For some R&R after wrapping a movie, mustachioed prick actor Michael (Stefano Patrizi) takes his girlfriend, Deborah (Silvia Dionisio), and select fellow cast and crew members to the spooky, middle-of-nowhere mansion where he grew up. His ailing mother (Anita Strindberg) still lives there, despite the home being the spot where Michael, as a child, fatally stabbed his maestro father for beating up Mom.
Mom’s happy to see Michael (take a drink every time you feel an incest vibe; you’ll die before the end) and wishes he’d visit more often, but he refuses: “I’m always on the move, you know. Like a gypsy.” That’s probably a good thing, because Michael’s friends start getting killed. Who’s the black-gloved killer? It may be tough to tell at first, because everyone but the dog wears black gloves.
The final film for The Horrible Dr. Hichcock director Riccardo Freda, the so-nasty-it’s-nice Murder Obsession colorfully plays with all the elements that make a giallo great, from a bloody beheading to showcasing the nude body of Black Emanuelle herself, Laura Gemser, no less than three times, including her first encounter with the unknown psychopath, who attempts to drown her in the bathtub.
The best scene, however, is an extended nightmare sequence, which we see as Deborah relates its surreal details to her uncaring boyfriend. Among other things, she runs into a giant spider web, complete with giant spider; gets her chest scratched by bushes she pushes her way through; finds snakes at her feet; becomes tied to a post by some white-robed crusty faces who vomit green froth; and then is felt up by that oversized arachnid — all while she’s wearing a tissue-thin nightie. That’s commitment, kids. —Rod Lott
It’s hard to hate a movie whose first scene depicts a tough guy trapping a Filipino midget in a phone booth and throwing it into the bay. As the box goes splash, the film freeze-frames to announce its awesome title: 
As spoiled by that title, Ortega isn’t about to take his handicap lightly. Trained by the Philippines’ equivalent of Tommy Lee Jones, he becomes a ruthless warrior, albeit one with a sleeve flopping around. Ortega then goes hunting for Edwards (“What balls!”), whose boat bears a swastika and who keeps a henchman on staff whose sole purpose is to act as a human thesaurus. (His lone African-American henchman is dubbed by a redneck.) 
As the title so blatantly gives away, 
The second of the four-film series proves as frothy and accessible as the first, if you can get past the Asian stereotype who pops up at a Chinese restaurant where Nancy and friends are short by 65 cents. Thus, she, Ted (Frankie Thomas, whose character is suddenly no longer named Ned), Ted’s little sister and her pal Killer literally sing for their supper, and the crowd digs Killer’s killer Donald Duck impression. 
