A musician witnesses the murder of a famous psychic, and then teams up with a fiesty reporter to find the killer while evading attempts on their lives by the unseen killer bent on keeping a dark secret buried.
A killer known as Ghostface begins killing off teenagers, and as the body count begins rising, one girl and her friends find themselves contemplating the "Rules" of horror films as they find themselves living in a real-life one.
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A wave of gruesome murders is sweeping Tokyo. The only connection is a bloody X carved into the neck of each of the victims. In each case, the murderer is found near the victim and ... See full summary »
Someone is strangling coeds in Perugia. The only clue is that the killer owns a red and black scarf, and police are stumped. American exchange student Jane and her friends decide to take a ... See full summary »
A psychic who can read minds picks up the thoughts of a murderer in the audience and soon becomes a victim. An English pianist gets involved in solving the murders, but finds many of his avenues of inquiry cut off by new murders, and he begins to wonder how the murderer can track his movements so closely. Written by
Ed Sutton <firstname.lastname@example.org>
In one scene David Hemmings walks past a bar at night. The bar is styled after the famous painting "Nighthawks", by Edward Hopper. See more »
The notes being played during Marc and Carlo's duet in the bar sound nothing like what they appear to be playing (the high notes sound much faster than what the actors are miming). See more »
Look, maybe you've seen something so important you can't realize it.
But... I'm just trying to understand, because... Carlo You know, sometimes what you actually see and what you imagine... get mixed up in your memory like a cocktail... from which you can no longer distinguish one flavor from another.
But I'm telling you the truth! Carlo No Marc. You think you're telling the truth, but in fact... you're telling only your version of the truth. It happens to me all the time.
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Deep Red is not, I am sorry to say, a perfect film, no matter what some people may try to say. This rests entirely on about half an hour or so of footage, mostly cut in the initial American release, that simply should never have been in the movie; most falls entirely in the category of failed comic relief (although some of it, the arm wrestling scene for example, is very important, and the "director's cut" is certainly the version to watch).
The rest of the movie, on the other hand, is a masterpiece. Vaguely similar to (but far superior than) some of the more Hitchcock-esque work of Brian De Palma, "Deep Red" makes the intelligent choice to forget careful narrative believability (it makes much more sense than most "thrillers", though) and immerse the viewer completely in a bizarre, disjointed nightmare, edged on by the audacious Goblin soundtrack and some of the most brutally dazzling murder scenes ever filmed (although not the goriest, exactly; I'd still advise those with weak stomachs to stay far away), which explode from the plot-line (which itself is really made up of an unfolding series of jagged vignettes that finally coalesce in a jaw-dropping finale, a precursor in many ways to David Lynch's "Mulholland Drive") every so often to amaze us with acts of cinematic virtuosity, sort of like the songs of an old MGM musical.
Even better than the brilliant "Suspiria","Deep Red" is the giallo film to watch, and the ideal place to start for absolutely anyone interested in this weirdly fascinating sub-genre. It certainly makes the last 25 years of American "thrillers" look tamely pathetic, to say the least.
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