Generate a number from 1 to 2999 via:
You can skip movies 10 times but never go back.
City of the Living Dead (Italian: Paura nella città dei morti viventi, also known as The Gates of Hell) is a 1980 Italian horror film directed by Lucio Fulci. It is the first installment of the unofficial Gates of Hell trilogy which also includes The Beyond and The House by the Cemetery. Fulci makes an uncredited cameo appearance as Dr. Joe Thompson in the film.
This was my introduction to Italian horror films which spiraled out of control into an obsessed frenzy after one watch. I remember renting this (as Gates of Hell) when I was still a teenager. I watched the tape, stopped it after the credits, picked up my jaw, rewound the tape and watched it again. I then walked a couple blocks to my friends house, invited her to my house where we could watch it together. In a single rental day span, I watched this movie three times.
While the notorious regurgitation scene (complete with an appearance by horror director Michele Soavi) in the cemetery BLEW MY MIND, I was hooked at the very beginning. Seeing a priest commit suicide while…
Extract from HAMLET by William Shakespeare:
Is she to be buried in Christian burial that
wilfully seeks her own salvation?
I tell thee she is: and therefore make her grave
straight: the crowner hath sat on her, and finds it
How can that be, unless she drowned herself in her
It must be "se offendendo"; it cannot be else. For
here lies the point: if I drown myself wittingly,
it argues an act: and an act hath three branches: it
is, to act, to do, to perform: argal, she drowned
Extract from CITY OF THE LIVING DEAD by Lucio Fulci:
I saw a porno flick once, where this guy got so
carried away, he humped himself to death.
Too much of a good thing.
Yeah, but what a way to go.
I've said it before and I'll say it again, City of the Living Dead may not be Lucio Fulci's finest horror film, but it can probably be considered one of the single most important horror films of my life. Everything changed after the first time I watched it and the rest is history.
*Watched on Arrow blu, which has a few different commentary tracks worth checking out.
Sixty in September: 1/60.
Holy god. My skin has crawled off me and into another dimension. I've seen The Beyond and House by the Cemetery and Zombi 2, and, lord, if nothing could have prepared me for this one.
Unease with The Cat o' Nine Tails, but I'm somewhere else entirely now. I've shuddered and grimaced with it and caught myself mumbling revulsions to myself out loud and rolling around. The face of zombie Emily! The crying blood and intestinal vomit!
Fabio Frizzi. My brain is reeling. Fulci. He gains more and more power over my imagination. It's tremendous. I scarcely know what to say.
Words will come. But this is the thing I'm looking for. It's startling to know something so bizarre and wonderful can possibly have existed -- can exist. I'm in some kind of sick and terrible love.
My first time seeing this horror classic. As I occasionally do on films that have a lot to dissect on a first viewing I will just list a few thoughts.
-There is so much great style on display here right off the bat. That opening with the wind ripping smoke and leaves though the graveyard intercut with the seance is terrific. The shots of the priest hanging himself and the closeup on Catronia MacColl's eye--fantastic!
-Bob* was a creepy weirdo but he didn't deserve to go out like that. Industrial drill to the temple. Harsh.
-The score by Fabio Frizzi is one of the all time great horror scores. The driving pulse and ultimate crescendo in the climactic scene is…
This is only the second Fulci film I have seen, and while part of me is embarrassed to be so late to the party, the rest of me is super excited because of all the fun ahead.
After a priest kills himself, he unwittingly opened a gate which makes the dead rise from the grave. This is my second foray into the cinema of Lucio Fulci, one of the films in his unofficial "gates of hell" trilogy. There is a scene here which is probably one of the most unforgettable and most spectacularly gory death scenes I've ever seen in a horror film which I won't spoil. There are some really good decent scares here and some very good scenes. The overall film unfortunately doesn't make too much sense and what was up with that ending? Suffice to say it's not quite as good as The Beyond but still worth watching especially for horror fans and gore hounds just for that one scene alone.
More silly disjointed Italian horror with awesome set pieces and music.
Fulci pulling another The Beyond under the guise of a zombie film. This had me wanting to give The Beyond another shot as I was more drawn in by Fulci’s Lovecraftian fantastical horror than I remember happening with the former film. As Fulci is sometimes want to do there’s some plodding beats to get through. Not as many as in Slugs though. We’ve got a demon priest who can stare people to bloody death and undead folk with a penchant for crushing the back of peoples skulls till gloop starts a pouring. That last one is a distinctly grotesque effect and probably the most memorable of the week. Sure it’s padded; at least when Fulci’s on the ball for some scenes it’s a great ball to watch.
Hooptober 3.0 #20
This is a disjointed movie, with random pacing and no flow to it...but fuck me, that one scene in the car! If you ever watch an online video listing the greatest/most original gore effects in movie history and this scene isn't included, it's invalid. It's so memorable I've seen it in isolated clips a few times before over the years, but never registered what movie it was attached to until watching this recently in the annual Hooptober rotation.
Possibly because that title, like many of Fulci's and Italian horror cinema in general, is easy to mistake for a thousand others. I already watched another one this year, Lenzi's "Nightmare City", also Italian, also released in 1980, actually…
#HORRORCTOBER 2016 - Film Nr. 5
Ach, lieber Lucio Fulci,
durch dich bin ich überhaupt erst mit italienischem Horror- bzw. Genrekino in Berührung gekommen. Ist dein ZOMBI 2 seit langen Jahren mein liebster Zombiefilm überhaupt. Und diesen Film hier… den kennen in Deutschland viele vom Hörensagen. EIN ZOMBIE HING AM GLOCKENSEIL! Da hat sich der deutsche Kinoverleih richtig Mühe gegeben, einen reißerischen Titel für deinen zweiten Horrorfilm nach ZOMBI 2 zu finden.
Und weißt du, lieber Lucio, dass ICH den Film trotz seiner Schwächen auch mag? Immer wenn ich ihn mir anschaue, springen sie mir entgegen, lassen mich wieder etwas ärgern und dennoch habe ich wenn die Credits rollen ein kleines Grinsen auf den Lippen. Weil du eben so viel…
Horroctober 2016 Film #6
Vorweg muss ich zugeben, dass ich diesen Film in der deutschen Synchro geschaut habe. Das war wohl eher ein Fehler, denn die Klingt so als hätte eine Klasse Zehntklässler in ihrer Projektwoche den Film synchronisiert.
Ansonsten atmosphärisches, leicht gruseliges Ekelspektakel wie ich es von Fulci nicht anders erwartet hätte. Ach ja ... toller Score ...
So, Lucio Fulci is certainly an influential director and I won’t write him off after just seeing one film, but this wasn’t really good was it? Paura Nella Città Dei Morti Viventi (City of the Living Dead) carries a sweet small-town feeling and the characters are somewhat fun – but there’s really no person here developed enough to be worth caring about. To add to that, the overall plot of the film feels a bit too thin even at 90 minutes and for the most part just feels like an excuse to get a bunch of zombies to play around with. Apparently the main characters here is in a rush to…
BEYOND FEST 2016, Entry #4
Screened at the Egyptian Theater on damaged 35mm. Gorgeous, with an even more frightening opening graveyard sequence than ever before. However, I learned with this re-watch that I like the film a little less than I originally thought. Still a fantastic zombie flick with a kick-ass pick axe scene(as well as my favorite Frizzi score)to boot!
a list that is trying to contain every horror film made that is not lost and is found on the…
Derogatory, indeed, but "trash" is a term that critics began to helm beginning in the '30s and '40s. To me,…