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Maria Antonietta Beluzzi
Teresa è sensuale e procace e, rimasta vedova, scopre di essere proprietaria di un tir e di molti debiti verso Nabucco. Questi cerca di approfittare del fatto per costringerla a sposarlo. ... See full summary »
In the post-nuclear wastes of Earth two civilizations fight for survival. The Tyrogs, in the City of Doom, and the Drones, who live underground, free from radiation. The nuclear war is over but the fight for survival has just begun.
This cheap-jack follow-up to Luigi Cozzi "Hercules" is just as goofy and tacky, maybe even more than its predecessor. Actually it is. No doubts. Again the clunky sci-fi elements (for science!) finds its way into the Greek mythical adventure which means good times ahead ("He uses science against godly powers"). That's belly-laughs. Lou Ferrigno returns as Hercules, again bringing the fitting qualities for the role and also being resurrected is King Minos who's played with even more energy again by scene chewing William Berger. Their final climatic showdown has to be seen to be believed it might be lousy in the outcome, but the light-show (filled with a snake, dinosaur and gorilla) it bestows is bewilderingly stupid. But in the end, this is its charm.
Simply the story follows Hercules being sent to earth to retrieve the Seven Thunderbolts of Zeus, which have been stolen by renegade gods. There he must face certain challenges, while also dealing with an old nemesis King Minos and racing against time as the earth and moon are on a collision course.
Everything here is junky and ludicrous with vividly low-rent set designs, clumsy, but bright optical effects with trip-out side-effects, lame sound effects and eccentric plotting with devious scheming. It's one set-piece after another, as monsters and obstacles enter the fame throughout the journey. Some of these challenges are not much of one, but others are more so. However there's always a laugh there either way. Be it the encounters with the cheap make-up FX, random dramatics and the funny, no frill dialogues. The short running time makes it easier to enjoy, Pino Donaggio composes again by chipping in with another barnstorming music score and director Luigi Cozzi's ham-handed, but physical approach really outdoes itself.
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