Un gatto nel cervello

Egy dolgot meg kell hagyni. Ebben az önreflexióban Lucio Fulci annyi morbiditást tár elénk, hogy az már nem sokkoló, hanem inkább idegesítő és visszataszító. Vagyis pontosan olyan, amilyen a főszereplő számára is, akinek a megszállottságáról szól a film. Fulci így valósítja meg a rendezői szándékot. Kár, hogy a film lélektanilag annyira naiv, a gore effektek nevetségesen amatőrök, a színészek pedig úgy játszanak, mint egy szappanoperában. A rendezői "legenda" rajongói valószínűleg jól szórakoznak majd a túlzásokon, de akik nem ismerik őt, aligha nyúlnak majd egy újabb filmje után. (2003.10.29)

This film is quite unique among Fulci’s work, it’s essentially an honest self-reflection, delivered with great insight. Fulci plays himself, a director who is so sick of his violent films that he loses track of what is fiction and what is reality in real life. The sights of a steak in a restaurant, or a man with a chainsaw cutting wood in front of his house conjure up images of splashing blood and severed body parts that Fulci cut into the film from his previous works, or are entirely original (but these are in the minority). He consults these ideas with his psychiatrist, who also associates him with a sadistic murderer. At first it seems interesting, but when the same situation is repeated for about the twentieth time (Fulci looks devastated – splatter scene – Fulci looks devastated – splatter scene... and so on and so on.), it gets a bit boring, especially if you already know the scenes from his previous films. It must be said, however, that you won't see such a high density of splatter scenes in one film and Fulci's free creative approach makes this film unique in its own way. (2003.10.13)