And more horror/mystique, than fantastic, for the transmigration and settlement of souls takes place by a non-hardware method, so to speak, spontaneously. And these scenes are decorated, as befits for the main plot with all the available cinematic magic of the 80s from color correction and lighting, with great musical accompaniment, close-ups of the actors, with their impossible charismatic and expressive faces to the most affordable budget tricks and special effects. In the title scene, the musical liner to the gs was shocked with a simple passage through the night city, the background to the credits, but in the coloring of the 80s. And in the final, of course, the widely emotional Leslie Wing. Very wide.
The gap between these scenes - the film - the authors tried to fill all available to craftsmen cinematographic methods that worked at the time. Here and the musical accompaniment pumps up suspense, and the drawn horrors and horrors are manic. Shooting with different colors and tones for various emotional manifestations in the viewer is reality in bright and lamp tones, mysticism in gray-green. And then there's the transitional scenes -- striped -- from the shadow of the blinds. There are gorgeous close-ups of beautifully emotional actresses. Only G remains in one mask-face, little moving professional muscles throughout the plot.
Behind all this instrumental set, a suspense has been lost. The film does not touch the string of intrigue in the sensual arsenal of the viewer. Just telling a story. Fictional and not real. And here we should let the fog of unidentifiedness in. . .
4.8 out of 10