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On their way, they arm themselves with a gun and a metal bar. They discover the tunnel has caved in before being attacked by Lily and Dex.

They manage to fend off the demons but Jason is injured. The survivors run upstairs and tend to Jason's injury. They realize that not only are they in the maid's room but that the symbols remained on the walls.

They discover that the demons are attempting to take over seven human hosts to be freed upon the earth, having been thrown out of hell for trying to usurp Satan's rule.

The demons had tricked Evangeline into hosting the party so they could take over the guests. The demons can't take over a dead body, which is why Evangeline hung herself.

They also find out that the demons don't like rust, finding that they can use it as a weapon. As the boys fall asleep, Angela taunts Maddie but is unable to enter the room due to the spells.

The walls begin pouring with blood, washing off the spells. The trio attempt to re-draw the spells but are lured out of the room when the demons fake daylight in the windows.

The demons attack them. Maddie and Colin rush back to the room and Jason is caught and disemboweled by Angela turning him into a demon. As they plan to wait in the room until sunrise, Colin falls through the rotten floorboards, falling many floors into the basement.

Maddie climbs down a rope into the basement to help him, but he is now a demon. Maddie manages to get back to the maid's room and fights the demons.

She makes her way to the balcony, where she ties a rope around her neck and jumps over, seemingly hanging herself. As the sun rises, the demons are killed.

Maddie reveals that she only pretended to hang herself, having tied the rope around her waist and the demons merely assumed that she was dead. Maddie is then able to exit through the gates to her freedom.

Principal photography took place in New Orleans in October There are several differences between the original and the remake, with the most notable being the change in location as well as an updated plot.

Linnea Quigley , who starred in the original film as Suzanne, has a cameo in this film. The special effects and FX effects were created by Drac Studios.

The film originally premiered at the London FrightFest Film Festival in August , with plans to release it in October of the same year; however, later news reports stated that the film would be pushed back for a tentative release date for September 23, In June , it was announced that Night of the Demons would be released straight -to- DVD and Blu-ray on October 19, as opposed to a theatrical release.

In the end it's still a fun ride In June , Tenney announced that plans were underway to create a sequel to the film, entitled "After Party.

The projected plot for After Party was to center on the character of Diana, one of Angela's former friends and associates, who would hold a party in the same mansion and become possessed by the now-demonic Angela.

From Wikipedia, the free encyclopedia. Night of the Demons Theatrical teaser poster. Greg McKay Kevin S. Tenney Michael Arata.

Beach Edward Furlong. Release date. Running time. British Board of Film Classification. September 8, Retrieved January 20, Box Office Mojo.

Internet Movie Database. Bloody Disgusting. Retrieved October 9, Dread Central. Rotten Tomatoes. He peers into the bathroom, sees Suzanne and inquires into what she is doing.

She just smiles and pulls back her dress some more, affording him a good look at those gorgeous gazongas.

He proceeds to enter the room and says something about her boobs needing a touch up. I assume he is volunteering for the job. Once he is inside, he now notices that the lights are on.

He asks her when this happened, but gets no answer. With him standing before her, she reaches over and unzips his pants.

This prompts him to drop his flashlight and mutter something near unintelligible. Then again, the prospect of being on the receiving end of imminent oral sex from a hot chick transforms most guys into raving idiots.

At least, more so than they already are. When he passes by the room with the fireplace, he stops and tells Angela that he is leaving.

Angela is sitting before the fire with her back to him. I was just warming my hands in the fire. Naturally, they look quite burnt. Sal gapes in horrified disgust as she brandishes her burning hands in the air.

Angela now rises to her feet, walks towards him and asks if he is leaving so soon. Unable to get the door open, Sal now turns and hauls ass down the hall, around a bend and vanishes into the depths of the house, no doubt in an attempt at finding another exit.

It looks like the poor guy has fallen asleep. He wakes up when the car shakes, as if some super fat person just rested their foot on one of the bumpers.

Apparently Rodger has come to the same conclusion and believes that it is Stooge that has made the vehicle shake. So Rodger leans forward and gazes out the large forward windshield.

Rodger screams and rapidly exits the car. Now we jump back to the bathroom with Jay and Suzanne. At first all we see is her feet, with the dainty white socks and pink shoes that she is wearing.

Then each leg lifts as her panties drop to the ground and come off. Next we Jay, who is in the process of removing his outer shirt.

Still, it is obvious that he is about to get lucky…or so she wants him to think. Another shot of her feet shows that her slip has been removed.

Then we get a full body shot of her where we get a peek at the almighty bush when she lifts up the edge of her dress. Holding her dress up so we get a nice long view of her rug, she saunters over to Jay, who has reclined on the floor and is now lying on his back.

She straddles him and lowers herself down. The Boom Boom is now in full swing…er…bounce…er…whatever. We get close-ups of both their faces as they writhe around in pleasure.

Then Suzanne looks down at Jay and asks him what he is looking at. She wonders if her make-up is ok she is still sporting the Helen Keller lipstick look.

In a voice that sounds like it is on the verge of tears she tells him to stop staring at her, then tilts her head back so he cannot see her face.

He thinks her make-up looks fine. Indeed, it is not her face that he is doing business with at the moment. He asks what she is worried about.

Ok…raise your hand if you know that something very bad is about to happen. Ok, hands down. So at this point Suzanne tilts her head back down and we and poor, poor, Jay see that her face has now changed…and for the worse.

Her skin…well, her skin is now dotted with what can only be called demonic zits. Basically, she looks very gross.

Naturally, Jay recoils when he catches sight of her new look. She reaches out her hands to him, but he grabs her arms and tries to fight her off.

Alas, her hellish strength is too much and she manages to get her hands on his face. Then she buries her thumbs in his eyes sockets and pushes until his eyeballs pop, sending streams of bloody goo spurting into the air.

Now this is where my own twisted imagination comes into play. Even though she is popping his eyeballs as if they were gigantic zits, it is still apparent that they were in the middle of sexual intercourse when she decided to go all demon on his ass.

This means that there are other parts of their bodies that are still connected, right? How is that for nightmare imagery? And yes, I know the Japanese have made films with such elements in them.

She just continues to stand there like an idiot. The coffin is sitting up high on something, so they are actually at about waist level.

They have assumed the same position that Jay and Suzanne did, with Max on his back in the casket and Frannie riding him.

It really does not matter, because by sitting up, she is giving the audience a great look at her boobs. Yowza, what a pair.

Max just passes the sound off as some party games unfolding elsewhere in the house, then goes back to positioning himself better.

As they continue to awkwardly screw in the coffin, a figure approaches in the darkness. It is Stooge, but we cannot see his face.

Neither can Max and Frannie for that matter. Stooge now walks forward into the light and everyone sees that his face is now sporting the accepted look for those possessed by demons: jagged teeth, yellow eyes, pale complexion and hideous acne.

His voice seems to have dropped about five octaves as well. He growls at them, since he can no longer talk no tongue, remember?

Frannie screams when she sees him draw near. To shut her up, Stooge reaches out, grabs her head and twists it, snapping her neck.

Five times he slams the lid with all his strength, as Max screams from within the coffin. Turning now to good old Rodger, we see him walking somewhere in the house.

He appears scared out of his mind and looks like he is about to drop a load in his pants at any moment. He turns around and there she is right behind him, in all her demon-look splendor.

She laughs, and it sounds more like Jabba the Hutt on steroids than anything else. Rodger now does what any rational, sane person would do at this point.

Yep, he engages in the time-honored practice of running like hell! He barely gets a few feet and rounds a corner when he collides with Sal.

Not stopping to offer any explanations for his flight, he keeps running. He rounds another bend and reaches a closed door.

He tries to open it but naturally, it is locked. Sal now comes up behind him and in a near panic, Rodger tells him that there is something wrong with Angela.

Sal tries to tell him that it is ok and they will get out. He gets Rodger to shut the hell up, then they ease back to the hallway corner. Angela can be seen around the bend, at the other end, as they hide.

Finally, it is time to get back to Judy. She is still by the door where we left her, only now she has slumped down on the floor and has fallen asleep.

The moonlight continues to shine through the window at about fifteen million candlepower. As she sleeps, the doorknob begins to turn, like there is someone on the other side trying to open it.

A quick cutaway shows us that it is Stooge attempting to gain access to the room. She calls out to Jay, thinking that it may be him she probably is also under the foolish idea that he has returned to apologize.

Yeah right! However, neither she nor Stooge can get the door to open. With it all quiet again, Judy slides back to a seated position on the floor. For two people that are supposed to be looking for a way out and evading freaky Angela at the same time, Sal and Rodger are making enough noise to rival a kaiju attack on downtown Tokyo.

At this point, Judy must hear all the racket they are making, because she bangs on the door and calls out for help. Sal tells her to stand back from the door, but Rodger is a little suspicious, wondering if it really is Judy on the other side.

Sal ignorantly asks him who else it could be, then kicks the door in. For a few brief seconds there is no movement at all though a view from the hall makes the room look positively dark, and not illuminated by the fifteen million candlepower moonlight like it was just seconds ago , then Judy comes hurtling through the door to wrap Sal in a desperate and thankful embrace.

At this point Rodger turns and sees freaky Angela coming down the hall. Rodger wastes no time at all and throws himself into a run in the opposite direction.

He does not even bother to shout a warning to Sal or Judy. The only inkling they have that something is amiss is his sudden flight from the area.

Noticing him gone, they peek around the corner and see Angela cruising in their direction, uttering soft growls as she approaches.

The sight of possessed Angela must induce some sort of temporary paralysis, as Judy has difficulty moving. With Angela almost on top of them — and with her arms held wide as if to embrace them — Sal grabs Judy and pulls her through a door into a nearby room…but not the one in which Judy was just trapped.

Sal slams the door shut and he and Judy huddle quietly. Angela comes floating down the hall, turns the corner and advances down the hallway containing the room where Sal and Judy are hiding.

Within the room, Sal notices a window and runs over and tries to open it. The lights flicker on at this point and we realize that this is the bathroom!

There in the corner is a now normal-looking Suzanne, cradling the eye-less corpse of Jay. Upon spying this, Judy lets out a gasp. Sal turns around to look and Suzanne proposes an orgy.

She goes to say that if they try, they can surely get Jay hard again. Sal yells for Judy to run, but being blonde, she is naturally slow on the uptake.

This gives Suzanne time to jump to her feet. Now sporting her Demon face, she lunges at Judy, but Sal grabs her by the shoulder and pulls her back.

Suzanne now turns on him and belts him, sending the poor schmuck right through the window. This exchange gives Judy the time she needs to open the door and exit the room as rapidly as she can.

As she flies out of the room and down the hall, Suzanne taunts her, having resumed her normal appearance. Judy stumbles down the hall and tries another door, but as she opens it, it flies from her grasp and slams shut.

Doors all up and down the hall now begin to open and slam shut on their own. Then with a thud, all the activity ceases, leaving Judy alone in a dark hall.

She stands there breathing heavily for a few seconds, then notices light at one end and runs in that direction.

It is coming from the one open door, so she races through and shuts it. Yup, she is now in the room with the coffins where Max and Frannie experienced some really bad sex.

As she stands there, collecting herself, Judy shines her flashlight on the floor and sees a severed arm.

This no doubt belongs to Max and is the result of the Demonified Stooge slamming the casket lid on his appendage over and over again. Judy lets out a gasp when she sees the arm and backs away from it, so she is now standing against one of the coffins.

The arm comes to life and flies across the room to grab hold of her ankle. This of course prompts her to scream…and scream a lot.

She jumps around and shakes her leg like a rapid dog was trying to hump it…and truth be told, that might even be better than a severed arm.

Finally she kicks her leg and the arm loses its grip and flies across the room. The arm may be gone, but Judy continues to jump up and down, shake and scream up a bloody storm.

They reach out for her with their collective three arms , which convinces her it is now time to exit this room. Back out into the hall she runs, where she makes a mad dash through the corridors to finally arrive at the front door.

She tries her best to open it, but it will not budge. Then for some inexplicable reason, she decides to run up the nearby stairs.

Maybe she thinks there is a method for egress available on the upper floor. Maybe she is just stupid. So up the stairs she goes, only to be confronted by an entirely new set of dark halls and rooms.

Returning to poor Sal, we see him sprawled on the ground under the window he so recently flew through. He picks himself up and looks around.

He finds that despite coming through the window, he is not outside. He is in some sort of airshaft. Grasping a water pipe, he begins pulling himself up the side of one wall.

She slowly and cautiously makes her way down a hallway, pausing every now and then to look behind her. She approaches a corner and quickly looks around.

At the far end is an open window, though metal bars prevent anyone from passing through it. On the other side she sees Rodger. She calls his name and walks to him.

When she is about three steps away from him, the demonified Stooge springs out of darkness and jumps in front of her, growling and drooling like the worst Gwar fans.

She screams, drops her flashlight and then turns tail and hauls ass. Rather than chase after her, Stooge now turns and leaps at Rodger, but the bars prevent him from grabbing him.

Rodger, for his part, has the good sense to run away again. Judy makes for the stairs, but partway down she encounters demonified Suzanne, who growls at her.

So now Judy is forced to turn around, head back to the second level, then continue on up the stairs to the third floor. She finds herself in what appears to be the attic, with all sorts of crap covered with years and years worth of cobwebs.

She makes her way through here and to a balcony that opens up off this chamber. She rushes back into the attic where she hears someone coming up the stairs.

She slowly backs away toward the balcony again as Stooge reaches the top stair. It is a rule in horror movies that whenever a character is backing away from someone or something that they are desperately trying to avoid, they will unwittingly encounter something behind them.

This something can take the form of a viable threat or be nothing more than a false scare. In this case it is the latter.

As Judy backs onto the balcony and towards the ledge, a voice suddenly calls her name, which causes her to jump…though she does possess enough awareness to stifle a scream.

It turns out to be Rodger calling to her. He is down below, standing on the roof of an extension of the first floor. She turns and just inches away is Angela, who asks in her Darth Vader voice if Judy is enjoying the view before grabbing her by the throat.

Next on the scene is Sal, who is on the roof of the attic. We are left to assume that climbing that water pipe up through the air shaft led him to the very top of the house.

Anyway, he comes sliding down the roof and pushes Judy away from Angela. Judy falls over the edge and the only thing preventing her from plunging to the ground below is her last minute grip on the edge.

Rodger can do nothing but watch as she dangles there while Sal wrestles with Angela above her. After a few more seconds of struggling, both Sal and Angela fall off the balcony, performing a huge flip through the air as they fall.

There is a sickening thud and when we see them again, Angela now looking normal…well as normal as she ever did in this flick is laying in a pool of blood while poor Sal has landed on a fence post, the wood impaled through his chest.

I think it is safe to say that they are both quite dead. She is beseeching the almighty for help in preventing a fall while Rodger is hollering up to her and advising her to move over to her right.

On the wall in that direction is a window which she could use to climb down to him. She struggles, her feet making contact with the wood used to board up the window, but is having trouble.

She yells to Rodger that she cannot do it. He yells back that she can. Then he screams at her to hurry up.

That is really good advice, because right about now, demonified Stooge appears on the balcony overhead. She falls, but lucky for and unlucky for him Rodger is there to break her fall.

The two collapse into a heap, but seem to be all right. As they sit there, Stooge jumps down from the balcony to land just feet away.

Wasting no time, Judy and Rodger jump up and start hoofing it Judy letting out a scream in the process. They are on some sort of second floor landing, so they rush to the stairs heading to the ground.

When they reach the top of said stairs, they are stopped in their tracks by the figure at the bottom: demonified Angela, risen from the dead.

Angela, in that deep, gravelly voice that sounds like James Earl Jones after ten packs of cigarettes and a brisk gargle with a cup of broken glass, wonders why they are leaving.

He seems to have landed in the cemetery, as there are headstones all around him. One right behind his head even has his own name etched into it.

Judy and Rodger now turn and run in the opposite direction. They find a door and fly through it, closing it behind them. Just a scant few nanoseconds later, Stooge comes running up to the door, missing them by a heartbeat.

I want to know where he was this whole time? When he jumped down from the balcony, he landed just feet from them. Then they ran, stopped when encountering Angela, stared at dead Sal, ran back the way they came and ducked into this door… all without Stooge having caught up with them.

He should have caught them the instant they stopped at the top of the stairs, yet he was at least a minute behind them. What was taking him so long?

Did he trip and fall? Did he get lost? Did he stop to take a pee or something? Back inside the house, Judy and Rodger race through the place.

They descend the stairs back to the first floor, the cameraman desperately trying to keep up with them. How she got up those outside steps, down the walkway and through that door ahead of Stooge is beyond me.

He should be the one mere steps behind them. Did he pause and let her go first? Did he get lost again? Who knows.

The point is, Angela is skateboarding down the hall after the surviving pair of fools. Of course, the speed at which she is moving is far slower that the speed the POV shots would suggest.

With their backs to the door, they slide to the floor and attempt to catch their breath. The sheer emotional wringer they have been through begins to take its toll on them.

He really begins shaking and sobbing like a child, with Judy trying to console him. Somehow, I think she is referring to surviving the night and leaving Hull House under their own power and volition, rather than consensual sexual relations.

Judy now sees the large furnace door on the opposite side of the room. She gets to her feet and approaches it, but Rodger tells her to wait.

She responds by saying that they cannot wait and this is the only other way out of the room. With proper annunciation and grammar?

Lots of slang Yo, god! Howsa about some for yo peeps down here! Anyway, Judy says that she has been praying all night me too, sister, but for entirely different reasons and they had better try this door now.

So she opens the furnace and uses her body weight to help swing the door wide open. Realizing that this is a giant oven, she drops the skull, closes the door and informs Rodger that this room is a crematorium.

Things look pretty damn grim for these two at this point. Suddenly there is a banging on the door along with some more of that deep demonic growling.

Angela and Stooge are right outside and are trying to get in. Rodger jumps up and joins Judy on the far side of the room, in front of the furnace.

A voice now calls out, urging Rodger to open the door. Rodger tells them to go to hell. There is something odd in this scene.

In screencap A , we see the door from the inside. Notice the grill set high in the door which allows anyone to see through it the arrow is pointing to it, as it is somewhat dark and hard to make out.

Also notice where the light is shining: a spot just below that grill. Now take a look at the door from the other side B.

The light is now pouring straight through the grill and directly into the faces of Angela and Stooge. Judy now transcends her follic pigmentation and puts two and two together to actually get four!

She recalls some of the things Helen babbled about earlier regarding Halloween and how it was the one night each year when unclean things are free to roam the earth.

This means that if they can just hang out until dawn, they will be okay. Rodger readily agrees with this assessment of the situation.

Now they just need to survive until the sun comes up! Note - It is at this point that the movie enters its final segment, so if any of you really feel the need to watch this film and not know the ending ahead of time, skip the rest of the Walk-Thru.

A new, female voice now calls out to Judy. Whatever the case may be the voice reminds Judy that she warned her that the house was possessed.

Along with this new voice, comes the realization that the bolts holding the door hinges to the frame are starting to pop loose and fall to the ground.

Judy turns to Rodger and tells him that they cannot let the demons get them and that they need to find a weapon. As she looks around for something to fight with, Rodger looks like he is on the verge of wetting himself…again.

He just sinks to the floor and stares at the door while Judy hits upon the idea of using the gas pipe that feeds the furnace as a weapon.

She opens the furnace door and pulls on the pipe, trying to loosen it. As she struggles with it, the bolts continue to fall from the door to the room.

Eventually, she gets the pipe free and it starts spewing gas into the room. Judy pulls on the pipe so that it protrudes from the furnace, and with it aimed at the opposing door, she readies her lighter.

She flicks it numerous times but it fails to produce a spark. Meanwhile, the demons are just seconds from pounding down the door and rushing into the room.

Finally, the door gives way. Stooge and Angela burst into the room and rush at Judy, but she manages to get the lighter to flare up.

They go up in flames faster than Michael Jackson in a Pepsi commercial. The two demon-possessed people now scream, holler and dance around a bit while they burn.

Eventually they stumble out of the room. Though they are gone, the pipe Judy is holding continues to spew fire, so she calls for Rodger to help her.

He manages to shed his chickenshit skin long enough to locate the valve that controls the flow of gas and then to turn it. With everything calm and quiet, Judy and Rodger look at each other and smile.

Alas, their victory is short lived, as a skeletal hand reaches out of the furnace to grab Rodger by the shoulder.

Once again, displaying his valiant concern for others in other words, NONE , he jumps to his feet and is out the door without a single word or glance back to see how Judy may fare.

The hand vanishes back into the furnace and then the door to it closes. In fact, every door in the entire house begins to close.

We get several shots of still and empty rooms, accompanied by the creaky sounds of doors slamming shut.

She runs upstairs to the front door where she finds Rodger kneeling on the floor. She bends down to his level, but when she does so, we see the eye-less body of Jay standing behind her.

Rodger sees this, too and in his usual way of doing things, runs off without a word or any effort to help Judy. When she sees him haul ass out of the room she turns and sees Jay approaching.

Angela now appears again, only now we can add horribly burned to the description of her features. Judy then runs off in the same direction Mr.

Chicken…er…Rodger fled. She ends up in an adjacent room with Rodger. With no other way out of the room, they seem trapped.

Angela and Jay begin slowly walking in their direction. Already in the room are Sal and Helen, the former still sporting his wooden stake and the later retaining the smashed head look.

As this foursome close in on the two survivors, Rodger announces boldly that they will not get him, then runs for the large glass windows on one wall and hurls himself through them.

He finds himself intact and outside on the ground. Judy now runs for the gate, but Rodger tells her that the gate is no longer where it was.

This means finding another way off the property, which in turn means that they are going to have to climb over the large brick wall.

Lucky for them, a length of wire is dangling from the top of the wall nearby. Unlucky for them, it is barbed wire. Still, Rodger wastes no time in grabbing it and pulling his ass up the wall, his hands getting bloodier and bloodier as he goes.

He reaches the top and then lowers his hand, telling Judy to climb up and grab it. She begins scaling the wall in the same manner that he did, but much more slowly.

As she climbs, a very burnt Stooge comes running out of the house towards her. Apparently, being touched by a possessed person causes burns to the skin, for Judy now screams as her flesh starts to sizzle at the points where Stooge is touching her.

As Stooge tries to pull her down and Rodger tries to pull her up, the rest of their former friends now exit the house and head in their direction.

As this collection of freaks approaches, Angela asks Judy and Rodger where they are going, as the party has just begun.

This evidently freaks out Rodger, who spazzes and drops Judy, then falls over the other side of the wall.

As she screams, Rodger lies on the ground beyond the wall and covers his ears, not wanting to hear her cries or face his own cowardice.

The gang of fiends continue to pull at Judy, who is now hanging on to that barbed wire by a single hand.

Just as her hand is about to lose her grip and plummet to her doom amongst the hellspawn, a new hand appears and grabs her from above, preventing her fall.

The guy has a pair after all! With his assistance, she is now able to finish the climb to the top of the wall.

Then the sun begins to appear, banishing the demons back to hell. Foul smoke begins to appear as the possessed bodies begin to collapse.

From the other side of the wall, Judy and Rodger see the smoke rise into the air. Then a demonic face — the same one Helen spied in the mirror in what seems like ages ago — appears in the smoke.

It stares at them, growls and then vanishes back into the netherworld in a cheesy camera effect.

The sun rises high in the sky and at long last the night of the demons is over. Next we see Judy and Rodger walking home along a sidewalk in a residential neighborhood.

They both look like hell. They pass by the house belonging to that grumpy old bastard we saw at the very beginning of the film. You know, the one who planned on putting razor blades in the apples?

Well, he is out picking up his morning paper from the driveway. When he sees the two beleaguered teens stumbling by, he calls them trash for being out all night and mutters to himself how they will all rot in hell.

Judy and Rodger just ignore him and keep walking. Grumpy now heads back into his house and sits down at the table. His wife appears and says good morning, but in his usual testy manner, he wants to know what is so good about it.

She places a cup of coffee and a slice of pie on the table before him before heading back into the kitchen behind him. She then says that he used to love her home made pies.

Since there were not as many trick-or-treaters as there were in the good old days, she had to do something with all the leftover apples.

Uh oh! At this point, his expression changes and he looks like he just shit out a pound of brillo pads. His neck bulges and suddenly the razor blades that he inadvertently swallowed shred his throat from the inside, spraying blood all over the place.

He tries to scream but just gets a moan out before falling face first into the remains of the pie. I know he is dead!

His wife now walks over, pats him on the back and kisses him on the back of the head. She looks quite amused. The End. It contains the violent, bloody deaths of the former and the creepy locations and eerie atmosphere of the latter.

The general idea of setting a movie in a spooky location is nothing new, with haunted house movies dating back for decades to the earliest examples of genre cinema.

Two of the more notable examples, and which today are considered classics of the field, are The Haunting and The Legend of Hell House That and the stock elements of the day: liberal amounts of swearing, nudity and contemporary teenage attitudes, helped to firmly cement it as a product of its age.

Some may express the opinion that the film never really works as neither slasher or a haunted house film, but in my mind the movie was not aiming for a complete melding of the two ideas and rather, took the components it needed from the differing concepts to build its own look and feel.

The Storyline. As mentioned above, the storyline for this film is simple and straightforward. A group of annoying teens decides to throw a Halloween party in an abandoned funeral home that was built on a stretch of land best described as tainted by evil.

In usual cinematic foolhardiness, they awaken the wicked spirits that lie dormant on this land, and are unlucky or just plain stupid enough to do it on the one night said spirits are free to walk the earth…at least within the confines of their tainted strip of land.

With the demonic forces now able to possess and harm living folks, the teenagers find themselves trapped within the old house and fighting for their lives, struggling to survive until the sun comes up and the demons are banished once again to the depths of hell.

The film wastes little time in getting the characters to their destination and the few scenes set before their arrival at Hull House are pretty much there to introduce them and their various personalities.

Once they have all crossed over onto the Hull House grounds, the movie sticks with this location until the very end of the movie when we once again get a few brief moments set elsewhere.

Once this has transpired, the pace picks up some and the final forty minutes are more of what the audience is there to see: the annoying teenagers being stalked and killed.

There are no liberties taken with the narrative flow, and everything unfolds in a straight linear manner without the need for flashbacks.

Since the film does have quite a few characters, it tends to jump around a bit to keep pace with what everyone is doing. While there is no single killer responsible for the slayings, the possessed Angela works as a figurehead or spokesperson for the demonic presence within Hull House and would later return in the two sequels.

As mentioned earlier, the characters in this film are walking stereotypes. While there are believable elements to all of them, collectively they come off like a sad gathering of some club for retards or morons.

The little human touches are sometimes there, but are vastly overshadowed by character traits that can only exist in people that are true and utter idiots - the exact type that populate an untold number of horror films.

If these folks showed even a wit of intelligence, the movie would be over rather quickly, but in order to draw things out for the required ninety minutes, they have to display as little functioning gray matter as possible…unless the script calls for it.

Indeed, it seems hardly worth the effort to cheer them on as they struggle to survive, so bland and unlikable they are in varying degrees.

Nearly all of them wind up engaging in activities that in the realm of horror films, guarantees death before the end credits.

For all the talk by the others on how creepy and unlikable Angela is, they still readily accept her invitation to the party.

This could be nothing more than her choice of costume for the evening and not her every day fashion sense. There really is nothing about her other than such an appearance that lends credibility to the notion that she is a social outcast with strange interests.

While the film wants us to believe that she is some freaky Goth girl obsessed with darkness and other such things, she comes across more as your average angry teen than an unsettling weirdo.

Whereas Angela seems like she actually has a functioning brain cell or two, her pal Suzanne is nothing more than the ditzy blonde slut the script requires her to be.

The extent of her worries revolves around the availability of cute boys and the need to constantly check her make-up in a compact mirror. All they need do is strip for the camera and titillate the fanboys who are watching.

The problem with Suzanne is, she is the very first one possessed by the demons, so everything she does after that point is on account of them.

One wonders if she really would have been that slutty if she was never taken over by evil spirits. Our main protagonist, Judy is the typical good girl.

Her volunteering for some charitable cause at school informs us of her qualities. Her belief that Jay is genuinely interested in her as a person and not as a sexual opportunity shows how innocent and gullible she can be.

The thought of taking possession of and corrupting such a pure soul must give them an incorporeal hard on.

Judy shows more backbone than many of the others and if there is anyone in this film that the audience may end up rooting for, then chances are it is Judy.

She is the least annoying of the entire group by far, she retains the good girl persona through her actions and thus does not incur a hideous fate because of her behavior.

Being an asswipe, a coward, being cruel to anyone including animals or many other things will guarantee a sticky end. Judy is assured of survival because she does not fit into any of those categories.

Plus, she is cute. Being cute never hurts. Out of the female characters, the ones that suffer from the least development are Helen and Frannie.

Considering how thinly the others are fleshed out, one should not expect very much, if anything at all from this pair. She exits the film quickly and quietly and one could almost forget that she was even there.

As for Frannie, her sole purpose seems to be adding another kill to the body count and another set of boobs to show off for the camera.

Neither of them have a lot of screen time and could almost be interchangeable with a cardboard cutout. She never does anything morally questionable and tries to leave the place early in the film.

I guess those demons just hate a party pooper. On the other end of the spectrum from good, sweet Judy, is Jay. Now Jay initially comes across as her male counterpart: polite, clean cut, wholesome and well mannered.

This is all an act, as behind it all, Jay is motivated by the one desire that has driven males to all sorts of lunacy, madness and bad behavior over the millennia: the desire to get laid.

He cares nothing for the feelings of the girls he goes out with, seeing them as disposable partners. The only reason he even asks Judy out is because he believes her to be easy.

This attitude, in addition to his harsh treatment of Judy once she shoots down his sexual advances, is what ensures that he comes to an unpleasant end.

It was just unfortunate for him that the other chick was possessed by a homicidal spirit. Sal on the other hand, is almost the polar opposite of Jay.

He carries himself with an exaggerated sense of toughness, which one surmises is put in place as his way of dealing with life.

Then again, it may just simply be a case of him being an asshole. Whatever the case may be, every action he undertakes in the film is meant to get him closer to a second date with Judy.

From bribing her brother to showing up to the party uninvited to scaring the crap out of Jay. However, when push comes to shove, Sal steps up and actually shows concern for Judy and even tries to help her.

While not a bad deed in and of itself, it leads to his death at the hands of a possessed Angela. Up next is Stooge.

Of all the people in this movie, he may come across as the most life-like. However, that may be because he is loud, crude and obnoxious beyond belief.

Everyone at one point or another knows someone like Stooge or has the unfortunate luck to be related to such an individual , so out of the entire bunch he seems to have the most personality just from the sheer in-your-face presentation of his character.

How any of these people can call him friend is a mystery to me. He does nothing and says nothing that makes him likable in the slightest sense of the word, let alone endearing.

If there is anyone in the movie that the audience hopes to see meet a sticky, unpleasant end, it would be Stooge. Such abrasive behavior and utter lack of charm are all that is required in horror flicks to warrant a nasty death and he has it in spades.

While some may feel sorry for him when Angela takes tonsil hockey to a whole new level, I was glad that it meant he could not talk anymore throughout the remainder of the film.

And then there is Rodger. Until more recent years, there was the unofficial rule in horror films that the lone black guy in the cast had to die first.

He actually survives! He manages this despite the other character trait that usually spells doom for people in these movies: he is a colossal coward.

There has to be one like Rodger in every cinematic bunch. You know the type: the one guy that knows before all the rest that something is seriously wrong and is quite vocal in proclaiming it as well as announcing his desire to leave.

Not only does Rodger fulfill that role, but he takes every opportunity presented to him to run like hell, even if it means abandoning whoever he is with at the moment.

Still, there is no denying that his character basically comes down to one word: coward. The remainder of the cast the ones worth noting, at least , is rounded out by Max, Billy and Mr.

Max is the one that provides exposition for the audience, by explaining the history of Hull House to his pals — information that they should at least already know in part, but I guess he feels they need a refresher course.

Billy is hardly in the film, but even with his limited screen time, manages to excel in conveying the part of an ultra-annoying little brother.

I have no little brothers or sisters , so I can only imagine what they must be like. Billy here makes me glad that I was the youngest in my family.

Like Billy, Mr. Grumpy AKA The Old Man, really is not in the film all that much, appearing for a few brief moments at the beginning and the end, but he sure does make an impact with his limited time.

The epitome of grouchy, mean old men, there is nothing redeeming about him and one wonders if he was always a cranky, ill tempered pain in the ass or if the years just made him that way.

Speaking as someone who was once a calm, kind and gentle person, but who is now hiding a burning, festering rage aimed at the world and everyone in it, I think time just made him that way.

As far as acting goes, you get pretty what you expect given the shallow characterizations and youthful cast. In other words, nothing special.

In the end, the problem with this group of characters is not the actors portraying them, but the fact that almost all of them are completely unlikable.

In this case: make-up, prosthetics and visual FX. All of it looks quite good, though the make-up used for the possessed folks is what gets seen the most in the movie.

It looks damn convincing — especially when Suzanne changes right in the middle of coitus, but those hideous teeth must have been hell for the actors to wear and worse to try and speak lines through.

The prosthetics work seen here is just superb in my opinion. The way the jaw opens and the subtle muscle movements below the skin combine to make an extremely realistic mock-up.

However, above all others, the one prosthetic that looks more real than anything else are the pair of fake boobs with which Suzanne does her lipstick trick.

Additionally, the way the prosthetic responds to her touch is another factor in its success. Not only does it look like real flesh, but moves like it as well.

Many a viewer has watched this movie and done a double take when this scene occurs, myself included. Hats off to special effects artist Steve Johnson for some truly incredible work in this film, the fake boobs a particular stand out.

There are a number of other instances of make-up and prosthetic work in the movie, and to varying degrees they look quite good. As for visual effects, there are just a few that spring to mind: the view of Hull House from a distance, the images that appear within the old mirror and at the end when the demon face appears in the air and vanishes.

It certainly fits well with the movie, lending atmosphere to Hull House and its darkened hallways, but there is no one theme that really jumps out as a defining piece of music.

It just seems…adequate. Composed by Dennis Michael Tenney, brother of director Kevin Tenney, the single piece of music that stands out more than the rest, is that which accompanies the opening credits.

Additionally, he has worked in the sound department for dozens of other films. You may like it. With the exception of the very end, the entire film is set during and occurs at night.

Also, very few of the scenes in the beginning take place in well lit locations, so the juxtaposition of light and darkness which is often utilized in such films to help set and maintain mood as well as reflect the dichotomy of good and evil is somewhat absent.

Then again, the subject matter is not exactly the most cheerful topic, is it? The funny part is, the producers try to convey the idea of natural moonlight illuminating the darkened interior of Hull House.

While this may not seem comical in itself, the execution is another story. In several scenes, the light streaming inside through the windows is far, far brighter than any moonlight could possibly be.

In much the same way a single candle could light up an entire ballroom in some old black and white flick, in this movie the sunlight reflecting off the moon lights up a room like a searchlight.

Many people may not even notice it, but because so much of the film is dark, the intensity of the light in some scenes is hard to not see.

Aside from the lighting issues, one has to give props to the crew who dressed the sets. The abandoned building used for the Hull House locations had to be dirtied up and made to look aged and decrepit.

All of these rooms look effectively filthy, which only adds to the sense of unease about the place. Hand in hand with the great sets are a few inventive shots devised by director Tenney.

This is a nice effect and eerily forebodes their imminent separation and death. A few other shots, where the camera is placed on the floor, help give rooms a larger, stranger, and more unreal atmosphere.

Small touches to be sure, but they add to the overall effect. When it comes to the titular demons, the character of Angela makes it clear in one of her explanations that such beings have never existed in human form.

Thus, one expects a certain alien-like quality to them. Tenney uses various techniques to help portray the otherworldliness of these incorporeal life forms.

In one scene the camera hovers around the room, providing a point of view shot as the invisible presence examines the flesh and blood intruders, debating on whom to possess first.

While simple, it is effective. This method is further exploited by showing the demons flying throughout the house via the POV shots.

Simple editing tricks make the house seem much larger and more intricate than it really is during these segments.

However, the approach was more noticeably used by Sam Raimi in his Evil Dead films, so comparisons between the two are only going to be inevitable.

Another low tech approach is a method used for people once they are possessed by a demon and they begin floating down the hallway.

This is accomplished by having the actor wear skates. Yes, skates. In the era before the over saturation of CGI, filmmakers were forced to rely on ingenuity to achieve the things they wanted to see.

While this movie does call for its share of blood, guts and other visual FX, the viewer gets the impression that the producers actually sweated in their creation, rather than clicking a mouse while seated at a computer work station.

The movie also likes to play with some of the conventions inherent in the genre, especially things one would find in a slasher film.

Though Judy fits the final girl mold to a T and is a protagonist worth cheering on or at least, not wanting to see die horribly , the other half of that duo, Rodger, is a bit more of a mystery, as he does several things that usually lead to death in these movies.

I guess turning the token black guy element upside down and having him live was what overrode any bad karma he earned through his chickenshit actions.

Additionally, in a field filled with male horror icons like Jason Vorhees, Freddy Krueger, Michael Myers and Chucky the killer doll, this movie gives us the first sustainable female horror star of the modern age in Angela.

While the character would only appear in two further film outings, and never quite attained the notoriety of her male brethren, she is still known well enough in fan circles.

Both she and this film have built up quite the following over the years. The Summation. It also heralds from an era that still made movies for people who had the attention span to deal with extended dialog scenes.

They are mostly annoying and engender little in the viewer aside from distaste. The film does have its strong points, with the superb make-up and gore FX taking the top spot.

More than one scene looks quite real, even when you are aware that certain things are not. The music is serviceable and contributes to the overall effect, but is not very noticeable on its own.

There are enough stylistic touches with lighting, editing and camera work to help convey that eerie sense of dread and foreboding required for such a film.

It has its own sense of charm, mostly stemming from the time period in which it was made. Woo Hoo! What was that sound?

Woo H…wait! Those are fake! The difference between possessed and haunted. But the spirits living in a house possessed have never existed in human form.

I live in a nice house. You know, with plastic slip covers on the furniture. Shadow's rating: Six Tombstones.

The Good. The Bad. The Ugly. Review Round-Up Check out other reviews for this film! Angela is having a party, Jason and Freddy are too scared to come.

But You'll have a hell of a time. Dancing — Some bad dancing when the gang partys, a weird solo dance by possessed Angela and the dance between her and Stooge when she demonstrates why French kissing is bad.

Demons — Given the film's title, I think it is safe to say that some of them show up. However, aside from a brief glimpse of a cheesy rubber face, they are incorporeal in nature.

Extreme Violence — While the violence here is brief when it is shown, it goes far beyond slaps and punches. Indeed, people end up missing various body parts by the end of the film.

Haunted Houses — Despite an explanation on how Hull House is not haunted by ghosts , but possessed by evil spirits instead, the place is creepy enough to qualify for this icon.

Nudity — Of the four main female characters in this film, one of them fully shows off her ass, another fully shows off her boobs and a third shows off everything for the camera.

Sex — Even though there are several horny guys in this film, the only one to actually score with a chick is Jay, when he nails demonified Suzanne.

Shadow's Commentary:. I never realized that Underoos came in such gigantic sizes. For the fifth time in as many minutes, Suzanne fell for the untied shoe laces trick.

I know the entrance to Diagon alley is somewhere around here. Do I have something between my teeth? Britney has really let herself go.

I have to say, the thing looks pretty darn real. Plus, there is just a certain way Quigley is sitting in this scene that makes it obvious that the boobs in front of her are not her own.

As she sits there, Suzanne takes her lipstick and slowly runs it down between her breasts, starting at her neck and then looping around her left boob.

As she makes a slow circular pattern, drawing ever closer to the areola and the nipple, the camera slowly zooms in, knowing that this is something the audience just has to see up close.

Finally, with the tip of her lipstick touching her nipple, she pushes it straight into her breast. Yes, you heard me right!

She pushes the whole thing right into her breast and it disappears without a single drop of blood. When she pulls her hand away, we see that her breast still looks normal…or as normal as the prosthetic will allow.

Long about now, Jay comes walking down the hall. He peers into the bathroom, sees Suzanne and inquires into what she is doing. She just smiles and pulls back her dress some more, affording him a good look at those gorgeous gazongas.

He proceeds to enter the room and says something about her boobs needing a touch up. I assume he is volunteering for the job. Once he is inside, he now notices that the lights are on.

He asks her when this happened, but gets no answer. With him standing before her, she reaches over and unzips his pants. This prompts him to drop his flashlight and mutter something near unintelligible.

Then again, the prospect of being on the receiving end of imminent oral sex from a hot chick transforms most guys into raving idiots.

At least, more so than they already are. When he passes by the room with the fireplace, he stops and tells Angela that he is leaving.

Angela is sitting before the fire with her back to him. I was just warming my hands in the fire. Naturally, they look quite burnt.

Sal gapes in horrified disgust as she brandishes her burning hands in the air. Angela now rises to her feet, walks towards him and asks if he is leaving so soon.

Unable to get the door open, Sal now turns and hauls ass down the hall, around a bend and vanishes into the depths of the house, no doubt in an attempt at finding another exit.

It looks like the poor guy has fallen asleep. He wakes up when the car shakes, as if some super fat person just rested their foot on one of the bumpers.

Apparently Rodger has come to the same conclusion and believes that it is Stooge that has made the vehicle shake.

So Rodger leans forward and gazes out the large forward windshield. Rodger screams and rapidly exits the car.

Now we jump back to the bathroom with Jay and Suzanne. At first all we see is her feet, with the dainty white socks and pink shoes that she is wearing.

Then each leg lifts as her panties drop to the ground and come off. Next we Jay, who is in the process of removing his outer shirt. Still, it is obvious that he is about to get lucky…or so she wants him to think.

Another shot of her feet shows that her slip has been removed. Then we get a full body shot of her where we get a peek at the almighty bush when she lifts up the edge of her dress.

Holding her dress up so we get a nice long view of her rug, she saunters over to Jay, who has reclined on the floor and is now lying on his back.

She straddles him and lowers herself down. The Boom Boom is now in full swing…er…bounce…er…whatever. We get close-ups of both their faces as they writhe around in pleasure.

Then Suzanne looks down at Jay and asks him what he is looking at. She wonders if her make-up is ok she is still sporting the Helen Keller lipstick look.

In a voice that sounds like it is on the verge of tears she tells him to stop staring at her, then tilts her head back so he cannot see her face.

He thinks her make-up looks fine. Indeed, it is not her face that he is doing business with at the moment. He asks what she is worried about. Ok…raise your hand if you know that something very bad is about to happen.

Ok, hands down. So at this point Suzanne tilts her head back down and we and poor, poor, Jay see that her face has now changed…and for the worse.

Her skin…well, her skin is now dotted with what can only be called demonic zits. Basically, she looks very gross. Naturally, Jay recoils when he catches sight of her new look.

She reaches out her hands to him, but he grabs her arms and tries to fight her off. Alas, her hellish strength is too much and she manages to get her hands on his face.

Then she buries her thumbs in his eyes sockets and pushes until his eyeballs pop, sending streams of bloody goo spurting into the air.

Now this is where my own twisted imagination comes into play. Even though she is popping his eyeballs as if they were gigantic zits, it is still apparent that they were in the middle of sexual intercourse when she decided to go all demon on his ass.

This means that there are other parts of their bodies that are still connected, right? How is that for nightmare imagery? And yes, I know the Japanese have made films with such elements in them.

She just continues to stand there like an idiot. The coffin is sitting up high on something, so they are actually at about waist level. They have assumed the same position that Jay and Suzanne did, with Max on his back in the casket and Frannie riding him.

It really does not matter, because by sitting up, she is giving the audience a great look at her boobs. Yowza, what a pair. Max just passes the sound off as some party games unfolding elsewhere in the house, then goes back to positioning himself better.

As they continue to awkwardly screw in the coffin, a figure approaches in the darkness. It is Stooge, but we cannot see his face.

Neither can Max and Frannie for that matter. Stooge now walks forward into the light and everyone sees that his face is now sporting the accepted look for those possessed by demons: jagged teeth, yellow eyes, pale complexion and hideous acne.

His voice seems to have dropped about five octaves as well. He growls at them, since he can no longer talk no tongue, remember?

Frannie screams when she sees him draw near. To shut her up, Stooge reaches out, grabs her head and twists it, snapping her neck.

Five times he slams the lid with all his strength, as Max screams from within the coffin. Turning now to good old Rodger, we see him walking somewhere in the house.

He appears scared out of his mind and looks like he is about to drop a load in his pants at any moment. He turns around and there she is right behind him, in all her demon-look splendor.

She laughs, and it sounds more like Jabba the Hutt on steroids than anything else. Rodger now does what any rational, sane person would do at this point.

Yep, he engages in the time-honored practice of running like hell! He barely gets a few feet and rounds a corner when he collides with Sal. Not stopping to offer any explanations for his flight, he keeps running.

He rounds another bend and reaches a closed door. He tries to open it but naturally, it is locked. Sal now comes up behind him and in a near panic, Rodger tells him that there is something wrong with Angela.

Sal tries to tell him that it is ok and they will get out. He gets Rodger to shut the hell up, then they ease back to the hallway corner.

Angela can be seen around the bend, at the other end, as they hide. Finally, it is time to get back to Judy. She is still by the door where we left her, only now she has slumped down on the floor and has fallen asleep.

The moonlight continues to shine through the window at about fifteen million candlepower. As she sleeps, the doorknob begins to turn, like there is someone on the other side trying to open it.

A quick cutaway shows us that it is Stooge attempting to gain access to the room. She calls out to Jay, thinking that it may be him she probably is also under the foolish idea that he has returned to apologize.

Yeah right! However, neither she nor Stooge can get the door to open. With it all quiet again, Judy slides back to a seated position on the floor.

For two people that are supposed to be looking for a way out and evading freaky Angela at the same time, Sal and Rodger are making enough noise to rival a kaiju attack on downtown Tokyo.

At this point, Judy must hear all the racket they are making, because she bangs on the door and calls out for help. Sal tells her to stand back from the door, but Rodger is a little suspicious, wondering if it really is Judy on the other side.

Sal ignorantly asks him who else it could be, then kicks the door in. For a few brief seconds there is no movement at all though a view from the hall makes the room look positively dark, and not illuminated by the fifteen million candlepower moonlight like it was just seconds ago , then Judy comes hurtling through the door to wrap Sal in a desperate and thankful embrace.

At this point Rodger turns and sees freaky Angela coming down the hall. Rodger wastes no time at all and throws himself into a run in the opposite direction.

He does not even bother to shout a warning to Sal or Judy. The only inkling they have that something is amiss is his sudden flight from the area.

Noticing him gone, they peek around the corner and see Angela cruising in their direction, uttering soft growls as she approaches. The sight of possessed Angela must induce some sort of temporary paralysis, as Judy has difficulty moving.

With Angela almost on top of them — and with her arms held wide as if to embrace them — Sal grabs Judy and pulls her through a door into a nearby room…but not the one in which Judy was just trapped.

Sal slams the door shut and he and Judy huddle quietly. Angela comes floating down the hall, turns the corner and advances down the hallway containing the room where Sal and Judy are hiding.

Within the room, Sal notices a window and runs over and tries to open it. The lights flicker on at this point and we realize that this is the bathroom!

There in the corner is a now normal-looking Suzanne, cradling the eye-less corpse of Jay. Upon spying this, Judy lets out a gasp.

Sal turns around to look and Suzanne proposes an orgy. She goes to say that if they try, they can surely get Jay hard again.

Sal yells for Judy to run, but being blonde, she is naturally slow on the uptake. This gives Suzanne time to jump to her feet. Now sporting her Demon face, she lunges at Judy, but Sal grabs her by the shoulder and pulls her back.

Suzanne now turns on him and belts him, sending the poor schmuck right through the window. This exchange gives Judy the time she needs to open the door and exit the room as rapidly as she can.

As she flies out of the room and down the hall, Suzanne taunts her, having resumed her normal appearance. Judy stumbles down the hall and tries another door, but as she opens it, it flies from her grasp and slams shut.

Doors all up and down the hall now begin to open and slam shut on their own. Then with a thud, all the activity ceases, leaving Judy alone in a dark hall.

She stands there breathing heavily for a few seconds, then notices light at one end and runs in that direction. It is coming from the one open door, so she races through and shuts it.

Yup, she is now in the room with the coffins where Max and Frannie experienced some really bad sex. As she stands there, collecting herself, Judy shines her flashlight on the floor and sees a severed arm.

This no doubt belongs to Max and is the result of the Demonified Stooge slamming the casket lid on his appendage over and over again.

Judy lets out a gasp when she sees the arm and backs away from it, so she is now standing against one of the coffins. The arm comes to life and flies across the room to grab hold of her ankle.

This of course prompts her to scream…and scream a lot. She jumps around and shakes her leg like a rapid dog was trying to hump it…and truth be told, that might even be better than a severed arm.

Finally she kicks her leg and the arm loses its grip and flies across the room. The arm may be gone, but Judy continues to jump up and down, shake and scream up a bloody storm.

They reach out for her with their collective three arms , which convinces her it is now time to exit this room. Back out into the hall she runs, where she makes a mad dash through the corridors to finally arrive at the front door.

She tries her best to open it, but it will not budge. Then for some inexplicable reason, she decides to run up the nearby stairs. Maybe she thinks there is a method for egress available on the upper floor.

Maybe she is just stupid. So up the stairs she goes, only to be confronted by an entirely new set of dark halls and rooms. Returning to poor Sal, we see him sprawled on the ground under the window he so recently flew through.

He picks himself up and looks around. He finds that despite coming through the window, he is not outside. He is in some sort of airshaft.

Grasping a water pipe, he begins pulling himself up the side of one wall. She slowly and cautiously makes her way down a hallway, pausing every now and then to look behind her.

She approaches a corner and quickly looks around. At the far end is an open window, though metal bars prevent anyone from passing through it.

On the other side she sees Rodger. She calls his name and walks to him. When she is about three steps away from him, the demonified Stooge springs out of darkness and jumps in front of her, growling and drooling like the worst Gwar fans.

She screams, drops her flashlight and then turns tail and hauls ass. Rather than chase after her, Stooge now turns and leaps at Rodger, but the bars prevent him from grabbing him.

Rodger, for his part, has the good sense to run away again. Judy makes for the stairs, but partway down she encounters demonified Suzanne, who growls at her.

So now Judy is forced to turn around, head back to the second level, then continue on up the stairs to the third floor.

She finds herself in what appears to be the attic, with all sorts of crap covered with years and years worth of cobwebs. She makes her way through here and to a balcony that opens up off this chamber.

She rushes back into the attic where she hears someone coming up the stairs. She slowly backs away toward the balcony again as Stooge reaches the top stair.

It is a rule in horror movies that whenever a character is backing away from someone or something that they are desperately trying to avoid, they will unwittingly encounter something behind them.

This something can take the form of a viable threat or be nothing more than a false scare. In this case it is the latter. As Judy backs onto the balcony and towards the ledge, a voice suddenly calls her name, which causes her to jump…though she does possess enough awareness to stifle a scream.

It turns out to be Rodger calling to her. He is down below, standing on the roof of an extension of the first floor. She turns and just inches away is Angela, who asks in her Darth Vader voice if Judy is enjoying the view before grabbing her by the throat.

Next on the scene is Sal, who is on the roof of the attic. We are left to assume that climbing that water pipe up through the air shaft led him to the very top of the house.

Anyway, he comes sliding down the roof and pushes Judy away from Angela. Judy falls over the edge and the only thing preventing her from plunging to the ground below is her last minute grip on the edge.

Rodger can do nothing but watch as she dangles there while Sal wrestles with Angela above her. After a few more seconds of struggling, both Sal and Angela fall off the balcony, performing a huge flip through the air as they fall.

There is a sickening thud and when we see them again, Angela now looking normal…well as normal as she ever did in this flick is laying in a pool of blood while poor Sal has landed on a fence post, the wood impaled through his chest.

I think it is safe to say that they are both quite dead. She is beseeching the almighty for help in preventing a fall while Rodger is hollering up to her and advising her to move over to her right.

On the wall in that direction is a window which she could use to climb down to him. She struggles, her feet making contact with the wood used to board up the window, but is having trouble.

She yells to Rodger that she cannot do it. He yells back that she can. Then he screams at her to hurry up. That is really good advice, because right about now, demonified Stooge appears on the balcony overhead.

She falls, but lucky for and unlucky for him Rodger is there to break her fall. The two collapse into a heap, but seem to be all right.

As they sit there, Stooge jumps down from the balcony to land just feet away. Wasting no time, Judy and Rodger jump up and start hoofing it Judy letting out a scream in the process.

They are on some sort of second floor landing, so they rush to the stairs heading to the ground. When they reach the top of said stairs, they are stopped in their tracks by the figure at the bottom: demonified Angela, risen from the dead.

Angela, in that deep, gravelly voice that sounds like James Earl Jones after ten packs of cigarettes and a brisk gargle with a cup of broken glass, wonders why they are leaving.

He seems to have landed in the cemetery, as there are headstones all around him. One right behind his head even has his own name etched into it.

Judy and Rodger now turn and run in the opposite direction. They find a door and fly through it, closing it behind them.

Just a scant few nanoseconds later, Stooge comes running up to the door, missing them by a heartbeat. I want to know where he was this whole time?

When he jumped down from the balcony, he landed just feet from them. Then they ran, stopped when encountering Angela, stared at dead Sal, ran back the way they came and ducked into this door… all without Stooge having caught up with them.

He should have caught them the instant they stopped at the top of the stairs, yet he was at least a minute behind them.

What was taking him so long? Did he trip and fall? Did he get lost? Did he stop to take a pee or something?

Back inside the house, Judy and Rodger race through the place. They descend the stairs back to the first floor, the cameraman desperately trying to keep up with them.

How she got up those outside steps, down the walkway and through that door ahead of Stooge is beyond me. He should be the one mere steps behind them.

Did he pause and let her go first? Did he get lost again? Who knows. The point is, Angela is skateboarding down the hall after the surviving pair of fools.

Of course, the speed at which she is moving is far slower that the speed the POV shots would suggest. With their backs to the door, they slide to the floor and attempt to catch their breath.

The sheer emotional wringer they have been through begins to take its toll on them. He really begins shaking and sobbing like a child, with Judy trying to console him.

Somehow, I think she is referring to surviving the night and leaving Hull House under their own power and volition, rather than consensual sexual relations.

Judy now sees the large furnace door on the opposite side of the room. She gets to her feet and approaches it, but Rodger tells her to wait.

She responds by saying that they cannot wait and this is the only other way out of the room. With proper annunciation and grammar?

Lots of slang Yo, god! Howsa about some for yo peeps down here! Anyway, Judy says that she has been praying all night me too, sister, but for entirely different reasons and they had better try this door now.

So she opens the furnace and uses her body weight to help swing the door wide open. Realizing that this is a giant oven, she drops the skull, closes the door and informs Rodger that this room is a crematorium.

Things look pretty damn grim for these two at this point. Suddenly there is a banging on the door along with some more of that deep demonic growling.

Angela and Stooge are right outside and are trying to get in. Rodger jumps up and joins Judy on the far side of the room, in front of the furnace.

A voice now calls out, urging Rodger to open the door. Rodger tells them to go to hell. There is something odd in this scene. In screencap A , we see the door from the inside.

Notice the grill set high in the door which allows anyone to see through it the arrow is pointing to it, as it is somewhat dark and hard to make out.

Also notice where the light is shining: a spot just below that grill. Now take a look at the door from the other side B.

The light is now pouring straight through the grill and directly into the faces of Angela and Stooge. Judy now transcends her follic pigmentation and puts two and two together to actually get four!

She recalls some of the things Helen babbled about earlier regarding Halloween and how it was the one night each year when unclean things are free to roam the earth.

This means that if they can just hang out until dawn, they will be okay. Rodger readily agrees with this assessment of the situation. Now they just need to survive until the sun comes up!

Note - It is at this point that the movie enters its final segment, so if any of you really feel the need to watch this film and not know the ending ahead of time, skip the rest of the Walk-Thru.

A new, female voice now calls out to Judy. Whatever the case may be the voice reminds Judy that she warned her that the house was possessed. Along with this new voice, comes the realization that the bolts holding the door hinges to the frame are starting to pop loose and fall to the ground.

Judy turns to Rodger and tells him that they cannot let the demons get them and that they need to find a weapon. As she looks around for something to fight with, Rodger looks like he is on the verge of wetting himself…again.

He just sinks to the floor and stares at the door while Judy hits upon the idea of using the gas pipe that feeds the furnace as a weapon.

She opens the furnace door and pulls on the pipe, trying to loosen it. As she struggles with it, the bolts continue to fall from the door to the room.

Eventually, she gets the pipe free and it starts spewing gas into the room. Judy pulls on the pipe so that it protrudes from the furnace, and with it aimed at the opposing door, she readies her lighter.

She flicks it numerous times but it fails to produce a spark. Meanwhile, the demons are just seconds from pounding down the door and rushing into the room.

Finally, the door gives way. Stooge and Angela burst into the room and rush at Judy, but she manages to get the lighter to flare up.

They go up in flames faster than Michael Jackson in a Pepsi commercial. The two demon-possessed people now scream, holler and dance around a bit while they burn.

Eventually they stumble out of the room. Though they are gone, the pipe Judy is holding continues to spew fire, so she calls for Rodger to help her.

He manages to shed his chickenshit skin long enough to locate the valve that controls the flow of gas and then to turn it.

With everything calm and quiet, Judy and Rodger look at each other and smile. Alas, their victory is short lived, as a skeletal hand reaches out of the furnace to grab Rodger by the shoulder.

Once again, displaying his valiant concern for others in other words, NONE , he jumps to his feet and is out the door without a single word or glance back to see how Judy may fare.

The hand vanishes back into the furnace and then the door to it closes. In fact, every door in the entire house begins to close.

We get several shots of still and empty rooms, accompanied by the creaky sounds of doors slamming shut.

She runs upstairs to the front door where she finds Rodger kneeling on the floor. She bends down to his level, but when she does so, we see the eye-less body of Jay standing behind her.

Rodger sees this, too and in his usual way of doing things, runs off without a word or any effort to help Judy. When she sees him haul ass out of the room she turns and sees Jay approaching.

Angela now appears again, only now we can add horribly burned to the description of her features. Judy then runs off in the same direction Mr.

Chicken…er…Rodger fled. She ends up in an adjacent room with Rodger. With no other way out of the room, they seem trapped.

Angela and Jay begin slowly walking in their direction. Already in the room are Sal and Helen, the former still sporting his wooden stake and the later retaining the smashed head look.

As this foursome close in on the two survivors, Rodger announces boldly that they will not get him, then runs for the large glass windows on one wall and hurls himself through them.

He finds himself intact and outside on the ground. Judy now runs for the gate, but Rodger tells her that the gate is no longer where it was.

This means finding another way off the property, which in turn means that they are going to have to climb over the large brick wall.

Lucky for them, a length of wire is dangling from the top of the wall nearby. Unlucky for them, it is barbed wire. Still, Rodger wastes no time in grabbing it and pulling his ass up the wall, his hands getting bloodier and bloodier as he goes.

He reaches the top and then lowers his hand, telling Judy to climb up and grab it. She begins scaling the wall in the same manner that he did, but much more slowly.

As she climbs, a very burnt Stooge comes running out of the house towards her. Apparently, being touched by a possessed person causes burns to the skin, for Judy now screams as her flesh starts to sizzle at the points where Stooge is touching her.

As Stooge tries to pull her down and Rodger tries to pull her up, the rest of their former friends now exit the house and head in their direction.

As this collection of freaks approaches, Angela asks Judy and Rodger where they are going, as the party has just begun.

This evidently freaks out Rodger, who spazzes and drops Judy, then falls over the other side of the wall. As she screams, Rodger lies on the ground beyond the wall and covers his ears, not wanting to hear her cries or face his own cowardice.

The gang of fiends continue to pull at Judy, who is now hanging on to that barbed wire by a single hand. Just as her hand is about to lose her grip and plummet to her doom amongst the hellspawn, a new hand appears and grabs her from above, preventing her fall.

The guy has a pair after all! With his assistance, she is now able to finish the climb to the top of the wall. Then the sun begins to appear, banishing the demons back to hell.

Foul smoke begins to appear as the possessed bodies begin to collapse. From the other side of the wall, Judy and Rodger see the smoke rise into the air.

Then a demonic face — the same one Helen spied in the mirror in what seems like ages ago — appears in the smoke. It stares at them, growls and then vanishes back into the netherworld in a cheesy camera effect.

The sun rises high in the sky and at long last the night of the demons is over. Next we see Judy and Rodger walking home along a sidewalk in a residential neighborhood.

They both look like hell. They pass by the house belonging to that grumpy old bastard we saw at the very beginning of the film.

You know, the one who planned on putting razor blades in the apples? Well, he is out picking up his morning paper from the driveway.

When he sees the two beleaguered teens stumbling by, he calls them trash for being out all night and mutters to himself how they will all rot in hell.

Judy and Rodger just ignore him and keep walking. Grumpy now heads back into his house and sits down at the table. His wife appears and says good morning, but in his usual testy manner, he wants to know what is so good about it.

She places a cup of coffee and a slice of pie on the table before him before heading back into the kitchen behind him.

She then says that he used to love her home made pies. Since there were not as many trick-or-treaters as there were in the good old days, she had to do something with all the leftover apples.

Uh oh! At this point, his expression changes and he looks like he just shit out a pound of brillo pads. His neck bulges and suddenly the razor blades that he inadvertently swallowed shred his throat from the inside, spraying blood all over the place.

He tries to scream but just gets a moan out before falling face first into the remains of the pie. I know he is dead! His wife now walks over, pats him on the back and kisses him on the back of the head.

She looks quite amused. The End. It contains the violent, bloody deaths of the former and the creepy locations and eerie atmosphere of the latter.

The general idea of setting a movie in a spooky location is nothing new, with haunted house movies dating back for decades to the earliest examples of genre cinema.

Two of the more notable examples, and which today are considered classics of the field, are The Haunting and The Legend of Hell House That and the stock elements of the day: liberal amounts of swearing, nudity and contemporary teenage attitudes, helped to firmly cement it as a product of its age.

Some may express the opinion that the film never really works as neither slasher or a haunted house film, but in my mind the movie was not aiming for a complete melding of the two ideas and rather, took the components it needed from the differing concepts to build its own look and feel.

The Storyline. As mentioned above, the storyline for this film is simple and straightforward. A group of annoying teens decides to throw a Halloween party in an abandoned funeral home that was built on a stretch of land best described as tainted by evil.

In usual cinematic foolhardiness, they awaken the wicked spirits that lie dormant on this land, and are unlucky or just plain stupid enough to do it on the one night said spirits are free to walk the earth…at least within the confines of their tainted strip of land.

With the demonic forces now able to possess and harm living folks, the teenagers find themselves trapped within the old house and fighting for their lives, struggling to survive until the sun comes up and the demons are banished once again to the depths of hell.

The film wastes little time in getting the characters to their destination and the few scenes set before their arrival at Hull House are pretty much there to introduce them and their various personalities.

Once they have all crossed over onto the Hull House grounds, the movie sticks with this location until the very end of the movie when we once again get a few brief moments set elsewhere.

Once this has transpired, the pace picks up some and the final forty minutes are more of what the audience is there to see: the annoying teenagers being stalked and killed.

There are no liberties taken with the narrative flow, and everything unfolds in a straight linear manner without the need for flashbacks.

Since the film does have quite a few characters, it tends to jump around a bit to keep pace with what everyone is doing.

While there is no single killer responsible for the slayings, the possessed Angela works as a figurehead or spokesperson for the demonic presence within Hull House and would later return in the two sequels.

As mentioned earlier, the characters in this film are walking stereotypes. While there are believable elements to all of them, collectively they come off like a sad gathering of some club for retards or morons.

The little human touches are sometimes there, but are vastly overshadowed by character traits that can only exist in people that are true and utter idiots - the exact type that populate an untold number of horror films.

If these folks showed even a wit of intelligence, the movie would be over rather quickly, but in order to draw things out for the required ninety minutes, they have to display as little functioning gray matter as possible…unless the script calls for it.

Indeed, it seems hardly worth the effort to cheer them on as they struggle to survive, so bland and unlikable they are in varying degrees.

Nearly all of them wind up engaging in activities that in the realm of horror films, guarantees death before the end credits. For all the talk by the others on how creepy and unlikable Angela is, they still readily accept her invitation to the party.

This could be nothing more than her choice of costume for the evening and not her every day fashion sense.

There really is nothing about her other than such an appearance that lends credibility to the notion that she is a social outcast with strange interests.

While the film wants us to believe that she is some freaky Goth girl obsessed with darkness and other such things, she comes across more as your average angry teen than an unsettling weirdo.

Whereas Angela seems like she actually has a functioning brain cell or two, her pal Suzanne is nothing more than the ditzy blonde slut the script requires her to be.

The extent of her worries revolves around the availability of cute boys and the need to constantly check her make-up in a compact mirror.

All they need do is strip for the camera and titillate the fanboys who are watching. The problem with Suzanne is, she is the very first one possessed by the demons, so everything she does after that point is on account of them.

One wonders if she really would have been that slutty if she was never taken over by evil spirits. Our main protagonist, Judy is the typical good girl.

Her volunteering for some charitable cause at school informs us of her qualities. Her belief that Jay is genuinely interested in her as a person and not as a sexual opportunity shows how innocent and gullible she can be.

The thought of taking possession of and corrupting such a pure soul must give them an incorporeal hard on. Judy shows more backbone than many of the others and if there is anyone in this film that the audience may end up rooting for, then chances are it is Judy.

She is the least annoying of the entire group by far, she retains the good girl persona through her actions and thus does not incur a hideous fate because of her behavior.

Being an asswipe, a coward, being cruel to anyone including animals or many other things will guarantee a sticky end. Judy is assured of survival because she does not fit into any of those categories.

Plus, she is cute. Being cute never hurts. Out of the female characters, the ones that suffer from the least development are Helen and Frannie.

Considering how thinly the others are fleshed out, one should not expect very much, if anything at all from this pair.

She exits the film quickly and quietly and one could almost forget that she was even there. As for Frannie, her sole purpose seems to be adding another kill to the body count and another set of boobs to show off for the camera.

Neither of them have a lot of screen time and could almost be interchangeable with a cardboard cutout. She never does anything morally questionable and tries to leave the place early in the film.

I guess those demons just hate a party pooper. On the other end of the spectrum from good, sweet Judy, is Jay.

Now Jay initially comes across as her male counterpart: polite, clean cut, wholesome and well mannered. This is all an act, as behind it all, Jay is motivated by the one desire that has driven males to all sorts of lunacy, madness and bad behavior over the millennia: the desire to get laid.

He cares nothing for the feelings of the girls he goes out with, seeing them as disposable partners. The only reason he even asks Judy out is because he believes her to be easy.

This attitude, in addition to his harsh treatment of Judy once she shoots down his sexual advances, is what ensures that he comes to an unpleasant end.

It was just unfortunate for him that the other chick was possessed by a homicidal spirit. Sal on the other hand, is almost the polar opposite of Jay.

He carries himself with an exaggerated sense of toughness, which one surmises is put in place as his way of dealing with life.

Then again, it may just simply be a case of him being an asshole. Whatever the case may be, every action he undertakes in the film is meant to get him closer to a second date with Judy.

From bribing her brother to showing up to the party uninvited to scaring the crap out of Jay. However, when push comes to shove, Sal steps up and actually shows concern for Judy and even tries to help her.

While not a bad deed in and of itself, it leads to his death at the hands of a possessed Angela. Up next is Stooge.

Of all the people in this movie, he may come across as the most life-like. However, that may be because he is loud, crude and obnoxious beyond belief.

Everyone at one point or another knows someone like Stooge or has the unfortunate luck to be related to such an individual , so out of the entire bunch he seems to have the most personality just from the sheer in-your-face presentation of his character.

How any of these people can call him friend is a mystery to me. He does nothing and says nothing that makes him likable in the slightest sense of the word, let alone endearing.

If there is anyone in the movie that the audience hopes to see meet a sticky, unpleasant end, it would be Stooge. Such abrasive behavior and utter lack of charm are all that is required in horror flicks to warrant a nasty death and he has it in spades.

While some may feel sorry for him when Angela takes tonsil hockey to a whole new level, I was glad that it meant he could not talk anymore throughout the remainder of the film.

And then there is Rodger. Until more recent years, there was the unofficial rule in horror films that the lone black guy in the cast had to die first.

He actually survives! He manages this despite the other character trait that usually spells doom for people in these movies: he is a colossal coward.

There has to be one like Rodger in every cinematic bunch. You know the type: the one guy that knows before all the rest that something is seriously wrong and is quite vocal in proclaiming it as well as announcing his desire to leave.

Not only does Rodger fulfill that role, but he takes every opportunity presented to him to run like hell, even if it means abandoning whoever he is with at the moment.

Still, there is no denying that his character basically comes down to one word: coward. The remainder of the cast the ones worth noting, at least , is rounded out by Max, Billy and Mr.

Max is the one that provides exposition for the audience, by explaining the history of Hull House to his pals — information that they should at least already know in part, but I guess he feels they need a refresher course.

Billy is hardly in the film, but even with his limited screen time, manages to excel in conveying the part of an ultra-annoying little brother.

I have no little brothers or sisters , so I can only imagine what they must be like. Billy here makes me glad that I was the youngest in my family.

Like Billy, Mr. Grumpy AKA The Old Man, really is not in the film all that much, appearing for a few brief moments at the beginning and the end, but he sure does make an impact with his limited time.

The epitome of grouchy, mean old men, there is nothing redeeming about him and one wonders if he was always a cranky, ill tempered pain in the ass or if the years just made him that way.

Speaking as someone who was once a calm, kind and gentle person, but who is now hiding a burning, festering rage aimed at the world and everyone in it, I think time just made him that way.

As far as acting goes, you get pretty what you expect given the shallow characterizations and youthful cast. In other words, nothing special. In the end, the problem with this group of characters is not the actors portraying them, but the fact that almost all of them are completely unlikable.

In this case: make-up, prosthetics and visual FX. All of it looks quite good, though the make-up used for the possessed folks is what gets seen the most in the movie.

It looks damn convincing — especially when Suzanne changes right in the middle of coitus, but those hideous teeth must have been hell for the actors to wear and worse to try and speak lines through.

The prosthetics work seen here is just superb in my opinion. The way the jaw opens and the subtle muscle movements below the skin combine to make an extremely realistic mock-up.

However, above all others, the one prosthetic that looks more real than anything else are the pair of fake boobs with which Suzanne does her lipstick trick.

Additionally, the way the prosthetic responds to her touch is another factor in its success. Not only does it look like real flesh, but moves like it as well.

Many a viewer has watched this movie and done a double take when this scene occurs, myself included. Hats off to special effects artist Steve Johnson for some truly incredible work in this film, the fake boobs a particular stand out.

There are a number of other instances of make-up and prosthetic work in the movie, and to varying degrees they look quite good.

As for visual effects, there are just a few that spring to mind: the view of Hull House from a distance, the images that appear within the old mirror and at the end when the demon face appears in the air and vanishes.

It certainly fits well with the movie, lending atmosphere to Hull House and its darkened hallways, but there is no one theme that really jumps out as a defining piece of music.

It just seems…adequate. Composed by Dennis Michael Tenney, brother of director Kevin Tenney, the single piece of music that stands out more than the rest, is that which accompanies the opening credits.

Additionally, he has worked in the sound department for dozens of other films. You may like it. With the exception of the very end, the entire film is set during and occurs at night.

Also, very few of the scenes in the beginning take place in well lit locations, so the juxtaposition of light and darkness which is often utilized in such films to help set and maintain mood as well as reflect the dichotomy of good and evil is somewhat absent.

Then again, the subject matter is not exactly the most cheerful topic, is it? The funny part is, the producers try to convey the idea of natural moonlight illuminating the darkened interior of Hull House.

While this may not seem comical in itself, the execution is another story. In several scenes, the light streaming inside through the windows is far, far brighter than any moonlight could possibly be.

In much the same way a single candle could light up an entire ballroom in some old black and white flick, in this movie the sunlight reflecting off the moon lights up a room like a searchlight.

Many people may not even notice it, but because so much of the film is dark, the intensity of the light in some scenes is hard to not see. Aside from the lighting issues, one has to give props to the crew who dressed the sets.

The abandoned building used for the Hull House locations had to be dirtied up and made to look aged and decrepit. All of these rooms look effectively filthy, which only adds to the sense of unease about the place.

Hand in hand with the great sets are a few inventive shots devised by director Tenney. This is a nice effect and eerily forebodes their imminent separation and death.

A few other shots, where the camera is placed on the floor, help give rooms a larger, stranger, and more unreal atmosphere. Small touches to be sure, but they add to the overall effect.

When it comes to the titular demons, the character of Angela makes it clear in one of her explanations that such beings have never existed in human form.

Thus, one expects a certain alien-like quality to them. Tenney uses various techniques to help portray the otherworldliness of these incorporeal life forms.

In one scene the camera hovers around the room, providing a point of view shot as the invisible presence examines the flesh and blood intruders, debating on whom to possess first.

While simple, it is effective. This method is further exploited by showing the demons flying throughout the house via the POV shots.

Simple editing tricks make the house seem much larger and more intricate than it really is during these segments.

However, the approach was more noticeably used by Sam Raimi in his Evil Dead films, so comparisons between the two are only going to be inevitable.

Another low tech approach is a method used for people once they are possessed by a demon and they begin floating down the hallway.

This is accomplished by having the actor wear skates. Yes, skates. In the era before the over saturation of CGI, filmmakers were forced to rely on ingenuity to achieve the things they wanted to see.

While this movie does call for its share of blood, guts and other visual FX, the viewer gets the impression that the producers actually sweated in their creation, rather than clicking a mouse while seated at a computer work station.

The movie also likes to play with some of the conventions inherent in the genre, especially things one would find in a slasher film.

Though Judy fits the final girl mold to a T and is a protagonist worth cheering on or at least, not wanting to see die horribly , the other half of that duo, Rodger, is a bit more of a mystery, as he does several things that usually lead to death in these movies.

I guess turning the token black guy element upside down and having him live was what overrode any bad karma he earned through his chickenshit actions.

Additionally, in a field filled with male horror icons like Jason Vorhees, Freddy Krueger, Michael Myers and Chucky the killer doll, this movie gives us the first sustainable female horror star of the modern age in Angela.

While the character would only appear in two further film outings, and never quite attained the notoriety of her male brethren, she is still known well enough in fan circles.

Both she and this film have built up quite the following over the years. The Summation. It also heralds from an era that still made movies for people who had the attention span to deal with extended dialog scenes.

They are mostly annoying and engender little in the viewer aside from distaste. The film does have its strong points, with the superb make-up and gore FX taking the top spot.

More than one scene looks quite real, even when you are aware that certain things are not. The music is serviceable and contributes to the overall effect, but is not very noticeable on its own.

There are enough stylistic touches with lighting, editing and camera work to help convey that eerie sense of dread and foreboding required for such a film.

It has its own sense of charm, mostly stemming from the time period in which it was made. Woo Hoo! What was that sound?

Woo H…wait! Those are fake! The difference between possessed and haunted. But the spirits living in a house possessed have never existed in human form.

I live in a nice house. You know, with plastic slip covers on the furniture. Shadow's rating: Six Tombstones.

The Good. The Bad. The Ugly. Review Round-Up Check out other reviews for this film! Angela is having a party, Jason and Freddy are too scared to come.

But You'll have a hell of a time. Dancing — Some bad dancing when the gang partys, a weird solo dance by possessed Angela and the dance between her and Stooge when she demonstrates why French kissing is bad.

Demons — Given the film's title, I think it is safe to say that some of them show up. However, aside from a brief glimpse of a cheesy rubber face, they are incorporeal in nature.

Extreme Violence — While the violence here is brief when it is shown, it goes far beyond slaps and punches. Indeed, people end up missing various body parts by the end of the film.

While they have sex, she reveals her inner demonic appearance to him and gouges his eyes. The possessed Stooge comes across Max and Frannie having sex in a coffin and promptly murders them both gruesomely.

As Sal becomes horrified when he sees Angela putting her hands in the fire, Rodger who had fallen asleep is awoken from Helen's body crashing on the car.

The two manage to free Judy, but are split up when the now openly demonic Angela chases after them. Judy escapes and she evades the demons throughout the house.

When she attempts to climb down and Angela tries to kill her, Sal appears to fight her off and they both fall off the roof, with Sal impaled on a spike.

Judy and Rodger are chased by the demons, and they lock themselves in the crematorium. Just as Angela and Stooge break down the door, she uses a pipe funneling gas and ignites it to torch them.

They escape upstairs and are cornered by the demons, including a burnt Angela and Stooge along with the demon possessed undead bodies of Suzanne, Jay, Max, Frannie and Sal.

Rodger smashes through a window that leads them outside and they begin to climb up a wall by grabbing on the barbed wire around it, but the demons try to drag down Judy by her ankles.

Rodger pulls her up and they escape over the wall as the sun rises to destroy the possessed corpses and banish the demons back to hell.

A severely shaken Judy and Rodger walk home together and they pass by the elderly man who watches them with disgust. He then enters his home to eat one of his wife's homemade pies, only to realize too late she used the apples that he placed the razor blades in.

The blades graphically slice through his throat, killing him; his wife then casually approaches his dead body to kiss his head, saying "Happy Halloween, dear.

The film was picked up for theatrical release by Paragon Arts International. Cinematical wrote that "while not particularly original, Tenney's film is definitely entertaining if you're into the whole 'teens wander into an isolated locale and die horrible deaths' subgenre of horror".

A masterpiece, it's not. Scott Poole of PopMatters called it "truly original" and wrote that the film blends elements of slasher films and zombie films.

Night of the Demons was followed by two sequels , with Augustyn co-writing the first sequel, and Tenney writing the third film.

In , a remake was released, with Tenney serving as co-producer. From Wikipedia, the free encyclopedia. Night of the Demons Theatrical release poster.

Release date. Running time. American Film Institute. Archived from the original on August 16, British Film Institute.

Retrieved October 4, Box Office Mojo. Retrieved Archived from the original on October 5, July 27,

Night Of The Demons Sex Scene

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2 Comments

  1. Araran Vishura

    Ich entschuldige mich, aber es kommt mir nicht ganz heran. Kann, es gibt noch die Varianten?

  2. Fenrijin Mobar

    anscheinend wГјrde aufmerksam lesen, aber hat nicht verstanden

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