I Wonder Who's Killing Her Now? (1975)

This Movie Can Only Be Described With One Word.

Boring, over-political, tech fuzed mess

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Jordon Oliver (Bob Dishy) has been fired from his job for embezzling. His wife Clarice (Joanna Barnes) wants a divorce and Jordon does a lousy Bogart impersonation. He plans on taking out a million dollar policy on her and then bump her off. But first he must have a doctor examine her...without her knowing it. Enter a young Pat Morita. Jordon contracts Bill Dana to do the job, but then changes his mind when he discovers the doctor is a fraud and he doesn't have a policy. Unfortunately Bill Dana has subcontracted the work to someone who has subcontracted the work and so on. Jordan and his entourage run around acting zany as if this was an early 1960's film.The film has many second tier comedians of the era. Unfortunately the comedy it tried to create, didn't make it. It spoofs mafia films, but not too well. Available on a 50 DVD pack of the Swinging Seventies.Guide: No swearing, sex, or nudity

Hi, I'm Mark Kermode of the BBC. When not inexplicably getting paid to tell you what I thought about films, I like to trawl through my Mill Creek box sets for undiscovered gems. Today's film is I Wonder Who's Killing Her Now. I'm going to tell you about it now. Also, did you know it takes me five hours to get my quiff looking perfect?This horrifying and intriguing indictment of the exceptional angst arising from modern man's desire for material goods may superficially present itself as a terribly unfunny comedy about a man trying to call off a hit on his wife, but there's so much more going on here. Also, I regularly knock one out to recorded images of myself reviewing films. I'm that good. Take for instance the Caucasian actor who is pretending to be an Indian (like I pretend to know more about films than you do). This is clearly a metaphor for Hollywood's insecurities regarding the rise of the Bollywood film, and paves the way for Fisher Stevens' similar role in Short Circuit. We all know now that the irony was that Fisher himself was a white guy being played by an actual Indian actor (Fishinder Stevdeep), but I'm sure at the time this was a sincere gesture on the screenwriter's part. Like I'm sincere when spouting complete garbage for BBC viewers waiting to see the weather forecast.Also, gaze with somnambulent wonder at the multi-layered humour here. The fat jokes, the midget jokes, the transvestite jokes, all of these are cheeky, yet relevant predictions of the future. We are all now image obsessed, and the scene where the Bela Lugosi guy is trying to transplant an old woman's brain into a young woman's body raises not laughs, but the hairs on the back of one's neck. I keep jars of the drool that comes out of my mouth when appearing on the BBC and smear it on the stars I meet at premieres. For some reason. We are truly in the realm of Andy Kauffman's 'anti-comedy' here. You are not laughing at this film. This film is laughing at you. Like Fellini's Intervista, this is a subtle look at the entertainment industry and shouldn't be missed, just like my new book "You are incapable of having subjective opinions regarding films and therefore must rely of a self-important smug non-entity to tell you what films to like", Yours, Mark Kermode.P.S Does my quiff look stupid enough? I sniffed an old woman's underwear once. I'm Mark Kermode. Only I am qualified to tell you what films you should like. Also, I only have one testicle and it looks like a walnut. I'm Mark Kermode.

I guess I'm midway between the few people who liked the film and the multitude who hated it. With a bit of astute editing, it could be rendered mildly amusing in a bizarre sort of way. But as it is, it way out- stays its welcome. The plot starts off with a reasonably amusing situation, but just gets so utterly bizarre and so sillier and sillier the more it progresses that you feel like leaving the theater. But you hang on to see to what depths it can plummet when the even more dopey characters join the cast. It would seem that the director exercised no control over his players at all, but just let them do whatever they liked. And we all know what actors like to do. No matter how large or small, significant or insignificant, important or unimportant their roles, every single one of them will strive to attract the greatest attention to their characterizations - and nuts to everyone else in the scene! But directors should be a wake-up to the aspirations of bit players. So in this case, put the blame for this debacle on the director first and the players a long way second.

Abysmal farce about a man who hires a hit man to kill his wife, but when he wants to call it off he can't because it's been sub-contracted to too many different 'wacky' characters. Similar in style to THE BIG BUS and AIRPLANE, but much more sillier. In fact it gets so silly that it becomes dumb, embarrassing, and even more lame than a kiddie flick. The running gag of a faceless killer (we only see his shoes) repeated attempts at killing the wife are poorly executed and photographed. Making them annoying instead of clever or funny. Out of ninety minutes there are really only three that are even half way amusing. Of the few minor highlights: a cuckoo clock in a psychiatrists office, a mexican waiter in a chinese restaurant, and a out of work actor who agrees to do the killing for $6.95. Funny character actors Darden and Libertini play several different roles.