While doing undercover work in a mental hospital, Emanuelle discovers a girl who seems to have been raised by a tribe of amazonian cannibals. Intrigued, Emanuelle and friends travel deep ... See full summary »
A man who lost an arm and his family to a tribe of cannibals returns ten years later to bring back his teenager daughter, only to find that she grew up into a beautiful blonde woman who became the cannibals' queen.
Finding a new employer, and looking not a day older since the end of World War II, Ilsa works for an Arab sheik who enjoys importing females to use as sex slaves. An American millionaire's ... See full summary »
Renouncing her "sinful" past, Emanuelle has entered a convent and has dedicated herself to a life of service. Enter Monika, the free-spirited, free-loving daughter of a wealthy Baron. ... See full summary »
While doing undercover work in a mental hospital, Emanuelle discovers a girl who seems to have been raised by a tribe of amazonian cannibals. Intrigued, Emanuelle and friends travel deep into the Amazon jungle, where they find that the supposedly extinct tribe of cannibals is still very much alive, and Emanuelle and her party are not welcome visitors. Written by
Jonathan Ruskin <JonRuskin@aol.com>
The acting may be appalling, but it's difficult to tell for sure because this is dubbed -- badly. The direction, by high priest of sleaze Joe D'Amato, is adequate, but it's the unrelenting sex and violence that float this flick's boat.
A lot of "classic" exploitation is, in fact, incredible boring, slow moving, and beyond inept. This is not one of those. This delivers what audiences expect, and it takes the carnage several steps beyond the norm. We get nipples cut off and eaten, a vagina cut open and used as a hole to pull innards through, castration, close-to-hardcore sex, stabbings, beheadings and damn attractive women.
Laura Gemser is her usual stunning self as Emanuelle and is lovingly scrutinized in a couple of love scenes by D'Amato's leering camera.
Some of the photography is surprisingly atmospheric and the score is memorable and moody.
The director is often criticized for his output, but I'm happy to congratulate him for a body of work that is, if nothing else, unashamedly extreme and sleazy. Franco made many more boring stinkers than D'Amato and rarely made anything that wasn't awash with shoddy camera-work, nonsensical plotting and self-indulgent repetition. D'Amato, on the other hand, was a dedicated journeyman who gave audiences what they wanted. He wasn't a genius by any stretch and he was sloppy with his action direction, but he did contribute to an impressive oeuvre.
"Emmanuelle and The Last Cannibals" is textbook trash.
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