(1983)
Dir - Richard Ciupka/Peter R. Simpson
Overall: MEH
Wrought with production problems for three years around initial director Richard Ciupka clashing with producer Peter R. Simpsons, (who subsequently took the helm), it is rather sad that Curtains ends up being so bland after all of the trouble. It was conceived from the beginning to be a slasher film that focused around adults instead of teenagers or college students and Ciupka wanted to go one further from the trend of the day by steering it in a more arthouse direction. This never came to pass and what was eventually released is a tired rehash of another masked killer mystery with a ludicrous, unnecessary twist. The story comes off a bit messy as well, setting up some interesting avenues to go down but then never really establishing its characters enough to work. Instead, it just cruises along to the next illogical death scene. There are numerous set pieces that seem like they would be unnerving such as a slow motion attack on ice skates in broad daylight, a random doll standing in the middle of the road, and a cat and mouse chase through a prop house. Yet these are all accompanied by typical, "dumb horror movie" logic that regrettably is attributed almost exclusively to women who behave only the way textbook horror movie victims do.
(1987)
Dir - George Pavlou
Overall: MEH
Released the same year as Hellraiser, Rawhead Rex was technically the second film whose screenplay Clive Barker had written, based off of the short story that had appeared in his third Books of Blood volume. Similar to the British film Underworld, (Transmutations), which came out two years prior, the Irish production Rawhead Rex is plagued by budgetary problems. The titular demon/pagan god monster looks exceptionally dumb and no attempt is made to disguise the rubber suite and ridiculous Halloween mask, making the character unintentionally goofy each and every time he is on screen. While this effectively robs the movie's star creature of all of its menace, what is left is some hammy acting, cliche dialog, and a rather unremarkable plot about a small Irish village trying to stop him. The violent set pieces are not particularly that great, several of the monster's victims are people that we do not care about anyway, and a lame and kind of silly ending does not help much either. As is often the case unfortunately, Barker's written work provokes far more chills and captivation so when brought to the screen in a B-movie fashion with such a meager budget like this, it becomes a more frivolous experience.
(1989)
Dir - Olaf Ittenbach
Overall: MEH
This shot-on-video debut from German gore maestro Olaf Ittenbach can be seen as the country's answer to The Evil Dead and at the same time, 80s slasher/splatter films in general. Though this one revels more in its supernatural aspects, to be fair. As impressive as the relentless violence is which is clearly the main selling point, (and some of the sound design effectively channels the aforementioned first Evil Dead), Black Past cannot muster up any enjoyment beyond how painfully amateurish all of the other aspects are. Frumpy, non-actors and sets that have got to be nothing more than the homes of the filmmakers, plus being a S.O.V production, the technical limitations easily dwarf any other perverse upsides the movie may have. Some of the other cliches used like a kid getting picked on in high school and misunderstood by his family are quite hacky, with some montages over absolutely horrible music being unintentionally laughable. This is also the case with Olaf Ittenbach himself in the lead who with his mullet fully in tow and often posing on his bed in his underwear in a curiously and probably accidentally feminine manner, makes for some goofy visuals. The lame story and incompetent cinematic elements aside, it is a solid showcase for Ittenbach's gruesome special effects skills and something to take note of for gore aficionados at least.
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