth) and upon arriving at the island they meet a photographer (David Hasselhoff) and his writer girlfriend (Leslie Cumming) who are illegally squatting in the hotel while investigating the legend of a local witch (Hildegard Knef). It seems that a long-ago witch-hunt resulted in her suicide, and she was with child at the time. Unaware of the danger, Jane has recently dreamt of the witch's dramatic death, and Jane's little brother Tommy (Michael Manchester) has been more directly visited by her spooky, black-clad spirit, which he calls 'the lady in black'. The group's time at the island inn begins quietly enough; unknown to them, however, the Lady in Black has already dispatched the captain of their hired boat (George Stevens). Before long, the isolation and cold begin to affect everyone, and it is during this period of moodiness and tension that the Lady in Black begins her reign of terror. She plans to avenge her own fate by possessing Jane and sacrificing her companions and her unborn child. Each of her other victims fulfills an aspect of her vengeful curse - greed, lust, and the blood of a virgin. As the sun goes down and the sea becomes wild, she haunts them one by one in gruesome, horrifying ways. The island location is effectively scary, and the inn is very creepy and hauntingly shot. It's such a colorful film that it reminds me of Dario Argento's work. The lighting is excellent, and the set decoration is perfectly spooky. The soundtrack is very effective and unique. The horror effects are extreme, terrifying, and unforgettable. The cinematography is great, and it is this that brings us back to Linda Blair. The creative team behind this film shoots her like a horror star should be shot: lots of dramatic push-ins, lingering close-ups that subtly detail Jane's incremental possession, and moments that are reminiscent of other great horror films. There are hidden homages to "Rosemary's Baby", "Jacob's Ladder", "The Shining", "Black Sunday", and of course "The Exorcist". She does a great job, and absolutely steals the show with her moody and understated performance. That isn't to say that the rest of the cast disappoints; Catherine Hickland is sexy and very good, and veteran performer Annie Ross is memorable as Jane's bitchy mother Rose. Hasselhoff gives it his best, but he is not essentially a film star, and his television persona gets in the way of his performance. Blair and young Michael Manchester have a wonderful chemistry together. The film is otherwise so violent and creepy (in a good way) that it desperately needs their warmth (Blair also played a mother in 2003's "Monster Makers", and her maternal scenes in that film have the same tender feeling to them). Lastly, Hildegard Knef (in one of her last roles) plays a great witch, and she has the most amazing voice and accent. Along with Blair, she was also perfectly cast. But it's Blair's movie all the way. Jane Brooks also seems to have some psychic ability, and this aspect of the film hearkens back to "Exorcist II: The Heretic". I think "Witchery" is up there with "The Exorcist", "Exorcist II", "Hell Night", and "Summer of Fear" as Blair's best genre work to date.


"Witchery" is a decent little Euro-Trash horror yarn! David Hasselhoff is pretty damn funny in this one and sadly, he's one of the better actors. Linda Blair is downright terrible and the lady who plays Hoff's wife...she is hilariously bad! The plot of this film is ridiculous too. It's got some holes, which you can't help but notice, but it remains entertaining throughout.

The gore in "Witchery" is freaking outstanding. I loved the part where the old bag gets "sucked" into the trash chute and ends up in the chimney to roast! And the part where the lady "gets taken advantage of" by the Devil was pretty damned disturbing. I'd say this one is a must for gorehounds.

If you're looking for an overproduced, well-acted flick, look elsewhere. But if you like old-school style Italian sleaze and over the top gore, "Witchery" belongs on your shelf.

I'm surprised by the low rating on here! What were you people expecting, "The Exorcist?" 7 out of 10, kids.


*Please note: (The below text is taken from the Irish DVD Release). Some of this summary MAY be wrong:

Edge-of-your-seat chiller, in which The Legacy of an ancient Witch and her bloodthirsty coven causes a deserted island hotel to become the embodiment of evil two Centuries later.

When an inquisitive photographer (David Hasselhoff, Baywatch, Knight Rider) and his virginal fiancée (Linda Blair, The Exorcist) creep onto the island to research its gruesome history, they are joined by an unwit- ting estate agent and his prospective buyers.

Gradually the group find themselves falling victim to the ancient evil that lives on in the mysterious old woman who roams the hotel, seeking fresh victims for Satanic rites, human sacrifice and demon- ic possession...

Check in at the Witchcraft hotel... we hope you enjoy your SLAY!

Additional Info. on the movies contents:

Violence: Some gruesome, sexual violence - VERY STRONG!

Sex and/or nudity: Some strong, as well as innuendo.

Bad language: Some, strong.

Other: Some drug use and references.


I must confess that I've been a huge fan of the almighty David "the Hoff" Hasselhoff ever since he starred in the hit 80's TV series "Knight Rider." Whether it's his extraordinary debut as a libidinous high school basketball player in the hilariously raunchy "Revenge of the Cheerleaders" or his brilliant portrayal of a dashing prince in the schlocky sci-fi gem "Starcrash," the Hoff has proved time and time again that he's a simply terrific (and shamefully underrated) actor supreme. The Hoff excels here as Gary, a cynical and skeptical photographer who along with his repressed virginal writer girlfriend Leslie (attractive brunette Leslie Cummings) investigates a seedy dilapidated haunted hotel located on a remote island off the coast of Massachussetts. They're doing research on witchcraft throughout the ages and the hotel's last owner was an actress who allegedly practiced the black arts. A bickering family also shows up on the premises to check out the hotel. Pretty soon various folks begin to get bumped off in assorted gruesome ways by the mysterious Lady in Black (an effectively eerie Hildegard Knef).

Granted, the rest of the cast gives the Hoff a run for his money: the ever-perky Linda Blair projects her customary charming flair as a spunky pregnant woman who winds up becoming possessed (natch!), legendary jazz singer Annie Ross bitches it up with gleeful aplomb as a snippy old bat (poor Annie winds up being incinerated alive after she has her lips sewn shut and she's hung upside down in a chimney), and gorgeous blonde Catherine Hickland oozes considerable sex appeal from every fetching pore as a lusty slut. Fabrizio Laurenti's competent direction, a suitably creepy atmosphere, Gianlorenzo Battaglia's slick, glossy cinematography (the fluid prowling Steadicam tracking shots are especially nice), the gaudy special effects, Carlo Maria Cordio and Randy Miller's spirited shuddery'n'spooky score, and the gory, sadistic violence are all up to par. But ultimately it's the tremendously dynamic and charismatic presence of the one and only the Hoff which makes this choice tasty chunk of tacky Italian horror cheese such a winner: He takes his shirt off once (hubba hubba!), gets sprayed with blood, and -- WARNING: Major *SPOILER* ahead -- even meets a pleasingly grisly untimely end. Produced by none other than Joe D'Amato, this picture overall rates as good, sleazy fun.


I didn't see this movie until it appeared on television because I was doubtful about comic flicks. Ever since the "Batman" series, "Spawn," "Judge Dredd," and many other pitiful p.g.-13 bombs, I dodged everything at all cost. I would question in my mind, "why can't someone make a movie that is rated R and stays true to the story, how difficult is that?" And finally my prayers have been answered with Blade. This movie pops right out of the pages onto the screen with sheer violence, blood, martial arts, weapons, fire, the good against evil, etc. Yeah sure a lot of action flicks contain all these goodies, and most of them have bombed. But not Blade, the movie was filmed just right, not going overboard, delivering a good length and never a dull moment. Blade II is cool, but not as cool as the first. Blade is indeed one of the best real comic flicks I've seen in a long time.


Now here is a movie that does something that hasn't been done in a long time. It take ten or so different elements that we're already familiar with (Vampires, martial arts, a techno beat, top-o-the-line special effects, etc.), and turns it into something that feels brand new. In what could have easily been merely a combination of "Mortal Kombat" and "Buffy: The Vampire Slayer," Wesley Snipes (no favorite of mine since and mostly because of "Passenger 57") gives a really good turn as the half human/ half bloodsucker. He acknowledges the internal conflict, but doesn't dwell on it more than necessary. He makes Blade as deep a character as Michael Keaton made Batman.

I'll say that the only part of the movie that got me a little miffed was the always present horror movie cliche of that one person that the hero happens to know who happens to know exactly how to stop the evil guy. On the other hand, you sort of have to have that in a movie like this, so it's easily excusable.

Well, Snipes is good. And Steven Dorff, hyped in the previews, makes a more than bad enough bad guy to Snipes' hero. He's got class, presence, and enough control in his little pinky to teach Al Pacino how to tone it down a bit. Who would ever think that a comic book movie would be a launching pad for an actor? I sincerely hope this is. And whoa! where the heck did Kris Kristofferson get acting talent? Don't get me wrong, but the prolific actor hasn't done anything memorable since "Millennium," and how many of us watched that just 'cause of the cool video box? Well, here he is, folks, in a very Obi-wanish turn, as Blade's mentor and father figure. And good job, too.

The quality of the acting is matched by the quality of the choreography and special effects. Accompanied by a pulsing techno beat, the fight scenes brings back and quickly banish memories of Mortal Kombat. Hey! It had a script, too! I was wondering what had happened to all the good writers out there.

The two major indications to me that I saw a quality flick were these; I had no feeling of remorse about paying full price to get in, a la any Schumacher "Batman," "The Avengers," "MK: Annihilation," "Godzilla," or "Armageddon." (wow, how many of those came out this year? Ugh) Also, I look forward to the inevitable sequel, as per the film's ending. Let's just hope they do as good a job with it as with the first one.


Blade is a fantastic action/thriller that keeps you captured for the whole duration and Wesley Snipes delivers what I would say to be his best performance yet.

This film has everything that you would ask for in an action/thriller, it has plenty of blood, guts and gore, a twisted, disturbed bad buy, moments of humour but most importantly a very good story line with plenty of twists.

Their is constant action throughout the film with breathtaking stunts and effects, Wesley Snipes fighting movement is fantastic.

This film is in my opinion a must see, Wesley Snipes cool, solid appearance makes this film and I can't wait for the sequel 'BLADE 2' being released next year.

My IMDB Rating - 9 out of 10


If you like horror or action watch this film ASAP. If the opening scene doesn't get your adrenaline pumping then someone should check your pulse. Great Action, excellent casting and top one-liners. This is the only film I have seen in a cinema where the crowd applauded each chop, kick & punch thrown. Not perfection but who cares when films can be this much fun. Its a pure rush of dark comic book action. 9/10


Wesley Snipes is perfectly cast as Blade, a half human, half vampire known the daywalker. He has all their strengths and his only weakness is the thirst for blood. Since he teamed up with whistler (Kris Kristofferson) he has hunted down vampires who have lived amongst us unnoticed for centuries, but omnipotent overlord Deacon Frost (Stephen Dorff) is tired of living in harmony with the humans (Food as he calls them) and he plans to waken the blood god and take control of the world.

This movie is well cast, written and directed; ensuring the viewer has a thrilling ride from start to finish. Packed with great fight sequences and slick dialogue, Blade is certainly more action than horror, but it definitely delivers.

8/10


Ben Marshall, a teen ager from a religious background, is made aware about the financial situation at home by his domineering mother Laura. She suggests him to find a temporary job in order to contribute to the household. In fact the family has taken a widower, to board with them. Robert Marshall, the father, is a pastor at the local church; he'd much rather be in the country watching birds than tending to the souls entrusted to his church.

The job Ben applies is with an older actress, Evie Walton, who wants him to do things for her around the house. "Dame" Evie, as she calls herself, is a woman of a certain age whose career has died maybe because she was not that great. In fact the only memorable appearance seems to be in a soap opera which was popular but she'd rather forget about it. Evie, who is a compulsive liar, tells Ben she's dying, only to forget it conveniently, later on when she comes clean to the boy.

Ben is obviously in awe of the larger than life personality of his employer. He has been taking driving lessons. Evie asks him to take a camping trip, which he does against his better judgment. He knows that it will provoke his mother's fury. Not content with that, Evie decides to go on to Edinburgh, where she has been invited to read at an arts festival. It is this trip that solidifies their bond. Ben gets to meet and taste the pleasures of the flesh with a sympathetic Bryony.

When Ben gets back, everything crumbles at home. His mother, who has been having an affair with a parishioner, decides to leave the family in favor of the young man she has been having an affair with. Ben and Evie's relationship survives the test of time. He also begins to see his own father in a different light.

Jeremy Brock, the writer of "Driving Lessons" and other memorable English films, takes his first directorial job with this engaging comedy. The mixture of show business and religion, loyalty and friendship, are explored in his screen treatment making it a fun time at the movies. We have seen the similar situation before as in "Billy Elliott", where Julie Walters plays a nurturing role with a younger man. We had read the film was based on Mr. Brock's own experience while working Dame Peggy Ashcroft when he was young.

Julie Walters, who plays Evie Walton, is perhaps the best excuse to watch the movie. She always delivers. Ms. Walters is a welcome presence in any film she appears and she does wonders with her fake "dame". Laura Linney, a luminous player herself, doesn't quite get our sympathy with her icy mother. Rupert Grint, famous for his Harry Potter's movies plays Ben, the young man who sees in Evie a kind soul. Nicholas Farrell is the betrayed father. Michelle Duncan has a small role in which she shines.


I really only watched this movie because it had Rupert Grint in it (who I knew as Ron from the Harry Potter movies). I had never really appreciated Rupert as an actor until this movie. I loved the entire film. Rupert does a wonderful job in this hilarious, quirky movie. I think the movie could have been fine without the sex, but it worked somehow. I can't wait to see more of Rupert's films in the future. Julie Walters also did an amazing job. In the Harry Potter movies, she has a very small role, so I didn't quite know what to expect from her either. But she was wonderful as Dame Evie. The part where she swallows the key was absolutely hilarious. Overall, an amazing movie.


I'd heard about this movie, but didn't see it until my daughter, who saw it on a flight to Australia, told me it was a great movie. I was interested in seeing whether Rupert Grint, away from Harry Potter, was showing the promise you see in the Potter movies. I wasn't disappointed. He's become a fine actor, showing a range in Driving Lessons from a shy boy being beaten down by an over-bearing obsessive mother, to a young man finding himself to be worthy of his own, and other's, esteem. Going over lines from plays and poetry with his aging-actress employer, it's obvious that he's ready to take on much more complex roles in films and the stage. But the jewel of this movie was Julie Walters. I'd seen her previously in the Potter movies, Billy Elliott and Calendar Girls, and loved her. In Driving Lessons, as she does lines from poetry and Shakespeare, I was awed by her timing, command of the language, and body language. I'm hoping it was make-up/costuming, as she portrays an older woman with osteoporosis, though no mention of it is made in the movie-- as a nurse, I can say that she did this perfectly, portraying a woman on the brink of old-age, but clinging to the sparkling past that she reveled in. This is one of the best movies I've seen in a long time, and I wish I'd seen it in a theatre first-- but I doubt it ever played anywhere here in Albuquerque. We miss out on so many of these types of movies here.


I, being a fan of Rupert Grint, rented this film a few months ago. I thought it was a very well written movie with a bunch of great actors. It was entertaining, and showed that Rupert Grint could play more than his most well known character of Ron Weasley. His subtle portrayal of Ben and everyone else's great acting made this film very likable.

Ben, a very shy boy with a extremely religious and sensitive mother, is looking for a job. He finds one and becomes the, I guess you could call "assistant" to Evie, a retired actress. At first, it is just a way for him to earn some money. But after a while, he and Evie seem to develop a friendship. Evie helps Ben break out of his shell a little and gets him to have fun and be happy with himself, and in the end they both seem to need each other.

Whether you are a fan of Rupert Grint or not, this movie is a really entertaining one with some very cute and moments. I highly recommend it to anybody who wants to see a great movie with great and talented actors.


This movie is a great film. The movie shows so many themes all in one amazing film. Driving Lessons centers around Ben (Rupert Grint) a shy 17 year old who is coming of age. The movie goes on about how Ben is sick of his dominating mother and how he just wants to be himself. Ben then meets Evie, who he makes a very special bond with. The two take a journey and in the process Ben finds himself and what a relationship that he and Evie share. This is the movie that you watch by yourself, or with someone else. No matter what, you will all feel what Ben goes through in the movie. It is a very heart warming film that just makes you think whether your driving lessons were ever as emotional or as much of a journey as Ben's Lessons.


I thought it was going to be a lousy movie, honestly, I mean, Rupert Grint, RON, acting in a movie different from Harry Potter, was actually really difficult to picture it. But as the movie started, it showed that this guy does have talent, I mean, is the best actor of the HP trio, for reference, have you seen Emma Watson trying to act? Or what about Daniel's acting? Both lack experience even though they have acted in a million Harry Potter movies. Ben, his character is a very shy boy, incapable of showing his true feelings about everything, his despise about his over ruling mom and the resentful anger towards his father who is unable to step up and confront his unfaithful wife. Julie Walters was absolutely brilliant! Her interpretation of an old retired actress trying to live with the shadow of her past, while she tries to remember Shakespearian sonnets is absolutely wonderful! Also, it appears that many youth is wasted in religious nonsense acts.


I thought this movie was cleverly written and very well acted. Its a movie that greatly surpasses other films in terms of originality and enjoyment.Rupert Grint played the part marvelously, and has a general knack for the acting business. The almost obsessive mother added quite a lot to the plot, and was a character one could almost instantly loathe. This reminded me, in a way, of the Divine Secrets of the Ya-Ya Sisterhood. Not by means of actual content of the film, but the premises, and overall tone to the film itself. "Driving Lessons" is a coming of age story, which many might find very easy to relate to due to the overpowering mother, the lack of freedom, and the discovery of oneself.


I had never heard about this film prior to coming across it as I was perusing the shelves at a local rental store. Having just watched the latest Harry Potter installment, I was intrigued by Rupert Grint and wanted to see more of his work. Reading the description on back about "an overzealous, evangelical Christian do-gooder," and identifying as an evangelical Christian, myself, I thought, "Ooohthis should be interesting." And so it was. I found Mr. Brock's story beautiful in both words and images; and sadly enough, all too familiar. The contrast he drew between Ben's parent's interpretations of what it means to be a Christian was a poignant commentary on how Christians view themselves and the impact that perception has on those around them. On the one hand, we have Ben's mom stating, "Whatever happens behind these walls, Ben, we're God's ambassadors. We show the world a smiling face." On the other hand is Ben's dad discussing truth in his sermon at the beginning of the film. At the end of his monologue, he states, "The more a person parades their Christianity for the benefit of others, the less I am inclined to trust the Christianity they claim. God tells us true faith is the freedom to choose truth. Now, how you express that, the way, the manner, the means at your disposal, these things are of no consequence, be you Christian or atheist, unless in your heart you are true." If only our churches were full of Christians who ascribed to this latter definition of what it means to be a follower of Jesus, rather than the former. What a difference that would make! As a Christian and a psychologist, I would want an imperfect yet authentic faith over a perfectly polished image any day. What a tragedy  to feel like I always need to play a role when, really, I just need to rest in the freedom of being completely who God made me to be. I think Mr. Brock provides a refreshing glimpse of what this freedom in Christ looks like. I recommend this film for anyone who desires a fresh look at faith.


I had to get this movie, since it didn't come to where I live. I waited patiently and it was worth the wait. I totally fell in love with this movie. The chemistry between Walters and Grint you could see, since they also worked together on the Harry Potter movies.The woman who plays his overbearing, righteous mother really had me convinced all right and how much of a hypocrite she is, I think she did a great job playing the role. I only wish we could of had seen the actually sex scene or more of it. LOL, but of course we just have to use our imagination on how it went down. (snickers) I totally thought the movie was worth the wait and if you want a good movie to watch. Rent this movie. I do have to say that Rupert really did a great job and it's nice to see that he's doing movies outside of Harry Potter,even though I totally love him as Ron Weasley. The whole cast did a great job and I hope Rupert continues to act outside of Harry Potter to broaden his skill!


I was unsure what to expect from "driving lessons"- unsure whether Rupert Grint could carry such a role, but within the first few minutes I was completely hooked. All the way through, the music, acting and scenery were absolutely stunning. Julie Walters, as always, gave a superb performance as the eccentric old actress Evie, and Rupert Grint, equally as good,gave a fantastic performance as the romantic Ben.

Right from the beginning, I was forced into involuntary cringes, bursts of laughter and swellings of joy as Ben broke free from his controlling mother and fought for his friendship with his only friend, Evie. A very controversial story, probably rather exaggerated but none the less one of the best films i have seen in a long time.

Highly recommend to anyone seeking a good British film and an evening to kick-back and just enjoy yourself.


If you love drive-in cheeze from the early '70s you will just love this one.How could you go wrong with a low budget film about bloodshed in a lunatic asylum? You can't! Crazy folks and sharp objects are always an entertaining combination.

The film looks like it was shot inside someone's house for about $320.65. For me that just ads to the fun of watching this type of stuff.The gore is a bit mild compared to others of this ilk,but there is enough to keep us bloodthirsty sickos (like myself)happy.Some horror films drag in parts and leave you waiting for something to happen.That's not the case here.The characters are entertaining enough to make every frame quite enjoyable.There is never a dull moment from start to finish.The mind melting climax at the end that is just unbelievable. I liked it so much that right after the end credits I watched it a second time.It's an absolute must see for any self respecting drive-in horror nut.

9.5/10 on the Drive-in-Freak-O-Meter...required viewing

Yea I love you..I DO love you...now take your Thorazine and put your clothes back on...please....8)


You'll either love or hate movies such as this thriller set inside a lonesome asylum in a far off lonesome land. It's not so much of a horror show, but a concoction of frightening imageries and wackozoid mental patients. "Scream" is the best term to use in what was obviously a popular drive-in classic noted for some strange and wicked behaviors. Notice the "judge", who's about to put on the ax from behind the doctor! Brr-r-r-r!!! Not much else can be described here other than some bloody tasty goodness, but when you get a chance, remember the familiar old saying by the hag lady: "Get out! Get out! And never ever come back!". Don't you wish you haven't looked in the basement?


Charlotte Beal arrives at an isolated country mental hospital to become a full-time nurse there. She is confronted with a motley group of crazies and a seemingly crazier supervisor. Is Dr. Masters all she seems to be?

DON'T LOOK IN THE BASEMENT is one of the best low-budget movies in the genre and why people always put it down is beyond me. The acting is excellent, my favorite performance being by Betty Chandler as Allyson the nymphomaniac. The chills just jump right off the screen. You probably won't have to say "It's only a movie, it's only a movie", it isn't that scary, but it should appeal to any horror fan who respects the low-budget horror genre, which I do. It is very hard to make a creepy film on a low budget and few actually succeed. AXE is another cheap film that is looked down upon. Maybe people are so spoiled by the big budgets of recent films that any movie that doesn't have excellent effects and/or isn't considered a classic doesn't have a chance with an audience. But I think that after people see this movie, they will see how important the low-budget horror genre is and this movie is a classic that stands out among the other rubbish.


If anyone ever assembles a compendium on modern American horror that is truly worth it's salt, there will *have* to be an entry for SF Brownrigg's ubiquetous exercize in Asylum Horror. Every time I watch this movie I am impressed by the complete economy of the film, from the compact, totally self-contained plot with a puzzling beginning and an all too horrible ending, the engaging performances by what was essentially a group of non-professional actors, and a prevading sense of dread and claustrophobia that effectively consumes the narrarive with a certain inevitability which is all the more terrifying because the viewers know what is going on long before the hero[es], with the only question being when are they going to wake up & smell the coffee?

Shot on a dental floss budget in Brownrigg's native Texas at an old palatial manor that nicely serves as the setting for a private sanitorium, DON'T LOOK IN THE BASEMENT is another intriguing twist on the good old Edgar Allan Poe tome about inmates taking over the asylum just before an otherwise "normal" outsider unwittingly joins the ranks without realizing until it is far too late that not all is what it seems, they are totally cut off & beyond any outside help, and inevitably find their own sanity questioned as the madness spins out of control -- The Original STAR TREK TV series had a go at this with their WHOM GODS DESTROY episode from 1968, Juan Moctezuma gave the proceedings a peyote fueled Mexican psychedelic trip in DR. TARR'S TORTURE DUNGEON in 1972, and tangentially related is Fernando Di Leo's ASYLUM EROTICA/SLAUGHTER HOTEL, which injects the elements of an unknown killer and an ending that can only be defined as "Splatter Cinema" -- Brownrigg may not have seen or been thinking of SLAUGHTER HOTEL, but he sure came up with some similar ideas.

Legaliciuos former Playboy Playmate Rosie Holotik plays Charlotte Beale, RN in Clinical Psychology, who has just left her nice job as a supervisor at a major hospital to travel way out into the middle of some god forsaken waste right out of a Peckinpah movie to work with a Dr. Stevens at his private sanitorium. Dr. Stevens has pioneered a new form of therapy based upon basically encouraging the emotionally & psychologically scarred to face their inner obsessions, bring them to the surface and hopefully rid the patients of whatever has fried their sense of reasoning. Nice idea, but arming a 6ft 250 pound utterly insane man with an axe and telling him to pound out his aggression AND THEN TURNING YOUR BACK ON HIM probably isn't the smartest idea, and Dr. Stevens is dispatched before Ms. Holotik even appears onscreen with a good whack to the lower portion of his skull.

This event leaves the sanitorium effectively in the hands of one Geraldine Masters [actress Annabelle Weenick, who also served as the script supervisor & production manager], a woman of startlingly professional demeanor who quickly defuses the situation with the help of Sam, the film's wonderfully unlikely hero, a lobotomized African American boheomouth played by an actor named Bill McGhee who was sadly robbed of a supporting Oscar nomination for his turn as a mass of muscle with the brain of an 8 year old boy. Sam's one wish is to have someone help him put his prized toy boat "in the water", and his continual asking of the various female cast members to do so [and his nonstop consumption of chocolate popsicles] as *SOME* kind of underlying theme, though we will avoid such here because the kids might still be up. There is also a quick subplot about a staff member who has decided to leave after being threatened by one of the patients, but I'll leave the details of that to your discovery.

Ms. Holotik arrives just as Dr. Stevens has been effectively laid to rest and is quickly won over by the snappy professionalism of Ms. Masters, who reluctantly allows the leggy young nurse to stay on in spite of the tragedy that has just happened, oh, TWENTY MINUTES AGO, which you must admit was rather sporting of her. Holotik's Nurse Beale begins to demonstrate symptoms of not being the sharpest meat cleaver in the drawer, however, when informed that she shares living quarters with a bunch of maniacs and there are no locks on the doors & doesn't trudge off for the nearest Ace Hardware Store to pick up a hasp and padlock to secure herself, and we are treated to a couple of truly creepy scenes where some of the inmates sneak into her room & do stuff like smell her hair, try to kill her with butcher knives and caress her neck with axe heads. But that's all a part of working in such a radical psychiatric health care environment, Ms. Master's informs her, and she goes about her oddly defined "rounds" that consist of wearing as leg defining a nurse outfit as you can find in a 42nd Street fetish boutique and getting to know the inmates.

Allysson is a obsessive compulsive nymphomaniac with homicidal tendancies who likes to take off her shirt & provide the film with some T & A between fits of histrionics; Harriet is a young former mother who let her child die in a stupid accident and now dotes on a beat-up old doll that she is also homicidally protective of; The Seargant is an actual seargeant [and implied Vietnam vet] who's negligence led to the death of his platoon, and now watches from the window with binoculars for the approach of an unseen enemy; Jennifer is a Phish fan who couldn't score a ticket to the New Year's Eve Show and went insane & likes to scarf down nembutols and other barbituates when nobody is looking, and likewise has hidden homicidal tendancies linked to her inability to find a bra; Judge Cameron is apparently a homicidal pervert who became obsessed with his own sense of power and now likes to chop things up with axes; Ms. Callingham is an aged poet who serves as a sort of soothsaying old hag from MACBETH before the cat gets her tongue; and Danny is an insane idiot who was included in the cast as the random element that the plot cannot control, and who's antics serve as the real catalyst for the series of tragedies & murders that ultimately take place in this dark, old, creepy house in the middle of nowhere.

The house itself is a wonderful set, with a threadbare early 1970's decor that is remarkable in it's unremarkableness, with a fantastic use of color achieved by subtle ambient lighting. The house is a series of hallways and rooms with shiny brown wooden floors, twisting, confined stairways, secreted closets and passageways leading to the different larger areas, and of course the basement mentioned in the title -- visited only once, but boy it sure proves to be a doozy! I love the frosted old freezer where Sam keeps his stash of popsicles, the utterly plain exteriors that remind me of a summer home our family used to visit every year & force us to swelter in the heat: Everyone is covered with beads of persperation and looks exhausted, and even the ever cheerful Sam at one point begins to suspect that bad things are happening, though he cannot understand what it all means and Rosie H. is too firm in her belief of her profession to even suspect what has really happened, and while Ms. Holotik's limitations of an actress may have diminished the effectiveness of her Big Revelation scene, she's a great screamer when all Hell starts to break loose, and Brownrigg indulged of some nice camera shots of her in various suggestive poses or stages of undress that show off what a pretty lady she is without exposing anything more than her contract stipulated. Too bad!

The real show stealer is Sam, however, and fans of what I have been taught to refer to as Splatter Cinema will not be disappointed by the rather shocking finale, and there is something moving about how Sam runs to the protection of his friend and brutally kills everyone within arms reach in a matter of seconds that either suggests he was one mean motha before his lobotomy, or the film is CUT. In any event you won't be prepared for the ending the first time you see it, even though you as the viewer know what the score is long before anyone else in the film has put it all together.

Except for one person: Rhea MacAdams' uproariously stereotyped old coot Mrs. Callingham [who seems to be inspired by the Donald Sutherland Old Woman character from the Michael Reeves' 1964 Christopher Lee film CASTLE OF THE LIVING DEAD, in addition to a rather nasty death by round spike to the eye], who not only predicts the future, but has the film's most laugh out loud amusing bit of dialogue while on a walk in the garden with Ms. Holotik that runs something like this --

"It's really beautiful out here. Do you get out much, Mrs. Callingham?" asks Holotik, to which the old woman replies

"It's YOU who needs to get out."

Hilarious, and one of those things you gotta kind of see for yourself to "get". DON'T LOOK IN THE BASEMENT is available on at least a half dozen "bargain bin" codefree DVD releases by companies like Brentwood Home Video, Diamond Entertainment, VCI and Platinum Disc Corp.'s HORROR CLASSICS series; I kind of like Alpha Video's sexily gorgeously decorated $6 release from 2003:

Dig through those bargain bins! But make sure you get one with the 89/90 minute print contained therein; an older 83 minute version is downright confusing due to some of the trims, and you really need to see the ending credits as intended to bring this sick, twisted and surprisingly entertaining yarn to it's end.

Masterpiece? Maybe not compared to THE EXORCIST or ROSEMARY'S BABY, but it is a very uniquely American horror film, and a genuine classic of the drive-in age that deserves to be rediscovered by anyone looking for something made with more than just a little bit of brain juice, and not a penny more than they absolutely needed.

***1/2 out of ****


Nurse Charlotte Beale(the lovely Rosie Holotik)has arrived to Dr. Stephens' clinic for the insane prepared for a new job. What she doesn't expect is to find another supposed doctor in his position after Stephens is attacked by axe-wielding maniacal "judge" Oliver W Cameron(..in a running gag, anytime he confronts a situation out of his control, he retreats to repeating his name). That doctor is Geraldine Masters(Annabelle Weenick)who isn't sure about whether Beale is a proper fit for their establishment. After a long discussion about the position(which is quite an awkward scene as the two debate about Beale's being sent a letter by Stephens getting a job at the clinic with Masters often reminding her that he is no longer in charge)Masters agrees to let her work in the nursing position, but the good Doctor may not be who she seems..

The assortment of loonies includes Sam(Bill McGee)a simple-minded child-man who was Stephens' last victim of lobotomy, Jennifer(Harryette Warren)a woman who needs an adult to comfort her as she wallows at Masters' heel like a puppy, Danny(Jessie Kirby)a trouble-making annoyance often trying to steal the fake baby of disturbed Harriet(Camilla Carr), Allyson(Betty Chandler)a sexy nympho who just wants to be loved and hops at any man she sees, & "Sergeant" Jaffee(Hugh Feagin)your typical case of soldier who hasn't escaped the madness of war.

The film shows Masters' unorthodox methods of running the clinic with allowing the patients to roam free with the doors to all rooms without locks calling into question..and, not to mention, the fact that Oliver is still allowed to walk around despite just chopping Dr. Stephens with an axe. And, what exactly happened to Dr. Stephens? Ah ha..

Tacky 70's drive-in trash is a lot of fun if you are into a warped brand of cinema. I'm attracted to bizarre flicks about mental rejects because of their unpredictable nature..you just never know what the hell might happen, especially in this case where they are allowed to roam often unattended. Some consider the low budget a liability, but in the case of this film, I think it enhances the experience. With the cheap photography and weak production values(being shot for peanuts in a run down house in some awful location)it seems creepier and I felt like a voyeur peering into insanity through a camera lens on the outside looking in.


This is such a fun and funny movie. Highly entertaining at all angles. It features an outlandish array of memorable, psychotic but lovable nuts. We got; the judge, the Sargent, the kid, the creepy old lady, the slut, the clown. And unfortunately they all live in a big house that doesn't have any locks and is understaffed. So for our enjoyment we get to see them run around, play games, and be dangerous. We also learn a lesson along the way... never give your patient an ax!

This was before Cukkos Nest, AND surpasses it. At least on the fun level. It even has its sweet moments. "Love is pure. Love is grace. Love is strength. You love me, your love is pure, you'll always love me." Now who could resist that? Nuts are humans too. Just a few loose wires. Be a little careful, or you'll get an ax in the back! Children at play. Hehe.

The telephone repair man was really funny and his reactions to the nuts and bitchy boss were truly genuine. All the characters in this film are tremendously well played. And I really did find them funny. No, HILARIOUS! They may even give you dirty thoughts of how you can take advantage of them. Or how they can take advantage of you.

This is actually a very smart movie. There is a brilliant twist ending. I must say I expected this to be a good but never expected THIS. It is horrific. "The court has made its decision. You are no longer in control!" I love it. The ending is so, SO perfect... you'll shed a tear.

I am so thrilled after seeing a movie like this. I will never forget it now. It is not just a cult... it is a cult CLASSIC. Whatever you do... Don't Look In The Basement !!!


Low-budget but memorable would-be shocker that instead emerges as theater of the bizarre. Vulnerable, naive nurse Charlotte Beale comes to a secluded mental hospital and is completely unaware that the only sane people have been murdered, despite the red flags that are constantly being raised all around her.

The lack of a decent budget really gives the filmmakers little more to go on than a sense of style, as well as a cast of wacky characters. The pleasures of this film don't come from the film's shocks, which are fairly tame, but from the weird atmosphere. First we have the delusional woman who thinks her baby doll is real. There's also an axe-murdering judge, a shell-shocked war veteran, and old Mrs. Callahan is like everybody's daffy elderly grandmother gone amok. A young patient named Allyson gives the term "nymphomaniac" new meaning. A big guy named Sam is just a little slow after a botched lobotomy, and Jennifer vaults suddenly between catatonia and violent outbursts. The only other sentient person in the place seems to be Dr. Masters, but does she have a secret?

"Don't Look in the Basement" is a great example of low-budget exploitation films. There isn't much plot going on, but the cheapness works for the movie. Several cast members turn in memorable performances, particularly Betty Chandler and Annabelle Weenick, and the way the director adds little weird details to the movie can really stick with you.

The scene between Allyson and "the telephone man" is a classic for all time, and especially delicious are the facial expressions of Dr. Masters when she begins to go over the edge near the finale of the movie. Brownrigg also makes great use of the cheap soundtrack, with several musical cues really evoking the characters that they accompany. My favorite cue is the "crazy" cue, a sitar that twangs whenever one of the patients does something pathological.

Also wonderful is the way that Charlotte herself plunges into hysteria at the climax, with the patients revealing that Dr. Masters is simply another inmate, and then suggesting that CHARLOTTE is also a patient who is being allowed to act out her delusions (she certainly has a tenuous grip on reality, why else would she not question the ominous lack of phone service or outside contact?). The scene where Charlotte manages to finish off the barely-alive Dr. Stephens with a toy boat has to be one of the greatest moments in low-budget horror. Yes, "Don't Look in the Basement" could very well be the "American Beauty" of Grade Z trash.


I personally have a soft spot for horror films that are set in hospitals and asylums so I had a good feeling about watching this "Don't Look in the Basement", even though its reputation is doubtful. Well, turned out I was right! This is great, trashy entertainment with a couple of efficient shocks and delightfully absurd characters. You have to, of course, look beyond the poor productions values and the completely illogical plot but, if you manage to do that (and if you're a fan of this type of horror, that's an essential quality), you'll be rewarded with an outrageous "video-nasty" in which blood and insanity form the main elements. The young and cute nurse Charlotte arrives at a remote sanitarium where she's supposed to start her new job. She finds out that the Doctor who hired her was killed by a patient and the replacement doctor-in-charge Masters seems reluctant to accept the new arrival. The life inside the sanitarium is rather peculiar, with the patients running around free and every door is kept unlocked. After a whole series of bizarre events, Charlotte discovers the horrific secrets that the institution hides.... The opening 10 minutes (pre-credits) are great and so is the completely deranged climax. Everything in between is pretty much without surprise or tension but you patiently wait because you just feel that the finale will be wild fun. The asylum's patients are textbook lunatics, but I love them nevertheless. Some of my favorites include the former judge (who still talks exclusively in legal terms), the suspicious army-Sargeant and the mad-raving old lady. "Don't Look in the Basement" is great low-brained fun, especially recommended to fans of 70's trash-cinema, sick puppies and other types of scum. The lunatics have taken over the asylum, yeah!!


I found the film Don't Look In The Basement to be very good, with some great characters in it. It is about a young psychiatric nurse called Nurse Charlotte Beale(Rosie Holotik),who is going to start work at a isolated mental asylum. Whilst there, she meets various sorts of different characters including Dr. Geraldine Masters who becomes in charge of the asylum after the the owner of the hospital Dr. Stephens gets killed by one of the patients by hitting him with an axe.

My favourite characters in the film are Mrs Challingham(Reah MacAdams), a very funny little old lady, Allison who is a nymphomaniac, and Sam(Bill McGhee) a young black guy who goes around all Day seeming to be in a world of his own all of the time. The film was a very low budget film but was still a really great film. I know that it was on the 'Video Nasties' list back in the 80's but a did not think that it had a lot of gore in it, Alothough it did have some disturbing senses in it GREAT FILM RECOMMENDED!!!.


The impossibly sexy Rosie Holotik plays Charlotte Beale, a new nurse at one of those movie-type asylums where the doctor in charge has his own, unorthodox ways of treating the inmates. Reluctantly bringing her on board is the officious Dr. Masters (Anne MacAdams, a.k.a. Annabelle Weenick). The inmates don't take too kindly to Charlotte, either.

Part mystery, part horror, this initial effort from B-movie director S.F. Brownrigg has an oppressive feel to it. These colorful psychos, including a nymphomaniac with no self-esteem, a gentle giant who's already had a lobotomy, and a supposed "judge" who speaks in legalese jargon, dominate the screen with their unnerving presence.

It's a picture that works fairly well, establishing the gritty, grim atmosphere right from the get go. Some brief bursts of graphic violence also help to give it that good old fashioned exploitative quality.

It builds in intensity as the imperiled heroine struggles to maintain her own sanity, offering one surreal encounter after another. Particularly effective is the poetry-quoting, dotty old Mrs. Callingham.

For cheap 1970's era cheese, it's pretty effective, with a particularly nasty climax. I had a pretty good time watching it.

7/10


Yet another in the long line of "Don't" films of the late 70's and early 80's yet this one is much more than that. This film is a highly underestimated low budget schlocker with a twist. It has the grainy quality and bizarre soundtrack that is typical of horror films of the time period but it's the highly underestimated performances of the surprisingly talented actors/actresses that make this movie good. A young nurse arrives at Dr. Stephens' progressive mental hospital right after he has been murdered by one of his patients and all is not what it appears to be. It seems Dr. Masters, a rather ambitious female doctor, has taken over his duties and begun to implement her own ideas. Each of the patients take on their own unique personalities and have their own personality traits and flaws which make for highly entertaining interactions. There is the nymphomaniac, the crazy old crone, the woman with an unhealthy obsession with infants, and a man who has reverted back to his childhood among others. There is also a strange little twist to this bizarre story that later finds the young nurse trapped inside the asylum with the patients running around loose and bodies piling up. If you are a fan of cheap 70's sleaze than this is the film for you!


DON'T LOOK IN THE BASEMENT This little forgotten gem holds a special place in my heart and on the Video Nasties List. The flute-sitar-rattle box soundtrack is classic. The main character, although way hotter than most low budget starlets, is a pretty standard low budget lead. The Doctor Masters character is well written and well acted. Some of the lesser characters are kinda stupid but add to the nostalgia of the movie. It's Campy. I ain't trying to lie. The character that makes this great is a Faulknarian Man-Child named Sam, one of the patients in this sanitarium-gone-mad-flick. The gore is pretty standard although I think the color of the blood is awesome. It's so ..Red. This movie, I believe, was received poorly because of it advertising scheme. Some soulless little ad executive got his grubby hands on it and thought " Let's rip of the AD campaign for Last House on the Left, that's doing well". Little chumps like this have ruined the world of film. All balls and no brain. Also, the editor may or may not have been an alcoholic. Maybe there all drunk. You'll see what I mean. One more little note. Don't buy this from the Wally-Mart dollar rack. They have cut it to and unwatchable level. Try to find the longest cut you can.


... but you probably have seen it or else you wouldn't be here. It's so obscure that you probably stumbled onto it like I did because this little known gem receives no word-of-mouth.

From the very beginning you know how the storyline will shake out but watching as our innocent redheaded nurse puts the pieces of the puzzle together is high quality entertainment. Most horror films bombard viewers with graphic displays of torture but Don't Look in the Basement plays it subtle, which makes for superior suspense. Note to horror filmmakers: some of us do like subtlety! Lovely and homely nurse Charlotte takes a job at a sanitarium but is dismayed when she learns that the head doctor who hired her had a gruesome accident and she is now the subordinate to a mysterious doctor, who we all know isn't a doctor at all. The suspense is built through Charlotte's unraveling of events with assistance from many of the patients, but which of the patients can Charlotte trust? This is a gem and is my absolute favorite TRUE HORROR movie. I love Re-Animator and Evil Dead but they play more for the HORROR-COMEDY crowd.

VIOLENCE: $$$ (Quite tame for horror standards but there is a decent sprinkling of gore throughout the film. The opening scene is classic; no other horror film starts out better, and the end has its fair share of gore as well).

NUDITY: $$$$ (Eager to fall in love Allyson (Betty Chandler) spends a good deal of time naked, attempting to seduce half the men at the sanitarium. Betty Chandler is a knockout and I am shocked that this is her only film credit).

STORY: $$$$ (The story is well handled despite the premise getting a lot of mileage in Hollywood. The script has a knack for building suspense and never fails to place poor Charlotte in a precarious situation).

ACTING: $$$$ (Betty Chandler does the best job here as Allyson, capturing dementia with naiveté in an ethereal form. The Judge was splendid as well, weighing facts before he came to a verdict while Rosie Holotik as Charlotte gives a genuine performance as you will feel for her character.


'Don't Look In the Basement' is so easy to knock but the truth is simply that Brownrigg is one of Horrors real underground stars and IMHO is vastly overdue some proper recognition. 'Don't' is his undisputed masterpiece. This scummy psychodrama snags the viewer straightaway into such an odd, disjointed, claustrophobic world of sweating insanity you have no real idea what the hell is going on. It succeeds in making you feel strangely dirty, just plain grubby, for Brownrigg's world is this mad, unwashed, scummy prison cell of rants, obsessions and all shades of mental illness. And he uses his low budget palette to wrap his grot blanket around you like a bad memory. There is just something so beautifully odd about the whole damn thing. In a word, classic.... Also, if you watch 'Don't' first then you will have some idea of the insane psychodrama style that marks Brownrigg's other films. In summary they really don't come any more esoteric than this - well, actually they do, track down Brownrigg's 'Keep My Grave Open'. Mad genius. Accept no substitute.


Young, ambitious nurse Ms. Charlotee (Rosie Holotik) is sent to work at a mental asylum out in the middle of nowhere. During the course of 3 days, she encounters strange happenings, even a patient in her bedroom watching her, yet she still stays. The mental patients are all a little eye rolling (espically by the Judge), but my favorite was the old crazy biddy (Rhea MacAdams). The storyline is okay at best, and the acting is surprisingly alright, but after awhile it's gets to be a little much. But, still it's fun, quirky, strange, and original.

Note: The thing inside the basement is hardly horrifying, so the title is a little bananas.


I'm not sure what intrigues me about this movie so. It is grainy, poorly written, bleached out, often ridiculous, and at many points mind numbingly dull (the person I was watching it with fell asleep twice.) And yet there is something in this film that fascinates me, though I am not sure what; perhaps the character of Sam, an enormous former patient who was lobotimized by the former head doctor and who is perpetually sucking on an ice pop), or the marvelously played head doctor (I forget her name).

Anyway, watch it and form you're own opinion; it has one of the greatest endings I have seen in film.


Dr. Stephens (Michael Harvey), head of a seriously understaffed institute for the insane, takes a 'progressive' approach towards the treatment of his patients, even allowing his loonies complete freedom of the building, day and night; he pays the price for his forward thinking, however, when he rather stupidly prescribes chopping wood with an axe as therapy for one of his patients and consequently gets his neck mistaken for a log (serves him right for not suggesting basket weaving).

Shortly after this tragic incident, nurse Charlotte Beale (Rosie Holotik) arrives at the hospital to take up position as the doctor's assistant, and discovers that the facility is now being run by the much sterner Dr. Geraldine Masters (Annabelle Weenick). Despite being unaware of her deceased predecessor's decision to employ Ms Beale, and not particularly eager to take on new staff, Dr. Masters agrees to let the pretty nurse begin work, but following several harrowing experiences at the hospital, Charlotte begins to wonder whether it might have been better if she had been turned away.

It doesn't take a genius to figure out what is actually happening at the hospital, the 'lunatics have taken over the asylum' schtick being a premise that should be familiar to most seasoned horror fans, but S.F. Brownrigg's Don't Look In The Basement still proves to be an entertaining piece of drive-in fun thanks to its well defined collection of nutters: lobotomised, popsicle-sucking Sam (Bill McGhee); Judge Oliver W. Cameron (Gene Ross), who continuously mumbles courtroom phrases; old Mrs. Callingham (Rhea MacAdams), who recites William Allingham's creepy poem The Fairies and warns Charlotte of impending doom; cackling loon Danny (Jessie Kirby), who delights in teasing the other patients; Harriet (Camilla Carr), who thinks her doll is a real baby; army nut Sergeant Jaffee (Hugh Feagin); and best of all, Allyson King (Betty Chandler), whose rejection by a series of men has left her with a craving for love (ie., she tries to jump any man who goes near her).

This convincingly crazy set of characters, plus a bit of gore and nudity, reasonable direction from Brownrigg (who also gave us the impressive white trash horror Scum of the Earth), and a solid turn from Playboy covergirl Holotik, all go to turn an otherwise rather predictable, low budget piece of exploitation into a very watchable psycho shocker.


A nurse travels to a rural psychiatric clinic run by Doctor Stephens. She is upset to learn that the doctor has died,leaving his assistant Doctor Masters in charge.She is unnerved by the inmates including a crazy Judge,a shell-shocked Vietnam vet,a catatonic and a creepy nympho,but is soon befriended by a hulking black man Sam.She needs all the friends she can get as people are dying all around her."Don't Look in the Basement" is my first horror film of S.F Brownrigg.Despite its low-budget it manages to provide some genuine chills plus a nice amount of cheap gore including a particularly nasty scene with a desk-spindle through an eyeball.The climax of inmates taking control over mental asylum is an intense melange of wild camera-work,gore and piercing screams.8 out of 10.


Although it isn't mentioned very often, "Don't Look in the Basement" is a very interesting film and is definitely worth a watch. The story follows a young nurse, Charlotte Beale, who is hired at Stephen's Sanitarium to replace Dr. Stephens, after he is murdered by a patient. Many patients begin to torment Miss Beale, and her boss, Dr. Geraldine Masters, acts as if she's hiding something...

This movie has many appealing characters that you actually end up caring about, and have sympathy for during the climax, which doesn't happen very often in horror films. The musical score is great and is reminiscent of "Dark Shadows," the performance from Rosie Holotik, Rhea McAdams, and Bill McGhee are all great, the story is very intriguing with a great twist ending. This movie has a campy atmosphere around it that no other film I have ever seen has been able to capture. Many horror fans have never seen or even heard of this film which is really unfortunate because it could have been a horror classic. "Don't Look in the Basement" is definitely worth watching for all fans of 1970s drive-in films.


Back in the 70's, a small-time Texas filmmaker named S.F. Brownrigg directed a handful of surprisingly decent low-budget drive-in horror flicks which seem to have developed a small cult following over the years. Before viewing his first film, Don't Look In The Basement, I wasn't too sure what to expect, but I sure as hell didn't expect it to turn out to be the only Texas horror I thought was better than the Chainsaw Massacre. I don't know, this might actually be my all-time favorite horror movie.

We begin in an isolated insane asylum. At first, it seems like a rather laid-back place to get mentally healthy, considering all the patients are allowed to roam around freely and whatnot, as if it were their house (I guess it is). none of them seem all that dangerous, only delusional. The residents include a love-nympho, a 700 year old woman, a man-child, a spaz, a guy who thinks he's in a war, a woman who thinks she has a baby, and a guy who thinks he's a judge. One day, out of nowhere, Judge kills the doctor with an axe, shortly thereafter, the wanna-be baby mama kills the nurse. Ten minutes into the movie, and things are looking really ugly. Perhaps the new nurse will know what to do, then again, perhaps not. Giving away more would do more harm than good. It's best to plunge head first into this one, knowing as little as possible. If you can appreciate honest-to-God, untampered with horror, then you will not be disappointed.

If you liked Scream, if you liked Wrong Turn, if you go for that unoriginal, over-produced, over-scored digital Hollywood garbage, then chances are high you just wont see the beauty in this one. Don't Look In The Basement, being a first attempt makes the quality all the more shocking. The atmosphere and the graininess fit into the location and the score like a glove. Unfortunately, good ol' S.F. used up most of his good ideas on his first movie, although, the next entry in his Texas-sized quadrilogy, is somewhat of a masterpiece, that is, if you're into extra sleazy, mean-spirited, Hixploitation like someone I know. If you fall in love with Brownrigg's first two, and absolutely must find out what else he had to offer, check out Don't Open The Door, and The House Where Hell Froze Over. Don't Look in The Basement has everything that successful horror needs, no stars, no budget, no digital effects, just an original story brought to life in an insane asylum, with a dozen cast members, and a somber, subtle score, and of course, the twist. This is real horror for the real horror fan. 10/10


Widely known as "Don't Look in the Basement" - this is pure 70s horror, B-movie goodness that could actually pass as the genre's version of "One Flew Over the Cuckoo's Nest". Though the movie seems to go nowhere throughout the first hour+ of it's runtime, I enjoyed this particular batch of quirky crazies and their various personalities and deficiencies - such as the former army sergeant, a chick obsessed with caring for a plastic doll, a lovable man-child, and a loony nymph. After their head-doctor is murdered by a patient, a small sanitarium hires a new nurse onto their under-staffed facility, who becomes immersed in the resident's different "ticks" and outbursts. Things gradually become stranger, however, when patients start acting far more abnormal than usual... You never really know, or care, where the movie is going, 'cause it still entertains up until it's completely whacked-out ending! Several of the "twists" felt a little too forced and I could have used a tad more blood, but I really dug this much too under-rated blend of humor and horror. Check it out...


Clearly my rating for this is not to suggest it compares with the classy horrors of the likes of Argento but with other 70s low budget, drive in fare and in that department it truly is a classic. The lack of money shows, (Does anyone care too much?) the acting is adequate rather than professional, (Does that make it more realistic?) but unlike so many other movies, and not just low budget ones, this does not drag for a moment. Crap it may be but non stop crap, in your face crap and although inevitably a bit campy at times, this is a must see for anyone who has any idea what I'm talking about. At times quite delirious, this crazy little film filled out with crazy characters is clearly made for fun and fun indeed it is to watch.


I just discovered this obscure '70s horror movie while browsing on YouTube. For a low-budget effort, it has plenty of compelling moments in gradual pacing in leading to the surprisingly shocking finish. While there is one woman who takes off her shirt constantly, the fact that she's a nymphomaniac makes those scenes important to the story and there's one scene with the curly-haired young man as he attempts to seduce her that turned me on before his pulling back made her screaming mad. The young nurse who comes in and gets hired is alluring herself and I'm not surprised she posed for the cover of Playboy. Some characters are very irritating and some scenes do seem ridiculous. For the most part, however, Don't Look in the Basement (That's the title I saw on YouTube) provides enough drama and chills for an entertaining B-movie.


Don't Look in the basement is actually a very clever and well thought out exploitation flick that gets a bad rap because of its cheap quality and bad acting. Sure, it's not a masterpiece by anyone's standards but it is a very fun little B-film with a lot to offer and even a lot of creepy scenes that will stay in your head.

As I said, the acting could have been a lot better but that's the case with most exploitation so I can't really complain. The story is clever and has some great plot twists that will keep you guessing. I thought the gore was a lot of fun too. There's just something great about older gore films because they didn't have CGI back then so they had to actually set it all up themselves. See this one for a good time!


This film, also known as "don't look in the basement" is actually not bad. It is a little known film even to die hard horror fans but I found this movie pretty entertaining. Don't get me wrong, it's certainly not without its problems but do think more people should give it a look. The story of a hot nurse going to work in a sanitarium is certainly an appealing one to me. I thought the acting , which seemed forced at first, somehow got better as the film went along. It seems like the actors really got into their roles. There are some good, colorful characters, including a guy who thinks he's still a soldier, one who thinks he's a judge, an adult with a child's brain, and an attractive girl who craves attention so bad she drops her clothes when any man gets near her. The title "don't look in the basement" has about as much relevance to the story as "the last house on the left" has on that film. If you like movies with creepy characters in a mental ward like I do, check this out.