Mortuary 1983 123movies

Watch: Mortuary 1982 123movies, Full Movie Online – Christie Parson has been having terrifying nightmares ever since her father drowned in a swimming pool. Christie’s mother believes this was a tragic accident, but Christie believes he was murdered. Then her boyfriend Greg Stevens sees a sinister hooded figure in the town’s mortuary, the same figure that was following and harassing Christie. Greg’s and Christie’s curiosity plunders them into a series of bizarre and terrible circumstances at the mortuary, a dark and ghastly place managed by Hank Andrews and his son Paul. Christie will soon discover the ghastly truth behind her father’s death, but in doing so, she may not live to see the morning..
Plot: Christie Parson has constant nightmares of her father’s death whom died in a swimming pool. Christie’s mother thinks it was an accident, but Christie believes in was murder. Christie then see’s an unknown figure dressed in a cape following her and harassing her. But still nobody believes her, until her boyfriend sees the figure himself. The figure hides in the town mortuary which is owned by Hank Andrews and his demented son, Paul. Both are trying to form rituals to bring back Dr. Parson’s spirit. But, who is this figure and why is he harassing Christie?
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Ratings:

	5.1/10 Votes: 2,444
	N/A | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 54 Popularity: 5.253 | TMDB

Reviews:

Decent Film but Misleading Box Art
ARC, Artists Releasing Corporation, stands behind yet another film from the early ’80’s as a distribution company. These were the same guys responsible for releasing 1981’s Incubus followed up by another Slasher in 1982 entitled Pieces (aka Mil gritos tiene la noche). This title falls in line with the familiar Slasher recipe, one of which you’ve seen quite often.

The story opens with two friends, Greg and Josh, that travel to the local mortuary; a point of employment before Josh was unexpectedly fired. While breaking and entering, the two men notice a strange ritual taking place in the lower levels of the establishment. The two are eventually separated long enough for Josh to be brutally murdered by the hands of a black-hooded fiend who dons white facial powder and black makeup. Greg quickly escapes and notices his van, which is parked outside, drive off; causing him to believe that Josh left without him. He manages to escape with the help of his girlfriend, Christie Parson, who is still mourning the supposed accidental death of her father. The young couple attempt to fit the pieces of the puzzle together by inspecting overlooked details. Periodically they are met by the mortuary owner’s son, Paul Andrews (a 28-year-old Bill Paxton). Paul has an obvious crush on Christie but due to his awkward disposition and banal persona he is denied outright. With various clues to throw you off the beaten path you are left to decide the identity of the killer along with his modus operandi.

In my opinion, there are two different types of Slasher films. The first and most common would be the “whodunit” film where the murderer plays a role in the group that’s methodically killed during the course of the story. Usually the audience is led down false channels to divert their attention of who the killer really is. The motive is usually jealousy or rejection but almost always caused by psychotic tendencies. The second type of Slasher film involves more of a rudimentary approach; a crazed, anonymous individual is on the loose, savagely butchering the “fish in the barrel” as it were, until finally a plot detail is uncovered and some connection can be drawn. Of all the Slasher films I’ve seen (I’ve seen over 25 from the 1980’s alone), these formulas, sometimes even a combination of the two, are almost always represented in some way or another. Mortuary adheres to the first equation I mentioned: a group of actors are introduced, certain characters show up at convenient times, and the true villain is revealed.

One of the biggest problems with Mortuary is that it starts off well enough by building a dash of suspense and intrigue; a well done approach and clever contrivance that’ll serve as a platform for merriment rather than sensory detainment. Okay…so why is this a problem? Well, it’s not long before the film starts loosing momentum and the competent devices aforementioned start abandoning ship faster than the crew of a sinking vessel. This occurs instantly when Mortuary decides to take it upon itself to reveal the killer halfway through the story, ruining the shocking outcome you were hoping for.

As the sub-title of my review indicates, Mortuary attempts to seduce you with its impressive-looking box art but unfortunately the story doesn’t play up to what you’d expect. In fact, you’d be doing yourself a great service if you choose not to even acknowledge the artwork and that’s a sad state of affairs coming from me. Unfortunately, you’re here on IMDb and undoubtedly examined it anyway, thus rendering my warning useless and all for naught. The presentation and graphical layout of a film’s box art is essential to all movie-goers; the experience is not exclusive to fans of the horror genre. I believe that since this genre can be credited with visual expressiveness more than 50% of the time the accurate depiction of the film via artwork is a crucial step in forming our first impression. Shame on you Mortuary! Your adept use of artistry on the front cover holds dominion over our judgement! How dare you!

In closing, I thought it’d be decent of me to rate Mortuary fairly. Although I chose not to discuss in explicit detail the musical score, it’s wonderful and a joy to listen to. It’s a prime example of what a suspenseful chiller should employ to elevate or enhance the apprehensive sequences that follow. The acting just simply “gets the job done” along with an above-average lighting approach that heavily compliments a rich set construction. If the portions discussed precendently chose to pan out differently I may have loved this film – sadly, it’s quite content on subsisting in the mid-ranged array of films that comprise my vault of horror.

Don’t steal tires
Hikmet (or Howard) Avedis studied at the University of Southern California and won the George Cukor Award, which totally prepared him for a lifetime of working in exploitation fare. With titles like The Stepmother, The Teacher (consider it the grindhouse version of The Graduate), The Specialist (where Adam West fights against the water company), the Connie Stevens’ classic Scorchy and the utterly baffling sex comedy/giallo They’re Playing With Fire, Avedis may not have made Oscar-worthy pictures, but he certainly knew how to entertain. He also wrote this movie along with his wife Marlene Schmidt, who also acted in this movie (as she did in nearly every movie he made).

Known internationally as Embalmed and Hall of Death, this film has shown up on a few of the top ten slasher lists that we’re putting together for later this month. It’s a great example of what happens when a slasher strays from the form somewhat and you get the idea that this movie is kind of like a carny haunted house, ready to scare you at every turn.

Wealthy psychiatrist Dr. Parson has died and only his daughter Christie (Mary Elizabeth McDonough, Erin Walton from The Waltons and one of the stars of the abysmal Funland, a movie we’ll be getting to before too long) believes that there was foul play. The official word is that he drowned and that’s good enough for her mother Eve (Lynda Day George!), who doesn’t believe the dream her daughter had where dad was bludgeoned with a baseball bat. Oh yeah – she also sleepwalks all the time.

But let’s forget about all that. Let’s get to the mortuary, where Christie’s boyfriend Greg Stevens (David Wallace, who was also in Humongous) is stealing tires with his friend Josh. After all, if Hank Andrews (Christopher George, never far from his wife, in one of his last roles) isn’t going to pay Josh fairly, they may as well take what they want.

While they’re in the midst of this larceny, an occult ritual just happens to happen, with Hank leading a bevy of gorgeous women in what is called a seance. Josh is unfazed, as he claims that this kind of thing happens all the time. He goes off to get the tires and gets stabbed for his efforts. Greg can only watch as someone drives off in his van.

Greg and Christie search everywhere for Josh, including the local roller skating rink because it’s 1983. There’s some insanely great roller skating footage here, if you like that kind of thing. You know that I do.

As Christie drives to her family’s mansion the next day, a car starts to follow her. Soon after her arrival, a hooded figure begins to follow her around the pool where her father died. Her mother claims its all a dream.

The next day, Greg tells Christie that her mother was one of the women in the ritual he watched. That makes sense to her, because now Eve and Hank are shacking up and her dad’s corpse is barely cold. If things couldn’t get weirder for our heroes, Paul (Bill Paxton, who shows up in so many great films of this era), the son of Hank, begins getting hoy and heavy for his soon-to-be stepsister. He’s even weirder than his dad, but that’s probably because his mom killed herself.

Greg and Christie try to hook up, but her entire house goes wild, with lights flashing on and off, music playing by itself and even the film seeming to stop and start. It’s a great sequence and really sets up the gaslighting – or supernatural attacks – that Christie is forced to endure.

Greg and Christie decide to follow her mother, who heads right to the mortuary. Stranger and stranger? It gets even more so, as a cloaked figure who looks like Paul attacks Christie that night and in a shot that looks similar to Suspiria, almost pulls her out of a glass window.

While Eve again says it was all a dream, she does have one oddball theory: Paul used to be a patient of her dead husband and he was obsessed with Christie, talking about her the entire time. This is soon followed by Paul, clad in a latex mask, appearing and stabbing Eve in her bed. He attacks Christie and brings her to the mortuary, claiming that he intends to embalm her alive.

Hank arrives to stop him and we get the villain moment where he explains his actions: he had to punish everyone, like Eve for telling Christie he was insane and Dr. Parson for putting him in jail. He then goes one step further by stabbing his father just in time for Greg to try to save her. A battle leads to Greg getting locked in the embalming chamber while Paul arranges all the bodies of his victims for a wedding ceremony.

You know how weddings go – you spend much of the time conducting a symphony. Paul does exactly that while we see all of his victims, including his mother who was in a coma and not dead. What follows is a battle between Paul and his scalpel and Greg with an axe, ending with Christie sleepwalking her way into killing the villain with one hack of the axe into his back. Our heroes embrace, just in time for Paul’s mom to awaken from her coma and attack them with a knife, probably because she saw the end of Carrie and knew this needed one more jump scare.

We’ve talked about Gary Graver and his work for Orson Welles, in the adult film industry and within films like Texas Lightning, Sorceress and Trick or Treats, amongst other films. His cinematography makes this movie a cut above ordinary slasher fare.

Other Information:

Original Language en
Runtime 1 hr 33 min (93 min)
Budget 0
Revenue 0
Status Released
Rated R
Genre Horror
Director Howard Avedis
Writer Howard Avedis, Marlene Schmidt
Actors Mary Beth McDonough, David Wysocki, Bill Paxton
Country United States
Awards N/A
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono
Aspect Ratio 1.85 : 1
Camera N/A
Laboratory DeLuxe
Film Length N/A
Negative Format 35 mm
Cinematographic Process N/A
Printed Film Format 35 mm