L'assassino è costretto ad uccidere ancora

Though it is considered a giallo, I think of "The Killer Must Kill Again" as being more like an exploitation version of "Les Diaboliques". There's no masked and black gloved killer stalking high society types, and nor is there any mystery as to the killer's identity: we know him as soon as we see him.

The movie does, however, feature bloodless rich people, or in this case, a bloodless rich person. Giorgio is an adulterer who has a fight with his wife and goes out for a drive, where he witnesses a serial killer dispose of a body. He blackmails the killer into taking out his wife as well, but then the killer's car is stolen by a thrill seeking young couple who don't realise there's a corpse in the trunk.

Along the way, the young man is seduced by a bubble-brained sex kitten played by the scrumptious Femi Benussi, who has her hair dyed blonde in this role, I suppose to hammer home her idiocy.

The film actually has some quite suspenseful moments involving whether or not the body will be found, and whether or not the killer, indeed, "must kill again" - and when he will end up doing so. The killer's likeness is unforgettable. There must have been no doubt in the filmmakers' minds that they had found the man for the job as soon as they laid eyes on him, with his tall, gaunt figure, bony reptilian face, and deep set eyes.

Unfortunately, the movie does stall a bit towards the end, and it seems the Femi Benussi role may have been added just to up the sex and violence factor. Aside from that, the movie is more in line with French thrillers, leading me to conclude it is less giallo than jaune.

I loved this movie. First and foremost, in my opinion, this is NOT a giallo. I'd classify it more as a crime/thriller...or even a drama or a black comedy.

You know who the killer is from the beginning, so there isn't much mystery to it...but unlike many other 'similar movies' there is a double dose of tension and suspense which genuinely gets under your skin.

Masterfully directed by Luigi Cozzi ("Contamination"). I was impressed with the guy who plays the killer, I thought he was superb and creepy, and even though we get up close and personal with him, he remains creepy until the end.

Necessary viewing for lovers of Italian horror.

8 out of 10, kids.

Giorgio Mainardi is a man at odds with his wife. When his wife threatens to cut him off from her back account he searches for a way to get back. While sitting in his car contemplating things Giorgio sees a man pull his red VW up to the river and push it in (along with the body of a woman). Mainardi hatches a scheme while in cahoots with the killer to rip himself of his wife and grab all her cash. All, as you may guess goes horribly wrong.

The overall storyline is quite compelling. There were several instances where I thought to myself that I had not seen that particular wrinkle before. But sadly there was not enough action for my taste. The cinematography and acting were very good but the "road" scenes just weighed the movement down. "Killer" is an average giallo who scores for some interesting "wrinkles".

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.

This is a fine example of the giallo genre. It contains everything you would expect from an Italian horror film like this: Interesting characters, convoluted plot, brutal violence and a fair amount of suspense. The plot, too, is great and is worthy of ol' Hitchcock himself. It begins when giallo regular George Hilton catches a killer in the act of disposing a body. George then blackmails the killer into murdering his wife, all of which goes smoothly. However, the twist comes when a couple of freewheeling kids steal the killer's car with the wife's body in the trunk. The killer chases the kids to the beach and then the bloody fun starts.

As mentioned before, the plot and the many twists it takes, makes this giallo entry a standout in the genre. Then there is the great and creepy performance by Michael Antoine as the mysterious killer ( why was this guy only in two movies?). Most gialli have an unidentified, faceless killer with a secret plan as their antagonist but this movie does just the opposite and benefits from it. The only thing that bothered me about this film was the hideously ugly house George Hilton and his wife lived in, which seemed to made entirely out of yellow plastic. Oh well, I can forgive it because, afterall, the movie, like most gialli, was made in the seventies. Overall, a highly recommended giallo that has everything you could want from this type of movie and more.