Directed by Peter Webber [Other horror films: N/A]
While this isn’t really a horror movie, it’s in a series I generally consider horror, so I’ll just throw this one in, which is unfortunate, as I had to watch this pile of trash.
I’m not exactly sure what my biggest problem with this was. Partially, I suspect, my disdain is due to the fact that an origin story was entirely unnecessary. What doesn’t help is the fact that I couldn’t even once see this character as Hannibal Lecter. So he accidentally eats his sister, and then decides to be a cannibal? Oh, and a samurai? Love it.
To be fair, this movie had a decent kill every now and again. One was even actually good, and potentially memorable. It’s a shame that the same can’t be said for any of the characters (be it the generic serial killer lead or the pointless detective on his trail) or the movie as a whole.
Gaspard Ulliel didn’t once remind me of Lecter, but I guess he was fine. Dominic West (The Wire) was pointless. I didn’t like Li Gong’s character whatsoever. And no one else was particularly memorable or good either.
A few good kills doesn’t make a movie good, especially when the movie is otherwise entirely generic and unnecessary. Truthfully, this was a struggle to get through, and I’d easily take Red Dragon or Hannibal twenty times over as opposed to ever having to watch this piece of trash again. I legitimately didn’t enjoy this. I did not have a good time. I was displeased.
Directed by Ridley Scott [Other horror films: Alien (1979), Alien: Covenant (2017)]
I can’t recall exactly how long it’s been since I’ve seen this movie in full, but I will say it’s been at least eight years. I remembered some of the scenes here, but not that many, so the film had a somewhat fresh feel to it. Also, it’s a decent amount more graphic than The Silence of the Lambs, which only works in it’s favor. Honestly, I enjoyed this one, and thought it a mostly fun romp.
The idea of a previous victim of Lecter’s seeking revenge against the good doctor is pretty fun, and it casts the victim, Verger, as both sympathetic, but also somewhat blood-thirsty (though certainly not without reason). Even before Lecter gets back to the USA, seeing him ingratiate himself in Italy is a lot of fun too, and in fact, the Italian portions of the film were perhaps the most interesting to me (it doesn’t hurt that the segment ended with a fantastic disembowelment).
Unlike some, I didn’t think Julianne Moore’s presence in lieu of Jodie Foster’s was that bad. Obviously, it would have been great to get Foster to reprise her role, but Moore did perfectly fine playing Clarice, and got on well with Sir Anthony Hopkins. Of course, Hopkins does fantastically as Lecter, and stole the show, especially in his Italian scenes, but really, throughout the film, he’s great. Gary Oldman, playing a rather disfigured victim of Lecter’s, does a great job, and his voice creeps me out as much today as it did when I was younger, watching the film. Other stand-outs include Giancarlo Giannini and Zeljko Ivanek. I didn’t particularly care for Ray Liotta’s performance, but that’s partially because his character was so over-the-top scummy that I didn’t have an ounce of sympathy for him at any point.
This movie isn’t particularly violent, but like The Silence of the Lambs, there are a few good scenes here, ranging from a previously-mentioned disembowelment to some solid pig action (and I don’t mean in a Wedding Trough fashion). There’s nothing that seems over-the-top in Hannibal, and the ending, which leans more toward disturbing than it does violent, was pretty solid.
Really, Hannibal’s gotten a decent amount of flak, which is a shame, as I think it’s a solid follow-up to one of the most classic films of the 1990’s. Truth be told, while I do enjoy The Silence of the Lambs, I think I prefer Hannibal, and a large part of that might be because this has a little more of the horror feeling than it’s predecessor does. I’d give them roughly the same score, but Hannibal was one that, surprisingly, I found I really enjoyed after revisiting.
Directed by Bruno Mattei [Other horror films: Casa privata per le SS (1977), KZ9 – Lager di sterminio (1977), Virus (1980), L’altro inferno (1981), Violenza in un carcere femminile (1982), Zombi 3 (1988), Terminator II (1989), Non aprite quella porta 3 (1990), Occhi senza volto (1994), Cruel Jaws (1995), Snuff killer – La morte in diretta (2003), Mondo cannibale (2004), Nella terra dei cannibali (2004), La tomba (2006), L’isola dei morti viventi (2007), Zombi: La creazione (2007)] & Claudio Fragasso [Other horror films: Virus (1980), Leviatán (1984), Zombi 3 (1988), After Death (Oltre la morte) (1989), La casa 5 (1990), Non aprite quella porta 3 (1990), Troll 2 (1990), Una notte da paura (2012)]
This Italian movie, most commonly known as Rats: Night of Terror, is one that I’ve wanted to see for quite some time. I can’t say I’m overly impressed with the film after seeing it, but I can admit that I was amused throughout a lot of it.
The version I watched was English-dubbed, which I think caused the film to come across as a lot more goofy than it originally probably was. Some of the dialogue here was just really bad, but in a somewhat hilarious way. Related, so much of the acting was over-the-top, and I don’t think that can be blamed simply on the poor dubbing job.
Playing the main character Kurt was Ottaviano Dell’Acqua, who had some of the more ridiculous acting portions. He was pretty fun, though, and I generally thought he was one of the few really stand-out characters. Fausto Lombardi fits that bill also, and he was certainly my favorite in the film. If there’s one character that I wish we got any background on, it’d be this guy. On the other side of things, Ann-Gisel Glass and Moune Duvivier were among the worst performances I’ve seen. Mercifully, Duvivier was one of the first ones dead, but we had to suffer through Glass’ melodramatic, overwrought performance throughout most of the film. Others did about as well, in a cheesy way, as you could expect.
I thought that there was some pretty decent gore here, though I’ll be honest and admit I was expecting a bit more in that department. Still, seeing rats crawl out of peoples’ mouths and jumping onto people was fun enough, so while the film didn’t shine insofar as the gore was concerned, I don’t think it was that big a problem.
How different this film would have been if I saw it in it’s original Italian, I don’t know. It wouldn’t have changed the bad acting, but it probably would have been a bit easier to take seriously. On the other hand, the ending is so ridiculous, it has to be seen to be believed. For a post-apocalyptic film, I didn’t have nearly as much fun as I did with 2019: After the Fall of New York, but Rats: Night of Terror was still a somewhat amusing film, and though it’s below average, I can see myself giving it another view in the future.
Directed by Jesús Franco [Other horror films: Gritos en la noche (1962), La mano de un hombre muerto (1962), El secreto del Dr. Orloff (1964), Miss Muerte (1966), Necronomicon – Geträumte Sünden (1968), The Blood of Fu Manchu (1968), Der heiße Tod (1969), Marquis de Sade: Justine (1969), The Castle of Fu Manchu (1969), Paroxismus (1969), De Sade 70 (1970), Nachts, wenn Dracula erwacht (1970), Les cauchemars naissent la nuit (1970), Vampyros Lesbos (1971), Sie tötete in Ekstase (1971), Jungfrauen-Report (1972), Drácula contra Frankenstein (1972), Der Todesrächer von Soho (1972), La fille de Dracula (1972), Dr. M schlägt zu (1972), Les démons (1973), La comtesse noire (1973), La maldición de Frankenstein (1973), La nuit des étoiles filantes (1973), Los ojos siniestros del doctor Orloff (1973), Al otro lado del espejo (1973), La noche de los asesinos (1974), Les possédées du diable (1974), La comtesse perverse (1974), Les gloutonnes (1975), L’éventreur de Notre-Dame (1975), Sexorcismes (1975), Frauengefängnis (1976), Jack the Ripper (1976), Un silencio de tumba (1976), In 80 Betten um die Welt (1976), Die Marquise von Sade (1976), Greta – Haus ohne Männer (1977), Die Liebesbriefe einer portugiesischen Nonne (1977), Die teuflischen Schwestern (1977), Der Ruf der blonden Göttin (1977), El sádico de Notre-Dame (1979), Mondo cannibale (1980), El caníbal (1980), Die Säge des Todes (1981), La tumba de los muertos vivientes (1982), La mansión de los muertos vivientes (1982), Revenge in the House of Usher (1983), El tesoro de la diosa blanca (1983), Macumba sexual (1983), Sola ante el terror (1983), Sangre en mis zapatos (1983), Mil sexos tiene la noche (1984), El siniestro doctor Orloff (1984), Lilian (la virgen pervertida) (1984), La esclava blanca (1985), Faceless (1987), Killer Barbys (1996), Tender Flesh (1997), Mari-Cookie and the Killer Tarantula (1998), Lust for Frankenstein (1998), Vampire Blues (1999), Dr. Wong’s Virtual Hell (1999), Helter Skelter (2000), Vampire Junction (2001), Incubus (2002), Killer Barbys vs. Dracula (2002), Snakewoman (2005), La cripta de las mujeres malditas (2008), La cripta de las mujeres malditas II (2008), La cripta de las condenadas (2012), La cripta de las condenadas: Parte II (2012)]
This Jesús Franco film didn’t really do a whole lot for me. While there are some solid scenes of torture every now and again, much of the film came across as a historical drama, and were it not for Christopher Lee (playing the sinister Judge Jeffries), I would have liked this film a lot less.
Widely known as The Bloody Judge, I really appreciate, as a moderate student of history (a minor of mine in college) the historical nature of the film, though I am slightly put off by how it overshadows any and all of the horror aspects (which come primarily from the torture sequences).
Of course, this film isn’t without it’s positives. Christopher Lee does great in his role (though I don’t think the conclusion insofar as Jeffries was concerned was that satisfactory), and Hans Hass Jr., Milo Quesada, and Maria Rohm stand out also. Also, there was a solid sequence at the end once William of Orange came ashore. Alas, the ending played out somewhat quickly, which gave it a somewhat anticlimactic feel.
Personally, I think the biggest problem with this film is it’s meandering plot. The basic plot, in which the son of a Lord is looking to get married to the sister of a woman killed for being a witch and escape out of England is all well-and-good, but at an hour and forty minutes, I will admit to having stopped caring past a certain point. Loved the torture sequences (though none were overly over-the-top), and every scene with Lee, but much of the film just wasn’t my cup of tea.
As it is, when it comes to historical horror films, I already have the 1968 Witchfinder General to fill the void. If you see this for any reason, it should be Lee’s solid performance as a despicable judge killing innocents in the name of God and country. Truth be told, I was hoping for more than I got from this. The Bloody Judge may work for you, but it didn’t do a lot for me.
Directed by Michele Soavi [Other horror films: La chiesa (1989), La setta (1991), Dellamorte Dellamore (1994)]
Perhaps it’s due to the fact that, at the time of this writing (4/23/2019, should anyone be interested) I’m drunk off my fucking ass, but this movie was excellent. Great death scenes, damn good suspense, fantastic movie, and just overall a fun movie.
I saw this before, and I enjoyed it, but this time around, I get the sense I enjoyed it a lot more. I have virtually no complaints about Deliria (as that’s it’s original title), and it really has a lot of things going for it.
The funky Italian music is especially fun throughout the film, and toward the ending, there’s a great sequence on the catwalks with the music playing that was just a delight. The special effects were great, and pretty much every kill was enjoyable (favorites including the dismemberment and decapitation, along with the drill and chainsaw). My all-time favorite kill, though, was one of the earlier ones, when a character gets stabbed on-stage. The way that scene was filmed was great, and it had such an epic feel to it (music, of course, played a large part in that). It’s not necessarily an overly gory kill, but it was my favorite in the film.
Most of the main performances are pretty decent. Barbara Cupisti and David Brandon in particular impressed me, but I also rather enjoyed Giovanni Lombardo Radice, Loredana Parrella, Martin Philips, James Sampson, and Ulrike Schwerk. Clain Parker played the killer wearing the owl headpiece (which, by the way, was a rather random yet fun addition to the film), and I really loved Parker’s calm style, especially the sequence when he’s just sitting around all those he’s killed, stroking a cat (which, on a side-note, was a fantastically suspenseful sequence).
While I sort of wish the film had gone the giallo route (by attempting to hide the identity of the killer, or throwing in some type of plot twist where there were multiple killers), I sort of appreciate how the movie kept things simple. We know who the killer is from the beginning, and the body count rises and rises in generally gory and satisfying ways.
Truth be told, I don’t think there’s any really big issues with the film. If you’re a fan of slashers, I really don’t see where this film would do you wrong. Pretty much everything’s solid about it, and there’s even a little humor provided by two cops sitting outside the studio while all the mayhem’s taking place (the younger cop played by the director, Michele Soavi). Whether you know this movie as StageFright, Aquaris, Deliria, whatever, this Italian movie has the goods, and was a fantastic rewatch.
Directed by Sergio Martino [Other horror films: Lo strano vizio della signora Wardh (1971), La cado dello scorpione (1971), Tutti i colori del buio (1972), Il tuo vizio è una stanza chiusa e solo io ne ho la chiave (1972), Morte sospetta di una minorenne (1975), La montagna del dio cannibale (1978), L’isola degli uomini pesce (1979), Il fiume del grande caimano (1979), Assassinio al cimitero etrusco (1982), 2019 – Dopo la caduta di New York (1983), American risciò (1989), La regina degli uomini pesce (1995), Mozart è un assassino (1999)]
Generally known as Torso, and originally known as I corpi presentano tracce di violenza carnale (what a mouthful that is), this giallo is a pretty solid and enjoyable film, though I don’t think it truly shines until the final thirty minutes.
Much of the success is due to Suzy Kendall’s strong performance. Throughout much of the film, she plays the type of protagonist you can really root for, as she does some solid investigation, along with making rather intelligent decisions toward the end. Probably one of the stronger women in horror at the time, which I appreciated. Her main friends (played by Tina Aumont, Angela Covello, and Carla Brait) all did well, but the only one to really make an impression was Aumont.
Otherwise, John Richardson was about the only other performance to really do much for me. Playing one of the many suspects (what’s a giallo without at least three suspects?), Richardson is decently memorable despite his moderately short screen-time.
What’s more memorable than him, though, is the ample nudity in the film. A lot of topless scenes here, including a drugged-out dance, skinny-dipping, and, of course, nude sunbathing. There was even some softcore lesbian action at times, which was kind of them to throw in. It sort of came out of nowhere, but that’s Italy for you.
The gore was pretty decent also, though not quite as good as I recalled. Still, it’s pretty solid, what with multiple slit throats, a rather nasty (but also rather fake) head injury, and of course, some mild dismemberment toward the end. Much of the violence wasn’t really gory, but it still had a strong sense of being brutal.
It’s in the final thirty minutes where Torso takes off from an okay giallo to a really suspenseful and mysterious film. The killer’s identity wasn’t really hard to decipher, but the reason for their actions was what had me most curious (and we get a fun flashback at the end to showcase just that). There’s some great suspenseful scenes in the finale, such as the newspaper scene and a taut sequence of a woman trying to conceal herself from the killer in the hilltop villa (which was a pretty solid setting, by the way).
All-in-all, Torso’s not quite the amazing movie I remember it being, but it’s still very much above average, and it’s definitely a giallo I’d recommend. Sergio Martino did a lot for Italian horror (and I mean a lot), so his entry here is unsurprisingly solid. The specific scarf design one of the girls was attempting to remember was classic giallo. Not an overly amazing movie, Torso was still a lot of fun.
Directed by Dario Argento [Other horror films: L’uccello dalle piume di cristallo (1970), Il gatto a nove code (1971), 4 mosche di velluto grigio (1971), Profondo rosso (1975), Suspiria (1977), Tenebre (1982), Phenomena (1985), Opera (1987), Due occhi diabolici (1990, segment ‘The Black Cat’), Trauma (1993), La sindrome di Stendhal (1996), Il fantasma dell’opera (1998), Non ho sonno (2001), Il cartaio (2004), Ti piace Hitchcock? (2005), La terza madre (2007), Giallo (2009), Dracula 3D (2012)]
While I’ve seen Suspiria a few times before, perhaps as many as three times, I’ve not seen Inferno up until the point of this writing. It’s a difficult movie to really get a feel for, but I’ll say that, while it wasn’t as striking and, I suspect, as memorable as Suspiria, there’s still stuff in here to enjoy.
It’s just possible that the movie lacks a certain cohesion. That’s not to say that Suspiria didn’t, but Inferno takes it to a whole new level. There’s a basic plot here, but the movie takes a rather meandering and sometimes disjointed approach to it, especially with Leigh McCloskey’s character not having a clue as to what was going on until the ending, and I’m guessing he didn’t really know then.
Inferno has a rather dream-like quality to it. There are some scenes that just seem off, or riddled with awkward dialogue, or character actions that don’t make a lot of sense. Most of the kills are great, but we never really find out who exactly is the one doing most of them, and generally, portions of the movie strike me as somewhat nonsensical.
None of this means the movie isn’t enjoyable. I will say that it probably went on a bit longer than it needed to, and the conclusion was, well, not amazing (and just brought forth a few more questions that were never even attempted to be answered), but it’s still occasionally fun. The special effects are decent, and the lighting is, of course, rather seductively ambient (though I will say that Suspiria’s lighting was quite a bit better). I think, in terms of enjoyment of the ludicrous nature of the film, the whole eclipse scene was definitely a trip.
Generally, I don’t know if most of the performances are all that memorable. McCloskey sort of had appeal as the lead, given that he had no idea whatsoever that anything supernatural was even going on until the end. He was basically clueless throughout the whole film (which lead to a somewhat amusing line near the end), but I don’t know if that makes him necessarily memorable. That said, the same could be said for both Irene Miracle and Eleonora Giorgi. Daria Nicolodi seemed somewhat pointless, but Alido Valli was rather fun to see again (she was also in Suspiria).
It’s sort of hard to pinpoint what exactly makes this film a little less stellar than his former film in the series. Inferno does meander a bit, and at times feels a bit aimless. The conclusion, especially that skeleton costume, seemed a iffy. The soundtrack was just a bit eclectic. It’s still a decent film, and I do think it’s probably above average, but Suspiria is, in my opinion, better.
Directed by Ruggero Deodato [Other horror films: Ultimo mondo cannibale (1977), Cannibal Holocaust (1980), La casa sperduta nel parco (1980), Inferno in diretta (1985), Un delitto poco comune (1988), Minaccia d’amore (1988), Vortice mortale (1993), The Profane Exhibit (2013, segment ‘Bridge’), Ballad in Blood (2016), Deathcember (2019, segment ‘Casetta Sperduta in Campagna’)]
This Italian film (most commonly known as Body Count) was a bit of a muddled, scatter-shot mess. It was certainly still enjoyable as a slasher fan, but boy, you’d hope that Ruggero Deodato would have been able to make a more stable slasher than what this shows.
As it is, the kills throughout are decent. I particularly liked seeing one character’s fingers getting chopped off by an ax, or another in which a girl gets stabbed through the hand, and the killer twists the knife. There are some painful scenes in this one, and though it doesn’t really compete with the best of the best, the kills were very competent.
A bigger problem, though, is the story and characters. Maybe it’s because the movie’s Italian, but the story here seems a bit on the messy side. It’s true that I had an issue remembering who was who here (though to be honest, I don’t know if that matters much), but starting out the movie, then jumping 15 years later, then later throwing in a flashback of a ‘bear attack’ (that was very obviously a murder, on a side-note) just left me feeling jumbled. The ending, which implied that there was another killer, also didn’t help.
Even once we find out who’s behind the murders (which isn’t a big surprise, but there were a few legitimate suspects here), we’re told that one of the earliest murders (that happened in the introduction, 15 years prior to the core of the movie) wasn’t done by the killer. Wait, I missed something – who killed that first person, then? Maybe it slipped past me, or maybe that wasn’t clarified.
The characters here were all sort of goofy and hard to really feel much for. The worst offender was Andrew J. Lederer (who provided us with some solid male frontal nudity), but to be honest, he did crack me up a few times, and at least stood out, which can’t be said for any of the other teen characters (despite the fact that a handful of the young women weren’t what you might refer to as ‘modest’).
Some of the others here were okay, though. Ivan Rassimov (who starred in a handful of classic cannibal films, such as Man from Deep River, Jungle Holocaust, and Eaten Alive!) brought a solid performance as a sheriff, though I wish the movie did more with him. Ditto John Steiner, who I thought would play a bigger role here. David Hess (Last House on the Left) and Charles Napier were also solid presences, but given the story they’re dealing with, I don’t think either stood out.
I’ll give Body Count kudos for the 80’s score, which I rather liked, but I’ll take the kudos away due to the atrocious lighting at various parts throughout the movie. Maybe if the lighting had made some of the scenes more visible, some of the movie might have been more on the comprehensible side.
The question is, though, did I enjoy Body Count? I did, given all of it’s flaws. I still think this Italian slasher is below average, but hell, it’s an 80’s slasher, and there are decent kills here, so even if the story is lacking, at least we get a little something.
This is one of the films covered on Fight Evil’s podcast, so if so intrigued, check out below as Chucky (@ChuckyFE) and I discuss Body Count.
Directed by Franco Prosperi [Other horror films: Mondo cane (1962), Africa addio (1966)]
This Italian movie is something of a hoot. Truth be told, while it has the tendency to drag a little, overall, I definitely think it’s a film worth seeing, should you be a fan of Italian entries to the genre.
I wouldn’t say you should see it for the cast, however – make no mistake, I think the principal actors/actresses (John Aldrich and Lorraine De Selle) do fine, but neither one is special, especially considering the rather horrible dubbing job done. I did appreciate Ugo Bologna as the Police Chief, along with Louisa Lloyd as De Selle’s bratty daughter (and, on a side-note, I detected what had to be close to underage nudity early on in the film, which came as a bit of a shock). Still, these four are virtually the only important cast members, and while none of them are bad (which isn’t to say unlikable), it’s not why you’d come to this flick.
Instead, it’d be for the sometimes brutal animal attacks, of all flavors. Favorites of mine including an elephant stomping on a woman’s head (unfortunately cut somewhat short), an epic rat attack toward the beginning, which was beautifully gory, and a rather tragic attack upon a blind man by his seeing dog (which was filmed in a much more somber way than you might expect from a piece of schlock like this). The gore is never too in-you-face, and there are plenty of suspenseful scenes that go without, but when it did pop up, it was generally of solid quality.
At times, though, because of switching between mostly random people being attacked by random animals (such as the six minute cheetah chase, which was moderately suspenseful), the movie felt a bit aimless at times. It’s not necessarily a bad thing, because within the context of the story, such a route makes sense, but Wild Beasts definitely felt a bit off at times.
Personally, I think that this movie had a lot of get-up-and-go despite some of the issues I had with the cohesiveness (I should point out that the conclusion is pretty cool, albeit a bit weak in the way it played out). It’s not a great movie, but I do think that this Italian flick has a lot of character, and while I wish it had more gore, there were some kills (such as the seeing dog attack and the rat attack) that were well-worth seeing, and generally, I’d say Wild Beasts is enjoyable, just not special.
Directed by Aldo Lado [Other horror films: Chi l’ha vista morire? (1972), L’ultimo treno della notte (1975)]
This Italian giallo, widely known as Short Night of Glass Dolls, was a decent film for much if the run-time, but toward the end, it sort of went into a somewhat incoherent mess.
The mystery here is pretty good, and enjoyable to watch unfold. A young woman disappears without a trace in Prague, and her lover, an American journalist, attempts to find her. It’s typical for a giallo, but that doesn’t make it any less fun. It’s made better by the setting, and more so, the time period, as this took place when then-Czechoslovakia was a Communist state behind the Iron Curtain.
Because of that, there is a bit of anti-USSR material strewn throughout the film, and even toward the conclusion, though I don’t think it’s terribly over-troubling. It does lead to a more oppressive feel, and much of the going-ons have a very conspiratorial feeling to them. Problematically, the conclusion doesn’t explain what’s going on nearly as well as I’d have liked, and honestly, I’m at a loss right now as to what actually happened, and why. It’s just not made clear, as far as I could tell.
Worth noting, most of the main story is told via flashback, and the present-day material, luckily, is decently engaging. Still, I don’t care much for the conclusion they had there, either, though it certainly possessed a somewhat bleaker feel than some audiences might be used to.
I’m not trying to harp too much on the movie, because much of it is really engrossing. It’s not until the final ten minutes or so that the movie, in my opinion, falls apart. It’s just rather noticeable because my enjoyment level went down so much as the ending unfolded, and I felt that given how good the film was before, it was rather unfortunate.
I liked much of the principal cast of this film. Jean Sorel took a little bit, but he grew on me as the film went on. Playing a friend of his, I thought that Mario Adorf did well with his more care-free, fun-loving character. Lastly, playing the woman who goes missing, Barbara Bach did well as a beautiful, semi-mysterious woman.
For a giallo, La corta notte delle bambole di vetro is extraordinarily tame. There’s little to no gore, and many of the staples you might expect from the subgenre, such as first-person view from the killer, or black gloves, are absent. The mystery is certainly here, and like I said, it’s done well, but this movie feels really toned down, and if you’re expecting a run-of-the-mill giallo, then you’ll likely to be disappointed.
I will admit to being disappointed by this one, if only because the conclusion (to both the flashback and present-day stories) were so unsatisfactory. I can live with little gore, because the story was otherwise engaging, but what draws me to giallos is how everything’s pieced together nicely at the end, and I definitely didn’t get that feeling here. For what this movie is, it’s okay, but I’d definitely temper your expectations before jumping in.