On LAND OF THE MINOTAUR

An appreciation of the underrated British/Greek horror film

Released in 1976 in the U.S. by exploitation house Crown International to a moderately successful box office take and generally pitiful reviews, director Kostas Karagiannis‘s earthy and surreal horror mood-piece LAND OF THE MINOTAUR has been pretty easy to find on home viewing formats, popping up in rough looking pan and scan VHS versions and dodgy DVD releases in North America and in equally ugly (but thankfully uncut) editions in the UK. Scorpion Releasing even let it loose a few years back as a split disc with Norman J. Warren’s TERROR, uncut and in widescreen under it’s original title (THE DEVIL’S MEN) with little to no fanfare and that cut has been itself bootlegged to death.

Still, despite its exposure, I’ve sadly yet to hear anyone else seriously champion LAND OF THE MINOTAUR’s virtues.

So, with that, allow me to do so.

On the outskirts of a remote, inland village in beautiful, picturesque Greece (Aris Stavrou’s photography is stark and eye-filling), something secret, insidious and palpably evil lurks, sucking every too-curious young tourist into its maw and swallowing them whole. As the ever-expanding list of the curious missing travelers increases, an eccentric local Priest (the great Donald Pleasence) begins to suspect that a cult of mountain dwelling, black hooded, Minotaur-worshiping Satanists have gained a stronghold, sacrificing pretty young people to their titular stone hoof and horned, steam belching deity.

A battle of theological wits ensues between the fraught Father and the ultra-wicked village Magistrate/covert cult leader Baron Corofax (the perhaps even greater Peter Cushing in a rare, full-on chin-stroking villain role) and by the time the smoke clears and the last drop of crudely spilled virgin blood dries, only one of these admirably dedicated and faithful men will be left standing.

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