The horror elements in Aldo Lado's giallo murder mystery are fiercely strong, not from an onscreen onslaught of blood and guts, but from the tension of the situations Gregory and those around him find themselves in. People around Gregory wind up dead at the hands of unseen killers who are offing them for unknown reasons, until the final sequence when the abstract elements of the film become whole. It's a clever cinematic exercise that resists monotony, save for one interlude where a lame pop song is sung (it was a device popular at the time). Jean Sorel does a masterful job of not moving and mannequin-like Barbara Bach nearly matches him for vapid facial expressions -- but he's supposed to be dead and she's supposed to be alive.
by Buzz McClain review