On the startling evidence of the psychedelically lurid 'Death Walks at Midnight', dynamic director Luciano Ercoli is certainly no less a Giallo master-craftsman than Umberto Lenzi, Mario Bava or Dario Argento, having his very own slinkily glamorous Giallo muse in the deliriously delightful guise of Susan Scott, in this, the second instalment of his 'Death Walks' series, Valentina, a vivacious, care-free model is slickly coerced by handsome, altogether mercenary journalist Gio (Simon Andreu)to participate in a somewhat unconventional photo-shoot, wherein the delectable Valentina is given a potent psychedelic drug, and during this amusingly hysteric, hyper-hallucinatory interlude she experiences nightmarish visions of an especially gruesome slaying of a young woman, her beauteous visage horribly mutilated by a truly monstrous-looking, iron-spiked glove, being pitilessly brandished by an especially sinister gent in a demonstratively fly pair of sunglasses!
Having a wonderfully audacious script by Ernesto Gastaldi, maestro Luciano Ercoli's inventive, feverishly pitched, thematically twisted, wickedly warped, hallucinatory horror film is a greatest hits of groovy Giallo goodness, labyrinthine plot, wide-eyed sulky sirens in diabolical distress, sardonic coppers (Carlo Gentili), random red-herring weirdie (Fabrizio Moresco), and iconic nutjob, the immaculately insane, lank-haired loony Luciano Rossi in deliciously captivating, uber-cackling form, and, for me, the most sublime aspect to 'Death Walks at Midnight', outside of the surrealistically savage kills is another majestic score by the estimable Gianni Ferrio, who has written one of his most scintillating themes. 'Death Walks at Midnight' is a terrifically twist-headed, kaleidoscopically kooky, girl-goring Giallo classic from Italian Sinema's golden era of grisly glamour!
Having a wonderfully audacious script by Ernesto Gastaldi, maestro Luciano Ercoli's inventive, feverishly pitched, thematically twisted, wickedly warped, hallucinatory horror film is a greatest hits of groovy Giallo goodness, labyrinthine plot, wide-eyed sulky sirens in diabolical distress, sardonic coppers (Carlo Gentili), random red-herring weirdie (Fabrizio Moresco), and iconic nutjob, the immaculately insane, lank-haired loony Luciano Rossi in deliciously captivating, uber-cackling form, and, for me, the most sublime aspect to 'Death Walks at Midnight', outside of the surrealistically savage kills is another majestic score by the estimable Gianni Ferrio, who has written one of his most scintillating themes. 'Death Walks at Midnight' is a terrifically twist-headed, kaleidoscopically kooky, girl-goring Giallo classic from Italian Sinema's golden era of grisly glamour!