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8 utilisateurs sur 8 ont trouvé ce commentaire utile :
One of my favourite from Fulci, 4 décembre 2004
Auteur : dave_jackson13 de Melbourne, Australie

Wow. I'm seeing a lot of comments by people who don't like this film. I thought this would be one even non-Fulci fans would dig. I'm a HUGE Fulci freak and this is definitely one of my favourites. Who cares if it doesn't have the typical Fulci gore? It doesn't need it. I even thought all the acting was quite good (a major rarity in a Fulci film) especially from Tomas Milian and Michael J. Pollard. Fabio Testi also has a great leading role type aura about him in a b-movie kind of way. I also loved how confused this movie was, one moment it was a bloody bloodbath next it was a sweet movie about feelings and other gooey things. I think it actually worked (for me at least). There's some really touching moments, some really brutal moments (a scene in which all the characters are tied up and stoned is very nasty) and some pretty funny moments (it's all about Pollard). The soundtrack was bizarre with this nutty tripped out Pink Floyd-esque song singing about the characters kicking in every now and then... crazy. So personally I loved the film and rate it right up there with my favourite Fulcis such as The Beyond, New York Ripper and Don't Torture a Duckling. I'm kind of surprised and little upset to see all the hate for it but I guess I'm just deranged.

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6 utilisateurs sur 7 ont trouvé ce commentaire utile :
Violent And Moving Western By Lucio Fulci, 28 mai 2006

Auteur : Benjamin Gauss de Salzburg, Autriche

Many people, among them even fans of Spaghetti Western, seem not to like "The Four Of The Apocalypse", but it is actually a good movie, even though untypical for the genre. Although the movie's violent reputation is maybe a little exaggerated, the uncut version of the movie has some very brutal scenes, there is a pretty gruesome torture scene, and there is a lot more blood when people are shot than in most Westerns, including Spaghetti Westerns.

The Movie takes place in Utah of 1873, where gambler Stubby Preston meets prostitute Bunny O'Neill, alcoholic Clem and a mentally ill guy named Bud in prison. After Stubby buys their way out of jail, the four head south to a city 200 miles away. They meet an obscure Mexican hunter called Chaco, who joins their group, but soon turns out to be a villainous and sadistic psychopath.

The acting is very good, specially Lynee Frederick's performance as the lovable and beautiful prostitute Bunny, who gives the brutal movie a little heart-warming touch and almost seems a little too innocent for a prostitute, and Tomas Milian who is truly diabolic as vicious Chaco.

The movie's biggest weakness is its score, which is not really bad throughout the whole movie, but in some parts of the movie the songs don't really fall in place with the scenes. Apart from that, the movie is very entertaining, certainly violent but in some scenes even heart-warming. A must-see for every fan of Lucio Fulci and every fan of Spaghetti Westerns, although quite untypical for the genre, since Fabio Testi's character Stubby Preston is not quite the typical anti-hero of the Italian Western.

A highly recommendable film, entertaining and gory, but in some parts also very moving. 7 out of 10.

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3 utilisateurs sur 3 ont trouvé ce commentaire utile :
Oh, that was bitter., 16 mai 2007

Auteur : lost-in-limbo de the Mad Hatter's tea party.

Four lowly criminals that meet in jail; card shark Stubby, pregnant prostitute Bunny, a drunk Clem and the loony Bud manage to escape a vigilante slaughter of the town they were in and end up on a rugged journey in the open frontier. They soon encounter the Chaco, but after helping them out. He soon turns on them, with his sadistic habits coming through and they find themselves at the other end of it. After raping Bunny, Stubby's increasing feelings for her, makes him vow vengeance on Chaco.

Apocalyptic to-right! This cruel, sparse and bleakly nightmarish spaghetti western from Italian maestro Lucio Fulci is one uncompromising trek, where four unique individuals end up guiding us. The episodic screenplay pulls you along for one emotionally domineering and pain-filled excursion into the souls of four (very ordinary) characters longing to make something important from their lives, especially after what they've been through… together. This destiny-bound aspect and redemption angle takes over the odd story, where these rag-tag characters are flung around in manipulative sense and realistically drawn up with rich, quirky and sullen details. It tries to be a passionate and diverse character story, and this makes it one interesting and downright original crack at the flooded sub-genre. I see mentioned a bit, Why's apocalypse in the title? I see this as a reference towards the characters' and their final outcomes. Hope just seems to fade off their faces, after one degrading, macabre and tragic situation after another in a reprehensibly desolate land that can easily break you and take away the things you hold close. Everything that was significant is stripped away, which leaves only one thing on mind for one character… revenge. Tomas Milan's scummy character is the main tool of that torturous downfall.

Fulci is one never to shy away from something in your face, and this one has no boundaries to its depressing nature, relentless violence and unsparingly gritty landscape. His patiently accomplished and pastel direction can feel plodded, but he gracefully lenses it with gusto and the up-close and personal framing illustrates many moody sequences. He knows how to depict haunting images, rough landscape and brutal carnage to fit right in with the film's material and destination. Despite a pretty bumpy rhythm, Fulci keeps it tight and ominous for most part. The opening scenes set the appropriate tone of what's to come and even a slight sense of surrealism. It's technically, a good job. The open and breezy ballad folk soundtrack is a complete delight and gels into the presentation nicely. Performances from the main four are sensitively brought across with a compelling rapport. Fabio Testi's strong performance all round carriers the film. Lynne Frederick is beautifully touching. Michael J. Pollard's screwy town drunk amuses and Harry Baird is fine as the loony black slave. Competing with Testi's performance has got to be the memorably brooding performance of Tomas Milan. He chews up the scenery in what few sequences he does get, as the pitilessly striking bandit Chaco.

The sub-genre was coming to an end, and while Fulci's effort was very late to the fodder. He manages to craft Gothic-laced spaghetti western that has heart within its narrative and guts found in the visuals.

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3 utilisateurs sur 3 ont trouvé ce commentaire utile :
Based on Bret Harte stories, 15 janvier 2005

Auteur : dphelan-1 de Canada

I am surprised nobody has commented in any reviews that this film is based on 2 Bret Harte short stories - " The Outcasts of Poker Flats" and " The Luck of Roaring Camp". Names and details are slightly altered but the plots are very much intact.As far as I can determine this is the only European western based on Bret Harte's works. "The Outcasts of Poker Flats" has been filmed several times before including a 1930's version with Preston Foster and a 1952 version with Dale Robertson.Harte's stories have a touch of the sentimental about them and this is reflected especially in the "Luck of Roaring Camp" part of this film.

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2 utilisateurs sur 2 ont trouvé ce commentaire utile :
Good western from Fulci, 31 octobre 2008

Auteur : Bjorn (jbjorns) de Islande

Four unfortunate souls seek a better existence after narrowly escaping a town wipe out, each of them flawed in their own way. After a deadly encounter with a devil in human form they pursue their goal more scarred than before. The journey proves fateful and maturing for the only one left.

I'm trying to be philosophical, although this is maybe not the best way to describe Lucio Fulci's "Four of the Apocalypse". Testi plays a card shark who gets saddled with a loony tune, a miserable drunk and a prostitute after being thrown out of a town that's just suffered some "righteous" massacre. On their way to another town they encounter Chaco, a vicious madman who leaves them for dead after looting them. What happens next is something I did not expect from Lucio Fulci.

Although the dubbing here is pretty bad, the acting uneven at best (though I did think Testi did perform admirably) and the music score horrendous the film possesses a strange kind of charm with it's humane unexpected twists. I don't want to blow the ending but the film's philosophical tone really hits home. Ultimately this film is about Testi's maturing along the way, a lawless land that still possesses a good dose of humanity when it's required and a solid revenge/redemption theme as well. Again, not what I expected from Fulci, but then he continually surprises with each film I decide to check out.

There are at least two somewhat horrific sequences that Fulci manages to squeeze in here but in the end that's not what stays with you after this film. I'm not a western freak at all but I really liked this film and those who are partial to Fulci will surely enjoy it as well.

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2 utilisateurs sur 2 ont trouvé ce commentaire utile :
Visceral and Symbolic, 5 novembre 2007

Auteur : Brandt Sponseller de New York City

Although by standard genre conventions, I Quattro dell'apocalisse (Four of the Apocalypse) is definitely a (spaghetti) western, in many ways it is just as terrifying as any of director Lucio Fulci's more famous horror flicks.

The story centers on four people who end up together by happenstance--they are all jailed in a small Utah town. After most of the town is massacred, the four are set free and try to make their way together to a city 200 miles distant. Although adapted from two Bret Harte stories, "The Luck of Roaring Camp" and "The Outcasts of Poker Flat", Fulci and screenwriter Ennio De Concini amped up the violence, added a character, Chaco (Tomas Milian) probably influenced by Charles Manson (and prescient of Johnny Depp's Jack Sparrow portrayal in a way that must be more than happenstance), and embedded the Biblical "Four Horsemen of the Apocalypse" connection.

In the Bible, the four horsemen represent the destructive phenomena of pestilence, famine, war and death. Here, there's more of a "seven deadly sins" flavor, as the four main characters represent greed/gambling, prostitution, alcoholism and insanity. Adding Chaco to the mix flips traditional morality on its head, as the four protagonists must bond as they try to help each other survive.

The penultimate act is subtly mystical--it's almost as if the remaining protagonists have been temporarily transported to heaven, although the greatest tragedy occurs in this setting, too. Fulci slyly transforms the environment during this section, a change that actually begins to occur during the previous act, with a heavily symbolic downpour.

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2 utilisateurs sur 2 ont trouvé ce commentaire utile :
A Fulci western...Not quite what you'd expect., 2 janvier 2006

Auteur : Mr_Thing de Etats-Unis

*** Ce commentaire peut contenir des spoilers ***

Before I saw this movie I had this preconceived notion that it would be something like an old west exploitation film filled with torture and graphic violence. I was wrong; this film is really nothing like that at all. It's more like a love story or a Drama (I know it sounds weird being Fulci and all) with one or two scenes of shocking violence and graphic gore.

It's about these four people who meet in a jail house and are forced to leave town on the same wagon together after a massacre in the town they were at. There's a crazy black guy who claims he can see dead people, a prostitute, a gambler and a drunk. They run across a hunter who turns out to be a Sadistic criminal (Tomas Milian). He rapes the woman, shoots the drunk in the knee ties them up and leaves them for dead. Things go downhill from there.

The characters are all established and developed early and you actually care about them which is a big plus. The performances are all decent with Lynne Frederick (as the prostitute, Bunny) and Tomas Milian as standouts.

The violence, when it does occur, is very realistic and quite shocking (The scene when the gambler finds out that they just ate their dead friends left buttock was particularly disturbing). There are also some gory shootings and a brief torture scene but that's about it for violence.

The movie is a little too slow moving and uneventful. It spends too much time developing the love story between the gambler and the prostitute. Another problem I had with the movie was Milians screen time. He could have crafted one of the greatest villains in Spagstern history but unfortunately he only has maybe 15 minutes actually on screen.

Overall this was not what I expected but still not bad. It has a great soundtrack, likable characters, decent acting, beautiful locations and great cinematography. You might want to check it out if you're a fan of Spaghetti westerns or of Lucio Fulci.

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1 utilisateurs sur 1 ont trouvé ce commentaire utile :
A real surprise from Fulci, 22 juin 2009

Auteur : noahbbrown de Royaume-Uni

I'm a fan of Fulci's work but until now had only ever seen the splatter movies from his mid- to-late career. On the basis of this, I will dig deeper and check out more of his earlier films.

This is a very strange Western, beautifully shot with a bizarre psychedelic score. Performances are good, theatrical and a little overblown (the dubbing never helps), but they fit well within this unusual morality play.

The film is loaded with symbolism, concerned with themes of birth, death and redemption. Fulci was an artful director when he wanted to be, but never concerned himself with linear plots. The story here is easier to follow, but takes an interesting turn towards the end when Stubby and Bunny find the town populated by men. Pacing up to this point was sharp, but here things did drag a little.

There are some well-handled action sequences, a little hard-boiled violence (but leagues away from the incredible sadism of something like 'New York Ripper') and some humorous touches, mainly provided by the character of Clem, the town drunk. The whole thing has an acid-fried feel that's a bit redolent of Jodorowsky.

Worthy of repeated viewings and further study. The conventions of the Western have provided a great canvas for many auteurs - Fulci makes the most of stock characters and visual cues, imbuing them with all the sub-text he wanted to get across.

I'll definitely check out 'Massacre Time' after this. Anyone who's been bored or insulted by the director's later stuff like 'Voices From Beyond' should watch this and see the full breadth of the grumpy old feller's ability.

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1 utilisateurs sur 1 ont trouvé ce commentaire utile :
The final word in nihilist pasta westerns, 1 novembre 2007

Auteur : Andrew Leavold (trash@trashvideo.com.au) de Brisbane, Australie

*** Ce commentaire peut contenir des spoilers ***

Prolific B-filmmaker Lucio Fulci made Four Of The Apocalypse just after his violent giallo thrillers like Lizard In A Woman's Skin and Don't Torture The Duckling, and before he kickstarted the Euro-splatter genre with Zombie Flesheaters in 1979. With a pedigree like that, you can tell that Fulci specialized in the darker side of human nature. In The Four Of The Apocalypse, when the blood starts to flow - and it seems to appear more often than necessary - Fulci rises to the task and is not afraid to show it.

This is the West as rewritten by Leone, Peckinpah and company - lawless, brutal, and certainly no place for the righteous. Fabio Testi plays Stubby Preston, a super-suave card shark who rolls into town just as gambling is declared illegal. The sheriff (played by Run Man Run's sheriff Donal O'Brien, locks him in a cell with the so-called scum of the earth: the visibly pregnant woman of the night Bunny (played by the late British actress Lynne Frederick), an unnervingly upbeat African American named Bud, and the weird-looking cherubic Michael J Pollard, most famous for his role as the slightly brain-damaged CW in Bonnie And Clyde, here on his downhill career slide as Clem, the slightly brain-damaged town drunk.

Hooded killers cut a swathe through the rest of the town in a display of gloriously slow motion wholesale butchery while sheriff plugs his ears - and this is before the end of the credits! The four cell mates hitch their wagon southwards, bickering and sniping at each other, all to Greek Chorus courtesy of an abysmal 70s West Coast pop group. Along comes the mysterious half-Indian Chaco, played with demented abandon by a very different Tomas Milian. He soon shows his true talents - hunting, torture and administering peyote like a crazed psychedelic priest.

The harsh landscape suddenly becomes nightmarish and surreal, and the film frequently makes trips across the border into grand guignol territory, which is great news for lovers of Fulci's zombie quartet. But it's not all gloom; there are moments of genuine tenderness and heartbreak in the unlikely pairing of a gambler and a pregnant prostitute. And speaking of pregnant, you're going to need a cast-iron stomach to handle this one, possibly the last word in nihilist splatter westerns: the 1975 Four Of The Apocalypse.

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1 utilisateurs sur 1 ont trouvé ce commentaire utile :
Unique euro-western, draws from "Straw Dogs", 11 février 2005

Auteur : funkyfry de Oakland CA

*** Ce commentaire peut contenir des spoilers ***

I haven't quite seen anything like this before. Not that it was anything all that incredible, but it was pretty interesting and, I think, unique. In a way, though, the central plot is basically a variation on Sam Peckinpah's "Straw Dogs" in a Western setting. I had heard this movie was an attempt by Fulci (whose zombie movies I am familiar with) to "top" Corbucci's "Django".... I kind of thought that Chaco was going to rip the girl's fetus out of the womb, because that's the only thing that would actually have topped Django! This movie is not more shocking, nor I think is it truly a better film than Django, but it's certainly one of the better "imitations." I found it very odd the combination of the music and the setting... the early part of the film set it up as much more of a lighthearted film than it actually ends up being. I have a feeling a whole lot of audiences probably walked out of the theater when Chaco started flaying that guy.

Not recommended for the squeamish.... this is closer to a cannibal flick (in fact, now that you mention it.....) than it is to a classic Western.

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