Horror Movie Review: Specters (1987)

It’s always a pleasure to find Donald Pleasence hiding away in some forgotten Italian horror film from the 80s, which is very much the case with Specters (Italian: Spettri). A supernatural horror that has some style, plenty of class, feels suitably 80s (and Italian), but has nothing of note elsewhere. Which includes Donald Pleasence and a cast made up of John R. Pepper, Trine Michelsen, Massimo De Rossi, Riccardo De Torrebruna, and Lavinia Grizi.

The story takes place in Rome, as a tunnel excavation for the building of the Metro uncovers an underground necropolis. Which, unsurprisingly, has the archaeology world jumping up and down with glee. Four archaeologists, led by Pleasence’s Professor Lasky, investigate in the hope that they have found the mysterious and legendary Tomb of Domitian. Something they have been long searching for.

What they end up uncovering is an evil force that threatens the lives of everyone. Eventually…

This evil force likes to take its time, messing with the locals and killing off some minor characters in insipid fashion. Of course, this is all build towards a latter part of the film where everything ramps up, the blood flows, and the streets of Rome crack with the power of pure evil. Right?

Sadly, that dream summation is not even close to what happens and Specters peters out with as little energy and life as it showcased on route to its end. Plenty of this is because the film had little to no budget, something that’s clear from the mostly bloodless deaths and lack of seeing the main villain. However, plenty is also a choice and you can tell there was an attempt to try and make this more ‘Giallo’ like.

Sure, there are aspects that fit, but most of them come from a stylistic visual and sonic approach that is in-keeping with Italian horror films of the time. Nothing to complain about, but nothing to get excited about either. The look, sound, and feel of this film is what gives it style and class though.

Ultimately, Specters is a mundane experience that never manages to spark into life. What it offers can be experienced exactly the same in far better films, and even the pull of Donald Pleasence isn’t enough to make it memorable. His film CV isn’t pretty, but it’s unlikely that this role was one that he was particularly proud of.