Italo-Crime Collection: The Counsellor/Blazing Magnum/Weapons of Death – Kino Lorber (4K UHD)

Theatrical Release Dates: Italy/Spain/USA, 1973 (The Counsellor), Italy/Canada/Panama, 1976 (Blazing Magnum), Italy, 1977 (Weapons of Death)
Directors: Alberto De Martino (The Counsellor, Blazing Magnum), Mario Caiano (Weapons of Death)
Cast: Tomas Milian, Martin Balsam, Francisco Rabal, Dagmar Lassander, John Anderson, Nello Pazzafini, Perla Cristal, Carlo Tamberlani, Manuel Zarzo (The Counsellor), Stuart Whitman, John Saxon, Martin Landau, Tisa Farrow, Carole Laure, Jean LeClerc, Gayle Hunnicutt (Blazing Magnum), Leonard Mann, Ida Galli, Henry Silva, Jeff Blynn, Massimo Deda, Adolfo Lastretti, Kirsten Gille, Massimo Vanni, Ottaviano Dell'Acqua (Weapons of Death)

Release Date: September 22nd, 2026
Approximate Running Times: 100 Minutes 51 Seconds (The Counsellor), 99 Minutes 37 Seconds (Blazing Magnum), 90 Minutes 37 Seconds (Weapons of Death)
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 (The Counsellor), 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 (Blazing Magnum, Weapons of Death)
Rating: NR
Sound: DTS-HD Mono Italian (All Films), DTS-HD Mono English (All Films)
Subtitles: English (All Films), English SDH (All Films)
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $79.95

"This three-film collection includes three action-packed Italo-Crime classics. The Counsellor (1973) – Martin Balsam (The Taking of Pelham One Two Three) and Tomás Milián (The Big Gundown) blast the opposition in this crime saga from director Alberto De Martino (The Antichrist). When the godson (Milián) of the San Francisco syndicate boss (Balsam) asks permission to leave “the business,” Don Antonio agrees, but reluctantly. Such behavior by either man violates “the code,” and triggers a bloody mob war with underboss Garofalo (Francisco Rabal, Sorcerer). Blazing Magnum (1976) – When his sister is poisoned at a party, hardened Canadian cop Tony Saitta (Stuart Whitman, Sands of the Kalahari) embarks on a violent investigation that turns into a shocking whirlpool of revenge and betrayal. Featuring one of the decade’s greatest car chases and an arsenal of plot twists, this blend of fast-paced action film and tough police procedural from director Alberto De Martino. Weapons of Death (1977) – Leonard Mann’s (Cut and Run) hard-bitten cop goes up against Henry Silva’s (The Boss) flamboyant death-dealer in this blazing Italo-Crime gem. The action-packed thriller plunges the viewer into a Neapolitan cesspool of crime, as dogged Inspector Belli (Mann) and his task force fight against kingpin Salvatore Santoro (Silva), a stony-faced maniac who orchestrates a string of brutal robberies and insane car chases and massacres any cop, gangster or innocent bystander who gets in his way. Directed by Mario Caiano (Violent Milan) as a spin-off to Umberto Lenzi’s aptly titled Violent Naples." - synopsis provided by the distributor

Video: 4.25/5 (The Counsellor), 4/5 (Blazing Magnum), 3/5 (Weapons of Death)

Here’s the information provided about this release's transfers, “Brand New UHD SDR Master—From a 4K Scan of the 35mm Original Camera Negative."

The Counsellor comes on a 66 GB dual layer 4K UHD.

Disc Size: 59.6 GB

Feature: 58.5 GB

Blazing Magnum and Weapons of Death come on a 100 GB triple layer 4K UHD.

Disc Size: 92.7 GB

Feature: 45.5 GB (Blazing Magnum), 41.5 GB (Weapons of Death)

These three transfers have a lot in common; when it comes to their colors, they are inconsistent, with The Counsellor faring best of the three. While image clarity is generally strong, there are many times where the image looks too soft. That said, black levels and contrast fare well.

Shadows in an Empty Room comes on a 50 GB dual layer Blu-ray.

Disc Size: 35.7 GB

Feature: 19.4 GB

Audio: 4.25/5 (DTS-HD Mono Italian - Weapons of Death, DTS-HD Mono English - Weapons of Death), 4/5 (DTS-HD Mono Italian - The Counsellor, DTS-HD Mono English - The Counsellor, DTS-HD Mono English - Blazing Magnum), 3.75/5 (DTS-HD Mono Italian - Blazing Magnum)

Each film comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono mix in English. Both of Weapons of Death's tracks sound clean, clear, balanced, and robust when they should. Blazing Magnum’s English-language track sounds noticeably more robust than its Italian-language track. The Counsellor's two tracks sound comparable. That said, the dialogue comes through clearly and everything sounds balanced on all audio tracks. Included are removable English subtitles for the Italian-language track and removable English SDH for the English-language track.

Extras:

Extras on the 4K UHD disc with The Counsellor include an audio commentary with film historians Steve Mitchell and Troy Howarth.

Extras on the 4K UHD disc with Blazing Magnum and Weapons of Death include an audio commentary with Steve Mitchell and Troy Howarth for Blazing Magnum and an audio commentary with Steve Mitchell, Nathaniel Thompson, and Troy Howarth for Weapons of Death.

Extras on a Blu-ray disc include a theatrical trailer for The Counsellor (4 minutes 13 seconds, DTS-HD mono English, no subtitles), a theatrical trailer for Blazing Magnum (3 minutes 32 seconds, DTS-HD mono English, no subtitles), a theatrical trailer for Weapons of Death (3 minutes 30 seconds, DTS-HD mono English, no subtitles), Weapons of Death’s opening and closing English-language titles (3 minutes 9 seconds, DTS-HD mono), a video essay by William Webb for The Counsellor (6 minutes 17 seconds, DTS-HD stereo English, no subtitles), an archival interview for Blazing Magnum with film historian Kim Newman titled City Hunter (22 minutes 7 seconds, Dolby Digital stereo English, no subtitles), an archival audio interview for Blazing Magnum with director Alberto De Martino titled Special Sentiments (13 minutes 4 seconds, LPCM stereo Italian with non-removable English subtitles), a video essay by William Webb for Weapons of Death (5 minutes 25 seconds, DTS-HD stereo English, no subtitles), an archival interview with actor Leonard Mann titled Weapons of Death: Napoli Spara! Revisited (17 minutes 48 seconds, DTS-HD stereo English, no subtitles), an archival interview with director Mario Caiano titled Weapons of Death: Naples Under Fire (15 minutes 10 seconds, DTS-HD stereo Italian with non-removable English subtitles), and Shadows in an Empty Room, an alternate cut of Blazing Magnum released by American International Pictures (99 minutes 29 seconds, 1.85:1 aspect ratio, DTS-HD mono English with removable English SDH).

Other extras on the Blu-ray disc include trailers for The Taking of Pelham, One, Two, Three, Sands of the Kalahari, Assassination, and Violent City.

Other extras include a slipcover (limited to the first pressing).

Summary:

The Counsellor: Alberto De Martino directed The Counsellor. He’s a workman-like director whose films have no connecting element that links them. Notable films he’s directed are The Blancheville Monster, Django Shoots First, Bandits in Rome, The Killer Is on the Phone, and The Antichrist.

1970s Italian crime cinema primarily falls into two categories: films that were inspired by Dirty Harry and Death Wish and films that were inspired by The Godfather. The Counsellor falls into the latter category. Although most 1970s Italian crime films take place in Italy, many of the Italian crime films that are mafia-orientated take place in American locations. This is the case with The Counsellor; the bulk of the film takes place in San Francisco or New Mexico, while the finale takes place in Sicily.

The narrative revolves around a mafia don who inadvertently starts a war when he breaks the rules and lets his nephew walk away from the family. The Don’s inner circle view his letting the nephew walk away from the family business as a weakness, and they take the opportunity to take him out. When the Don survives an assassination attempt, things escalate into a full-on war between the Don and those who want to usurp him.

Recognizable faces stand out when watching Italian genre films from the 1960s and 1970s. Each genre had its set of actors who excelled in their respective fields. Tomas Milian (The Tough Ones) and Martin Balsam (Confessions of a Police Captain) are two names that are synonymous with Poliziotteschi cinema. They have been cast in the roles of Thomas Accardo, the nephew of the Don, and Don Antonio Macaluso. Both actors are given ample material to work with, as they tend to dominate every moment they are in. Another performance of note is Francisco Rabal (Viridiana) in the role of Vincent Garofalo, the man who wants to replace Don Antonio Macaluso.

While the narrative takes its time to establish who everyone is and what their motivations are, things really start to move when the killings start. There are two exemplary action sequences; the first one is a bloodbath shootout between Don Antonio Macaluso’s men and Vincent Garofalo’s men at a warehouse, while the other is a fantastic ending where Don Antonio Macaluso and his men use a parade to ambush Vincent Garofalo. Ultimately, The Counsellor takes familiar elements and makes them their own, creating a highly entertaining crime film that fans of Poliziotteschi cinema should thoroughly enjoy.

Blazing Magnum: Alberto De Martino directed Blazing Magnum. He’s a workman-like director whose films have no connecting element that links them. Notable films he’s directed are The Blancheville Monster, Django Shoots First, Bandits in Rome, The Killer Is on the Phone, The Counsellor, and The Antichrist.

The narrative revolves around an out-of-town and out-of-jurisdiction police captain who takes on a no-holds-barred approach to uncovering the identity of the person responsible for his sister’s death.

Blazing Magnum (Shadows in an Empty Room) is equal parts thriller and police procedural. Blazing Magnum (Shadows in an Empty Room) is a rare example of an Italian film that is devoid of things that have become synonymous with Italian genre cinema. Locations have always played a factor in Italian-style cinema, and in the case of Blazing Magnum (Shadows in an Empty Room), it was shot in Canada, a place that was never a prime location for Italian-made police procedurals or thrillers.

While Blazing Magnum (Shadows in an Empty Room) is a film that balances between two genres, it never fully commits to one. Blazing Magnum's (Shadows in an Empty Room's) thriller aspects have an air of familiarity when it comes to the depiction of the killer. The same cannot be said for police procedural moments, which come off as tame compared to other similar Italian-themed films. Nowhere is more evident than the protagonist, Captain Tony Saitta, a sanitized version of its Italian counterparts from the poliziotteschi genre.

Oddly enough, Blazing Magnum (Shadows in an Empty Room) excels during its most absurd moments. And without a doubt, there is no scene that fits this bill, except a scene where Saitta’s investigations lead him to an apartment where three transvestites live. And before he can get a word in, a trio of transvestites comes at him with murderous intentions. Another standout moment is an obligatory car chase, which magnifies this type of scene well beyond the reality of the situation.

Performance-wise, the cast ranges from adequate to good in their respective roles. The only performance that leaves any lasting impression is Stuart Whitman (Welcome to Arrow Beach) in the role of Captain Tony Saitta. He delivers a B-movie version of the type of character Charles Bronson portrays in the Death Wish films. Other cast members of note include Martin Landau (North By Northwest), John Saxon (Tenebrae), Gayle Hunnicutt (The Legend of Hell House), Carole Laure (Sweet Movie) in the role of Louise Saitta, and Tisa Farrow (Some Call It Loving) as Julie Foster, a blind girl who holds the key to the killer's identity. Ultimately, Blazing Magnum (Shadows in an Empty Room) is an entertaining mix of the Poliziotteschi and giallo genres that fans of Italian genre cinema are sure to enjoy.

Weapons of Death: Mario Caiano directed Weapons of Death. Notable films he’s directed include Bullets Don’t Argue, Nightmare Castle, Eye in the Labyrinth, Calling All Police Cars, and Violent Milan.

An out-of-control gangster tries to evade a police commissioner determined to bring him to justice and his underworld rivals who have turned against him.

Weapons of Death was made in the latter half of the 1970s when the Poliziotteschi started to lean heavily into violence and more exploitative elements. The premise revolves around a familiar scenario where criminals exploit the system, leaving law enforcement powerless. While many poliziotteschi feature cops who defy the system and take extreme measures to bring down criminals, the law enforcement officers in Weapons of Death rarely cross that line.

The narrative finds a satisfying balance between the criminals and the law enforcement. While it is light on exposition, it is never detrimental to the story that unfolds. Weapons of Death is an action-first film that has a lot of shooting and a high body, and it features one of Poliziotteschi's most original chase scenes, a little boy in a stolen race car. In Weapons of Death's most graphic moment, a scene shows a pedophile in prison having his genitals cut off by another inmate.

The area that I found most lacking was the performances, especially Leonard Mann (Death Steps in the Dark), who portrays police commissioner Belli and Jeff Blynn (a Maurizio Merli), who portrays an undercover cop posing as a taxi driver. The standout performance is Henry Silva (Cry of a Prostitute) in the role of Santoro, an out-of-control gangster who leaves a trail of destruction and death wherever he goes. Ida Galli (A White Dress for Marialé) is another cast member of note, as she portrays the only female character that receives any significant screentime.

Outside of Henry Silva’s scene-stealing performance, there are not many areas that standout. The narrative is effective at creating tense moments and building momentum to its justice-served finale. Francesco De Masi (The New York Ripper) delivers a strong score that reinforces the mood. Ultimately, Weapons of Death is a fairly routine Poliziotteschi that fortunately never overstays its welcome.

While audio tracks sound great and there is a wealth of extra content, the transfers for Kino Lorber’s Italo-Crime Collection are a mixed bag, making this a disappointing release.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a MPC-HC player and lossless PNGs.

Written by Michael Den Boer

High Tension: Four Films by Lamberto Bava: The Prince of Terror/The Man Who Didn't Want to Die/School of Fear/Eye Witness – Severin Films (Blu-ray)

Release Date: Italy, 1993
Director: Lamberto Bava (All Films)
Cast: Martine Brochard, Barbara Cupisti, Tomas Arana, Carole André, David Brandon, Lino Salemme, Wanja Mary Sellers, Stefano Molinari, Virginia Bryant, Antonella Antinori, Jacques Sernas, Daria Nicolodi

Release Date: August 26th, 2025
Approximate Running Times: 91 Minutes 50 Seconds (The Prince of Terror), 94 Minutes 59 Seconds (The Man Who Didn't Want to Die), 100 Minutes 17 Seconds (School of Fear), 99 Minutes 53 Seconds (Eye Witness)
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC (All Films)
Rating: NR
Sound: DTS-HD Mono Italian (All Films), DTS-HD Mono English (All Films)
Subtitles: English (All Films), English SDH (All Films)
Region Coding: Region Free
Retail Price: $104.95

The Prince of Terror: "For the first film in the series, director Lamberto Bava and screenwriter Dardano Sacchetti (THE BEYOND, DEMONS) delivered “a wild ride” (Euro Fever) that’s part home-invasion thriller, part supernatural shocker and one totally over-the-top gorehound blast: ‘Prince of Terror’ Vincent Omen (Tomas Arana of THE CHURCH and THE SECT) is cinema’s top horror director. But when a disgruntled screenwriter – a no-holds-barred performance by David Brandon of STAGEFRIGHT – attacks Omen and his family in their secluded villa, it will unleash a grisly maelstrom of graphic brutality courtesy of special effects maestro Sergio Stivaletti (THE MASK OF SATAN, CEMETERY MAN).” – Synopsis provided by the distributor

The Man Who Didn't Want to Die: "In the early ‘70s, the legendary Mario Bava began adapting a savage short story by poliziotteschi novelist Giorgio Scerbanenco (CALIBER 9) for a film project. When Lamberto Bava eventually directed it in 1989 – from a screenplay by Gianfranco Clerici (HOUSE ON THE EDGE OF THE PARK, THE NEW YORK RIPPER) – Italian TV refused to broadcast the violent thriller for nearly 20 years: After an art heist in a luxury villa goes horrifically wrong, a gang member (Gino Concari of Andrea Bianchi’s MASSACRE) left for dead will hunt down his accomplices in a mission of brutal revenge.” – Synopsis provided by the distributor

School of Fear: "In the most unsettlingly creepy film of the quartet, producer/director Lamberto Bava – along with screenwriters Roberto Gandus (MACABRE, PAPAYA: LOVE GODDESS OF THE CANNIBALS), Dardano Sacchetti (THE PSYCHIC, ZOMBIE), Giorgio Stegani (CANNIBAL HOLOCAUST, EYE WITNESS) and composer Simon Boswell (DEMONS 2, SANTA SANGRE) – present a private academy where the curriculum is defined by unadulterated evil: When an idealistic young teacher (Alessandra Acciai of Luigi Cozzi’s THE BLACK CAT) arrives mid-semester at an exclusive school, she’ll anger the stern principal (Italian horror icon Daria Nicolodi), unlock a nightmare of trauma and discover that child’s play can be the deadliest game of all.” – Synopsis provided by the distributor

Eye Witness: "For his final film in the High Tension series, director Lamberto Bava crafted a unique twist on the giallo genre with a screenplay by Giorgio Stegani (SCHOOL OF FEAR, CANNIBAL HOLOCAUST) and Massimo De Rita (BLASTFIGHTER, STREET LAW) from a story by Bava, a haunting score by Simon Boswell (PHENOMENA, STAGEFRIGHT) and an outstanding performance by Barbara Cupisti of CEMETERY MAN, THE CHURCH and OPERA fame: When a blind woman (Cupisti) is the only witness to a murder, the cops – and the killer – set their sights on ending her ordeal forever.” – Synopsis provided by the distributor

Video: 4.5/5 (All Films)

Here’s the information given about the transfer, “now scanned in 2K from the original camera negative."

The Prince of Terror comes on a 50 GB dual layer Blu-ray.

Disc Size: 34.3 GB

Feature: 27.7 GB

Here’s the information given about the transfer, “now scanned in 2K from the original camera negative."

The Man Who Didn't Want to Die comes on a 50 GB dual layer Blu-ray.

Disc Size: 35.7 GB

Feature: 28.5 GB

Here’s the information given about the transfer, “now scanned in 2K from the original camera negative."

School of Fear comes on a 50 GB dual layer Blu-ray.

Disc Size: 41.4 GB

Feature: 30 GB

Here’s the information given about the transfer, “now scanned in 2K from the original camera negative."

Eye Witness comes on a 50 GB dual layer Blu-ray.

Disc Size: 35.7 GB

Feature: 30.2 GB

All of the transfers are comparable; their sources look excellent. Flesh tones look healthy, colors are nicely saturated, image clarity, black levels, and compression are solid, and the image retains an organic appearance.

Audio: 4.25/5 (All Audio Tracks Except DTS-HD Mono English - The Man Who Didn't Want to Die), 4/5 (DTS-HD Mono English - The Man Who Didn't Want to Die)

Each film comes with two audio options, a DTS-HD mono mix in Itallian and a DTS-HD mono mix in English. All tracks are comparable, except The Man Who Didn't Want to Die’s Italian-language track sounds more robust than its English-language track. All tracks sound clean, dialogue always comes through clearly and everything sounds balanced. Included are removable English subtitles for the Italian-language track and removable English SDH for the English-language track.

Extras:

Extras for The Prince of Terror include an interview with director Lamberto Bava titled The Adventure of Anfri; he discusses the High Tension TV series and Anfri production company (16 minutes 46 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with Lamberto Bava titled We Call Him Maestro; he discusses The Prince of Terror (17 minutes 52 seconds, Dolby Digital stereo Italian with removable English subtitles), and an audio commentary with Mondo Digital's Nathaniel Thompson and Troy Howarth, author of So Deadly, So Perverse: 50 Years Of Italian Giallo Films.

Extras for The Man Who Didn't Want to Die include an interview with screenwriter Dardano Sacchetti titled Stephen King Italian Style (15 minutes 24 seconds, Dolby Digital stereo Italian with removable English subtitles) and an interview with Lamberto Bava titled The Scerbanenco Touch; he discusses The Man Who Didn't Want to Die (22 minutes 17 seconds, Dolby Digital stereo Italian with removable English subtitles).

Extras for School of Fear include an interview with screenwriter Roberto Gandus titled Play The Game (9 minutes 45 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with composer Simon Boswell titled When Bava Met Boswell (31 minutes 56 seconds, Dolby Digital stereo English, no subtitles), an interview with Lamberto Bava titled The Tale of Evil Children; he discusses School of Fear (18 minutes 15 seconds, Dolby Digital stereo Italian with removable English subtitles), a 15-track compilation CD of Simon Boswell’s scores for Lamberto Bava films, and an insert with the track listing.

Extras for Eye Witness include an interview with actress Barbara Cupisti titled Love is Blind (12 minutes 26 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with Lamberto Bava titled The Last Giallo; he discusses Eye Witness (15 minutes 42 seconds, Dolby Digital stereo Italian with removable English subtitles), and an audio commentary with Nathaniel Thompson and Troy Howarth.

Summary:

Lamberto Bava directed The Prince of Terror, The Man Who Didn't Want to Die, School of Fear, and Eye Witness; they are part of a TV series called High Tension. Notable films directed by Lamberto Bava are Macabre, A Blade in the Dark, Demons, and Demons 2.

The Prince of Terror: A horror filmmaker and his family, who live in an isolated villa, are terrorized by intruders seeking revenge against them.

The Prince of Terror opens with a clever moment of misdirection, a scene where a woman is being chased by a zombie, and when the camera pulls back, it's revealed that a movie is being made. This sequence does an excellent job foreshadowing what is yet to come for a film that is all about deception. The opening setup also establishes the protagonists and other key characters.

When it comes to the performances, they suit the story really well. Tomas Arana (Body Puzzle) is cast in the role of the protagonist, a horror filmmaker named Vincent Omen. The most memorable performance is David Brandon (StageFright), who portrays Paul Hilary, the screenwriter behind all of Vincent Omen’s films.

Lamberto Bava made a career out of films that are primarily in a central location, and the villa in The Prince of Terror makes for a perfect place for a killer to stalk their prey. Not only is the villa isolated, but it also has a ridiculous number of windows, giving someone on the outside a clear view of the inside of the house. While the villa does not offer Vincent and his family many places to conceal themselves, it does make for a very cinematic experience.

The premise is well-executed, and the narrative does a superb job building momentum with a series of tense moments. Vincent’s past comes back to haunt him; the intruders are using props and elements from his films. When it comes to carnage, most of it is offscreen, and the most gruesome moment is a character dying by a golf ball. Ultimately, The Prince of Terror is a well-crafted horror film whose finale offers up some supernatural undertones.

The Man Who Didn't Want to Die: Thieves robbing art and antiquities encounter trouble when one of them is gravely wounded. Fearing exposure, they do not take him to the hospital and instead dump his body. When they learn that someone discovered his body and took him to the hospital, they decide they must finish him off before he talks.

The origins of The Man Who Didn't Want to Die are more interesting than its actual execution. The Man Who Didn't Want to Die is an adaptation of Giorgio Scerbanenco’s (Milano calibro 9) story of the same name. According to Lamberto Bava, his father Mario originally was going to make a film adaptation of The Man Who Didn't Want to Die, but the production company went out of business.

Despite a strong opening setup and a solid final act, the narrative's lack of tension and overall ability to sustain momentum undermine any of its strengths. Another knock against the narrative is its overreliance on exposition. While things pick up considerably in the last 25 minutes, it is too little too late by then.

The acting is best described as serviceable. Gino Concari is cast in the role of Giannetto, the man who didn't want to die. His character spends most of his screentime in a hospital bed, which is good for the film since he’s easily the weakest link. The most notable cast member is Martine Brochard (Eyeball), who portrays Madame Jaclaud; her character arranges for the selling of stolen art and antiques.

Although Lamberto Bava has ventured outside of horror and fantasy, it is these two genres where he’s found his biggest success. With The Man Who Didn't Want to Die, Lamberto Bava makes a rare foray into the Poliziotteschi genre. The result is an uneven film that at its best delivers some tense moments, while the majority of the time it just plods along. Ultimately, The Man Who Didn't Want to Die is not one of Lamberto Bava’s better films and is only recommended for completists.

School of Fear: A young woman with a troubled past finds a teaching job at a school where her predecessor died under sinister circumstances.

While not directly an homage to the cinema of Mario Bava, School of Fear takes on the evil child character that played a significant role in several of his films. What drives the narrative are two things: what are the children hiding and why are the games they play so deadly? Opposite of the children is a young woman/teacher who’s never recovered from a traumatic event from her childhood.

The cast is predominantly made up of child actors who all more than fulfill the role of a Bad Seed-like child. When it comes to the adult cast, their performances suit the story well. The most surprising performance is Alessandra Acciai (The Black Cat) in the role of Diana Berti, the young woman with a traumatic past. The most notable cast member is Daria Nicolodi (Phenomina), who portrays the headmistress of the school.

While the opening setup does a solid job of setting things up, the narrative is too slow-moving and never really creates any momentum. An area where the narrative did deliver is its use of flashbacks, which reveal the extent of the trauma inflicted on Diana. Visually, School of Fear is a beautifully photographed film that has a handful of striking moments. Ultimately, for all of its shortcomings, one thing we can say about School of Fear is that it does not lack atmosphere.

Eye Witness: A blind woman witnesses a murder. When the killer discovers there is a witness, they set out to silence them.

It is a shame that Lamberto Bava did not make more gialli; it is a genre that he excelled at the most. Although Eye Witness employs many familiar giallo tropes, it does not try to conceal the killer's identity. That said, what drives the narrative is the cat-and-mouse game between a blind witness and the killer, where the latter has to go to great extremes despite the former's handicap.

Most of the performances exceed expectations, especially Barbara Cupisti’s (Opera) portrayal of Elisa, the blind witness. She delivers a remarkable performance that is always convincing. The weakest performance is Stefano Davanzati (The Final Executioner) in the role of police commissioner Marra.

When it comes to one of the staples of the giallo genre, the murder set pieces, Eye Witness delivers several stylish kills. The well-executed narrative is overflowing with tension and it is very effective at building momentum to its climactic moment of truth. Ultimately, Eye Witness is Lamberto Bava’s last great film and a solid giallo that fans of the genre should thoroughly enjoy.

High Tension: Four Films by Lamberto Bava is a solid release from Severin Films that gives each film a strong audio/video presentation and informative extras. Recommended.

Written by Michael Den Boer