This flashback is quite literally the entirety of the film. We learn that Lasaro Valdemar (Daniele Liotti) and his wife, Leonor (Laia Marull), are charlatans who bilk rich idiots out of their family money by providing phony séances and photographing them. Though writer-director José Luis Alemán ensures that you have some sympathy for them when things get ugly, by having them use their ill-gotten gains to pay for the welfare of orphaned children. No, that sound you heard wasn’t a Lurker at the Threshhold, that was just me groaning. After being imprisoned when he refused to be blackmailed by a seedy journalist threatening to expose him, the only person who can save him is Alistair Crowley (Francisco Maestre) who concocts a scheme to get him out of the slams on the condition that Lasaro will perform a real séance with him for his special guests (who include Lizzy Borden, Bram Stoker, etc). Things don’t go quite as planned, the end.
Yes, I said “the end”. No, really. That’s it. But what happened to Louisa? What about the other appraiser? The estate agent and his secretary? Sorry, you got nothin’ for ya. Or if you saw it on video, you get a quick 20 second preview of the next film complete with CG Chthulhu and a year-long wait for the next film.
No wonder it didn’t get released here. Audiences would have rioted. The opening set up was decent (though completely unoriginal), but the flashback (aka the entire movie), was decent at best. Ham-handed, uninspired and over-long at worst. It felt like someone got wrapped up in their own ego and didn’t realize the flashback needed to be just that; a flashback. A film can set up a sequel, but it needs to have some sort of self-contained story arc within itself instead of just being half of a film, and an overly dry one at that. There’s a little bit of CG monster action at the end, but other than that don’t expect a single drop of anything horror (other than Louisa’s discovery of Orquicia’s corpse in the beginning) and it’s nothing we haven’t seen a thousand times before and a thousand times better. Adding insult to injury, Spain’s patriarch of the horror film, Paul Naschy, is confined to an almost wordless role as the Valdemar butler. Naschy could have easy been cast as Crowley and brought a great sinister presence to the role instead of Maestre, who’s obvious, one-note performance doesn’t do anything to help carry the rather flat story.
|As you would expect, Lovecraft is the life of the party.|