User Reviews

The Psychic finds Italian film-maker Lucio Fulci in a decidedly more restrained mood. Never a director to shy away from excessive sex and violence, this entry in his cannon is far more an exercise in suspense with a real focus on presenting an interesting mystery. There is an early scene where a character falls off a cliff resulting in their face being bloodily shredded by rocks as they fall - basically a scene repeated from Fulci's earlier giallo classic Don't Torture a Duckling (1972) – but apart from this, there is no real excessive blood-letting at all. The story is essentially about a psychic woman who experiences premonitions about mysterious murders, before long she finds herself in the midst of a dangerous situation.

The atmosphere of this one generates a real sense of dread. This is mainly on account of the quite distinctively structured mystery that underpins the story-line. The mixing of visions of the past and events yet to come was clever. It means that there is a real sense of intrigue to this one, with lots of visual clues thrown at us that progressively make sense, while often setting us off to entirely the wrong conclusion. It's a jigsaw puzzle of a movie and this is a very nice touch. Because it came quite late in the giallo cycle I guess it was for this reason that it adopted a more original approach, mixing the standard tropes of the genre with a supernatural angle. Whatever the case, this is one of the better written and thought out story-lines from the sub-genre and what it lacks in visceral excess it does make up for with a well-conceived mystery. It benefits too from a good leading lady in Jennifer O'Neill who later starred in David Cronenberg's excellent sci-fi/horror Scanners (1981). In addition it also features a Goblinesque score which was another nice touch.

... Actually it is not exactly an horror movie, but rather more a thriller (or, better, a giallo). Visionary, tense, well acted (& dubbed), nice locations (villas, interiors, landscapes, cars, etc.), care to costumes and details, a nice 7 notes tune... it is a truly enjoyable little gem from the (not enough) celebrated Italian gore maestro. The plot itself, assuming it is possible to have such supernatural powers, develops convincingly and without too many disgusting bloody scenes . In some points (the visions, particularly the reversed statue) I had the feeling that Kubrick in Shining (1980) might have stolen something (MURDER...). Will it be possible? Oh, I was forgetting, the actress (O neill) is wonderful, and Ferzetti (Once upon in the West, On Her Majesty's Secret Service) is playing as well. 8.5/10 Well done Lucio!

It's nice when the main character of the giallo you're watching receives all their clues in one huge psychic download five minutes into the film.

Psychic lady, who has already remotely viewed her mother's suicide when she was a child (the only truly gory bit of the film), gets her vision when driving away from the airport after dropping off her new hubby (the always great and glary Gianni Garko of I Am Sartana, I will Kick Your Arse fame).

From then on out it's up to psychic lady to figure out all the clues. Who has she witnessed being murdered and walled up? Why doesn't her vision add up to police evidence? Who done it? It's difficult to review gialli without ruining them so I'll stop there.

I've seen this reviewed as Fulci's best film and his best Giallo, but personally I'd rate Lizard In A Woman's Skin higher (it's more surreal for starters). I would put in on a par with Don't Torture A Duckling though - I was glued to the screen. This man had talent at this point in his career.

Next up: Ghosts of Sodom. I'm thinking the next review won't be so glowing.

"The Psychic" is probably one of Fulci's most plot-based movies. It also is fairly restrained; it is surprising that this was not issued a PG-13 rating. The only real gore was in the beginning of the movie when a woman falls off a cliff. Her face is shown hitting the side of the cliff repeatedly. Don't let the lack of gore stop you from renting this, though, because this movie is well worth it.

The story is as follows: A clairvoyant of sorts has a vision of a murder taking place in the house in which she lives. She then digs a skeleton out of the wall of the house. She calls the police, who in turn arrest her husband, the longtime owner of the house. In attempts to get her husband out of jail, she tries piecing together what happened based on her vision. It should be noted that the major plot twists are given away on the back of the box, so avoid reading it if surprise is wanted.

"The Psychic" is one of Fulci's few technically competent movies, containing few plot holes and a great storyline. Unfortunately, the same can not be said about the dialogue, which is subpar, and the quality, which takes away from the movie's viewing experience. Also, the first half of the movie drags, but luckily things pick up for the second half. Be sure to listen for the tune in the watch; it starts out like the theme song to "Zombie!"

This is an enjoyable movie for all audiences. My rating: 7 out of 10.

This is a scary and intriguing film with a twisted plot , plenty of grisly killings , relentles suspense , ghastly mystery , astonishing images , gory events and well staged murders. A psychic woman (Jennifer O'Neil) discovers a skeleton in a wall in her husband's house , and seeks to find the truth about what occurred to the victim . Along with her psychiatrist friend (Marc Porel) , she seeks to find out the truth about who the person was and who put her there . Meanwhile her suspect husband (Gianni Garco) is imprisoned accused for killing . Early rare deeds begin to happen to them , as she along with husband's sister (Evelyn Stewart) start investigating , discovering weird characters (Gabriele Ferzetti) and tragic murders . Soon enough, she begins realizing the possibility that she may share the victim's fate . Suddenly she could see into the future...and saw her own murder...Suddenly and without warning it's tomorrow... and you're dead.

Chilling Italian terror flick full of screams , chills, thrills , twists and turns .This is an alright Giallo where intrigue , tension , suspense appear threatening and lurking in grim mansions , in every room , corridors and luxurious houses , as well as exteriors , and with numerous suspicious people . The main premise results to be to guess who's the killer among a lot of suspect people . A properly creepy Giallo movie fully of thrills , chills , suspense and frightening happenings , particularly when our starring -who attempts to alter the killing prediction- is mercilessly chased by a mysterious murderer . These Giallo movies are characterized by overblown use of color with shining red blood , usual zooms , originally staged crimes with seemingly fascination by razors and knifes , use of images-shock and a lot of plot twists . Being the principal representatives of this sub-genre : Riccardo Freda , Mario Bava , Dario Argento and Lucio Fulci . Stars the beautiful Jennifer O'Neil , recent her successful Summer 42 , here plays well a psychic who inspired by a vision, smashes open a section of wall in her husband's home and finds a skeleton behind it . Gorgeous Jennifer O'Neil is well accompanied by a fine support cast, such as : Gabriele Ferzetti , Marc Porel , Gianni Garko who acted in a lot of Spahetti westerns as well as Bruno Corazzari , Jenny Tamburi who performed various Sex Comedy and Evelyn Stewart who starred several Giallos.

Colorful and adequate cinematography by cameraman Sergio Salvati who photographed splendidly interior and outdoors . This photographer to get the best sightseeing by adequate filming , using nice cameras to capture the flavor of urban . Eerie musical score composed and conducted by Walter Rizzati, as Frizzi, Fulci's regular , and composing in Goblin style . The motion picture was compellingly directed by Luccio Fulci who makes of it pretty eerie and chilly . The motion picture was made by one of the most controversial filmmakers of terror movies , here Lucio Fulci shoots in his usual style with flaws and gaps but being professionally made because he was a skilled craftsman . Reviewers are divided over booth the morals and talents of Fulci (1927-1996) who sometimes directed under the alias ¨Louis Fuller¨. For some critics many of his movies are cruel and shockingly violent, yet their gory surface often conceals religious, social commentaries or intelligent issues. Whether he should be viewed as a cheap sensationalist or just a genius Fulci has a loyal fan base and undeniably has an important and unique influence on the terror genre , creating great works on a medium/low budget such as proved in ¨The black cat¨, ¨Demonia¨, ¨Voices from beyond¨, ¨Manhattan baby¨, ¨Gates of Hell¨, ¨The Beyond¨, ¨Island of the living dead¨, ¨Zombie 3¨ , ¨New York ripper¨ , ¨Don't torture a duckling¨ , among them . This Giallo that tried to disguised itself under many other titles will appeal to Lucio Fulci aficionados , being essential and indispensable watching for their fans . Rating : 7/10 . Better than average Giallo from Fulci .

Often nicknamed the 'Godfather of Gore', cult-director Lucio Fulci is doubtlessly most famous for his gruesome Zombie films. The man's greatest achievements, however, are (in my humble opinion), his comparatively gore-less, but spine-chilling and extremely elegant Gialli from the 70s. After the brilliant "Non Si Sevizia Un Paperino" (aka. "Don't Torture A Duckling", 1972), which I would name as one of the top-5 Gialli of all-time, "Sette Note In Nero" aka. "Seven Notes in Black"/"Murder to the Tune of the Seven Black Notes" of 1977 is a close second on my list of the greatest Fulci films, and it also ranks among the true greats of the Giallo genre in general.

As a child, the clairvoyant Virginia has a vision of her mother's suicide at the very moment of its occurrence. As an adult, Virginia (Jennifer O'Neill), who has recently married the wealthy Francesco Ducci (Gianni Garko) continues to have menacing visions. One day, she has the disturbing vision of a gruesome murder, in which a woman is being walled in...

I do not want to go deeper into the plot, because this brilliant film is filled with clever twists from the very beginning. "Seven Notes in Black" contains no sleaze and hardly any gore, but has an incredibly intriguing and suspenseful plot containing ingenious red herrings and unpredictable plot twists, and is filmed in an incredibly beautiful yet unspeakably creepy visual style. While the film includes little blood and only very few gruesome scenes, the suspense-level is extremely high and intense, and the mystery is maintained until the very end. A fascinating plot, a truly haunting atmosphere and uncanny visual style make this one of the most tantalizing Giallo-experiences ever brought to screen. The score is another insanely brilliant aspect about "Seven Notes in Black" - Seldom is a soundtrack as successful in building up tension, and beautiful to listen to at the same time. Especially the haunting 'Seven Black Notes' theme is incredible; I'm sure Quentin Tarantino had good reasons to re-use it for "Kill Bill". The performances are also very good. The ravishing Jennifer O'Neill is great as the original and likable protagonist Virginia. The biggest name in the cast is doubtlessly Gianni Garko, who is most famous as star of many Spaghetti Westerns, and who delivers another great performance here. However, all cast members (many of them Italian Horror regulars) fit greatly in their roles. Overall, I can not come up with a single negative aspect about this film. "Sette Note in Nero" is incredibly suspenseful, genuinely creepy, extremely elegant and simply brilliant in all regards. No lover of Italian Horror can possibly afford to miss this tantalizing Giallo-gem, which is yet another proof that Fulci was a Horror-genius! 9.5/10

Lucio Fulci is best known for his surreal and graphically gory horror movies of the early 80s {i.e.Zombie,The Beyond} but some of his most interesting work was made before. This film,which deserves to be far better known,is a case in point. It's an extremely suspenseful thriller with borderline horror elements,a bit reminiscent of Don't Look Now and quite possibly an influence on several films since such as The Vanishing. Fans of Kill Bill will recognise one of the pieces of music used.

Opening with a graphic but very unconvincing scene of a suicide off a cliff,the head bashing on the rocks,the film does not continue that way,but becomes a slow but intriguing supernatural mystery,with the suspense gradually building and Fulci showing himself quite capable of handling a relatively complex plot. Camera work,music and Jennifer O'Neill's stunning performance are all so good that the relative lack of actual action does not matter too much. Nevertheless, Fulci really proves himself with a really exciting and suspenseful scene near the end where O'Neill is pursued by the killer,and there is clever and evocative use of props throughout.

Interestingly,where most Italian films like this are dubbed by different actors,this one looks like it was dubbed by most of the actual cast,and unfortunately a couple of major plot revelations are hard to make out! However,this is a solid little thriller that ,while not quite on the level of,say Fulci's A Lizard In A Woman's Skin,really deserves to be seen if you think Fulci can only do gore.

Murder to the Tune of Seven Black Notes is the last of Fulci's pre-gore flick Giallo's, and it has to be said that it's the lowest quality of the bunch. That, however, is more down to the fact that the others are such brilliant films rather a shortfall with this one. Having already done straight murderers with A Lizard in Woman's Skin and Don't Torture a Duckling, Fulci has resorted to a supernatural plot line for his fourth Giallo feature and the plot draws its mystery and intrigue from it. Fulci has taken influence from the more psychological Giallo films made before this one, as well as a plentiful helping of Edgar Allen Poe's "The Black Cat". The plot kicks off properly with the uncovering of a skeleton inside the walls of a villa belonging to the husband of our young lady protagonist. Clairvoyance is the reason for finding the skeleton, and naturally it isn't long before the husband is put under suspicion for the murder given that the body was uncovered inside his house; and he finds himself on the inside when it turns out that the body belonged to one of his ex-lovers...

Despite the fact that this film serves as something of a prelude to the latter half of Fulci's career, there is a surprising lack of blood and guts, and this film isn't even as gory as the earlier Don't Torture a Duckling. Fulci presents his plot with a surprising amount of restraint, and doesn't even take the opportunity to show a heavily decomposed corpse as he did in the largely gore-less One on Top of the Other over a decade earlier. While the plot itself does serve up intrigue, it has to be said that it's a little too bare to cover the running time properly. The suspense is there throughout, but Fulci's script certainly could have benefited from adhering a little more to the common convoluted Giallo plot. The technical side of the film makes up for this shortfall, however, as Fulci's use of the camera is excellent and he continually presents a morbid and foreboding atmosphere, particularly inside the central villa location. The tension mounts as we approach the ending, and Murder to the Tune of Seven Black Notes boils down to a satisfyingly macabre - if a little abrupt - conclusion. This film may not be Fulci's best Giallo attempt, and it is liable to disappoint fans of his later, bloodier films; but if you like your atmospheres grim and your plots suspenseful; Fulci's fourth Giallo comes recommended.

In 1959, in Florence, the girl Virginia sees her mother committing suicide jumping off a cliff in England. Twenty-eight years later, Virginia Ducci (Jennifer O'Neill) is married with the wealthy Francesco Ducci (Gianni Garko). Out of the blue, Virginia has a vision of a walled dead woman and when she goes to his house in Italy, she sees the wall of her vision. She opens a hole in the wall and finds a skeleton inside. When her husband returns from London, he is arrested and becomes the prime-suspect since the woman was his lover. Virginia discusses the subject with her psychiatrist and friend Luca Fattori (Marc Porel). They find differences between her vision and the location where the skeleton was found and Luca suspects that she might have had a premonition. Virginia decides to investigate the case to find evidences to prove the innocence of Francesco and she suspects that a man called Emilio Rospini (Gabriele Ferzetti) is the killer. When Francesco is released from jail, she becomes obsessed to find the truth and does not stop to snoop around. What will happen to her?

"Sette note in nero", a.k.a "The Psychic", is an entertaining but flawed and full of clichés giallo. It is irritating to see the cliché of a woman hiding from a serial-killer and stumbling upon something to make noise. Or the alarm in the watch in the exact moment that the killer is leaving. Or the woman seeking out a dangerous criminal without any weapon or plan B. The cinematography and the locations are beautiful and the open conclusion is another plus in this film. My vote is six.

Title (Brazil): "Premonição" ("Premonition")

Note: On 12 Jun 2020 I saw this film again.

A story of amazing disinterest kills "The Psychic" over and over again. The characters and plot are completely uninteresting (as is Fulci's mad camera work, which is usually a redeeming factor in his films), and any grasp of suspense is nowhere to be found. It's padded out to an insufferable degree--by the end, you won't be clamoring with excitement but stricken with boredom (and, like me, maybe an uncontrollable urge to fall asleep). Jennifer O'Neill's performance deserves occupancy in a better movie. Fulci gorehounds beware--there's just not much going on in "The Psychic."

3/10

Virginia is a girl who, since child, has an strange power to see the past, the present or the future. Driving through a subway, she finds ans strange vision of a murder. In the visions, she thinks to see a very recognizable room. It is one of the rooms of her husband's old houses. She goes there and find a skeleton behind the wall. Now she must re-think all her vision to find out the mystery.

Maybe is not a thing of surprise only of style. We know how is going to end all, is a revision of OEDIPUS REX and is a successful bet that Fulci and writer Sacchetti do here: You cant's fool destiny. Thoug you must go until the end to find out if is true or false. And you just don't believe it! This is one of the most beautiful films of Lucio Fulci. Along with his masterpiece THE BEYOND, this films got it all - O.K there is no gore for those "fans" of Fulci who love him only for that, but there's style and in great form. Jennifer O'Neil was probably selected after seeing Visconti's THE INNOCENT.

Don't loose by any chance this movie. A great giallo. The Severin copy, even if not have the original Italian soundtrack, is the best print to find in remastered forms.

Very recommended!

In the 1950s-70s, many American movie stars appeared in Italian-made movies. I assume that they employed these Americans in order to increase the drawing power of the movies--and in most cases, these folks were dubbed into Italian or whatever language where the film was being marketed. This explains why Jennifer O'Neill stars in this film.

The film begins with a poorly filmed suicide scene. It was a neat idea to show the face of the victim but it was clearly plastic! Oops. Other than this one scene, however, the rest of the film was well made. Anyway, the daughter of this now dead woman has psychic powers--as she SEES this as it happened even though she was no where near the scene of the death.

Years pass, the child has grown up and Virginia (O'Neill) still has psychic flashes. In this new case, she sees a dead body walled up inside her husband's home. She tells the police and indeed a body is found there. As for the police, they accept that she's psychic and use her other flashes to investigate this crime. However, late in the film the scenes she sees and tells the police would indicate that the crime involves a murder in the future! In other words, in the same space where they found a body, another will be placed--unless they can be stopped. What's next? Well, I won't say more because I don't want to ruin it for you--but the ending comes as quite a surprise--and I appreciate that.

Overall, this is a strong suspense/horror film whose only real weakness is the sloppy opening as well as too many sound effects used by the lead. In other words, when they dubbed her, they made O'Neill groan, moan and simper way too much. Apart from that, it's exciting and well worth your time.

Average (and surprisingly tame) Fulci giallo which means it's still quite bad by normal standards, but redeemed by its solid build-up and some nice touches such as a neat time twist on the issues of visions and clairvoyance.

The genre's well-known weaknesses are in full gear: banal dialogue, wooden acting, illogical plot points. And the finale goes on much too long, while the denouement proves to be a rather lame or shall I say: limp affair.

Fulci's ironic handling of giallo norms is amusing, though. Yellow clues wherever you look.

3 out of 10 limping killers

This underrated giallo is probably Lucio Fulci's best movie. Without his usual gorie style, the film is about a clairvoyant woman, Virginia (Played by Jennifer O'Neill- Scanners), who has a vision of a murder that happened years ago. When she goes to her new husband's country house, she finds out that it's the same place she saw on her vision. So she smashes one of the walls of the house and finds a skeleton in it. Now the police think Virginia's husband is the murderer. But she doesn't think the same and does everything possible to prove he's innocent, so she start to investigate (giallo style of course)- Sadly ignored at the time of it's release (Maybe because it has almost no blood and no nudity), the film is filled with suspense, especially after the hour mark. It has a great storyline and above average acting. The score deserves a special mention as it is arguably the best giallo music ever, even beating Goblin's Deep Red. Recommended to anyone who likes the giallo genre, Lucio Fulci's fans and people who think he's a hack. Definitely a 10/10.

Wasn't sure what to expect from this Fulci film, because I've read a lot of differing opinions. So I was surprised just how good this movie is, with an outstanding "Black Cat" like premise. Jennifer O'Neill is a great leading lady who sees visions as she travels through a very dark tunnel in her car of a murder scene. These visions haunt her and she is bound and determined to find out their meaning. Are they visions of the past, or premonitions, that is the main plot, and with a pretty neat twisty ending. This movie ranks up there with the best of Fulci, imo, and I need to watch it again, because I had trouble with a couple of plots points. One of the better Giallo I've seen for a while.

Fulci's tendency to try to outdo his rivals in disgusting scenes ("L'Aldila") is not a problem in this film.This is a suspenseful story ,with an elaborate screenplay à la Argento (note the importance of pictures in both directors' works ,photographs or paintings)and special effects with make-up kept to the minimum level.

Combining a subject dear to Edgar Allan Poe with a whodunit a la Agatha Christie and supernatural facts (O'Neil is some kind of medium) ,with a good supporting cast featuring Gabriele Ferzetti (Antonioni's "L"avventura" ) and French Marc Porel (sadly to die prematurely ) as a shrink whose assistant is smarter than him,"Sette Note In Nero" is worth seeing.

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"Eyes of Laura Mars" Irvin Kershner 1978

"Dead zone" David Cronenberg 1983

Attempting to help herself, a woman marred by psychic visions finds a long-missing body walled up inside her husbands' house which puts him in the police's custody for the crimes and forces her to set out to save him, but soon becomes troubled when the vision leads to something else.

This proved to be an incredibly enjoyable giallo. Among the film's best qualities here is the sparkling setup that gets the film going and gives this one plenty of strong aspects. That we're given enough early on to show her abilities and gifts into the paranormal where we can both see the past as well as into the future, this becomes a driving force throughout the rest of the film. As the initial sequence of her coming under the influence of her latest vision as an adult, going through the contents of the room and looking over everything she finds there gives quite a fantastic setup to the film focusing on this aspect. Once that's firmly in place, the idea of the film resorting to an investigation into the cause of the woman that's found there death within the house gives this an intricately developed and played out mystery. The connection and build throughout the film, generated mainly from the need to prove her husband innocent of the crimes, is quite far-reaching as she goes through each of the clues from her vision and goes through each step, from the photograph to the investigation into the taxi company's history and even what the cigarette brands she finds. This is an important aspect that keeps the film going along nicely and logically with plenty of strong leads and reasoning done to keep throwing everything off. That this still keeps some thrilling suspense present in this section gives this a fantastic finish. As the final stages of the investigation take her into the sphere of the politician who's trying to keep the dead body a secret, there's a great enhancement of the action featured here were the series of chases and confrontations they have. From the back-and-forth hide-and-seek game through the apartment to the chase through the church, this all sets up the dark and chilling finale where the real meaning to her visions and gifts gets into some dark areas with how everything gets played out. It's a fun finale and gives this one a lot to like overall. There are a few minor flaws here. The main issue here is the notable lack of a nominal killer knocking victims off which plays such an integral part of the genre. This one tends to introduce the threat to her life so late here with the majority of time investigating the crime that it's almost entirely possible to forget she's in danger without threats on her or her friends which are quite important. The other issue is the finale, where the twisting plotlines are so over-the-top in how they get resolved in the context of the story as well as what emerges with the final revelation that's not nearly as shocking as it thinks it is. These here are enough to lower this one overall.

Rated Unrated/R: Violence and Language.

Director Lucio Fulci is best known for his gory splatter films, but, barring the opening suicide death scene (which Fulci fans will recognise as being virtually identical to the finale of Don't Torture the Duckling), The Psychic is relatively blood free. Instead of a cavalcade of graphic violence, we get a twisty tale of intrigue, as beautiful Virginia Ducci (Jennifer O'Neill) attempts to piece together the clues in her visions to try and prove that her husband Francesco (Gianni Garko) is innocent of murder.

A supernatural, giallo-esque whodunnit mystery, topped off with an ending straight out of an Edgar Allen Poe story, this is actually quite a lot of fun, despite the lack of the juicy stuff. Rarely one to worry about trifling things like narrative cohesion or logic, Fulci actually handles the storytelling pretty well here, with any lack of understanding on my part most likely due to extreme tiredness. However, despite being knackered, I managed to stay awake throughout, the story offering plenty of suspense and intrigue, with the expected red herrings, building gradually to an exciting climax that relies heavily on a twist revelation that stands the film on its head.

The Psychic also features an excellent score that makes clever use of a particularly haunting melody (the 'seven notes' in the film's original title, Seven Notes in Black), which was borrowed by Tarantino for Kill Bill.

The recently married and clairvoyant Virginia Ducci (Jennifer O'Neil) decides to surprise her new husband by renovating his country home, a home she has never been in. On the way she has visions of a dead woman hidden behind a wall, another woman dead with a bloodstained face and a strange red room. When she arrives at the country residence the realises that the room she is in is the one from her vision and sets about breaking down the wall, where she finds the dead body of an unknown woman. The police are very suspicious of her and her husband, he is soon pulled in and made the no 1 suspect as he had a relationship with the deceased girl. Virginia believing her husbands innocence then proceeds to investigate in amateur sleuth fashion, her visions guiding her to the shocking truth.

Brilliantly paced Giallo that slowly feeds us with the information we need to discover the truth behind the ghastly visions. The beautiful O'Neill is excellent, a pity she didn't do more films in the genre. Fulci has a reputation as one of the kings of gore but here yet again he is restrained in that department, there's very little blood or gore and positively no nudity, but this film shows yet again that he could make really good films, "Duckling", "Lizard" and One on top of the other prove that he is a legend in the history of the giallo, Great story, Great score, Great ending, Superb Film!

"The Psychic" is a fascinating Giallo mystery directed by horror legend Lucio Fulci that is perhaps quite a bit restrained when compared to his usual gore-filled efforts. But nonetheless it's an intriguing supernatural thriller with a stunning yet morbid atmosphere sustained in suspense and excellently crafted. Like I already said this is one of Lucio Fulci's most subdued productions, which is probably why it fell under the radar, but what it lacks in gore it more than makes up for it in tension and an enjoyable narrative.

The plot follows a young woman named Virginia a psychic who experiences a vision of a woman being murdered and then entombed in her husband's house, then after finding the skeleton remains her husband is arrested and then it's up to her and her friend Luca to unravel the mystery with the help of her visions and following the clues to the identity of the real killer.

Jennifer O'Neil is sensational in the role of Virginia and provides a great anchor as the leading lady and providing a well-balanced performance as she drives the plot of this chilling mystery. The rest of the cast helps fill out this world beautifully with standouts such as Marc Porel as Luca who provides solid support, as well as Gianni Garko as Francesco the husband caught up in this mind boggling web of murder.

The twists and turns of the narrative is what really pulls you the viewer into its world and the gentle and restrained approach by Lucio Fulci is rather refreshing and instead provides a complex and thought-provoking story with a couple of shocking moments throughout, but nothing too outrageous as his other efforts. It's nice to see another side to the director and its such a shame that this flopped so badly upon its original releases as its one of his finest efforts of his career and truly deserves more regonition.

Ho-hum! Here we go again with yet another fright flick by yet another Italian filmmaker who obviously didn't have even the slightest clue when it came to depicting what "horror" was all about. I'm not kidding here.

(IMO) - "The Psychic" was absolute bottom-of-the-barrel horror that was so tiresome (yawn!), so boring (double-yawn!), and so painfully predictable (triple-yawn!) that it wasn't even worth sitting through 97 minutes of pure nonsense waiting for its truly disappointing finale to play itself out.

'Cause after viewing "The Psychic" - I, for one, cannot believe that director, Lucio Fulci actually had a fairly successful career in the field of film-making. I mean - (IMO) - I think this piece of putrid junk should've finished his career for good. Yep. It really should have.