In the 8th century, an evil king attempts to extinguish a Mayan Indian tribe but is unsuccessful. He vows revenge and, being a wizard who can move freely between the world of life and death, slips into the netherworld. According to Mayan legend, the king will return when a man who knows of the bridge between the two worlds is killed at a pyramid-like temple. So says a character at the beginning of MAYA, which for at least ten minutes is entirely gripping, as we watch archaeologist Solomon Slivak (William Berger) play out the role of instigator who goes to the temple and gets murdered so the king may return to Earth.
Upon Berger's exit, MAYA director Marcello Avallone, and his co-writers Andrea Purgattori and Maurizio Tedesco, seem unable to expand much on the concept of the "night as the fracture between two worlds," as a pre-credit title card notes. At regular intervals, Avallone drifts away from the supernatural, inserting routine stalk-and-slash gore sequences that smack of artistic compromise.
The "night fracture" theme plays out, though, as Slivak's daughter (Mariella Valentini) arrives in a poverty-ridden Mexican community, asking a lot of questions and falling for a down-and-out adventurer and gambler (Australian actor Peter Phelps). Soon, both of them are snared in the legend of the returning king, and people around them get murdered in horrible ways.
For example, two punk dudes down from Texas to raise hell run afoul of the evil spirit, which crushes both of them with their own truck. A death by fish hook scene is similarly contrived and ridiculous. The best suspense scene shows Phelps' girlfriend tossed about a bath tub, an invisible force repeatedly smashing her face against metal pipes.
Phelps confronts an old friend of Slivak's, who is the only one who can stop the evil spirit from sacrificing a small child atop the temple, during the Celebration of the Dead. The doctor yells some mumbo-jumbo, stuff flies off the walls in POLTERGEIST fashion, and the spirit is supposedly sent back to its netherworld. After the dust has cleared, there is one last cinematic jolt, a throwaway ending sequence set in an airport that is almost as creepy as the opening set-piece.
MAYA never strays very far from playing its horror very straight, with knifings and beatings and other earthly killings. When it investigates the underpinnings of the supernatural, however, it becomes for fleeting moments a really fun movie.
This Italian production was filmed in Isla de Margarita (Venezuela).
Upon Berger's exit, MAYA director Marcello Avallone, and his co-writers Andrea Purgattori and Maurizio Tedesco, seem unable to expand much on the concept of the "night as the fracture between two worlds," as a pre-credit title card notes. At regular intervals, Avallone drifts away from the supernatural, inserting routine stalk-and-slash gore sequences that smack of artistic compromise.
The "night fracture" theme plays out, though, as Slivak's daughter (Mariella Valentini) arrives in a poverty-ridden Mexican community, asking a lot of questions and falling for a down-and-out adventurer and gambler (Australian actor Peter Phelps). Soon, both of them are snared in the legend of the returning king, and people around them get murdered in horrible ways.
For example, two punk dudes down from Texas to raise hell run afoul of the evil spirit, which crushes both of them with their own truck. A death by fish hook scene is similarly contrived and ridiculous. The best suspense scene shows Phelps' girlfriend tossed about a bath tub, an invisible force repeatedly smashing her face against metal pipes.
Phelps confronts an old friend of Slivak's, who is the only one who can stop the evil spirit from sacrificing a small child atop the temple, during the Celebration of the Dead. The doctor yells some mumbo-jumbo, stuff flies off the walls in POLTERGEIST fashion, and the spirit is supposedly sent back to its netherworld. After the dust has cleared, there is one last cinematic jolt, a throwaway ending sequence set in an airport that is almost as creepy as the opening set-piece.
MAYA never strays very far from playing its horror very straight, with knifings and beatings and other earthly killings. When it investigates the underpinnings of the supernatural, however, it becomes for fleeting moments a really fun movie.
This Italian production was filmed in Isla de Margarita (Venezuela).