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.

morrison-dylan-fan Originally hearing about the short lived Italian "Komic-book" sub-genre of films in connection with Mario Bava's Danger Diabolik and the at the time heavily cut Baba Yaga,I was surprised to find out,that unlike those one "issues",a comic book character called Kriminal had not one,but two movie adaptation's.Checking for details about the first adaptation,I was delighted to discover that the first movie was written and directed by the wonderful Umberto Lenzi,which led to me getting set to see Lenzi's superhero go on a thrilling adventure.The plot:Barely escaping from being hanged for stealing the queen of England's crown,Kriminal decides to taunt the police, by sending them the queens crown back as a "thank you" note for their sheer stupidity.Planning his next high-stakes heist,Kriminal decides that he will intercept a package of diamonds being taken to Istanbul.Working with Scotland Yard,the diamond company decide to take extra precautions in their creeping suspicions of Kriminal targeting the diamonds,by hiring two twin sisters ,(Inga and Trude) to lower the risk of Kriminal succeeding by causing confusion over who has the diamonds.Walking up to one of the sisters in disguise,Kriminal knocks out the sister and runs away with her suitcase.Expecting to find the diamonds inside,Kriminal instead finds out that the suitcase is completely empty.Furious at being out-played at his own games for the first time in his life,Kriminal starts to relies,that this heist is going to be the toughest he has ever done.View on the film:Using the last 30 minutes of the movie to solely focus on Kriminal (dashingly played by Glenn Sazson) himself,Umberto Lenzi and David Moreno's screenplay change's the film from being a "komic book" movie into becoming a rather enjoyable man on the run thriller,as Kriminal attempts to stay ahead of the gathering momentum police by crossing the boarders of Istanbul and Madrid in any way possible,which includes jumping around on top of a moving train!,in a excitingly done action set piece.Disopointingly,before the movie cuts to the chases,the first hour of Lenzi and Moreno's script becomes a tangled mess due to being filled with overly complex,underwritten back stabbings and betrayals,causing the excitement of Kriminal's heist to completely defuse.Prominantly using Romano Mussolini's lively Jazz Score,Umberto Lenzi leaves most of his fantastic scatter-shot directing style behind,to instead give the movie a much more artful art deco appearance,which along with making the beautiful Helga Line shimmer in her double role as twins Inga and Trude,also shows the Istanbul and Madrid locations in a cleverly done mix of wide,brightly lit action set pieces,and down to earth,fading art- deco,low-lit moments that show Kriminal trying to lay low,as he begins to wonder if he has finally met his match.

gridoon2018 One of several Italian "costumed super-criminal" outings made in the mid-1960s (for a brief period, I think it was the third most popular film genre, after spy movies and spaghetti Westerns), "Kriminal" has good production values but a rather bland look - there is nothing distinctive about it, except maybe the title character's skeleton costume, which he wears very briefly. Kriminal may be good with his fists, a master of disguise, and a clever criminal planner, but he doesn't have much charisma or personality, except maybe for an obnoxious arrogance. The women are pretty but dreadfully underused. The film gets dull more often than it should. ** out of 4.