A reporter moves into the ominous Long Island house to debunk the recent supernatural events, and finds himself besieged by the evil manifestations which are connected to a hell-spawn demon lurking in the basement.
The demonic forces in the haunted Long Island house escape through a mystical lamp which finds its way to a remote California mansion where the evil manipulates a little girl by manifesting itself in the form of her dead father.
On the night of November 13, 1974, Ronald DeFeo, Jr. took a high-powered rifle and murdered his entire family as they slept. At his trial, DeFeo claimed that "voices" in the house commanded him to kill. This is their story.
This movie is a 'found-footage' film about the Benson family who move in to the infamous house where the DeFeo family were murdered in the 1970s over 30 years earlier. Things start ... See full summary »
For the first time in 35 years, Daniel Lutz recounts his version of the infamous Amityville haunting that terrified his family in 1975. George and Kathleen Lutz's story went on to inspire a... See full summary »
A desperate single mother moves with her three children into the notorious, supposedly haunted, real-life Amityville house to try and use its dark powers to cure her comatose son. Things go horribly wrong.
Jennifer Jason Leigh,
A man who is separated from his wife moves into the infamous Amityville House. Their daughter dies in a boating accident (after being told that she is not allowed to go to the house) and now the mother sees her deceased daughter "alive" in the house. Mr. Baxtor calls a paranormal investigator in to help and the investigator finds out the source of the household problems.Written by
Chris Voveris <firstname.lastname@example.org>
At the screening, movie patrons were given the disposable polarized glasses so they could see the film, creating the illusion that certain props and elements were coming toward the viewers. In this case, a pole that penetrates a car window; a Frisbee that flies toward the screen; a skeleton reaches out its arms; and a set of French doors that fly at the audience during the climactic scene. Most striking are the film's opening titles, in which the large block letters moved outward, and the 3D were skewed as they moved outward. The process was supposed to be the new beginning for the 3D process, but it did not last long. The chief complaint was that the images in Amityville 3-D were blurry and distorted. Chicago Sun-Times critic Roger Ebert complained on At the Movies, that the images were indistinct, and said "it really looks crummy." Chicago Tribune critic Gene Siskel said that "The 3D added nothing to the experience. All you ended up with was eye-strain." See more »
When the evil forces caused the elevator to malfunction, the man inside is shown pressed against the ceiling as the elevator is rapidly descending. The only way this could happen is if the elevator was accelerating downward faster than the force of gravity could pull it. That he should stick to the ceiling is against the laws of physics. See more »
The disclaimer on the posters, video box cover, and at the end of the credits reads: "This film is not a sequel to The Amityville Horror or Amityville II: The Possession". See more »
Shout! Factory Blu-ray edition uses a different opening title graphic than other releases. In most prints the word "AMITYVILLE" zooms toward the viewer from the house's windows, then is wiped off the screen, after which "3D" appears. The Blu-ray 2D and 3D versions use a different design of "AMITYVILLE," and in what seems to be an error it stays onscreen as "3D" appears under/behind it, mostly obscured. See more »
Surprisingly, this second sequel to the supposedly fact based thriller "The Amityville Horror" is a worthy installment in the otherwise wretched series of shockers. Richard Fleischer, a Hollywood veteran whose directorial credits include such diverse fare as "The Vikings" and "The Boston Strangler," brings a skill to the proceedings that were conspicuously absent from the original film, which was more notable for the laughably bad performances of James Brolin and Rod Steiger than it was for inducing chills. The performances in "Amityville 3-D," or "Amityville: the Demon" as it is known on television, didn't deserve Oscar consideration, but they are professional and, in the case of Candy Clark's suspicious photographer, almost inspired.
The movie opens in typical haunted house fashion: a seance is being held in the notorious Long Island house where, in earlier films, toilets backed up (shudder!), marching bands played in the dead of night (shudder again!), and a giant red-eyed pig named Jody roamed the premises and engaged in small talk with children (Babe in an early role?). The seance produces mysterious apparitions and odd noises, all of which are exposed by two of the participants--a reporter and his photographer-- as a hoax. The realtor denies any involvement in the souped-up spookiness and explains to the reporter (Tony Roberts on holiday from Woody Allen's repertory company) that the house's infamous reputation is such that he's willing to sell it at a bargain rate. Roberts, newly divorced and eager for a peaceful environment in which to write his great American novel, buys it, all the while ignoring the warnings of his less courageous colleague, the delightful Miss Clark.
Roberts, a stubborn type who sneers at the supernatural, moves in and continues his sneering even as anyone who sets foot in the house experiences terror and, ultimately, death. But, dumbo that he is, he continues to pooh-pooh any notions that the house is cursed.
Some talented performers are on view in this film, and if not for their admirable abilities to keep a straight face, the movie would be a lot funnier than it's supposed to be and sometimes is. Roberts is his usual non-plussed self, refusing to accept any supernatural explanations for the bizarre circumstances taking place around him.
The special-effects are adequate, but they do the trick, and probably worked better in 3D, which is the way the film was presented theatrically. The process is evident in the use of so many scenes in which hands are extended toward the camera and, in one scene, a frisbee is tossed directly at the audience.
"Amityville 3D" will never take its place beside the greats of the horror genre, but neither will its two predecessors. However, unlike those failed shockers, number 3 succeeds on its own modest terms, providing, amid the occasional unintended chuckle, a few moments of genuine suspense and a thrill or two. It's a satisfying spook show on the same level as the William Castle flicks of the late 50s and early 60s ("The Tingler," "House on Haunted Hill," et al).
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