Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Teddie Blake The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Bessie Smyth Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Tayyab Torres Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Sam Panico This is a film that wastes no time being strange. Or salacious. A photographer is shooting a soft focus lovemaking session between three women amongst creepy, eyeless baby dolls. By the time we register what is happening, we're now in a classroom, where swooping pans and zooms refer us to the main cast of the film as we overhear a lecture and later a discussion about Pietro Perugino's painting of Saint Sebastian. Did he believe in God? Or was he just trying to sell sentimentality? Could an atheist find himself able to translate religion to those with faith?We cut to a couple making out in a car as a figure stalks them through the eye of the camera, making us complicit in the act of the killer. Quick cuts reveal the white masked face of this maniac. The man runs after him while the girl doesn't even care that they had a voyeur watching. As she waits for him to return to the car, but grows impatient. The headlights of the car cast her shadow large across the columns of a bridge. And their light is quickly extinguished by black gloved hands. The camera-work here is really striking, keeping us watching for the killer, as we're no longer behind his eyes. His attack is swift and ruthless, juxtaposed against the images of fingers penetrating the eyes of a doll.The art professor (John Richardson, Black Sunday, The Church) and Jane (Kendall) meet by chance at a church where she challenges him to change his views on Perugino. As she returns from their somewhat romantic afternoon, she spies her friend Carol arguing in the car with a married man.Meanwhile, ladies of the evening walk the street, ending up with Stefano, a student who has been stalking Julie. He has trouble performing and the prostitute he's with tells him that all the hang ups come her way. That said — even if he's queer, he better pay the money. He flips out and attacks her, but she makes her escape.We're then taken to a hippy party that looks like it's taking place inside Edward Lionheart's Theater of Blood. There's weed, there are acoustic guitars, there are bongos, there are dudes with neckerchiefs, there are motorcycles. Truly, there's something for everyone. But after leading on two men, Carol just walks out into the mud. They try and chase her, but she makes her escape into the foggy night. We hear her footsteps through the swamp as she walks, exhausted and covered in mud. What better time for our white masked killer to return? We see glimpses of him through the fog and then he is gone. Whereas in past films Martino ignored the murder scenes instead of story, here the violence is extended, placing the killer and his actions in full view. After killing the girl, he rubs mud all over her body before stabbing her eyes — again intercut with the baby doll imagery. Her blood leaks into the mud as the score dies down.Read more at bandsaboutmovies.com/2017/09/08/torso-1973

Chase_Witherspoon I enjoy Sergio Martino movies, but Torso disappointed. It's not a strong contender in the Giallo sub genre, a painfully slow pace and generally weak plot failing to match the promise of the inspired title. Suzy Kendall returns the the sub genre, here playing an o/s student whose GFs begin turning up horribly mutilated prompting the surviving quartet to seek sanctuary in a sprawling castle atop a hill overlooking the besieged town. Predictably, they're not safe for long.John Richardson has a largely frivolous supporting role as the college professor, and whilst the majority of the female cast are attractive (and frequently disrobed), the acting in this film is lamentable. Kendall is a cut above (no pun intended) the performance standard of her peers and it shows when she's off-screen; second lead Aumont - though possessing a profile - doesn't have the chops to carry the film. Some mild chills at the climax, but overall it's a tame, clichéd resolution in which Kendall is virtually a bystander. The components are superficially present, but Martino's picture feels too derivative of a one-note slasher film lacking the depth, style and sophistication of quality Giallo.

Zbigniew_Krycsiwiki Hooded killer is slashing the young females at a college in Perugia, Italy. A group of friends go to a remote villa, only to be followed by the killer. One particularly brutal killing involves the scarf vendor being eliminated for possibly knowing the killer's identity. Another, involving Carol (Cristina Airoldi, the most gorgeous girl in this picture) stumbling off into a dark, wooded area, only to meet a violent end at the black-gloved hands of the killer, in my favourite scene in this movie. But, who is the killer? Plenty of atmospherics, gorgeous girls, and violent bloodshed, but it is too slowly paced for me. After a good first third, I found myself bored with the second third of it, before it recovered a bit in its final third. But the ultimate fate of the killer was anticlimactic.

matheusmarchetti Just watched this very well crafted giallo from the criminally underrated Italian horror director Sergio Martino. While it is MUCH different in style to his other films, as it is considerably more sleazy, as well as lacking the class and visual beauty of say "The Strange Vice of Mrs. Wardh", "Torso" manages to be very entertaining, with a clever plot that manages to keep the viewer guessing from the beginning to the end. It also includes some of the greatest suspense scenes in a horror film (the whole third act, basically), and some deliciously brutal murder scenes, my favorite being Carol's death. The jazzy soundtrack fits perfectly with the film's depraved violent yet erotic tone. Tina Aumont and Susy Kendall were very likable heroines, and I was both surprised and upset by Aumont's demise, since she was my favorite character in the film. Overall, a very fine giallo that is without a doubt one of the biggest influences on the slasher craze of the 80's, particularly "Friday the 13th".