Limerculer A waste of 90 minutes of my life

Motompa Go in cold, and you're likely to emerge with your blood boiling. This has to be seen to be believed.

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Catherina If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

poe-48833 I blame it on my mother: she recited poetry by Edgar Allan Poe to me when I was a kid and told me scary stories when I went to bed each night; I came to treasure the chills that a good Horror story, well told, could invoke. Then came George Romero and NIGHT OF THE LIVING DEAD. It was a game changer, an uncompromising, brutal depiction of Life in these so-called "united" $tate$. Fright Films had suddenly EVOLVED into something Other than what they had been- and at the helm was Romero, co-writing and directing it all. NIGHT OF THE LIVING DEAD, with its documentary look and feel, ventured into uncharted territory (and, ironically considering the number of rip-offs it has inspired, no one else saw Fright Films as an opportunity to comment on The State of Affairs in this country) (not until John Carpenter came along, anyway). Romero became my Hero, and when it was announced that he would be producing a Horror series for television, I began submitting scripts as fast as I could write them. (In my arrogant ignorance, I'd already submitted a script for a sequel to DAWN OF THE DEAD... Two movies made me want to MAKE movies: John Carpenter's HALLOWEEN and George Romero's DAWN OF THE DEAD.) While none of my scripts for TALES FROM THE DARKSIDE were ever used, I WAS lucky enough to get a kindly rejection from Romero himself. I'd sent him three issues of a self-published prose magazine I'd written and illustrated and he wrote back: "Some of the pieces are really fine." Coming from the man who gave us NIGHT OF THE LIVING DEAD and DAWN OF THE DEAD, this was Praise, indeed! My nieces and nephews were weaned on Romero's movies. Just a few hours ago, I read that Romero died yesterday. The shock hit me first, followed by the pain that can only come when a knife has pierced the heart and entered the Soul. I tried to tell my wife, but talking was all but impossible; I went and sat in the car, numb and sick to my stomach, and cried off and on. Romero was a Hero of mine, one of only a handful of people in this life who've inspired me to try harder, to try to do something other than just sit and watch the World pass by; but his passing has taken the wind out of my sails. I'd hoped to finally meet him face to face at a Horror convention later this year. It's hard to believe that I now live in a world WITHOUT George Romero. I'll never get to shake his hand and joke with him. And I'll never again hear my Mother lulling me to sleep with a softly-whispered Tale of Terror.Damn, what a day.

BA_Harrison This 1990 Edgar Allan Poe anthology (does a film that only features two stories still count as an anthology?) from masters of horror George Romero and Dario Argento marked the start of a downward slide for both directors, neither segment matching the quality of their earlier work.Romero's tale, The Facts in the Case of Mr. Valdemar, stars Adrienne Barbeau as Jessica Valdemar, the wife of a wealthy, terminally ill man, who schemes with her lover Robert (Ramy Zada) to take control of her husband's fortune by hypnotising him into signing the necessary legal documents. When Mr. Valdemar (Bingo O'Malley) suddenly dies while still hypnotised, the devious pair hide the body in the freezer until the money is theirs, but are shocked to discover that the old man's soul is trapped in limbo and can still communicate with them.Long, drawn out, and rather uneventful for much of the time, Romero's story eventually comes alive when the spirits that share limbo with Valdemar take over his body (in a scene that reminded me of Romero's Creepshow segment Something To Tide You Over) to kill Jessica, and appear while Robert is under self-hypnosis, plunging a massive metronome into his chest (a splattery moment courtesy of Make Up FX legend Tom Savini).Argento's segment opens promisingly with a graphic scene featuring a naked, bisected female corpse, the victim of a serial killer. Unfortunately, after this attention grabbing start, this segment also proves rather tedious for much of the time, as crime photographer Roderick Usher (Harvey Keitel) starts to lose his mind after his girlfriend Annabel (Madeleine Potter) adopts a black cat. Although there is little evidence of Argento's artistic genius, at least he throws in the occasional eye-opener to keep the viewer from nodding off, including a dream sequence in which Usher is impaled on a wooden pole, the sight of another murder victim with all their teeth pulled out, and the brutal killing of Annabel (a shot of her hand sliced by a meat cleaver being particularly graphic).While fans of both directors will definitely enjoy aspects of each story, for such a momentous collaboration this can only be deemed a disappointment.

acidburn-10 Here we have two short stories based on the works by Edger Allen Poe, and joint directed by 2 of the greatest horror directors alive George A Romeo & Dario Argento, as well as featuring a great cast that includes Adrienne Barbeau (Creepshow, The Fog), Harvey Keitel (Bad Lieutenant, Reservoir Dogs), & Tom Atkins (Halloween III, Night Of The Creeps) and not to mention wonderful special effects done by Tom Savini.Now all this sounds like a recipe for greatness and while the entire movie is highly enjoyable and entertaining, but however it doesn't quite live up to the high expectations that you would expect from the finest directors of the horror genre. Both segments of this story are about an hour long and both do feel rather stretched with too much padding.The first story 'The Facts In The Case Of Mr Valdemar" which was directed by Romero follows a young gold digging wife plots her husband's death so she and her lover can steal his fortune, only for the husband to come back from the dead and out for revenge. While the storyline is certainly intriguing and its small cast is good with Adrienne Barbeau being the clear standout with the complexity of her character creating much of the tension and Ramy Zada does well as her secret lover as we constantly doubt whether or not he can be trusted. Firstly it's nowhere near Romero's best work with quite a few dull moments, and definitely the most padded one out of the 2 stories and is not tackled with the imagination that this story should have had and the cinematography also falls flat and has that made of TV feel to it, making it look far dated than 1990.The second segment 'The Black Cat' directed by Argento is definitely the strongest one out of the 2 which tells the story of a photographer driven insane by cat and therefore is cursed with bar karma. With some stunning and gory visuals and a brilliantly unhinged performance by Harvey Kietel who definitely steals the entire show as he steadily spirals into complete madness is just thrilling to watch, with a fast pace, an even more intriguing story and solid visuals, Argento balances his strong direction flare on an intense focused story with such style.So all in all 'Two Evil Eyes' should have been a masterpiece, but sadly doesn't quite live up to that level, although both stories are entertaining , they're just not up to the level of what these directors have done previously and comes off on the whole feeling a little bit flat.

morrison-dylan-fan After viewing Dario Argento's interesting 1996 Giallo The Stendhal Syndrome,I took a look at other Argento DVDs that I had placed by the side of my bedroom,and was pleased to spot an anthology title that Argento had co-directed with George Romero,which led to me deciding,that this would be the perfect time to open the 2 evil eyes wide. The plot:Note:due to there being 2 stories,I am going to spilt the plot into 2 parts.Story 1: The Facts in the Case of M. Valdemar.Looking at her old husband laying on his death bed, Jessica Valdemar decides that after having spent the last few years being Ernest's arm candy,that it is time to make her "sugar daddy" pay for all the years Jessica has given him.Starting an affair with Ernest's doctor, (Dr. Robert Hoffman)Hoffman hypnotises Ernest,so that he can give his approval to all his cash being given to Jessica.As they count down the final days to the transfer being confirmed,Jessica and Robert are left shaken,when Ernest suddenly dies.Desperate to get their hands on the cash,Jessica & Robert decide that the best thing to do is to chuck Ernest into the freezer (what a charming couple!) As they start to relax round the house,Robert and Jessica begin to hear strange noises coming from the freezer.Story 2:The Black Cat.Returning home after taking photos from the latest police crime scene,Rod Usher goes into his photo lab,and starts developing the pics.As the development is taking place,Rod notices that a mysterious black cat has somehow gotten into the room.Talking to his long-term girlfriend Annabel,Rod discovers that she is adopted the cat,due to her belief of black cats being connected to historical witchcraft.Gathering up photos for his first to be published book,Rod finds a rapid hatred suddenly growing between him and the cat,with a gap increasing in his relationship,as Annabel finds herself standing by the cats side.Placing the cat in the middle of a photo-shoot,Rod finds himself hating the very sight of the cat,which leads to him killing the fur ball.Finding his relationship with Annabel to become more fragile from the pets sudden 'disappearance',Rod is left speechless,when the shadow of the murdered moggy suddenly returns. View on the film:Filmed just before he entered the Decade of the Dead-Ends,co- writer/ (along with Peter Koper) director George Romero disappointingly stays away from displaying the Valdemar's decadent life style,with Romero giving his segment a frozen appearance,which appears to be largely focused on Tom Savini's cartoon-style practical effects,that leads to Adrienne Barbeau performance as Jessica to feel extremely cold.Updating Poe's story,the writers brilliantly dip the segment into Film Noir waters,as Jessica is showed to be a dame who will betray anyone,in order to get her hands on some cold hard cash.Gradually increasing the presence of a horror element,the writers show Jessica and Roberts Greed to be something which will lead to them having to pay in "blood" money.Swinging into action with a wonderful score by Pino Donaggio,co- writer/ (along with Franco Ferrini) director Dario Argento hits his US debut with a tremendous confidence,as Argento smoothly swings from cheerful nods to Poe's works, (such as The Fall of the House of Usher & The Pit and the Pendulum)to threading his own web of mysterious terror.Avoiding the chance to make the segment a direct copy of Poe's story,the writer's instead slowly transform the plot from gritty police protocol into tense paranoid horror,as Rod finds the mysterious cat digging into every part of his life,which leads to Rod falling into insanity,as he tries to destroy the black cat'O nine tails.Leading the segments cast, (which includes a very good Kim Hunter)Harvey Keitel gives a brilliant performance as Rod Usher,with Keitel showing Usher to be a clean-cut crime photographer,who has demons laying on the fringes of his psych,that are being awaken by the claws of a cat.Standing in the way of Keitel and the fur ball, Madeleine Potter gives a great,fragile performance as Annabel,thanks to Potter showing Annabel being horrified of the claw marks that have entered her relationship with Rod,and eventually finding herself tangled in a deadly game of cat's cradle.Opening his segment with a swing from Poe's Pendulum,Dario Argento and cinematographer Peter Reniers pull out the dirt from the cats nails,to show the doom-laden world that Rod is in,as Argento subtly covers Rod's house in the darkness that he brings back from the crime scenes.Along with the doom-laden horror atmosphere,Argento also shows a startling eye for ultra-stylised left-field chills,with Argento revealing the truth behind the cat in a dazzling dream/possible flash cat,as the black cat opens its two evil eyes.