Cubussoli Very very predictable, including the post credit scene !!!

Stevecorp Don't listen to the negative reviews

Nessieldwi Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Stevieboy666 The stunningly beautiful Barbara Bouchet plays Greta, who gets a job working as a secretary at the large house of writer Farley Granger with the motive of solving the disappearance of her friend/lover Sally, who had previously been employed there. In my opinion this is borderline horror/giallo. There is no gloved maniac killing people off and the few deaths, when they do happen, aren't especially gruesome. In terms of horror we get a couple of raging thunderstorms, a very good night time disposal of a corpse and a rather bizarre incident of psychic powers. But that's about it. However, what this movie does have is lots of female nudity, including a couple of lesbian sex scenes. Like many Italian movies of this time it is beautifully filmed, the reflections of Venice in the water being particularly stunning. There's a fair amount of suspense, especially when Greta explores the house. Plus it has a great 70's euro groovy, jazzy, psychedelic score. This one won't tax the brain and like I said, may disappoint some giallo or horror fans, but it's visually it is highly enjoyable. No masterpiece but well worth seeing.

Darkling_Zeist While I must admit that it is rather a long time since I initially saw 'Amuck' I can still remember it fondly as being a wondrously trashy example of Sapphic exploitation, starring the impossibly alluring, Rosalba Neri & flaxen-haired minx and all -round giailli ubiquity, Barbara Bouchet, both gloriously indulging in a fine slo-mo sequence of unadulterated Eros in this wildly entertaining schlocker from Silvio Amadio. Amongst all the hyper-lurid, crotch-swelling goings on, Amadio still manages to generate some atypical Gothic atmospherics; assisted greatly no doubt by the wonderfully decadent, crumbling Venetian backdrop. And it would be entirely remiss of me if I forgot to mention Teo Usuelli's sublime euro-lounge, sex-funk soundtrack that adds a suitably decadent, and unctuous veneer to the uber-heady goings on! 'Amuck' is an exemplar of sweaty-palmed euro trash.

bensonmum2 Given that Amuck features two of my Euro-favorites, Barbara Bouchet and Rosalba Neri, it's a surprisingly average giallo. Bouchet is a young secretary working for a publishing house. She becomes concerned when her friend and fellow co-worker goes missing. She gets assigned to the same writer (played by the dull Farley Granger) to investigate her friend's disappearance. She immediately suspects the writer and his lover, Neri, and must endure their sexual advances if she is to find her friend.For a film of this type to be effective, I've found that it's important to believe the protagonist is in real danger. You have to believe that their investigations might lead to their death. Other than the duck hunting scene in Amuck, I never once felt that Bouchet's character was in any real sort of mortal peril. While there was a real chance she was going to be drugged and forced to have sex, I knew she wasn't going to die. Add to this the fact that the solution to the murder is laid out in the first 30 minutes and you've got no real tension or suspense.

lazarillo This giallo is probably most famous for the slow-motion lesbian sex scene between Barbara Bouchet and Rosalba Neri near the beginning. That scene is certainly impressive (as you might imagine if you have ever seen either of these two actresses in action), but it shouldn't overshadow what a well-made, classic giallo this is. It has everything fans of gialli love--great visuals and setting, pulse-pounding suspense, sordid and perverse characters, truly surprising plot twists, and a great musical score and soundtrack. Farley Granger is wonderful, going convincingly from evil to sympathetic and back again. Bouchet and Neri are also both very good, particularly the latter. Neri is justifiably famous for her beauty (and her frequent nude scenes). She had plenty of competition in that respect when it came to gialli--Bouchet,Edwige Fenech, Nieves Navarro, Ewe Aulin to name a few--but she had no close rival when it came to sheer acting talent. This is definitely her best role, better even than "Lady Frankenstein". To get an idea of how impressive this film is try watching it back to back with one of those terrible "erotic thrillers" they make these days. How did we get from wonderfully sexy gialli like this to that dreck? The Eurovision DVD has recent interviews with both actresses (who look about the same even though they must be close to sixty by now). They both speak English (Bouchet quite fluently)and reveal some interesting tidbits. The director of this film Silvio Amado, according to Bouchet, dropped out of sight after an unrequited love affair with actress Gloria Guida (the Italian Lolita of the era). I have actually seen a second-rate melodrama Amado made with Guida a few years later, which is why I was genuinely surprised with the talent he shows here. It's truly a misfortune that he didn't stick around to do more films like this. A true classic of the genre