Bezenby Not only does George Hilton live in the most yellow house ever witnessed within the 'yellow' genre, he's also playing one of the most heartless and snidey characters ever to appear in a giallo. You see, George is married to one of them dames who has a very rich father, and she's ruining George's life by not giving him enough pocket money and complaining about George spending all his cash on mistresses. What's a (kind of) young playboy to do?Well, it's lucky for George that he spots a cadaver-like serial killer (played by Antoine St John of The Beyond and Fistful of Dynamite) dumping a car containing a woman's corpse into a river. George makes his presence known, takes the killer's monogrammed lighter, and tells him he's got a proposition to make. They both head off to watch some figure skating while they talk business: George wants the killer to bump off his wife and in return, not only will George forget what he's seen, he'll also throw in some cash to sweeten the deal too...George sets up his alibi while the killer gets down to business, but what neither of them predict is that shortly after the killer throws George's wife's body in the boot of the car, two kids come along and steal the car while he's clearing the house up. Unwisely stealing a car and alerting all the neighbours to his presence, the killer takes up the pursuit while George returns home to find police everywhere. The kids of course have no idea they have a body in the trunk while they drive across the country...You'll see from the description that Luigi Cozzi's approaching things from a different angle here, which is refreshing. You've got a kind of three way story going as George sweats it out in the presence of the cops, not having a clue what's going on, while the killer tracks the corpse car and tries to clean up the mess the kids leave in their wake, plus Cozzi keeps things interesting with the two youngsters by making Cristina Galbo a frigid virgin who makes her boyfriend jump through hoops to get her pants off, including stealing the car in the first place. For the record Galbo in 1975 was twenty-five years old, but never seems to look any older than eighteen. There's not a lot of violence in this one mind you, so gore hounds will be let down by lack of splatter and the absence of a high body count, but the whole novel approach of the plot kept me interested, as did Cozzi's visual flair.

The_Void The Killer Must Kill Again is a Giallo that strays so far from conventional Giallo standards that it might well have overstepped the genre boundary into the 'merely a thriller' category. Whether it's a true Giallo or not is irrelevant, however, as this is a damn good film regardless! The Killer Must Kill Again forsakes tradition immediately as we get to know who the killer is right from the off. Unlike Mario Bava's Hatchet for the Honeymoon, however, director Luigi Cozzi doesn't spend time letting the audience get to know this character, and instead we are treated to a film that regards the plot as the most important element. The plot forsakes Giallo rules also as it runs straight, and actually makes sense! Nonsensical plots are one of the things I like least about Giallo, so being able to follow this one easily made it all the more enjoyable for me. Anyway, the plot follows a man who decides he wants his wife dead so he can inherit her money. While musing in his car, he spots a murderer disposing of one of his victims in the river. The two form a deal, for the murderer to kill the wife in exchange for a reward of $20,000; but things go awry when a couple of kids steal the car that the dead wife is in...The Killer Must Kill Again doesn't manage to forsake all Giallo traditions, however, as bad dubbing features heavily; and so does a lack of logic, despite the plot being easy to follow. We also get treated to a good musical score, some excellent cinematography and a great set all in yellow! The film is well cast, with Michel Antoine in the title role. He looks and acts the part of the sadistic killer, and even though his character is never really tapped into; we get to feel that we know him just because of the way he acts. Giallo regular George Hilton is the headline star, and he is excellent in the role of the less than faithful husband. It's quite strange seeing him as the villain for me, as I'm more used to him being the good guy. Luigi Cozzi, a frequent collaborator of Dario Argento's on films such as Four Flies and Five Days in Milan does a good job of directing, and ensures that the film looks nice and entertains for the majority of it's duration. It could be said that the chase making up the core of the movie goes on a bit too long; and the lack of bloodshed isn't exactly a good thing, but The Killer Must Kill Again is a lovely detour from the usual Giallo formula, and if you're a fan of Italian horror; this shouldn't disappoint.

Coventry What's the one story-element all the Italian gialli-films have in common and should therefore almost be considered as one of the basic trademarks of this wonderful horror sub genre? Well, nearly all gialli, from Mario Bava over Sergio Martino to Dario Argento, introduce a horrifying killer (preferably wearing black gloves) whose identity remains hidden throughout many plot twists and only gets revealed during an incredible climax. Actually, the guessing game for this killer's identity is pretty much the whole point of the sub genre! The script of Luigi Cozzi's "The Killer Must Kill Again" is quite unique and does the complete opposite, but that surely doesn't make it any less of a brilliant full-blooded Italian giallo! We know who the killer is and what he looks like even before the credits come onto screen and rightly so, because Michel Antoine's face is far too creepy to hide behind masks or veils. He plays a serial killer who's caught red-handed by sneaky businessman Giorgio Mainard whilst disposing of a dead girl's body. The two gentlemen make a deal and Giorgio hires the killer to get rid of his wealthy wife Norma. While covering up the tracks, however, a couple of young thugs steal the Mercedes with Norma's body in the trunk! During his search for the lost corpse, our killer's thoughts only get more sadistic… If feels weird to see a giallo with such a logical and straightforward storyline, but the atmosphere is equally tense and there's never a dull moment that undercuts the fast pace. What "The Killer Must Kill Again" lacks in surprise and plot twists, it makes up in style elements and originality. Ricardo Pallottini's camera-work is truly imaginative (I particularly liked the cartoon-like fade ins and fade outs) and the extended chase is full of ingenious and entertaining moments. The music is also great and there's a reasonable amount of lovely sleazy, mainly provided by Femi Benussi who's never ashamed to show her ravishing flesh. Disappointing and/or negative elements definitely include the shortage of blood and violence and arguably a glut of "coincidences" during the chase. Michael Antoine is really amazing as the killer, with grimaces and an aura of nihilism that genuinely petrifies you. Giallo-regular George Hilton ("The Case of the Bloody Iris", "My Dear Killer"…) is on autopilot for his familiar role of adulterous macho whereas the cute Christine Galbo gives away her second best performance ever, right after "What have you done to Solange". You may not fully get what you expect, but this is a seriously good giallo! Briefly put; "The Killer Must Kill Again" is a movie I must see again…and again, and again.

Bjorn (ODDBear) Luigi Cozzi, close friend and collaborator to Dario Argento, took director's chair for this mediocre giallo, not getting even close to Argento's well constructed giallo's.The story is fairly juicy. Frustrated husband Hilton catches a killer at work, disposing of a woman he had just murdered. He makes a deal with the killer to dispose of his wife so he can get wealthy. The killer does his job, but after loading his trunk with her body the car gets stolen by a couple of horny teenagers and he has to track them down to complete his job.As said, fairly interesting story but Cozzi handles matters terribly, resulting in a rather boring and downright unjustifiably long-winded film. Plus, he continually disrupts the few tension filled moments with a boring segment involving an incredibly stupid blond. I mean, you get the point, with those cuts between a rape and actual love making, but that music in the background and...ahhh, it just kills the mood entirely.It could have been good, I mean, Cozzi is rather sleazy here and a few fleeting moments are satisfying to the seasoned giallo fan, but it's far from being great.