Anchor Bay

Thora Birch (remember when she was the lead and Scarlett Johansson was her support?) Is a young woman with a loving husband. She is struggling to deal with anxiety as she undergoes fertility treatments, and is having vivid nightmares in which she is living in a run-down apartment, working in a grotesque mortuary, is beset by strange visions, and is being stalked by a murderer. Or is it the other way around, as this young woman keeps dreaming she is the young married. And that murderer stalks both worlds. What’s going...on?

Writer/director Ray Gower cites David Lynch among his film’s major influences, but he leaves out the most painfully obvious one: Jacob’s Ladder, which this film mimics both in narrative structure (jumping back and forth between possible realities) and in groaner ending that makes a hash out of what has come before. Sorry, but that kind of third-hand Twilight Zone gambit simply doesn’t cut it. Along the way, there are some effectively gruesome sequences, nicely spooky imagery, and though the performances are uneven (a television newscaster is painfully amateurish, but Birch acquits herself well), the story is still interesting enough that the viewer will stick with the film long enough to be miffed by the conclusion.

A twisted twist on the zombie genre. Dellamorte (Everett) is a watchman of sorts over a small village cemetery. The problem is not so much with folks breaking in as with the dead breaking out. In this neck of the woods the dead arise within 7 days of their death. A simple shot in the head solves the rather pesky problem; however, it requires a certain amount of vigilance. Now so far none of this is terribly original at all. Things begin to change when Dellamorte becomes infatuated with a mourning widow. Their escapades at her husband’s grave literally wake the dead. Her deceased hubby’s attack leaves her apparently dead, and of course needing to be placed in a more permanent position by Dellamorte and his revolver. That might be that, as they say. It appears you can’t keep a good gal down, and the woman begins to reappear in many guises throughout the film. Here things get quite confusing, and it’s hard to determine how much of this is actually taking place. The film’s climax further complicates the question.

The film’s original title is Dellamorte Dellamore. If you are at all squeamish about in your face necrophilia, this one will make you quite antsy. Apparently you can really have a blast if you can keep your head about you. Francois Hadji – Lazaro steals the show in his role of Gnaghi, the Curley Howard-like mute but faithful sidekick with a head for romance. Anna Falchi plays the object of desire with skills more physical than not. The film utilizes a narrative style which never really captures the action. Perhaps the translation from Italian leaves holes not originally intended. While the film is originally an Italian film, many of the actors are obviously talking in English. It isn’t hard to conceive that Cemetery Man might have been some inspiration for Tim Burton’s Corpse Bride. Many of the visuals are starkly familiar. The theme is certainly rather similar. The zombie effects themselves are not terribly original, but many of the images are fresh takes on an old theme. With the help of clever set design, the atmosphere of the film is accomplished throughout. The film manages to be a black comedy while still satisfying the horror fan as well.