Two uneasy friends, a police officer and a TV talk show host, each pursue the mysterious "handcuff killer" with the aid of an artist who sees - and draws - the killer's crimes before they're committed.
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After the body of murdered woman is found, nude and handcuffed, floating down the Hudson River in New York, a string of murders occur by an unseen serial killer who kills men by handcuffing them before killing them. Mac, a TV talk-show host, and Larry, a police detective, team up to try to find the killer and seek help from Virna, a clairvoyant young artist, who draws visions of the murders before they happen. As Mac and Larry try to establish a connection between the victims and the first female victim, who may have been sexually involved all of the male victims, Virna's further visions begin to point to her as the next victim as she unknowingly closes in on the killer's identity.Written by
The movie posters for Annie Hall and All Through the Night can be seen on the walls of Weeks' apartment. See more »
During the swimmer scene the audio of the splashing water doesn't match the action of the swimmer in the pool. See more »
Delicious cakes, cookies & brownies: The Well Bread Loaf See more »
The video and DVD version has a number of deleted scenes not included in the original version. The deleted scenes include: An extended sequence in the gym before the first murder with one victim working out and swiming in the pool with a friend before the friend leaves. An interior diner scene before the second murder with the victum paying for his dinner and asking the waitress out later after he finishes working. A scene in a seedy hotel lobby where a hooker enters and asks the desk clerk where Teddy is. The aftermath of a love scene with Larry and Virna in bed together talking about her childhood. A scene at a lake, glimpsed in the trailer but not shown in the movie, has Virna sitting on the banks of a lake on Long Island among a sketching class, and drawing another sketch of a murder. See more »
"The Killing Hour," alternately titled "The Clairvoyant," follows Norman Parker as a New York City detective attempting to solve the mystery behind the murders of multiple women; an ever-handsome Perry King plays a local talk show host with alternately vested interests in the crimes, but the presence of an art student who appears to be able to draw the murders on paper before they occur brings a whole new dimension to the solving of the mystery.
Armand Mastroianni writes and directs here, two years after the release of his slasher film "He Knows You're Alone"— in my opinion one of the most underrated and charming of the eighties—and the direction is solid. Mastroianni has a knack for photographing the city and milking it for all the atmosphere it offers. With "He Knows You're Alone," the suburban gloom of Staten Island set the backdrop, while Manhattan serves as the primary location here, but the photography and direction are moody and evocative. The script, as some have noted, does slack a bit at times, but the sleek photography and strongly-established atmosphere really overshadow any losses of momentum in the screenplay.
The film is similarly fashioned to a giallo, and at times evokes the work of Mario Bava or Dario Argento, with a psychic splash of Nicholas Roeg's "Don't Look Now," but all that said, these are respectable influences to have. The psychic element is the standout component here, which elevates the proceedings from mere "killer-in-the-city" fodder to something slightly more interesting. Norman Parker and Perry King make competent leading men, while Elizabeth Kemp is also solid as the tormented clairvoyant art student.
Overall, "The Killing Hour" is a solid thriller that wears its influences on its sleeve. As with some of his other films, Mastroianni is great at evoking atmosphere from the camera and the locations. Despite a few pacing issues, the giallo undertones and the grand finale make this worth a watch. 7/10.
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