Cattive inclinazioni

A feeble, terrible try to renew the Italian giallo tradition, this one is one of the worst Italian movies of all time. The plot is really poor, the acting is abysmal, the death scenes are repetitive and not particularly well executed, the sex scenes are cut before they really start. It features a couple of old Italian giallo stars from the Seventies, like Florinda Bolkan (Non si sevizia un paperino, A lizard with woman skin, both by the great Fulci), and Eva Robbins (Dario Argento's Tenebre), also a cameo by Franco Nero (giornata nera per l'ariete, and the immortal character of the spaghetti-western genre, Django). It is not worth your time

The first attempt since the millennium to resurrect the Giallo was Dario Argento's hugely successful Sleepless, which not only goes down as a successful attempt to resurrect the genre but also as one of the best genre films period. This attempt by director Pierfrancesco Campanella came a couple of years later and, despite being heavily flawed, does at least somewhat count as a noteworthy genre entry. The director obviously has some affinity to the genre for his willingness to cast some of it's stars; people such as Florinda Bolkan (Don't Torture a Duckling) and Franco Nero (The Fifth Cord) and he's also served up a plot straight out of the Giallo playbook. We focus on a block of flats that has come under attack from a killer who slaughters his victim with a set square (of all things). The police find a girl murdered and it's not long before another body turns up, although the detective on the case is not happy to link the murders together despite the similar modi operandi and it soon becomes apparent that there's more than one psycho on the loose!

The film's main problems are, without doubt, the script and the acting. The dialogue is extremely trite and at times positively stupid; while the acting is sometimes so wooden that it's almost unbelievable and not only does this bring the quality of the film down, it also harms the credibility as it's hard to really care about the characters. It's a shame too because the plot here is really well worked and clever and could certainly have made for a good Giallo with better handling. The director does seem keen to make the film as sleazy as possible and we've got some very bloody sexual violence as well as a lesbian subplot. The cast is mostly made up of females, and a strange casting choice comes in the form of Eva Robin's; a transsexual who some may remember as having a small part in Argento's masterpiece Tenebre. The main point of interest for Giallo fans will be Florinda Bolkan, who is actually rather good as a weird artist. Franco Nero's part is small and I'm thankful for that as his character is not good to say the least. It all boils down to a good conclusion and while the film's problems are simply too much at times; this is still a film worth seeing.

In an aesthetically displeasing block of flats in Italy, a crazed, homicidal creep is hard at work dispatching young female victims with a series of metal set-squares (of all things). The detective on the case is a weary female (Mirca Viola), who tires of having to deal with a pompous magistrate (Antonio Petrocelli) who's got blinders on when it comes to this case. Involved in the plot are an eccentric artist (Florinda Bolkan) whose works tend towards the macabre, and a faded pop star (Eva Robins) whose bisexual lover / agent (Elisabetta Cavallotti) hits upon a scheme to have Robins "benefit" from the crimes by pretending to receive death threats from the monster.

This 21st century attempt by director Pierfrancesco Campanella and his co-writers to play in the same sandbox popularized by Italian Gialli of the 1960s and 1970s works out fairly well. It's not as stylish nor nearly as memorable as the best from this genre during those decades, but it checks some boxes (namely, gore, sex, and nudity) adequately. It also tries to inject a little substance into its screenplay by addressing the idea of artists who profit from exploiting real-life horrors, such as Bolkans' Mirta Valenti. One reasonably amusing subplot has Mirta earning the wrath of young Donatella (Elisabetta Rocchetti) by hiring the girl to "kill" her and then screwing her over.

The performers on screen aren't really bad, but they ARE hurt by lousy dubbing. At least Campanella earns some goodwill by casting some veterans of the genre, like Ms. Bolkan ("Don't Torture a Duckling") and the great Franco Nero ("The Fifth Cord"), who's hilariously cast as a long-haired doomsayer / vagrant. Aficionados of Italian genre cinema will remember Robins from Dario Argentos' "Tenebre".

At the very least, "Bad Inclination" offers some good use of locations and a wonderful score by Alberto Antinori.

Five out of 10.

The brutal murder of a pretty teacher with a double life brings out the worst in the other tenants of her tony apartment building...

The DVD back cover blurb for BAD INCLINATION calls the film an "attempt to recreate the films of the genre, like the ones made by Lucio Fulci and Lamberto Bava in the 1960s and '70s, that were adored by the public and hated by the critics". That couldn't be more wrong -and not just because Mario Bava's son Lamberto was an '80s horror director, not a '70s giallo one.

Director Pierfrancesco Campanella's not-so-sly satire on an amoral society's tabloid celebrities wasn't an homage to a much beloved Italian horror sub-genre so much as a skewering of a new "Me Decade" with it's hedonistic abandon and self-serving values. A lady prosecutor on the case laments, "there's too many relationships" and the goings-ons in the victim's A-list apartment complex is reminiscent of SCTV's soap parody "The Days Of The Week" with its tongue-in-cheek pregnant pauses and off- the-wall couplings.

The still-attractive genre fave Florinda Bolkan almost walks away with the movie as a ruthless artist who gets inspiration from the murder in more ways than one but she gets some stiff competition from the always interesting Eva Robins (the transsexual in Dario Argento's TENEBRAE flashbacks) as a Norma Desmond-ish has-been singer. The temperamental diva turns the murder into a "comeback vehicle" by insisting she's getting obscene phone calls from the killer -a nasty piece of work whose weapon of choice is an architect's metal set-square.

The crimes become a goldmine of publicity with everyone making the TV talk show rounds -including the public prosecutor- and guest star Franco "Django" Nero's bit as a street corner prophet acts as a sort of hip Greek chorus. There's ulterior motives and double crosses galore and the murders, the brief glimpses of hetero S&M, and the lesbianism and nudity (courtesy of Robins) are all photographed in classy style on stylish sets. The ambiguous ending isn't, really, since it's in keeping with the film's jaded universe and, like any good giallo, the title's a big hint. This one's lots of fun, I loved it!

This film begins in Rome with a young woman cooking dinner in her high-rise apartment when she is interrupted by a phone call. Upon answering it the caller hangs up and not thinking too much about it the woman goes back to the stove. When she turns around, however, she is stabbed to death by a mysterious person wielding a metal set-square. Not long afterward, the police arrive and no sooner do they begin their investigation then the press begins to sensationalize the event on television screens and the front pages of the local newspapers. To that effect, realizing an opportunity when they see it two women decide capitalize on this event while they can. The first woman, by the name of "Mirta Valanti" (Florinda Bolkan) is an artist who has been running some lucrative scams on unsuspecting antique dealers and is afraid that her maid "Gabriella" (Rosaria De Cicco) will expose her to the police. The second woman is a publicity agent named "Otilia" (Elisabetta Cavallotti) who works for a spoiled pop star by the name of "Nicole Cardente" (Eva Robins) who is past her prime and fallen out of favor with her audience. It should also be mentioned that the two of them are lovers but Nicole is insanely jealous of anyone who comes close to Otilia. Likewise, for her part, Otilia has in fact met someone new and is essentially trying to have it both ways while at the same time financially benefiting from her relationship with Nicole. So, in order to propel Nicole back into the spotlight she decides to use this murder to her advantage. In the meantime, the investigator in charge of this case named "Rita Facino" (Mircola Viola) has begun to notice some discrepancies in the subsequent murders but is being pressured by her immediate superior "Commissioner Visconte" (Antonio Petrocelli) to wrap up the case by arresting a suspect who may not be guilty. Now, rather than reveal any more, I will just say that this Italian crime-drama had some potential but it suffered greatly from either a weak script or extremely poor dubbing. Possibly both. Along with that, there were some scenes--in particularly one featuring a renegade priest (played by Franco Nero)--which were quite poorly directed as well. That being said, while this was not a terribly bad film necessarily, the faults outweighed any positive features and I have rated it accordingly. Slightly below average.