The great things about this film: the cinematography and the score. The cinematography is by Zbigniew Rybczyński, and the music is by Klaus Schulze. Rybczyński's camera work is just electric—the crazy crane shots, the harsh shots from the ground, the unsettling shots from above, the jerky pans, the monstrous close-ups, the denting and distorting of winter light. This all stands as some of the best cinematography of that decade, the 1980s. As for Schulze’s part, he provides a cold synth score whose main movement, “Surrender,” is defined by the angular/minimal/mechanical drumming and claps of a machine. But all of this innovation is wasted on a story about a serial killer. This kind of criminal is so uninteresting, so predictable, so limited. We get it: He kills for no reason, he just has to kill, he kills people randomly. We spend a lot of this film in this narrative dead end.