Todesschrei am Telefon

Don't Answer the Phone is yet another film from the late 70s and early 80s about a psychotic, demented, socially awkward killer who brutalizes women because of his "problems" - whatever those problems might be. This time around we have a muscular, fat Vietnam vet who was never good enough for his father butcher pretty girls just after they have stripped from their little clothing. Nicolas Worth plays the wheezing, maniacal killer with a bizarre almost interesting quality. He is not a good actor yet is able to hold your attention throughout. I wish I could say something pleasant about the rest of the cast, but none of the rest are very competent. The police detectives who are looking for Worth - one which falls in love with the pretty radio psychiatrist that can shed light on the killer's identity - were particularly bad. The girls are pretty but the misogynistic flair devoted to their deaths is particularly degrading and unpleasant. The film is at least not overtly gory and had me interested until the end. The story was compelling enough and Worth is worth a look if nothing else.

An ugly, ugly film about a psycho who goes around raping and strangling random women. There's a good central performance by Nicholas Worth as the psycho, but the film drags with no tension or suspense whatsoever. It's just an endless series of attack scenes with no style and nothing to say.

This was obviously meant to be a standard late-70s total-waste-of-time movie, an excuse to show topless women squirming and thrashing while being strangled, but Nicholas Worth turns it into a must-see. Actors-in-training and stage-vocalists, especially, can learn from his vocal prowess and from the way he uses his size. He is a huge, hulking basso with the ability to near-totally relax his inhibitions, and he uses his entire range, from resonant, snarling low tones, through a thundering midrange up to a piercing, blubbering whimper at the very top which has to be heard to be believed. He should have been an opera-singer. He could have sung Wagner.

The women dress beautifully in late 1970s casual summer-wear, and they get undressed equally beautifully by Worth's character, after (sometimes before) he strangles them to death. (One of them is future PLAYBOY-centerfold Pamela Jean Bryant.) As the other reviewer said, James Westmoreland (Detective McCabe) and Flo Gerrish (Doctor Lindsay Gale) act extremely badly; however, Ben Frank (Detective Hatcher) delivers some very funny lines with excellent cheesy deadpan. Like when McCabe tells him that the strangler has stolen some of the victim's clothes, and he replies: "That's great! Now we got him on petty theft, as well as murder!" Also, Chuck Mitchell, one of the few actors even bulkier than Nicholas Worth, plays a small part as a porno publisher. (If Mitchell looks familiar, it's because he played the Warden in PENITENTIARY and the title character in PORKY'S.)

These folks have created a masterpiece in spite of all their best efforts to the contrary.

To get a movie made is not an easy thing to do, let alone get it distributed. Many things could have been done better but knowing the situation it's amazing this was made in the time it was. With the small amount of money they had to make it with. There was the Actor's strike at the time the movie was made. As well as an all too familiar lack of gas situation going on at the same time. So lighten up, it was a hoot if you like the kind of scary movie that has an edge to it, you will get a kick out of it. Break through film that used real locations rather than studio sets. First film to use the hand held camera work, and it was great in that genre. Many films followed using the hand held camera, so this is to the director's credit. You just have to love this kind of creepy, nasty horror film to get through it.

Snickering Vietnam vet Kirk Smith (Nicholas Worth) is one hell of a sicko: for a living, he shoots obscene pornographic photos, and in his spare time, he strangles pretty young women BEFORE raping them. LA detectives Lt. Chris McCabe (James Westmoreland) and Sgt. Hatcher (Ben Frank) are hot on the maniac's heels, but can they catch him before he kills his latest target, radio psychologist Dr. Lindsay Gale (Flo Lawrence)?

With such a sleazy premise, Don't Answer The Phone looks set to be a classic slice of extremely offensive exploitation, but with director Robert Hammer reluctant to go that extra mile to offend, the film falls short of the high (or should that be low?) standards set by his contemporary William Lustig, whose similarly themed film, Maniac, goes all out to shock the viewer.

Worth's character, Kirk Smith, is an undeniably repugnant fellow, and what he gets up to certainly ain't nice, but Hammer's approach to his patently sensationalist material is surprisingly cautious: whilst he doesn't mind showing the audience a little nudity (for example, all of the victims have their tops torn off before being choked to death), he doesn't quite seem to possess the cojonas necessary to present his sex and violence in the no-nonsense manner the genre demands.

Instead, his characters simply fill us in on the salacious details through conversation: a psychic gives a graphic account of the murder and rape of one girl, offering lurid tidbits of info about Kirk's modus operandi, and several characters pass comment on the particularly explicit nature of his photography. At the risk of sounding like a dangerous psycho myself, I ask 'Where's the really good stuff?'. A few throttlings and some tits only qualify this as exploitation lite!

To be fair, Don't Answer The Phone does manage to deliver a couple of scenes that almost make the grade—Kirk strangles a junkie hooker whilst she is live on air with Dr. Gale, and one topless victim is subjected to scalding by melted candle wax— but with too many other scenes pulling their punches, this film is most likely going to disappoint fans of degenerate cinema.

5.5 out of 10, generously rounded up to 6 for IMDb.