PimpinAinttEasy Dear Ruggero Deodato,I really don't know what it is with you and your choice of bad actors. There was not a single good actor in this film apart from David Hess. The rest of the actors were awful even by B-movie standards.The story and the twist at the end were great. It was not as shocking as Cannibal Holocaust either. Of course I cannot blame you for that. It is hard to beat Cannibal Holocaust. But it did seem like you relied too much on the twist in the end. Everything leading up to the twist/revelation at the end seemed to be uninspired.After watching your movies, everything else seems so lame to me. I cannot handle films about regular people anymore.The background score by Riz Ortolani was used very well. You really had a good ear for background scores.Best Regards, Pimpin.(6/10)

christopher-underwood This is not an easy film to write about, any more than it is an easy film to watch. Whether a film is difficult, troubling, worrying and deeply challenging is quite a separate issue from whether it is well made... or enjoyable. I first saw this way back in the early days of video and seem to recall finding it too shocking to really comprehend. With the passing of time, exposure to much of the vast canon of exploitation cinema and some limited understanding of world and more particularly Italian politics of the time gives me a little more perspective. This is still not a film I would gladly recommend freely, indeed I would have a hard time relating to anyone who came away from this with a grin on their face. And yet for all the misogyny, rape and other sexual violence, this is so well made, so riveting to watch, it cannot be ignored. The film begins at a gallop, with rape and murder before the credits have completed and really never lets up. There are fascinating dynamics at work here if there was the chance to pause and analyse them, as it is the political, social and sexual dimensions crash and tumble about as we grapple with just how terrible this or that person is and whether anyone could/would really do this, or that. So, hard to recommend but equally hard to fault as a pulsating piece of exploitation film making.

chaos-rampant 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.

Barry Convex http://www.youtube.com/watch?v=-PO16uVP6zoThe central character of the film is Alex, a full time mechanic and part-time rapist. While his full time job is established after the opening credits, unfortunately, his part-time job is established BEFORE the opening credits. The film begins with Alex driving on the road alongside a fetching young woman. He forces the woman off of the road, jumps into the passenger seat of her car, and violently rapes and strangles her to death.Some time later, we see Alex at his mechanics, garage getting ready to go out for a night of disco dancing. Accompanying Alex is his friend Ricky, who looks up to Alex in a big brother sort of way, and also appears to be mildly retarded. Before they get a chance to leave, however, a rich young couple experiencing car trouble, pull in to the garage. After fixing their car, the boyfriend, Tom, invites Alex and Ricky to a small party as a gesture of good will. Alex, who has eyes for the Tom's smokin' hot girlfriend Lisa, eagerly agrees. After they arrive at the party, and pleasantries are exchanged, Ricky begins dancing with one of the beautiful young women at party. As the other rich snooty partygoers egg him on, it becomes obvious to Alex that they are mocking RickyFOR MORE, CLICK ON THE LINKhttp://www.youtube.com/watch?v=-PO16uVP6zo