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 »
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 »
As the ship takes off for Alpha Centauri at the end of the film, Parsifal and others are simply standing around on the ship without being strapped in. This is especially odd since the President has specifically referred to his inability to endure the g-forces during takeoff. 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.
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