Stometer Save your money for something good and enjoyable

Lumsdal Good , But It Is Overrated By Some

Taraparain Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Dana An old-fashioned movie made with new-fashioned finesse.

Wizard-8 "The Dark Is Death's Friend" has been classified as a giallo in some circles, though it really isn't, despite being Italian and involving murders. It's actually one of those movies where the "perfect" murder is planned, but things soon go wrong. I often find those movies very entertaining, because they get me wondering what I would do if I were unlucky to be stuck in the situation. Anyway, this is a pretty good example of one of those movies... for the most part. To be specific, the opening thirty or so minutes are well done, setting things up well and being quite captivating. Unfortunately, the middle thirty minutes of the movie is extremely slow and uneventful, with most of it being completely disposable. Fortunately, the last thirty minutes get going again, being suspenseful and creepy, and ending on a good note. Special kudos needs to go to Antoine Saint-John, who plays the nameless creepy killer - it's quite a good performance. The boring middle part of the movie stops this movie from being a classic, but if you wait to watch the movie when you are in a patient mood, you should find it worth your time overall.

Red-Barracuda 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.

fertilecelluloid Most giallos are scarlet whodunits's, but Luigi Cozzi reveals his killer (Antoine Saint-John) two minutes in and directs our attention to a business relationship struck between the killer and a sleazy ladies' man (George Hilton).Despite breaking a golden rule of the genre, "The Killer Must Kill Again" is a fresh, kinetic thriller with uneven performances (the women), terrific cinematography and striking set pieces.Antoine Saint-John is positively electric as the arrogant psychopath and rivets our attention to the screen. For a change, the storyline is relatively linear and free of the usual clutter. The violence is bloody and smoothly directed, and Cozzi demonstrates a real flair for atmosphere.Certainly not as operatic as an Argento or as sleazy as a Polselli, it is, nevertheless, compelling celluloid and a million miles away from inept Cozzi trash such as "Star Crash" and "Contamination".

movieman_kev Giorgio (George Hilton) has no clue what he's going to do with his bitchy nagging, yet wealthy wife. One night while on a pay phone in a remote section of town, he spies someone trying to dispose of a dead body, not believing his good luck he walks over to tell the murderer (Antoine Saint-John, still awhile away from his best role in Lucio Fulci's "The Beyond") to kill again, namely his wife Norma, or he'll go to the police with what he had just witnessed, throwing in 20 thousand dollars cash to sweeten the deal. The killer is able to hold his end off the bargain but then the car that the now deceased body is in is promptly stolen leading to a frantic chase between the killer and carjackers, while Giorgio deals with the police who think they're dealing with a kidnapping.This being a Luigi Cozzi directed film, I was sincerely surprised how competent and generally good it was. I mean sure, I enjoyed his later "Contamination", but that wasn't for the competence in that film, as their was none. This film, however, isn't just competent, it's actually a fairly solid cat and mouse chase story. And deserves too be more well known, hell I'd settle for known at all. If you can overlook a few plot holes, it's a solid effort.My Grade: B Eye Candy: Teresa Velázquezas Norma shows her right tit; Femi Benussi as a Dizzy Blone goes full frontal; and Cristina Galbó gets topless DVD Extras: Commentary with Director Luigi Cozzi and Author Pete Tombs; 3 Featurettes (Road to the Killer, Working with Argento, & the Giallo Genre); Original title sequence; Stills gallery; Theatrical Trailer; and a compilation trailer for other Mondo Macabro released films (featuring nudity)