(1970)
Dir - Janusz Majewski
Overall: MEH
A moderately singular spin on the often told "man becomes beast" tale, Lokis, (Lokis. Rękopis profesora Wittembacha), was based off of French writer Prosper Mérimée's novella of the same name, which less directly inspired the erotic horror film La Bête five years later as well. Wonderfully photographed and decently made overall, Majewski goes to great lengths in steering his story too tenaciously far from limpidity. While he is at it, the horror elements are neglected from beginning to end. Thus, the presentation is tiring to follow as it is mostly unclear what even the central conflict is supposed to be. Being familiar with the source material helps as does having an active enough imagination to pick up on the insufficient number of clues scattered about. Most viewers will be a bit bothered though as they are waiting for something more substantial to happen; something that never does. Though it ends up being a slow boil with no payoff, it is still a unique departure that is worth noting and if anything else, one can at least appreciate the lack of audience-coddling present.
(1973)
Dir - Juan Luis Buñuel
Overall: GOOD
The full-length debut from legendary French filmmaker Luis Buñuel's son Juan, Au rendez-vous de la mort joyeuse, (At the Meeting of Joyous Death, Expulsion of the Devil, Lune lune coquelune), is an interesting, very low budget examination of teenage rebellion and blossoming female sexuality. Seventeen-year old model Yasmine Dahm, (though her character Sophie is supposed to be twelve), seems to be the center of poltergeist activity which is never properly explained and sort of randomly springs to life in the first place. The script is a bit murky at best, changing gears rather abruptly halfway through when two family members completely disappear from the story and a television crew takes their place. Buñuel's production is clearly limited as the only location is an old, large country house that does not allow for any sinister vibes itself, but the lack of music at least gives it a curious, suspenseful tone where the supernatural elements work due to how jarringly they appear. There are even precursor found footage elements here as the movie switches to the television camera a handful of times as the team is told to "film everything".
(1976)
Dir - William Fruet
Overall: WOOF
It took a couple years, but by 1976, Canadian filmmaker William Fruet was ready to contribute to the rape/revenge sub-genre that Wes Craven unfortunately popularized with the worst horror film ever made The Last House on the Left. Death Weekend, (The House by the Lake), has some rough acting, rough plotting, rough dialog, and lots of uncomfortably wretched tension mounted up during the usual "asshole maniacs toy with their victims" set-up. None of it is remotely enjoyable to watch which is clearly the point, but at least Fruet sticks to his guns and keeps the entire experience miserable as opposed to miserable AND obnoxiously clashing like Craven's despicable debut. Actually, this is not true; it is plenty obnoxious. The on screen rape is thankfully somewhat limited and in its place, we are mostly treated to all of the scumbag's forced laughing as they trash a house. It takes until there is only about eighteen minutes left before the comeuppance part finally happens, but you will long pray to be put out of your misery before that.
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