FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

WillSushyMedia This movie was so-so. It had it's moments, but wasn't the greatest.

Mabel Munoz Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

Kirandeep Yoder The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

Leofwine_draca Seven years after the success of NIGHT OF THE LIVING DEAD, the Spaniards decided to make their own, little-seen version under the steady hand of Leon Klimovsky (the guy who made my favourite Spanish film of all time, SHADOW OF THE WEREWOLF). While not a classic movie - and certainly not up there with Klimovsky's best horror output - this is still a classy, solid thriller which is bolstered by some good performances and an excellent music score which varies between classical music, repeated piano notes to generate suspense (just like in EYES WIDE SHUT) and typical lounge music for the lighter moments. Indeed it is this film's music which adds a lot to the suspense and atmosphere of the film; that and the beautiful Spanish countryside and the expensive-looking echoey mansion in which much of the action takes place which provide the chills and thrills that this movie is striving for.Things open with a bunch of assorted B-movie types assembling in the dank cellar of a country mansion to re-enact some Marquis de Sade type-behaviour. They are rudely interrupted in their endeavours by a sudden earthquake which, it turns out, was caused by some nuclear explosions. When the men travel to the location village to get supplies, they discover that the populace has turned blind (similar to DAY OF THE TRIFFIDS). One of them can't hack it and ends up shooting down a bunch of blind folk before he himself is killed.Re-assembling back at the mansion, the group are horrified to find themselves the only unhurt survivors in the vicinity. One doctor is so upset that he loses his mind completely and crawls around naked on his hands and knees (a pretty funny moment, it has to be said). A young couple take a car and travel into the village to help the blind people but are attacked and killed - just like like that similar scene in NIGHT OF THE LIVING DEAD. After a fairly slow pacing up until now with little action, all hell breaks loose when the blind surround and attack the mansion, quickly forcing their way in by driving a car through the doors. The survivors escape into the cellar and then the countryside after a fire rages out of control. Tensions fray within the group...Although the basic plot is little more than a nicely-packaged rip-off, this movie does have some nice macabre touches to it. In one instance, the blind smash a hole in the ceiling of a room and drop the bloodied corpses of their first victims through! Later on, a black girl is assaulted by a creepy-looking blind beggar (complete with fake stubble) who tears her eyes out in a fit of jealousy! The downbeat ending is again a rip-off, but is surprisingly understated and effective and is a neat precursor to later conspiracy thrillers in which the government is not to be trusted.The acting is pretty good for a change, with all of the cast having fun with their admittedly clichéd roles. The women (including genre stalwart Maria Perschy) are given strong characters for a change and each person is given a specific role to play with no chance of the viewer getting confused between them. Stealing the acting honours again is genre icon Paul Naschy who plays a gun enthusiast. Naschy proves himself to be a tough and powerful member of the group. As a whole his performance just lifts the film. THE PEOPLE WHO OWN THE DARK passes the time well, proves to be an interesting adaptation of Matheson's I Am Legend, and, while not one to stay in the mind afterwards, delivers all the chuckles and chills that a fun B-movie should.

christopher-underwood Great title for a film, but just not this one. Over ambitious project inevitably leading to it becoming pretentious, silly and unforgivably, dull. It starts promisingly enough with a disparate group of dignitaries all masked at sat about a banqueting table as pretty girls in diaphanous gowns prepare to submit to their every whim in the name of the Marquis de Sade. Some of us will wish the film continued in this vein instead of lurching into post apocalyptic Twilight Zone territory, with blindness, zombieness and the threat of radiation and the end of the world. Paul Naschy is fine but looks a little more awkward than usual. I find he is usually better when working for himself.

MARIO GAUCI This easily makes for the best film from Leon Klimovsky I have watched, since he had otherwise come across as a strictly pedestrian director. Given the apocalyptic sci-fi premise, this plays like a variation on 1962's THE DAY OF THE TRIFFIDS (revolving around a town-folk blinded by nuclear fall-out) and 1968's NIGHT OF THE LIVING DEAD (having a besieged unaffected community as its protagonists). The former are led by a vicious real-life case who instigates his 'followers' to gouge out the eyes of one girl and shoot another in the mouth!; the latter, predictably, would just as soon fall out {sic} amongst themselves – best of all in this regard is Maria Perschy's put-down of the Paul Naschy character as "the biggest faggot of all time"! The film, therefore, is an ensemble piece – apart from Perschy's hostess (eventually revealed as a lesbian) and Naschy's rugged but volatile man of action (constantly imbibing drinks and smoking), we get Alberto De Mendoza as a Physicist (who probably knows more than he lets on about their current state of affairs) and Antonio Mayans (later elevated to leading-man status in several Jess Franco pictures).Interestingly, the opening sequence has all of these (and others besides, notably a fat man who gradually regresses to an animalistic level!) convening for an underground Sadean 'experience' – donning masks so as to conceal their high-profile identities and with several willing girls at their disposal! – which, ironically, saves their hide. Other films which can be seen to have inspired this one to some degree are two popular Charlton Heston sci-fi vehicles, namely THE OMEGA MAN (1971; the look of the 'monsters'), SOYLENT GREEN (1973; the downbeat 'mass of human flesh' finale), and even Luis Bunuel's THE EXTERMINATING ANGEL (1962; the party-turned-survival-game premise). Incidentally, one of the co-writers here was himself a notable director i.e. Vicente Aranda, who had previously helmed the popular "Carmilla" update THE BLOOD-SPATTERED BRIDE (1972). In the end, while the English title of the film under review is undeniably memorable, I admit to being partial to the subtlety displayed by the Spanish original – which translates to "Last Wish"; as for the copy I acquired, it was only let down by the first three minutes which had jerky movement coupled with audio that was both distorted and out-of-synch!

The_Void The People Who Own the Dark is effectively a reworking of the classic horror film Night of the Living Dead; also taking influence from British horror flick The Day of the Triffids. The film has a really great premise and I was looking forward to it for that reason; in spite of all the critical reviews I've read, but unfortunately the film really doesn't make the best of what it has to offer. It's partly down to the fact that it features a very low budget; but the uneven script, which means the film is good in places and very boring in others, doesn't exactly help either. The plot focuses on a party in an old castle. All the partygoers are rich businessmen, and their fun is spoiled by a nuclear war which, aside from shaking the building, also leaves most of the population blind. The inhabitants of the castle venture outside eventually but get into trouble upon meeting with the newly blinded citizens as they appear to have become mad from the trauma and set out to maim and kill those who still have their sight.The film is directed by León Klimovsky and stars his long time collaborator Paul Naschy. The pair worked together on a couple of Naschy's rubbishy "Homo-Lobo" films as well as the decent Giallo A Dragonfly for Every Corpse. Naschy is one of the major stars of seventies horror; but his role here is very limited and really he's little more than a co-star, which is a shame because the best thing about Paul Naschy films tends to be Paul Naschy. The film does feature a fairly good atmosphere and the director helps the film by putting forward a truly hopeless feeling. The first half of the film really is very boring; the director merely shows us the central characters, none of which are very interesting, and the build up to the party is boring also. Things do get a bit better in the second half as the action starts to take centre stage; and while it's not as good as the films it takes influence from, it is at least fairly entertaining. It all boils down to a dark and depressing ending which is often hated; although I kind of liked it. Overall, The People Who Own the Dark is a disappointing horror movie and not worth going out of your way for.