Voices from Beyond

Moviecut—Voices from Beyond

Voices from Beyond_720p(480P)

source: Voices from Beyond

The spirit of a dead businessman enlists the help of his daughter to help find out who murdered him. Made for TV this is one of notorious Italian film director Lucio Fulci's last movies, a far cry from his classics such as The Beyond and Zombie Flesh Eaters, but at least slightly better than the awful The Sweet House of Horrors. Despite having an obvious TV movie look we do thankfully get some Fulci trademarks such as a maggot infested corpse, gore, female nudity (topless) and even a short zombie sequence. But really this movie is recommendable to Fulci fans only, the story is silly, the English language dubbing is appalling, a mother and daughter are played by actresses who were only a couple of years apart in age, some slow motion flashbacks look crap and I was getting a bit bored towards the end. Highlight is Fulci's cameo carrying out a gory autopsy. I love many of Lucio's movies but I won't be watching this one again.

Decent movie, good atmosphere, acting, cinematography, fx and music, slow in the middle, ending sucked The story is good, but the middle section, especially the scene by the lake was very slow, and the ending sucked. The acting was good. I liked the voice over of the dead guy. It has atmosphere and the music was very good. Cinematography was good. Decent movie, good atmosphere, acting, cinematography, fx and music, slow in the middle, ending sucked The story is good, but the middle section, especially the scene by the lake was very slow, and the ending sucked. The acting was good. I liked the voice over of the dead guy. It has atmosphere and the music was very good. Cinematography was good.

This is Fulci's next to last movie, dedicated "to my few real friends, in particular to Clive Barker and Claudio Carabba." At this point, Fulci was shooting TV movies and direct to video stuff, often lending his name to lesser directors. Giorgio Mainardi lies dying, surrounded by his uncaring family, wondering why. He has an internal hemorrhage from an ulcer and nothing can be done. His daughter Rosie comes for the funeral and the reading of Giogio's will, which has caused a family rift. Giogio's stepmother refuses an autopsy. Giorgio's father is on death's door from a stroke. And Giogio's stepbrother was having an affair with his third wife. It's Fulci, the soap opera! Giogio is rotting away in his coffin, but his spirit communicates with Rosie. At the funeral, everyone remembers the dead man and how he treated them. Lucy remembers that he hated how frigid she was. Mario remembers being humiliated. Hilda remembers how cheap he was. And Rita, his mistress, remembers him going back to his wife and cutting her off. In short, Giogrio loved - and was loved by - nobody. It gets worse - Rosie gets the entire will, but Lucy is allowed to stay in the house. However, there is no money for David, Lucy's son who Giogio would not claim as his own. An autopsy happens despite protests and the pathologist (hello, Fulci!) discovers the small intestines are damaged. And those intestines - kept for further observation - are destroyed. Despite Hilda's objections, an autopsy on Giorgio goes ahead. The pathologist (Lucio Fulci) takes a sample of his small intestines and discovers some lacerations to the interior wall. He puts the sample in a jar of formaldehyde for later inspection. A little later, Rosie and her college boyfriend Gianni (Lorenzo Flaherty) discover that the jar containing the organ pieces removed from Giorgio's corpse has been "accidentally" smashed. But Gianni, a medical student with access to the pathology lab, tells Rosie that he'd found tiny splinters of glass in the intestines before the accident accrued later that night. He suggests that they go the police with their suspicions, but Rosie, who is now frequently and telepathically in touch with the spirit of her dead father, insists they investigate themselves rather than attract a public scandal. After some twists and turns, Hilda is revealed to be the culprit, using David as her patsy. She created a game where he would use a mortar and pestle to smash up light bulbs and put them in Giogio's ice cubes. However, instead of informing the police, Rosie tells the family that her father will haunt them for the rest of their lives. There are plenty of gory dream sequences, a decomposing corpse and lots of blood being vomited. But the script - by Fulci - has a nuance missing from much of his work. It's not his best film, but it's interesting. And definitely worth watching.

Lucio Fulci's penultimate movie is par for the course for the Italian godfather of gore in that it is a largely incoherent effort, an offbeat horror mystery enlivened by some bloody effects to keep the director's die-hard fans happy. There are also several surreal dream sequences (including one involving rotting zombies) and a reasonable helping of sweaty nudity for those who prefer their Euro-horror on the sleazy side. The story starts with a wealthy man, Georgio Mainardi (Duilio Del Prete), dying from sudden internal haemorrhaging. As an autopsy is carried out (in graphic detail, naturally), Georgio's spirit questions what has happened to him. Determined to find out the truth, he contacts his daughter Rosy (Karina Huff) from beyond the grave; however, with the majority of Georgio's family and acquaintances having good reason to want the man dead, and with the guilty party covering their tracks, Rosy won't find it easy to solve the mystery. While a long way from the director's best work, there are still a few scenes that make this one watchable: the aforementioned autopsy will appeal to gorehounds (also worth a mention are the frequent cuts to Georgio's interred body, each time the corpse a little more decomposed); those who enjoy the bizarre will love the freaky dream sequence set in a restaurant patronised by weird creatures with tentacles, where a serving of fried eggs turns into a plate of eyeballs; and those who like naked ladies will appreciate the T&A from pretty blonde Huff and brunette Bettina Giovannini as Georgio's wife Lucia.

VOICES FROM BEYOND opens with a "bang". An erotic dream sequence, also containing the bloody murder of a child gets our attention immediately. Then, Giorgio Mainardi (Duilio Del Prete) dies, spitting up blood like a fountain! It's clear that this is a Lucio Fulci film, and we haven't even gotten to the gory autopsy! We soon learn that some of Giorgio's family, especially his coldhearted sister, Hilda (Frances Nacmen) and her gutless son, Mario (Pascal Persiano), are quite happy to be shed of him. Giorgio's daughter, Rosy (Karina Huff) seems to be the only one who actually loved this guy. When Giorgio's disembodied voice cries out for justice, Rosy becomes the sleuth that must figure out how her father died. As a later Fulci film, VOICES... is better and more cohesive than others of the same period. Aside from the usual ultra-gore and beaucoup nudity, there are some interesting elements, like the supernatural contact through dreams, reminiscent of Fulci's earlier movie, THE BEYOND. In fact, several dreams draw from the director's past canon, featuring everything from rotting zombies to eyeball pasta! Giorgio's corpse is also shown over time, in various stages of putrefaction. The story itself is solid and engaging with the character of Rosy being strong and inquisitive rather than silly or infantile. Is this a perfect movie? Well, no. It has some clunky, cheeezey moments, and an abrupt, unsatisfying finale, but still manages to be worth recommending...

Rest in peace, oh no, not this sorely departed soul. He wants his conniving killer revealed with the help of his innocent daughter. One of his last directorial efforts, Lucio Fulci presents something peculiar, and very patchy. You wouldn't think you're watching a made-for-TV presentation though. While not packed with violence, there's still a persistent mean-streak with Fulci's signature style. Explicit brutality towards a child, squashed eyeballs in a soup, mausoleum zombies (in a dream), topless nudity and flashes of a rotting, oozing corpse covered in flies and maggots. A TV-movie you say? Even with those nightmarish details, Fulci's vision is restrained, but there's something rather expressive and personal in his canvas of work. The histrionic story is a hazy murder mystery without the mystery build-up, filled with lingering suspicions, sordid family secrets and the afterlife (presented by an echoing voice-over) getting involved through the use of allusive slow-mo dream sequences caused by either guilt or grief, depending on the character, to communicate or torment. Those prolonged dreams, and sometimes nightmares were striking and strange, along with the flashbacks, but without them there wouldn't be any thrills/intrigue/exposition/shocks - just melodramatic tropes and cold stares. While the narrative hardly comes out of first gear, its slow nature gives off a hallucinogenic vibe with the screen being soaked in moody imagery, foreboding aesthetics, swirling camerawork and a distinctive score. This supernatural mystery doesn't entirely come together, yet remains hypnotic in its ideas and atmosphere.

"Voices from Beyond" is an overall solid Italian thriller, padded with typical Fulciesque gore scenes. I say padded because you'll quickly notice that, albeit very cool and delightfully gruesome, the gory bits are absolutely irrelevant to the story and they just seem to be included because the fans expect no less from Mr. Fulci. The gore occurs during several nightmare-sequences, a totally gratuitous autopsy and through repeated images of a slowly decomposing corpse. The rotting process goes incredibly fast here, by the way. Only moments after the burial, the corpse is already covered in maggots and cobwebs! Anyway, you certainly don't need these gloriously gooey moments in order to follow the story, but they sure make the movie more entertaining and easier to digest (…except if you have a weak stomach, of course). The actual story, written by Lucio Fulci himself, is quite compelling and revolves on the arrogant and despicable Mainardi family. The patriarch – Georgio – died from food poisoning, but his soul is restless and can't help thinking his dead was a carefully planned murder conspiracy. Therefore he seeks supernatural contact with the only remaining person he can trust, namely his cherubic teenage daughter Rosy. Guided by the voice of her departed father, Rosy investigates the various reasons why the entire Mainardi family wanted Georgio dead. The premise might sound a little silly; yet "Voices from Beyond" is quite involving and the tension is adequately build up. The film as a wholesome may not rank among his best efforts, but this is definitely one of Lucio Fulci's finest achievements in directing! There are several highly imaginative scenes to state his mastery, most notably the part where Georgio's body lies in state and the family members come to pay their last 'respects'. With each person standing before him, we are informed – through flashbacks - about the conflicts (read: possible motivations for killing) between him/her and the deceased. Very powerful! There are negative aspects as well, of course, like the occasionally poor dialogs and monologues, especially when Georgio's soul speaks! I suppose this is why dead people don't talk… They say stupid and cheesy things. Also, you should prepare for a dull and completely UNexciting climax. It's a really lousy ending to an overall recommended thriller. Now then, who wants a slice of eyeball-omelet?