Absolutely the worst movie.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Effective giallo from the master Fulci where he certainly had the most cruel and nasty gore scenes ever,the picture badly reach around fifteen minutes already have three bodies on the morgue,the duck appears soon and many clues are placed in many directions to bewilder the audience's nose,the movie shown us a portrait of a dirty New York in early 80',many scenes in dowtown with sin's streets with a lot the theatres and nightclubs living for sex miss on sighting...true a time machine!!Resume:First watch: 2018 / How many: 1 / Source: DVD / Rating: 7

This is one not as great as I remembered it to be. I may have been a little intoxicated at the time, but this is definitely not worth a full 10 out of 10. Having said that, 'Lo squartatore di New York' is still an excessive, intriguing and very entertaining mix of nudity, gore and creative writing.Even if the plot does not make sense in every detail, it deals with the possible suspects in a clever way and the approach of various dark themes is open and audacious - as were many exploitation films back in the day. To add a lot of gore and (sensual, though some may find it nasty) nudity into mix, only adds to that free spirited feel of those good old days.It's a bummer that all the dialogues were dubbed, but the acting was surprisingly adequate. Not all scenes are perfect, but the camera work was very good and Fulci knew perfectly how to emulate a gritty ánd artistic (New York) atmosphere.9 out of 10 this time around. Donald Duck will never be the same again, still.

Insanely brutal, seemingly misogynistic Lucio Fulci thriller tells of a psychopath butchering young women in NYC. But this is no run of the mill creep: they love to taunt the cops while speaking in a Donald Duck type of voice. The world weary detective on the case, Fred Williams (Jack Hedley) teams up with a college psychoanalyst, Paul Davis (Paolo Malco) to try to come up with a profile on their quarry."The New York Ripper" is admittedly not as fun as other Fulci gore epics, mainly because it's operating in a more realistic mode and is therefore more disturbing. The violence perpetrated on these poor, poor women is very damn depraved. At one point, Fulci indulges in a little of that eyeball trauma that he seemed to want to specialize in. A sex show worker (Zora Kerova) gets a broken bottle in the most private of places. Fulcis' favourite whipping girl, Daniela Doria, once again must suffer a horrible fate.Good use of NYC locations, an enjoyable rock score by Francesco De Masi, and (mostly) very convincing gore combine in this 93 minute exercise in sadism. Performances are decent enough, although Hedley's character is lacking in personality. Malco is engaging, though, as is the stunning Almanta Suska as Fay. Director Fulci has his usual cameo; here he plays the Chief of Police.Adding just the right touch of humour and bizarreness are those calls from the killer, doing their duck imitation.You know you're going to be in for some effective horror after the opening set piece of an old man walking his dog. He throws the dog a stick to fetch, and the dog comes back with a severed hand.Eight out of 10.

After making the (for the most part) fantastic "Gates Of Hell"-trilogy, Lucio Fulci clearly needed to take his foot of the throttle for a little while. "The New York Ripper" isn't a bad movie, but to his standards it's surprisingly middle of the road. I mean sure, as usual it's a hundred times gorier than the average thriller, but apart from that there isn't much to keep your attention. It's a pretty underwritten whodunit with too few suspects, all too transparent red herrings, a dreadfully slow pace and a truly laughable motive. Thankfully even at his most pedestrian Fulci can still come up with two or three scenes that keep you awake. The scene with the old man is a fantastic opening that pulls you right in, the middle-aged woman who's bored with her husband provides some fascinatingly unerotic segments when trying to find arousal elsewhere (the poolhall sequence is a real "huh?" of a scene), and the ending is entertainingly straight-forward to say the least. And of course the movie's cinematography is great as always, and the synth soundtrack provides a nice contrast with the grim subject matter. So there are quite a few good things to say about this movie, you just have to fish them out between huge chunks of a boring cop and a boring professor trying to find a boring serial killer: that's not very easy to do.