Aedonerre I gave this film a 9 out of 10, because it was exactly what I expected it to be.

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Helllins It is both painfully honest and laugh-out-loud funny at the same time.

Abegail Noëlle While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

Bezenby My wife was somehow convinced during this film that Meg Foster is a post-op transvestite. Not sure why though. Meg's a cheesy novel writer headed off to Greek island to indulge in her muse and perhaps eat kebabs and such like, but when she gets there her eccentric landlord (played by 140 year old Robert Morley) warns her to beware of the wind and also informs her that the housekeeper is a loser. He's right on both counts, because the wind never lets up for the entire film, and his housekeeper is a loser, because he's played by cheeseball actor Wings Hauser!I'm just joking, we all love Wings in our house. He was great in Mutant (a film I like but everyone else in the world hates) and Nightmare at Noon (also known as 'Mutant again under a different name'). Here, he's the evilly named Phil, and turns up at Meg's new house all a-grinning and crazed right from the get go. Inspired, Meg starts writing a story in which she imagines Wings braining Robert Morley with a poker, but then, it turns out, she sees Wings burying a body in a field. So is it all just in her imagination? Is Wings really a crazy goofy killer? Or is the wind something sinister and not something caused by eating too many kebabs?Director Niko Mastorakis takes time out from making Oliver Reed kiss men (Hired to Kill), forcing George Kennedy to shoot crazed citizens (Nightmare at Noon), and filming a guy giving a goat some up it's wrong un (Island of Death), to give a more sedate and moody film where Wings chases Meg Foster around in circles. It's all done Giallo style, and just like a giallo, there's plenty of raised questions and a head scratching ending. Edge of Terror isn't quite as crazy as Mastorakis' other films, but it's no slouch either. Although the film is bloodless and boobless, the Greek island scenery really helps conjure up words like 'isolated', 'atmospheric' and 'Wings-tastic'. Wings is the draw here for me, playing a guy who can't go for a second without going through some sort of mood swing. As Nietchze says: If you look into Wings Hauser long enough, Wings Hauser looks into you.

Comeuppance Reviews Sian Anderson (Foster) is a mystery novelist who leaves her posh L.A. home to write her next thriller in Greece. She goes alone and leaves her husband John (McCallum) to do what he seems to love to do most: swim in the pool. Once in Greece, she avoids any metropolitan areas and heads straight to a remote, ancient, seaside village. She rents her villa from one Elias Appleby (Morley), an eccentric and verbose older gentleman. He warns her about the violent and tempestuous "Wind" that can attack at night. Nevertheless, she begins work on her book. When the strangely unbalanced Phil (Wings), a fellow American, now expatriate and living next door, comes calling, the nightmare begins...And how can Kesner (Railsback) be of service? For all answers to your questions, just listen to The Wind...There's a lot to like about The Wind. First off, the cast: Meg Foster is a hugely underrated actress and she does a great job here. She's the ideal focal point for a creepy tale like this and she anchors the film well. Robert Morley was also a good get for the cast and you have to love his "wacky landlord" role. Steve Railsback is pretty restrained this time around and seems a bit confused, but maybe that was his character. McCallum doesn't do all that much. Last but not least is the one and only Wings Hauser, who with his mustache (a rarity for him) and his strange, menacing affect, plays the ideal antagonist.But that's the HUMAN cast. The Wind is a character unto itself in this film. It's at least as scary as Phil, it gets angry, it comes and goes, and accentuates things. You have to expect a movie called The Wind will have plenty of actual wind, and there's no shortage of it. The seaside village has a character of its own as well, as does the house Sian is renting. If it's one thing Mastorakis delivers this time around, it's atmosphere. Take the Greek locations and quality cinematography, and enrich it with a Hans Zimmer score, and you mostly have a winner.Mostly because there are some flaws, naturally, as well: In his mad quest to make a giallo-type movie and try to outdo Dario Argento at his own game, most of the motivations for the characters are unclear. And while that also may be true for many giallos, it doesn't matter quite as much because the Italians pack in so much weirdness and visual verve, it doesn't matter. Technically this isn't a giallo, so it does still matter, and because of the lack of polish on the characters, the movie starts to drag right before the climax. Still, for an "Old Dark House" thriller-horror, with Meg Foster home alone and Wings brandishing a scythe (!), The Wind is worth seeing.Interestingly, director Mastorakis directed Wings again the following year after this in Nightmare At Noon (1988), and at one point in The Wind, Meg Foster uses the phrase "nightmare at noon". Something about these three words must intrigue Mastorakis.Released on the fan-favorite VHS label Lightning Video, The Wind is at the very least a one-time watch.For more action insanity, please visit: www.comeuppancereviews.com

kathologist I picked this one up because the music was done by Hans Zimmer, a customer of Metasonix modular synths (made by someone dear to me). The jacket art says "the 2003 version".I give it one point for a strong female, one point for cheezy dialog and one last point for meg foster's light blue eyes, of which there are plenty of shots of.It was fun seeing David MacCullum casually swimming (the pool has a plexiglass viewing window!), while his lady love was being chased by a psycho in Greece. The sets were marginally impressive-that is, rich people's houses in L.A. and Mendanassos (sp?), where the castle was. I found myself wondering how they were able to keep up the cleaning with all the dust blowing around. The wind wasn't fierce enough to be believable to me. I kept thinking that the animal pelts on the furniture must be nasty...etc. and realized that the film must be pretty boring if i am wondering these things when the supposed plot was unfolding. I stumbled over things like why did she light a fire, blow out the match, then throw the match into the fire?! Dumb stuff like that. It was clunky at best. Oh well. Robert Morely got to have a bit of fun with his kooky geezer character and a nice vacation out of it.

udar55 Director Nico Mastorakis (Island of Death) returns to the horror genre and the Greek Isles with the suspenseful and intense The Wind. A slight mixture of the slasher, cat & mouse and giallo genres, The Wind looks great, thanks mostly to the imposing Greek locale high on the edge of a cliff. Mastorakis wastes no time jumping right into the action with writer Anderson (Meg Foster) encountering fellow American Phil (Hauser) within minutes of her arrival. When Foster explains she is a mystery writer, Hauser creepily quips, "If you need to know anything about death, I'm right next door." As the nights events progress, the viewer is kept wondering if all that has been happening is just figments of a writer's overactive imagination.As with most horror films, the success lies squarely on the shoulders of the villain and, thankfully, Mastorakis has Hauser to fill this role. Hauser gives a whacked out performance on the level of his killer pimp turn in the sleaze classic Vice Squad (1982). Whether it is huffing poppers or making threatening phone calls, Wings is in top form in this film. It is truly a shame that his talents aren't fully recognized by the mainstream. Foster provides a worthy adversary to Hauser's unhinged Phil, but there are a few moments that smack of falsity here (namely a few of her one liners). Railsback pops up about two-thirds of the way through as a sailor who helps the police investigate. It is almost a cameo-sized role, but he is good in it and helps spur the ideas that Foster may be making this up.If the film does have any faults, it is an entirely useless subplot involving a honeymooning American couple. While the point (they almost provide safe haven for Foster) was not lost on this viewer, it seemed a bit contrived and seems like an attempt to pad the film. Regardless, The Wind is still an intense and stylish 90 minutes that is definitely worth a watch.