Search - Explotation Cinema: Satan's Slave / Terror on DVD

Explotation Cinema: Satan's Slave / Terror
Explotation Cinema Satan's Slave / Terror
Actors: Michael Gough, John Nolan
Director: James Garrick;Norman J. Warren
Genres: Horror, Science Fiction & Fantasy
R     2008     2hr 53min

Satan s Slave — A young girl moves in with her Uncle Alexander after her parents car mysteriously explodes. After being taken in by her cousins, she soon begins suffering strange visions. But what she doesn t know is that h...  more »


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Movie Details

Actors: Michael Gough, John Nolan
Director: James Garrick;Norman J. Warren
Genres: Horror, Science Fiction & Fantasy
Sub-Genres: Horror, Fantasy
Studio: Navarre Corporation
Format: DVD - Color,Widescreen
DVD Release Date: 09/16/2008
Release Year: 2008
Run Time: 2hr 53min
Screens: Color,Widescreen
Number of Discs: 1
SwapaDVD Credits: 1
Total Copies: 0
Members Wishing: 11
MPAA Rating: R (Restricted)
Languages: English

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Movie Reviews

Bartok Kinski | Prague | 08/04/2008
(3 out of 5 stars)

"Satan's Slave

Satan's Slave (1976) delivers the wares. It's not for all tastes, but the effective atmosphere (Warren had obviously seen a few Brit Horror films, which helps) and the well-staged scenes of death and paranormal mayhem in the last half of the film are worth the price of admission alone. It's certainly beyond comparison above the 'typical' British horror films of the day and the wide screen photography, coupled with fittingly garish colors courtesy of (one assumes) outmoded film stock, looks superb. There's also a glorious cameo from Michael Gough, one of those "I know his face, but what's his name?" actors if ever there was one, and a decapitation set-piece that curiously plays like a low-budget homage to David Warner's grisly death in THE OMEN, whilst pointing the way forward to the lift-shaft carnage in that film's sequel. This is a solid-gold champion example of the kind of film that would never get made nowadays, anywhere, and will undoubtedly bring back fond memories of late night horror double features down at the local flick pit for Horror viewers of a certain age.


Terror (1978) completely lacks the edgy, tense, paranoid atmosphere of foreboding doom that marked Warren's Satan's Slave (1976) and the lighthearted nastiness, and the result is a tedious experience indeed, with a sub-standard messy performances, several sequences that make little sense and a central premise that just seems corny to our modern sensibilities. The opening credits should give you your first warning that something's astray, because no fewer than FIVE directors of photography are credited, which is probably why the overall look of the film is so muddled - for every sequence that assembles a degree of low-budget atmosphere, there are several that have the over-lit, barrel-scraping feel of a cheap public information film. In all, a mournful disappointment and a missed opportunity.
Bloody British Exploitation Double Feature
Michael R Gates | Nampa, ID United States | 01/03/2009
(4 out of 5 stars)

"This double-feature DVD includes two 1970s exploitation flicks from British director Norman J. Warren: SATAN'S SLAVE (1976) and TERROR (1978). Both films were penned by David McGillivray, who also scripted two excellent films--HOUSE OF WHIPCORD (1974) and FRIGHTMARE (1974)--from the better-known director of British horror and exploitation, Pete Walker.

SATAN'S SLAVE, the weaker of these two films, stars beautiful Candace Glendenning as a young woman who is the descendant of a powerful and evil witch. After her parents are killed in a suspicious accident, she goes to live with an uncle and his son, and soon after she discovers that her relatives plan to sacrifice her during a ritual that will resurrect her infamous ancestor.

While the acting is okay and the directing adequate, the script for SATAN'S SLAVE is rather uneven and the plot is overly convoluted and hard to follow. As an exploitation horror flick, however, this film delivers the goods with plenty of gratuitous nudity and numerous gore shots that include a smashed head, a bloody suicide, and a gruesome eyeball stabbing.

The second film, TERROR, is the actual highlight of this double feature. It opens as a mob of medieval villagers capture a fleeing witch and attempt to burn her at the stake. The witch calls upon satanic forces to rescue her from her the flames, and as she escapes, she places a curse upon the descendants of the noblewoman who incited the villagers to rise up against her. This entire scene is then revealed to be the ending of a horror film, and the filmmaker claims that the story is based upon true events from his own family history. He and his female cousin, he says, are the last descendants of the noblewoman whose family was cursed by the witch. Naturally, there is skepticism among the audience for whom he has just screened the film. But at a wrap party later that evening, the filmmaker's cousin falls into a trance and attacks him with a sword...and he and his cousin begin to worry that the family curse just might be real after all.

Like the other film on this DVD, TERROR has a fair amount of female nudity--the stripper in the nightclub scene is especially eye-popping--and lots of outré gore. But this film also has a logical, comprehensible story line that is bolstered by strong performances and able directing, and the exceptional production design and cinematography create an ambiance that is exponentially eerier than that of SATAN'S SLAVE. Indeed, hardcore horror fans will recognize the distinct influence of giallo master Dario Argento on this film, especially in regards to atmosphere and gore.

This double-feature DVD offers both films at their original theatrical aspect ratios (enhanced for 16x9 TVs), and though the prints used for the transfers aren't in perfect condition, the images are very good and the soundtracks are fairly crisp and clear. Bonus materials on the DVD include a handful of trailers for other 1970s-era grindhouse and exploitation films, as well as a "grindhouse experience" option that allows you to watch both films back-to-back with concession-stand adverts and trailers inserted therein. It's almost like being in one of Manhattan's 42nd Street theaters back in the grindhouse heyday."