American Killing

This film essentially begins with the body of a woman floating on the Hudson River in New York City. Upon closer examination, the police discover that she was handcuffed just prior to being murdered. Not long afterward, three more victims are found with each of them wearing handcuffs as well. As one might expect, it isn't long until the press gets involved with one particular television journalist by the name of "Paul 'Mac' McCormack" (Perry King) using his influence with the lead police investigator named "Detective Larry Weeks" (Norman Parker) to gather enough information to further his own personal ambitions. However, things take a dramatic turn for the worse when a woman named "Virna Nightbourne" (Elizabeth Kemp) is found who apparently has precognitive abilities and actually sees the crimes being committed before they even transpire. Now, rather than reveal any more, I will just say that this was one of those films which had potential but failed, in some regard, to achieve it for a number of reasons. For starters, having Detective Weeks double as a standup comic lessened the overall seriousness this case should have had. Throw in the fact that his comedy routine just wasn't that funny also didn't help matters. Additionally, the romantic angle between Virna and Mac lacked the necessary passion as well. That being said, while I don't consider this to be a bad film by any means, it should have been much better than it actually was, and I have rated it accordingly. Average.

My review was written in July 1985 after watching the film on CBS/Fox video cassette.

"The Killing Hour" is a well-crafted but mediocre thriller. Lensed in Manhattan in 1981, low-budget indie was picked up by Jensen Farley Pictures and retitled (more appropriately to subject matter) "The Clairvoyant", subsequently acquired by 20th Century Fox after JFP went under, but unreleased theatrically, appearing instead as a cassette via CBS Fox.

Perry King toplines as Paul McCormack, Mack for short, a tv newsman/phone-in talkshow host who successfully exploits on the air a series of handcuffed-victim murders to increase his ratings and secure job advancement. At first he is aided with inside info by policeman Larry Weeks (Norman Parker), who improbably moonlights as an unfunny standup comic/impressionist (he has to identify his carbons, such as Al Pacino or Geroge Burns for the viewer), but his sensationalist reporting soon puts him at odds with the police led by Lt. Cullum (Kenneth McMillan).

Both the police and Mack are aided by Virna Nightbourne (Elizabeth Kemp), a young artist who is clairvoyant and makes drawings of each murder unconsciously.

After a promising beginning, spotlighting the ingenious rather than gory murders, pic becomes sluggish. Because of the script's paucity of suspects, the identity of the killer is quite predictable. Acting is okay and direction by Armand Mastroianni (previously known for "He Knows You're Alone") is effective within the screenplay's limitations. Lensing by British cameraman Larry Pizer is excellent.

I saw this on VHS under the title The Killing Hour.

This movie starts off really well with several unexplained killings involving handcuffs. A woman is fished out of the river, a man swims alone in a swimming pool reminiscent of a scene from Cat People, a construction worker goes down a manhole. The latter two killings are quite graphic, though without being bloody. Meanwhile, an artist draws strange pictures.

A cop who does lousy impressions in his side job as a standup comedian (yet he gets laughs, surprisingly) leads the investigation, leaking information to a tabloid television reporter. Both he and the reporter start courting the artist once they meet her.

Some additional deaths occur. The ending may be predictable, since it's possible to make a good guess as to the identity of the killer early on in the movie. Unfortunately, after the strong opening, no other scene quite lives up. Some scenes have lengthy dialog that doesn't serve the plot or characters. Still, not a bad movie by a long shot.

As a fan of B-rated movies, I didn't know what to expect when I saw this film advertised in the TV guide on a local independent UHF station known for showing off-the-wall movies. I must say, I was pleasantly surprised. First of all, this movie is perfect for people who love those tacky memories of the early 80's. You'll see the rotary dial phones. The 1980 Ford Fairmounts. The old rabbit-ear televisions. But this movie is more than all that. Despite having a lot of lesser-known actors/actresses, the storyline was unlike most other B-films. It was actually very good ... as a TV reporter and a cop try to figure out who's committing various murders in New York City ... both seemingly having personal interests vested in solving the crimes ... and both getting on each other's nerves in the interim ... this all being made worse when a supposed clairvoyant steps into the picture who seems to have the ability to know someone's going to die before it actually happens. All this makes for a film that I think deserves more credit than it must have ever got ... being I never even heard of it. If you manage to find it at the bottom of some discount barrel of old VHS movies, or you see it advertised on some late night channel, by all means, watch it. It'll be worth your time.

"The Killing Hour" is an American thriller with Italian giallo ambitions. The murders, the killer's disguise & modus operandi and especially the final denouement – which obviously can't be revealed here – are seemingly taken straight from the screenplay of an early 70's Italian giallo highlight. Even the additional topic of clairvoyance doesn't make it typically American, because near the end of the seventies the Italians were experimenting with supernatural themes, like for example in Lucio Fulci's "The Psychic". This certainly isn't a bad little movie, it's just somewhat unfortunate that the pacing is very uneven and the second half is boring and lifeless. What you can't afford to miss about "The Killing Hour" are the first ten minutes. Imagine if you agreed with some of your friends to watch this movie and you're ten minutes late to the party, well than you're just terribly out of luck, because 99% of the horrific images and carnage are already over and done with by then. In the opening sequences we witness the discovery of a naked girl's body floating in the Hudson river and two highly imaginative murders, one in a pool and one in a road construction site. All three victims wore handcuffs and there's undoubtedly a common element that links them all to the same killer. Whilst copper Larry Weeks and TV talk show host Paul McCormack are arguing about whether or not to keep the story out of the media, a shy young girl reports herself to the police. She's an artist in training but claims that at certain moments her hand uncontrollably takes over and draws the murders as they occurred or will still occur. McCormack sees the girl as a sensational guest for his talk show, but obviously doesn't realize this brings her in great mortal danger. The film starts out as a compelling whodunit full of suspense and curious characters (a cop who's a stand-up comedian in his spare time?), but gradually becomes just another dull and predictable little thriller. There's hardly anything exciting going on in the film's second half and the climax is only original and efficient if you haven't seen a single Italian giallo ever before in your life. As soon as you have, the ending of "The Killing Hour" will leave you underwhelmed and stone cold. Writer/director Armand Mastroianni, who probably has some sort of Italian roots despite being born and raised in Brooklyn, was a competent horror director back in the early 80's. He made the underrated slasher "He Knows You're Alone" as well as goofy horror flicks like "The Supernaturals" and "Cameron's Closet". This was his most serious horror effort, but the result is only semi-successful.