This minor shocker from Italy has a few fairly brutal slayings and several * scenes involving b-movie veteran Rosalba Neri, but little else to recommend it, even to jaded schlock seekers. The setting, a high-end sanatorium set in a remote château, is completely unbelievable, as are the doctors and nurses who work there (or more accurately commit malpractice there). Who puts a psychiatric facility in an old château filled with scary medieval weaponry and doesn't keep the dang things locked up? And why is the grounds keeper always wandering around on upper floors where the patients rooms are? The average weekly ER viewer has more medical savvy than is in evidence here, and the worst offender is Klaus Kinski, who looks WAAYYY too creepy to be a psychiatrist. A patient? Yeah, maybe. Anyway, most of the screen time is taken up with patients demonstrating strange compulsions while the staff cluck tolerantly and promise to make them well. Yeah, right. I would not trust any of them to treat a cold sufferer. The main problem is the script, which has the feel of having been made up on the spot, with no research time spent to acquire a feel for how psychiatric medicine is practiced, or what a sanatorium should look like, or how psychiatric patients with real disorders act or anything. With little credible drama to drive the story forward and almost no suspense, the viewer has just about nothing of interest to watch between slayings. This is a common problem with many slasher movies: a few moments of shock punctuate long stretches of unwatchable dead time. In a well made thriller, the viewer is carried from one high point to the next by developing a suspenseful or creepy atmosphere, but there is none of that here. Boring!

A long-haired Klaus Kinski plays the doctor in charge of an isolated lunatic asylum.Of course the patients are all beautiful women with various sexual problems.And of course they're being killed off in various gruesome and sadistic ways.Writer/director Fernando Di Leo specialized in violent,sleazy mafia movies like "The Italian Connection" or "Mister Scarface"."Slaughter Hotel" is his only giallo,but it contains tons of sleaze and misogynistic violence.Euro-horror goddess Rosalba Neri is amazingly sensual as the resident nymphomaniac.Her sex scene with the gardener is hotter than hell.The film was originally released in Europe as "The Cold Blooded Beast".All the actresses including Rosalba Neri, Margaret Lee,Monica Stroebel,Jane Garret and Gioia Desideri are very attractive and provide lots of female flesh.There is obligatory lesbian sequence between Stroebel and Garret and strikingly sleazy Neri's * scene.The action drags sometimes,but the climax is a suitably frenzied and audacious.Give this sleaze classic a look.10 out of 10.

Reminds me of less complicated Italian slashers like Bava's 'Bay of Blood'. This film sticks primarily to sex and blood. The plot is unimportant, but easy to pay attention to since it's so sexual in bizarre ways. Flashbacks re-cap all the suggestion you might miss. Tons of nudity and weapons. It lacks some of the mystery of the Italian greats, but I can't imagine fans not having a blast watching.

Slow-moving, low on gore but packing plenty of sex and sleaze, 'Cold-Blooded Beast' boasts stylish Cinemascope compositions and strong atmosphere. The plot is simple: a masked killer terrorises an asylum for rich women. The basic story doesn't seem to progress any further throughout the film. The scenes ofwith the nymphomaniac patient( the gorgeous Rosalba Neri) seducing everyone who comes across, mostly asylum staff members("I'm just a gardener!") and nurse having sex with another patient are the main selling points of the film. If you don't like like Eurosleaze, read no further, go watch something less controversial, because Fernando Di Leo doesn't shy away from softcore sex here! Top-billed Klaus Kinski as Dr.Keller appears on the screen for the whole of fifteen minutes(just like he did in D'Amato's "Death smiles at murder")and doesn't put much effort in his role. If you like your movies tight-plotted, and furnishing logical explanations for all the events, skip 'Cold-Blooded Beast'. This movie makes little sense, but is packed full of wild sexual and homicidal emotions instead. If you like movies like Renato Polselli's "Delirium" or Mario Landi's "Patrick Still Lives", check this one out.

I knew beforehand that Di Leo's sole foray into the giallo subgenre didn't have a good reputation, but I couldn't have anticipated that it would be so lame! As a matter of fact, it almost challenges Riccardo Freda's TRAGIC CEREMONY (1972) for the title of the poorest and most bewildering vintage film by a renowned Euro-Cult director I've ever watched! Despite its violent outbursts - mostly confined to the second half - typical of Di Leo (one particularly vicious episode at the very end, which leaves numerous victims, has to be seen to be believed), he shows no real feeling for - or even much interest in - this type of film! In fact, a good deal of the running time is devoted to exploitative erotic content featuring nymphomaniac Rosalba Neri and a lesbian relationship between a nurse and a black patient! With respect to technique, the editing is particularly sloppy: sometimes it seems like the editor has fallen asleep on the job, with several scenes going on for much longer than is required (beginning with the very first scene of the killer prowling the asylum grounds - though before the credits had even rolled, more than just my brain cells had suddenly snapped to attention with the appearance of a fully naked Margaret Lee {one of my favorite Euro-Cult starlets} tossing and turning in bed; regrettably, this is her only * scene in the entire film!); occasionally, however, there are disorientating tilted shots and a series of pointless - and irritating - rapid cuts of two converging locations (for instance, the killer approaching a victim's room); besides, we get all kinds of people having flashes to earlier scenes, but the shots are so randomly chosen as to make no sense whatsoever! The score, usually a prominent feature in a giallo, occasionally delivers but it's too uneven (the killer's theme is dreadful, for instance) to really count as a success; indeed, the only worthwhile element to the whole film is the casting of three Jess Franco alumni in the lead roles: the aforementioned Lee (despite the fact that her role doesn't give her much scope) and Neri (who, at least, gets to shed her clothes quite often and takes a shower memorably), and Klaus Kinski as an enigmatic and wild-looking doctor who becomes romantically involved with Lee - even if his contribution is a listless take-the-money-and-run turn, seemingly there only to serve as a red herring! By the way, the notorious and mystifying audio glitch found on the version (horrendously dubbed in English and actually bearing the on-screen title of COLD-BLOODED BEAST) released by Media Blasters - which also plagued the copy I watched - is a real pain in the neck...

This is another one of those movies that got cut up where ever it played. ASYLUM EROTICA is the most heavily cut, stay away from this! SLAUGHTER HOTEL is less cut but still is missing bits of sex and violence. The only complete copy I have seen comes from France and is the only widescreen version available worldwide that i am aware of. Truly a classic sleaze film, this begs for remastered DVD release ASAP!

Wow! You ever wonder why you are who you are, and how you got this way? I saw this movie in 1973 when I was 12 years old. Didn't know it at the time, but it was happily inappropriate for a group of impressionable pre-teens. My day camp counselor who was about 17 at the time took us to see this along with a karate flick ("The Hong Kong Cat"). It was classic - the counselor and his girlfriend drinking beer & sitting five rows behind nine raucous and rowdy 12 year olds. Then when the first solo shower scene of one of the inmates comes on, followed by a pretty sizzling interracial lesbian vignette, we were dead silent. "Slaughter Hotel" is a roller coaster ride of wood-inducing soft core action, followed by well, slaughter. There are spots where they try to make sense of the story, but its basically a maniac loose in a hospital where all of the female patients are lusty and attractive. I remember thinking how I could get a job at a place like that? Years later it reminded me of the Richard Speck episode from the sixties, where he killed 8 nurses in Chicago. I got this on VHS from Amazon a few years ago, and it maintains its ability to stimulate. Yeah we were all marked after that movie. We later graduated to hard core flicks on 42nd St in NYC, but I digress..Rent this if you can, and see if doesn't maintain your ah, interest. Klaus Kinski probably removed this from his resume, but I consider this one of the godfathers of there slasher genre.

While not as violent as other Italian Giallo/slasher movies of the 70's, Slaughter Hotel is worth a look. The movie centers around a series of murders at a mental hospital for women. We learn all about the patients sexual desires before they are killed off with mediaevall weapons. Plenty of nudity and a pretty bloody ending won't disappoint those who like this kind of entertainment either. A pretty decent cast and good photography and sets also help a great deal. Overall, this is a solid movie.

As a giallo this movie is a real disappointment. The plot is virtually non-existent, the suspense is nil, aside from the widescreen compositions the cinematography is unimpressive, and I'm sure the occasionally interesting score was recycled from a better movie. Klaus Kinski obviously phoned in his performance (long-distance with a very bad connection) and Rosalba Neri (aka Sarah Bay) is pretty much wasted. On the other hand, if you're looking for softcore *, this movie is a relative masterpiece. The crisp cinematography is superior to just about anything else in that genre, and you have an elegant Italian instrumental score as opposed to the usual, grating wah-wah synthesizer. The plot may be anemic, but it certainly doesn't interfere with any of the action. Even sleepwalking through their respective roles, Neri and Kinski can act circles around your typical softcore sex performer. Kinski, of course, does not actually perform any sex scenes (which is good--we're talking Klaus here, not Natassia). Neri, on the other hand, has done many sex scenes in much better movies, but I'm confident no one will complain about her scenes here, even if they don't exactly show off her considerable acting talent. As in many European movies, Neri's "solo" sex scene really pushes the line between softcore and hardcore, but in the best possible way. Only the ending is terrible regardless. It comes out of nowhere and will appeal only to fans of medieval weaponry and/or the Richard Speck student nurse murders.

A murderous mystery maniac wearing a hood and cape brutally butchers staff and patients alike at a posh all female asylum run by Dr. Keller (the one and only Klaus Kinski sporting modish long hair). Director Fernando Di Leo (who also co-wrote the sordid script with Nino Latino) really pours on the hardcore raunchy and explicit scuzziness in this alarmingly fetid flick, delivering extremely ample and explicit amounts of seamy sex and gory violence with jaw-dropping go-for-it slimy abandon. There's a real leering, nasty, rub-your-nose-in-the-filth grimy and graphic edge to this picture that's a terrifically trashy wonder to behold. Delectable brunette beauty Rosalba "The Devil's Wedding Night" Neri as the resident insatiable nympho ain't the least bit bashful about baring her sleek, shapely body in a much-appreciated steamy shower scene; she later strips in order to seduce the hunky gardener and gets killed while writhing naked in bed. The equally tasty Margaret "Venus in Furs" Lee, Jane Garret, Monica Strebel, and Giora Desideri all likewise dutifully doff their duds in the name of gleefully lowbrow exploitation. Silvano Spadaccino's groovy score neatly alternates between funky, percussive prog-rock and lush orchestral jazz. Franco Villa's snazzy cinematography goes gloriously overboard with crazy tilted angles, sinuous prowling tracking shots and crude, shaky hand-held camera-work. The murder set pieces are every bit as bloody, vicious and sleazy as they ought to be. The seriously sick and twisted over-the-top nutty ending concludes things on a perfectly putrid note. Good lowdown gritty and unapologetically scroungy fun.