"Rampo's short stories, like those of Edgar Allan Poe, the American mystery writer from whom he took his non-de-plume, lend themselves incredibly well to cinematic treatment in that they are driven by imagery rather than plot... All the best then that the omnibus movie Rampo Noir sees two of Japanese cinema's most extreme and visually expressive cinematic reprobates [Akio Jissôji and Hisayasu Satô] reintegrated into the fold, as well as welcoming in two newcomers to the movie world who have cut their teeth in their own respective fields within the image industry... Rampo Noir is a reminder of many of the things that attracted many of us to Japanese exploitation cinema in the first place: its unabashed eroticism, its remarkable visual inventiveness, and its willingness to plunge into the dark realms that so many other movies fail to explore." - Jasper Sharp, Midnight Eye