Director: Dario Argento
Summary: Adrien Brody stars as Insp. Enzo Avolfi, who trails a sadistic serial killer in this thriller from Italian horror master Dario Argento. As the mutilated bodies of beautiful women litter Milan, Avolfi races to find the latest abductee. When Linda (Emmanuelle Seigner) reports her fashion model sister Celine (Elsa Pataky) missing, Avolfi knows the death clock ticks. Now he must step into madness to stop the psychopath (Bryon Deidra).
My Thoughts: "Wow, this was kinda, no it was, bad. No thrill, no scare, not even a decent killer. The music was bad too. A bit dramatic when it wasn't needed. The acting...well it just wasn't great either and I was so surprised that Adrien Brody could read this script and come to the conclusion that it was worth his talent. I can just assume he needed the money cause this has to be the worse film I have seen him in. This was a big miss in every way."
The story is serviceable enough, with model Elsa Pataky abducted by a deformed serial killer who likes to take his time destroying beautiful things and her frantic sister (a haggard Emmanuelle Seigner) teaming up with Adrian Brody's broody Italian-American cop to find her while there's still enough of her to find. Despite the set-up, it avoids going the Eli Roth torture porn route, but there are few of Argento's signature flourishes. Not only are the gloves literally off but the film's one 'big' death scene is nothing to write home about: just a simple fall from a tall building. Worse, a couple of minor twists aside, the plot just plods along with not much happening until the last half hour before a last scene that feels like it was tacked on not so much to give the film a happy ending but because what you suspect was the original ending didn't pack enough of a punch.
While it's generally better executed, there are fewer ideas to play with than his less than impressive Mother of Tears, and what there are are fairly familiar cop movie clichés. True, Adrien Brody's lone cop does have a rather neat backstory explaining why he has a talent for tracking down predatory killers, but the early hints of having a damaging Will Graham-like empathy with his killer come to nothing despite Brody playing both hunters because they're such wildly different performances linked only by silly voices (a grizzled Jack Nicholson-Mickey Rourke hybrid for the cop and an Italian Quasimodo for the killer). It's probably the killer's voice that provided the lion's share of the laughs to those derisive festival audiences, but Brody Methodically overdoes the tortured doleful looks as the cop, at times looking like the Eighth Dwarf, Goatee, after Snow White bit the apple.
On the plus side, thanks to Frederic Fasano's cinematography it's the best-looking Argento film in years. It's not a return to the extreme and vivid colors of the Suspiria years but it's a welcome move away from the pallid and lifeless look of many of his latter movies to something with a bit more warmth to its color scheme and a good eye for the Turin locations. But overall, despite all the Argento touchstones the writers incorporated in the screenplay, it's a rather soft by-the-numbers effort that could have been made by almost any capable director whose heart wasn't quite in it but still tried to make the best of what he had to work with. You won't have trouble making it through to the end, but you won't have trouble sleeping after seeing it either.
Giallo is a film dealing with a brutal killer that tortures and ultimately kills his victims in unspeakable ways.
It centers upon an American woman(Emmanuelle Seigner) in Milan who teams up with a top notch Italian detective(Adrien Brody) to track down her sister who has vanished.
The suspense created with the fine cinematography, music,bloodshed, etc. helps define the stark madness of an outcast who turns his hatred of himself on the beautiful. Giallo means yellow(cowardly) in Italian which is so well defined with the happenings in this film.
If you want to be a really fancy film nerd, you could posit this as a pseudo-biography of Argento himself. As someone who's spent his career leveling himself against accusations of misogyny, the "destroying something beautiful" aspect of the film could easily be slapped on him. Apparently he suffered jaundice as a child too. Pretty uncomfortable to think about, but interesting nonetheless.
Aside from the increasingly unpleasant level of misogyny on display, Argento's recent work has been characterised by a preference for realistic backdrops. To say that Argento and realism go together like oil and water would be an understatement; realism is the salt to his slug! Even the best of Argento is too silly to bear close scrutiny but it gets by on bravura style coupled with a certain dreamlike logic; shine the harsh, natural light of day into his world and it just falls apart, becomes ridiculous. Argento is also one of those directors whose films rarely reach a satisfactory conclusion; they either end too abruptly or contain a final twist they'd have been better off without, Opera being a good example of the latter. As with Sleepless, the credits of Giallo begin to roll before the movie seems to have finished, as if the director reached an arbitrary point, got bored (what took him so long???) and called a wrap.
Anyway, I've now come to the conclusion that Dario Argento should be forcibly restrained from making any more movies. Oh, just in case you can't see through terrible acting and worse make-up, here's an anagram for your two year old child to solve: Byron Deidra
The acting is decent, there is a little tension and the visuals are bland.
Not really a great come back Argento but still entertaining..
Just awful, I'd say avoid it.
Not terrible but far from one of Argento's classics.