Not only does George Hilton live in the most yellow house ever witnessed within the 'yellow' genre, he's also playing one of the most heartless and snidey characters ever to appear in a giallo. You see, George is married to one of them dames who has a very rich father, and she's ruining George's life by not giving him enough pocket money and complaining about George spending all his cash on mistresses. What's a (kind of) young playboy to do?Well, it's lucky for George that he spots a cadaver-like serial killer (played by Antoine St John of The Beyond and Fistful of Dynamite) dumping a car containing a woman's corpse into a river. George makes his presence known, takes the killer's monogrammed lighter, and tells him he's got a proposition to make. They both head off to watch some figure skating while they talk business: George wants the killer to bump off his wife and in return, not only will George forget what he's seen, he'll also throw in some cash to sweeten the deal too...George sets up his alibi while the killer gets down to business, but what neither of them predict is that shortly after the killer throws George's wife's body in the boot of the car, two kids come along and steal the car while he's clearing the house up. Unwisely stealing a car and alerting all the neighbours to his presence, the killer takes up the pursuit while George returns home to find police everywhere. The kids of course have no idea they have a body in the trunk while they drive across the country...You'll see from the description that Luigi Cozzi's approaching things from a different angle here, which is refreshing. You've got a kind of three way story going as George sweats it out in the presence of the cops, not having a clue what's going on, while the killer tracks the corpse car and tries to clean up the mess the kids leave in their wake, plus Cozzi keeps things interesting with the two youngsters by making Cristina Galbo a frigid virgin who makes her boyfriend jump through hoops to get her pants off, including stealing the car in the first place. For the record Galbo in 1975 was twenty-five years old, but never seems to look any older than eighteen. There's not a lot of violence in this one mind you, so gore hounds will be let down by lack of splatter and the absence of a high body count, but the whole novel approach of the plot kept me interested, as did Cozzi's visual flair.

I am happy to report that Spanish-born actress Cristina Galbo is now a very solid 3 for 3 with me. She was excellent as the doomed student in the 1971 giallo "What Have You Done To Solange?" and ever so appealing in the 1974 zombie gut-muncher "Let Sleeping Corpses Lie." And now, here she is again in "The Killer Must Kill Again," giving another fine performance in this 1975 Italian suspense thriller. This film tells a simple story, really. A husband (played by hunky giallo regular George Hilton) hires a homicidal maniac to do away with his wife. The deed accomplished, the killer (played by the creepy-looking Michel Antoine) stuffs the body into the trunk of his car, only to have it stolen by a pair of teenaged joyriders (one of whom is our Cristina). This, of course, sends the dumbfounded madman off in hot pursuit.... Anyway, although this picture offers no real surprises (unlike most gialli, we already know the killer's identity, as well as his motivations), there is a great deal of suspense generated somehow, as we suspect that when Antoine eventually does catch up with Galbo and her beau, the spam really will hit the fan. And it does indeed, in spades! The film features competent but fairly undistinguished direction by Luigi Cozzi (flashy only in a couple of sex/rape scenes) and ominous music by Nando de Luca. It is a very straightforward little film, actually, that gives the viewer precisely what is expected. Even Hilton's fate is kind of foreseeable. Still, I did enjoy watching the film go through its paces, and Cristina Galbo's exquisite presence makes it go down all the easier. I think I'm ready now to sign up for her modern-day flamenco classes in California!

Giorgio (George Hilton) has no clue what he's going to do with his bitchy nagging, yet wealthy wife. One night while on a pay phone in a remote section of town, he spies someone trying to dispose of a dead body, not believing his good luck he walks over to tell the murderer (Antoine Saint-John, still awhile away from his best role in Lucio Fulci's "The Beyond") to kill again, namely his wife Norma, or he'll go to the police with what he had just witnessed, throwing in 20 thousand dollars cash to sweeten the deal. The killer is able to hold his end off the bargain but then the car that the now deceased body is in is promptly stolen leading to a frantic chase between the killer and carjackers, while Giorgio deals with the police who think they're dealing with a kidnapping.This being a Luigi Cozzi directed film, I was sincerely surprised how competent and generally good it was. I mean sure, I enjoyed his later "Contamination", but that wasn't for the competence in that film, as their was none. This film, however, isn't just competent, it's actually a fairly solid cat and mouse chase story. And deserves too be more well known, hell I'd settle for known at all. If you can overlook a few plot holes, it's a solid effort.My Grade: B Eye Candy: Teresa Velázquezas Norma shows her right tit; Femi Benussi as a Dizzy Blone goes full frontal; and Cristina Galbó gets topless DVD Extras: Commentary with Director Luigi Cozzi and Author Pete Tombs; 3 Featurettes (Road to the Killer, Working with Argento, & the Giallo Genre); Original title sequence; Stills gallery; Theatrical Trailer; and a compilation trailer for other Mondo Macabro released films (featuring nudity)

Genre rules exist for a reason. And Luigi Cozzi's "The Killer Must Kill Again" is a good example of what happens when you try to break those rules.In the extras, Cozzi stated that he was sick and tired of not knowing who the killer in giallos are...until the very end. The suspense, not to mention the various red herrings in traditional giallos, to me, is one of the reasons I find them so intriguing.However, Cozzi attempts to make a "giallo" showing who the killer is right from the beginning. NOT GOOD. At first, it seems to work, but as soon as that couple steal the car in which there's a dead body placed in the truck, it's all over.A good portion of the movie is the killer tailing the car thieves. Then I lost complete interest.If you ask me, "The Killer Must Kill Again" isn't much of a giallo. The killer is revealed, the killings aren't artful, the script is over all the place (seems like 2 different movies), and the sex is bland.Stick to the rules!