The story in this horror movie revolves around a strange religious icon and the demonic sexual influence it exerts on a young art student. After a gory dream sequence in which the woman ... See full summary »
An Australian woman arrives in London to search for her sister who she finds is involved with a heroin smuggling gang. The gang itself is under attack from an unknown rival, who is methodically assassinating them with a shot to the head.
Young babysitter Amanda arrives at the Lloyd residence to spend the evening looking after their young son. Soon after the Lloyds leave, a series of frightening occurrences in the gloomy old... See full summary »
Several employees on a nobleman's estate show up at a former abbey, reputed to be haunted, to search for a hidden treasure. Howver, a mysterious hooded figure begins killing off those who may have figured out where the treasure is hidden.
Franz Josef Gottlieb
Christian (Robert Hoffman) and his girlfriend are taking a walk on a deserted beach when they discover a woman's body lying. A closer look proves that she's alive. The next day Christian ... See full summary »
When Detective Cody Sheehan discovers the body of a stripper from the Rock Bottom dance club, she wants the case. Her partner, Detective Heineman, is equally anxious to make the jump to the... See full summary »
A beautiful and charming betrothed is promised to a beautiful woman. But it is a completely insane killer and it will be his next victim. Everything that follows the wedding ceremony will be a carnival of wickedness, sadism and brutality.
In a 15th-century feudal village, a woman is accused of witchcraft and put to death. Her beautiful older daughter knows the real reason for the execution lies in the lord's sexual desire ... See full summary »
THE MARK OF KRIMINAL (Fernando Cerchio and, uncredited, Nando Cicero, 1968) **1/2
Second and last entry in the “Kriminal” series – good-looking, light-weight Italian capers with an exotic touch originating from a comic strip. Whereas the first film concerned a string of diamond robberies (from what I’m able to recollect), this involves the search for a couple of missing paintings by world-renowned artists – the map of the location in question is hidden inside four identical statues of a Buddha. As in KRIMINAL (1966), the quest sends our anti-hero globe-trotting – London (his escape from an Istanbul prison, where his initial adventure had concluded, having occurred off-screen), Spain and, then, across the sea to the desert of Lebanon (the Goya and Rembrandt works are kept in an ancient tomb!).
Having re-read my review of the original in preparation for this one, back then I had found Glenn Saxson “a wooden lead”; however, I think he has grown nicely into the part – ably demonstrating the character’s resourcefulness (fleecing insurance companies, nonchalantly disposing of his double-crossing female partner, posing as a messenger to present his arch-nemesis with a booby-trap wedding gift[!] and an erudite gentleman on the ship in order to frame a naïve fellow passenger for his crimes: in this respect, the script often utilizes the trademark skeletal costume to throw his pursuers’ scent off Kriminal’s trail…apart from the expected scaring of gullible victims), wit and magnetism. The wonderful theme from the original (by Raymond Full) is reprised here, which blends quite well with the new score from Manuel Parada; also returning from the first film are luscious “Euro-Cult” starlet Helga Line' (albeit in a different role – a femme fatale who’s a rival to the titular figure for the priceless paintings) and Andrea Bosic as the Scotland Yard officer still after Kriminal. Here, too, are the occasional delightful transitions to animation taken straight from the comics; I’ve never come across the latter – but I guess this goes to show how the live-action version was a faithful rendition of the original.
While I don’t recall the first film enough to objectively judge how much of a lesser achievement the sequel actually is (I’m prepared to give the Umberto Lenzi film the benefit of the doubt, though I’m certain of its own rather middling qualities when stacked up against the definitive Pop Art-tinged Master Criminal film of the era – Mario Bava’s DANGER: DIABOLIK ), it’s a superficial but effortlessly fun ride. If I had to put in one discernible criticism, I’d say that the desert climax is a bit long-drawn out…except that it leads directly to the surreal fade-out gag. By the way, at least one source mentions the uncredited contribution of director Nando Cicero in connection with the film; also my DivX copy froze a couple of times during playback on my compatible player but went by smoothly on my DVD-ROM. I think yet another DivX-to-DVD-R conversion is in order here...
4 of 6 people found this review helpful.
Was this review helpful to you?