精灵传奇
哈威·凯特尔,杰森萨尔基,彼得·奥图尔,Guy Witcher,约瑟夫·梅,安娜·钱斯勒,弗洛伦斯·霍斯,菲比·尼克尔斯,伊丽莎白·厄尔,保罗·麦甘恩,安东·莱瑟,鲍勃·佩克,琳恩·法利,蒂姆·麦克纳尼,彼得·穆兰,比尔·奈伊,Jim Wiggins,大卫·卡尔德,安东尼·凯尔夫,约翰·格里洛,本杰明·惠特罗,芭芭拉·希克斯,克里斯托弗戈德温,Andrew Cryer,保罗·帕波维尔,Matild
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精灵传奇
哈威·凯特尔,杰森萨尔基,彼得·奥图尔,Guy Witcher,约瑟夫·梅,安娜·钱斯勒,弗洛伦斯·霍斯,菲比·尼克尔斯,伊丽莎白·厄尔,保罗·麦甘恩,安东·莱瑟,鲍勃·佩克,琳恩·法利,蒂姆·麦克纳尼,彼得·穆兰,比尔·奈伊,Jim Wiggins,大卫·卡尔德,安东尼·凯尔夫,约翰·格里洛,本杰明·惠特罗,芭芭拉·希克斯,克里斯托弗戈德温,Andrew Cryer,保罗·帕波维尔,Matild
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作家的洞穴
克里斯汀娜·卡斯达尼奥,阿德里亚娜·托雷维哈诺,Carlos Santos,Javier Mora,Francisco Conde,Antonio Vera,Teo González
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豪勇七蛟龙续集
尤·伯连纳,Robert Fuller,朱利安·马蒂奥斯,沃伦·奥茨,克劳德·艾金斯,埃莉萨·蒙特斯,费尔南多·雷伊,埃米利奥·费尔南德斯,维尔吉里奥·特谢拉,罗多尔福·阿科斯塔,乔丹·克里斯托弗,Gracita Sacromonte,卡洛斯·卡萨拉维利亚,Ricardo Palacios,Felisa Jiminez
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谁偷了我的粉兔子
丽娃·克里马洛夫斯基,马里纳斯·霍曼,卡拉·朱里,奥利弗·马苏奇,尤斯图斯·冯·多赫纳尼,乌苏拉·温纳,安妮·贝南特,安德烈·谢曼斯基,安妮·薛弗,拉斐尔·寇索里斯,本杰明·萨德勒,安德烈亚斯·马蒂,拉班·比尔林,Risch Flurin Alexander,Meisser Noah,Luisa-Céline Gaffron,Hannah Kampichler,Peter Bantli,Held
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圣山
巴音,奥登高娃
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拴线的气球
Georgi Kaloyanchev
This early 70's giallo by Umberto Lenzi is certainly among the best in his filmography and also in the whole genre. Personally I think Lenzi's best films are the funny cartoon-turned-film Kriminal, the stylish giallo Seven Blood-Stained Orchids, the explosive Napoli violenta and this. In the eighties he did plenty of film trash in form of Eaten Alive, Hitcher in the Dark or Black Demons, all of which are ripping something off and/or very dull and slow moving. Knife of Ice came when the giallo boom was at its hottest and the result is convincing.
Technically the film is superb, containing great cinematography in the beginning when we learn about the main character's trauma towards trains. From this point on, Lenzi shows us his ability to benefit the widescreen and, for example, the bicycle ride near the forest is genuinely beautiful! This scene also shows Lenzi's ability to build suspense, very slowly but meaningfully. After all, there aren't so many murders in the whole film, only the suspense circulating around the murderer's identity.
One suspect is a devil worshipper which brings new aspects to the mystery. Since the final scene takes place in a church, one can wonder if Lenzi wanted to comment on something, maybe the hypocritical morale of church and superstition. The main character (Carrol Baker) is mute which demands a lot from her face and eyes. The actress works very well, giving us a believable performance circulating around the emotions of fear and mental pain. The other actors are good, too. The finally, however, may not give too positive a sight about female sex since they all are expressed rather negatively in the film, one way or another. Still this is easily among the most noteworthy in the genre, not as bloody as the Argento films, for example, but equally suspenseful and visually also interesting.