Horror Extreme Movie Catalog - Editorial Reviews

When ten-year-old Karen (Brooke Shields) is killed in church on the occasion of her first communion, her seemingly innocent older sister Alice (Paula Sheppard) becomes the prime suspect. Matters become complicated as more of Alice's family members are attacked, along with residents of her apartment building. Can a twelve-year-old girl be capable of such mayhem, or is someone else with a vicious plan destroying her family? ALICE SWEET ALICE features a surprising amount of bloodletting along with a heavy dose of Catholic iconography. This was the first (albeit brief) screen appearance for Shields. The film is alternately known as Communion and Holy Terror. Special Features Include Commentary by Director Alfred Sole & Film Editor Edward Salier and Photo Gallery. Presented in Letterboxed format (Aspect Ratio 1.85:1)

Paula Sheppard is Alice, a pouty, petulant problem child at that awkward age living with her precocious little sister Karen (Brooke Shields) and single mom. When Karen is murdered during her first communion and Alice takes her place in line, suspicion immediately falls on her. Then a diminutive killer in a yellow slicker and opaque mask continues the reign of terror, and Alice's estranged father takes up the investigation to prove her innocence. Director Alfred Sole has acknowledged a debt to Nicolas Roeg's Don't Look Now, but Alice, Sweet Alice is really in the Hitchcock mold, a stylish, smartly executed psychological suspense thriller. The violence is rarely graphic but often grueling and always harrowing, and the deaths reverberate through the film in genuine and sometimes hysterical outpourings of grief. Even when Sole reveals the killer's identity in a startling moment halfway through (a la Vertigo), the tension never lets up. The original title of the film, Communion, better captures the Catholic elements of guilt, sacrifice, and redemption that become central to the film (another tip to Hitchcock). Only a couple of grotesque caricatures (notably an obese pedophile landlord) and a few rough moments (largely special effects scenes, likely due to budgetary constraints) mar this otherwise intelligent and well executed thriller. The DVD also features an insightful commentary track by director Alfred Sole and editor Edward Salier and an alternate credits sequence (identical but for the film's title), as well as brief biographies and filmographies and a stills gallery. --Sean Axmaker