Paolo Malco Movies

In this stultifying mess, director Lamberto Bava and his co-writer, the ubiquitous Dardano Sacchetti, manage to rip off nearly every giallo cliche in history and still deliver a tedious film. Cop Leonardo Treviglio and his wife have a loud fight and she ends up stabbed to death with an ice-pick. His buddy Paolo Marco is put on the case and believes Treviglio did it, but criminal psychologist Valeria d'Obici (who often uses the technical term "maniac") believes he's innocent. She thinks it was a killer named Tribbo, who supposedly died in a fire many years before. Treviglio is shot to death by another cop, but the murders go on. Eventually, the killer follows Marco's daughter (Lara Wendel) and two friends to a secluded hotel for the lengthy final standoff. Viewers who have seen any of Dario Argento's thrillers (The Bird With the Crystal Plumage in particular) will guess who the killer is in about 15 minutes, and the hotel scenes -- borrowed wholesale from Torso -- fail to generate the least bit of suspense. It's hard to believe from a director who made the stylish A Blade in the Dark only a few years before, but even Bava's legendary father had his off-days. ~ Robert Firsching, Rovi

Set during World War II, The Assisi Underground deals with the efforts made by a handful of hardy European souls to rescue Jews from the Holocaust. Ben Cross plays a dynamic young Catholic priest who puts his own life on the line to save thousands of refugees from Nazi-occupied Italy. While the role of the Vatican in the war is still a matter of hot debate, there can be no denying that individuals like Cross existed: in fact, virtually every event depicted in this film is based on an actual event. Featured in the all-star cast are James Mason, Irene Papas, and Maximillian Schell. When originally released, Assissi Underground clocked in at 178 minutes, resulting in a well-intentioned but frankly boring wartime epic. The producers whittled the running time down to 118 minutes for its general release. ~ Hal Erickson, Rovi

In this spaghetti Western, a young Navajo by the name of Thunder (Mark Gregory) takes the lead in trying to stop a sacred burial ground from being plowed under so an observatory can be built. This act not goes against tribal beliefs, but violates a treaty signed by his grandfather. After a visit to the construction site concludes in a fight, Thunder tries to protest at the Sheriff's office and at the bank financing the project, but nothing works. He is beaten and thrown out of the county, and finds no recourse except to fight back in the only way his enemies would understand -- with force. With stunning Monument Valley and the Grand Canyon as backdrops, the visual grandeur of this drama is impressive. Thunder returned in two sequels, one in the works the same year this film was released. ~ Eleanor Mannikka, Rovi

Jack Hedley of The Anniversary stars as a hardbitten police lieutenant tracking a sadistic sex-killer in this gruesome thriller from splatter-maven Lucio Fulci. The misogynistic script (by Fulci and prolific collaborators Gianfranco Clerici and Vincenzo Mannino) posits a femme-hating psycho (who talks like Donald Duck) slashing beautiful women with a switchblade and a straight-razor because his daughter is in the hospital and will never grow up to be beautiful. Fulci was apparently trying to work in a statement about American competitiveness by making his heroine (Antonella Interlenghi) an aspiring Olympic athlete, and having a killer who is concerned that his daughter will never be "the best," but the point gets lost amidst the buckets of blood and gratuitously kinky sex scenes. Pandering to the lowest common denominator as never before in his career, Fulci showed with this blatant play for the sicko slasher crowd that the days of well-plotted, stylish Italian horror were gone, replaced with the most vicious sort of sexual violence and perversion. Despite all of that, there is one fairly masterful sequence in which the suspect's S&M sex partner learns his identity from a radio broadcast and must untie herself and escape while he sleeps. This scene is tense and nerve-wracking, a high-point of genuine fear amidst a nauseating collage of metal blades slicing female flesh. A shameful piece of work that makes Mario Landi's Giallo a Venezia look positively liberated, it co-stars Renato Rossini, Andrea Occhipinti, and Paolo Malco, with cult figures Alessandra Delli Colli, Daniela Doria, and Barbara Cupisti on the chopping block. Cinematographer Luigi Kuveiller, editor Vincenzo Tomassi, and composer Francesco De Masi have all done better work. ~ Robert Firsching, Rovi

In this off-beat, kind of kinky drama, the viewer learns the origin of the word "masochism." It comes from the last name of writer Leopold von Sacher-Masoch, and this film tells the story of his S&M marriage to a lower-class woman. He literally and figuratively prostrates himself before his wife, begging that she take lovers. The marriage eventually dissolves, but not before he convinces her to beat and humiliate him. It should be noted, that this is a serious drama, not an exploitation, or pornographic movie. ~ Sandra Brennan, Rovi