Tulpa

Und ich, Idiot, ließ dieses Stück fast zwischen meinen Fingern durchrutschen. Zampaglione (vom vielen gehasster Horrorfilm Im Schatten der Berge) nahm sein Werk als klassisches Giallo in Anlehnung an Argentos Tradition mit expliziten Morden und starker erotischer Stimmung auf, aber ohne die aufdringliche Figur des Ermittlers. Und das ist schließlich gut so, denn der Film konzentriert sich wirklich nur auf die Heldin und den Mörder, der seine Opfer oft und ziemlich originell tötet (Karussell gegen Stacheldraht). Fügen Sie noch die wohltuende Musik, eine Menge Nacktheit und angenehme Laufzeit hinzu, und Sie erhalten einen qualitativ hochwertigen Euro-Horrorfilm, der zwar nicht an die Qualität von deutschen Masken herankommt, aber als Erinnerung an das italienische Kino der 70er Jahre fast fehlerfrei funktioniert. Und jetzt entschuldigen Sie mich, ich muss mich beeilen, in den Tulpy - in einen privaten Nachtclub zu gehen, in dem meine geheimsten und verstörendsten erotischen Fantasien zur Realität werden. (17.04.2014)

The film pays homage to older giallo films, partly due to the involvement of Dardano Sacchetti in the story, who has quite a lot of work behind him. It's a giallo in a modern guise, with plenty of good gore, but unfortunately, it's also a giallo that somewhat drowns in its form and in trying to be violent and sexy. However, it somewhat forgot about a more thought-out plot. (27.10.2016)

Federico Zampaglione has gotten better. His previous film was tiresome bullshit, whereas this one is only unintentionally funny bullshit, thanks to its transparency. The first half of the film offers up a number of genre delights, when imaginatively bloody murders alternate with sequences involving nude bedroom activities. However, everything tragically falls apart as soon as the exposition settles down and the task of holding the audience’s attention is handed over to the screenplay, which should provide some sort for framework and story for the discharge of all kinds of bodily fluids. In the spirit of trailer syndrome, without any exposition or clear motivations, the characters find themselves in exceedingly affected situations that defy even the most primitive logic. The unravelling of the whole convulsively overwrought narrative is not only predictable far in advance, but also concluded in such a ridiculous way that it raises the bar for absolute screenwriting cluelessness to new heights. Perhaps the time has come to accept the fact that Zampaglione is indeed that self-styled continuator of the golden era of Italian horror, but only if that includes the genre’s dumbest and most desperate contributions. That he tries to flatter fans of the genre by thoroughly revitalising the characteristic elements of giallo is definitely not a mitigating circumstance. (25.08.2013)

The best Giallo in a long time! Hallucinogenic, highly erotic with a deadly adventure feeling and a traditionally mysterious killer, accompanied by melancholic neo-noir cinematography. A visually fantastic feast with elaborate and bloody murders you will never forget! (05.01.2014)

Everything that made last year’s German film Mask a horror event worthy of attention is missing here. Federico Zamaglione slides on the surface, celebrating the genre with shallow gimmicks, but he never gets to the core. A tarted-up, fairly convincingly crafted, but utterly empty movie. (22.10.2013)