Color, 1981, 92 mins.
Directed by John Hough
Starring John Cassavetes, Kerrie Keane, Helen Hughes, John Ireland, Duncan McIntosh
Scorpion (US R0 NTSC), Elite (US R0 NTSC) / WS (1.85:1) (16:9)

The IncubusThe quiet New England hamlet of Galen finds itself rocked by a string of brutal murders involving the grisly sexual assault of women, with a few unlucky guys dispatched along the way as well. The new doctor in town, Sam Cordell (Cassavetes, cashing a paycheck for his next directorial effort), teams up with the locaThe Incubusl police chief (Ireland) and a glamorous reporter (Spasms' Keane, making her feature debut with a bizarre, chilly performance) to find the demented culprit - or perhaps culprits, judging from the amounts of, er, fluid found during the autopsies - behind these ghoulish crimes. Meanwhile Tim (McIntosh), the boyfriend of Cordell's daughter, suffers from vivid nightmares which seem to coincide with each murder. As it turns out, the town suffers from a history of demonic mayhem and mysterious killings which tie in to the mythical incubus, a sexually voracious, nightmare creature that ravages its victims.

An outrageously sick entry in the slasher sweepstakes from the early '80s, Incubus (which was promoted as The Incubus, perhaps to avoid confusion with the earlier William Shatner film) is comparatively low on graphic bloodshed but makes up for it with dashes of the supernatural, some marvelous small town atmospherics, a few good jolts, and a flood of tasteless dialogue that'll make you choke on your popcorn. Based on a particularly creepy, sleazy 1978 novel by Ray Russell (screenwriter of Mr. Sardonicus and X: The Man with the X-Ray Eyes), thisThe Incubus one doesn't go too far depicting the explicit sexual horrors in its source but makes up for it with a barrage of icky casual dialogue like "The uterus was ruptured just like Mandy's," "What I saw under the microscope looked like sperm, but it was red," and "There was so much sperm in her that the hemorrhaging itself couldn't get rid of it," all delivered by Cassavetes no less. Oddly enough another 1981 horror film, Wes Craven's Deadly Blessing, dealt with the idea of an incubus as well but in far less graphic (and more gender-confused) fashion. This is easily the stranger and sicker of the pair, with grim undertones of loss, regret, repressed incest, emotional trauma, anThe Incubusd lots of other nastiness boiling under the surface; the stark Canadian locations (including a creepy gothic museum library) just add to the weird atmosphere, which manages to carry the film over its occasional script speed bumps.

Director John Hough had done the offbeat horror routine before, notably in The Legend of Hell House (which gets a callback here with an extended sequence involving the research of occult texts) and the previous year's The Watcher in the Woods, but The Incubus is a whole other matter entirely. The shock quotient of the subject matter has been dulled by years of NYPD Blue and Law and Order covering some of the same general material, but the treatment of nightmares intruding on reality gives it a spin like anything else since. The film is also professionally mounted and features a solid score by the late Stanley Myers, who wrings tension out of several scenes; far more surprising is a wild movie theater sequence with an extra treat for Iron Maiden fans, which really comes out of nowhere. And watch out for that sick twist ending! The Incubus

Released in the U.S. by Film Ventures International, The Incubus made its way to VHS and laserdisc from Vestron in one of their grayest, dreariest transfers, which is saying a lot if you're familiar with their output. The first DVD was released in 2002 from Elite Entertainment, complete with the following disclaimer: "You may notice occasional film grain in certain scenes in this picture. This grain is inherent in the original film elements used." Actually it looked fine considering how grungy the film's aesthetic is, and the sole extra was a dupey-loThe Incubusoking theatrical trailer (complete with that wonderful early '80s horror narration.)

The 2013 revisit from Scorpion Releasing comes packaged as part of their Katarina's Nightmare Theater line with hostess Katarina Leigh Waters in optional wraparound segments, kicking off with her waking up from a nightmare (of course) before she dives into various facts and figures about the talent behind the film. The transfer itself is probably about as good as you'll get; thankfully it still looks naturally grainy (as any attempts to smooth this puppy out would be disastrous), and colors look very healthy. There's some image jitter around the 83-minute mark that seems to be a film printing issue in the original materials, but otherwise it's smooth sailing and nicely spread out over a dual-layered disc. The mono audio sounds about the same as it always has, clear enough with plenty of shrill violins to keep you tense. The trailer is carried over here (same old 4:3 version), plus bonus ones for Death Ship, Day of the Animals, Alley Cat, Mortuary, The Hearse, The House on Sorority Row, The Return, and Humongous.

Updated review on January 7, 2013.