Spoilers follow ...
- Symptoms review by NP
Considered a lost film since its last showing on television in 1983, this carefully paced, deeply atmospheric tale is only beginning to find a new level of appreciation since its rediscovery. Peter Vaughn, often cast as ‘heavies’ at the time is quietly menacing as Brady, the ‘odd job man. Lorna Leilbron, who was so good in ‘The Creeping Flesh’ plays Anne, eminently sensible and unflappable. And, providing an amazing performance, Angel Pleasance plays Helen, who lives in her huge inherited estate in the middle of the secluded English countryside, convalescing from some undisclosed breakdown and yet still clearly suffering. Whilst not quite as other-worldly as she was in ‘From Beyond the Grave’ earlier in the year, her more subtle playing of quiet madness reveals itself as the story plays on.
The storyline is thin and it comes as a huge non-surprise to find the deranged killer on Anne and other sundry characters is Helen. And yet the fact that Brady is too obviously a red herring (although hardly unimpeachable) doesn’t disappoint because Pleasance plays it so fascinatingly well.
3 out of 3 members found this review helpful.
You Might Very Well Be Shocked.
- Symptoms review by Cato
Apparently this film was "found" quite recently after having been lost some decades before. It's a mysterious offering, and if you find the actresses rather demure to begin with, by the end you will certainly be shocked, as there is plenty of spine tingling on the way. Angela Pleasence is the most unlikely of the characters to have been a suspect, but watch and you will certainly be surprised. Often the way in "whodunnit"s, but this is a clever film, and I wasn't surprised that the director was Spanish, as that country has a history of rather sadistic stories on the cinema front. Not to be sneezed at though. Peter Vaughan is the man of mystery lurking around in the grounds of the very scary house, with it's threatening trees surrounding a somewhat forbidding lake. The film is reminiscent of Polanski's "Repulsion", and some think it may even be an improvement on that classic psychological thriller. You have been warned.
2 out of 2 members found this review helpful.
Atmospheric but undercoooked thriller.
- Symptoms review by LC
There's plenty to enjoy in this 'Psycho'-style horror - it's well shot, the performances are fine, and it's heavy on moody atmosphere. At the same time, it has to be said that the pace is rather slow, and the climax is ultimately underwhelming. A lot of good build up, but this ultimately a film that slightly fizzles out.
1 out of 1 members found this review helpful.
Slim, Subtle and Quite Brilliant...
- Symptoms review by sw
To be perfectly honest, I had no idea this film existed until about a year ago and after finally seeing 'Symptoms' that is a fact I'm ashamed of because this is a great British horror film.
From the opening minutes, the same feelings kept coming to me throughout, that this is such immensely assured and confident filmmaking. From the patience of the build up of the plot and character development to the dazzlingly detailed set design, this film simply drips pure quality. The three leads knock it out of the park but a special mention must go to Angela Pleasence, who nails both innocence and deeply disturbed in her mesmeric performance.
Oh, forgot to mention that 'Symptoms' is genuinely creepy and will stay with this particular film fan for a very long time.
A wonderful discovery. 9/10
1 out of 1 members found this review helpful.
Damp Wallpaper, Dead Calm
- Symptoms review by griggs
Country houses in horror usually give you creaking doors and skeletons in cupboards; Symptoms mostly serves up damp wallpaper, long silences, and Angela Pleasence looking at you like you’ve already died and she forgot to mention it. The first half is almost aggressively quiet, drifting from room to room until you realise you’ve been nudged into a very odd headspace.
Lorna Heilbron’s houseguest brings just enough normal energy – chatty, grounded, slightly oblivious – to make Pleasence’s fragility feel even stranger. The men lurk at the edges like they’ve wandered in from a more straightforward thriller, but Larraz keeps swerving back into this chilly, giallo-adjacent British psychodrama. The plot is simple, the “forbidden desire turns poisonous” angle very much of its era, but the atmosphere does the real work.
When things finally kick off, it’s less about shocks than a horrible inevitability you’ve felt buzzing under the floorboards for an hour. Mossy woods, murky water, faces caught in glass – it’s as if the landscape is clocking her every wobble. As a hazy, unnerving character study, it gets under your skin and stays there.
1 out of 1 members found this review helpful.