StyleSk8r At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Nicole I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Beulah Bram A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

Francene Odetta It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

callanvass Fulci was in the twilight of his career at this juncture. As saddening as it is, great talents can hit a wall sometimes. Kinda like Dario Argento these days. Fulci made a few stinkers near the end of his career, and this may be his worst. This movie is endlessly talky, providing no scares or thrills what so ever. Even at 85 minutes or so, this feels unbearable to watch. For an exploitation movie, there is very little nun action or anything that controversial. I'm used to incoherency when it comes to Fulci plots, but he's usually able to overcome it with his style and vision, here he can't. That surrealistic feel is there, but there is nothing interesting going on. Not only is the dialog insipid, but it feels really cheap as well. I wasn't that impressed by the ruins, and I had no idea what was going on in Fulci's head to make such drivel. The typical Fulci obsessions are there! Seances, cats, death involving eyes. There is gore, but it's not a gore fest. Two drunks randomly stumble and impale themselves on spikes (!!) , eyes are clawed and ripped out by cats, a nun is staked, a tongue is staked. We also get a hook in the neck, and a spear in the chest. Not bad, but pretty tame for Fulci's standards. The acting is hard to judge because of the dubbing. Meg Register is gorgeous, but that's about it. We also get a twist at the end I saw coming a mile away. Al Cliver (A Fulci favorite) shows up briefly. Lucio Fulci has a glorified cameo as a detective. If you're looking for nunsploitation and debauchery, expect very little. This is one of Fulci's worst movies, if not his worst! It's a chore to sit through. I'd avoid it like Ebola2/10

Coventry "Demonia" is one of the master horror director Lucio Fulci's final achievements and, though not exactly one of his finest ones, it remains a truly interesting film for his many avid fans to track down and enjoy. The first half hour is tame and slow and, generally speaking, the entire film isn't nearly as gory as Fulci's previous highlights (though there's one jaw-dropping scene that compensates for nearly everything), but the script is ambitiously compelling and the atmospheric Sicilian settings are quite wonderful. Fulci even managed to create suspense at some points here and successfully sustains an adequately mysterious ambiance. The depiction of the eerie nun's face on the cover looks appealing, but "Demonia" has really nothing in common with the so-called "Nunsploitation" movies that also primarily came out of Italy. The nuns in this film were barbarically crucified by angry villagers in the catacombs of their Sicilian monastery in the late 15th Century. More than 500 years later, an archaeological expedition intends to investigate the ruins, only the local population brutally objects and act as if they're all commonly sharing a morbid secret. Particularly the young archeology student Liza Harris becomes increasingly obsessed with the mysterious convent's past, as visions and nightmares lure her straight to the exact place where the nuns were executed. The cloister's background is sinister, to say the least, and especially the flashback sequence is unsettling. Death occurs in the film frequently and with pleasingly nasty effects, including implements, beheading and spontaneously attacking meat hooks. And, of course, since it's undeniably Lucio's pet peeve, you may also anticipate the repulsive removal of someone's eyeball. But the very best piece of gore, accomplished with stunningly realistic effects, shows a guy getting split in half – human wishbone style – clean down the middle. This scene alone is worthy of a top-recommendation! Unfortunately several sequences are extremely overlong and tedious, as if our good friend the directors thought it was necessary to endlessly stretch the plot to reach the running time of the film. Shame actually, because in case of a little less padding and pointlessness, "Demonia" could have been a modest classic listed directly underneath his best works "The Beyond", "City of the Living Dead", "House by the Cemetery", "Cat in the Brain" and "Zombi 2". Fulci granted himself a modest but entertaining role as the police inspector investing the series of grisly murders. To those who don't know him, he's the elderly man with enormous glasses big enough to cover half of his face.

stmichaeldet Meet Paul Evans, the world's worst archeology professor. He's arrogant, self-centered, disdainful towards other cultures, and dismissive of his students' opinions. And while we never see any direct evidence that he's sleeping with his star pupil, Liza, his condescension, paternalism, and control-freaky behavior pretty much clinches that deal. In the real world, he should've imploded from the weight of his own obnoxious ego long ago, but without him, Demonia would probably be a non-starter, so I guess we have to put up with him.But it's Liza who's got the real problems here. She's got some kinda psychic link to a group of five dead Satanist nuns who are angry that the villagers rose up and crucified them lo these many years ago. (But isn't that what angry villagers do?) So they trick Liza into freeing them so they can wreak their unholy revenge upon . . . the archeology team? What did they do? Or maybe Liza is possessed, and she's the killer? She does spend part of the movie running around in an antique habit that she got from God-knows-where, and one of the killings is kinda set up to frame Paul, so maybe that's it. But then, why is there a ghost-nun running around in so many scenes? Hmmmm . . .Well, it really doesn't make too much sense if you try to think it through - it is an Italian shocker, after all. Once the killings start, plot goes out the window in favor of cool atmospherics and a hefty dose of gore. And there's gore a'plenty here - crucifixions, beheadings, mutilation, animal attacks, impalings; you name it, this movie will step up and drive a nail through it. As usual, you can count on Lucio Fulci to deliver the goods.

Bogey Man Italian horror legend Lucio Fulci (1927-1996) did a great amount of atmospheric and wonderful Spaghetti horrors during his prolific career, his masterpieces being Zombie Flesh-Eaters (1979), The Beyond (1981), The House by the Cemetery (1982) and Don't Torture a Duckling (1972) among many other more or less interesting and noteworthy films from the horror or other genres. His masterpieces have wonderful soundtracks by composer Fabio Frizzi, great cinematography by Sergio Salvati and the kind of surreal and infernal ultra gory imagery that will stay inside the mind especially when experience for the first time. But his career has the other side, too, these ultra braindead cheapies that are so painful to watch especially if one appreciates the director at all.Demonia is Fulci's attempt in the nunsploitation genre, at least kind of. It has a historical background as a bunch of Sicilian nuns were brutally killed in the convent as they had practised something the others judged as evil and satanic. This is shown as a flashback, just like in his The Beyond, but so much less effectively and it comes clear in this very beginning that even the gore effects are very bad and stupid in the film. Then we jump to the present day as some group of archeologists search for treasures from the historic times (if I'm correct, the mentioned nun killing took place in the sixteenth century) and naturally neither the villagers nor the raising evil spirits like this too much and soon the bloody killings begin...as well as all the possible errors and negative sides a film can have.There are hardly any positive things to be said about this piece of cinematic garbage. None of the Fulci magic is left. Some of the dream sequences and close-ups of frightened eyes remind me distantly of Lucio Fulci but still, there's nothing in the imagery that would save the film. The ending has some nightmarish scenes and images as the nuns return from the beyond, but The Beyond shows how great that kind of scenes can be. The music is also horrible and probably taken from a commercial or something like that. It doesn't create atmosphere and terror as Frizzi did but is there in order to make the silent scenes not to look so dull, which they still are as well as the whole film. What's there is the graphic gore and very boring 80 minutes.The film almost gives a new meaning to the phrase "dead boring" as it has some laughably long dialogue sequences which almost force to stop the viewing. The characters are uninteresting, but fortunately don't over-act too much, the plot is nothing too special (but could have been interesting if made by Fulci ten years earlier) and every single element in the piece screams in tired pain as does the viewer too. The film also looks very amateurish as if done by a bunch of amateurs and it is no wonder this didn't even have a theatrical run in Italy.The gore scenes are also very bad and the effects don't even look real as they did in the classics, created by Gianneto de Rossi. They are quite sadistic and graphic at times, the "body splitting" and tongue impaling, being the most memorable examples, but still they are not as haunting as in the earlier films that were also effected by the soundtrack and visuals. Now there's plenty of gore but hardly any impact. They show more than Deodato did in Cut and Run, for example, but as everything around the scenes sucks, it is hard to take the horror shocks too seriously. The butcher house sequence, however, is a pretty nasty as an idea and has some interest in it, too, and that is also easily among the film's "most interesting" parts. And the guy really has a tongue that makes Gene Simmons look green in comparison.Demonia is a very, very bad film even as a fan of Lucio Fulci. It has practically nothing to make it worth recommending, only those very few distant things mentioned above and I think it is rather impossible to watch this film again. It is so bad, as unfortunately was the state of Fulci's career when he was forced to make films like these. 2/10 and very barely so.