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JENNIFER CAN SEE THE FUTURE! Moving into an apartment once occupied by an old gypsy medium, Jennifer and her husband discover an oracle, an automatic writing device used to communicate with the dead. It doesn't take long before Jennifer is contacted by the ghost of a murdered man who wants her help in seeking revenge on his killers as well as his wife's lover and a psychotic transvestite lesbian assassin. Battling possession as the tormented spirit terrorizes and manipulates her, Jenny finds herself directly in the path of a dark and violent force. From cult director Roberta Findlay (TENEMENT, BLOOD SISTERS). Special features include director interview and audio commentary, trailer, tv spot and photo gallery.
Spooky, creepy, crazy visions of murder. --futureforfuture.deep-ice.com
About the Director
Roberta Findlay was a pioneer female independent filmmaker. She is a cinematographer and director, known for Blood Sisters (1987), Prime Evil (1988) and The Altar of Lust (1971). She was married to the late filmmaker Michael Findlay.
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During her Christmas party, Jennifer (Caroline Capers Powers; who only ever acted in this one film) entertains her guests with a planchette to contact spirits like a Pictionary-Ouija board. After the game gets a bit awkward, the planchette communicates with Jennifer alone and, well, eventually slimy little squid monsters emerge from the planchette box. So now you think this is a weird little tentacled demon movie, right…? Wrong. We take a hard right into crime thriller territory with a psychic-medium angle and there is nothing good about it! Boy does it get dumb! But God help the filmmakers—I felt like they were really trying to make something good.
Emerging in the horror genre after a career in the adult film industry, director Roberta Findlay (Prime Evil, Lurkers, Blood Sisters) has generated typical B-movie fodder—although not really the kind I’d recommend. From its opening scenes it feels no different from any other one-(watch)-and-done throwaway horror flick from the 80s. Not as bad as Dark Tower (1987) or Things (1989), but definitely not as good as House (1986) either. And while it may transcend B-moviedom in its lack of utter silliness, it’s still silly in its lack of quality despite its best efforts. Green hazy light indicates magic and supernatural occurrences, low budget gags have objects moving on their own, flicking lights on and off or knocking over some books indicates an evil presence—these are weak cues and weakly executed.
Christmas music and holiday themes decorate this cheap quirky film and I’m left wondering why since none of the story or concepts actually relate to Christmas—unless this is a far reach analogous to the “Murdered Ghost of Christmas Past.” But in the third act this theme is completely absent, and that certainly says something about the filmmaking.
The blood and gore start out so weak you’d want to stop the film, but it does amp up to grosser and sillier levels that should conjure a few giggles. Especially the “self-murder” scene and the evil diminutive cephalopod-like creatures—just plain B-movie delight. Also watch out for the toxic waste melty face scene, which produced the online images that lured me into watching this film at all.
There’s really nothing redeeming in this film. It smacks just a little bit of The Sentinel (1977) in delivery and The Changeling (1980) in premise, but brings not even remote honor to either. I’d skip this and let it be forgotten in the VHS video vaults of pawn shops and basement storage.
The film attempts to create creepy with red fonts and a Rider Back Tarot deck. It has a shop, "The Magickal Child." That's magick with a "K" so it means something more. I also find it odd that a prostitute would be trying to pick up guys in front of a "male revue" establishment.
The film was made in an era where "veal" wasn't a four letter word.
No f-bombs or nudity. Sex scene.