We don't currently have any discussions or questions about this film. Go ahead and start one.
Post a Comment
Got something to say? Log in to comment, or register for free
. It's quick, easy, and we won't spam you or anything.
After a close encounter with the killer, Marcus notices that a song of a child singing plays each time the killer arrives, and making this connection, his investigation begins gaining momentum and after accepting the help of Gianni, they go to a school where, after finding a piece of incriminating evidence, assume Carlo is the killer.
Just give me the the eerie opening that juxtaposes Christmas and innocent lullabies with sharp knives and silhouetted stabbings; the psychic's murder that sees her leak copious amounts of red paint; the boiling face; the random, creepy automaton doll; the brilliant necklace beheading; the disturbing paintings; throw in a few of Argento's most striking compositions (to alleviate my boredom, I kept telling myself to focus on the beautiful aesthetics, since Argento is a hell of a stylist, but eventually I'd grow restless and start glancing at the clock again); punctuate it all with Goblin's anachronistic soundtrack that is half jazz, half prog rock, and which is likely the film's biggest strength, despite the music often seeming at odds with what's transpiring on screen.