PodBill Just what I expected

Moustroll Good movie but grossly overrated

Intcatinfo A Masterpiece!

Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Red-Barracuda The Nightmare Never Ends is another horror film which riffed off the success of the major blockbuster The Omen (1976). Rather than have an evil child, in this one Satan is an ageless, rather smug looking young man who has taken on various guises throughout the ages in which he has exerted his evil onto mankind. In a recent period of his life he was a sadistic Nazi camp commandant. An elderly man who escaped his clutches during the war recognises him and alerts the police who then tie this character in with a series of unexplained murders.The first time I encountered this one was when I saw the rather ropey anthology horror film Night Train to Terror (1985). That movie had three segments which contained material from unreleased or barely released past movies. The Nightmare Never Ends constituted the latter category as it does seem to have been distributed as it was definitely available in the UK on home video under the title Cataclysm in the early 80's. It has a couple of old hands starring as a pair of grizzled detectives, namely Cameron Mitchell and Marc Lawrence. By this point in their careers these guys were well and truly b-movie regulars, with Mitchell in particular a familiar face to anyone at all well versed in low budget genre films from this period. The film itself is certainly no classic but it succeeded in entertaining me anyway. Its combination of Satanism, Nazis and b-movie cheese was a combination which essentially delivered enough fun, for me at any rate.

Chase_Witherspoon Devout Catholic (Clift) is thrust into a good vs evil battle of biblical proportions when her husband (Moll) publishes a controversial tome denying the existence of God, resulting in the Devil incarnate (Bristol) seizing the moment to rise against mankind. I've seen this film re-worked into the "Night Train to Terror" anthology, and that preview-style showcase is more than sufficient to convey the gist; in fact, seeing the entire movie adds virtually nothing at all new.Poorly constructed, each scene just seems to happen, without the connective tissue explaining its context, often just a random event without proper explanation (continuity is also dubious). Mitchell, Lawrence (who play detectives) and Moll provide some familiar comfort, but their presence can't redeem this farce from its own fiery pit of hell. Epic screen-writer Philip Yordan's wife Faith Clift is a total non-actress, her delivery of the dialogue so stunted and unnatural, it almost seems incredulous she could have appeared in other films (though on closer inspection, most attribute husband Yordan a producer credit).I won't label it awful (some of the set design and make-up effects are okay, and there's a neat little twist at the end), but it's painfully close to being an unwatchable turkey.

Hitchcoc This film has good intentions. There is something lacking, but I't hard to put one's finger on it. This tells the tale of a Satanic figure who passes through time by recreating himself. An Nobel author, played by Richard Moll, Bull from "Night Court" of all people, has written a kind of Scientology book about God being dead. It has received much attention and he becomes of interest to the Satanic figure. The movie starts out with a Nazi hunter engaging the police to help him capture the man who was responsible for the deaths of his family members during the Holocaust. The thing that is always in the way is that if Satan is so powerful, why does he need to do much of anything. If there are people who threaten him (which they obviously can't), why doesn't he just kill them outright. I know he is searching for souls and all that, but his invulnerability makes him relatively uninteresting in this film. He does some things that don't make much sense in the world of the film. The ending is kind of fun, I guess.

EyeAskance An aging Jewish man calls upon a detective to investigate the mystery of an unscrupulous Dorian Gray-style scoundrel who, despite his youthful appearance, may be a notorious Nazi war criminal.In addressing this film, I must begin by saying that it will not be well received by most viewers. If, however, you are an individual of uncommonly provisional aesthetic tastes who yields a willingness to extend impunity to ground-level cinema, then a blink or two of gawkish frivolity may be your accrual with this dicey little three-dollar-bill. That this flick was committed to cheap, ashen filmstock is an immediate indicator of what was certainly an empty-pockets production. Quite simply stated, there's a heedless disorder to the entire mechanical wheel of the film, yet it somehow succeeds in building a shadowy, spectral veneer, and injects a few moments of trashy David Lynchian surrealism. As rumpled and dingy as it may appear, there is the occasional hint of a brain at work in the crux of it all. A page ripped straight from the manual on how to crush a perfectly good prospect. 4/10