Despite not being connected to the “Demons” series beyond sharing a director, Lamberto Bava, "The Ogre" is still worth watching. The film possesses an atmospheric quality, though it does have a few unintentionally humorous moments that don't detract from its overall creepiness. It feels like a less elaborate version of "The House by the Cemetery," particularly in terms of plot elements. Both films feature a man named Paolo Marco as the head of the family, both include an irritating young son called Bobby, both have a beautiful woman in her thirties who seems to be the only one noticing something is seriously wrong with their new home, and both involve something deeply unsettling hidden within the basement. Fans of "The House by the Cemetery" will likely find enjoyment here as well, though it’s less artistic, not as frightening, and lacks the graphic violence of its predecessor. The story begins with a young girl, Charel, experiencing a terrifying nightmare in which she is pursued by an ogre within what appears to be an old basement. Years later, Charel has grown into a novelist, married to Tom, and is raising their son Bobby. The family takes a vacation to an abandoned castle situated on an Italian estate called Trifiri. Soon after arriving, Charel feels as though she’s been there before, which she finds perplexing since she's certain she’s never visited Trifiri. She begins experiencing visions related to her childhood nightmare, but her husband dismisses them. As the visions of this creature intensify, her impatient husband tells her to relax and enjoy the vacation. However, Charel is convinced that her childhood nightmare is becoming a reality and she must confront the ogre on her own, as no one believes her. The plot does tend towards simplicity, making it challenging to sustain an hour and a half runtime. This results in several scenes featuring extended periods of silence and the main character wandering through the castle, replaying memories with a look of distress. Given the premise—a woman questioning whether what she's seeing is real or a hallucination—there are numerous moments where one wonders if something truly is happening, which eventually becomes tiresome. Like many Italian horror films from the late eighties, this movie has style and effectiveness but also provides some unintentionally funny moments that make it memorable. One example is when Charel slaps her husband and then retaliates by punching him in the face before fleeing into the woods like a madwoman; even more surprisingly, they appear as a happy couple just two minutes later, as if physical violence were entirely normal. The ogre itself—the film’s antagonist—is both frightening and comical, which is a welcome combination. It evokes a sense similar to Michael Jackson in "Thriller," but with a more natural and human quality. On the positive side, the music composed by Simon Boswell stands out as a highlight; though repetitive, it effectively creates a dark atmosphere during tense moments. Ultimately, I found myself enjoying this film, flaws and all, and those who appreciate classic Italian horror from the late eighties are unlikely to be disappointed. It incorporates familiar tropes like a wise old man speaking truth, a beautiful local woman rumored to be a witch, a creepy castle, a large basement concealing a terrible secret, and hostile locals trying to deter tourists. I would recommend "La Casa dell'Orco" with two thumbs up and a playful punch at your spouse’s face—a tribute to the film's heroine. Appreciate it for what it is and enjoy the experience.

Source on TMDB