Le boucher de Notting Hill

"Murder on Line One" tries to trick you into think it's some kind of 80's slasher flick. The VHS box features a guy holding a giant Michael Myers style butcher knife...the killer never stabs anyone in the film. "Murder on Line One" is more of a police procedural than a horror film.

The plot revolves around a man being falsely convicted of murders he didn't commit. The real killer contacts a female journalist and tries to get her attention by sending her eyeballs. The journalist tries to prove the imprisoned man's innocence all the while he friends are being killed.

This movie features one of the most head inducing scores I've ever heard. Add to that, the film's bluish hue and "Murder on Line One" will give you a headache. The acting is nothing special and the gore is minimal. There is a quick topless shower shot but it's not impressive. The twist ending is obvious and you can see it coming a mile away.

A lot of times these films are forgotten for a reason. This film is kind of rare to track down but it's not worth the effort or a dollar.

An amusing thing in the film is that every time the killer hits a victim over the head with the baseball bat a really comical cartoon sound effect follows. "Deadline" is flat out dead.

My review was written in October 1990 after watching the film on Academy video cassette.

This British-lensed suspense feature is too lengthy to have the intended impact. Direct-to-video release is unlikely to catch on with genre fans.

Originally titled "Helpline" in reference to its phone hotline number subject matter, the picture features a cast of British unknowns led by Emma Jacobs as a reporter who receives a call from a nutcase.

Weirdo claims to have slaughtered a family and videotaped the event. Jacobs then finds an eye sitting on her doorstep and is tormented for the rest of the film.

There are some good camera angles and okay plot twists for a whodunit, but most of the character manipulation is unconvincing.l The low-key acting clashes with cinematographer John de Borman's flashy camerawork. Director Anders Palm relies too heavily on recited exposition by the cast.

Amount of explanations in the final reel is counterproductive, tho9ugh few viewers will be able to guess the true identity of the killers ahead of time. That's a definite plu since most videos are overly predictable.