Un tueur dans la ville

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," alternately titled "The Clairvoyant," follows Norman Parker as a New York City detective attempting to solve the mystery behind the murders of multiple women; an ever-handsome Perry King plays a local talk show host with alternately vested interests in the crimes, but the presence of an art student who appears to be able to draw the murders on paper before they occur brings a whole new dimension to the solving of the mystery.

Armand Mastroianni writes and directs here, two years after the release of his slasher film "He Knows You're Alone"— in my opinion one of the most underrated and charming of the eighties—and the direction is solid. Mastroianni has a knack for photographing the city and milking it for all the atmosphere it offers. With "He Knows You're Alone," the suburban gloom of Staten Island set the backdrop, while Manhattan serves as the primary location here, but the photography and direction are moody and evocative. The script, as some have noted, does slack a bit at times, but the sleek photography and strongly-established atmosphere really overshadow any losses of momentum in the screenplay.

The film is similarly fashioned to a giallo, and at times evokes the work of Mario Bava or Dario Argento, with a psychic splash of Nicholas Roeg's "Don't Look Now," but all that said, these are respectable influences to have. The psychic element is the standout component here, which elevates the proceedings from mere "killer-in-the-city" fodder to something slightly more interesting. Norman Parker and Perry King make competent leading men, while Elizabeth Kemp is also solid as the tormented clairvoyant art student.

Overall, "The Killing Hour" is a solid thriller that wears its influences on its sleeve. As with some of his other films, Mastroianni is great at evoking atmosphere from the camera and the locations. Despite a few pacing issues, the giallo undertones and the grand finale make this worth a watch. 7/10.

"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.

THE KILLING HOUR (aka: THE CLAIRVOYANT) opens with the body of a handcuffed woman being fished out of the Hudson river by police. Simultaneously, an artist in a studio seems to be drawing the same scenario in charcoal. In quick succession, two men are killed in horrible ways, both murders involving handcuffs, and both drawn by the same artist either before or during the act.

Detective Larry Weeks (Norman Parker) and his team are on the case. Enter TV personality, Paul "Mac" McCormack (Perry King), who's out for the scoop on "The Handcuff Killer", getting Weeks into hot water with his superiors in the process. Ultimately, Weeks and McCormack join forces to catch the manacle-using menace. Eventually, the clairvoyant artist, Virna Nightbourne (Elizabeth Kemp) comes forward to help. Can these three catch the murderer, before more deaths take place?

This movie seems to frustrate those looking for a slasher or giallo film, who consider it rather dull. Actually, it's more of a suspense / police drama with supernatural horror elements. As such, it's not a bad movie. Personally, I get tired of watching people get stabbed to death all the time, and really liked the novel approach used here. It was every bit as terrifying without being repetitive. While not altogether unexpected, the ending is quite good.

Co-stars Joe Morton as Detective Rich...

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.