ThiefHott Too much of everything

Lawbolisted Powerful

Rijndri Load of rubbish!!

Taraparain Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Stevieboy666 As a giallo fan I'd never heard of this until I noticed the DVD case's quite stunning artwork staring at me from the supermarket shelf. Needless to say I couldn't resist! This is a filmed in Argentina and dubbed into Italian homage to the giallo sub-genre. Much use of colour is used her, perhaps too much at times, but the camera work is very good and the film comes with a terrific Goblin/disco inspired soundtrack. There are several dream-like surreal moments, which I also enjoyed. One thing that let the film down was that whilst the kills were typically brutal the special effects looked rather amateurish. Now before writing my review I decided to watch the film a second time, to give it a fairer chance because after my first view I felt slightly disappointed & confused. ** SPOILER ALERT ** Definitely better the second time, though the end , i.e. the identity of the killer - or indeed killers - could have been explained better, this crucial part of the film was felt too hurried. Giallo movie fans will get a feeling of nostalgia, even though it's not the real thing.

jspwordieitaly Giallo fans can only gorge on this one. The colour contrast is worthy of Argento. There are tropes galore, the leather gloves, the scarlet blood, the mannequin doll - and a story that even evokes a canto from Dante's Inferno. It's all Italy at its best to the umpteenth power.As with all giallo genre films, the beauty is not to be found in the plot, the dialogue or the acting, but more in the imagery. In contrast to Argento's 'Suspiria', there are numerous outdoor scenes. The eye-witness account is exploited and no venue is exempted from being a crime scene.I spent the whole film trying to spot a non-1970s anachronism. With the possible exception of what looked like a child-proof lock on a bottle of pills, I didn't find any. My only complaint is that the acting struck me as being 'too good for a real giallo' - but that's more of an unexpected bonus really.

Mark Turner When this film arrived at my doorstep I was pleased while looking at the box and artwork. In recent months I'd begun to be exposed to more giallo films than ever and have begun enjoying an appreciation of them which I hadn't in the past, for the most part because of having less access to them. To think I'd now be exposed to another made me happy. I became a tad leery when I learned it was not one of the original films but a tribute of sorts to the genre. But I plunged in headfirst anyway with some hope. Unfortunately the movie didn't live up to my hopes and expectations.The film opens with a strange sequence involving a mother taking care of an infant and a young girl who seems to be enjoying stabbing a dead bird. Within moment we see her stabbing into the same stroller the mother was rocking and hear her mother scream. Fast forward to 15 years later.It's been that long since the disappearance of Francesca, the young daughter of poet/dramatist Vittorio Visconti. Stabbed by her abductor he is now unable to walk and confined to a wheelchair. Visconti lives with his invalid wife who remains in a seemingly state of shock ever since the kidnapping of their daughter. Other than help they live alone.When a series of murders in the area begins the police are baffled. Notes left at the scenes of the crime leave no clues with the exception that they are lines derived from Dante's INFERNO. Visconti was a scholar on Dante and the two police detectives turn to him for assistance in deciphering just what that murderer could be trying to tell them with these notes.All of the trademarks from the classic giallo are there. The gloved hands of the killer. The viewpoint of the murders as seen through the killers eyes. The police investigating the murders. And yet the movie feels hollow about best and a poor substitute at worst.Part of this is the decision of writer/director Luciano Onetti to turn this from a standard giallo into a combination of homage and experimental film. Sequences that make no sense are tossed in throughout. Characters that I either forgot or didn't recall suddenly have important roles towards the end. Clue that should have led us as viewers to a rational solving of the puzzle actually lead us nowhere down blind paths that have nothing to do with a solution or that offer clues that aren't based in reality.The cinematography for the film felt truly lacking to me. Most of it had a strange use of color giving almost everything a blue tinge. The sharpness was also so intense that everything from beard hairs to skin pores felt like they stood out enough to take away concentration from the story itself. The gore effects were some of the worst I've seen in what should have been a prestige styled film with blood looking more like thinned out jelly.The acting, even though I understand it was done with a foreign cast, never felt believable to me and it wasn't due to something lost in translation. I've seen far too many foreign films to think that this was the best there was/is to offer from actors in other countries. The death scene of one victim by steam iron strangulation has to be one of the worst death scenes ever filmed and completely unbelievable. The faceless killer felt as unthreatening as possible.Unearthed Films has a lot of faith in this release. The box art is stunning and great to look at bringing back fond memories of the classic giallo films. It contains not just the blu-ray version of the film but standard DVD as well. It also offers a CD of the film's soundtrack as well, sounding much like the classic Goblin scores from earlier giallo films. A flyer is included inside the box and extras on the disc include a behind the scenes featurette, deleted scenes, an interview with director Luciano Onetti and his producer/brother Nicolas and an Unearthed Trailer reel.I've read some reviews that have praised this film. Sorry to say I am not one of those. I call it as I see it. I'm anxious to return to viewing the actual giallo films of the past and remain hopeful that the genre will see a rise in new movies that follow the same patterns they established. This one is filled far too much with its own agenda as opposed to being a tribute for my taste. Some may find this new take refreshing but unfortunately I'm not one.

A Braunsdorf A truly stunning simulacrum of a 1970s giallo. The illusion is so convincing that I'd never have guessed it was made last year.If you're not a fan of gialli, this one will do nothing to change your mind. It has no interest in covering new ground or breaking the well-worn mold, but if you treasure the thought of exploring a whole new one, this is the movie for you.If we were judging by looks alone, this would be a solid ten, but some story issues (and not ones really typical of or inherent in the genre in my view) require a deduction. I may change my mind on subsequent viewings, but I'd rate this a must-see for giallo fans. Non fans might be able to use this as a gateway, but it's probably better to start with the real thing.