An idiosyncratic Giallo film that was scored with somewhat creepy and suspenseful electronic music, which is no less impressive than the sound effects pricking audiences' ears when Marion got stabbed to death in Hitchcock’s Psycho.

It was more than a coincidence that, as the mystery unraveled slowly but not uneventfully, the serial killer with an insane bloodlust turned out to be a psycho, too.

Among the palette of unique tonal colors the director reveled in, the red one, as the title of the movie suggests, contributed to the visual effects that strike the audience in addition to creating the physical and psychological tension. It’s appeared thick, fleshy, and pulpy, oozing slowly out of the wounds; the voluptuousness of killing that is being presented as such reminds me of red as imagery being accented repetitively through ketchup and squashed tomatoes in We Need to Talk About Kevin.

As I watched, it always came to me that the heroine, that reporter, should be that psycho killer, since she gave off a suspicious vibe one way or another. Though the denouement failed to live up to my expectations, it still satisfied me with artful close-ups and montage editing.