Highly Overrated But Still Good

The film may be flawed, but its message is not.

Story: It's very simple but honestly that is fine.

An old-fashioned movie made with new-fashioned finesse.

I was really surprised when I watched this flick, I thought I would get bored to death, but this flick made me more and more involved in its sleazy plot. Lots of nudity and an entire set of perverted characters makes you wonder who the real killer is till the very end. I don't even remember how I got my hands on this flick, but I gotta say, I'm glad I did. Good soundtrack and nice performances too, though I have to admit I wasn't familiar with any of those actors. And (not really a spoiler by the way,I'm not saying who the killer is, it's just a comment about one of the scenes). SPOILER: I really loved the killer insanely sucking on breasts on the posters plastered all over his room. Delightfully fascinating and creepy.

A rash of brutal slayings leads Scotland Yard investigators to a pompous mod hipster, but the true culprit may be a lot closer to home than anyone realizes. This glowering little slasher genre prototype is a leering and perverse cocktail of sexual depravity, and may be of more than just passing interest to fans of both gialli and lurid trash cinema. Briskly paced compared to many contemporaneous British thrillers, this one surprises with steady direction, credible performances, and occasional off-kilter camera-work which enhances the delirium of the grisly goings-on. One standout flaw is the film's weak conclusion...though not unsatisfactory, it's a tad anti-climatic and hurried. Pardonable inconsistencies aside, a very worthwhile watch. 6.5/10

It's quite a bit of fun to see the several suspects each give into their urges. Sure there are plenty of sex scenes, but the real good moments involve a lot of forbidden red light district type stuff. Characters get off on leather pants, porno magazines, and underwear. There is some adventurous camera work that aids the creepy scenes. Not as artsy as Italian crime/horror, but fans of that genre will dig this movie.

Somewhere in-between his career as a horror director (Devil Doll, Curse of Simba) and his decline into a series of lackluster James Bond Spoofs that he continues to make to this day, Lindsay Shonteff found the time to direct this long lost Swinging Sixties slasher film. Some last minute re-editing by the distributors was responsible for Shonteff adopting the pseudonym "Lewis J Force", making it the only film he's disowned and ironically one of his few worthwhile films. Perhaps its down and dirty cocktail of sex and violence, which ranks it as quite unlike anything else in Shonteff's back catalogue might be another reason why its director disowned it. Gilbert Wynne stars as a no-nonsense East End copper, who's out to solve some brutal Jack the Ripper style murders of prostitutes and assorted dolly birds in sleazy Soho. Wynne is just about the most wrong headed copper you could imagine. For one he can't even save his wife from a Psycho alike death by the slasher's blade, and spends most of the movie carrying out a vendetta against a "little swine" who he thinks is the real murderer. The real killer revealed early on, is a stern middle class Judge (Jack May) who disapproves of swinging Sixties permissiveness and "the filth and horror of the age", and for that reason feels compelled to dress up in leather, a Beatles wig and cut up prostitutes, au pairs and anything else in a mini skirt. Its worth seeing for Jack "The Archers" May's un-bee-le-vable turn as a demented pervert alone. In the movies most berserk moment the judge has a break down in his secret room full of health and efficiency style photos. He cries and blubbers as he tears off false bras from the photos then drools onto the photos and stabs them. If that wasn't enough, wait until you see the climax where he escapes the police by dressing up as a woman and is nearly gay bashed. Apart from May's involvement what's equally surprising is the amount of nudity and blood on display, some was cut by the censors of the day and its nothing too shocking now. Yet compared to say Frankenstein Must Be Destroyed or Taste the Blood of Dracula two other British horror movies released the same year, it must have been pretty explicit and sexy stuff for the late Sixties. Perhaps sensing it was more "strong meat" than the average horror film the distributors originally released to fleapit cinemas as a skinflick item. Boasting to be "Savage, sexy, sensational" it played the Tatler and Cinecenta cinema clubs alongside Cave of the Living Dead (63) another horror movie sold in the UK on its sexploitation elements, in that film's case scantily clad vampire women. Shot under the title Evil is... (a reference to one of the judges rants) and also known as He kills Night after Night and The Night Slasher, under any title the movie is way out of Shonteff's usual league. Most of the movies success must lie at the pen of screenwriter Dail Ambler who had previously penned Beat Girl (aka Wild for Kicks) another controversial movie evolving around murder, strippers and juveniles and using London's red light district as a backdrop. Whatever can be said about the man behind the camera he never wastes the chance to delve into the naughtiest places of the capital as we accompany a misogynistic court secretary (one of the films many red herrings) in his secret life, leering his way through Soho and giving the filmmakers an excuse to hang in some (now long gone) adult book shops and strip clubs. Few movies have ever caught the seedy underbelly of London in its swinging Sixties heyday so.... well sordidly. A few poor performances aside chalk it up as another triumph from Butchers film distributors, makers of all sorts of low budget British B-movies of the Fifties and Sixties. Some favourites include The Cover Girl Killer (Harry H Corbett as a maniac photographer) and Rag Doll, a juvenile delinquent movie with Jess Conrad and the late, great Patrick Magee. One of Butcher's last productions and their most explicit, Night would make a good double bill with the equally eccentric Corruption (67) both "shot entirety on location in London, England" movies are due some form of recognition as British cinema at its most demented and sleaziest best, and certainly don't deserve their current obscurity.