Island of Death

Twists are heaped upon perversions until the whole thing threatens to collapse into one giddily irredeemable pile of filth that happily violates any taboo of which it could think, and then finds a way to make it all weirder still.

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Don’t Torture a Duckling

Lucio Fulci’s filmography is littered with bodies gruesomely snuffed out. There is a deep vein of cynicism running through the center of Don’t Torture a Duckling.

The Red Queen Kills Seven Times

As with his previous film, Miraglia takes the modern setting integral to the spirit of gialli and dresses it up in a bit of old-fashioned Gothic spookiness by, once again, setting a portion of it in a moody Gothic estate full of dark secret passages and dungeon chambers.

Devil in the Brain

Sergio Sollima didn’t direct very many films. His career is split fairly evenly between theatrical and televised fare. Devil in the Brain is not what anyone would consider a technically outstanding movie, but it is solid in its craftsmanship.

The Sister of Ursula

The Sister of Ursula is like watching a Jess Franco film without that director’s flare. Contemplate that one on the Tree of Woe. Sex scenes, the Italian coast, outlandish murders — everything about The Sister of Ursula seems to operate under the directive of “Well, this should be good, but we’re going to mess it up.”

Naked Girl Killed in the Park

In fairness, there does seem to be a genuine attempt to create an actual film here. Take the word “attempt” literally in this case. Moments of suspense and dread, though presented with apparent sincerity, are nonetheless clumsily presented few and far between.

Eye in the Labyrinth

With Eye in the Labyrinth, Caiano demonstrates a sure hand in orchestrating his players, staging the action in striking tableaux, and allowing his creative muscles to stretch.

Death Walks On High Heels

Few giallo directors were as adept at melding the sundry fetishes that defined the movement as Luciano Ercoli. Nudity, violence, cabaret numbers, quirky camera work, exquisite living rooms, and flash clothing all hit their crescendo under the steady guidance of a man who seems to treat every film as a fashion shoot.

Deep End

Deep End is a film about the awkwardness of transition and the disillusionment that inevitably follows a time of idealism. It was released in 1970, when the dying days of the Summer of Love were giving way to the cynicism of the 1970s; when people swept up in the promise of revolution finally had to face the reality of promises not kept.

Hatchet for the Honeymoon

Hatchet for the Honeymoon is not the kind of film to watch for a kill count or ingenuous murders. It is the kind of film to watch for paranormal and sartorial phenomena, ghosts, discotheques, mysterious deaths, horrifying old toys, and the narration of a “paranoiac.”

Who Saw Her Die?

Creating an emotional attachment to the characters and a sympathetic reaction to the violence against them isn’t a giallo priority. Who Saw Her Die? is the rare giallo that attempts and succeeds this, thanks to a committed performance by former James Bond, George Lazenby.

The Case of the Bloody Iris

When it comes to truly loathsome characters in a giallo, few can match Giuliano Carnimeo’s The Case of the Bloody Iris, a film in which pretty much everyone is hateful, stupid, or more often, hateful and stupid.

The Bloodstained Butterfly

The Bloodstained Butterfly is the odd giallo where the police seem dedicated to their job. Although it boasts the elaborate murders and cast of red herrings one expects from the genre, it also surprises by spending at least as much time on police procedure, forensic science, and courtroom maneuvering.

The Forbidden Photos of a Lady Above Suspicion

Forbidden Photos concerns itself with only one murder, rather than a series of them, which might, for some, put it at a distance from the giallo genre as a whole. If you are someone who comes to giallo cinema primarily for its stylized violence that will likely be the case.

All the Colors of the Dark

All the Colors of the Dark works within the confines of the giallo, but it takes the genre further afield than had previously been explored, resulting in a dizzying psychedelic combination of straight-forward stalker/murder mystery, hallucinogenic psycho-sexual exploration, and straight up occult/devil worship horror.