Lovesusti The Worst Film Ever

VividSimon Simply Perfect

Onlinewsma Absolutely Brilliant!

Justina The film never slows down or bores, plunging from one harrowing sequence to the next.

radiobirdma The more so-called "giallos" you watch, the harder you feel the mighty power of Uncle Yawn – it's Groundhog Day again, with scalpel-wielding headcases, slapped faces, catholic chicks in heat, boobs alert, and another cheeeeesy screenplay fusing the spirit of an imbecile Hercule Poirot with the advanced aesthetics of the busty clip. This time two super-bimbos rent a flat in an apartment complex where a psycho killer hunts ... yo, man, super-bimbos! And the mounting tension indeed leads to some equally puzzling and disturbing questions: Why does Uruguayan coat-tree George Hilton always look like he flew in from Stepford? Was Bruno Nicolai's flatulent jingling originally composed for a Walmart Italia commercial? Did scriptwriter Ernesto Gastaldi really laugh so maniacally all the way to the bank? And why the heck is that pale brunette from the bunny dept. in every second fiasco, pardon me, giallo? Now, folks, that's a damn lot of red herrings.

lastliberal They say to never look a gift horse in the mouth. Sometimes a gift isn't all it's cracked up to be.Andrea (George Hilton) offers an upscale apartment to models Jennifer (Edwige Fenech) and Marilyn (Paola Quattrini). The only problem is that a stripper Mizar (Carla Brait) was just drowned in the bathtub, and someone is in the apartment with evil intentions on Jennifer's first night there. In addition another girl in the building was murdered in the elevator the day before. Is this where you really want to live? This film has a huge assortment of odd characters: a lesbian that lives with her professor father who plays the violin all night, an old lady that reads horror comics, Jennifer's ex who is head of some sex cult, and even a police lieutenant (Giampiero Albertini) who collects stamps and swipes them from crime scenes. No shortage of suspects.But, discovering the killer and the motive will prove elusive. That's OK, as the music, and the humor, and seeing Fenech will certainly keep you occupied until the reveal.

Lechuguilla More than one young woman gets murdered in a high-rise apartment, in a film that I would describe as an average Italian Giallo. Like many Giallos of that era, the film's plot is not real believable. But the film contains all the elements that Giallo lovers would like: beautiful young women, a masked killer, some blood, bright colors, POV camera shots, inept cops, false leads.Lighting and sound effects, and absence of dialogue, ramp up the suspense in several scenes. Arguably, the best sequence occurs near the end when the lead character, sexy Jennifer (Edwige Fenech) makes her way alone through a subterranean boiler room. It's very dark, and noises create subtle echoes. She's scared. The woman with whom she has been with has just been murdered. And the killer is still somewhere nearby. Suddenly, in the darkness, a flashlight shines in Jennifer's face. And all we see is the outline of some person moving toward her.The film's color cinematography is competent. Visuals have a widescreen projection. Some good overhead camera shots and lots of close-in zooms keep the visuals interesting. Acting is marginally acceptable. But Giallos are not known for great acting. The score, too, is competent, if unremarkable."The Case Of The Bloody Iris" features the usual nudity/violence combo, en route to the resolution of the whodunit puzzle. The visuals, while no match for Dario Argento's films, are good enough to make the film worth watching, at least for viewers who enjoy the Giallo style of film-making.

ferbs54 "The Case of the Bloody Iris" (1971) stars giallo's "Golden Couple," Edwige Fenech and George Hilton, who had recently appeared together in the Sergio Martino masterpiece "The Strange Vice of Mrs. Wardh" (1970) and would soon costar in Martino's giallo/Black Mass hybrid "All the Colors of the Dark" (1972). The two make a handsome couple, to put it mildly; indeed, they almost make Grace Kelly and Cary Grant in 1955's "To Catch a Thief" look dowdy! The story here concerns a whacko who's been killing the female residents of the luxury high-rise building where fashion models Edwige and her roommate have just moved. This giallo nutzo shows some imagination, however, and doesn't just depend on a straight-edged blade to do his work; he also drowns his victims in a bathtub and scalds them with hot steam! Many suspects are offered to the viewer: an old lady who loves horror stories, her burnt-faced son, the lesbian next door, her violin-playing dad, Hilton himself (the architect of the high-rise), Edwige's stalker ex-hubby, et al. I amazed myself this time by nailing the culprit halfway through, and I usually stink at these guessing games. Anyway, director Giuliano Carnimeo has shot his film in a fairly straightforward manner, with little of Martino's flashy "stylistics," and composer Bruno Nicolai's theme music is as hummable as can be. All in all, a fun giallo, if nothing great, that is hindered here by some pretty poor dubbing (subtitles would've been so much more preferable!). But Edwige...OMG! I've seen her in five films lately, and still can't quite believe how extraordinarily beautiful she is. My fellow men, you owe it to yourselves to see this spectacular Eurobabe at least once in your lifetime. Then you'll understand why I laughed out loud when one of the characters in this film tells her that she's not his type!