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Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

This story has more twists and turns than a second-rate soap opera.

It’s sentimental, ridiculously long and only occasionally funny

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Decent film. Cinematography, scenes and acting were good. The story needed much more work, and ending sucked. Not too many kills for a film named killer must kill again. There's a dead woman in the beginning. The wife gets strangled. Blond woman gets stabbed near the end. I was hoping the guy would have gotten killed, but he showed up later. The killer gets stabbed by the rape victim, good work. The cinematography was very good. Acting was good. The dialogue and the English dubbing sucked. The story needed much more work. It was slow and needed some more strange scenes. The ending sucked, with the husband finding the killers car and his dead wife in the trunk. He then drives it off to a waterfront to dump the car. Why not leave the car for the cops to find? So, if this is a giallo, it failed. It didn't have any twist and turns. The just needed to work on the story more. It was professionally produced. Some of the music/sound effects were misplaced.One scene stands out, the sex scene with the Male Carjacker and the Blond woman, edited back and forth with the Killer raping the Female Carjacker. It looked like the Killer was almost shown more humanized. Maybe that's why he didn't killer her. The actor playing the Killer did a great job.Rating is a C, or 5 stars. The ending was just garbage. If they had a tighter story, less car chase scenes, more kills and graphics, and definitely a better ending, this could have been a 7 or 8 stars.

After catching a serial killer (Antoine Saint-John) in the act of disposing of a victim, adulterous businessman Giorgio Mainardi (George Hilton) sees a way to solve both his romantic and financial problems at the same time: he blackmails the murderer into killing his wealthy wife Nora. Things go awry, however, when the killer's car is stolen by a young couple, Luca and Laura (Alessio Orano and Cristina Galbó), who are blissfully unaware of Nora's dead body stashed in the trunk. While Giorgio tries to keep his cool as an inquisitive police inspector enquires about his missing wife, the creepy killer tracks Luca and Laura to a disused seaside property where the couple plan a spot of lovemaking.When is a giallo not a giallo? When it turns the conventions of the genre upside-down by revealing both the identity of the killer and the motive for the movie's central murder within minutes, as occurs in Luigi Cozzi's The Dark is Death's Friend (AKA The Killer Must Kill Again). Rather than leave the viewer trying to solve a mystery, Cozzi lets us know precisely what is happening from the outset; the trick is to try and guess how the antagonists' plans will eventually pan out, and who might be eliminated along the way.Even though Cozzi's film mucks about with the accepted structure of the giallo, the plot still allows for the classic genre ingredients of sex and violence, with a smattering of nudity (both Galbo and busty beauty Femi Benussi get their kit off), a shocking rape scene, and one particularly vicious and bloody murder. The film also benefits from one of the more memorable maniacs of Italian cinema, Antoine Saint-John's gaunt features making him a natural for such a role. Fans of the giallo genre will not be disappointed.

Mr. Mainardi (Euro fave, George Hilton) accidentally witnesses a man (Michel Antoine) dumping a body. Rather than report the crime to the police, Mainardi blackmails him into murdering his wealthy wife, Norma. Things go smoothly, but before the killer can dispose of Norma's body, a delinquent couple steals the car which has the corpse stashed in the trunk. The maniac begins tracking them down as the two are completely oblivious to what they've gotten themselves into.Before I bought and watched "The Killer Must Kill Again", Luigi Cozzi wasn't a director I had been particularly fond of. Being the sucker for gialli that I am, I decided to take a chance on this one when the DVD hit. While this isn't in the upper tier of Italian horror, it did prove to me that Cozzi is quite capable of doing something above substandard sleaze and cheese.This is actually a quality film, though I fail to see how it has found itself classified as a giallo. We know who the killer if from the get-go, though he is never named. There is no mystery here unless you wonder what led to his initial murder which Mainardi stumbles upon. I have to say that it reminded me of Hitchcock's classic suspense pictures more than it did any giallo. "Dial M for Murder" definitely came to mind at first, but then it went off in it's own direction. On the other hand, as is usually the case in the giallo sub-genre, virtually none of the characters are totally innocent. The protagonists steal a car and $150, plus they lie constantly. I also thought it was amusing how Luca is romancing this girl, only to help another girl on the side of a road and then do her in the stolen car. Sometimes you just have to get any wherever you can! My main issue with the film is that after the car is stolen, it gets bogged down and doesn't really pick up again until the killer finds the couple. This portion could have been spiced up a bit.The killer himself is actually a pretty intimidating fellow, what with Michel Antoine's reptilian facial features and large build, but he definitely has a lot of hell in this movie. Things just never seem to go right for him. As the greedy blackmailer, George Hilton is convincingly suave, even with the weird sideburns. These two make for a fine pair of villains.Cozzi's direction is solid, and there are only a few small doses of the cheese that would dominate many of his later films. He employs some nifty camera tricks that he surely picked up from Argento. I also liked how he had the two very different sex scenes playing out seamlessly at the same time. In fact, that mean-spirited rape is the only real bit of nastiness on display here. Again, not the norm for a giallo, but the lack of it certainly doesn't hurt the film any.Overall, this is a fine piece of work from a man who I originally had pegged as another Bruno Mattei. Any fan of the gialli sub-genre should be pleased, even if it isn't a giallo in the truest sense of the word. While the pacing goes off the rails at one point and the climax feels a tad anti-climatic, it's not enough to ruin things.

Luigi Cozzi, close friend and collaborator to Dario Argento, took director's chair for this mediocre giallo, not getting even close to Argento's well constructed giallo's.The story is fairly juicy. Frustrated husband Hilton catches a killer at work, disposing of a woman he had just murdered. He makes a deal with the killer to dispose of his wife so he can get wealthy. The killer does his job, but after loading his trunk with her body the car gets stolen by a couple of horny teenagers and he has to track them down to complete his job.As said, fairly interesting story but Cozzi handles matters terribly, resulting in a rather boring and downright unjustifiably long-winded film. Plus, he continually disrupts the few tension filled moments with a boring segment involving an incredibly stupid blond. I mean, you get the point, with those cuts between a rape and actual love making, but that music in the background and...ahhh, it just kills the mood entirely.It could have been good, I mean, Cozzi is rather sleazy here and a few fleeting moments are satisfying to the seasoned giallo fan, but it's far from being great.