Nigel P A bus full of travellers is heading for the town of Bojoni when the driver suffers a fatal heart attack, and the group is forced to stay in the deserted Tolnio village overnight. This and many other films begins with a similar premise.The first element of note is that this features one of the worst horror film music soundtracks I have ever heard. For example, a scene of a little girl exploring ruined buildings with a small boy who may or may not be a ghost, has every ounce of atmosphere drained completely by this often tuneless jazzy music. It sounds like a pornography soundtrack and does its best, for the most part, to kill all the efforts of Diector León Klimovsky and his team stone dead. Many of the moments uninfected by this rotten score are very effective – although there are no orgies to speak of, the various vampire activities are pretty sinister when not swamped by inappropriate melodies.Sadly, the whole project suffers because of this. It would otherwise be a fairly effective variation on the 'Night of the Living Dead' theme, with vampires replacing zombies. There are some good moments – the female vampire decomposing in the back of the car as Luis (Jack Taylor) and Alma (Dyanik Zurokowska) drive into the sun-set, and the afore-mentioned disappearing ghost-boy who accompanies young Violeta (Sarita Gill), for example. The locations are also very good, as films from this period often are – genuinely dilapidated buildings making haunting, ghostly panoramas proving to be very isolated backdrops.

Thorsten-Krings I haver to say that I quite liked this film. The story is a mix of Brigadoon, And then there were none and a vampire film. A busload of people off to work in a remote castle have to stop in a small village because their bus driver died. The town is deserted on the first night and the group take rooms in the local Inn which on the next day is normally populated. You may guess it: the inhabitants are vampires. In order to feed their guests they chop off their own limbs which leads to a scene that almost made me throw up although no gore was involved. It is simply showing the "giant" wielding the axe to chop off a leg and then a succulent joint of roast meat in the next scene. we all know what they are eating of course and they keep talking about that delicious special flavour. Amidst nudity the members of the group are then chased one by one. The story in itself is not original but the film is very atmospheric with an isolated mountain village in Spain being a fresh and interesting location. The version I watched was the one that was cut down to about 80 minutes. Unfortunatzely they cut the nudity but 80 minutes is actuall quite a good running time for that fairly thin story. So all in all, this is quite an entertaining film. I just find it amazing how many horror films were produced in Spain duriung the last years of the Franco dictatorship.

Scarecrow-88 A bus driver taking a small group of hired help for a new job at a wealthy estate, has a heart attack leaving them in quite the predicament. Needing rest, they find a sleepy Spanish village surprisingly absent of citizens. One amongst them is attacked by those citizens who just so happen to be vampires, under the servitude of The Countess(Helga Liné, wasted in a rather underwhelming role). Soon the others' lives are at risk as the village folk, who seem hospitable if rather strange, await them when most vulnerable, at night. One by one, members of this group of outsiders fall prey to The Countess and her minions. Luis(Franco regular Jack Taylor), a traveler passing through, falls in love with Alma(Dyanik Zurakowska)and believes that the people of the village are not who they appear. His car was tampered with and fixing the cut wire will be a top priority so that Luis and, the ever-frightened Alma, can get out of this place before they are doomed like the others.Director León Klimovsky, known for his films starring Paul Naschy, attempts to develop an atmospheric horror film regarding trapped outsiders in a hostile place where vampiric citizens are around every corner. The vampires of this particular film are more in spirit with Romero's zombies with how they rush human victims, how their hands grab across the terrified faces of those screaming for help that will not arrive, and especially how León Klimovsky photographs their faces coming towards the screen. There's little to no blood, quite an anemic vampire film. The Countess only really conquers one victim with her bite, before tossing his torso over her bedroom's ledge for her blood-thirsty brood. She makes an appearance once as a seemingly generous host to the group with a supposed bus that can not crank. Later, The Countess appears again, exiting her crypt and eventually hopping in the backseat of Luis' car attempting to thwart their escape. Little nudity, merely a brief glimpse of Zurakowska's breasts, with Taylor's Luis spying on her through a torn hole which eyeballs directly into her bedroom. The night attacks are what I thought worked best while the tacky jazzy elevator musical score(s)leave anything to be desired. Quite low budget, with an twist ending that isn't needed and feels forced so that we are left wondering if what we saw was real or imagined. Liné, as the vampiric Countess, has a sex scene with a potential victim, but nothing is elaborated. Perhaps the most horrifying scene is the accidental suffocation of a young girl. Despite how lurid the title sounds, this really isn't that exploitive.

Woodyanders Big troubles are in store for six luckless tourists who include indefatigable hack horror thesp Jack ("Succubus," "Pieces") Taylor and slinky blonde minx Dianik Zurakowsla when their mini-bus breaks down nearby the remote rural hamlet of Tonia, Transylvania. You see, this cut off from the rest of the world's rustic village's inhabitants consist of nothing but ravenous, long-fanged, flesh-eating, blood-drinking vampires who intend on making yummy meals out of Taylor and friends! Va-va-voomish redhead Eurobabe Helga ("Horror Express," "When the Screaming Stops") Line portrays the evil, wealthy, sexually voracious countless of the plasma-slurping ghouls who's fond of sucking men dry after she makes love to them. The expert direction from Spanish fright film maestro Leon ("Werewolf Vs. the Vampire Woman") Klimovsky begins things in a deceptively gradual and deliberate manner, deftly creating a nightmarishly spooky atmosphere which eventually gives way to a steady succession of jump-out-at-you startling shocks. The eclectic soundtrack alternates between funky slow-drag prog-rock, groovy lounge tunes and mushy weeping violins muzak with hilarious regularity. The barren mountain countryside exudes a natural sense of desolate menace. Having dubious "hero" Taylor be a leering scuzzball voyeur who gleefully peeps on the lovely Dianik through a hole in the wall as she disrobes in an adjacent room adds an extra amoral edge to the already twisted proceedings. And, best of all, there's a pleasing plenitude of gratuitous nudity, soft-core sex and gory violence to make this a terrifically trashy chunk of on-the-money Eurosleaze horror exploitation fun.