Cubussoli Very very predictable, including the post credit scene !!!

ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Siflutter It's easily one of the freshest, sharpest and most enjoyable films of this year.

Bumpy Chip It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

LeonLouisRicci Mario Bava Directs another Influential Gothic Horror Film. The Producers ran out of Money after 2 Weeks of Filming and the Cast and Crew Worked Without Pay and Finished the Film.It is Truly Amazing what a True Artist can Achieve with Virtually No Money, just Inspiration and Talent. Bava is in a Category of the Considerably Creative Auteurs Making Movies in the 20th Century.His Name can be Invoked, Without Apology, with the likes of Fritz Lang, James Whale, Alfred Hitchcock, Val Lewton, Roger Corman, Hammer Studios, Dario Argento, Stanley Kubrick, and David Lynch.One only needs to View this Film to Recognize Immediately its Influence on Today's Filmmakers. Scenes, Shots, and Sets from this Bava Blast of Gothic Grotesqueness are Stolen and Imitated Freely by Moderns.The Film is Draped and Framed with Excessive Atmosphere and Iconography of the Imagination and the Spiritual. Fog, Cobwebs, Gargoyles, Tombstones, Ghosts, Crucifixes, Corpses, Bell Towers, Dolls, Mirrors, Windows, and More.Surreal, Dreamlike, and Foreboding the Movie Drips with Dread. It is Claustrophobic and You can Cut the Air with a Knife. It is 86 Minutes of Murky, Methodical Mayhem as the Horror and the Uncanny Unfolds to the Final Shot of a Sunrise.It is a Brief Few Seconds, the Only Few Seconds in the Film, where the Light Finally Finds its way to this Netherworld where Superstition and the Supernatural Compliment and Completely Control the Living and the Dead.Note...Until recently the prints available have been in the Public Domain and are awful representations of this artistic achievement. Please seek out the newly released DVDs and Blu-rays. If you have only seen one of the aforementioned cheapies, you haven't really seen the Film.

thelastblogontheleft Kill, Baby, Kill — director Mario Bava's return to Gothic horror — is commonly considered to be one of the greatest horror movies of all time. It has provided inspiration and influence for other greats such as David Lynch, Martin Scorsese, and Federico Fellini. It's considered a classic for good reason and I knew I'd love it the moment it opened with a woman impaling herself on a wrought iron fence…The movie begins with Dr. Paul Eswai (Giacomo Rossi Stuart) arriving at a quiet, foggy Transylvanian village wracked with superstition and fear. He has been called upon to perform an autopsy to find out the cause of a girl's mysterious death — the method is unusual enough, but the fact that there is a coin embedded in her heart adds another layer to the confusion. He finds out soon that the village is terrified of the spectral image of a young girl — Melissa Graps — who died 20 years earlier and is said to bring death whenever she is seen by members of the community. The coins are revealed to be talismans placed by the town witch, Ruth (Fabienne Dali), who is trying to protect the village members from Baroness Graps (Giana Vivaldi), who is helping her deceased daughter claim the souls of the innocent.As is standard with Bava's films, the plot takes a back seat to the aesthetics of the movie, the mood. The sets in Kill, Baby, Kill are so ethereal, so decadent, so perfectly spooky… long, foggy alleyways, the most PERFECT cemetery ever, inexplicably colored lights, black cats, and castles abound. There's several memorable camera moves, most notably for me was the camera taking the perspective of the swing itself as the girl swings on it, and the disorienting repetition of Paul walking through the same room over and over — incredible (and said to have influenced David Lynch's similar scene in Twin Peaks: Fire Walk with Me). I also loved the scene of Paul and Monica (Erika Blanc) walking out of the foggy tunnel, with the camera seemingly placed on a hill up above. Just fantastic moodiness all throughout.Though the plot itself IS pretty cool. The fear of the people in the village is palpable, and the whole concept of this girl's spirit being unable to rest and causing people to bleed to death as she once did… creepy as hell. There's several scenes of her peeking through a window or putting her hand up to the glass and there's a definite sense of dread, as we know that anyone who lays eyes on her will die a death similar to her own.There was also a pretty amazing balance of warm and cool tones throughout the movie, sometimes contrasting in one scene, with almost one corner being warmly lit and the other more coolly. Maybe it's the photographer in me noticing that kind of thing but I thought it was well done.The soundtrack is pre-Goblin, but most certainly influenced them in some way. It is the perfect accompaniment for such a trippy, mind-altering movie.When you first see the ghost of little Melissa Graps you know instantly that she is iconic, running around with her dress and her bouncing white ball.Overall just a great, trippy, atmospheric masterpiece. Bava is one of the greats and I look forward to working my way through his body of work!

grungy_guy I bought a DVD set a while ago that had 13 supposed "cult classics", and overall was hugely disappointed, BUT this was one of the 3 films that I thought was interesting. It had a very intriguing mystery of a village that's supposedly cursed, with young women dying by accident. A coroner travels to the village to do an autopsy on a body, to see if it was an accident, or homicide, and in the end, finds himself in something bigger than he ever imagined.This was my first time watching a Mario Bava, and I can see why he has been praised countless times. The set of the whole movie was very beautiful, and eerie, with cobwebs everywhere, and a the village sort of resembling a labyrinth. I also realized a lot of red, and green lighting, giving off an evil sort of quality, which made you realize that there was something more than meets the eye. While the story was fascinating, I couldn't help get over the campy dialogue which kind of ruined for me, since I was hoping for a more serious tone. Not to mention that none of the characters seemed likable enough to hope for their survival. Overall though, a fun movie.ONE MORE THING: I couldn't help but notice that the ghost in this film looked just like the ghost in William Malone's Feardotcom (2002). She even had the SAME WHITE BALL, and there some scenes that involved that white ball bouncing around, JUST LIKE in KILL BABY KILL.....just saying....

gavin6942 A doctor (Giacomo Rossi-Stuart) goes to a small town in the Carpathian mountains some time around 1910 in order to perform an autopsy. The villagers are generally not pleased with this, but he presses on. At the same time, there is rumor of a ghost that appears just prior to death... and somehow these two events are connected.I had not much experience with the work of Mario Bava, having been more familiar with the splatter subgenre of his son Lamberto. But I had always heard great things of Mario, and knew this film was considered by many to be a strong, memorable piece... most notably for a scene where the doctor chases himself or a doppelganger through a series of identical rooms. This scene is pretty great and pulled off very well for the time, no special effects needed. The Gothic atmosphere is also well captured, on par with Hammer films or the Poe works of Roger Corman.I find this film to be something of a tightrope between Fritz Lang's "M" and Peter Medak's "Changeling". Like "M", there is a leitmotif connected to the evil force -- in "M", the whistled tune. Here, a bouncing ball. Likewise, the ball here is somewhat replicated in "Changeling", though no longer as a forewarning to the killer. Also, the colorful imagery here really anticipates the later Italian directors, particularly Argento.Although Luca Palmerini calls the film overrated, he does say the "to the devil a daughter" theme started here and was taken up by Fellini in Toby Dammitt in "Spirits of the Dead" and later in Friedkin's "The Exorcist". I think this is a bit of stretch to connect this film to "Exorcist". Again, the white, bouncing ball symbolizing a dead child, as would later be done to great effect in "The Changeling", is the real key here to future film.To really understand and appreciate Bava, I feel one would have to watch "Black Sabbath" or "Planet of the Vampires", but this film shall be considered my introduction to the man, and I loved him from the first camera shot. I would strongly urge others to meet him in a similar way. Different releases exist, some probably better than others. I watched two different DVDs, the better one being produced by Diamond Entertainment, but I assume a still better print exists.