The greatest movie ever!

The greatest movie ever made..!

I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

Not only does George Hilton live in the most yellow house ever witnessed within the 'yellow' genre, he's also playing one of the most heartless and snidey characters ever to appear in a giallo. You see, George is married to one of them dames who has a very rich father, and she's ruining George's life by not giving him enough pocket money and complaining about George spending all his cash on mistresses. What's a (kind of) young playboy to do?Well, it's lucky for George that he spots a cadaver-like serial killer (played by Antoine St John of The Beyond and Fistful of Dynamite) dumping a car containing a woman's corpse into a river. George makes his presence known, takes the killer's monogrammed lighter, and tells him he's got a proposition to make. They both head off to watch some figure skating while they talk business: George wants the killer to bump off his wife and in return, not only will George forget what he's seen, he'll also throw in some cash to sweeten the deal too...George sets up his alibi while the killer gets down to business, but what neither of them predict is that shortly after the killer throws George's wife's body in the boot of the car, two kids come along and steal the car while he's clearing the house up. Unwisely stealing a car and alerting all the neighbours to his presence, the killer takes up the pursuit while George returns home to find police everywhere. The kids of course have no idea they have a body in the trunk while they drive across the country...You'll see from the description that Luigi Cozzi's approaching things from a different angle here, which is refreshing. You've got a kind of three way story going as George sweats it out in the presence of the cops, not having a clue what's going on, while the killer tracks the corpse car and tries to clean up the mess the kids leave in their wake, plus Cozzi keeps things interesting with the two youngsters by making Cristina Galbo a frigid virgin who makes her boyfriend jump through hoops to get her pants off, including stealing the car in the first place. For the record Galbo in 1975 was twenty-five years old, but never seems to look any older than eighteen. There's not a lot of violence in this one mind you, so gore hounds will be let down by lack of splatter and the absence of a high body count, but the whole novel approach of the plot kept me interested, as did Cozzi's visual flair.

Luigi Cozzi was assistant director on Dario Argento's Four Flies on Grey Velvet, so he had a bit of experience working on a thriller. The Killer Must Kill Again is the first time he got a chance to direct one for himself.The story begins with a man witnessing a mysterious killer disposing of a body by a river. Instead of reporting him to the police, he blackmails him into murdering his wife so that he can cash in the insurance. All goes to plan until a couple of joy riders steal the car where the wife's body is stashed. The killer then pursues these unfortunate delinquents who know nothing of the hidden body.This one benefits from a good cast. Giallo regular George Hilton plays the husband and he is once again convincing as a very shady character. Alessio Orano (Lisa and the Devil) impresses as one of the joy riders. But best of all is Antoine Saint-John as 'the killer'. He is very intense and is impressively creepy in this role. The very fact that, unlike regular gialli, the killer's identity is known from the start is an active advantage here as Saint-John's sinister look could not have been exploited if the murderer was a mystery presence. In fairness, the very fact that there is no mystery in this film at all makes me question if it truly is a giallo in the first place. My feeling is that it isn't, although it shares many of the conventions of the genre such as a cast of unsympathetic characters, brutal violence - including a somewhat unpleasant rape scene - and a stylish look - check out Hilton's yellow pad.Because of the lack of a mystery this one has to depend on other things to keep it interesting. It isn't always successful though and the story does lack a bit of excitement at times. There is a decent set up developed at the beginning and there is some effective tension towards the end but it does meander a bit in the middle. Still, it's well made and acted and is certainly a solid film overall.

Luigi Cozzi's "L'Assassino è costretto ad uccidere ancora" aka. "The Killer Must Kill Again" of 1975 is a Giallo that is highly unconventional, but nonetheless great. The film is unconventional, as it basically turns the entire premise of the Giallo sub-genre upside down. The main idea behind the conventional Gialli is that a phantom killer, often wearing black gloves, murders his victims, often beautiful ladies, without the viewer knowing his identity. While guessing who the murderer might be is one of the main points of a typical Giallo, however, the killer's identity is clear from the very beginning of "The Killer Must Kill Again" - And the film therefore has an entirely different structure than most conventional Gialli.The adulterous businessman Giorgio Mainardi (George Hilton) catches a serial killer (Antoine Saint-John, credited here as Michel Antoine) red-handed, depositing of a girl's body. The ripper and the adulterer then make a deal for the killer to get rid of Mainardi's rich wife for him. In exchange Mainardi will keep silent, and furthermore pay the killer a fair amount of money for his efforts... Regular Giallo leading-man George Hilton once again delivers a solid performance, but the true star of this film is Michel Antoine. Antoine looks incredibly creepy, and it immediately becomes clear why the killer's identity is not kept a secret in this unusual Giallo-gem - Had the killer's face been hidden, the film couldn't have profited from Antoines's weird looks. Antoine plays the role of the killer with a unique laid-back sadism, and the film furthermore has many other qualities to offer. Beautiful Christine Galbo (who is best known for Massimo Dallamano's Giallo-masterpiece "Cosa Avete Fatto A Solange", as well as the Zombie extravaganza "Let Sleeping Corpses Lie") is also part of the film, and she once again delivers a good performance. The film is certainly violent, but not quite as gory as some other contemporary Gialli (such as Dario Argento's masterpiece "Profondo Rosso" from the same year). That does not mean, however, that the film hasn't got a genuine nastiness. What makes this especially nasty is the vileness and unscrupulousness of the characters. The camera work is also great, and the film has several nice stylistic elements. Furthermore, the film has a cool score, which, once again, isn't typically Giallo-ish, but often seems more like one of the Hitchcockian scores. Overall, "The Killer Must Kill Again" is a Giallo that is definitely highly unusual for this great sub-genre, but it is also a very good one. This is one out of only two films directed by Luigi Cozzi I have seen so far (the other being the dreadful "Paganini Horror"), but after this highly original Horror experience it certainly won't be the last. Highly recommended to all my fellow Italian Horror Buffs!

I am happy to report that Spanish-born actress Cristina Galbo is now a very solid 3 for 3 with me. She was excellent as the doomed student in the 1971 giallo "What Have You Done To Solange?" and ever so appealing in the 1974 zombie gut-muncher "Let Sleeping Corpses Lie." And now, here she is again in "The Killer Must Kill Again," giving another fine performance in this 1975 Italian suspense thriller. This film tells a simple story, really. A husband (played by hunky giallo regular George Hilton) hires a homicidal maniac to do away with his wife. The deed accomplished, the killer (played by the creepy-looking Michel Antoine) stuffs the body into the trunk of his car, only to have it stolen by a pair of teenaged joyriders (one of whom is our Cristina). This, of course, sends the dumbfounded madman off in hot pursuit.... Anyway, although this picture offers no real surprises (unlike most gialli, we already know the killer's identity, as well as his motivations), there is a great deal of suspense generated somehow, as we suspect that when Antoine eventually does catch up with Galbo and her beau, the spam really will hit the fan. And it does indeed, in spades! The film features competent but fairly undistinguished direction by Luigi Cozzi (flashy only in a couple of sex/rape scenes) and ominous music by Nando de Luca. It is a very straightforward little film, actually, that gives the viewer precisely what is expected. Even Hilton's fate is kind of foreseeable. Still, I did enjoy watching the film go through its paces, and Cristina Galbo's exquisite presence makes it go down all the easier. I think I'm ready now to sign up for her modern-day flamenco classes in California!