Bezenby It's nice when the main character of the giallo you're watching receives all their clues in one huge psychic download five minutes into the film.Psychic lady, who has already remotely viewed her mother's suicide when she was a child (the only truly gory bit of the film), gets her vision when driving away from the airport after dropping off her new hubby (the always great and glary Gianni Garko of I Am Sartana, I will Kick Your Arse fame).From then on out it's up to psychic lady to figure out all the clues. Who has she witnessed being murdered and walled up? Why doesn't her vision add up to police evidence? Who done it? It's difficult to review gialli without ruining them so I'll stop there.I've seen this reviewed as Fulci's best film and his best Giallo, but personally I'd rate Lizard In A Woman's Skin higher (it's more surreal for starters). I would put in on a par with Don't Torture A Duckling though - I was glued to the screen. This man had talent at this point in his career.Next up: Ghosts of Sodom. I'm thinking the next review won't be so glowing.

matheusmarchetti What a great film! I wasn't expecting it to be so good after reading all the bashing towards it, and it's probably his best film alongside The Beyond IMHO. It's not your typical Fulci film, though. It has hardly any gore (so if you liked Zombie or New York Ripper it's quite probable you won't like this one), yet Fulci manages to convey fear and suspense throughout, with a suffocating sense of dread that grows throughout out the film. The script is solid, and lacks the dreamlike feel of his other films, but it's that's obviously not the main thing here. The acting is nothing special, but that is to be expected. The music score is just amazing, and helps set up the creepy atmosphere. The middle part of the film drags on a bit, but the final payoff is brilliant and very Spoorloos-esquire. Overall, a fine giallo from Fulci and highly recommended, but keep in mind it's quite different from most Italian horror movies of the time.

Rindiana Average (and surprisingly tame) Fulci giallo which means it's still quite bad by normal standards, but redeemed by its solid build-up and some nice touches such as a neat time twist on the issues of visions and clairvoyance.The genre's well-known weaknesses are in full gear: banal dialogue, wooden acting, illogical plot points. And the finale goes on much too long, while the denouement proves to be a rather lame or shall I say: limp affair.Fulci's ironic handling of giallo norms is amusing, though. Yellow clues wherever you look.3 out of 10 limping killers

ferbs54 Although director Lucio Fulci had excelled in the early '70s with such marvelous gialli as "Lizard in a Woman's Skin" and "Don't Torture a Duckling," his 1977 offering, "The Psychic," is not really a giallo at all. Indeed, to my surprise, it turned out to be more of an old-fashioned murder mystery, with decided overtones of the supernatural. In it, beautiful Jennifer O'Neill plays Virginia, a decorator (American, I take it) who is newly wed to a hunky Italian businessman. Gifted with transient powers of ESP (she had, as a child, seen her mother's free-fall suicide off the White Cliffs of Dover from hundreds of miles away), she is now being bothered by troubling visions again. But what do the mental images of a broken mirror, an old woman's bloody face, an ornate red room, a limping man, an excavated wall, and a blue ashtray have to do with her? With a cleverly executed plot, Fulci & Co. bring all their great talents together to create one fairly suspenseful stew...especially as Virginia slowly begins to realize that her visions may not necessarily be of events already transpired. "The Psychic" hardly qualifies as a giallo in that the body count is extremely low, the gore is mostly absent (that drippy face excepted!), and the murderous set pieces are kept at a minimum. Still, the film holds the viewer's attention, and even boasts several riveting sequences, such as the pursuit of Virginia by a sinister man (the always dependable Gabriele Ferzetti) through an abandoned palazzo (somewhat reminiscent of Florinda Bolkan's pursuit through an empty cathedral in "Lizard"), and the film's Poe-influenced, claustrophobic finale. The film's plot does hold together well, although a repeat viewing may be necessary to really appreciate all its complexities. While the gorehound fans of Fulci's later period may feel a bit disappointed by the film's restraint, those seeking a stylish, well-acted and genuinely eerie entertainment could certainly do a lot worse. The wet-blanket editors of the "Maltin Movie Guide" rate this movie a "Bomb," and even my beloved "Psychotronic Encyclopedia" calls it "dull," but I think they're being way too harsh here. See for yourself....