A psychotic redneck who owns a dilapidated hotel in rural East Texas kills various people who upset him or his business, and he feeds their bodies to a large crocodile that he keeps as a pet in the swamp beside his hotel.
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 man's best friend is killed on the streets of New York. The man (Robert Ginty) then transforms into a violent killer, turning New York into a great war zone and Christopher George is the only one to stop him.
An artist slowly goes insane while struggling to pay his bills, work on his paintings, and care for his two female roommates, which leads him taking to the streets of New York after dark and randomly killing derelicts with a power drill.
David must fight for his life against the gangsters who killed his brother for a CD filled with proof of their illegal activities. When David gets possession of the CD they go down to ... See full summary »
According to Gordon Mitchell, he was totally unaware that a double was used for the longer shots of him fighting Mezzanotte with a chain. Having never seen the film, he only realized this when it was brought to his attention during an interview in 2003. See more »
I think I managed to endure it with minimal brain damage...
...or not. This is one of Italy's worst post-nuke flicks, even worse than EXTERMINATORS OF THE YEAR 3000. Charisma-free hero Conrad Nichols prances around the desert killing and killing and killing gas mask wearing soldiers without end. In the end, his climactic battle with Gordon Mitchell (TEN COMMANDMENTS) atop an oil refinery is made laughable because Mitchell stunt double doesn't even attempt to hide his true identity! All this to the tune of Francesco De Masi's great music, which was shamelessly plundered from ESCAPE FROM THE BRONX and THE NEW YORK RIPPER. Plotless, pointless, boring... lots of action but it's all done quite badly, I doubt if Tonino Ricci ever actually showed up to any of the filming days, or if he did, he just gave his crew free reign. Giovanni Bergamini's camerawork is pretty good and Vincenzo Tomassi's editing is top-notch (as usual), but there's nothing to hold it all together aside from Tito Carpi's quickie script. A truly lame movie that won't do much for you unless you're a hard-core fan of Italian post-nuke action, though here it's even more cheesy and pointless than usual. See ESCAPE FROM THE BRONX or AFTER THE FALL OF NEW YORK instead.
Conrad Nichols became the leading man in almost every subsequent film directed by Ricci, probably just because he had more than a stunning resemblance to more famous musclehead Italian action star Mark Gregory (who last I heard works in a pizza restaraunt in Rome). Lord only knows where Nichols is now... (probably a night-stocker at K-mart)
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