Giallo-Argento that’s still miles aways from the atmosphere and style of Suspiria and the other horror-Argentos, nor is it actually as stylish as his first film “L'uccello”. But it’s got a really cool soundtrack by Morricone and there are some really “punchy” action sequences, perhaps even better than in most of his films.
Early Argento is utterly sublime. He is formally far more gnarled and unkempt that Hitchcock, but the integrated components of design facilitate the formation of an immersive aesthetic domain equal parts tacky and elegant. In some ways he is like a Visconti of fun (and funny!) trash. I find it positively inspirational to see Karl Malden so game for this madness, and it features one of Morricone's very finest scores.
A lower tier Argento giallo. The plot becomes horribly convoluted 3/4th's of the way through and will leave some people scratching their heads especially with the endless amount of twists & turns. Also the abrupt ending just feels extremely shallow. The main things of interest is Argento's stylized approach that is done in a more subdued manner compared to many of his other films and Morricone's score.-2 1/2 stars.
One of Argento's lesser thrillers but still very enjoyable due to the effective storytelling and competent acting from the leads. The visuals and music are stellar, and while the movie lacks the full on suspense from Argento's early giallos, this experiment in american style film making still pays off in spades.
Half way through, there's a shot where, in the background, two characters are getting it on while, in the foreground, there's milk leaking out. That should tell you exactly what to expect from this feature by the style over substance and shallow master of horror. I don't want to sound like a misogynistic barbarian, BUT, I'd be lying if I said I wasn't aroused every seconds that Catherine Spaak's tits were on screen.
El asesino misterioso, testigos parciales convirtiéndose en detectives a tiempo completo, los falsos culpables, nuevos asesinatos descarnados y el descubrimiento de secretos perversos que están de paso. Una historia tras un misterio, pero que va liberando otra historias sobre pederastras u homosexuales despechados.
Le sel du film repose non sur l'histoire, banale en définitive, mais sur le mystère avec lequel est narrée la succession incroyable des meurtres. L'assassin est assimilé au surnaturel par le gros plan, caractéristique de sa présence, sur son oeil d'étrange prédateur. Le film d'ailleurs ne manque pas d'humour, Argento semblant s'amuser avec les clichés et les références,notamment à Hitchcock.