The good stuff: First of all, this was shot on 16mm film, not "shot-on-video" as one reviewer said. It was released direct-to-video. In fact, it was probably one of the very early films to go straight to video back in the glory days of VHS. The actors look good. The lighting is effective. The not so good stuff: the characters are not engaging, and the pacing doesn't work. It's an 80s curio, and worth a look for that.

A heavy-metal musician (Thomas Bern, in his only role) makes a deal with a satanic succubus (Sylvia Summers) to make him successful with women, in return for the succubus being able to feed on the girls.Before David DeCouteau was making low-budget homo-erotic films, he was making low-budget fodder for Charlie Band's Empire Pictures. While Empire made some good films (the work of Stuart Gordon), it made plenty of bad ones (such as DeCouteau's work). This film is a prime example of 1980s DeCouteau.We start out with a very long credit sequence, each name lingering on a black screen. And then we go into a dream sequence with a naked man in a hallway. For a film that runs only 82 minutes, the time tends to go rather slowly. The script could not have added one additional scene or something to make this either longer or to have at least sped up the pace of the 82 minutes? Another reviewer found it funny that the "heavy metal" guy wears a Def Leppard t-shirt and has posters for Poison and the Dead Kennedys. I would not find that strange normally, but it does seem odd for someone into devil worship -- more appropriate bands might be Venom, Bathory, Hellhammer and Celtic Frost. The film's score also has no relation to this dark or metal claim. There is some dreamlike quality, I admit, but composer Don Great (who also did "Breeders") might have added a bit more edge. Okay, a lot more edge.

The movie is full of ugly women who are supposed to be hot, and nudity scenes where there aren't any female full frontals, but hairy weasel man-ass. Some of the gore is okay; there's a few scenes where a dude or two suffers genital injuries during oral sex, but the camera cuts to the dudes facial expressions of pleasure then pain, and then the chick spitting blood. Also there's a scene where a characters head is decapitated by an electric drill.The movie's about this wannabe satanist, who gives incantations to Satan while sitting at his bedside wearing his Def Leppard t-shirt, then dreams of this ugly chick who is supposed to be Satan incarnate, or a succubus. Later, this evil horse faced succubus crashes his girlfriend's-sister's lame sorority party of eight people. Most of the film the power is out.Not in the least bit entertaining. Wash your dishes instead.The VHS cover's a laugh though, it says that is was too gory for TV, that's why it went straight to video-- yeah, try to prop up that fragile ego of your's Mr. Filmmaker.

It's common knowledge that a healthy percentage of the people working within the film industry of today began their career somewhere within the slasher genre. Whilst the gross majority went on to find fortune and fame beyond the realms of masked killers and screaming teens (George Clooney, Brad Pitt, Roger Spottiswoode etc), there are a few that seemed content to dwindle in the security of B-movie minor-budget rhapsody. Among those names are the likes of Fred Olen Ray, David A. Prior, Steve Jarvis, Linnea Quigley and perhaps most importantly, David DeCoteau. Dreamaniac is DeCoteau's first excursion into slasher land and although not particularly groundbreaking, it does have its fingers deep in a few trivia pies. It's mainly notable to cycle buffs for being one of an inexplicably select few of the 400 or so genre entries that mixes elements from giants Halloween and A Nightmare in Elm Street, without straying out of the stalk and slash guide book. Titles such as Playroom and the rancid The Oracle gave up their place in the cycle by edging too far into the realms of supernatural futility. Thankfully, Dreamaniac remains true enough to it's roots to stake a place in the ever-increasing catalogue of Halloween knock-offs.Dreamaniac centres on an archetypal gang of fun loving stereotypical period teens. Boasting a baby face that makes him look like an extra from The Sorcerer's Stone, protagonist Adam (Thomas Bern) shows his eighties credibility by spending most of the runtime sporting a Def Leppard t-shirt. Despite looking like butter wouldn't melt in his mouth, surprisingly Adam is a part time Satanist with a passion for black magic rituals. His bubble-haired girlfriend Pat (Kim McKamy) has no idea that her beau spends his spare time conjuring dark spirits from beyond the grave, and often she wonders why he spends so much time alone in his room. In an attempt to bring him out of his shell for a few hours, Pat has organised a huge party at her boyfriend's vacant abode. The guest list includes all the typical sure-fire body count ingredients, and before long they arrive and get the beer flowing. Unbeknownst to them, Adam has summoned a porn star-like succubus from another dimension and it goes without saying that she has arrived with a taste for blood. Before long the corpses begin to mount as the maniacal fiend begins seducing the male guests and then butchering them in various imaginative ways. Will anyone be able to stop the demon? Or will the rampage continue for the chance of a profit-escalating sequel?Somewhat surprisingly, after the inevitable Halloween-alike synthesiser score, DeCoteau does well not to turn Dreamaniac into a total clone of it's forefathers. There's enough originality in the Freddy/Michael Myers inspired conjunction to allow the movie to lift itself above the notorious "rip-off" status that has jinxed its brethren. Towards the film's finale the director chucks in zombies and various other supernatural gimmicks that add a touch of spice to the standard slasher template. When compared to the likes of Night Ripper from the same year, DeCoteau's effort offers much more in atmosphere and flair. Although the "too gory for the silver screen" boast from the hyperbole packaging is definitely a half-truth, there are one or two credibly handled splatter scenes. Tom Schwartz's power drill decapitation can rank among some of the neatest killings of the genre and the gruesome hand impalement that precedes it is also impressive.Despite the odd distinctive camera trick, there's very little here that would prove to be the stepping-stone for a long career in B-movie cinema for DeCoteau. In fact at times the movie fails to generate any kind of atmosphere at all. The constant homo-erotic references that would become a trademark for the director in later years of his career are excellent for the homosexual viewers. But to be honest they feel somewhat misplaced and unnecessary for everyone else. The slasher is a genre that has survived by sticking to the template of its forefathers and skillfully avoiding the potential catastrophe that is political correctness. As is the case with so many eighties slashers, the film's biggest flaw is the heinous work form the dramatis personae. In fact the level of performance is so dire that it adds strength to the case that the most intelligent member of the cast was the dead cat that was found mutilated 20 minutes in to the feature. Surprisingly enough there was a soon to be "star" amongst the cast of big haired but small brained hopefuls. It is perhaps ironic that young Kim McKamy would go to become a big name in the 'porn' industry. Thus adding further evidence to the level of dramatics that plagued Dreamaniac. The female bogeyman proves to be a real spine-chilling fiend. Even without theatrical make-up she brings to mind a young Kim Basinger after 6 weeks in a Detroit crack house. Scary huh? To be honest there's not much here to warrant hunting out a copy of Dreamaniac. It's standard slasher fare that fails to build on a promising basis. There are a lot better efforts floating around and I recommend only to slasher obsessives.