Not even bad in a good way

hyped garbage

Am I Missing Something?

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Excellent Movie, great cinematography, lighting, scenes, editing, acting, music. The story needed more work.I am no expert in giallo, but this was different that others I've seen. The movie was professionally done, great camera angles. The lighting was great, some bring colors here and there, nothing overbearing. The acting was great. The version I saw had English subtitles, so heard the tone of the actors, but may have missed some facial expressions while reading the subtitles. The main actress was great, very beautiful and expressed fear very well. The editing was professional. No extra scenes thrown in to extend playing time. Music was great too. The story definitely needed more work. I didn't care for the cult scenes. They were done well, but it didn't work for me.A professional production. Rating is a B, for a B movie, 8 stars.

Typically convoluted but surprisingly average giallo with nods to ROSEMARY'S BABY (1968) which gets by largely on the strength of its stylish visuals (the narrative is set against attractive London backdrops) and an effective pounding score by the reliable Bruno Nicolai. Besides, it gives "Euro-Cult" starlet Edwige Fenech – who, by now, had grown comfortably into the mould of put-upon genre heroine – one of her more rounded parts; in fact, all the other characters (lover George Hilton, stalker Ivan Rassimov, high priest Julian Ugarte, duplicitous sister Susan Scott, neighbor/cult member Marina Malfatti, psychiatrist Georges Rigaud) basically revolve around hers. The film has an interesting and fairly ambitious structure (co-scripted by Ernesto Gastaldi from a story by Santiago Moncada, both of whose names are synonymous with the form) – starting off immediately with a surreal nightmare involving a pregnant Afro girl, an old hag dressed up as a marionette and a female murder victim and concluding with the heroine discovering to have the ability of second-sight, followed by the more familiar rooftop chase but re-affirming its intent with an ambiguous and downbeat fade-out. As ever, we get plenty of ladies willing to shed their clothes throughout – but, like I said, some care seems to have been applied to the characterization so that, at least, these aren't as slapdash as they could have been!

Sergio Martino has proved himself to be a brilliant Giallo director on many occasions, films like "The Strange Vice Of Mrs. Wardh" (1971), "The Scorpion's Tail" (1971) "Torso" (1973) or "Your Vice Is A Locked Room And Only I Have The Key" (1972, greatest title ever) speak for themselves. "Tutti i colori del buio" aka. "All The Colors Of The Dark" of 1972, starring genre-goddess Edwige Fenech, is yet another great entry to the man's repertoire, an immensely creepy and nightmarish, yet beautiful psychedelic Giallo that Italian Horror fans can not allow themselves to miss. While this is not a very typical Giallo (no gloved killer butchering dozens of beauty queens here), it is definitely essential for all Giallo-lovers. The film, which is very suspenseful from the very beginning, has a unique, mesmerizing atmosphere, which is not least due to the brilliant cinematography and the downright ingenious psychedelic score by maestro Bruno Nicolai.The ravishing Edwige Fenech stars as Jane, a young woman who lost her unborn baby in a car accident, and who is now tormented by terrible nightmares and the paranoia that somebody is following her. Both her husband (regular Giallo leading man George Hilton) and her sister (fellow beautiful cult-cinema actress Nieves Navarro) want to help her, but while her husband insists on medication, her sister is convinced that a psychiatrist is the right answer. Both methods are either non-effective, or have an opposite effect, as the menacing feeling is just getting worse... I don't want to give any more away, since this is a truly unpredictable film that every fellow Giallo-fan should enjoy as intensely as possible. Due to a occult subplot, this is sometimes labeled as a kind of Giallo version of "Rosemary's Baby", but these comparisons are not really adequate. There are two 'Satanic' Gialli from the early 70s, Aldo Lado's "Short Night Of The Glass Dolls" and this one, and while many a fellow Giallo-fan might disagree, I personally prefer "All The Colors Of The Dark" by far. Both films are visually stunning and greatly acted, but this one easily surpasses the other in suspense and creepiness. As mentioned above, the camera work is brilliant, and the ingenious score is both beautiful and eerie, which gives the film a menacing atmosphere and constant tension. Sexy Edwige Fenech is once again stunningly beautiful and great in the lead, a role which seems to have been written for her specifically. George Hilton also delivers a good performance in the male lead, Fenech and Hilton starred together in a number of Gialli, and they once again match very well here. Cult-siren Nieves Navarro, who is known for her roles in different genres of Italian cinema, be it Spaghetti Westerns such as "The Big Gundown" or Cannibal-Sexploitation such as "Emanuelle And The Last Cannibals" is also great in the role of the sister. The supporting cast furthermore includes Exploitation-star Ivan Rassimov in a genuinely creepy role. The violence is not quite as gory and brutal as I had expected, but still intense enough to satisfy the gore-hounds out there. All said, "Tutti I Colori Del Buio" is a mesmerizing, convoluted and unpredictable Giallo, and another proof that Sergio Martino is a great director. A must-see for my fellow Giallo-buffs, and also highly recommended to all other Horror fans!

Unrelenting suspensor about a woman so tormented by her nightmares(after losing a child stillborn when her boyfriend Richard hit a tree), she's willing to try anything including black mass ritual performed by a Satanic cult introduced to her by a neighbor, Mary. Her sister, Barbara has tried to get her psychiatric help from Dr. Gordon, but Richard sees this as a silly waste of time. Jane's trauma is so disorienting, she believes a psychopath has emerged from her nightmares and manifested himself into reality. Shades of "Rosemary's Baby" is obviously present throughout the film particularly the photography of the black mass rituals, but they are none the less chilling to watch. I think what worked so well for me was the idea of this poor, frightened woman not be able to separate herself from this demented stalker with blue, piercing eyes. The film's location plays greatly into the style of the piece, but Martino's surreal lens really creates this foreboding that gets under the skin as characters{the Satanic High Priest, especially}literally grab toward the viewer. The camera loves to slide up and down Fenech's wonderfully silky body{one of the best scenes in the film is a steamy shower shot up her body as she wets herself with only a shirt on}, but it's her performance as the paranoid, nearly crazed Jane that really sells this film. Hilton is good enough given very limited screen time.