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It really made me laugh, but for some moments I was tearing up because I could relate so much.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

You're a young, intelligent, and of course, pretty blond post-doc medical student. You've got more than a bit of an Electra complex, as your silver fox, over-tanned daddy has always hugged you a little too tightly most of your life. This has, unfortunately, left you quite frigid in the sex department. Alas, it's the height of summer, and the heat is unbearable. Most people have vacationed to the cooler, milder beach towns and resorts. Sunspot activity is observed to be at an all-time high. Suddenly, there's a rash of violent murders and suicides sweeping the city – all without reasons or motives. You work as a pathologist in the central morgue. Besides that, you're also trying to finish up your thesis on the differentiations of psychological effects between suicide, natural deaths, and homicide. But the bodies are beginning to pile up. You're exhausted. But you're also incredibly passionate and invested in the work itself – cutting up body after body after body, dissecting and analyzing organ after organ, all the while dripping sweat inside your surgical gown. You begin to hallucinate from the exhaustion… the dead bodies are actually alive! They rise, stare at you, taunt you, force you to watch as the have zombie-sex with one another! Some awaken to the nightmare of being undead, and just scream and scream! But you snap out of it. It's just all that Freudian sexual frustration boiling up inside of you. Right?Such is the case with Autopsy's Simona Sana, played by one of giallo's better actresses, Mimsy Farmer (Four Flies on Grey Velvet, The Perfume of the Lady in Black, The Black Cat). Poor Simona. When one of her father's young playthings ends up on the slab, Simona realizes that not only was she one of the last to see this young beauty alive, but that her own father might be a murderer! All the evidence leads to suicide though, right? But the girl's Catholic priest brother sets out to prove that suicide is the very last thing his sister would ever have contemplated, let alone go through with. In between the balancing act of withholding evidence to protect her father, lying to the priest to keep him off the right track, keeping her perpetually horny boyfriend at bay, and fending off one of her terrorizing ex-stepmothers, Simona's got more than her hands full. The priest (who Simona is now sexually attracted to) demands that they work together, but how can she look for the real killer, and keep her father safe at the same time? And her brain can't take much more of this either – the hallucinations keep popping up under the most startling and often horrific circumstances. Are the sunspots responsible for all of this madness? Is her father really the killer after all? Is the priest? Is she herself the killer? Could Simona be that far gone?Few Italian Horror films split the vote the way Autopsy does. Not really a giallo, and certainly not the zombie film most trailers, posters, and video art taken from it would lead you to believe. And just who the hell is the director of this hodgepodge, Armando Crispino? In a genre of filmmaking like Italian Horror, which is extremely and perhaps overly attached to auteur theory, why the hell should someone stop and notice a film made by a relative nobody? One time assistant director to the likes of Pietro Germi, Crispino directed nine films in nine years (1966-1975), and Autopsy is one of his last. In fact, besides this film and a previous giallo from 1972, The Dead are Alive (aka The Etruscan Kills Again), most of his own work is forgettable, forgotten, and not worth finding – although his last film, Frankenstein: Italian Style, sounds like it might at least be a hoot in the camp department.So again, why Autopsy? Yes, its story is convoluted (see above). It's got its fair share of non sequiturs, deus ex machinas, and red herrings like all the rest. Yeah, in some ways Autopsy's just another Freudian Psych. 102 class-cum-thriller, but there's something else here. Autopsy has a risky, devil-may-care, je ne sais quoi that separates it from almost all the others in its genre. Crispino took a chance with this highly unusual story, and I think it pays off in spades. The film's deliberate, unorthodox pace is stimulating, and the absence of the usual 'insert murder every X-minutes' structure just makes it that much more suspenseful. Autopsy is audacious in that it is at least trying to be different from the rest – something extraordinary and marked by brilliance, but not completely tangible or so easy to explain, or therefore, to explain away. Simona's truly bizarre sexual hang-ups, the doom-laden sunspots, the morally ambiguous priest, the creepy father-daughter subtext, and the big blown-up photographs of real corpses – it all makes for an unclassifiable film. And as we all learned in Fulci's Don't Torture a Duckling, people would just as soon kill you before taking time to try and understand you. Is this the case with Autopsy's mixed reputation?Despite the always-shocking opening minutes, the delightfully uncomfortable hallucinations that pepper the film, the 'death museum' sequence (which is one of the most beautifully structured and impudently repellant set pieces in all of Italian Horror) and the obligatory yet nail-biting showdown at the end, perhaps the idea behind Autopsy is greater than the film itself. Such a statement is contrary to most Italian Horror, as many of the films attributed to this genre are supposedly lacking in the idea department, but prove their worth visually and stylistically. This is precisely why Autopsy is one of the 'must-see' films in Italian Horror, for although it stays more than true to the tenets of visual flair and graphic sex/violence, it attempts to transcend the weaknesses of its own genre. And despite, in some people's eyes, the failure of said attempt, Autopsy unarguably gets an'A' for effort.

What a shame. It truly seemed like this was going to be a real great and a true original Giallo movie but after a promising start, the movie starts to go downhill.Normally I say that weird is good, especially for a movie in this genre. However in this case it did not work out too well. It instead made the movie unnecessary hard to follow and besides, the movie itself wasn't done all that well, which made it a bit of a clumsy and awkward one to watch at times.The editing for instance was totally off at times. It was amazing how incredibly bad and totally amateur like it was at times. Characters change positions, scenes don't flow naturally, it truly was all very distracting at times and totally can take you out of the movie.But obviously the story itself is also quite lacking. I wouldn't necessarily say this is even a classic Giallo that follows all of the rules by the book, which is of course not a bad thing but it is when it's not really offering you enough else for it instead. Despite of having a fine concept, it isn't really using it well enough to its own advantage. Sometimes it really takes a long while for a murder to finally occur again, which also makes this movie feel a bit overlong, even though it's a quite short movie actually.Also the mystery of the movie itself was really lacking because you simply don't ever really care about anything about it. It's all brought in a quite messy way and not as something interesting or nail biting. Besides, it was pretty much clear to me who the killer was supposed to be, pretty early on in the movie already. Normally Giallo's can really fool me but just not this one. It all was a bit too clear and obvious.The movie uses some great camera tricks at times, which can be something real awesome and impressive at times. And I also do still believe that the lovers of the genre will still get plenty out of this movie. It's being a pretty good one with its gore and it also still has a typical and very distinctive genre style and atmosphere over it.You could praise the movie for trying to be original at times but unfortunately as a whole the movie is still a real lacking one.6/10 http://bobafett1138.blogspot.com/

I heard that "Autopsy" was pretty much a giallo, so I avoided buying it for full price for some time. When it went on sale at my local shoppe, though, I thought, what the hell? I'll give it a gander.When the film started I immediately got the feeling that it was going to be pretty gross. It's got some decent gore for a giallo. In fact, I'd be hard pressed to think of another to beat it in that regard.The music and sound is also spectacular. Ennio doesn't disappoint here. It's chilling actually.For all the good stuff, though, there is one big drawback: the editing is terrible. It is noticeably bad in some parts. When the camera cuts to a different view of the same scene, there are noticeable differences in the scenery. For example: a scene where a janitor is whipping a yelping dog that is lying on the ground with a belt, it cuts away, and in a split second the dog is standing up panting, looking perfectly happy. Normally, I am completely fine with subtle imperfections. But in this case, they are out of place. It seems the director and editors spent more time trying to shock the viewer than they spent on consistency.Also, the film is a little difficult to follow. If you get up for a beer, you will have to pause it so you don't get lost.Overall, this is one of the nastiest giallos I have seen, totally original and graphic, and nicely done. Not quite an Argento...but close.7 out of 10, kids.

Aside from Dario Argento gialli, Autopsy (or Macchie solari, which translates as Sun Spots) is my favorite giallo. It's truly weird, quirky, trashy and unlike anything I've ever seen. Some might be disappointed by the fact that it doesn't have a gloved killer or the murders aren't as spectacular as those in Argento's movies but I personally liked the fact that everything in this giallo was so uncommon. For once, the typically convoluted giallo story-line wasn't on cruise control. What also stands out in this film is the sleaze factor and its almost machine gun delivery, which made me wonder what drug the director was on. The list of sleazy stuff is endless. There's nudity and several sex scenes. I've lost count on the number of up-skirt shots on Mimsy Farmer's dress. How many times Farmer's clothes were riped off. Farmer's boyfriend (handsome Ray Lovelock) trying to force himself on her. Her coworker trying to rape her, whom she ferociously attacks back at. Gratuitous shots of the young woman's beautiful naked body in the morgue. The hallucination in the morgue at the beginning (great!). The photos of real dead people in the museum. The slide show, which includes dubious erections. The tempestuous race-driver turned priest (the not so handsome Barry Primus) whom Mimsy falls in love with (blasphemy!). Everyone in the movie is sorta crazed and on edge. The suicides during the opening are startling in it's rapid-fire delivery. In fact, the whole film's direction teeters on delerium. It feels like the sun had affecting everyone, including the director, the screenwriter and the editor.I love the fact that the director deliberately leaves out bits of information and as we watch the movie, we quickly assume this and that, and then the director sneaks-in the missing info, we suddenly feel a bit silly or ashame over what we thought at first. For example, when we see the man swimming in the pool. We don't know who he is. As he swims to the edge, the camera pans up on Mimsy (and that quasi up-skirt shot) which makes us think that the man was trying to take a peek or is attracted to her in a sexual way. The next scene, the man is shown to be Mimsy's father. Okay! The director continuously pulls the rug from under us, throws-off our expectations throughout the movie with EVERY little detail imaginable, which makes for a trippy experience. We're never sure who's who or what's what. The really funny part about all of this is the director deliberately mixes and remixes everything as to create confusion but when the killer's identity is revealed, it's done in the most calm, concise and matter-of-fact way. The killer is the sanest person amongst the sun-stroked bunch.Does this quirky direction automatically make AUTOPSY a great movie? Not really but it IS unique. I've never seen a deliberatly chaotic direction like this. There were so many dull giallos made in the 1970s, all of which look too glossy and artificial, like the dreadfully kitschy CASE OF THE BLOODY IRIS or boring TORSO, that AUTOPSY stands out because of its sleazy and gritty direction. It's not your typical giallo. If Joel Schumacher is to CASE OF THE BLOODY IRIS, then Martin Scorcesse (of the 1970s) is to AUTOPSY: Brash, over-the-top, lurid and with a chip on its shoulder. There are several stand-out scenes in AUTOPSY, including the suicides, the hallucination scene at the morgue, and the whole moment at the museum, where there's a booby trap rigged to kill Mimsy. The dialogue is at times uproariously bad. And when you think you lost track of the story, everything eventually falls together. AUTOPSY is a whirlwind of images, sounds (great Ennio Morricone soundtrack!) and questionable stuff that makes for a memorable viewing experience. In the end, it's not really great but its unique direction sure makes up for its obvious shortcomings. If you're game, you'll enjoy it. If you're not game, well, you'll be annoyed or turned-off by it.