the audience applauded

disgusting, overrated, pointless

All that we are seeing on the screen is happening with real people, real action sequences in the background, forcing the eye to watch as if we were there.

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

I was an assistant on this film. The staff was far from "un-professional" it is just in this business extras are not coddled. It was a fast paced, gotta get it right, no time for "pretty pleases". It is not the best horror flick but it has some great scenes as previous posted pointed out. Most extras and townsfolk enjoyed the film shooting and enjoyed the attention. We were in a great little Coos Bay hide away...fun little town. North Bend was great too! Lenny Montana - as big as he is - was the nicest and most gentle people I've met. It was odd seeing Frankie Avalon as a murdered. Still wickedly handsome. Low budget - blood, horror, fun story theme. It is great that it was repackaged as part of the double feature with Mausoleum.

Got this in a double feature movie pack the other being "Mausoleum". I am surprised to see this one has the higher score of the two movies as I thought that one was more entertaining though not necessarily a good movie in its own right. This movie starts out showing a boy who witnesses his father killing his mom and her lover and then himself. Well this kind of makes him mental and suffice to say he will grow up to be our killer. They do not really try to hide who he is during the movie as you see him fairly early in the picture. Well a girl with a bad leg sees visions of him doing his killings and he soon goes after her after she witnesses him disposing of one of his victims. There are a couple of good kills in this one, but for the most part the film is rather slow and a lot of times there is not a lot going on. The film will focus on the girl and her relationships with her father and her boyfriend then cut to a scene from time to time of the mental dude killing someone. Then after she sees him face to face the film is just him stalking her before finally going after her in a very prolonged scene. Just not all that entertaining. The psychic link she shares with the killer almost seems pointless after the initial scenes of her seeing visions of his killing and really added no new dimension to the film other than she should have been a bit more ready for him than she was. So all in all have to say this song had no rhythm and runs way to long at the end. I kept thinking to myself near the end "Shouldn't this be over?"

Yay! Another totally obscure early 80's slasher no one has ever heard of! I often wonder where they keep coming from. Are the 80's still going on in some kind of alternate dimension or something? How else would you explain the never-ending upstream of long lost slashers? Anyway, this one isn't very good, but I can honestly state that I've struggled myself through 80's slashers that are much worse and yet somehow enjoy a mild cult reputation. "Blood Song" only enjoys the status of obscurity, but at least it offers a couple of ingenious gimmicks, an occasionally unsettling atmosphere, some nasty killings, a handful of likable characters and – not to forget – a unique member in the cast of nobodies! Ladies and gentlemen: washed up 50's and early 60's crooner Frankie Avalon! And in all fairness, I also have to admit that the script of "Blood Song" attempts to be slightly more than just a random slasher. The plot tries to spiritually link the female protagonist Marion to a fugitive killer through a blood transfusion, nightmarish POV visions and … flute music! "Blood Song" opens with a typically clichéd horror scene, yet with an unexpected twist at the end of it. A young boy witnesses his father killing the unfaithful wife, her lover and himself. What's a poor kid to do at such a traumatizing and future-determining point in life? Well, play the wooden flute his daddy hand-made for him of course! More than 20 years later he escapes from a mental asylum, still holding on to his wooden flute, and goes on a rampage where he kills everyone who negatively criticizes the music he produces. Meanwhile, Marion witnesses all of his vile acts in visions because the killer once anonymously donated blood to her when she was involved in a car accident. A confrontation between the two is inevitable, but not before the musical killer eliminates some more random victims first! Like often the case in this genre, "Blood Song" is a lot more enjoyable if you don't ask too many questions regarding the plot's plausibility and don't bother about the multiple giant holes. All the ingenious aspects of the plot sadly vanish when the girl and the killer first stand face to face and "Blood Song" then reverts to an ordinary stalk-n-slash flick, albeit with an odd father-daughter relationship sub plot. Frankie Avalon isn't too bad, but he hasn't got many lines and what he says doesn't always make much sense. Funny detail is how the script never explains why they sent little Pauly to a mental institution in the first place. Okay, he witnessed a triple murder and suicide but he didn't commit any acts of insanity at young age himself, at least nothing hints in that direction. Since when is it customary to send traumatized kids to an asylum instead of to foster parents or orphanages? Because now it seems that he only really lost his sanity whilst being committed. A-ah, (unintentional?) food for thought in a mediocre & insignificant 80's horror movie!

50's teen idol Frankie Avalon gives a surprisingly solid, credible and even fairly creepy performance as Paul, a crazed, murderous flute-playing mental patient who develops a psychic link with sweet gimpy teenage girl Marion (appealingly played by the adorable Donna Wilkes of "Jaws 2" and "Angel" fame) after his blood is used for an operation she undergoes. Pauls escapes from the asylum, steals a van, and drives cross country so he can meet Marion in person, bumping off a few folks along the way. Monty Turner's gratingly redundant droning synthesizer score tends to be more annoying than effective, but fortunately Alan J. Levi's able direction, Steve Posey's polished cinematography, some witty dialogue ("I've got a hangover that would make King Kong climb a wall"), a decent amount of gore, and the uniformly fine acting from an interesting cast are all up to par. A radically cast against type Avalon in particular has a field day with his juicy homicidal fruitcake part: Frankie plants a hatchet in a guy's face, strangles a hot young lady after making love to her, and, best of all, vigorously engages in a strenuous mano-a-mano no-holds-barred physical confrontation with veteran tough guy actor Richard Jaeckel (who's excellent as usual as Marion's stern, cranky, overbearing dad). Lenny Montana, the hit-man who winds up sleeping with the fishes in "The Godfather," served as a co-producer, co-wrote the script and pops up in a small supporting role as an amiable tugboat skipper. A fun little fright flick.