Satan's Black Wedding

1976
R
1h 1m

IMDb RATING

YOUR RATING

Lisa Milano and Ray Myles in Satan's Black Wedding (1976)

A man travels to another city for his sister's funeral to try to find out why she killed herself. He discovers that she is actually a vampire and returns from the dead to take revenge on her... Read allA man travels to another city for his sister's funeral to try to find out why she killed herself. He discovers that she is actually a vampire and returns from the dead to take revenge on her family.A man travels to another city for his sister's funeral to try to find out why she killed herself. He discovers that she is actually a vampire and returns from the dead to take revenge on her family.

See production info at IMDbPro

IMDb RATING

4.5/10

426

YOUR RATING

See production info at IMDbPro

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Storyline

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Did you know

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Trivia
Director Nick Millard wanted to distance his vampire film from the Dracula mythos, so he based the script off of stories he heard of defecting priests and nuns who practiced devil worship.

Quotes
Daken: Whosoever believeth in him, shall have life everlasting in darkness. He is pleased with you, Nina. He called you 'daughter'. Now you must complete the covenent. Every member of your family must die.

Connections
Edited into Doctor Bloodbath (1987)

User reviews16

Review

Featured review

2/10

Plastic fangs and embarrassed rats.

After writer Nina (Lisa Milano) inexplicably commits suicide, her brother, Hollywood actor Mark Gray (Greg Braddock), tries to find out why, his investigation leading him to an old church where a cult of vampires plan to invoke the devil to preside over an unholy 'black wedding'.

Even with a scant running time of just over an hour, Satan's Black Wedding, from director Nick Millard, is still a real test of endurance, the film being inept in almost every department: the script is crazy bad, amateur actors struggle to keep their plastic joke-shop fangs in place, the blood is obviously bright red paint, the day-for-night shooting still looks like broad daylight, the sound is diabolical (in one scene, the dialogue is almost drowned out by the noise of nearby traffic and passing aircraft), and a pair of rats look embarrassed to be involved (at least the humans had a say in the matter).

While some people clearly enjoy Millard's work for its sheer clumsiness, I can't bring myself to rate it any more than 2/10—the same low rating that I also gave to Millard's previous movie, Crazy Fat Ethel (1975).