Cubussoli Very very predictable, including the post credit scene !!!

AniInterview Sorry, this movie sucks

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Donald Seymour This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Wuchak RELEASED IN 1966 and directed by Mario Bava, "Kill, Baby, Kill" takes place in a Carpathian village in 1907 where Dr. Paul Eswai (Giacomo Rossi-Stuart) arrives to perform an autopsy at the request of the inspector (Piero Lulli). The evidence points to the hamlet being cursed with a mysterious ghost girl that compels those who see her to kill themselves, which the doctor thinks is rubbish; at first anyway. Erika Blanc plays a visiting medical student who assists Eswai while Fabienne Dali appears as the village witch and Giovanna Galletti as a bitter baroness. Luciano Catenacci is on hand as the burgomaster (mayor) and the witch's lover.The movie has a colorful and haunting Gothic/Horror ambiance, which can be traced to earlier films like the B&W "The City of the Dead" (aka "Horror Hotel") (1960) and, more so, "The Terror" (1963), which was one of Francis Ford Coppola's early works, although he only directed part of it. Like those flicks, "Kill, Baby, Kill" features mysterious manors, dilapidated churches, ghosts, cobwebs, witches and bell towers in the mold of Hammer flicks of the era, such as the contemporaneous "Dracula, Prince of Darkness" (1966). As far as spooky MOOD goes, "Kill, Baby, Kill" is superb, but the story isn't as compelling as "The Terror," except for the last act. Nevertheless, the movie has influenced many artists and their works.Rossi-Stuart makes for a stalwart protagonist in the mold of James Bond (looks-wise) while Erika Blanc and Fabienne Dali work well on the other side of the gender spectrum, both striking in different ways.The title of the film is cheesy and recalls Russ Meyer's "Faster, Pussycat! Kill! Kill!" from the year before. It was obviously used to give the film a "hip" edge and sell as many tickets as possible. In 1971 it was retitled "Curse of the Living Dead" in the US, which was a 100% improvement. Here are several other sample titles that would be an upgrade, as well as more accurate: "Village of the Laughing Dead"; "Night of the Laughing Dead"; "Child of Vengeance"; "The Ghost at the Window"; "Child Cursed Village"; "Forgotten Daughter"; "Make them Pay"; "Sorceress' Regret"; "Melissa"; and "Melissa's Curse."Okay, now for a few joke titles: "Melissa and her Sissa"; "The Graps of Wrath"; "That Damn Ball" and "Ghost Boy in Drag." That last one is due to the fact that the ghost girl was played by a boy, one-shot actor Valerio Valeri.THE MOVIE RUNS 1 hour, 23 minutes and was shot entirely in Rome, Lazio, Italy. WRITERS: Romano Migliorini, Roberto Natale and Bava.GRADE: B

Scott LeBrun The people of a late 19th century European village are beginning to perish in incidents that could be accidents, suicides...or murders. A dedicated police inspector, Kruger (Piero Lulli), investigates the case, while calling in a doctor from out of town. Dr. Paul Eswai (Giacomo Rossi Stuart) arrives to find a community full of frightened and deeply superstitious citizens, which frustrates the practical man of medicine. Dr. Paul even goes so far as to perform an autopsy on a young woman, a practice that these locals find to be abhorrent. In an odd touch, victims are found with gold coins placed inside their hearts.The relatively simple story actually isn't hard to follow at all, and in fact much crucial plot information is conveyed through pure exposition. Still, when this exposition is so vividly delivered by such an eclectic cast, it's hard to complain too much. Master of the macabre Mario Bava does go overboard with his frequent zooming in on people and then zooming back out. Other than that, this is an engaging example of the whole Gothic horror genre, with Bava working at the peak of his abilities. As he demonstrated so stylishly in previous efforts such as "Black Sunday" and "Black Sabbath", Bava was expert at creating an otherworldly atmosphere. He's capably assisted by his set decorator, Alessandro Dell'Orco, and cinematographer, Antonio Rinaldi. Bava also helped with the lighting, uncredited. Carlo Rustichellis' music is excellent, and the sound design is another plus, with that infernal giggling helping to put us on edge.The handsome Rossi Stuart is a jut jawed, stoic hero. Erika Blanc is beautiful and appealing as Monica Schuftan, who assists him with the autopsy. Gorgeous raven haired Fabienne Dali is intoxicating as Ruth, the local sorceress. Lulli, Luciano Catenacci, and Giovanna Galletti round out our interesting primary cast. One key casting decision is crucial in keeping the film somewhat off kilter.The finale is over awfully quickly, but there's still a fair bit to recommend here. The sequence that takes place about a quarter hour from the end is the most striking of all.Seven out of 10.

Dan Franzen (dfranzen70) With a title like this, how can one take Kill, Baby...Kill seriously? By recalling that it's a Mario Bava movie. Bava had a prolific career as Italy's horrormeister, a progenitor of sorts of Dario Argento and Lucio Fulci. By 1966, Bava had made such minor classics as Black Sunday, Black Sabbath, and Planet of the Vampires. Bava's stylish movies weren't always Oscar material, but they sure looked good. Kill, Baby...Kill is no exception.In a small, secluded town in 18th century Europe, a Dr. Eswai (Giacomo Rossi-Stuart) arrives via coach. Like Renfield in Bram Stoker's Dracula, Eswai's coachman refuses to even enter the town, let alone get close to the castle where the doctor is to meet the local inspector (Piero Lulli). Eswai has been called by the inspector to conduct an autopsy on a possible murder victim. Trouble is, the townspeople don't want the good doctor to touch the body, even going so far as to try burying it and to attack Eswai as a warning.Why? Because they all feel that the town is under a terrible curse placed on them by a young girl who died a good twenty years earlier. Apparently, the girl died in plain view of an unhelpful citizenry, and now, through her sorceress mother, is avenging herself. Anyone who sees young Melissa is doomed to die a horrible death, usually at their own hands. So you can see how some may be a little skittish about letting Dr. Eswai cut the latest body open. Don't want to irritate the ghost, you know.The movie needed a romantic interest for Eswai, so enter nurse Monica (Erika Blanc), who was born and raised in the town but moved away at a young age - she's present just to check in on the graves of her parents, so she agrees to witness the autopsy, with the prodding of the inspector.As I noted, the movie is characteristically stylish, with an almost visceral feel to it. The blood is there, but it's less copious than it would be in later Bava movies, like Twitch of the Death Nerve. One shot I loved in particular appears to be of a diorama of the town's main passage. The camera swoops in, and then back out, and then in, and then out, and each time it's like walking into a 3D painting. The shot is meant to imitate the perspective of a child on a swing, and it's very effective. There's also a mind-bending scene in which the doctor pursues Monica, who's being carried away; no matter how quickly he moves, he never seems to gain on his target. It's a dizzying scene.Although there are some of the basic cornerstones of the genre - isolated town, superstitious villagers, a damsel in distress, a curse, ghosts - Bava's direction and cinematography (uncredited) mark this as a cut above your typical mid-1960s old-school horror feature. The conclusion may never really be in doubt, but the journey's an entertaining one.

MartinHafer Despite a very poor print from Netflix streaming, despite the film being dubbed instead of subtitled and despite some occasional bad acting, "Kill Baby, Kill" is a dandy Gothic horror piece. This is because director Mario Bava successfully has created a moody film that will keep you on edge.The film is set around 1900 and begins with a doctor and a police investigator coming to a remote village to investigate a very suspicious death. However, this is all complicated by the townsfolk--who do NOTHING to help with their efforts. Eventually, however, the story SLOWLY unfolds and you learn that the fear of the town is because MANY healthy young people in town have died suspiciously and some crazy Baroness and her dead child are somehow responsible.This is clearly a film you need to see and force yourself to keep watching. That's because the film is talky and slow and it takes a while for the film to unfold. But it IS worth it. So, look past all the moaning women, silly cobwebs and slow plot--it IS scary, moody and worth it.