Tutti i Colori del Buio (All the Colors of the Dark) (They're Coming to Get You) - Movie Reviews - Rotten Tomatoes

Tutti i Colori del Buio (All the Colors of the Dark) (They're Coming to Get You) Reviews

Page 1 of 3
November 9, 2018
great giallo, i love the music in this film
September 25, 2017
Gave this one a second look after buying a copy of the DVD, this one is just as much fun on the re-watch.

A fun little thriller featuring surreal dream sequences and some of that crazy 70's Satanism that was so popular back in the day. I'd recommend it for all of the above as well as some gratuitous nudity from star Edwige Fenech, which is never a bad thing.

Give it a look, recommended.
½ January 3, 2015
Senhoras atraentes deixam-se atrair por Satã e depois querem-no pelas costas, neste filme de terror europeu que me deixou terrivelmente sonolento.
March 27, 2013
Very well done and strangely beautiful movie. Edwige Fenech is always a good plus for any movie she is in.
½ March 18, 2013
Italian school..It won't disappoint you!
August 29, 2012
Absolutely one of the most interesting Giallo ever. Fenech in her most fascinating roles (and the nudities are pretty odd but sexy), kitsch '70-satanic atmosphere, and all the rules of the true old, good, and now unfortunately over italian Giallo, with a big touch of dreamy psichedelia which make the movie a real masterpiece!
Super Reviewer
October 26, 2011
I loved, loved this giallo that takes a few notes from Hitchcock then drops them all in acid. So the narrative is all over the place, the occult scenes are cheesy, and the usual errors associated with 70's Italian horror are present. 'All the Colors of the Dark' is something special, though, in the giallo genre and arguably the most stylish movie of that era of giallos. The viewer cannot help but notice the camera work it's so bloody intrusive - Martino makes great use of floating camera movements, surreal imagery, clever vantage points, frantic zooms and edits, all adding to a dizzying atmosphere. Martino also knows how to create beautifully anxious suspense scenes that are wholly unique. There's not a lot of blood or murders or mystery but it's a dream, an opium, De Quincey-esque movie that is tremendous in its own eccentric uniqueness in a genre already filled with great movies full of style.
April 25, 2011
Normalement j'aurais mis une note légèrement inférieure mais ce film a un côté rigolo qui me plaît bien ! Un giallo avec de la sorcellerie et autre culte mystique et cette musique lors des rituels, un régal ! Franchement, les rappeurs devraient piocher du côté de ces films là parce qu'il y a vraiment de quoi faire, enfin bref !
Fenech (décidément, on va croire que je la poursuit celle là) est cette fois ci la pauvre victime d'une espèce de secte qu'elle a intégré à cause de sa voisine qui était devenue son amie ! Martino matine son giallo de satanisme et autre truc zarbi et ça change un peu de la routine habituel, vu qu'il en a réalisé un paquet je comprends pourquoi il s'essaye à autre chose, même si ce choix est aussi commandé par l'aire du temps (succès d'autres films, fais divers). Plus que regardable, virant parfois à la farce il faut l'admettre mais bon, le genre veut ça !
Super Reviewer
½ April 14, 2011
ergio Martino is famous for producing high quality Giallo films and All the Colours of the Dark does that reputation proud! While I cant say that this is as good as the likes of The Strange Vice of Mrs Wardh or the amazing Your Vice is a Locked Door and Only I Have the Key, All the Colours of the Darks stands apart from Martino's other films as it's much more psychological, and spends most of it's running time following a single character. The style of the film is very psychedelic, and this ensures that it always feels very much like a movie from the seventies. There isn't a great deal of actual horror, but this is made up for by the disorienting atmosphere, which ensures that the film is always unpredictable. The film works from a screenplay by Martino's regular collaborator, Ernesto Gastaldi, and it's safe to say that this film is Italy's answer to Rosemary's Baby. We follow Jane Harrison, a woman recovering from the car crash that claimed the life of her unborn child. Her recovery takes a turn for the worse when she finds herself under threat from an organisation of Satanists.

The cast is something of a "who's who" of Italian cult cinema. Frequent Martino collaborators George Hilton and the beautiful Edwige Fenech take the lead roles and the film wouldn't feel complete without them. Edwige Fenech fits the lead role like a glove. She's at her best when she's playing the vulnerable victim, and that is the role she has here. The sleazy George Hilton has been better, and he isn't given much to do in this film; but it's always nice to see him in a Giallo. Cult star Ivan Rassimov stands out as the villain of the piece, while Susan Scott; the beautiful actress who has appeared in films such as Death Walks at Midnight and Emanuelle and the Last Cannibals makes a mark in supporting role. The plot moves well, and Sergio Martino does a good job of getting us behind the lead character. The music and cinematography are superb, and Martino's use of colour helps to ensure that the film has a vibrant atmosphere, which suits the plot well. The climax is a little abrupt, and despite the scene leading up to it; I've got to admit that it left me a bit cold. The rest of the plot is great, however and while this isn't Martino's most successful foray into Giallo; it's still a very good one, and comes recommended.
March 22, 2011
Jane suffered a traumatic event in her life after losing her baby in a automobile accident. Ever since then she's been having intense nightmares about someone with piercing blue eyes stabbing her to death. Her husband Richard helps her to over come her trauma until her sister Barbara butts in. She wants Jane to see a psychiatrist named Dr. Burton because she does not believe that the medication Richard is providing to Jane is helping.

Jane needs to get something off her mind and with a psychiatrist she can do so. While waiting to see Dr. Burton, the man with blue eyes sits across the room from her. Or does he? She can't seem tell what is real and what isn't anymore. Me neither as the film goes on.

After her first visit, the blue eyed man shows up again on the train she rides. She escapes and makes her way back home in a hurry where she bumps into a woman named Mary who lives in the same apartment building as she does. They get to know each other well enough for Jane to open up about her troubles. Mary feels she has a solution to it. So, she takes Jane to a Satanic cult where they sacrifice a dog, pour it's blood into a cup and have Jane drink it before getting raped by the leader of the cult.

Funny how it turns out to be all she really needed. Or so she thought. The blue eyed man appears again and once again she returns to the cult to be savagely fornicated by the cult leader while the rest of the members watch. When a member of the cult brings in someone new, that person must be set free. Since Mary brought Jane, Jane must sacrifice Mary. In other words, set Mary Free. She does this, but can't seem to know if it was real or a dream.

Jane is now stuck with this cult which soon turns out to be something even more sinister. My favorite scene out of this hallucinatory mess of a film would be with the beads when Richard confronts Barbara. There's something beautiful about how it was shot. I can't explain it.

There are many twists and turns leading the viewer's mind bending every which way. I didn't like the constant false hack n' slash moments. They were annoying. The direction is smooth and trippy. An obvious influence to Rosemary's Baby is present in both the mood and music. You can hear a couple of times that same 'La-La-La' tune.

A satanic surrealistic tale with overtones of Rosemary's Baby everywhere.
½ December 5, 2010
One of Sergio Martino's best and sees Edwige on fine form.
October 23, 2010
Searching for some Argento-styled color-coded thrills (in the giallo tradition), I checked this out, but was sadly disappointed, as really it is just Edwige Fenech running away from a guy with piercing blue eyes (and a knife) for 90 minutes. The satanic cult elements are low budget and lackluster. So, it goes.
½ September 3, 2010
Not bad. Nicely shot but the stories rather thin and not the greatest ending in the world. IF you like the Italian Giallo movies then you may wish to watch it.

I take my under enthusiasm back from my first viewing. Loved the film on the 2nd. Visually stunning and a blueprint on how to use colour effecivly to entice mood. The story isnt lacking so to speak but is brief and to the point (and at times suggestive) due to the fast pacing. The highlight is most definatly the cinematography and the lighting. The tag line on my DVD box read " A Kaleidoscope of Psychedelic Horror!" and that pretty much nails it.
August 7, 2010
Brilliant giallo gem that fuses the giallo genre together with the satanic cult genre of horror to create a fun and twisted hybrid of the two. Impressively creepy and stylish direction from the always excellent Sergio Martino and yet another luscious performance from the always delectable Edwige Fenech blend with a good story and creepy cinematography to create a classic in the giallo genre. All the Colors of the Dark blurs the lines between dream (or nightmare) and reality. As Jane's life slowly unravels both on the level of her sanity and on the real level, the film dives ever more into dark, twisted, evil waters in which we explore all the colors of the dark, i.e. all the various manifestations of evil. Those who seem innocent may be the most corrupt and what seems to be nothing more than a nightmare may end up being the most horrifying truth imaginable.
½ July 17, 2010
great giallo! very surreal!
July 15, 2010
My favourite Sergio Martino film. All the Colours of the Dark is a crossover of a giallo and an occult themed horror movie. The gorgeous Edwige Fenech delivers a soulful performance, and is great at displaying fear and distress.
She is stalked by the brilliantly creepy Ivan Rassimov (one of the most amazing and versatile actors in the Italian exploitation scene) who is the leader of a bizzarre cult. The cult engages in weird sexual rituals, and seeks to inititate senora Fenech into their circle (can you blame them? which straight guy on earth would not want to partake in a sexual ritual with Fenech?).
The film features some truly surreal dream sequences with interesting visual twists such as multiple exposure and kaleidoscopic imagery.
As with most other giallos from the early 70s there is a psychosexual subtext in the fringes of the film. In this case, the topic of choice is frigidity and marital distantness. The Argentinian stud George Hilton plays Fenech's husband, and he looks stylish as hell (as always).
And to round it all of the film features a stunning score by legendary exploitation composer Bruno Nicolai, and the soundtrack proves his versatility as a composer. The tunes range from mellow, eeerie, frenetic and psychedelic.
The true testimony to the film's greatness is that I've watched it several times over the last couple of years and it just keeps getting better.
May 9, 2010
This movie has a Rosemary's Baby feel. I really enjoyed it.
April 2, 2010
Nightmarish Movie!!! I love it_!
½ March 10, 2010
(SLIGHT SPOILERS AHEAD) Great direction from Martino (in that inimitable 70s style), a haunting score from Bruno Nicolai...what's not to love? Well, it has the usual giallo flaws despite not really being a giallo (at least I didn't think it was one): an ending that ties all the weird happenings together in too neat and "logical" of a fashion, twists that make little or no sense, lame red herrings that aren't fooling anyone, etc. I think if Martino and company had gone the totally surreal route, like Argento or Bava or Franco would've done, they might've had a minor masterpiece on their hands. That said, I've always enjoyed the insane twists that 70s Italian filmmakers try to throw at you, and I don't really mind the red herrings. Actually it's just the ending, where the police essentially explain away the supernatural - but the filmmakers at least kept some of the magic there by introducing another element at the end in the way of psychic visions. I still thought it was a pretty good movie, and I really dig that title.
Page 1 of 3