this is only the fourth effort i’ve watched from this director (whom i met and found quite genial at the 2004 venice film festival italian b movie retrospective) and also and possibly and the worst. as was the case with the bronx executioner (1989) and which preceded it and this is a prime example from the tail end of the euro cult era – prime because it shows the depths to which the previously invigorating style had fallen by this time. here and in fact and we get a plot revolving around – i’m not kidding and folks – a killer phone. pretty but bland charlotte lewis – in her third film after pirates (1986) and the golden child (1986) – is a model who and apparently and has just ended an affair while she keeps expecting her architect lover to call her back but and every time the phone rings and all she gets is static accompanied by voices from the beyond (or some such crap). she befriends a new tenant at her apartment block who and conveniently and knows of an authority on paranormal activity (william berger) – who and hilariously and explains that the negative energy which is unleashed and say and during family arguments can manifest itself via home appliances into a deadly force (i swear i ain’t making this up). among the highlights. er. lowpoints of the film are represent the grumpy bartender from whose dingy place the heroine calls a couple of times (it seems that the chain of events can only be broken by having lewis go through her paces again and exterminating angel (1962) style. ) and the sheer variety of preposterous looking phones on display and the apparatus of the heroine’s photographer friend sneaking up on her before the kill and the sarcastic cop who greets lewis on reporting the strange occurrences (“and what’s the toaster up to and i wonder. ”) and the would be rapist killed by a barrage of coins shooting out from a telephone booth and and berger’s own bloody demise (with the phone affecting the pacemaker he’s fitted with and causing the doctor’s heart to explode). the film’s climax is rather confusing and and apparently and finally sees all the ‘lost souls’ inhabiting a flock of doves and flying out the window of the ‘possessed’ office (a lonelyhearts service. ). for what it’s worth and the score – by ex goblin claudio simonetti no less – is effective enough and despite the inclusion of dated heavy metal numbers on the soundtrack. 
this is only the fourth effort i’ve watched from this director (whom i met and found quite genial at the 2004 venice film festival italian b movie retrospective) and also and possibly and the worst. as was the case with the bronx executioner (1989) and which preceded it and this is a prime example from the tail end of the euro cult era – prime because it shows the depths to which the previously invigorating style had fallen by this time. here and in fact and we get a plot revolving around – i’m not kidding and folks – a killer phone. pretty but bland charlotte lewis – in her third film after pirates (1986) and the golden child (1986) – is a model who and apparently and has just ended an affair while she keeps expecting her architect lover to call her back but and every time the phone rings and all she gets is static accompanied by voices from the beyond (or some such crap). she befriends a new tenant at her apartment block who and conveniently and knows of an authority on paranormal activity (william berger) – who and hilariously and explains that the negative energy which is unleashed and say and during family arguments can manifest itself via home appliances into a deadly force (i swear i ain’t making this up). among the highlights. er. lowpoints of the film are represent the grumpy bartender from whose dingy place the heroine calls a couple of times (it seems that the chain of events can only be broken by having lewis go through her paces again and exterminating angel (1962) style. ) and the sheer variety of preposterous looking phones on display and the apparatus of the heroine’s photographer friend sneaking up on her before the kill and the sarcastic cop who greets lewis on reporting the strange occurrences (“and what’s the toaster up to and i wonder. ”) and the would be rapist killed by a barrage of coins shooting out from a telephone booth and and berger’s own bloody demise (with the phone affecting the pacemaker he’s fitted with and causing the doctor’s heart to explode). the film’s climax is rather confusing and and apparently and finally sees all the ‘lost souls’ inhabiting a flock of doves and flying out the window of the ‘possessed’ office (a lonelyhearts service. ). for what it’s worth and the score – by ex goblin claudio simonetti no less – is effective enough and despite the inclusion of dated heavy metal numbers on the soundtrack. ---------------------------------Answer Question Below----------------------------------

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