User reviews

This colour-drenched Gothic horror film from Italian master Mario Bava is full to the brim with atmosphere and style. A doctor travels to a remote village to perform an autopsy on a woman who has died in mysterious circumstances. He immediately finds himself in the midst of a series of similar unexplained deaths. Everything seems to be connected to an ominous nearby house, the Villa Graps. While the malevolent ghost of little girl terrorises the vicinity...

Kill, Baby...Kill! May sport a title that makes it sound like it should be a Russ Meyer sexploitation flick but to all intents and purposes this is pure Bava. It contains most of the elements that are associated with the great man's work: terrific fluid cinematography, beautiful use of colour and light, and strong atmospherics. It benefits too from a pretty good cast. Giacomo Rossi-Stuart is solid as the doctor while there is strong support from the beautiful and very Gothic Fabienne Dali as the local sorceress. Carlo Rustichelli pipes in too with a good score that sounds very like his soundtrack to Blood and Black Lace. But it also has an eerie section that accompanies the ghostly girl. This latter presence is well used throughout the picture. She appears in the night looking through windows, while her bouncing ball follows her around and adds splendid macabre detail - the ball led to the girl's death in the first place.

Like all Bava films, this one is an exercise in cinematic style. Mostly, visual style. Many of the compositions are beautifully conceived and lit. Bava's camera gracefully captures it all and the sets are awash with striking colour and lit to perfection. In a couple of standout scenes the director puts together sequences of surreal splendour. One features a spiral staircase and the other has a man chase a figure through a maze of identical rooms until he finally catches him only to discover it is himself he has been chasing.

Like many of Bava's films the story isn't really very great. Its serviceable and no more. But this is ultimately only a minor point as it's the style in which the story is told that is the main draw. And this is a great film from a master of visual cinematic style.

I see a lot of people complaining about the silly title "Kill, Baby, Kill", but the original title, "Operation Fear", is no better. But don't be deceived, this is a first-rate Bava shocker with plenty to look at.

Here we have an isolated Transylvanian village haunted by the spirit of a dead little girl intent on collecting the souls of the inhabitants. The plot finds a young doctor summoned to the town to perform an autopsy in the investigation of a girl's mysterious death. The simultaneous arrival of a damsel-in-distress "assistant" completes the formula, and soon there is danger galore for everyone.

The imagery gets the emphasis here, and I found some of these sets to be absolutely unreal. Spooky-movie cobwebs and mist abounds, and the movie takes place in a series of oddly-shaped buildings, labyrinthine walkways, and even an ultra-campy graveyard. One of the most astonishing sets is that of the ominous "haunted villa", inhabited by Gianna Vivaldi, bearing an uncanny resemblance to Alida Valli (Ironically, the town's burgomaster is played by Luciano Catenacci, who looks more than a little bit like Telly Savalas. Alida Valli and Telly Savalas would both star in Mario Bava's seminal "Lisa and the Devil" years later).

The film's influence on many genre classics will be obvious to horror film buffs, particularly the resemblance of several sequences to Dario Argento's "Suspiria". Even the soundtrack features a number of sighs and musical cues that seem to have been borrowed by Goblin for "Suspiria"'s score. The most obvious similarity is the use of gratuitous red and green lights (which makes you wonder where these villagers got those colored bulbs-this is a period piece, after all!), and one dizzying sequence makes ingenious use of a spiral staircase.

The film also has a level of violence that must have been quite shocking in 1966, with a throat-slashing, temple-piercing, and even an impalement on an iron fence. I am so glad I finally made the time to sit down & watch this great movie. I'm really surprised the film doesn't get more recognition; it is that good. Now why couldn't anyone think of a better title for it???

This is a surprisingly effective horror film, since I got it on a collection of 10 old horror movies for $15. I have three or four other ten horror movie collections and have only seen one or two films from them. I wonder how many more are actually worth watching? I have a love of really old and even really bad horror movies, For some reason terrible old horror movies can be a ton of fun to watch, while terrible new horror movies just come off as exploitative and stupid (Cabin Fever, Wrong Turn, House of the Dead, etc.).

In Mario Bava's 1966 horror classic, Kill, Baby, Kill, there have been some mysterious deaths in a small village, the isolation and pure strangeness of which reminds me of the town from The Wicker Man. Evidently a seven year old girl burned to death 20 years earlier and continues to haunt the town. Anybody that she reveals herself to almost immediately dies a terrible death which will look like suicide to any subsequent investigation. As was also the case in The Wicker Man, the outside detective assigned to the case gradually questions his certainty that it's all just some kind of superstitious hysteria.

He initially explains the phenomena as poverty and ignorance, combined with superstition. A dangerous combination, to be sure. Bava takes this premise and does all kinds of cinematic trickery with it, much more than is common in horror. He makes psychological use of lighting and color, expertly frames his shots within outstanding sets (seriously, even the bad ones are good), and delivers the surprisingly complex story with a level of skill rarely seen in the genre. He makes good use of the quick zoom lens and such ever-effective horror film tools as children and hallways (Kubrick was surely influenced by this film when he made The Shining, we have the ghost of a little girl, the creepy hallways, even the ghostly bouncing ball) and does some great things with a spiral staircase.

I expected the movie to be terrible, at least because of the collection in which it is contained, although I guess I should be careful about assuming that a 10-movie horror collection that comes out to $1.50 per movie will be full of bad ones. One of my other collections has the original House on Haunted Hill and Night of the Living Dead, for example, but I didn't expect many more that would be any good. Kill, Baby, Kill, though, is certainly an overlooked gem.

I was fortunate to see the original Italian version of 'Kill, Baby..Kill!' last night, with subtitles and not dubbing. Some of the dubbed versions of 60s and 70s European horror movies available, by Bava, Argento, Franco, Rollin and other notable directors, are badly done and make the movies seem silly and amateurish, so I was very glad to see this in its original language. I don't think this movie is as impressive as Bava's classic 'Black Sunday', but it is an excellent Gothic chiller full of atmosphere and style. Giacomo Rossi-Stuart, from the underrated Vincent Price post-apocalyptic thriller 'The Last Man On Earth', plays a doctor sent to perform an autopsy on a woman who has died mysteriously. The villagers are cagey and uncooperative, and he soon finds himself in the middle of similar unexplained deaths which seem to have some connection with the nearby Villa Graps. The lovely Erika Blanc ('The Devil's Nightmare') plays the doctor's love interest, and the sexy Fabienne Dali a local witch. Martin Scorsese has admitted that this movie was an inspiration for one sequence in his 'The Last Temptation Of Christ', and Tim Burton is a card carrying Bava nut ('Sleepy Hollow' is as much a homage to Bava's work as that of Hammer studios). With each Bava movie I see I am further convinced he is quite possibly the most underrated director in movie history. Why he is not a household name is difficult to fathom. Put this one on your "must see" list, directly behind 'Black Sunday' and 'Lisa And The Devil'!

The people of a late 19th century European village are beginning to perish in incidents that could be accidents, suicides...or murders. A dedicated police inspector, Kruger (Piero Lulli), investigates the case, while calling in a doctor from out of town. Dr. Paul Eswai (Giacomo Rossi Stuart) arrives to find a community full of frightened and deeply superstitious citizens, which frustrates the practical man of medicine. Dr. Paul even goes so far as to perform an autopsy on a young woman, a practice that these locals find to be abhorrent. In an odd touch, victims are found with gold coins placed inside their hearts.

The relatively simple story actually isn't hard to follow at all, and in fact much crucial plot information is conveyed through pure exposition. Still, when this exposition is so vividly delivered by such an eclectic cast, it's hard to complain too much. Master of the macabre Mario Bava does go overboard with his frequent zooming in on people and then zooming back out. Other than that, this is an engaging example of the whole Gothic horror genre, with Bava working at the peak of his abilities. As he demonstrated so stylishly in previous efforts such as "Black Sunday" and "Black Sabbath", Bava was expert at creating an otherworldly atmosphere. He's capably assisted by his set decorator, Alessandro Dell'Orco, and cinematographer, Antonio Rinaldi. Bava also helped with the lighting, uncredited. Carlo Rustichellis' music is excellent, and the sound design is another plus, with that infernal giggling helping to put us on edge.

The handsome Rossi Stuart is a jut jawed, stoic hero. Erika Blanc is beautiful and appealing as Monica Schuftan, who assists him with the autopsy. Gorgeous raven haired Fabienne Dali is intoxicating as Ruth, the local sorceress. Lulli, Luciano Catenacci, and Giovanna Galletti round out our interesting primary cast. One key casting decision is crucial in keeping the film somewhat off kilter.

The finale is over awfully quickly, but there's still a fair bit to recommend here. The sequence that takes place about a quarter hour from the end is the most striking of all.

Seven out of 10.

In a small town in Transylvanian, police detective Kruger calls upon Doctor Paul Eswai to perform an autopsy on a woman who died a violent death, but the unusual thing is that a coin was embedded in her heart. When Dr Eswai arrives in town he discovers that the town is paralysed by fear of a dreaded curse of a spirit of a young girl who died 20 years earlier and the towns folk aren't all to happy about doctor interfering in their business.

Breathtaking! Yes, breathtaking indeed. It's only my third viewing of a Mario Bava film and what a talented and versatile director he is. This film breathes Gothic atmosphere and chills, with air of mystery to keep you glued to this subtle nightmare. The remote nature of the film adds to the spooky sets with dark shadowy pathways, creepy graveyard, a misty town with its eerie ruins and a downright unnerving Villa Graps, where the locals fear to tread! The whole surroundings come across as rather forbiddingly stark and very alienating. With a colour scheme that jumps out at you and that only Bava can create. What compensates the visual flair is the horrifyingly tense, but mystical score and effectively jittery sound effects. Damn that hissing wind! Also profound camera work that's incredibly vivid and swirling panning all over the place helps convey such a brood mood. There always seemed to be lurking danger even if it wasn't evident on screen. With all that, we are put into a whirlwind of such unease, which bleeds with a high amount of tension and frights.

The odd plot builds on the superstition and the dialogue was rather interesting. Performances were so-so, no one really stood out, but they fit the buck. Really, Bava was the real star here and it shows. Even the special effects were well used, but the make-up of child spirit was damn freaky. Especially those scenes with those hands going pitta padder at the window seal. Shivers ran down my spine! Although, saying that it does have some weak spots in the continuity of the plot and I thought ending was all a bit too convenient. Anyhow, this didn't damaged my experience of this menacing chiller that grows on atmosphere, not violence. The story might be your standard run of the mill, but it's Bava's direction that makes it visually impressive and immensely spooky. Also, what a great title!

Highly recommended!

"Kill Baby Kill" is a truly remarkable film,boasting superb cinematography and incredibly eerie atmosphere.It contains some really memorable and impressive imagery:a misty Transylvanian village,dusty corridors,black cats,creepy dolls,shadowy figures stealing through fog-bound graveyards etc.The film is so wonderfully weird it has to be seen to be appreciated.Mario Bava really was a master of Gothic Horror!

A doctor (Giacomo Rossi-Stuart) goes to a small town in the Carpathian mountains some time around 1910 in order to perform an autopsy. The villagers are generally not pleased with this, but he presses on. At the same time, there is rumor of a ghost that appears just prior to death... and somehow these two events are connected.

I had not much experience with the work of Mario Bava, having been more familiar with the splatter subgenre of his son Lamberto. But I had always heard great things of Mario, and knew this film was considered by many to be a strong, memorable piece... most notably for a scene where the doctor chases himself or a doppelganger through a series of identical rooms. This scene is pretty great and pulled off very well for the time, no special effects needed. The Gothic atmosphere is also well captured, on par with Hammer films or the Poe works of Roger Corman.

I find this film to be something of a tightrope between Fritz Lang's "M" and Peter Medak's "Changeling". Like "M", there is a leitmotif connected to the evil force -- in "M", the whistled tune. Here, a bouncing ball. Likewise, the ball here is somewhat replicated in "Changeling", though no longer as a forewarning to the killer. Also, the colorful imagery here really anticipates the later Italian directors, particularly Argento.

Although Luca Palmerini calls the film overrated, he does say the "to the devil a daughter" theme started here and was taken up by Fellini in Toby Dammitt in "Spirits of the Dead" and later in Friedkin's "The Exorcist". I think this is a bit of stretch to connect this film to "Exorcist". Again, the white, bouncing ball symbolizing a dead child, as would later be done to great effect in "The Changeling", is the real key here to future film.

To really understand and appreciate Bava, I feel one would have to watch "Black Sabbath" or "Planet of the Vampires", but this film shall be considered my introduction to the man, and I loved him from the first camera shot. I would strongly urge others to meet him in a similar way. Different releases exist, some probably better than others. I watched two different DVDs, the better one being produced by Diamond Entertainment, but I assume a still better print exists.

I've never really understood why Mario Bava is held in such high regard... it takes more than a few carefully positioned coloured lights and creative shot compositions to impress me. Cool visuals are meaningless if the storytelling isn't up to scratch, and that's where I find Bava lacking. Kill, Baby, Kill is another case of a good looking movie with a lacklustre plot - an unengaging ghost story that is heavy on the gothic atmosphere, but light on originality, logic, suspense or scares.

The film concerns the ghost of a little girl, Melissa Graps, who is summoned from her grave by her mother to take revenge on the villagers responsible for the girl's death, while coroner Dr. Paul Eswai (Giacomo Rossi Stuart) and a local woman (Erika Blanc) try to unravel the mystery. Bava's handling of the trite narrative is muddled with a dreary pace, making the film a chore to sit through that no amount of creepy visuals can compensate for. The spiders in the film have been working overtime, covering everything in cobwebs (lit in a variety of colours for added spookiness), there's random imagery of dolls and spiral staircases, and the ghostly kid giggles a lot, all of which take the gothic-ometer off the scale, but the lack of a decent story makes this one another Bava disappointment in my books.

4.5/10, generously rounded up to 5 for the bit where Paul runs through a series of doors eventually catching up with himself: it makes not a lick of sense, but it was certainly different.

I can't get a grip on this movie. Watching it I see scenes used and overused in movies today, (lone bouncing ball a.k.a "the shining", the cheerful laughter of a little child a.k.a. countless other movies), but I had to attempt 3 times to get through the entire movie. I can't blame the acting -- horrible dubbing can forgive most of the problems. I can't blame the horror effects - this has some of the most original killings still to this day. I guess if I had to place a point on the problem for me is the little things. The sound tract is annoying, what's the deal with all the cobwebs, what's the purpose of the spiral staircase, whats with the burgomaster's's head,is the crypt in the house.... this list of little problems go on and on and on and on....

As with most Italian schlock the plot has holes you could probably use as wells. However there are enough technical goofs to make the movie mildly entertaining with a few adult beverages.

Ms. Blanc whom I usually love to see in the billing delivers a non-convincing performance - I was shocked to find out she was supposed to be one of the main characters. The rest of the cast I am not overly familiar with but I have to admit Valerio Valeri steals the show. It is unfortunate this is her only credit.

I can see why this is supposedly a classic - many great ideas that can list this movie as the originator. But for me this just doesn't work.

the movie starts off wonderfully, a woman gets chased through the grounds of a villa, and jumps to her doom. Then a doctor shows up to do the controversial new medical procedure, the autopsy. The film pace suffers at this point, where the film is introducing characters. Once the film moves into the baroness's mansion, the film runs at full speed. The film gets insanely bizarre, with wonderful creepy imagery, such as graps' ghostly daughter, the repeating room, and the disturbing portrait of the daughter with a skull. The movie is gloomy, and downbeat, but the pace is wonderful at this point. This is one of the best movies bava made.

***SPOILERS*** Ever since the tragic death of little Mellssa Graps, Valero Valeri, some twenty years ago a number of strange and unexplained deaths have occurred in the little Transylvanian town of Carnecea in the Caparthian Mountains.

With the latest death of a girl Irena Hollander, Mirella Pamphili, working as a maid at the Graps Villa the local authorities have had enough and send to the town Insp.Kruger, Piero Lulli, and Dr. Paul Eswai, Galcomo Rossi-Stuart, to get to the bottom and find out whats behind these strange and mysterious deaths. All Insp. Kruger and Dr. Eswai run into when trying to find out what happened to Irena is a wall of silence and outright fear from the local townspeople.

The death of Irena as well as some ten other villagers over the years seem to have some connection to the somewhat mad and infirm Baroness Graps, Glanna Vivaldi. The people in the town of Carnecea are terrified of her and never go anywhere near the Graps Villa for fear that what happened to Irena would happen to them. The deadly secret of the Graps Villa and the dead Melissa Graps would be exposed with the help of local town sorceress Ruth, Fabienne Dali, as well as Monica Schuftan, Erika Blanc. Who was drawn to visit the little out of the way town to pay respects to her parents who are buried there. Monica is far more connected to the dead Mellisa and Baroness Graps then she even knew. With Monica the curse on the town and it's people will finally be broken but at a very heavy cost in the lives lost of the people there.

Eerie ghost story that has some of the best photography and atmospherics ever seen in a horror film. The story itself is a bit uneven and not that original but the stylish direction of Mario Bava as well as the aforementioned atmospherics make "Kill Baby Kill" a must to see for everyone, horror or non-horror movie fans alike.

With a title like this, how can one take Kill, Baby...Kill seriously? By recalling that it's a Mario Bava movie. Bava had a prolific career as Italy's horrormeister, a progenitor of sorts of Dario Argento and Lucio Fulci. By 1966, Bava had made such minor classics as Black Sunday, Black Sabbath, and Planet of the Vampires. Bava's stylish movies weren't always Oscar material, but they sure looked good. Kill, Baby...Kill is no exception.

In a small, secluded town in 18th century Europe, a Dr. Eswai (Giacomo Rossi-Stuart) arrives via coach. Like Renfield in Bram Stoker's Dracula, Eswai's coachman refuses to even enter the town, let alone get close to the castle where the doctor is to meet the local inspector (Piero Lulli). Eswai has been called by the inspector to conduct an autopsy on a possible murder victim. Trouble is, the townspeople don't want the good doctor to touch the body, even going so far as to try burying it and to attack Eswai as a warning.

Why? Because they all feel that the town is under a terrible curse placed on them by a young girl who died a good twenty years earlier. Apparently, the girl died in plain view of an unhelpful citizenry, and now, through her sorceress mother, is avenging herself. Anyone who sees young Melissa is doomed to die a horrible death, usually at their own hands. So you can see how some may be a little skittish about letting Dr. Eswai cut the latest body open. Don't want to irritate the ghost, you know.

The movie needed a romantic interest for Eswai, so enter nurse Monica (Erika Blanc), who was born and raised in the town but moved away at a young age - she's present just to check in on the graves of her parents, so she agrees to witness the autopsy, with the prodding of the inspector.

As I noted, the movie is characteristically stylish, with an almost visceral feel to it. The blood is there, but it's less copious than it would be in later Bava movies, like Twitch of the Death Nerve. One shot I loved in particular appears to be of a diorama of the town's main passage. The camera swoops in, and then back out, and then in, and then out, and each time it's like walking into a 3D painting. The shot is meant to imitate the perspective of a child on a swing, and it's very effective. There's also a mind-bending scene in which the doctor pursues Monica, who's being carried away; no matter how quickly he moves, he never seems to gain on his target. It's a dizzying scene.

Although there are some of the basic cornerstones of the genre - isolated town, superstitious villagers, a damsel in distress, a curse, ghosts - Bava's direction and cinematography (uncredited) mark this as a cut above your typical mid-1960s old-school horror feature. The conclusion may never really be in doubt, but the journey's an entertaining one.

Mario Bava may well be the most influential horror director of all time. His works have admittedly served as inspiration not only among horror directors, but well-regarded auteurs such as Federico Fellini, Tim Burton and David Lynch. He's basically responsible for how horror films are made today, as his "Twitch of the Death Nerve" and "Blood and Black Lace" single-handedly spawned the whole slasher craze of the 70's and 80's.

In the case of "Kill Baby, Kill", Bava created the footprint for all ghost stories/haunted house films that came after, ranging from Stanley Kubrick's "The Shining" and Bava's own "Lisa and the Devil" (where he would elevate a similarly structured story to an art level) to almost every single Asian horror movie being produced nowadays (without Melissa Graps there would be no Sadako), and it still is one of the best of it's kind, even if the years that passed did affect it a little.

The story, which follows a doctor who comes to investigate a mysterious death at a remote village cursed by an evil spirit, starts out slowly but menacingly, with a unrelenting sense of dread that builds up every minute. Something lurks in the dark, patiently waiting to attack, and gradually making it's terrifying appearance as the secret behind the strange murders become more and more evident, all building up to a deliriously nightmarish and gorgeously photographed final act, with Bava's demented, colorful visual style at it's terrifying best.

The film's dream quality is further enhanced by the rather stiff performances, and whether it was intentional or not, it certainly works for the best. Giacomo Rossi Stewart does his best as a sympathetic, suave hero, and has great chemistry with Erika Blanc, who performs a more 'virginal' role for a change.

Carlo Rusticelli's score is not as memorable as his other works for the director, and is often overused in the picture, but doesn't truly damage it. Only one could only wish a better soundtrack was used to make it's hypnotic tone, well, even more hypnotic.

Much like in Argento's "Inferno", some have complained about the lack of action in the final 5 minutes or so, as it would've seemed obligatory that there would a more epic confrontation in the end. That being said, the ending does not bother me, and though it could've been slightly more elaborate, it perfectly matches the rest of the film - a near-perfect ending to a near-perfect classic.

Overall, a flawed, but truly unique and throughly fascinating supernatural opus from the all time Maestro of Fear.

I wonder was Mario Bava ever head-hunted by Hammer? This film is so gorgeously shot, the set-designs so perfect, that the film has the look of a fairy-tale nightmare. The gorgeous art-direction serves the story, pacing and director's style very well. This is a very moody piece, that demands your patience and attention. It gave me goose-bumps and in one scene towards the end, made my blood turn cold.

The ghost of a dead child is doing the rounds in a small Carpathian village, killing the inhabitants, who are reluctant to speak about it when a coroner turns up to investigate. He ends running foul of the one in control of the ghost.

I really can't praise the cinematography, set-design and directing enough. This was my first time meeting Mario Bava, and I look forward to watching more of his work, and even watching this one again. The gothic horror is exceptionally done, finely complemented by the set-designs and imagery, that give a nightmare quality to it all.

In a remote Transylvanian village people are killing themselves. It seems whenever they see a little ghost girl that means they are going to die. A doctor and a local witch both try to find out what's going on and stop it.

If that plot sounds vague you should see the picture! The plot rambles all over the place making little sense. It SORT OF pulls together at the end--but people don't talk like real people, things are done that make NO sense and there are endless sequences of people walking around huge castles--or something. A lot of people have commented on the eerie atmosphere in this movie. True--it looks great but nice atmosphere does not make a movie for me. I need a coherent plot and characters you understand. This is basically a dull horror film...but I've always thought Mario Bava was overrated.

Maybe I'm being too harsh on the film. Purportedly the original Italian version is not available in the US. Also the DVD I saw of it was in terrible shape--the print had faded color, lousy dubbing and inappropriate music during key sequences. Add to that a vague story and bad acting. You can skip this one. For Bava completists only.

In the beginning of the Twentieth Century, Inspector Kruger (Piero Lulli) calls Dr. Paul Eswai (Giacomo Rossi-Stuart) to perform an autopsy in the corpse of a woman found dead in the village where she lived. The coachman leaves Dr. Eswai in the boundary of the village and advises him to return, since the place would be abandoned by God. Dr. Eswai is helped in the autopsy by Monica Schuftan (Erika Blanc), a young woman that has just returned to her hometown, and they find a coin slipped in the heart of the woman. Inspector Kruger goes to the Graps Villa to investigate the rumors about a local curse that the victims are killed by the ghost of a girl called Melissa (Valeria Valeri) with Baroness Graps (Giana Vivaldi), but he never returns to the inn. Meanwhile, Ruth (Fabienne Dali), who is the local witch and mistress of Burgomaster Karl (Max Lawrence), tries to help the daughter of the innkeeper Nadienne (Micaela Esdra) with magic under the protest of Dr. Eswai. When Karl and Nadienne are murdered, Dr. Eswai goes to Trap Villa and discloses an evil curse on the feared and superstitious villagers produced by the hatred of her grieving mother.

"Kill, Baby… Kill" or "Operazione Paura" is a frightening and original horror tale of hatred, curse and fear. The cinematography, atmosphere and sets are bleak, and I have startled several times with the appearance of Melissa. The scene in the spiral ladder is fantastic and visibly inspired in "Vertigo". My vote is eight.

Title (Brazil): "O Ciclo do Pavor" ("The Cycle of the Fear")

Note: On 10 June 2015, I saw this movie again.

My Rating : 7/10

Mario Bava is a genius when it comes to creating a gothic atmosphere. In the right mood, this film is really satisfying to watch. While it's plothole galore premise is a joke, it's a good one! Really!

I seriously love the low-budget Italian gothic cinematography on display here. I look forward to exploring more of Bava's work.

The first thing I want to mention is I do not like the American title "Kill, Baby, Kill" - it's sounds very cheesy. The film is not as cheesy as the title suggests. It would do better with a simple title like maybe "The Girl" or "The Ghost" -- but what do I know? LOL.

It's all eye candy and little story to me. The little ghost girl shows up and people kill themselves. The older woman in the mansion knows the story behind the girl.

The story is drawn out a bit to long - could have been shorter. There are some boring scenes that could have been left out all together or shortened.

This is another movie I wanted to like better than I do.

4.5/10