DipitySkillful an ambitious but ultimately ineffective debut endeavor.

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Kodie Bird True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Bezenby Who makes the Nazis? I'll tell you who makes the Nazis.All the Os. Lucio. Who makes the Nazis? Not-bad movie.Who makes the Nazis? Mugging Smirk actors. Haunted house antics. All the ghosts. Who makes the Nazis? Fulci's a long gone...long gone breed. Long gone...long gone breed. Remember when I used make great films babe? Before I was laid low with diabetes? Who makes the Nazis? House with Nazi spirits. Who makes the Nazis? Lost tourist in jeeps, laughing. Who makes the Nazis? This film is real weird. Real Johnson Allan, Joe. Joe is as good as gold. And all the ghosts in the Nazi hotel. The real mould.AL CLIVER'S COBWEB EYES!Who needs the Nazis? Bad-ass movie? Rai-Uno, Shirley Jackson, haunted police. Italian directors are a long gone, long gone breed, long gone, long gone breed. Who makes the Nazis? Not bad Movie? Here's a word from Ful-ci:"When you're out of horror, just give them real boobs. Mattei's not your enemy, Argento's your enemy. At least I don't murder bush monkeys (like Umberto Lenzi)."Long gone, long gone breed. Who Makes the Nazis?Di-dit-dit-dit. Dit-dit-dititititit. So - Late eighties Italian horror time again, and the same old premise as Graveyard Disturbance, House of Lost Souls, House of Clocks, Ghosthouse etc etc. Bunch of youngsters end up in haunted house and are terrorised on a really low budget. This is a late era Fulci film too so you can throw logic right out the window.Negatives are the crappy story, crappy pacing, lack of gore and stupid ending. Positives are Al Cliver as a coke snorting Nazi having a chug during the orgy at the start of the film! It's also got Joseph Allan Johnson in it from House of Lost Souls (love that one), Berzerker and Slumber Party Massacre. He gets to act drunk and play Russian roulette in this one, so that's a plus.Other pluses are the avalanche of boobs in just about every scene and Fulci's bizarre take on what constitutes a horror movie that basically plagues his last six or seven films. Doctors recommend that you don't think about the plots of this, Demonia, Cat in the Brain, House of Clocks, Touch of Death and especially Sweet House of Horrors as they will cause permanent brain damage. I've watched all of these and there nothing me watched these all me wrong. You won't catch me with my trousers! This is on YouTube so you can watch it for free anyway. Not sure what the score would have been if I'd forked out cash for this.

Icons76 I found some of the reviews left by some other readers excessively negative! Especially if they think the ludicrous "Touch of Death" is better than this one! I agree on a few things: you can certainly see that Fulci's health was sadly deteriorating,especially,by feeling like he hadn't re-wrote parts,or,improve certain implausible situations on set(like he often used to do!) from a script that needed a solid re-work. Some lines, or twists(which are still impressive anyways) of the plots are very contrived, and do not help, especially, in such an ambitious project! In fact i believe real critics' reviews are way more accurate and benign,and not certainly as a form of respect for the Maestro, but,because they clearly seen all to see/understand,the way more complex nature of this movie,and,consequently the way more difficult and specific sense of the execution needed by such material, again,way more brutally haunting and -seriously- demanding,than some of other usual and more formulaic horrors like Aenigma,Zombi 3, or even, of the quite overrated,"Manhattan Baby"! I always thought that the visual style of this film, was always so superior to many other's, and very,very stylish. I know that many may argue that a film is not just mere style and aesthetic's,like brilliant cinematography or very goth and creepy sets, but,i was stunned by,how much Fulci could still achieve with a smaller budget,just by using unique and inventive camera angles,creating horrific SFX's,but even more so,true atmospheres with such a dense,if exploitative, sense of erotic decadence and darkness! It's so obvious to me,How most other directors(Americans,or Italians,too!),having to work with similar string budgets and limitations,would have never been even able to imitate his professionalism by far,or most likely,would have not been able to bring to completion,a real motion picture with all these demands,period! The use of primarily dark blue's and dark red's tones, with gold and purple colors,matching vividly, by being opposed to the black or Noir,"hard boiled" scenario, were incredibly beautiful and artistic,while the use of a Morricone's inspired theme,bringing that 'classic descent to Hell' tone, with some period's influences,were helping greatly to create a tension,just where the script could have not. And,if there are for sure some back holes in story telling, the artistry behind this film, always saves the form and the interest. And so does the cast,in a way. Even though,a few of them,especially some 'of those then famous soft core starlets' just cannot transfer on screen something more convincing (like,let's just say,all the cast in something like Brass' masterpiece "Salon Kitty",1976-a film,that obviously Fulci must have admired very much!-instead could deliver with striking realism, and greater, morbid expressionism) there are here,still, a few great choices,like the handsome leads Aliotti and Sebastian Harrison, or,especially, the wildly ambiguous antagonists,all cult stars,like Domiziano Arcangeli,Zora Kerowa,Al Cliver and Robert Egon,envisioned here,and very cleverly,like a bunch of 'fallen angels',so pale and blond,to look very effectively,like vampires or creatures of the Devil,to better -symbolically- incarnate the tragic decadence of historical and very serious facts,that truly happened.. called Nazism and Holocaust! So,for many different reasons, I found this movie, very interesting to watch,and even with its flaws, a still superior exercise of style, from the always sensational Maestro's Fulci.

Scarecrow-88 American college kids on a trip to Paris, take a detour(..ALWAYS a no-no)down a rural road leading to a French villa which once occupied Nazi soldiers having an orgy with prostitutes, bombed by enemies in WWII. The group fall prey to madness and seemingly supernatural forces as the Nazis, in spirit, return to haunt them. Attempting to get back to the road to Paris, they find themselves driving in circles, leading right back to the villa. Soon, the windows and doors are shut and the group find themselves trapped inside. Spirits begin to appear to certain members when they go to their rooms separately, often manipulated by them. Will they escape or are they doomed forever? I'm not that crazy about Fulci's beloved zombie films(..except his first one, ZOMBI 2), but one thing they weren't and that was boring. For a good hour, nothing much happens except the characters argue with each other, drink booze, contemplate their difficult situation, some converse with the spirit of a male or female German who have ulterior motives behind their actions, promising pleasure but secretly plotting something else. Fulci never establishes a strong story-line and SODOMA'S GHOST features a rambling series of supernatural occurrences which never quite work. The opening orgy is a deadeningly dull, poorly staged and protracted sequence which fails to even titillate. It's over an hour before the gorehounds who admire Fulci so much get what they seek out when looking for his movies..and even when you get the gore, it's minimal(..one male victim attempts to grab the breasts of a female German ghoul, only to rip apart her deteriorated flesh, eventually confronting a friend, believing he's a Nazi, tumbling down a flight of stairs, crushing his skull at the bottom, and soon his corpse begins to rot with puss oozing from slowly appearing sores and decaying skin). The entire film consists of one uneventful sequence after another, with nothing exciting ever produced. And the ending is yet another "It's all a dream" scenario..yawn. The characters are routine and trite, and their plight you could care less about. I believe even his most ardent admirers would have a hard time defending this misfire. It's one of his raunchier films, but lacks any kind of eroticism whatsoever, as Fulci teases with possible lesbianism(..at least he could've delivered a nice female lovemaking session to spice things up a little, but even here, Fulci couldn't deliver)without executing anything properly. Dreadful movies like this fuel Fulci's critics with proper ammunition. I'm not sure if it was lack of inspiration or funds available, but Fulci doesn't even create an atmosphere in the film, with nothing but boobs to capture your attention or divert your mind from looking at your watch.

MARIO GAUCI This is another film which stands as the perfect showcase for director Fulci’s sad decline throughout his final years (actually, this is the third such example I’ve watched) and, by extension, that of the popular “Euro-Cult” style.It opens in 1943 with a (hilarious) orgy at a secluded villa by a group of perverted Nazis, which one of them conveniently films – a sequence which is haphazardly intercut with genuine stock footage of the war. The scene then shifts to the present day with a group of teenagers who happen upon the villa and decide to spend the night there: one of the girls is seduced by the ghost of the amateur film-maker but wakes up to find that, apparently, it was only a dream! The gang departs in the morning but, mistakenly, take a roundabout route which invariably brings them back to the dilapidated villa; this time, they discover that they can’t leave the premises – the phone which was previously working is now dead, and the exits have all been mysteriously blocked! Soon, one of them is engaged in a game of Russian Roulette with the same ghostly Nazi, who even offers him a night with a prostitute if he comes out alive: amazingly, he does but the sexual encounter doesn’t quite go the way he planned! At this, he goes berserk and attacks one of his friends – but falls down a flight of steps and is killed. Later on, the prostitute herself appears to the most hysterical of the girls (who harbors a lesbian affection towards one of her companions) – the older woman shows her her friend making out with the third girl of the group but, when she goes to confront them, finds that it was ‘all in her mind’! Then, it’s the turn of the girl who first met the Nazi to become involved with one of the boys (for whom she had hitherto showed no interest) – but, as soon as he touches her, the girl’s skin starts to come off! Eventually, the gang discovers the reel of footage shot by the Nazis intact and they watch it in an attempt to solve the enigma in which they’ve become unwittingly entangled – this is followed by the Nazis suddenly appearing to break down the doors, an explosion…and, then, the whole gang wakes up from a deep slumber in front of the ruins of the villa in question! Doh!! The film, then, is a mix of haunted-house horror (involving the typical obnoxious-vacationing-teenagers-getting-lost angle) and Nazisploitation (with the soft-porn elements that this entails) which can, perhaps, best be described as hypnotically bad. While Fulci might have done something with this plot in his heyday, here he’s defeated by a boring cast (though the girls, at least, look good in and out of clothes) and the utterly gratuitous gore mandated by the genre at this juncture (but which the evidently shoestring budget couldn’t hope to satisfy in a convincing manner!).