This site is a dumping ground for reviews of giallo films (you may need to sit down for a minute to regain composure after that Argento-worthy revelation). The ultimate aim is to publish a book which reviews every giallo film ever made (up to the point of publication, obvs), and the first drafts of the reviews will be posted here.
I say 'reviews'; I will give a broad assessment of each film, but I'll frequently hone in on some small detail of the film and discuss it at length, in a manner which hopefully sheds light on the film in question and the filone as a whole. I'll also be categorising gialli as a 'filone' rather than a genre or subgenre, as it makes me sound cultured, and is a better word. (That's as of the time of writing this, August 2017; reviews written before then will still probably refer to a genre or subgenre, cos I'm not bothered going back to change them right now.)
I prefer to watch gialli late at night, as there's something about the gradually faltering mind which chimes perfectly with the off-kilter atmosphere of many gialli. The gaps in logic and eccentricities inherent in the filone can snag on the fraying edges of the mind and be spun into a something fresh and vital, which can enhance the viewing experience. That's basically a fancy way of saying that I may mis-remember something, because I'm watching the films late and trying to remember details the next day. Any such inconsistencies will be ironed out before the mythical book comes to fruition.
As a rule of thumb, if a review opens with a synopsis, it'll likely be a full, spoiler-laden one, whereas if there's an introductory paragraph, the synopsis will withhold the killer's identity. Spoilers will often be contained in the main body of the review as well, and are usually flagged (but not always, soz).
Finally, if you're the creative force behind one of these films (I feel like I'm more likely talking to one or two American micro-budget directors here, rather than the Argentos and Martinos of this world), know that I do appreciate the fact that you've managed to create a finished film out of nothing, even if I've said mean things in my review. If you feel like criticising my review please do, but remember that I've created these pieces of writing out of nothing, and, as such, they are worthy of boundless respect. So try and be at least as polite as Ted Moehring was in his comment on my review of Bloodbath in the House of Knives.
I say 'reviews'; I will give a broad assessment of each film, but I'll frequently hone in on some small detail of the film and discuss it at length, in a manner which hopefully sheds light on the film in question and the filone as a whole. I'll also be categorising gialli as a 'filone' rather than a genre or subgenre, as it makes me sound cultured, and is a better word. (That's as of the time of writing this, August 2017; reviews written before then will still probably refer to a genre or subgenre, cos I'm not bothered going back to change them right now.)
I prefer to watch gialli late at night, as there's something about the gradually faltering mind which chimes perfectly with the off-kilter atmosphere of many gialli. The gaps in logic and eccentricities inherent in the filone can snag on the fraying edges of the mind and be spun into a something fresh and vital, which can enhance the viewing experience. That's basically a fancy way of saying that I may mis-remember something, because I'm watching the films late and trying to remember details the next day. Any such inconsistencies will be ironed out before the mythical book comes to fruition.
As a rule of thumb, if a review opens with a synopsis, it'll likely be a full, spoiler-laden one, whereas if there's an introductory paragraph, the synopsis will withhold the killer's identity. Spoilers will often be contained in the main body of the review as well, and are usually flagged (but not always, soz).
Finally, if you're the creative force behind one of these films (I feel like I'm more likely talking to one or two American micro-budget directors here, rather than the Argentos and Martinos of this world), know that I do appreciate the fact that you've managed to create a finished film out of nothing, even if I've said mean things in my review. If you feel like criticising my review please do, but remember that I've created these pieces of writing out of nothing, and, as such, they are worthy of boundless respect. So try and be at least as polite as Ted Moehring was in his comment on my review of Bloodbath in the House of Knives.
