Review of The Beyond

Equivocal and weak in the pre-production department even by European horror standards, "The Beyond" is nevertheless a deft exercise in schlock, off-kilter atmospherics and overall execution rather than authenticity and plausibility, and therein lies the method to viewing it. Fulci crafts a loose framework of a gateway to hell existing beneath a woman's new property within which he assays a series of hallucinogenic set pieces that one should not apply logic to, or expectations of it would certainly fall short. Showcasing rudimentary splatter effects both strangely hypnotic and proficient enough to induce revulsion, the film's graphic moments are a true marvel to behold, although tarantulas tearing out tongues may elevate the experience into excessive gore territory for viewers of a certain disposition. Such extended, protracted shots of forcibly erupted eyeballs or scorched, decayed corpses only enhances the bizarre vagary of it if all; watch it for what it is, which is an unapologetic, overt illustration of style without substance. Despite being wholly psychedelic, freaky and resplendent in its fractured visual and narrative structure in which only the decomposed cadavers in the immediate vicinity are awoken, "The Beyond" is not a zombie film, it is akin to experiencing a drug-induced nightmare and should be viewed as such in order to even watch it in its entirety without stopping to pick apart its non-existent plot. Refrain from questioning any of its overriding faults, of which there are many if you are the critical, pedantic type, and you will be rewarded with a vivid foray into Fulci's twisted, incomprehensible world.