Impulse (1974) is a curious little slice of exploitation cinema that attempts to blend the seedy world of con artists with the tense atmosphere of a serial killer thriller, all while starring a pre-Star Trek William Shatner as the disturbed, homicidal playboy Matt Stone. Directed by William Grefé, the film is a throwback to the kind of low-budget crime thrillers that were commonplace in the early ’70s. While the premise shows potential, Impulse stumbles under the weight of a meandering plot, lackluster pacing, and performances that veer between engaging and unintentionally laughable. Still, it’s a film that might appeal to fans of Shatner’s unique brand of over-the-top performance and those who enjoy their horror served with a hefty dose of camp.
The premise is straightforward, if a little grim: Matt Stone, a charming but deadly conman, has a history of seducing wealthy widows, swindling them out of their money, and then killing them. When he sets his sights on Ann Moy (Jennifer Bishop), a single mother with a teenage daughter, Tina (Kim Nicholas), Matt believes he’s found his next mark. But Tina isn’t so easily fooled. She begins to suspect something is off about Matt, and when she witnesses him murdering his old prison cellmate “Karate Pete” (Harold Sakata), she tries to warn her mother, but no one listens. This sets off a chain of violent events that culminates in a final showdown in a lavish mansion.
While the premise has the makings of a tense psychological thriller, Impulse never quite builds the suspense it promises. The pacing feels uneven, with large stretches of time devoted to aimless dialogue, random encounters, and Matt’s increasingly absurd interactions with his victims. The plot hinges on Matt’s ability to charm and manipulate those around him, but instead of being compelling, these interactions often come off as tedious and repetitive. The film is peppered with long stretches where Matt stalks his victims, but it’s hard to stay engaged when the narrative lacks any real forward momentum.
Shatner’s performance as Matt is the film’s most divisive element. He is, as always, larger than life, and his portrayal of the unhinged, smooth-talking killer is so over the top that it borders on self-parody. Shatner’s ability to swing between charming playboy and raging psychopath is one of the film’s few highlights, though it also provides a source of unintentional comedy at times. His emotional outbursts and dramatic pauses give the film a strange tone, as if he’s competing in a bizarre game of “who can act more wildly.” At times, it’s a bit much, but it’s also part of the film’s charm — especially if you’re a fan of Shatner’s particular style.
The supporting cast is a mixed bag. Ruth Roman, as Julia, provides a grounded and somewhat sympathetic performance, especially as she tries to protect Tina from Matt’s increasingly erratic behavior. Her interactions with Shatner, though somewhat strained, add a touch of gravitas to the film’s otherwise campy proceedings. Harold Sakata, best known for his role as Oddjob in Goldfinger, is entertaining as “Karate Pete,” though his character’s involvement in the plot feels more like a forced addition than an integral part of the story. Still, the scene in which Shatner’s character hangs Sakata’s is undoubtedly one of the film’s most memorable moments — if only for the behind-the-scenes drama, as Sakata nearly died during the scene’s filming due to a rope malfunction. Shatner also broke his finger in the process, but both men soldiered through it, making it one of the more accident-prone sequences in a film that’s already rife with tension.
The film’s biggest issue is its lack of focus. Impulse is a hybrid of a serial killer thriller and a conman heist film, but it never fully commits to either genre. The first half of the film feels like a slow burn, with Matt’s predatory behavior and his budding relationship with Ann, but it doesn’t escalate quickly enough to build real tension. Meanwhile, the second half leans into the thriller aspect with the murder of Pete and Tina’s attempts to expose Matt, but the film’s resolution feels rushed and somewhat unsatisfying. By the time we get to the final showdown, it’s hard to care about what happens to the characters, especially since we haven’t been given enough time to invest in their fates.
In terms of style, Impulse is undeniably a product of its time. The low-budget production values are evident in the film’s set design and special effects, but the film does manage to create a grungy, atmospheric tone. The Florida setting works well for the story, and the sparse, gritty visuals help reinforce the feeling of a seedy underworld where danger lurks just beneath the surface. However, the film doesn’t capitalize on its setting as much as it could have. Despite being labeled a “horror thriller,” it’s not especially scary or suspenseful. The scenes of violence, when they do occur, are sudden and graphic, but they’re not drawn out enough to truly shock.
Impulse is not a film that will leave a lasting impression on most viewers, but it’s certainly an interesting piece for fans of cult cinema and those curious about William Shatner’s work outside of the Star Trek franchise. Its blend of crime, horror, and psychological drama makes it a fascinating, if flawed, watch. The film’s unintentional humor, combined with its darker moments of violence and suspense, gives it a weird charm — though whether that’s enough to carry it from start to finish is up for debate.
In conclusion, Impulse is a low-budget, sometimes absurd thriller that fails to deliver on the tension and drama it promises. William Shatner’s erratic performance is both its greatest asset and its most campy detractor, and while the film offers moments of dark intrigue, it’s ultimately hampered by a lack of focus, pacing issues, and a somewhat unsatisfying narrative. Still, for fans of 1970s exploitation cinema, it’s an intriguing relic from a time when B-movies were at their grittiest and most unpredictable.
