Post by doomedbloodwork on Jul 14, 2004 12:14:53 GMT -5
Romano Scavolini's NIGHTMARES IN A DAMAGED BRAIN is another of those films that became a must-see in UK video viewing circles before the Video Recordings Act came to fruition. It became a cause celebre among gore fans because of Tom Savini's insistence that, although he was on the credits, he worked as an advisor rather than the make-up supervisor and requested his name be taken off the credits.
I saw it recently again in the same season that played the likes of LAST HOUSE ON THE LEFT and I SPIT ON YOUR GRAVE in London's ICA cinema uncut and it was interesting to see the film nearly 20 years after my initial view.
On balance, NIGHTMARE is a pretty stylish offering and does have food for thought about whether the nature of evil is genetic. This is no more apparent than in the repeated flashback murder which sets up the climax.
As to the pseudo-Savini gore, there are clues to the fact that compared to some of his work in films like FRIDAY THE 13TH and notably his body of work collaborating with Romero, the blood seems to be lot oilier at times (not to say that it isn't gory to see on screen!), but there is a sense that it is not quite what we believe Savini to be capable of.
The visual style has similarities to any number of the films we know and love and a knowing glance at the last frame makes us believe a sequel was on the way (which it wasn't after all)
Worth checking out.
I saw it recently again in the same season that played the likes of LAST HOUSE ON THE LEFT and I SPIT ON YOUR GRAVE in London's ICA cinema uncut and it was interesting to see the film nearly 20 years after my initial view.
On balance, NIGHTMARE is a pretty stylish offering and does have food for thought about whether the nature of evil is genetic. This is no more apparent than in the repeated flashback murder which sets up the climax.
As to the pseudo-Savini gore, there are clues to the fact that compared to some of his work in films like FRIDAY THE 13TH and notably his body of work collaborating with Romero, the blood seems to be lot oilier at times (not to say that it isn't gory to see on screen!), but there is a sense that it is not quite what we believe Savini to be capable of.
The visual style has similarities to any number of the films we know and love and a knowing glance at the last frame makes us believe a sequel was on the way (which it wasn't after all)
Worth checking out.
