A priest comes to a small town to help get rid of a monster whose blood coagulates very fast. This creates problems as the monster is very hard to kill and then decides to go on a killing spree of its own.
A young woman teams up with an adventurer to find her missing sister in the jungles of New Guinea and they stumble upon a religious cult led by a deranged preacher whom has located his commune in an area inhabited by cannibals.
A reporter and her cameraman connect a surviving Jonestown leader and a TV exec's missing son to a drug war where jungle installations are being massacred by an army of natives and a skilled white assassin.
Alex, a psychopathic mechanic, rapes a woman in the park. Later, a decadent couple pull into his shop needing car repair. They invite Alex and his mentally challenged buddy to join them at a decadent suburban party. Once there, Alex amuses himself by tormenting and raping the guests...Written by
Ed Sutton <firstname.lastname@example.org>
David Hess was the first choice for Alex because he played a similar villain in The Last House on the Left (1972), which was a highly successful low-budget thriller. The makers of this film wanted Hess involved so much that they gave him half the rights to the film. See more »
Let's be honest here: you didn't come to this for an elaborate mise-en-scene (such a horrible word) that reveals an allegory on the displacement of modern man. Hell, you don't even know what a mise-en-scene is. You don't care. It sounds like something you would like to punch a hole through. Do you like balloons or ribbons? No, you're a guy who likes guy stuff: dynamite, karate, trucks, kickass movies.
No, you came to this because you know David Hess is going to hole up in a fancy cottage house holding hostage a host of snotty New York characters who think they are too good to boogie down with disco. Because he's going to be wearing a lemon yellow jacket and something close to an afro and he's going to oogle and leer at women in that perverse way between rapist uncle and protective big brother. Giovanni Radice is going to be his imbecilic sidekick. Girls are going to get undressed whether they want to or not, a razor is going to be put in use.
So by all accounts this must be the brutal, intense, grueling experience other viewers describe. Deodato is involved and that used to mean something back in the day. But it's not, not really, and I'm not just preening with aloof jadedness here.
No, it's glorious exploitation as the term used to have meaning. Hysterical, cheesy, dirty, but so enjoyable. There are no politics here, just one long sexual fantasy about forceful sex and degradation that can be enjoyed equally well from both ends. David Hess exudes raw animal magnetism and gets to have his way, that is until the mandatory moral denouement. The ladies get to enjoy being had or play along for the game. That is all.
Now the guerrilla shots from inside a moving car at the beginning of the film that capture night rolling down on New York, these are pure film poetry to my mind. As far as a film New York off the beaten track is concerned, I rate these highly and next to Jean Rollin's cold cityscapes from Lost in New York.
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