It is funny how this movie has stayed with me over the years, and I only saw it in its initial run and maybe one time after that on TV. THE PREOMNITION is a forgotten semiprecious stone that has a scare or two and decent acting by a cast including sexy Sharon Farrell (where is she now?) and perpetual bad guy Richard "Scarface" Lynch. The story, such as it is, is about the kidnap of a child and a woman's psychic abilities. To say more would give away too much. It apparently is available on video, so see it for yourself. A tidy enough little thriller that doesn't have the punch of a big Hollywood production, but made great "B" fare in its time. It could stand to be remade.
20 Reviews
Decent supernatural thriller
drownsoda9013 February 2021
"The Premonition" follows a mother who begins experiencing bizarre visions after her daughter's biological mother (who is clinically insane) tracks them down, along with the help of her unstable circus clown boyfriend.
Released in 1976, this supernatural thriller is something of the progenitor of the modern supernatural-themed horror/thriller films of the late 1990s and early 2000s. Though branded as a horror film, my impression of this film is that it's perhaps more of a thriller with added melodrama. Shot in the southern U.S., the film has a dreary and almost dreamlike sensibility, and does boast some rather frightening nightmare sequences in which the mother (played by Sharon Farrell) has disturbing premonitory visions.
The main fault of "The Premonition" is the way in which the supernatural element is shoehorned into the plot; we never really get a solid explanation as to why these visions manifest, and Farrell's character's husband is conveniently a professor whose colleague studies the supernatural. This quasi-scientific side of the film is a bit dull (and perhaps inspired by "The Exorcist"), whereas the plot involving the child's insane biological mother and boyfriend (the latter played nefariously by Richard Lynch)--and their pursuit of the girl--is much more intriguing.
The film concludes with a rather grand sequence that seems a bit absurd, but Farrell and the other performers all commit to the material, rendering it passable. All in all, "The Premonition" is a fairly well-made supernatural thriller, though one that is not entirely the sum of its parts. The film does steep itself in too much melodrama for its own good at times, but in the end, there is enough dreamlike atmosphere and intrigue to keep the audience committed until the end. 6/10.
Released in 1976, this supernatural thriller is something of the progenitor of the modern supernatural-themed horror/thriller films of the late 1990s and early 2000s. Though branded as a horror film, my impression of this film is that it's perhaps more of a thriller with added melodrama. Shot in the southern U.S., the film has a dreary and almost dreamlike sensibility, and does boast some rather frightening nightmare sequences in which the mother (played by Sharon Farrell) has disturbing premonitory visions.
The main fault of "The Premonition" is the way in which the supernatural element is shoehorned into the plot; we never really get a solid explanation as to why these visions manifest, and Farrell's character's husband is conveniently a professor whose colleague studies the supernatural. This quasi-scientific side of the film is a bit dull (and perhaps inspired by "The Exorcist"), whereas the plot involving the child's insane biological mother and boyfriend (the latter played nefariously by Richard Lynch)--and their pursuit of the girl--is much more intriguing.
The film concludes with a rather grand sequence that seems a bit absurd, but Farrell and the other performers all commit to the material, rendering it passable. All in all, "The Premonition" is a fairly well-made supernatural thriller, though one that is not entirely the sum of its parts. The film does steep itself in too much melodrama for its own good at times, but in the end, there is enough dreamlike atmosphere and intrigue to keep the audience committed until the end. 6/10.
Psycho mom wants her girl back
BloodTheTelepathicDog1 February 2023
Warning: Spoilers
The Bennetts, college rofessor Miles (Edward Bell) and his wife Sheri (Sharon Farrell) have raised an adoptive girl (Danielle Brisebois) from infancy. Sheri is the only mommy little Janie has ever known. Her biological mother, however, wants her back, having Janie stripped from her when she was committed to a mental institute.
At the asylum, Andrea (Ellen Barber), Janie's mother, met Jude ( Richard Lynch), who carries a torch for Andrea and has been searching for the little girl since his release from the asylum. As a carnival clown, Jude covers a lot of ground, and he reaches out to Andrea, shortly after her release, when he finally locates the girl. They plan to kidnap Janie, but when their plan backfires, Andrea regresses tremendously, treating a plastic doll like her own child, which ignites Jude's violent temper.
STORY $$$$: The title of the film comes from the link Sheri and Andrea share as mothers to Janie. Andrea has the unique ability of telepathy, and constantly torments Sheri with unsettling images. Sheri's husband reaches out to a parapsychologist (Chitra Neogy) in his department, who he has a schoolboy crush on, and she assists the Bennetts in overcoming Andrea's nightmarish influence. The story will keep your interest with the occasional twist and bump in the night. As for Andrea's mental instability, the police investigator (Jeff Corey) learns that she, a classically trained pianist, was institutionalized for playing a concert nude. If that's all it took to get thrust in a padded cell, 90% of today's female popstars would be right there with Andrea!
ACTING $$$: The acting is generally solid all around, with Farrell and Barber standing out. I'd match Sharon Farrell with any actress in history when it comes to conveying anguish and despair. She wears a woebegone appearance second to none. Ellen Barber, an unknown to me, gave quite a captivating performance, expertly pulling off a complicated role in Andrea. She's at times vulnerable, and volatile at others, and Ellen never crosses that line into overacting. Richard Lynch, whose resume for villains can be exhausting, is terrific as Jude, who wants to love Andrea but is tormented by her instability. I never thought Lynch got the credit he deserved as an actor, for most people seem to remember his appearance as a burn victim more than his obvious skills as a thespian.
SEX/NUDITY: None.
At the asylum, Andrea (Ellen Barber), Janie's mother, met Jude ( Richard Lynch), who carries a torch for Andrea and has been searching for the little girl since his release from the asylum. As a carnival clown, Jude covers a lot of ground, and he reaches out to Andrea, shortly after her release, when he finally locates the girl. They plan to kidnap Janie, but when their plan backfires, Andrea regresses tremendously, treating a plastic doll like her own child, which ignites Jude's violent temper.
STORY $$$$: The title of the film comes from the link Sheri and Andrea share as mothers to Janie. Andrea has the unique ability of telepathy, and constantly torments Sheri with unsettling images. Sheri's husband reaches out to a parapsychologist (Chitra Neogy) in his department, who he has a schoolboy crush on, and she assists the Bennetts in overcoming Andrea's nightmarish influence. The story will keep your interest with the occasional twist and bump in the night. As for Andrea's mental instability, the police investigator (Jeff Corey) learns that she, a classically trained pianist, was institutionalized for playing a concert nude. If that's all it took to get thrust in a padded cell, 90% of today's female popstars would be right there with Andrea!
ACTING $$$: The acting is generally solid all around, with Farrell and Barber standing out. I'd match Sharon Farrell with any actress in history when it comes to conveying anguish and despair. She wears a woebegone appearance second to none. Ellen Barber, an unknown to me, gave quite a captivating performance, expertly pulling off a complicated role in Andrea. She's at times vulnerable, and volatile at others, and Ellen never crosses that line into overacting. Richard Lynch, whose resume for villains can be exhausting, is terrific as Jude, who wants to love Andrea but is tormented by her instability. I never thought Lynch got the credit he deserved as an actor, for most people seem to remember his appearance as a burn victim more than his obvious skills as a thespian.
SEX/NUDITY: None.
Deserves better
Cujo10816 September 2010
Andrea Fletcher (Ellen Barber) is recently out of a mental hospital and still unhinged. Declared an unfit mother prior to her hospital stay, she's desperate to get back her young daughter. Jude (Richard Lynch) is an acquaintance she met while institutionalized. Now working as a carnival clown, he keeps an eye out for Andrea's daughter. He spots the girl one day with her adoptive mother, Sheri (Sharon Farrell). After sharing the news with Andrea, the two plan to kidnap little Janie from her foster parents. The stress of the events sets off a series of psychic visions in Sheri. With the help of her husband's colleague, a professor in parapsychology, she attempts to use her abilities to get Janie back.
This Mississippi-lensed slice of regional horror is one of the most underrated films I've ever come across. Just take a look at that absurd IMDb rating. In no way, shape or form does this haunting little chiller deserve to be rated that low. Yes, it does have it's problems. The early scenes between Sheri's husband and Dr. Kingsly feel shoehorned in, and the development of ESP in Sheri later on seems to be a bit too coincidental. Her husband has just met an expert on the subject a day or two before this all happens. The metaphysical elements also never come together as cohesively as director Robert Allen Schnitzer likely hoped. They certainly add to the intrigue of the picture, however, not to mention the mood. What doesn't add to the mood are some scene transitions that are really jarring.
With all of that said, this is a beautiful film. The hypnotic atmosphere is vividly rendered, striking me as a mixture between Val Lewton, "Carnival of Souls" and "Let's Scare Jessica to Death". The haunting tone and emphasis on character are also things that "The Premonition" has in common with the aforementioned films. The people on display here are emotionally wounded, be it Andrea's unbearable need for her daughter or Sheri's desire to have a child of her own, which she's incapable of. Even Jude has his issues. He clearly wishes to settle down with Andrea, but she's only intent on using him. Her rant about him never being a father to Janie or anyone else gets under his skin to the point that he keeps the kid when he has no real reason to later on. Sharon Farrell and Richard Lynch are both very good in their roles, though it's Ellen Barber who really shines. At first appearance, her Andrea looks to be a normal young woman, but she flies off the deep end at the drop of a hat. There's an intense hatred behind her eyes, one to which even her partner in crime isn't immune.
Another thing in the film's favor is that it's never predictable. There was one big surprise about midway through, and Schnitzer takes a unique approach to his ending. I think it paid off, as the climactic sequence is a thing of beauty in regard to how it relates to our characters. That's the gist of it, too. This is a strictly low key affair, very character-driven. Is it a masterpiece? No, but it is a damn fine sleeper that deserves much more respect than it's been given in the 34 years since it's release.
This Mississippi-lensed slice of regional horror is one of the most underrated films I've ever come across. Just take a look at that absurd IMDb rating. In no way, shape or form does this haunting little chiller deserve to be rated that low. Yes, it does have it's problems. The early scenes between Sheri's husband and Dr. Kingsly feel shoehorned in, and the development of ESP in Sheri later on seems to be a bit too coincidental. Her husband has just met an expert on the subject a day or two before this all happens. The metaphysical elements also never come together as cohesively as director Robert Allen Schnitzer likely hoped. They certainly add to the intrigue of the picture, however, not to mention the mood. What doesn't add to the mood are some scene transitions that are really jarring.
With all of that said, this is a beautiful film. The hypnotic atmosphere is vividly rendered, striking me as a mixture between Val Lewton, "Carnival of Souls" and "Let's Scare Jessica to Death". The haunting tone and emphasis on character are also things that "The Premonition" has in common with the aforementioned films. The people on display here are emotionally wounded, be it Andrea's unbearable need for her daughter or Sheri's desire to have a child of her own, which she's incapable of. Even Jude has his issues. He clearly wishes to settle down with Andrea, but she's only intent on using him. Her rant about him never being a father to Janie or anyone else gets under his skin to the point that he keeps the kid when he has no real reason to later on. Sharon Farrell and Richard Lynch are both very good in their roles, though it's Ellen Barber who really shines. At first appearance, her Andrea looks to be a normal young woman, but she flies off the deep end at the drop of a hat. There's an intense hatred behind her eyes, one to which even her partner in crime isn't immune.
Another thing in the film's favor is that it's never predictable. There was one big surprise about midway through, and Schnitzer takes a unique approach to his ending. I think it paid off, as the climactic sequence is a thing of beauty in regard to how it relates to our characters. That's the gist of it, too. This is a strictly low key affair, very character-driven. Is it a masterpiece? No, but it is a damn fine sleeper that deserves much more respect than it's been given in the 34 years since it's release.
Turtle heaven!
BandSAboutMovies17 August 2018
Warning: Spoilers
A foster mother has The Premonition: her new daughter's unstable biological mother is going to come and take her away. It comes true, so what happens next? PS - it's beyond the power of an exorcist in only the way that an exploitation movie poster can promise.
Originally re-released as part of Arrow Video's American Horror Project, this film was once titled Turtle Heaven. I watched this movie because of the always dependable Richard Lynch (Bad Dreams, Invasion U.S.A.), who plays the carnival clown boyfriend of Andrea, whose daughter Janie (Danielle Brisebois, TV's Archie Bunker's Place) has been adopted by the Bennett family. Oh yeah - Jeff Corey (who would go from being blacklisted to becoming the premier acting coach in Hollywood) shows up as a cop.
Two mothers - connected by the young girl they love and see as their child, as well as a psychic bond - go to war. That's my best explanation of this very 1970's film. But back to Richard Lynch - did you know how he got his scarred looking appearance? The hard way. In 1967, high on drugs, he set himself on fire in Central Park, burning more than 70% of his body. But after a year of recovery, he started to act.
Originally re-released as part of Arrow Video's American Horror Project, this film was once titled Turtle Heaven. I watched this movie because of the always dependable Richard Lynch (Bad Dreams, Invasion U.S.A.), who plays the carnival clown boyfriend of Andrea, whose daughter Janie (Danielle Brisebois, TV's Archie Bunker's Place) has been adopted by the Bennett family. Oh yeah - Jeff Corey (who would go from being blacklisted to becoming the premier acting coach in Hollywood) shows up as a cop.
Two mothers - connected by the young girl they love and see as their child, as well as a psychic bond - go to war. That's my best explanation of this very 1970's film. But back to Richard Lynch - did you know how he got his scarred looking appearance? The hard way. In 1967, high on drugs, he set himself on fire in Central Park, burning more than 70% of his body. But after a year of recovery, he started to act.
Turtle Heaven
gavin694218 February 2016
Five-year-old Janie Bennett (Golden Globe nominee Danielle Brisebois) happily lives with her foster parents Miles and Sheri Bennett (Sharon Farrell), oblivious to the fact that her insane birth mother is attempting to kidnap her. When the birth mother, Andrea Fletcher, and her boyfriend Jude (Richard Lynch), a carny, do attempt to kidnap the girl, Andrea cannot go through with it.
Writer-director Robert Schnitzer was influenced by the European directors of the 1930s and 40s, as many American directors of the 1970s were. This influence is evident, and definitely has an Italian sensibility about it. And to keep costs low, the state of Mississippi provided cop cars, the fire department created "rain" with their hoses and a real carnival that happened to be in town was used as Jude's work environment. This makes the film look bigger than it was.
The casting of Richard Lynch was a great decision, catching him before he got any bigger. Lynch was hired, according to Schnitzer, for his "widely divergent moods" and for just being "unique". Lynch, in turn, claimed to be influenced by "Rififi" and "Psycho" in his acting. And to some degree the legendary mime Marcel Marceau, which is evident.
Baseball fans will notice a cameo from Roy White, the multi-World Series winning New York Yankee (and coach). This is especially amusing considering Schnitzer had no knowledge whatsoever of sports and did not even know who White was when he appeared in the film. (He was an active player during shooting.)
What I love about this film is the unusual score from opera composer Henry Mollicone, especially in the second half. Although the movie has plenty going for it as a slow-burning horror story with carnival overtones, the music really makes it stand out.
The film had mixed reviews. Leonard Maltin called it mediocre, saying its "muddled script works against the eerie atmosphere in this supernatural tale." A more positive review by Video Hound's Golden Movie Retriever called it "a well-done para-norm tale." Maltin is probably right for the most part, as the script could have been tightened... but that makes it no less eerie!
Arrow Video has cleaned up the picture and put this film on their box set, American Horror Project Vol 1. Thank you, Arrow! We get plenty of special features on the disc, too: Audio commentary with director-producer Robert Allen Schnitzer, who (of course) knows everything about the production. He also has a very sarcastic sense of humor that makes his stories all the more amusing -- are his tales of the turtle wrangler true or just a joke?
The Arrow disc has a brand new interview with composer Henry Mollicone. And an interview with actor Richard Lynch, which covers "Premonition" but also touches on acting in general, such as his work on "Scarecrow" with Al Pacino. If that is not enough, we even get three Robert Allen Schnitzer short films: 'Vernal Equinox', 'Terminal Point' and 'A Rumbling in the Land'. These films are so rare that IMDb does not even know about them.
Writer-director Robert Schnitzer was influenced by the European directors of the 1930s and 40s, as many American directors of the 1970s were. This influence is evident, and definitely has an Italian sensibility about it. And to keep costs low, the state of Mississippi provided cop cars, the fire department created "rain" with their hoses and a real carnival that happened to be in town was used as Jude's work environment. This makes the film look bigger than it was.
The casting of Richard Lynch was a great decision, catching him before he got any bigger. Lynch was hired, according to Schnitzer, for his "widely divergent moods" and for just being "unique". Lynch, in turn, claimed to be influenced by "Rififi" and "Psycho" in his acting. And to some degree the legendary mime Marcel Marceau, which is evident.
Baseball fans will notice a cameo from Roy White, the multi-World Series winning New York Yankee (and coach). This is especially amusing considering Schnitzer had no knowledge whatsoever of sports and did not even know who White was when he appeared in the film. (He was an active player during shooting.)
What I love about this film is the unusual score from opera composer Henry Mollicone, especially in the second half. Although the movie has plenty going for it as a slow-burning horror story with carnival overtones, the music really makes it stand out.
The film had mixed reviews. Leonard Maltin called it mediocre, saying its "muddled script works against the eerie atmosphere in this supernatural tale." A more positive review by Video Hound's Golden Movie Retriever called it "a well-done para-norm tale." Maltin is probably right for the most part, as the script could have been tightened... but that makes it no less eerie!
Arrow Video has cleaned up the picture and put this film on their box set, American Horror Project Vol 1. Thank you, Arrow! We get plenty of special features on the disc, too: Audio commentary with director-producer Robert Allen Schnitzer, who (of course) knows everything about the production. He also has a very sarcastic sense of humor that makes his stories all the more amusing -- are his tales of the turtle wrangler true or just a joke?
The Arrow disc has a brand new interview with composer Henry Mollicone. And an interview with actor Richard Lynch, which covers "Premonition" but also touches on acting in general, such as his work on "Scarecrow" with Al Pacino. If that is not enough, we even get three Robert Allen Schnitzer short films: 'Vernal Equinox', 'Terminal Point' and 'A Rumbling in the Land'. These films are so rare that IMDb does not even know about them.
Muddled script and slow pace offsets good atmosphere
highwaytourist3 April 2011
I was interested in the premise when I rented this during the late 1980's. Stories about the paranormal were common during the 1970's. The premise did have potential. Here, an adopted girl is kidnapped by her insane biological mother and the mother's boyfriend, and the police need the help of her loving adopted mother, who has psychic powers. I turned out to be disappointed, though. Also, the Mississippi locations were well-used, but otherwise this film is dull. It seemed so much longer than it was and it featured a lot of uninteresting chat. Also, a number of scenes came off as forced, a heavy-handed attempt to make the film more coherent, but often made it even harder to understand. Clearly the film was not well edited. It would be nice if some of the scenery could be used again to make a better film.
There are other mad moments too that make this worth watching
christopher-underwood25 November 2018
Back in the wild west days of the video boom, I would avidly search out the most obscure titles, particularly low budget US 70s horror, crazy Hong kong cinema, even crazier Japanese and Italian giallo. Good, bad or indifferent they did provide alternative viewing and introduce me to another side of cinema. Viewing this type of film now on Blu-ray alongside classics of world cinema can be challenging. This particular outing from director Robert Allen Schnitzer is slightly different in that it eschews sex and violence and takes itself more seriously. As usual, not a good idea, Schnitzer is not up to it, his lack of funds restrict his movement and an erratic actor like Richard Lynch cannot be relied upon to save the day. Having said that the crazy 'real' mother all dressed up in low cut red dress (don't know why) in an attempt kidnap of her child is something to behold. There are other mad moments too that make this worth watching but really it could probably have done without all the psycho babble and had a bit more sex and violence instead.
Off-putting "thriller".
gridoon16 February 2004
Incredibly muddled, off-putting and ultimately ludicrous ("the horses, oh my God, the horses!") thriller. It's creepy at times, but it has one of the worst scripts ever written for a horror film. Watch how in the final 10 minutes everybody "magically" does exactly what the plot needs for the "resolution" to occur. Bland performances by the leads, a typically eccentric one by Richard Lynch. The video transfer is a real hack job, cutting scenes in half and making the movie even more difficult to understand. 0 out of 4 stars.
Good idea with so-so execution
udar5520 April 2012
A suburban couple (Sharon Farrell and Edward Bell) find their lives in danger when a psycho woman (Ellen Barber) and her carny clown boyfriend (Richard Lynch) attempt to kidnap their adopted daughter. Naturally, the daughter is really hers and was taken away when she was locked up in a mental institution. But what our villains don't count on is the adoptive mother having some ESP tendencies that will foil their escape plans. This is an odd thriller. Parts of it are really well made and other parts are really muddled. Director-writer Robert Allen Schnitzer has the germ of a great idea in here, but doesn't seem entirely convinced by even his own ideas. For example, the parapsychology stuff isn't given much detail and even when a doctor specializing in it enters the picture, you're still not sure of what she is talking about. This brings us scenes like the doctor saying stuff to Farrell like, "Just let it flow" and that results in a painting crying blood. Cool visual, but does it really mean anything? Worth seeing for some creepy dream sequences and an early performance from Richard Lynch.
THE PREMONITION (Robert Allen Schnitzer, 1976) **
Bunuel19762 November 2007
This seemed intriguing from its synopsis and, having received a "Special Edition" treatment on DVD, I had high hopes for it but, ultimately, the movie proved a disappointment! Hence, I contrived to end my Halloween challenge this year with a whimper as opposed to a bang (worse still, it wasn't even really a horror film)!!
Anyway, the plot has to do with the kidnapping of a child from a foster home by its natural but unbalanced mother (Ellen Barber); aiding her is a creepy carny played for all the eccentricity he's worth by Richard Lynch (his egomaniac here isn't all that different from the actor himself, as seen in his 15-minute career overview included on Media Blasters' DVD). The foster mother (Sharon Farrell) discovers she has paranormal abilities and attempts to locate her adopted daughter with the help of her befuddled husband's expert black female colleague. All the while, however, she has to contend with weird hallucinations apparitions by a bloodied Barber (she having been killed by her own partner) and especially the recurring forming of ice on mirrors as if to obfuscate her view into the psyche (which, at one point, even causes Farrell to crash her car). Reliable veteran character actor Jeff Corey also appears as the investigating Police Detective.
The film had potential (in the accompanying interview, director Schnitzer states that when he was offered the original script which he reworked the parapsychology element wasn't even present!) but the end result is slow, muddled (would-be surreal visuals aren't enough in this case to keep one interested), pretentious (there's no explanation, for instance, as to why Lynch and Barber have to go into the occasional psychotic rage which is as close as it comes to horror throughout), dull and even ludicrous (the finale in which the girl is 'lured' into the open by having Farrell play a tune on a grand piano in the town square in the middle of the night in front of an audience of curious onlookers!).
Anyway, the plot has to do with the kidnapping of a child from a foster home by its natural but unbalanced mother (Ellen Barber); aiding her is a creepy carny played for all the eccentricity he's worth by Richard Lynch (his egomaniac here isn't all that different from the actor himself, as seen in his 15-minute career overview included on Media Blasters' DVD). The foster mother (Sharon Farrell) discovers she has paranormal abilities and attempts to locate her adopted daughter with the help of her befuddled husband's expert black female colleague. All the while, however, she has to contend with weird hallucinations apparitions by a bloodied Barber (she having been killed by her own partner) and especially the recurring forming of ice on mirrors as if to obfuscate her view into the psyche (which, at one point, even causes Farrell to crash her car). Reliable veteran character actor Jeff Corey also appears as the investigating Police Detective.
The film had potential (in the accompanying interview, director Schnitzer states that when he was offered the original script which he reworked the parapsychology element wasn't even present!) but the end result is slow, muddled (would-be surreal visuals aren't enough in this case to keep one interested), pretentious (there's no explanation, for instance, as to why Lynch and Barber have to go into the occasional psychotic rage which is as close as it comes to horror throughout), dull and even ludicrous (the finale in which the girl is 'lured' into the open by having Farrell play a tune on a grand piano in the town square in the middle of the night in front of an audience of curious onlookers!).
Strange and haunting.
HumanoidOfFlesh10 October 2010
A neurotic Andrea Fletcher(Ellen Barber)returns from a mental institution.The woman is looking for her daughter Janie.With the help of a circus employee Jude(Richard Lynch)Andrea wants to kidnap the girl from her adoptive parents.But the plan goes wrong and the supernatural visions begin...I can't believe that Robert Allen Schnitzer's "The Premonition" is rated so low.The script is imaginative as it delves into the bond of motherhood,telepathy and precognition.The acting is strong,the direction by Schnitzer is competent and there is some powerful suspense.The shock moments are very effective for example the scene where Andrea in a red evening gown slips into Janie's bedroom is very eerie and sad.A must-see for fans of "The Brood" and "Don't Look Now".8 out of 10.
I just found this ugly and exploitive.
mark.waltz27 March 2024
Warning: Spoilers
Hard to watch because of the nasty sounds that Ellen Barber was directed to make in psychotic rages that Sharon Farrell feels, only because Farrell has adopted the daughter (Danielle Brisbois) that Barber adopted. Is Barber demon possessed, a witch, or just plain cuckoo? Somehow Farrell is able to sense Barber's outbursts, and her husband (Edward Bell) wants her to seek help through a parapsychologist.
This looks like one of those mid 70's horror films made for TV movies that probably got blackballed for broadcast because of excessive violence. I think this would also lead to nightmares out of the presence Barber and her weird boyfriend Richard Lynch make every time they appear. It's a horror film that I felt went way too far, threatening me with a headache because of the excessive unpleasant sounds.
This looks like one of those mid 70's horror films made for TV movies that probably got blackballed for broadcast because of excessive violence. I think this would also lead to nightmares out of the presence Barber and her weird boyfriend Richard Lynch make every time they appear. It's a horror film that I felt went way too far, threatening me with a headache because of the excessive unpleasant sounds.
Ambitious fantasy.
esotericbonanza23 November 2017
A fantastic, intriguing, fascinating sprawling mess, but a mess of the best kind - full of ideas and avenues and thoughts and musings. Don't believe the low rating on here, this film displays some of the great things that genre-crossing films can manage, things that more straight- laced and disciplined films can't. Hopping from thriller to horror to near avant-garde musical fantasy, this is a brilliant rediscovery and while it might not be the tidiest of films, it is free and explorative and brave and should be seen. That it sometimes tries for more than it achieves is testament to its ambition.
I had a premonition that this would suck.
BA_Harrison2 May 2024
The Premonition feels like it has been heavily and sloppily edited in order to bring it in at a reasonable runtime; that's the only reason I can think of for it being so erratic and so baffling.
The plot sees foster parents Sheri and Miles Bennett (Sharon Farrell and Edward Michael Bell) concerned for the safety of their adopted daughter Janie (Danielle Brisebois) after the girl's biological mother, mental patient Andrea (Ellen Barber), tries to abduct her. For some reason - and this is where the film gets more than a bit strange - Sheri experiences psychic premonitions that connect her to Janie, and when Andrea's boyfriend Jude (a circus clown played by Richard Lynch) gets his hands on the girl, Sheri must play a piano in front of a crowd of total strangers in order to be reunited with her daughter.
If that last part about the piano has you confused, join the club - I hadn't a scooby what was going on by the end of the film, but to be honest, I had given up trying to make sense of the plot long before that point.
The plot sees foster parents Sheri and Miles Bennett (Sharon Farrell and Edward Michael Bell) concerned for the safety of their adopted daughter Janie (Danielle Brisebois) after the girl's biological mother, mental patient Andrea (Ellen Barber), tries to abduct her. For some reason - and this is where the film gets more than a bit strange - Sheri experiences psychic premonitions that connect her to Janie, and when Andrea's boyfriend Jude (a circus clown played by Richard Lynch) gets his hands on the girl, Sheri must play a piano in front of a crowd of total strangers in order to be reunited with her daughter.
If that last part about the piano has you confused, join the club - I hadn't a scooby what was going on by the end of the film, but to be honest, I had given up trying to make sense of the plot long before that point.
Very slow burn drama
tvcarsd13 April 2024
The script killed this movie, it must have been half as long of most movies of its time. It made the film really drag on when scene after scene the characters barely say a word. I don't know why its called a horror either as The Premonition is definitely not one.
It's really about a couple of women losing their minds over a kidnapping. What I couldn't understand as the motivation for the man who was behind it. Richard Lynch largely carries the movie as a man possessed into doing the kidnapping. At the end of the movie the only character you can feel any sympathy for is the child at the center of the drama and yet not any horror involved.
It's really about a couple of women losing their minds over a kidnapping. What I couldn't understand as the motivation for the man who was behind it. Richard Lynch largely carries the movie as a man possessed into doing the kidnapping. At the end of the movie the only character you can feel any sympathy for is the child at the center of the drama and yet not any horror involved.
touching and moving
ANCHINN23 September 2006
If you view this as some occult B flick, you can't enjoy much and maybe couldn't get the point. About me, I almost cried at the end of the film, because of the beauty of this directors vision for distressed people. I got surprised, because he sure knew how to express! It's a joy to find these underrated artists from B flicks. There're so many of them really. Well ,about the film, this is the story of a woman who wants to love her own child but who can't. That's very sad. Not only the direction and the plot. You can't forget the actors in this films. Considering how low the budget was, but they're acting was so full of enthusiasm. Well no wonder most American actors are great so maybe that's not the consideration though. However, this is the most underrated film I ever saw.
A fascinating 70s cinematic time capsule and wholly timeless nightmare.
Weirdling_Wolf14 March 2023
The sedate, middle class couple who adopted delightful poppet Janie (Danielle Briseboise) shockingly have their suburban quietude thrown into roiling existential turmoil after, Janie's increasingly anxious mother, Sheri (Sharon Farrell) strongly suspects her child is in mortal danger. Distressed by the discovery of pretty, yet emotionally disturbed Andrea (Ellen Barber)in Janie's bedroom, she later believes, Andrea is using witchcraft to wish them additional spiritual harm! Sheri's disturbing 'visions' suggest a tangible telekinetic ability, but her pragmatic scientist husband, Edward (Miles Bennet) is reluctant to accept that the danger encroaching upon them has a preternatural origin! Clearly disturbed, there's no doubting the entirely corporeal threat of, Jude (Richard Lynch) a charismatic carny whose benign clowning exterior belies a volatile nature capable of manifesting fearsome acts of bestial violence!
Maverick filmmaker, Robert Allen Schnitzler's off-beat, genuinely unsettling Para-psychological horror oddity is steeped in preternatural weirdness and rewardingly eschews graphic gore for intense emotional discords which cut deeper than, Michael Myers crimson-slathered knife! While teasingly oblique, Schnitzer's haunting, compellingly strange psychodrama 'The Premonition' is a beautifully structured, handsomely photographed, strikingly original independent feature. The exceptionally fine cast is complemented with Henry Mollicone & Pril Smiley's especially beguiling score. Schnitzler's iconoclastic, extra sensory perception warping cult classic is both a fascinating 70s cinematic time capsule and wholly timeless nightmare. The eerie, darkly evocative themes of macabre metaphysical realms are certainly no less captivating when viewed today! I predict a great number of new fans shall willingly succumb to the hypnotic allure of this hallucinatory mystery.
Maverick filmmaker, Robert Allen Schnitzler's off-beat, genuinely unsettling Para-psychological horror oddity is steeped in preternatural weirdness and rewardingly eschews graphic gore for intense emotional discords which cut deeper than, Michael Myers crimson-slathered knife! While teasingly oblique, Schnitzer's haunting, compellingly strange psychodrama 'The Premonition' is a beautifully structured, handsomely photographed, strikingly original independent feature. The exceptionally fine cast is complemented with Henry Mollicone & Pril Smiley's especially beguiling score. Schnitzler's iconoclastic, extra sensory perception warping cult classic is both a fascinating 70s cinematic time capsule and wholly timeless nightmare. The eerie, darkly evocative themes of macabre metaphysical realms are certainly no less captivating when viewed today! I predict a great number of new fans shall willingly succumb to the hypnotic allure of this hallucinatory mystery.
A good idea, rather slow execution
Serpent-518 June 2000
This film had a very good idea, and some good visual stuff, and a good story to tell, and great acting by Richard Lynch and Ellen Barber as kidnappers of Sharon Farrels adopted girl (she is the birth mother of the adopted child) but ultimately the film is bogged down with slowness, and also Richard Lynch's character's later motives on why he still wants to kidnap and keep the child is rather unclear, and despite winning the viewers some sympathy to Barbers character, and how she wants to reunite with her birth child, they make her into a super crazed loonie in the middle of the film, whcih defeats the set up earlier. A good rewrite would have helped. Good ending though! This is a good example of low budget "regional, local" filming in far away states with Hollywood actors that Avco Embassy was picking up for release back in the 70's. (similar to SCALPELS)
A Few Good Moments but Several Flaws
Michael_Elliott12 March 2017
The Premonition (1976)
** (out of 4)
Andrea (Ellen Barber) lost custody of her child but with the help of a circus performer (Richard Lynch) she plans to kidnap her. The adopted mother (Sharon Farrell) goes through some horrifying events as her child comes under attack from her original mother who is using ESP.
THE PREMONITION has picked up a small cult following over the years thanks in large part to some positive press from critics and historians like Stephen Thrower. Before Thrower somewhat rescued the film, it suffered a pretty bad reputation as horror fans really ripped it apart but I'm going to go out and say that they were a bit too harsh. There's no question that the film is very flawed but at the same time there are enough interesting moments to make it worth watching.
There are some effective things scattered throughout Robert Allen Schnitzer's film. This includes a very chilling sequence where the adopted mother walks into a room to check on the daughter only to find her in the arms of a mysterious woman. I'd also argue that the director creates a pretty good atmosphere that runs throughout the picture. Another major plus is that the performances are actually very good with Barber stealing the picture as the mother who wants her daughter back. I also liked Lynch in his role as well as Jeff Corey who plays the Detective.
As far as the film's problems go, the majority of them are in the screen writing department. The film just gets bogged down with way too much plot and before long things get rather confusing. I think the screenwriter was trying to do too much in regards to the mystery and it just doesn't work in the end. Another problem is the stuff dealing with the ESP and the professor who is helping things. As it stands, THE PREMONITION is certainly worth watching but I think the horror crowd should probably stay away since it's really not a horror movie.
** (out of 4)
Andrea (Ellen Barber) lost custody of her child but with the help of a circus performer (Richard Lynch) she plans to kidnap her. The adopted mother (Sharon Farrell) goes through some horrifying events as her child comes under attack from her original mother who is using ESP.
THE PREMONITION has picked up a small cult following over the years thanks in large part to some positive press from critics and historians like Stephen Thrower. Before Thrower somewhat rescued the film, it suffered a pretty bad reputation as horror fans really ripped it apart but I'm going to go out and say that they were a bit too harsh. There's no question that the film is very flawed but at the same time there are enough interesting moments to make it worth watching.
There are some effective things scattered throughout Robert Allen Schnitzer's film. This includes a very chilling sequence where the adopted mother walks into a room to check on the daughter only to find her in the arms of a mysterious woman. I'd also argue that the director creates a pretty good atmosphere that runs throughout the picture. Another major plus is that the performances are actually very good with Barber stealing the picture as the mother who wants her daughter back. I also liked Lynch in his role as well as Jeff Corey who plays the Detective.
As far as the film's problems go, the majority of them are in the screen writing department. The film just gets bogged down with way too much plot and before long things get rather confusing. I think the screenwriter was trying to do too much in regards to the mystery and it just doesn't work in the end. Another problem is the stuff dealing with the ESP and the professor who is helping things. As it stands, THE PREMONITION is certainly worth watching but I think the horror crowd should probably stay away since it's really not a horror movie.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
