Too much of everything

Really Surprised!

Good story, Not enough for a whole film

A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

One of the first scene of the movie really ruined it for me, because here you see the basic rules of the movie by avoiding nudity and after that hitting you in the head with useless violence.It just did not make sense to me and as the movie progressed it was a repeating this formula over and over. The nudity I did see was more personal and even that felt a little awkward with weird close ups and out of focus shots.Because of the subject matter and the way to walk around it the whole thing became kind of silly.I usually like Italian actresses but these seem to be chosen to look like Hollywood bimbos where double d is mandatory.Did not watch it until the end cause if you've seen more than half of the movie and it don't convince you the whole thing is tainted.I always liked Italian cult for not being so uptight but this one is to uptight even for American standards.Could have been a cult classic.

For a movie which elevates itself to the level of Profondo rosso or Tenebre, I'm very surprised of the overall note of Tulpa here on IMDb. Federico Zampaglione looks to me like the glorious successor of Dario Argento in that very specific genre, he even surpasses the master somehow, succeeding to produce some of the most stylistic murders of the years 2000. And cherry on the cake : the musical score has the same effects than a hallucinogenic mushroom, providing some of the most obsessive themes ever created since Goblin's Profondo Rosso. The principal actress is to die for and she really delivers the goods in the exchange club. Tulpa is essential for the Giallo aficionados and I strongly recommend it.

I saw it at Sitges this year and i was impressed by the quality of this crazy and bloody Italian flick. Zampaglione clearly knows his stuff and with this new film he shows all his love for the genre. . Tulpa visually looks fantastic,and it's a well performed addition to Italian cinema, most importantly it does what it intends to do, it remains faithful to the Giallo mentality, and breathes life back into a dead area of the horror/thriller genres. Zampaglione even goes as far to bring back the traditional Giallo killer, a dark shadowy figure, with face covered, black hat, and those leather gloves . There are also some incredible and elaborated murders you will never forget. Giallo fans will love this one.

TULPA (2012) No giallo, or few, have ever really featured stunning dialogue and wonderful scripts.This was no exception. But the scenes in the s&m club, the odd occult barman, doorman (or door hermaphrodite) and general sense of unease were rewarding. Set in the world of big corporate business, someone is bumping off the boardroom at unnerving frequency. The manner of the deaths of the sharp-suited girls and boys, is dreadful - strung up on a merry-go ride with barbed wire hanging at the edges or locked in a box cut and bruised with a few hungry rats to gnaw away the hours with (in a lovely touch, the unseen man in the box is forgotten about until the end credits, when we go back to him as if we have just remembered there's someone left to save). The film has a witty edge that could be mistaken for being entirely serious - hence some laughs in the audience at FrightFest. Giallo, as a genre, is often at its best when playful and painful in equal measure. This film clearly riffs on classic Italian horror director Dario Argento's work. Interestingly, Argento himself at the start of the festival in an onstage Q&A mentioned that many directors copy his style, sometimes good (as in Black Swan), sometimes really bad. Tulpa I think does reference classic Italian giallo with reverence and good effect, although few crime films are ever much good set in a corporate environment. When Tulpa breaks free from this environment, there's a lot more fun to be had, especially in the warren-like red light-bathed sex club or just escaping up trees in the Italian countryside in the dark. I liked the way the killer grew more and more unhinged like their world was crumbling, about to be found out. I never would have guessed who the killer was. But then, I was having too much fun with the killer's nice (if a little weird) side to suspect.Giallos have featured the occult before, but this one was still a refreshing homage to Hitchcock and Argento and everyone else inbetween -and the cheer when you know who (the odd chap) saved you know who (the pretty one) from you know who (the killer) - wow! That strange bloke needs his own show..mark gordon palmer