Fairaher The film makes a home in your brain and the only cure is to see it again.

Myron Clemons A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

Guillelmina The film's masterful storytelling did its job. The message was clear. No need to overdo.

Staci Frederick Blistering performances.

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.

Cujo108 Mr. Mainardi (Euro fave, George Hilton) accidentally witnesses a man (Michel Antoine) dumping a body. Rather than report the crime to the police, Mainardi blackmails him into murdering his wealthy wife, Norma. Things go smoothly, but before the killer can dispose of Norma's body, a delinquent couple steals the car which has the corpse stashed in the trunk. The maniac begins tracking them down as the two are completely oblivious to what they've gotten themselves into.Before I bought and watched "The Killer Must Kill Again", Luigi Cozzi wasn't a director I had been particularly fond of. Being the sucker for gialli that I am, I decided to take a chance on this one when the DVD hit. While this isn't in the upper tier of Italian horror, it did prove to me that Cozzi is quite capable of doing something above substandard sleaze and cheese.This is actually a quality film, though I fail to see how it has found itself classified as a giallo. We know who the killer if from the get-go, though he is never named. There is no mystery here unless you wonder what led to his initial murder which Mainardi stumbles upon. I have to say that it reminded me of Hitchcock's classic suspense pictures more than it did any giallo. "Dial M for Murder" definitely came to mind at first, but then it went off in it's own direction. On the other hand, as is usually the case in the giallo sub-genre, virtually none of the characters are totally innocent. The protagonists steal a car and $150, plus they lie constantly. I also thought it was amusing how Luca is romancing this girl, only to help another girl on the side of a road and then do her in the stolen car. Sometimes you just have to get any wherever you can! My main issue with the film is that after the car is stolen, it gets bogged down and doesn't really pick up again until the killer finds the couple. This portion could have been spiced up a bit.The killer himself is actually a pretty intimidating fellow, what with Michel Antoine's reptilian facial features and large build, but he definitely has a lot of hell in this movie. Things just never seem to go right for him. As the greedy blackmailer, George Hilton is convincingly suave, even with the weird sideburns. These two make for a fine pair of villains.Cozzi's direction is solid, and there are only a few small doses of the cheese that would dominate many of his later films. He employs some nifty camera tricks that he surely picked up from Argento. I also liked how he had the two very different sex scenes playing out seamlessly at the same time. In fact, that mean-spirited rape is the only real bit of nastiness on display here. Again, not the norm for a giallo, but the lack of it certainly doesn't hurt the film any.Overall, this is a fine piece of work from a man who I originally had pegged as another Bruno Mattei. Any fan of the gialli sub-genre should be pleased, even if it isn't a giallo in the truest sense of the word. While the pacing goes off the rails at one point and the climax feels a tad anti-climatic, it's not enough to ruin things.

ferbs54 I am happy to report that Spanish-born actress Cristina Galbo is now a very solid 3 for 3 with me. She was excellent as the doomed student in the 1971 giallo "What Have You Done To Solange?" and ever so appealing in the 1974 zombie gut-muncher "Let Sleeping Corpses Lie." And now, here she is again in "The Killer Must Kill Again," giving another fine performance in this 1975 Italian suspense thriller. This film tells a simple story, really. A husband (played by hunky giallo regular George Hilton) hires a homicidal maniac to do away with his wife. The deed accomplished, the killer (played by the creepy-looking Michel Antoine) stuffs the body into the trunk of his car, only to have it stolen by a pair of teenaged joyriders (one of whom is our Cristina). This, of course, sends the dumbfounded madman off in hot pursuit.... Anyway, although this picture offers no real surprises (unlike most gialli, we already know the killer's identity, as well as his motivations), there is a great deal of suspense generated somehow, as we suspect that when Antoine eventually does catch up with Galbo and her beau, the spam really will hit the fan. And it does indeed, in spades! The film features competent but fairly undistinguished direction by Luigi Cozzi (flashy only in a couple of sex/rape scenes) and ominous music by Nando de Luca. It is a very straightforward little film, actually, that gives the viewer precisely what is expected. Even Hilton's fate is kind of foreseeable. Still, I did enjoy watching the film go through its paces, and Cristina Galbo's exquisite presence makes it go down all the easier. I think I'm ready now to sign up for her modern-day flamenco classes in California!

Scarecrow-88 Stunning manipulative giallo about a slimy, greedy womanizing husband, Giorgio Mainardi(George Hilton, dashing even when portraying a loathsome jerk)stuck in a marriage of convenience with a wife whose father is a wealthy industrialist, catches a sociopath(Antone Saint-John)disposing of a body in a creek. He wishes for the killer to murder his wife, setting it up as a kidnapping gone awry. The Killer will be paid 20 grand for this duty, but it's pretty much blackmail with him doing dirty deed or else. While Giorgio is out at a party of gathering rich, the killer strangles her placing the body in the trunk of his black Mercedes. But, what the killer doesn't expect is a young couple, Luca(Alessio Orano)and Laura(the always lovely and wonderful Cristina Galbó who exudes a virginal innocence)driving off in his car when he was inside the murdered wife's pad cleaning up any evidence of his ever being there. Joyriding to a beach-front many miles ahead, Luca and Laura have no idea that the very car they've stolen in the property of a psychopath with a corpse in the trunk. Giorgio and the killer's perfect murder scheme has yielded an unexpected problem. In hot pursuit of the couple, the killer will soon catch up with them as Luca and Laura find an abandoned villa to crash in for rest and relaxation. Meanwhile, an Inspector(Eduardo Fajardo), who clearly suspects Giorgio in assistance of his wife's disappearance, tries to find out how much he is actually involved while pretending to console him.The film's macabre premise is quite a doozy. You have a poor couple who committed a poor act of judgment, paying the ultimate price when the killer finds them. The film plays off the angle of the "dead body in the trunk" where it is almost discovered numerous times. The killer is portrayed by the rodent-like Saint-John as well-tempered, quietly homicidal, and confident. We know what the killer is capable of doing in the first scene and when he kills Giorgio's wife..so when he traps poor innocent Laura all alone with nowhere to run as Luca is off fetching her some grub(..well, actually, he's having cheap sex with a blond floozy, whose car was broken down on the side of the road, he picked up)so it's obvious we fear for her safety and well-being. Through Saint-John, the killer's sadistic nature is calmly presented, yet we see the monster underneath as he skulks with slow foreboding steps towards possible victims. We see how inhuman the killer can be..and just how evil he can become..when he knife-attacks a dumb blond Luca picks up on the side of the road(she saw Giorgio's wife's corpse in the trunk as the killer walked up to his Mercedes). The confidence he has is apparent in how he doesn't rave about when Giorgio proposes he assist in murdering for him or else face the consequences..he has gotten away with murder before, why shouldn't he get away this time? The most painful sequence comes when the killer rapes Laura as the director juxtaposes her agony(lots of close-ups into Galbó's tormented eyes as mascara runs down with tears of horror)with Luca's pleasurable sexual encounter with the blond.