#specters1987

Artist's Blog #234 - Specters (1987)

Donald Pleasence, Almost Trench Coat and All

This week I watched Specters, and just getting this one on screen felt like half the battle. It’s one of those Italian horror titles that seems to hide behind alternate names depending on where you’re searching, which can make it unnecessarily difficult to find unless you already know exactly what you’re looking for. Once I got it rolling, though, I was immediately met with a familiar face in Donald Pleasence, and as expected, he settles right into that intellectual, analytical role that he carried so well throughout his career. Here, he leans into that archaeologist or academic type, bringing a calm, measured presence that almost feels like a carryover from his more recognizable performances. There’s even a wardrobe choice that edges toward that classic trench coat look, which adds to that composed, thinking-man persona. It’s the kind of casting that gives the film an early sense of credibility, even before the rest of it begins to unfold. Grab your archelogy tools - whatever that is - and let's dig into my thoughts on this one from my fifth year around the ball of fire in the sky.

Pacing, Narrative, and Overall Experience

The pacing of Specters is something that really stands out, and not always in a way that works in its favor. This is a slow-moving film, the kind that takes its time building atmosphere but doesn’t always reward that patience. I ended up watching it over the course of two days, not because it demanded that kind of viewing experience, but because it was difficult to stay fully engaged in one sitting. By the end, I found myself still trying to piece together exactly what had happened. The narrative leans into supernatural horror with touches that feel reminiscent of other genre staples, almost like a blend of ideas that never fully lock into place. There are moments that echo dreamlike horror and others that suggest something more grounded, but the transitions between those ideas can feel disjointed, leaving the overall experience a bit confusing.

Visual Reception and Color

Visually, Specters does have its moments. There’s a sequence involving shadow work that immediately brought to mind that classic long-fingered silhouette imagery associated with early horror cinema. When the creature is finally revealed, it has this strange, unsettling look that feels like it should carry more weight than it does. Unfortunately, the tension is cut short almost immediately in a way that feels abrupt and unintentionally humorous. That same tone carries into the film’s gore effects, which lean heavily into bright, exaggerated reds that come across as more stylized than realistic. Depending on your taste, that can either add charm or take you out of the moment. For me, it landed somewhere in the middle—noticeable, but not enough to fully define the experience.

A large portion of Specters takes place in catacomb-like settings, and that’s where the film probably comes closest to tapping into something genuinely unsettling. There’s an inherent tension that comes with underground environments—tight spaces, limited light, and the sense that you’re somewhere you’re not meant to be. It reminded me why caves and underground tunnels have always carried that uneasy reputation. I’ve been in a cave once, and that was enough to know it’s not something I need to repeat. The film uses those environments well visually, even if it doesn’t always maximize their full potential narratively. The atmosphere is there, but it feels like it’s only partially explored.

While we're talking about visuals, peep this awesome Cadillac from this film below - Wow! Now that's art!

A Unique Scene and Surrealism

There are also moments that lean into surreal horror, including a scene where a character is pulled down into a bed, which immediately brings to mind that kind of dreamlike, nightmare-driven imagery that would later become more refined in other films. It’s an interesting concept, even if the execution feels a bit rough around the edges. That’s really the recurring theme with Specters—there are ideas here that feel like they could have been expanded into something more impactful, but they never quite come together in a fully satisfying way. You can see the intention, but the follow-through just isn’t always there.

Closing Thoughts on Specters

In the end, Specters is one that I can appreciate in pieces, but it didn’t fully land for me. It’s not a bad film, and there are elements worth noting, especially if you’re a fan of Italian horror or Donald Pleasence’s body of work. But for me, it felt a bit too scattered and difficult to follow to really connect with. It’s one of those watches where you walk away still trying to make sense of it, and not necessarily in a way that makes you want to revisit it. I’m glad I gave it a shot, but this isn’t one I see myself coming back to anytime soon.