Directed by:
Eric WestonCinematography:
Irv GoodnoffComposer:
Roger KellawayCast:
Clint Howard, R.G. Armstrong, Joe Cortese, Claude Earl Jones, Haywood Nelson, Don Stark, Charles Tyner, Hamilton Camp, Richard Moll, Sue Casey, Lenny Montana (more)Plots(1)
In this chilling horror film, a young, misfit, military cadet (Clint Howard) suffers constant torment by his classmates and dreams of nothing but revenge. When he discovers an ancient satanic temple, with it's attendant secrets, his vengeful fantasies become transformed into a violent reality. Combining the temple secrets with his advanced computer skills, he begins to beckon forth demons and cast evil spells on the objects of his hatred, securing the ultimate revenge. (official distributor synopsis)
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Reviews (3)
What’s interesting in this film is that it doesn’t have a single likeable character. That’s quite a shame, because if it had a hero you could relate to, Evilspeak would be a great entry into the Satanist horror sub-genre, but the annoying chubby individual in the main role brings things really down, not because the performance is bad (quite the opposite, actually), but because I can’t fully enjoy a film where everybody pisses me off. At least the fat kid really get things going in the end with his animal friends. A truly fantastic climax. 7/10
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The American movie Evilspeak is a bit unfairly overlooked because this is a horror movie that somewhat manages to both disgust and terrifies the audience. The special effects are a bit hokey, although that only adds to the interesting bizarreness of this horror movie, which is a revenge flick, just with a slightly different direction. We know that even though Satan is always happy to help people get revenge, he always wants more in return.
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Bubba Bully Team vs. Cadet "Cooperdick" and His Satanic Software Esteban. Set in a military academy, it evokes a sequel to The Omen, but from the transition between the first two scenes (a decapitated head of an obvious dummy - the kickoff of a school soccer match), it cannot be denied its individuality. By the finale with the attacking wild boars, the thin ice of parody was indeed cracking, but Eric Weston, thanks to the dark choral music and audience leniency, managed to hold it together. A production curiosity is that a dilapidated church in South Central Los Angeles was partially reconstructed for filming, and the priest who had previously worked there kneeled and prayed to God before this miracle. Little did he know that the crew would burn it to the ground in a few days. It’s no wonder it was a favorite film of Anton Szandor LaVey.
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