Un gatto nel cervello

One thing has to be left out. Lucio Fulci presents us with so much morbidity in this bit of self-reflection that it ceases to be shocking and becomes annoying and repulsive. Which is exactly what it is for the main character, whose obsessions are the subject of the film. Fulci thus achieves his directorial intention. But it’s a shame that the film is so psychologically naïve, the gore effects are so ridiculously amateurish and the actors come across as if they are in a soap opera. Fans of the directorial “legend” will probably find the exaggeration entertaining, but those who are unfamiliar with the experience of a Fulci film will likely never reach for any of his other works. (29.10.2003)

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. (13.10.2003)