Micitype Pretty Good

Bea Swanson This film is so real. It treats its characters with so much care and sensitivity.

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

Staci Frederick Blistering performances.

Roman James Hoffman 'Absurd' is Joe D'Amato's follow-up to the notorious 'Antropophagus' and it often referred to as its sequel. However, apart from the same director and having the looming George Eastman once again wandering around killing people, there is very little similarity save the fact they are both poor films…with 'Absurd' definitely trumping its predecessor in the low quality stakes. Gone is the setting on a remote and eerily empty Greek island which characterised 'Antropohagus ', instead supplanting the (so-called) action to a small American town. In doing this, 'Absurd' is clearly going for a 'Halloween' nightmare-in-suburbia vibe…but in lacking any of the character development, script, or technical craft of Carpenter's flick, 'Absurd' flails about limply with a lame premise, zero suspense, and only manages to glimpse redemption (albeit unattained) with the make-up effects on the kills…which is no doubt why is got on the DPP's list of Video Nasties.The plot (as some would have it) is that Eastman has undergone a scientific procedure which has enabled his body to regenerate itself quickly (a la Wolverine) and consequently can only be killed with a shot to the head. Oh, and he's insane. As such, a killing spree ensues and the Priest-cum-scientist who "created" him hooks up with the town Sheriff to hunt him down. The showdown takes place in a house with a girl (for some reason) recovering from a spinal operation, her nurse, and a really annoying kid. I've always found a house to be a great setting for a suspenseful horror movie (e.g. 'Last House on the Left' (1972), 'Black Christmas' (1974), 'Halloween' (1978)) but the pacing of 'Absurd' is so slow and the acting so bad on all counts that none of the suspense and tension which is so abundantly present in these other movies even threatens to show its head…let alone eviscerate you.Okay, putting on my positive cap: some of the kills are pretty cool e.g. the buzzsaw-in-the-head scene as well as the oven scene, and the soundtrack has its moments…but even in a 90 minute film with competent acting and a decent story this wouldn't cut it, let alone a movie as deplorable as this. The film is quite hard to come by as it hasn't been reissued in the UK, which maybe adds a mystique to it but, as far as video nasties go, it's clear that boredom more than moral outrage is the reason why.

Vomitron_G I just managed to sit through "Rosso Sangue" aka "Absurd" aka "Antropophagus II" aka "Horrible" (add to those about 10 other aka-titles -- surely this should already tell you we're not dealing with an excellent picture here).So D'Amato delivers a straight-up horror movie this time. Is it any good? Barely. It is a relaxing film, though. Because between the handful moments of gore, you'll have plenty of time to doze off & catch a nap since there's hardly anything going on.The mighty George Eastman wrote the script and I'm sure it must have read a little something like this when he handed it over to his buddy D'Amato: "I say nothing in this film, I'm indestructible and I kill everybody". Now you just figure out how to turn this into a movie, Joe.And so did Joe, being the talented man that he is. Also, some distributors tried to market this as a sequel to D'Amato's "Antropophagus" aka "The Grim Reaper". But it's not. Just because Eastman looses his intestines again in this film, doesn't make it a sequel.D'Amato pretty much turned it into a plain slasher flick. In a way, "Absurd" is like John Carpenter's "Halloween", only with Eastman's evil bearded face to scare you instead of a masked Michael Myers and without the likable Jamie Lee Curtis to root for. Eastman escapes a hospital, kills his way through a whole town, eventually ending up in some house to do some more killing. All this while a priest & a cop are on his trail, blabbering on about Eastman's character being some ultimate creature of evil. So, it's more or less the same movie. Plus, it's a lot worse too, of course. Still, as far as slashers go, there are also a lot worse out there.Now I was under the impression that this was supposedly one of the goriest & most demented horror efforts ever to come out of Italy. Sadly, it's not all that exciting. There's a handful of gory scenes, yes (drill through the head, saw through the head, etc.) and they are amusing to watch, but nothing we haven't seen before. All the rest of the film, is just plain dullness I'm afraid. The climax features a blinded Eastman (his eyes stabbed out) versus a physically disabled teenage girl. You can imagine how exciting them two stumbling about in a darkened mansion turns out to be. The ending tries to be shocking, but it's basically just a happy end.I remember once being impressed with "Beyond The Darkness" aka "Buio Omega". Maybe I should re-watch it to see if it still holds up well, because D'Amato is rapidly loosing some filmmaker credit with the stuff I've recently seen by him.

Scarecrow-88 Absurd. Apt title. But, still a slasher flick which delivers some potent violence. A seemingly indestructible maniac, portrayed by George Eastman in street clothes, whose cells regenerate(..this also causes an abnormally sized brain which makes him insane)at an accelerated rate, is attacking innocent people without reason. Out to stop him is Greek priest, Edmund Purdom, who understands his unusual condition and knows his weakness..if you damage the brain, Eastman's a goner. After being impaled on a spiked gate attempting to escape priest Purdom, Eastman is taken to a hospital where he's considered a lost cause, until the startled surgical staff recognize his amazing recuperative abilities. Escaping from the hospital, after using a drill which pierces completely through the skull of his attending nurse, Eastman takes it to the road, killing several innocent bystanders he comes in contact with(..some poor soul sweeping who shoots Eastman three times almost point-blank before being hoisted onto a table, his skull penetrated by a band saw;and future director Michelle Soavi, whose motorcycle stalls, seeing if Eastman is alright after he's hit by a vehicle, being strangled for his efforts)along the way. The car which hits him is owned by Ian Danby and Eastman soon finds his house, the vehicle in the drive way but he and his wife gone..the bulk of the remaining screen time is devoted to Eastman terrorizing Danby's kids, and babysitters. Purdom joins forces with Charles Borromel(..as Sgt Ben Engleman)in their search for Eastman.The film's strengths are Eastman's towering menacing figure and the ultra-violence with a particularly unpleasant fate for poor Annie Bell. Along with the aforementioned carnage left in Eastman's wake, he uses a pick axe, burying it into the skull of the babysitter, forces another victim's head into an oven(..protracted, disturbing sequence as we watch her struggle to free herself as the director often shows us the flames rising, eventually seeing the girl's face starting to burn)finishing her off by slowly jabbing her in the throat with shears(..she had stabbed him multiple times in the neck, before he seized her), soon setting his sights for the kids, Kasimir Berger(..in a dreadful performance as the obnoxious boy child, Willy, who is told to get help, with the damn stupid kid not leaving, instead re-entering the house!)and Katya Berger(..as seemingly invalid Katia, neck brace, strapped in place to her bed due to a spinal condition). The final set-piece is rather effectively staged as we follow Katya's trying to remove her straps in order to free herself as other activities occur outside the room such as her guardian Emily(Belle)trying to defend the kids against the gargantuan Eastman and idiot brother Willy crying for safety(..if the dummy had sought after help as Emily had commanded, then he might not have forced her from the room to find him risking her own well being in the process!). I agree with others that director Aristide Massaccesi has issues with the pacing as the story and characters outside the violent attacks themselves are nothing to write home about. But, one idea, the bedridden Katia having to defend herself against Eastman(..actually gouging his eyes with a drawing compass, putting him at a disadvantage)once she unstraps herself, works beautifully as a form of building suspense, although it also goes on a bit long in the tooth. The showdown between Eastman and Purdom isn't exactly a showstopper, although how Katya settles the score with an ax is quite memorable. Being included on the Video Nasty list helped earn it a reputation, but the slow moving plot will alienate a great deal of those seeking a wall-to-wall gore film. When the violence erupts, however, Aristide Massaccesi delivers the goods in detail, pulling his camera right into the bloody carnage as the victim shrieks in horror. A tighter pace, absent the kid Willy, with less drawn out stretches which cause the viewer to look at his/her watch wondering when Eastman might strike next, would've made a difference. There's nothing particularly stylish or atmospheric about this film(..it certainly doesn't stand next to it's distant brother, ANTHROPOPHAGUS), in my opinion, and the characters aren't that interesting, but when Eastman emerges, it picks up considerably.

Coventry Joe D'Amato and George Eastman's follow-up to the notorious "The Grim Reaper" (Antropophagus) is sick, twisted and – oh yes – deliciously absurd! There's no real story and the amount of genuine chills is limited, but the gory murder sequences are sensational and they easily rank among the craziest stuff ever caught on film. Eastman once again portrays a Greek psycho-killer, though a different one than the fetus-munching monster in Antropophagus (love that title!), cheerfully butchering half the population of a small American town. Nikos isn't your ordinary madman, but a scientific guinea pig whose blood coagulates much faster and hence he instantly recovers from severe wounds, like gunshots or impalement. He's pursued by an unintelligible priest, a chain-smoking copper and his black assistant who isn't allowed to talk without permission. No wonder none of these blokes is capable of catching or even tracing Nikos and the body count increases immensely. Whenever George isn't barbarically killing someone using band saws, surgical devices or axes, "Absurd" is rather dull, slow-moving and borrowing story ideas as well as direct quotes from John Carpenter's landmark slasher Halloween. There's babysitters in peril, young kids spotting the bogeyman everywhere around the house and dangerous killers escaping from hospital beds. Still, if you're looking for really good horror cinema, just wait for the climax which is quite suspenseful and it makes the popular title "Absurd" all the more meaningful.