Directors Claudio Fragrasso and Bruno Mattei, the men responsible for such Italian trash classics as Troll 2 and Rats: Night of Terror, have done it again! And by that, I mean that Night Killer is another godawful piece of low-rent horror garbage so bad that it has to be seen to be believed.
In the film's pre-credits sequence, a killer in a demonic rubber mask (that looks nothing like Freddy Krueger, despite what it says on IMDb) and armed with a rubber glove with long talons, kills a dancer and her director, punching holes through their abdomens.
Following the credits, we meet mother Melanie Beck (Tara Buckman) who, moments after sending her daughter to stay with friends, slips down her sweater and fondles her bare breasts in the mirror. Unfortunately for Melanie, the masked killer who has been raping and killing local women, also has her in his sights; breaking into her home, he subjects her to an eight hour ordeal, which she narrowly survives when the killer is interrupted. The only problem is, Melanie's trauma has resulted in a complete loss of memory, meaning that she cannot identify her attacker.
Discharged from hospital, Melanie is subsequently pestered by a mysterious man while on her way to commit suicide at the beach. The stranger saves her life, but proceeds to keep her captive at a motel, submitting her to another terrifying experience. Is this man the same psycho who attacked her in her home? You'll have to wait till the end of the movie to find out, suffice to say that Fragrasso and Mattei have one hell of a silly revelation up their sleeves for the finalé.
Sadly, as nutty as it all is, Night Killer is also rather tedious, despite plenty of nudity and some hokey gore. The direction is ham-fisted (no surprises there), the dialogue is terrible (no surprises here either), the acting is awful (ditto), and the plot often perplexing (Why does the killer have an art studio full of really bad drawings? How does he manage to punch through someone's body? Why is the policeman's phone held together with Sellotape? What's with the Christmas gift for Clarissa?). I don't know how they do it, but Fragrasso and Mattei manage to botch things up at almost every turn, yet still avoid making their film 'so bad, it's good'. It's just plain bad.
In the film's pre-credits sequence, a killer in a demonic rubber mask (that looks nothing like Freddy Krueger, despite what it says on IMDb) and armed with a rubber glove with long talons, kills a dancer and her director, punching holes through their abdomens.
Following the credits, we meet mother Melanie Beck (Tara Buckman) who, moments after sending her daughter to stay with friends, slips down her sweater and fondles her bare breasts in the mirror. Unfortunately for Melanie, the masked killer who has been raping and killing local women, also has her in his sights; breaking into her home, he subjects her to an eight hour ordeal, which she narrowly survives when the killer is interrupted. The only problem is, Melanie's trauma has resulted in a complete loss of memory, meaning that she cannot identify her attacker.
Discharged from hospital, Melanie is subsequently pestered by a mysterious man while on her way to commit suicide at the beach. The stranger saves her life, but proceeds to keep her captive at a motel, submitting her to another terrifying experience. Is this man the same psycho who attacked her in her home? You'll have to wait till the end of the movie to find out, suffice to say that Fragrasso and Mattei have one hell of a silly revelation up their sleeves for the finalé.
Sadly, as nutty as it all is, Night Killer is also rather tedious, despite plenty of nudity and some hokey gore. The direction is ham-fisted (no surprises there), the dialogue is terrible (no surprises here either), the acting is awful (ditto), and the plot often perplexing (Why does the killer have an art studio full of really bad drawings? How does he manage to punch through someone's body? Why is the policeman's phone held together with Sellotape? What's with the Christmas gift for Clarissa?). I don't know how they do it, but Fragrasso and Mattei manage to botch things up at almost every turn, yet still avoid making their film 'so bad, it's good'. It's just plain bad.