'The Case of The Bloody Iris'  (1972) - Giuliano Carnimeo.

This vivid, sweetly sleazy, tower-block-set Giallo begins in an appropriately fearful manner with a frantic, fashionably grisly death within the pristine confines of a strikingly modern apartment block, wherein much of the sinisterly suburban, furtively fiendish, frequently ferocious, plastic-gloved girl-goring takes place! As one of the very first Giallo titles I purchased on 'Grey-ish' DVD many bloody moons ago, my continued zealous appreciation of, Giuliano Carnimeo's gruesomely scalpel slashing, haemoglobin heavy, hysteria-laden, Ernesto Gestaldi-scripted Giallo while lacking objectivity is entirely sincere!

Sensuous super-siren, Edwige Fenech is a dizzying delight as the entrancing, Jennifer who unselfconsciously disrobes with an amenable frequency, and sultry, Jennifer's dark-eyed beau, Andrea is played by Fenech's ubiquitously brooding Giallo partner, George Hilton, ambivalently secreting his signature matinee idol machismo. Carnimeo's hyperbolic slasher also boasts a thrillingly feral female wrestling scene with the vivacious nightclub performer, Mizar Harrington (Carla Brait). This potent celluloid concoction is brought to a sinisterly syncopated boiling point with one of maestro, Bruno Nicolai's most slinkily sonorous and fearfully funky Giallo themes, heralding the ominous presence of the deliciously menacing, prototypically attired killer! 

Excitingly, all the dynamic Gialli archetypes are amusingly front and centre! And what, Carnimeo's lurid aesthetic lacks in subtlety, frequently rewards with brashly satisfyingly bloody incident; since there's no tantalizing terror trope unturned, no thriller cliché unused, no filigree Fenech skimpies discarded, and no gruesome Gialli excesses appropriated in an attempt to galvanize our interest, to be fair, they had me lock stock at, Edwige! What I genuinely adore about this saucy Italian terror titbit is, Carnimeo's exuberantly colourful, pleasingly cartoonish approach to 1970s slasher sleaze, the kills are appealingly stylised, so majestically mannered, so delightfully formalized as if bloodily torn from an especially lurid comic strip (Fumetti). This is a boldly efficient, skin-janglingly salacious, sin-drenched thriller with not just a little extra sanguinary splash of inimitable Italian style!