The Beyond (...E tu vivrai nel terrore! L'aldilā) - Movie Reviews - Rotten Tomatoes

The Beyond (...E tu vivrai nel terrore! L'aldilā) Reviews

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½ October 4, 2017
I'm just going to state this once: Fuck Carlos Magalhães' retarded self who to say the least, simply doesn't know shit & constantly, if not blatantly goes out of his way to denigrate the great Lucio Fulci. This is a genuine cult-classic.
Super Reviewer
August 12, 2017
It can be amusing for those who love gore and fun special effects, but Fulci must have been completely stoned when he made this ridiculous movie that doesn't make any sense at all (who cares about plot, right?) and is only a bafflingly stupid mess full of awful performances.
½ July 9, 2017
Despite some occasional striking images, and plenty of eye gauging, this is over rated mediocrity.
March 28, 2017
Gave it another look around Halloween on Blu-ray from Arrow UK, and I can say that it still holds up really well as a fever dream of nightmarish imagery and looks really great on their new Blu.

This is highly recommended for the gorehounds, though others may be slightly put off by it all.
February 18, 2017
A grotesque and intense piece of celluloid from one of the kings of Italian gore. The plot outline itself doesn't really make a whole lot of sense and the acting is only so-so, but it doesn't really matter. Atmosphere, effects, and presentation are all in fine Fulci form.
November 3, 2016
A masterful work by Lucio Fulci. Visuals capture your whole attention, camera work is surprisingly elaborate and is fascinating to follow, it changes styles during the course of the movie and it doesn't go unnoticed. Acting for the most part is OK-ish.
October 22, 2016
If you know can kill zombies with a shot to the head ... why keep shooting them in the chest?
September 10, 2016
L'aldia is a film that has an atmosphere like no other horror film. The music, effects, cinematography, set design, Direction and the build up to final 20 minutes, where all hell breaks loose, all add up.
June 26, 2016
A little scattershot and unsure of where it's going, but there's some great visuals and atmosphere. Great score and gore, as usual with Fulci, what's with his obsession with eyeball destruction though? Awesome ending.
½ May 2, 2016
The plot isn't something that really matters here. Mr. Fulci is trying so hard in order to create this nightmarish, surrealistic atmosphere and to direct in the most inventive way (even if his obsession with close-ups can get a little irritating). Anyhow, if you don't want to imply the horror, this is how you make the horror real. Like Mr. Fulci did in The Beyond.
½ April 16, 2016
The Beyond offers gore aplenty along with supernatural frights, but lacks a cohesive enough story to make it really transcend. 3 1/2 stars
February 11, 2016
A masterpiece of gore and wacky moments.
January 3, 2016
A dated, logistical nightmare.
½ January 1, 2016
don't know how many warnings these idiots in horror movies need to get out of a haunted house
½ October 14, 2015
Probably one of my favorite Lucio Fulci horror film, this little jewel is worth watching for the incredible death scenes and the creativity shown towards the creation of make up, masks and gory effects. From a purely visual point, the film is a beautiful nightmare, filled with weird camera angles, over the top blood splattered deaths and of course a vintage soundtrack filled with 80's synthesizers... a cult and little classic in my opinion!
October 4, 2015
A weird movie. It's definitely a Lucio Fulci classic, even though it wasn't as good as his hit classic Zombi. The movie actually has a good story but it isn't well told and the script doesn't help. Of course, this being a Lucio Fulci film, the gore adds authenticity but it's effective in it's own ghostly low budget way.
½ September 14, 2015
If "The Beyond" is a horror masterpiece then I must also be an aardvark named Tim who somehow got ahold of a MacBook Pro - to call Lucio Fulci's cult classic anything but trash would be a ridiculous proclamation, far-reaching and implausible. Though it's divine trash, inventive with its low-budget and entertaining in its schlock and its gore, the widespread acclaim by Italian horror fans, who put it in the same category as Dario Argento's "Deep Red" and Mario Bava's "Bay of Blood", is nearly impossible to understand. Perhaps gorehounds couldn't accept the fact that the only masters of Italian horror were Argento and Bava (who were true filmmakers, photographically daring and confident in their craft), figuring that Fulci, Europe's answer to Herschell Gordon Lewis, would be a close enough counterpoint to their masterful shocks.
"The Beyond"'s release came years after Argento and Bava's prominence came to an end - their specialty, giallo (sumptuously photographed stalk-and-slash thrillers that combined beauty and barbarousness), waned in the late 1970s - and so it's less giallo and more splatter, so in love with its gore effects and its atmospheric lensings that it forgets how to be an actual film when it isn't agitating us. Fans of "The Beyond" applaud it for its carnage, its nightmarishly incoherent atmosphere, and its haunting score - and while all those aspects are agreeably strong, they aren't quite strong enough to make for a horror movie anything less than an above-average B-movie.
The film opens in Southern 1927, depicting the brutal killing of a "warlock" by an angry mob. The death is disturbing and disquieting - imagine what Jesus Christ went through on that godawful cross but with acid thrown in his face in addition to all the savageness. The scene sets the tone of the film, fairly ludicrous and fairly vomit-induing.
Cut to 1981 and beautiful blonde Lisa Meddle (Catriona MacColl), a New Yorker, has inherited the very same hotel the aforementioned warlock met his end. Crumbling and in no shape to shelter guests, Lisa is in the process of some serious cleanup - little does she know, though, that the property is much more than what she bargained for. Because horror film characters enjoy making bad decisions for our enjoyment, it turns out that the hotel is actually built on one of the Seven Gates of Hell; it doesn't take long before employees begin meeting gruesome (and bizarre) ends and Lisa starts to realize that it might not be such a good idea to renovate after all.
Of course, "The Beyond"'s famed incomprehensibility makes this storyline seem minor in the face of so many imaginative slayings - Fulci's goal, you see, is not to deliver a plot worthy of our time but to instead present us with a series of macabre images meant to unsettle. The mystifying nature of the story is supposed to make the film scarier: the objective is to take a nightmare directly from the mind of a child's brain and throw it onto the screen for us to endure.
Such an ideal has worked before, the example being Dario Argento's "Suspiria". "Suspiria", which burns in the memory the second it ends, was, yes, unintelligible, but the imagery, so gothic, so Technicolor, so hellacious, actually does feel as if it were taken out of a nightmare. It helps that the stalk-and-slashes are lined with suspense, hard-hitting once blood is drawn.
Fulci, always jealous of Argento's successes, isn't as gifted of a visual storyteller, figuring that an abundant usage of fog machines, close-ups of Cinzia Monreale's pupil-less eyes, and slow-moving terror are good enough by way of concocting a hair-raising ambience. It mostly works, in a chintzy, Halloween haunted house kind of way. But Fulci's speciality has always been gore, and the bloodbaths don't disappoint: best of all is the scene during which a zombie wrestles the creepy hotel maid (Veronica Lazar), slams her into a wall, and, horrifyingly, gets her eyes punched out by an unruly piece of wood. The sequence is only the finest, though, because it is the only gore showcase with a hint of nail-biting during the entire film. The other bloody points come by with laughable incongruity - one man falls off a library ladder only to get his face eaten off by an army of tarantulas, and another woman, later on, is, one minute, sitting by her dead husband in the hospital, and is, the next, unconsciously lying on the ground as a gallon of acid tips over by itself onto her poor face, ketchup fizz pooling through the room as her pigtailed daughter looks on.
It's not so much that I don't appreciate "The Beyond"'s carnage-based inventiveness; it's just that its overall goal seems to involve copying what giallo legends did best during their heyday. Fulci's reputation as a hack seems fairly agreeable, but he's a talented hack, to say the least. The film has its moments, but I can hardly say I did more than cringe in disgust or sit in boredom. There's no such thing as an in-between throughout its quick 87 minutes, except for the moment when I noticed that a hospital door sign cautions guests to "Do Not Entry" - then I breathlessly laughed. Perhaps that was accidental?
½ August 27, 2015
The Beyond lacks a clear cohesive narrative in the traditional sense. In reality this work is made up of a collection of gory set pieces and eerie tones, however to dismiss any Lucio Fulci film as a result of plot is a mistake. Fulci's strength was his eye for unusual imagery. The scenes of transmogrified bodies are visually stunning and in true Fulci style he doesn't shy away the audience goes on the journey of splatter and death with him. It remains a must watch for Gore Hounds, Fulci Lovers and Video Nasty enthusiasts.
August 19, 2015
A fairly ordinary occult/zombie movie but the effects were ambitious, sometimes a little too ambitious as the flesh being eaten doesn't look even remotely human at times. You've gotta credit them with a decent shock factor though. These Italian horrors of this era would have been much better if the sound dubbing had been a little more professional though. In this and some of the others I've seen, the syncing is pretty poor and sometimes it's clear that the spoken words don't match what the actor is saying. This is just something that irks me. This is otherwise a decent horror in a generally weak genre.
½ August 9, 2015
this is a classic haunted house movie about one of the seven dreaded gate ways to hell in todays generation they would never make a movie as gruesomely gory as they did back then.
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