Prostitute Sugar is set up by a corrupt politician. She is convinced of the futility of appealing her case in the courts and signs on to a chain gang run by the notorious Dr. John who ... See full summary »
Prostitute Sugar is set up by a corrupt politician. She is convinced of the futility of appealing her case in the courts and signs on to a chain gang run by the notorious Dr. John who performs cruel medical experiments on the people who work for him. Written by
Eric Conrad <email@example.com>
Following in the genre-setting footsteps of Jack Hill's The Big Doll House (1971), Sweet Sugar is a formulaic Women in Prison movie from Werewolves on Wheels (1971) director Michel Levesque. Busty prostitute Sugar (Phyllis Davis) is set up for marijuana possession by a corrupt politician, and is thrown into a Costa Rican prison. She is given the opportunity to be moved to the sugar plantation in exchange for a confession, where she meets the various feisty inmates, including Simone (Ella Edwards). Amongst the male guards, there is hustler Max (Albert Cole) who is trying to get his young friend Ric (James Houghton) laid, and the tyrannical and sadistic Burgos (Cliff Osmond), all overlooked by the creepy Dr. John (Angus Duncan). The girls' hopes are raised upon the arrival of voodoo priest Mojo (Timothy Brown), who uses his powers in black magic to help set them free.
If you're a fan of WiP movies, then Sweet Sugar, if anything, ticks all the boxes. We have shower scenes, boobs (naturally), topless flogging, ketchup-red blood, rapey guards, a filming location where filming is cheap, torture, a sassy black chick, and explosions. Where it stands out is in the sheer insanity of certain scenes, namely Angus Duncan's ridiculously over-the-top Dr. John, who performs orgasm torture experiments on his subjects, and some drugged angry cats. Duncan camps it up so ludicrously that the mundanity of the rest of the film becomes redundant enough to get some enjoyment out of it. Davis has the chesty charm of a Russ Meyer lead (and also starred in Beyond the Valley of the Dolls (1970)), but she's no Pam Grier, and the film's quirkiness soon wears thin, as it plods from one familiar scene to the next. It's not quite as dull as most WiP movies, but it's still a pretty bad film that offers nothing new to the genre.
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