What makes it different from others?

Don't listen to the negative reviews

Disturbing yet enthralling

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Black gloves: check. Mysterious killer: check. Lots of bloody killings: check. Beautiful female nudity: check. So, this might look a bit like a Giallo (Imdb prefers capital G), but the scenery is far from any European city where they usually take place. We are on Haiti, and surrounded by voodoo and rituals in a plot that focuses on the secret formula for a certain drug that might be profitable in Western society - reminiscent of Wes Craven's later 'The serpent and the rainbow', which has a way more effective plot with a true horror feel.The plot just seems to go from one killing to the other, and any one character (except Anita Strindberg's character, really) could be the killer. In between, we are treated to various exuberant scenes of voodoo rituals and fairly creative kills. Gore is reasonably represented, and the photography is quite nice all the way through, with a few highlights, such as the fever dream and the voodoo rituals. The final scene, in which the mob turns violently on the exposed killer, is a pretty harsh, yet satisfactory ending.A good 7 out of 10.

Giallos are known to be a little incoherent at times without being a complete mess but this movie certainly is the latter. It's a real mess. Many scenes of the movie look spectacular, especially the outdoor shots in the Haitian streets with full of crowds. The movie's certainly got elements that could have made it into a much better film than it actually is. It's just too bad that the Italian sense for style doesn't always work and this time even the plot stank so bad that it should have been rewritten almost completely. In my opinion the main problem is that the film doesn't engage at all and the pacing is just lame. I didn't care much what would happen to the characters in it. It's a kind of a problem when i was supposed to sit down and keep myself watching the film for its entire length of one and half hour.The dream sequence with Strindberg and the voodoo priest made me laugh really hard. It's really the moment that was supposed to be surreal and scary but ended up looking like a skit.What really is disappointing is that how much better this film could have been. I can only recommend this film for giallo fans who don't care much if the film is good or bad.

This is a combination of an Italian giallo and "black sexploitation" film. The latter is not to be confused with American "blacksploitation" films since these films weren't trying to "exploit" a black urban audience but rather the myth of "primitive" black sexuality for the delectation of white audiences. The giallo locale here is shifted to "primitive" Haiti. The plot is almost a "McGuffin". It involves various grasping characters chasing after a new drug a friend (Gabriel Tinti) of the the two married, vacationing protagonists (Anita Strindberg and Anthony Stefens) has discovered. This drugs and voodoo plot is somewhat similar to the later Wes Craven movie "Serpent and the Rainbow", but this is nowhere near as good.Atypical for this kind of "black sexploitation" this film doesn't have any real black female characters (other than the ones involved in the typical sub-"National Geographic" topless tribal dancing scenes). The interracial thrills are delivered primarily in couplings of black men and white women. The one featured prominently on the poster is a standing sex scene between Strindberg and a Haitain voodoo priest which is actually the climax of a bizarre dream sequence (right out of "Coffin Joe" movie)that is probably the most visually interesting sequence of the film if you can get by the casual racism. The other, more gratuitous, scenes involve the Haitian police chief and his white mistress, but since this particular character is surprisingly three-dimensional and "civilized", these scenes don't quite fit the usual mold either.The problem isn't that this movie is especially exploitative or racist as these kind of films go, but that it is not particularly effective as a giallo either. Aside from the exotic locale, there is nothing very interesting here. Whatever her charms, Anita Strindberg was not a great actress, and it doesn't help that she's paired with a stiff like Steffens. Speaking of stiff though, the best performance is turned by Gabriel Tinti, the future "Mr. Laura Gemser", who's most famous for having an obligatory sex scene with that exploitation goddess in practically ever movie she ever made (whether he was otherwise in the movie or not). I'm sure all these actors had a nice Caribbean vacation, but the resulting movie is no great shakes I'm afraid.

A scientist invents a hallucinatory drug. Interest of different dubious people in this new drug lead to betrayal and murder.This rather underrated and lesser known Italian thriller certainly has its flaws, nonetheless it belongs to the most innovative films of its genre that was booming in the early 1970s. Thanks to its fresh ideas packed in a traditional Giallo plot, it really stands out of the bulk, even though 1972 is probably the most Giallo-intense year ever. The most remarkable moments include feverish dream sequences that are erotic and nightmarish at the same time. The dreams are induced by similarly feverish Haitian voodoo rituals that feature mondo-style animal killing (there is also a non-ritualistic animal killing shown in a slaughterhouse - traces of social comment, obviously).The erotic moments are more frequent and sensual than in the average Giallo, and they are very well done (as already mentioned, especially the dreams). The body count is also above average, and in the second half, the movie boosts some murders as creative as they are brutal. It also delivers elements of the spy film genre - drugs can always be sold for big money. And the climax is not necessarily Giallo-typical.The leading cast consists of genre regulars: Anthony Steffen plays the inventive scientist and Gabriele Tinti the "hero"; Anita Strindberg is Grace, the woman with the unnerving dreams. On the other hand, the two directors are barely known and none of them made another Giallo (Edoardo Mulargia shot a few Westerns and some Women-in-Prison stuff, but nothing really significant).AL TROPICO DEL CANCRO is not a masterpiece, but it's a sleeper of the genre with enough original and surprising elements to make it highly recommendable to the fans of the genre.