Chase_Witherspoon
Joined Nov 2005
Welcome to the new profile
We're still working on updating some profile features. To see the badges, ratings breakdowns, and polls for this profile, please go to the previous version.
Ratings1.2K
Chase_Witherspoon's rating
Reviews952
Chase_Witherspoon's rating
Whilst he's an utterly pathetic character, I felt little sympathy for the central antagonist whatever his affliction, a grovelling little specimen who lures vulnerable women (and girls) deep into the woods under benevolent pretences, only to prey on his victims with selfish disregard.
His methods aren't particularly sophisticated, the MO always the same, and so it's surprising that even in the late 19th century he was able to inflict so much carnage in such a small geographical area without arousing suspicion. The web of lies are so loose that it's only a matter of time for the house of cards to tumble, and the local abbot (Casas) reluctantly sets out to discover the disturbing truth.
Lopez-Vasquez is devastatingly effective as the imbecilic, almost Neanderthal looking Benito, his mannerisms and vocal performance match the cowardly itinerant, a man of limited means who seems to feel the world owes him something, despite everyone with whom he comes into contact being courteous and respectful. Deeply resentful of their kindness, which he seems to interpret as patronising pity, he lulls them into entrusting him, then betrays that confidence with callous indifference.
Euro-horror fans will relish the sight of John Steiner in a small supporting role as a Protestant missionary with whom Benito briefly has contact, his character more incidental to the plot than critical in any way, but still interesting to see him in a very early role (the film was made in 1969).
Although not at all gory, there's still one or two scenes that many viewers could potentially find upsetting, the film isn't graphically violent, but its the sanctity the main character breaches that makes the crimes so hideous and deplorable.
Well-paced and photographed, it's an eerie little Spanish folk-horror, hard to find but definitely worth a look. And for those wanting to see lycanthropy, you'll be disappointed to realise there's no werewolf, only a wolf in sheep's clothing which in this case might still be enough to reward your attention.
His methods aren't particularly sophisticated, the MO always the same, and so it's surprising that even in the late 19th century he was able to inflict so much carnage in such a small geographical area without arousing suspicion. The web of lies are so loose that it's only a matter of time for the house of cards to tumble, and the local abbot (Casas) reluctantly sets out to discover the disturbing truth.
Lopez-Vasquez is devastatingly effective as the imbecilic, almost Neanderthal looking Benito, his mannerisms and vocal performance match the cowardly itinerant, a man of limited means who seems to feel the world owes him something, despite everyone with whom he comes into contact being courteous and respectful. Deeply resentful of their kindness, which he seems to interpret as patronising pity, he lulls them into entrusting him, then betrays that confidence with callous indifference.
Euro-horror fans will relish the sight of John Steiner in a small supporting role as a Protestant missionary with whom Benito briefly has contact, his character more incidental to the plot than critical in any way, but still interesting to see him in a very early role (the film was made in 1969).
Although not at all gory, there's still one or two scenes that many viewers could potentially find upsetting, the film isn't graphically violent, but its the sanctity the main character breaches that makes the crimes so hideous and deplorable.
Well-paced and photographed, it's an eerie little Spanish folk-horror, hard to find but definitely worth a look. And for those wanting to see lycanthropy, you'll be disappointed to realise there's no werewolf, only a wolf in sheep's clothing which in this case might still be enough to reward your attention.
Ungainly title conceals what could've been a minor cult classic, with Pleasence playing the sarcastic, somewhat incompetent police inspector whose local tube station appears to be the scene of several unexplained disappearances dating back decades.
Sir Christopher Lee appears in a largely extraneous cameo as an MI5 man with whom Pleasence briefly spars, Norman Rossington also on the receiving end of Pleasence's constant haranguing, whilst Alan Ladd's son David co-stars as the initially nonchalant American economics student who suddenly becomes more interested in what might be happening when his live-in girlfriend (Gurney) fails to return home following a night out. Ubiquitous upper-crust James Cossins also appears early in the film playing a peer whose disappearance threatens to scandalise the parliament.
Social commentary aspects aside, the plot is original and the components are present for a memorable movie experience, alas, pacing can be at times tedious (probably 10 mins longer than it needed to be including a couple of scenes that could've been jettisoned to maintain a tighter focus), and whilst the lighting is poor in the context of the setting, it does detract from visibility making it difficult to discern what's happening when the action goes underground.
The special effects and makeup look good, but they'd be a lot more memorable if the lighting was a bit brighter. I couldn't really understand why fire wasn't being used as a plot device to both warm what must be a bitterly cold environment, and also to then surreptitiously add more ambient light on the subject for the audience.
Insofar as the tone is concerned, whilst there's dry humour throughout, I didn't detect black comedy; this is a full-blooded horror film (and also heavy on the class structure metaphors) that pulls no punches when it comes to violence and gore even if sometimes poorly illuminated.
Disused, maze-like subways are perfect settings for these kinds of thrillers, and despite some issues with execution, 'Raw Meat' ('Death Line' is the better alternative title) is a gruesome minor shocker with loads of potential and enough impact to make it worth watching again (also potentially a good candidate for a revision).
Sir Christopher Lee appears in a largely extraneous cameo as an MI5 man with whom Pleasence briefly spars, Norman Rossington also on the receiving end of Pleasence's constant haranguing, whilst Alan Ladd's son David co-stars as the initially nonchalant American economics student who suddenly becomes more interested in what might be happening when his live-in girlfriend (Gurney) fails to return home following a night out. Ubiquitous upper-crust James Cossins also appears early in the film playing a peer whose disappearance threatens to scandalise the parliament.
Social commentary aspects aside, the plot is original and the components are present for a memorable movie experience, alas, pacing can be at times tedious (probably 10 mins longer than it needed to be including a couple of scenes that could've been jettisoned to maintain a tighter focus), and whilst the lighting is poor in the context of the setting, it does detract from visibility making it difficult to discern what's happening when the action goes underground.
The special effects and makeup look good, but they'd be a lot more memorable if the lighting was a bit brighter. I couldn't really understand why fire wasn't being used as a plot device to both warm what must be a bitterly cold environment, and also to then surreptitiously add more ambient light on the subject for the audience.
Insofar as the tone is concerned, whilst there's dry humour throughout, I didn't detect black comedy; this is a full-blooded horror film (and also heavy on the class structure metaphors) that pulls no punches when it comes to violence and gore even if sometimes poorly illuminated.
Disused, maze-like subways are perfect settings for these kinds of thrillers, and despite some issues with execution, 'Raw Meat' ('Death Line' is the better alternative title) is a gruesome minor shocker with loads of potential and enough impact to make it worth watching again (also potentially a good candidate for a revision).
Echoes of 'Bucket of Blood' or 'House of Wax' with a much deeper gothic science twist, the acting is merely functional, the stunning set design, colouring and photography the true highlights in this French/Italian co-production.
A trio of gorgeous Euro specimens, Carrel the on/off girlfriend, Orfei the ill-fated ambitious future starlet, and then the mysterious, alluring Gabel (who strongly resembles Ina Balin) as the tainted daughter of the famed sculptor (Bohme) leave their impression, whilst leading man Brice plays the tormented paramour becoming increasingly detached from reality, convinced he's being gaslit by his shady hosts.
Priess is the biggest name in the cast list, his character also the greatest enigma, it takes a while to uncover his motivations within the context of the macabre plot, which eventually becomes quite predictable (though no less compelling).
Somewhat dated but still manages a scare or two, even a very brief nip slip at the gruesome climax, although difficult to know if it was deliberate or just a wardrobe malfunction. Either way, it's not going to set any pulses racing, just a minor quirk to add to the fiendish mix.
A trio of gorgeous Euro specimens, Carrel the on/off girlfriend, Orfei the ill-fated ambitious future starlet, and then the mysterious, alluring Gabel (who strongly resembles Ina Balin) as the tainted daughter of the famed sculptor (Bohme) leave their impression, whilst leading man Brice plays the tormented paramour becoming increasingly detached from reality, convinced he's being gaslit by his shady hosts.
Priess is the biggest name in the cast list, his character also the greatest enigma, it takes a while to uncover his motivations within the context of the macabre plot, which eventually becomes quite predictable (though no less compelling).
Somewhat dated but still manages a scare or two, even a very brief nip slip at the gruesome climax, although difficult to know if it was deliberate or just a wardrobe malfunction. Either way, it's not going to set any pulses racing, just a minor quirk to add to the fiendish mix.