After a nuclear war, society breaks down into two groups, the evil Euraks and the rebel Federation. A mercenary named Parsifal is hired by the Federation to infiltrate New York City, which ... See full summary »
A bounty hunter arrives in a mining town and is hired to track down the missing daughter of the town's crippled mayor and learns she has been kidnapped by the mayor's corrupt right-hand-man and a band of outlaws he is secretly working for.
It is a Butch Cassidy and the Sundance Kid with a kick in the ass from Shakespeare and Dr. Suess musings. It is a Rosencrantz and Gildenstern with a Southpark twist. It is 2 Romeo's that ... See full summary »
After a nuclear war, society breaks down into two groups, the evil Euraks and the rebel Federation. A mercenary named Parsifal is hired by the Federation to infiltrate New York City, which is controlled by the Euraks, to rescue the only fertile woman left on Earth. Written by
The weapons used by the white-suited guards of the 'American' government look exactly like the weapon the Jane Fonda used in Barbarella. (It even featured on some of the posters.) If they aren't the same props being recycled, then they are very faithful replicas. See more »
The scientist is said to have placed his daughter Melissa into hibernation to protect her from the effects of radiation. But merely placing her in hibernation would not protect her eggs from radiation damage, and the transparent cover of her case does not appear to consist of radiation shielding. See more »
The film's credits list this as an "Italo-Frenchy" co-production. See more »
Fascist kingpins scheme in an office decorated with a futuristic knockoff of "Guernica." Gladiators clash in souped-up sedans, then get hookers dispensed by cyborgs styled like female clowns. A Dr. Evil-like chrome-dome bad guy gets his eyeballs pulled out by hooks, then replaced by peepers from an unlucky donor. Sergio Martino's AFTER THE FALL OF NEW YORK may be the only grindhouse ripoff of a famous movie that out-invents the original by a power of one hundred. It's supposed to be a copy of ESCAPE FROM NEW YORK, but it suggests Jess Franco having a field day on the abandoned sets of Altman's QUINTET. Dizzily cast and designed, with more visual ideas and free-form movement than any grindhouse movie of the period, it's a lesson in what B movies are supposed to be--and were, before they turned into bland late-night-Cinemax fodder.
13 of 16 people found this review helpful.
Was this review helpful to you?