identifies the "uncomplicated magnetism" of Law and Mell's onscreen sexual chemistry as one of the primary factors of the film's cult following. Similarly, Kat Ellinger believes that both Danger: Diabolik and Barbarella reflect trends of the sexual revolution, presenting a morally ambiguous worldview that stands in contrast to most 21st century comic book film adaptations such as the Marvel Cinematic Universe, which she described as largely "masculine and asexual". This is seen not only in its characterization of Diabolik and Eva, especially the similarity of the latter's role to the assertive female characters frequently seen in Bava's other films, but also in the film's production and costume design. She particularly notes a circular motif in Mogherini's art direction, such as the dial on Diabolik's safe (which bares some resemblance to a woman's breast), Diabolik and Eva's bed — "a giant circular statement that invites an orgy of at least ten" — and their swimming pool.Video Librarian noted that the film was "guaranteed to delight viewers whose tastes run to the outré", praising Morricone's score, Law and Mell's acting, and noting that the "real star is Bava" stating that "the film is colorful almost to the point of garishness." Cinefantastique also discussed the film's visuals, noting that: "[Bava's] color rich, brilliantly artificial-looking compositions were the cinematic equivalent of comic book art even before he tackled the form." The magazine also found that the special effects rivalled those of Bond series veteran Ken Adam. The review also praised Law's work in the film noting his "amazingly expressive eyebrows" and declared the film as "1960s pop-culture heaven." Ignatiy Vishnevetsky (The A.V. Club) compared the film to Barbarella, opining that Diabolik had "a sense of infectious, amoral fun" which Barbarella lacks. He declared the film to be among "the definitive touchstones of Euro pulp." Empire included the film on its list of the top 500 greatest films. They described the movie as "thin as a poster, but still amazing cinema – a succession of striking, kinetic, sexy, absurd images accompanied by a one-of-a-kind Ennio Morricone score that revels in its casual anarchy." Jim Vogel ranked the film's MST3K episode at #75 out of 191, calling the series' ending "a fairly satisfying conclusion" and found the film to be "entertaining enough ... it's hard not to appreciate the Technicolor splendor and absurd costuming." Writing for The Nerdist, Kyle Anderson praised both the film and its