gridoon2018 "The Wind" has some things going for it: an awesome, scenic location (Monemvasia, Greece), a strong cast (in fact, this may be the biggest casting coup that Nico Mastorakis ever achieved - even if scene-stealer Robert Morley really only has one sequence to himself, and David McCallum about three), and a score that's a homage to the gialli of the 1970s (an early work by Hans Zimmer!). But it is repetitive, and the story has no real surprises (certainly the fact that the villain has to be killed about three separate times before he finally dies is not one of them). This film might have worked better as a 30-minute short or an episode of a TV series; there isn't enough material here for a 90-minute feature. ** out of 4.

Bezenby My wife was somehow convinced during this film that Meg Foster is a post-op transvestite. Not sure why though. Meg's a cheesy novel writer headed off to Greek island to indulge in her muse and perhaps eat kebabs and such like, but when she gets there her eccentric landlord (played by 140 year old Robert Morley) warns her to beware of the wind and also informs her that the housekeeper is a loser. He's right on both counts, because the wind never lets up for the entire film, and his housekeeper is a loser, because he's played by cheeseball actor Wings Hauser!I'm just joking, we all love Wings in our house. He was great in Mutant (a film I like but everyone else in the world hates) and Nightmare at Noon (also known as 'Mutant again under a different name'). Here, he's the evilly named Phil, and turns up at Meg's new house all a-grinning and crazed right from the get go. Inspired, Meg starts writing a story in which she imagines Wings braining Robert Morley with a poker, but then, it turns out, she sees Wings burying a body in a field. So is it all just in her imagination? Is Wings really a crazy goofy killer? Or is the wind something sinister and not something caused by eating too many kebabs?Director Niko Mastorakis takes time out from making Oliver Reed kiss men (Hired to Kill), forcing George Kennedy to shoot crazed citizens (Nightmare at Noon), and filming a guy giving a goat some up it's wrong un (Island of Death), to give a more sedate and moody film where Wings chases Meg Foster around in circles. It's all done Giallo style, and just like a giallo, there's plenty of raised questions and a head scratching ending. Edge of Terror isn't quite as crazy as Mastorakis' other films, but it's no slouch either. Although the film is bloodless and boobless, the Greek island scenery really helps conjure up words like 'isolated', 'atmospheric' and 'Wings-tastic'. Wings is the draw here for me, playing a guy who can't go for a second without going through some sort of mood swing. As Nietchze says: If you look into Wings Hauser long enough, Wings Hauser looks into you.

Coventry I assume Greek people have a thing for wind… The popular Greek singer Demis Roussos dedicated a worldwide hit to the weather phenomenon entitled "My Friend the Wind" and the Greek writer/director Nico Mastorakis even revolved a full-length thriller on plain ordinary wind. Mastorakis is known by avid cult/horror fanatics because he made "Island of Death" in 1977, which is one of the most notorious and universally banned movies ever. Not because it's the bloodiest or most disturbing film, but mainly because it's full of perversion and depraved imaginations, like someone doing very anti-catholic things with a baby goat. In the mid-80's, Mastorakis emigrated to the United States and directed a handful of less controversial and semi-successful thrillers, like "Blind Date", "The Zero Boys" and the utterly bonkers "Nightmare at Noon". "The Wind" is a rapidly in-between made straight-to-video effort in which Mastorakis takes his protagonists back to his beloved home country Greece for a very conventional and unsurprising, but nevertheless entertaining cat-and-mouse thriller. Meg Foster, with eyes so crystal blue they glow in the dark, stars as the pseudo-eccentric mystery writer Sian Anderson who travels to a remote and extremely isolated Greek coastal town to work on a new novel in solitude. The town is practically abandoned due to the season and there's a constant heavy and ominous wind blowing from the sea. Sian witnesses how the mentally unstable handyman Phil murders her landlord Elias Appleby and buries his corpse in the garden. From then onwards, she finds herself stalked and threatened by the crazed psychopath but there's nowhere or no one to run to. As said, "The Wind" is a very prototypic and forgettable thriller, but it contains a few noteworthy suspense sequences and more than adequate performances from an terrific cast. Meg Foster is amiable as the damsel in distress and Wing Hauser gloriously goes over-the-top again as the sneering psychopath. The supportive cast is impressive as well with names such as David McCallum, Steve Railsbeck and even classic actor Robert Morley. Even though Hauser's character commits his murders with a sharp and over-sized sickle, fans of gory horror flicks might be disappointed as there's very little bloodshed. The pacing of the film is very uneven and the climax sequence is incredibly stupid, yet still I can't bring myself to rate "The Wind" negatively as I wasn't bored for a minute.

Vomitron_G Starring Meg Foster, Wings Hauser and Steve Railsback, this probably already is enough reason for people to check out "The Wind". It was for me. Writer Sian Anderson (Foster) retreats to an isolated village on a small Greek island to work on her new novel. The island thrives on tourism and it's off-season, meaning all the inhabitants have left to earn a living elsewhere, leaving Sian pretty much in solitude. But there's still Phill (Wings Hauser), helping hand of the landlord and staying on the island to support Sian in her needs. However, Phill turns out to be an utterly demented psychopath, out to stalk & kill Sian. Or, is he, really? Because Sian is a writer with a vivid imagination. And then there's the fierce ocean wind..., which can be both an enemy as well as an ally. The whole film basically is a cat-&-mouse game between Hauser & Foster, first inside the houses and near the end the wonderfully eerie island setting is put to good use. Sadly, the whole notion of 'is it real or just playing inside Sian's head' isn't played out solidly enough. "The Wind" is a bit of a slow mover, but in the end not a bad effort. And Hauser yet again portrays a delicious psychopath. An extra point for director Nico Mastorakis maintaining a consistent tone & atmosphere throughout the whole film (the lighting, dust blowers and architecture worked wonders on some occasions).