Unlimitedia Sick Product of a Sick System

Megamind To all those who have watched it: I hope you enjoyed it as much as I do.

Brenda The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Rexanne It’s sentimental, ridiculously long and only occasionally funny

dungeonbrownies For fans of The Witch, this will be another fantastic piece. While there are slight issues with continuity and motivation of some parts of the plot, this film offers mystery, action gore (even if a bit outdated), and wonderful composition, all while developing a narrative that pulls you in and invests in the well earned climax.The artistry is absolutely the best when it comes to the beauty of the shots and the musical score which lends heavily to the mood.The subplots seem to be disjointed and I can't honestly say they all finally join in a way that'll satisfy everyone, but they definitely add up in an overall world building/background developing kind of way, especially with some of the more subversive undertones for those who appreciate the slightly deeper meaning to some of the parts.A few of the characters are one note, and you kind of wonder if you'd be better than them in the same situation, but it doesn't hamper the film and they work together relatively well.Bottom line? Not a scary film, but somewhat creepy and blossoming with macabre beauty.

mikehunter-79682 If The shining, Rosemary's Baby, and The Little Shop of Horrors (original) had a baby you would have The Church. The shining in that every aspect of every shot is a part of a deeper Freudian symbolic story that is uncanilly terrifying IF it hooks you. Rosemary's Baby in that much of the cinematography is remeniscant of Rosemary's baby and their are many explicit references to Rosemary's baby and The Shining. The little shop or horrors in that this film is a masterpiece of campiness. This film is incredibly esoteric and deeply rooted in psychoanalytic theory, lacanian theory to be specific. One doesn't need to know psychoanalytic theory to pick it up from the film IF it hooks you in But it may take a basic understanding of lacanian concepts for it to hook you in.

Scott LeBrun Italian film director Michele Soavi certainly showed plenty of potential in his debut "Stage Fright", and went on to do other fine work in the horror genre - "The Sect", "Dellamorte Dellamore", and this entertaining shocker. One might argue that it's kind of slim on story, but the style on display more than makes up for that. "The Church" is unceasingly grim, loaded with atmosphere, heightened by many striking visuals, and packed with some deliciously grisly violence and makeup effects. It's one of those horror films that lives up to the word "horror". It can appeal to a variety of fans within the genre, for it takes its time and gives us the kind of "slow burn" approach that some people wish they'd see more often.In Medieval times in Europe, some crusading knights slaughter the residents of a village - including the animals. They had believed these people to be in league with the Devil. Subsequently, they build a church over top of the dead bodies. Centuries later, a librarian named Evan (Tomas Arana, "Gladiator") is hired by the church, and his fascination with the local history proves unwise. His snooping around allows the forces of evil to arise, take possession of the living, and commit murder. The church seals itself up, and a variety of victims are trapped inside by these demonic forces.The international cast also includes Hugh Quarshie ("Highlander"), Feodor Chaliapin Jr. ("The Name of the Rose"), Soavi regular Barbara Cupisti, Giovanni Lombardo Radice ("Cannibal Ferox"), and the young Asia Argento (daughter of co-writer / co-producer Dario Argento), who plays a spunky child who regularly sneaks out of the church in defiance of her father Hermann (Roberto Corbiletto, "Dangerous Beauty"). The acting is generally solid, with Quarshie an appealing hero.The finale is the absolute best part (at least, it was for this viewer), and worth waiting for. It features one of the most hideous goat like characters to be seen in religion themed horror. And the music by progressive rock specialists Keith Emerson and the prolific "Goblin" is extremely effective throughout.A must for fans of Spaghetti horror.Seven out of 10.

fedor8 The vast majority of movies from the late 80s look awful, and TC is no exception. Given that this silly Italian flick suffers from the usually host of darioargentonian flaws – silly plot-twists, occasionally amateurish performances, and weak and /or stupid dialog – the one thing that would have been a saving grace would have been impressive visuals. However, the bland, colourless, ugly 80s aura destroys any "eerie" mood this clumsily put together bundle of religious-horror clichés could have had. Argento is well-known (or at least should be) for his style-over-substance approach, i.e. his penchant to toy around with the camera and sets rather than spend time fixing his usually idiotic scripts full of bad logic and far-fetched situations. (This especially goes for his legendarily moronic thrillers.) Dazzling visuals were essentially this movie's only hope, but Argento fails to deliver even in that; supposedly his strong suit. The actors are mostly amateurs; in fact, most of them are so bad that Argento's 13 year-old daughter Asia (who is nothing to shout about talent-wise) comes off as a professional by comparison; even she has some clue how to play her scenes which can't be said for ANY of the actors in the anti-climactic church-destruction scenes. It is almost as if Argento gave acting roles to people who were at first merely recruited as extras. The dialogue is stilted and occasionally laughable even. The attempts at humour are badly timed, not to mention puerile. The demon costumes and make-up are so bad that even Ed Wood might have found fault with them. Dario trusted his make-up department so little that he rarely dared extend close-up shots of the demons to longer than half-a-second. He must have suspected that if he let the viewers see the demons for longer than that, they'd invariably laugh. (The viewers, not the demons.) It's a fine line between a B-movie and a shoddy-looking A movie; although, in this case, the "A" must stand for Argento, and not as a symbol of high quality.While the 1st half has a (small) measure of non-imbecility and non-dreariness, the 2nd half sees the plot and the movie disintegrate into amateurishness; this is when TC becomes a B-movie, for all practical purposes. In fact, I submit that had this exact same movie been made by a Hollywood and/or American director, its IMDb average would have been much lower. This serves as yet another example – and proof – that: 1) anything Argento touches, no matter how mediocre or outright bad, automatically gets overrated - simply because his name is in the credits, and 2) European films get far better critical treatment than American films. This astonishing – and fairly obvious – bias is a result of the special "bull aura" that European films and directors have (stemming from the flawed and frankly naïve belief that US films are commercial pap made by non-talents, whereas European ones are "artistic" and profound). This silly prejudice has been blinding film students and the more fanatical movie-goers for decades, often preventing them from objectively appraising either. This is why on IMDb you will sometimes see a great American movie rated only with a 6.0, while a fairly mediocre European movie might have a 8.0 average.Another major flaw of TC is that it gets rather dull in spots.