ReaderKenka Let's be realistic.

Lumsdal Good , But It Is Overrated By Some

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

Borserie it is finally so absorbing because it plays like a lyrical road odyssey that’s also a detective story.

Nigel P The word 'exploitation' has been linked with Pete Walker films, but he has questioned its meaning. After all, as he reasons, just about every film made now is exploitation-al in that nudity, sex and violence – often far stronger than in Walker's films – feature as a matter of course and without much comment.Pete Walker retired from directing films after 1979's under-age sex drama 'Home Before Midnight', but was tempted back to direct his last, 'House of Long Shadows' in 1983. His films were frequently lambasted by critics; indeed, he sought to provoke controversy ('rubbing them up the wrong way,' as he called it) by deliberately featuring salacious themes throughout. And yet, as with many things, there is a new appreciation for his work now. He was independently releasing British horror films at a time when Hammer, Tigon and Amicus had long since given up on the genre and for that alone, deserves a great deal of merit.We join this film with Jenny Welsh (Susan Penhaligon) enduring severely testing times. Regularly jilted by her live-in boyfriend, she has no-one to talk to of her woes and enters into a confessional at her local Church. The vicar Father Xavier Meldrum (a tremendous Anthony Sharp, who made a career playing vicars and librarians for many years) turns out to be somewhat perverse, so she flees, only to find she left her keys in the confessional booth. Breaking into the shop where she works with her friend Robert, she leaves him alone momentarily to buy some cigarettes, and when she comes back, she finds he has been attacked by a 'mysterious' stranger.When it is revealed that Father Meldrum is a schizophrenic murderer caring for a disabled, housebound mother and intimidated by a bullying one-eyed housekeeper Mrs Brabazon (the incomparable Sheila Keith), it's no great surprise. We are in familiar Pete Walker 'Frightmare' territory, revisiting themes of respectable establishment figures berating the young for their lapse morals, whilst turning out to be perverts and psychopaths themselves.This is cited as Pete Walker's favourite directorial experience, with professional actresses like Penhaligon and Stephanie Beacham needing less time-consuming guidance than some of his female protégés. 'House of Mortal Sin' is a typically enjoyable experience, although in common with his other projects, it is highly unlikely that his villains would get away with their burgeoning crimes for such a long time. It tends to drag in places, another of my problems with his earlier projects. Cutting 10 to 15 minutes might well have improved matters.Calling for God's forgiveness before strangling Beacham with rosary beads, methodically reading the last rites to his senile old mother before poisoning her (whilst Mrs Brabazon looks on with a sneer) and ending the film with the lunatic vicar still very much at large – all this may well have been deliberate provocation on behalf of Pete Walker to attract controversy. Judging by his comments in interviews ever since, that controversy never really happened, much to his disappointment.

punishmentpark 'House of mortal sin' has an eerie premise, and some scenes on their own work okay, but there is too much silliness going on. Our leading pretty lady all too easily takes back her lover who had left her just the day before, only for the purpose of having our baddie kill the wrong guy. Then on to our baddie, who turns out to be a very silly mama's boy who never knew about the woman who really loved him all along. Or maybe he did and never cared; when she finally offs herself he is none to bothered. There are plenty of other questions popping up from time to time; why does the mother of the first 'murdered' woman not go to the police when she sees a body being buried (or at least write down that information in case she doesn't make it)? How can the disabled mother of Xavier write on a piece of paper, hide it from the ones who take care of her and know who to trust with it? Et cetera, and so on.It cóuld have worked, but it didn't. Sure, some scenes are atmospheric, some parts are utterly creepy, the kills are quite gruesome and the soundtrack is mostly just fine for a b-horror movie, but it never becomes more than that. Especially with the tagline on the poster in mind: 'The Omen', 'The exorcist', 'The Confessional' (the latter being the alternative title to this one), the unholy trinity is now complete. That's pretty pretentious...A small 6 out of 10.

galensaysyes Tense, horrible, and funny at the same time, made without frills, for both practical and aesthetic reasons, this is my favorite of Pete Walker's trilogy because it is the strongest-centered, in the characters of the priest and his main victim (the actors have a lot to do with this). It's a study in how to generate suspense with a minimum of resources. Rather than a would-be giallo, I'd identify it as an updating of 19th-century melodrama. The director plainly worked best on minuscule budgets, using them to maximum effect, but he couldn't entirely disguise their restrictions (e.g., where is everybody? don't these people ever go anywhere?).

jangu The church is corrupt, that's what director Walker seems to be saying in a rather clumsy way with this exploitation effort. Elements of "Psycho" are mixed uneasily with "Rosemary's baby", about a mad priest who tapes his confessional sessions and keeps his bedridden mother in the attic. There is extortion, murder (by religious symbols like a rosary and an incense-burner) and an accomplice with a disfigured face (eye-patch and all!). Some scenes, ie the ones with the bedridden mother, border on the tasteless, but I somehow think that that was the point. Surprisingly good performances from a largely unknown cast, with Sheila Keith as a standout in a (too) minor role. Boy, can she give a murderous glance! It's not a stunning tour-de-force like "Frighmare" by the same director, but still manage to pack a punch or two, despite some dreary bits (most of them involving the hero-priest who is too goody-goody to be interesting). For those who is familiar with Pete Walker and his movies, the ending will come as no surprise, but to others it will be shocking/frustrating in about equal measures.