Burial Ground / Le notti del terrore (1981)

0.5 out of 5


Displaying an ineptitude bordering on the gargantuan Burial Ground or Nights Of Terror is thick slice of cinematic smegma for which the term so bad it is good could have credibly been coined. With an undoubted appeal to lovers of midget porn the film is a house siege zombie flick that features monsters with Slipknot-like creature masks and that the generous may suggest, in a fevered moment of hyperbolic overstatement, articulates an underlying critique of a J and B and frottage fuelled bourgeois decadence in the face of revolutionary peasant class as represented by the tool wielding Etruscan undead.

By combining an Oedipal subtext with the casting of an obviously adult Peter Bark in the role of the Dario Argento Mini Me manchild son Michael and then adding some of the least convincing adult dubbed baby talk we get what should be considered quintessential post pub viewing.

While there is a lot, including the entire invocation introduction, that seemingly makes little sense in Burial Ground this probably has more to do with a rushed editing accidentally leaving logic in the cutting room bin. However the film still manages to retain such howlers as a meaningful philosophical epilogue loaded with typographical errors that attempts to wrap up the whole thing in the context of a profecy (sic).

The dialogue delivered by Bark is unintended comedy gold and the film, despite being little more than z grade trash, can easily become a guilty pleasure.




Maurizio Merli header graphic courtesy of Paddy O'Neill of Foxyfide Graphics