The Oracle (1985)

You won't be disappointed!

Overrated

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

A young couple rent a New York City apartment previously occupied by a strange elderly soothsayer. The wife plunders the deceased old lady's belonging and finds an oracle(a hand-shaped device used to communicate with the dead). She unwisely tests the item's power, gradually becoming a living instrument of revenge for a recent murder victim. As her involvement in the situation deepens, so does her frustration when her husband and friends express concern for her mental health...they dismiss her strange experiences as hallucinations, despite a rash of mysterious deaths taking place around them.For a Roberta Findlay film, this one is actually not as spectacularly awful as it should be, and does manage to maintain interest and deliver some fairly gory moments. Standing on its own merits, however, it's a throwaway picture with typically staid performances(a couple of the secondary characters are commendably played, most notably the sadistic lesbian psychopath), and the special effects are...well...neither special nor effective.Not recommendable, but beneath the crust of cheapness is a semi-worthy watch...*IF* you're willing to take a brain laxative and dumb yourself down for 90 minutes.4/10

Sweet, fragile young lady Jennifer (decently played by fetching brunette Caroline Capers Powers) and her insensitive jerk husband Ray (a supremely irritating portrayal by Roger Neil) move into an apartment that was previously inhabited by an old gypsy medium. Jennifer uses the old gypsy medium's leftover Ouija board to contact the unrestful and vindictive spirit of a murdered businessman; said angry and deadly spirit uses Jennifer as a means to an end to exact a harsh revenge on his killers. Boy, does this gloriously ghastly nickel'n'dime bilge possess all the essential so-utterly-wrong-they're-paradoxically-right ingredients to rate highly as a definite four-star stinkeroonie: the hopelessly ham-fisted (mis)direction by notorious Grade Z grindhouse maestro Roberta Findlay, the meandering narrative, a generic hum'n'shiver ooga-booga synthesizer score by Walter E. Sear and Michael Litovsky, shoddy, but excessive gore, mostly dreadful acting from a lame no-name cast (Pam La Testa easily cops the top thespic dishonors with her delightfully overblown performance as hostile, ugly, nasty fat lesbian psychopath Farkas), rubbery make-up f/x, crude cinematography, hilariously bungled murder set pieces (one guy stabs himself to death with a knife while imagining that he's covered with laughably fake-looking giant bugs!), ragged editing, R. Allen Leider's talky and plodding script, a total lack of tension and creepy atmosphere, and the uproariously fumbled climax all add up to create a choice chunk of wonderfully rancid and wretched 80's cheese that's entertaining for all the wrong reasons. The flavorsome yuletide setting and authentically grimy New York City locations that include the once infamous 42nd Street in all its former scuzzy neon slime urban splendor further enhance this clunker's considerable shabby charm. An amusingly awful hoot.

A young newly married woman, Jennifer, stumbles across a writing tool called the Oracle, which is an Ouija device that was used by the previous occupant of their apartment. For some entertainment with her friends she brings out the device for a séance, where she unwillingly gets in contact with a revengeful spirit who was murdered. No one believes her that the spiritual connection with the medium is real and to make matters worse the mystery gets more dangerous when she calls the number the spirit gave her. It leads her to his wife and now the killers of her husband are now tracking down Jennifer.The curse of the 80s horror cheese (that's extremely cheesy by the way) strikes again in this ridiculously dumb and cheaply done bungle of lightweight schlock. Despite being a rather ghastly piece, it's oddly watchable and to a certain degree enjoyable junk. Honestly the premise is quite unique and there are inventive ideas cooked up, on the other hand the budget and the execution doesn't entirely complement the vision. But then who am I to complain when it didn't cop out on the splatter. It's grisly, outlandish and terribly campy stuff! Watch the blood fly across the screen. An ominously brooding atmosphere with a murky colour scheme and jittery sound effects adds to the fun. A blunt synthesizer packed score springs into action and the shoddy special effects (like the rotting corpse and a green floating skull) are unintentionally funny.The direction by Roberta Findlay is simply clumsy, but her no-bars approach means there's a certain randomness that makes those clammy and plodding moments move on in a hurry. Well, some moments do feel like they're trapped in slow motion. They are basically those chase scenes. It might be light on suspense, but there are oddball thrills in minor spurts that have meagre potency. The cruddy performances are pretty dry. The constant squealing from the lead Caroline Capers Powers can get somewhat frustrating, but overall she was fair. Pam La Testa makes quite an impression as the bulky butch killer with a deep, no-nonsense attitude."The Oracle" is a corn-filled slice of 80s low-budget horror that's craptastic.

Jennifer and her husband move into an apartment formerly occupied by a medium, and Jennifer discovers the writing device the former occupant used to converse with the dead. After dinner with friends, Jennifer uses the device and all kinds of weird things begin to happen, as various characters meet untimely ends and Jennifer has to contend with the widow of a murdered man and the obese lesbian hitwoman she employs to keep Jennifer quiet. Will the madness never end?This off-kilter little exercise in no-budget filmmaking was directed by Roberta Findlay who, along with her late husband Michael, created a particularly putrid brand of grindhouse fare in the late 60s. Their flicks were virulent cocktails of lesbianism, violence, torture and perversion, and it's nice to see that the passage of time hadn't improved Roberta's filmmaking abilities one bit! Wires attached to books to make them fly off shelves, a man's head being pulled off by big booga-booga Halloween laytex hands, gratuitous disfigurement via noxious industrial waste-- sheez, this film seems like it's from another era. This thing must have only played in the handful of drive-ins and grimey remnant of flop houses that still operated in the mid-eighties, because no savvy viewer then would have accepted this as the gruesome slash-fest it was touted in ads to be. Only slightly amusing in it's incompetence