Whitech
It is not only a funny movie, but it allows a great amount of joy for anyone who watches it.
Merolliv
I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.
FrogGlace
In other words,this film is a surreal ride.
Leofwine_draca
An unlikely cross between two of the hottest crime-fighters of the '60s – TV's Batman and cinema's James Bond – KRIMINAL is in fact a film based on a popular Italian comic strip. The twist is that our hero isn't a hero at all, instead a fully-fledged bad guy, a thief whose ideal pastime is to steal jewels and make tons of money from his criminal exploits. Along the way, there's time for plenty of romance a la Bond as Kriminal wanders around and takes advantage of a succession of beautiful women. It all sounds pretty good and, being made in the '60s, it's absolutely loaded with style in everything from the music to the fashions on display. But there's something detached and routine about this film that stopped me from enjoying it one bit.I'll admit that the genre of Italian spy movies left me somewhat cold. I didn't mind early Bond films – GOLDFINGER is a classic – but the slavish devotion of the countless rip-offs I found utterly boring. Now the Italian superhero movies of the late '60s – this was much more to my liking. Outlandish good guys like Argoman, Superargo and the Three Fantastic Supermen would bound around on screen and tackle waves of bad guys with knowing smirks and plenty of panache. I was hoping KRIMINAL would be like the latter films, but this is really a Bond-style movie masquerading as a superhero flick. It's an interesting precursor to Mario Bava's DANGER DIABOLIK but that's all.My biggest regret is that this film has virtually no action to recommend it – I can't remember our hero fist-fighting a single villain! He kills a few off but it's all very stately and routine. One of the biggest sells is that he dresses up in a cool skeleton outfit to commit his robberies, but even these admittedly fun scenes are few and far between (although the house climb is a highlight). Glenn Saxson is the Hungarian hero, and he's very Aryan and good-looking, but he's also without charisma and it doesn't help that his character is pretty vicious, unpleasant and self-motivated. Helga Line – who I ADORED in HORROR EXPRESS – plays a dual role and is fairly attractive in an icy way, while Ivano Staccioli is a suitably greasy villain-type. Best of all is Andrea Bosic, playing the Scotland Yard inspector hot on Kriminal's heels, who has an absolute ball in his comic relief supporting performance.The action shifts from London to Istanbul, with time for sightseeing on the way, but it's all very dated and routine. The film feels overlong and the ending is a damp squib – some nice train stunts but that's it. More action, less po-faced seriousness and KRIMINAL might have been good; as it is, the Turkish rip-off films featuring skeletal hero Kilink had the right idea purely because they were sillier. Umberto Lenzi is a fantastic cult director and he puts in good work here, but this is middling stuff. A sequel, THE MARK OF KRIMINAL, followed in 1968.
christopher-underwood
From the stylish comic book style credits at the beginning we know this is not to be taken too seriously and that a good time could be had. And indeed it is. Nothing too special but a slight story involving the theft of some jewels is much enlivened by Lenzi's enthusiastic direction. Everything, from the skeleton like costume the 'Kriminal' dons to the fine costumes worn by the great Helga Line (in a double role) and the wonderful London and Istanbul location photography, this keeps happily moving in its own colourful way from start to finish. So outlandish and likable in parts that this is laugh out loud funny at times and there is certainly never a dull moment as our dashing hero seduces, deduces, makes time for a little lovemaking and crucially when the situation demands, kills. All action, all smiles fantastically decorated 1966 minor gem from one of Italy's most able directors.
The_Void
Umberto Lenzi is best known for his gory zombie flicks, Giallo's and Italian Cop movies; but there are a few gems from other genres dotted around his filmography, and Kriminal is definitely one of the best of them! The film is based on a comic book and follows the fortunes of a 'cartoon' criminal out to steal whatever he can. The obvious film to compare this to would be Mario Bava's pulp fiction thriller 'Diabolik', although this one is (slightly) more grounded in reality and while it doesn't have the comic book grandeur of Bava's later effort; all in all, I wouldn't hesitate to call Kriminal a better film. Glenn Saxson takes the lead role as 'Kriminal' - a notorious yet incognito thief who wears a skeleton suit and somehow manages to get the better of the police every time they try to stop him from stealing. The plot starts properly when an opportunity to steal a large amount of diamonds from a safe deposit box in Instanbul presents itself. Kriminal masterminds a plot to liberate the jewels; but first has to worm his way into several people's affections.The film has a great comic book style and Umberto Lenzi effortlessly manages to give the film a real stylish verve that benefits the plot immensely. Glenn Saxson might not be a great actor, but he fits the bill as the title character and actually looks like he might be a drawing from a comic book himself! The film features Kriminal wearing a suit painted as a skeleton; although unfortunately this part of the film doesn't come off as being as cool as it could have been; but it does give the film an extra interesting element. There are plenty of characters to move the plot along, and while the plotting does get a little confusing at times; it's generally interesting enough. Lenzi manages some really beautiful locations and he definitely gets the best out of 'high society' in Istanbul. There are also a number of lovely ladies on display, which is always a bonus too! There's no real point to the film; but the ending is good enough and the film finishes in a 'fun' way. Overall, I'm not surprised that this isn't one of Lenzi's better known films - but it's certainly not a bad one and I highly recommend seeing it...if you can find it!
MARIO GAUCI
Fun caper which anticipated Mario Bava's DANGER: DIABOLIK (1968) - which I rewatched the very next day via Paramount's SE DVD - but isn't nearly as stylish! Glenn Saxson is a wooden lead (I should be watching him again soon in a Spaghetti Western, DJANGO SHOOTS FIRST [1966]), though Helga Line' - in a dual role! - is an attractive foil. Raymond Full's score is infectious and appropriately playful, while Angelo Lotti's pleasing cinematography takes in picture-postcard views of London, Madrid and Istanbul.Still, even though Kriminal's skeletal costume may work on paper (the film originated as a comic-strip), it feels rather silly when displayed on the screen - and, ultimately, has been infrequently used! The film, however, creates some pretty exciting set-pieces (including the ruse of exchanged identity towards the end) and even concludes with a nice twist, opening the way for an eventual sequel - which arrived in the form of IL MARCHIO DI KRIMINAL (1968)...
