Cortechba Overrated

Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Tymon Sutton The acting is good, and the firecracker script has some excellent ideas.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Anonymous Andy (Minus_The_Beer) With a story that -- even by then -- had been adapted to death, 1989's take on "The Phantom of the Opera" puts a new spin on the mythology by catering to fans of the great stab n' slash films of the era. To help seal the deal, genre icon Robert Englund -- having starred as Freddy Krueger in five "Elm Street" films by that point - - is cast in the titular role. Some creative license is taken with the source material, tinkering with the Phantom's origin and setting a slice of the action in the present, but for the most part, this is familiar terrain with a twist.Jill Schoelen plays Christine, a burgeoning opera singer who is slightly out of tune in her time. When a stage accident sends her back in time -- to 1881 London, specifically -- she must reconcile the artist she admires most with the monster he has become. Enter Robert Englund as the Phantom. With a face that not even a mother could love, a deal with the devil gone south has forced him into the shadows. Below the opera house, he grows bitter without the fanfare afforded by his work and starts picking off cast and crew in routine fashion in an effort not only please Christine, but apparently himself as well.Director Dwight H. Little ("Halloween 4: The Return of Michael Myers") gives probably his most show-y film to date. Like his previous outing with Michael Myers, "The Phantom of the Opera" attempts to build atmosphere and suspense, but is often undercut by its cookie-cutter body-count formula. Once the killing gets going, the film actually gets dull, as one gets the feeling we've seen this before. On the upside, Englund, clearly relishing the opportunity to stretch his legs here, gives a great performance that in a better context, would be downright iconic. His make-up job is a little too close to Freddy at times, but most traces of that character are gone from his performance. The film doesn't always quite work, but when it does, it's because of Englund. Worth watching to see a different spin on well-worn material and to see the lovely Jill Schoelen, whose filmography is sadly too brief. Likewise, look out for a pre-Saturday Night Live Molly Shannon as Christine's modern-day best friend. I wouldn't go singing its praises from the rafters, but I wouldn't bury it below the surface either

Gabriel Teixeira I had a lot of reservations towards this film, though at the same time I was curious. I love horror films, and Gaston Leroux's "The Phantom of the Opera" is one of my favorite books; on the other hand, the idea of turning 'Phantom' into a slasher felt very wrong, which combined with the negative ratings and reviews made me feel uncertain on whether to watch.The film surprised me, truthfully. While it is far from a faithful adaptation, taking its fair share of liberties and deviations from the original story (ex.: the Phantom's backstory is altered to a Faustian deal with the devil, the story is set on London rather than Paris, and the modern day twists), the main idea is still there. It is gory and bloody even for 80's horrors, with some very good and even creative death scenes, and there is a genuinely tense, well-made mood that makes this highly successful as an horror. But the musical score is possibly the true highlight, especially the Phantom's 'Don Juan Triumphant'.Robert Englund was another pleasant surprise. I like him, but didn't feel his wisecracking, semi-comical persona would do well for the role of the Phantom. Luckily, he does not imitate Freddy Krueger in here (despite his make-up being similar): he is intimidating, mysterious and unnerving, but at the same time seems to truly love Christine and his music; a bit darker than the original, but all-around the best depiction of the Phantom since Lon Chaney. While undeniably a tragic character, most adaptations prefer to sugarcoat him to an extent and leave out the sadistic, violent murderer aspect of the Phantom character, which thinking again could be ripe for a gory horror film.But whereas Englund deserves praise, the rest of the cast does not. The other big player in the film, Jill Schoelen, sings well enough but otherwise is quite a weak Christine. The rest of the characters (even Raoul) were relegated to mere extras, becoming such unimportant players in the story to the point I barely remember which characters got left out from the book (once again there is no Persian, but the brief appearance by the Ratcatcher was nice). In special, Alex Hyde-White is such an inexpressive Raoul (or whatever the name they gave him here) that you view little to no connection between him and Christine, while he should be a major character.Overall, this is a very dark and gory adaptation of 'The Phantom of the Opera'. It's quite weak adaptation-wise and has its fair share of flaws movie-wise, but it is nonetheless a solid and entertaining horror piece with a great Robert Englund. A much better watch than, say, Dario Argento's versions.

Woodyanders Gifted, but deranged and disfigured composer Erik Destler (superbly played with great gusto and passion by Robert Englund) takes sweet aspiring opera singer Christine Day (a winning performance by the always spunky and appealing Jill Schoelen) under his wing and grooms her to become a major star. Moreover, Destler murders several folks in Christine's honor. Director Dwight H. Little, working from a shrewd and compelling script by Duke Sandefur, brings real style, flair and elegance to the often-told tale: the evocation of London in the past is very rich and flavorsome, the production values are stunningly opulent (Destler's subterranean sewer lair is simply amazing!), the music is exquisitely beautiful, the murder set pieces are handled with suitably gruesome panache, and the fiery climax is truly exciting. Little and Sandefur earn bonus points for making a few bold changes to the narrative. For example, Destler in this movie isn't your standard pitiable simpering lovesick fool; instead he's a decidedly unsympathetic lethal and vicious killer who made a pact with the Devil in order to achieve immortality as an artist and now has to bump folks off for their skin. The wrap-around scenes set in modern-day New York are another nice touch; they help make the point that love and music are forever. Englund portrays the juicy role of Destler with deliciously lusty aplomb. Schoelen is likewise excellent as Christine. There are additional praiseworthy contributions by Alex Hyde-White as Christine's dashing suitor Richard Dutton, Bill Nighy as slimy worrywart opera house co-owner Martin Barton, Terence Harvey as the hard-nosed Inspector Hawkins, Stephanie Lawrence as snooty diva La Carlotta, Nathan Lewis as Hawkins' bumbling partner Davies, Molly Shannon as Christine's supportive friend Meg, and Peter Chapham as mean opera critic Harrison. Both Misha Segal's robust, shuddery score and the glossy cinematography by Peter Lyons Collister and Elemer Ragaly are up to par. A worthy and satisfying fright film.

insomniac_rod I watched this movie for the first time shortly after it was released in theaters. I rented it with very low expectations mainly because it was a late 80's slasher, it was based on a novel that wasn't living it's best times at the 80's, and because it was produced with low budget. It didn't impress me so I forgot about it.20 years after it's release I bought it for nostalgia's sake and because I'm a die hard fan of the stunning Jill Schoelen. I mean, she was my first crush in Horror cinema and she's a favorite of mine. On the secondary aspect, I really like Robert Englund 's work in Horror. So what the heck? I watched it low expectations and I can proudly say that it's one of the best "classy slashers" out there. What do I mean with the term "classy"?. Well, the movie is based on the beautiful-dark novel by Gaston Leroux so that tells you that the movie's main plot needs to be placed in ancient times, but it gives plenty of territory for the director to insert gory killings (such as in the novel), slasher sub-plots, creepy atmospheres, and why not? cheesy one-liners.It's a solid slasher with some flaws but still, one of a kind.Robert Englund is perfect as the Phantom; this time, our beloved dark hero is a cold-blood assassin who fades in the shadows while trying to recover the love of Christine Daly. In order to achieve that, he will kill anyone who gets on Mrs. Daly's way. And that's what happens! The Phantom gets really mad and performs brutal deaths like a beheading, ripping off skin, violent stabbings, and more! Now, that's the best way to adapt a slasher flick on a classic story.Jill Schoelen is just arousing in everything she does. I mean, she has the looks of a tender inoffensive young adult but at the same time, she's sexy, sensual, clever, brave, and with that sexy voice, you can tell she's wild while on well, you know. She sings very good and looks even better. I dug her mini skirt outfits during the 1989 era.I really liked how the movie connects the actual times with the past and then, returns for it's ending, to the late 80's. It's a clever move not seen in much slashers.I recommend this movie big time for slasher fans. It won't let you down. It has all the winning elements such as inventive killings, gore, sinister atmosphere, very classy scenarios like the opera, the streets of London, and more. The make-up is pretty good and The Phantom is extremely disgusting and creepy when taking off his mask and while wearing the red death costume. Brrr. The music is excellent and Daly's creepy song is absolutely great, and haunting.Special mention for the scene where the Phantom sells his soul. It adds a sinister tone for this slasher. Oh, and I wanted to comment on the rat-killer that leaves in the sewers; he delivers a truly creepy but comedic voice that I just can't forget. I hope not to talk like him in some years.I truly urge you to watch the movie if you: A) love slashers B) like the novel C) Love Jill Schoelen D) Love Robert EnglundIt's a gory addition to the novel. Jill Schoelen, I'm still waiting for your call or e-mail. Whatever you want.