The Erotic Ghost (2001)

Self-absorbed and stressed-out yuppie Robert (well played to nerdy perfection by writer/director John Bacchus) is so caught up with his thankless office job that he neglects his lovely young wife Doris (a sweet and affecting performance by the ravishing Darian Caine). The sad, bored, and frustrated Doris seeks some form of relief and sexual fulfillment from both a lusty lady ghost (buxom former Penthouse Pet Tammy Parks) and two equally voracious female demons (embodied with considerable carnal abandon by Victoria Vega and Jade Duboir). Bacchus not only delivers the expected abundant tasty distaff nudity and sizzling girl on girl lesbian sex (said sex is surprisingly quite kinky in spots, with a torrid S&M session between Doris and one of the demons rating as a definite blazing hot highlight), but also astutely nails the fierce dog eat dog nature of the white collar work environment as well as further spruces things up with all kinds of funky stylistic flourishes and an inspired sense of amusing goofy humor. The always delightful Debbie Rochon has a neat supporting part as overworked secretary Brenda while John Paul Fedele positively oozes as smarmy butt-kissing jerk Bob. A fun and saucy little romp.

Razor 3: Who's Got the Gold? (1974)

After the glories of The Snare, it was unlikely that a further outing for Hanzo would be able to do any better, and this doesn't breach that expectation, but it is a fine film and sits neatly in between the fun but messy first chapter and the terrific second in terms of quality and general entertainment. The screenplay comes from Yasuzo Masumura and has some parallels with The Snare, as well as the expected hi-jinks of a Hanzo film, but the film rings nice little changes on the formula by amping up the character driven humour as well as giving the film a quieter, reflective edge. The film opens with Hanzos assistants scared by a ghost, and typically he decides straight away that he needs to have carnal knowledge of this ghost. It turns out that the ghost is serving as a guard for a stash of stolen coins and from this set-up unfolds a story of theft, corruption and usury, with expected violent and sleazy results. Shintaro Katsu is terrific as expected as Hanzo, coming across effortlessly as a deadly fighter and sexual force of nature, he is equally good in the moments of knowing humour and likable, almost an ordinary gentleman in moments of drama, it is a beautifully rounded performance filled with social conscience and a touching edge of personal feeling. The expected comedy comes off fine as well, his moments with "Snake" Magobei are perhaps the most amusing of the series whilst his interactions with his servants are kookily entertaining as ever. Though neatly laden throughout with nice moments, a fair amount of action and a little sleaze, the film does lose a little from a relatively restrained approach. There are shades of both prior films, the plotting, pace and smarts recall The Snare and when the film aims for sleaze it does very well, with a potently handled and impactful early interrogation sequence. Equally though, director Yoshio Inoue presents potentially sleazy scenes in a more experimental way as per Kenji Misumi's less well handled work in Sword Of Justice, with consequences sometimes very nice, as with a man playing a tune on the koto, with close ups of his fingers plucking at the strings as unbeknownest to him Hanzo ploughs his wife, and sometimes a bit weak, as with an orgy that is reduced to a nudity free psychedelic whirl of limbs in motion that just looks confusing. The nudity and bloodshed is generally downplayed which is a pity, though there is a little of both a stronger approach would have worked better, it is definitely the sort of film where trashy and unrestrained nudity and violence are most appropriate. But even with less in the way of exploitative goods this is still thoroughly entertaining stuff, the predictable moments are wrought with aplomb and there is more than enough intrigue and excitement, even some effective surprises to go around. Its a film for the fans really, playing off the work laid down in the previous instalments and working sweetly if not spectacularly with it. Altogether a near wholly pleasurable if mildly flawed end to a delightful trilogy, the second best of them and well worth a watch for enthusiasts of such things.

Boachi Bushido: Code of the Forgotten Eight (1973)

Pursued by the authorities, rōnin assassin Shiro (Tetsurô Tanba) is taken in by the immoral Bohachi clan, who use the warrior's awesome sword-fighting skills to help them seize control of the local prostitution industry. When no longer of any use, the evil Bohachi leader tries to dispose of Shiro by getting him addicted to opium and caging him up with a syphilitic whore; but even stoned out of his gourd, the assassin proves to be a formidable opponent...

I'm of the opinion that, like cyborgs and dwarfs (and cyborg dwarfs), gratuitous female nudity and gore can make virtually any film more entertaining; director Teruo Ishii clearly agrees, loading Bohachi, a delightfully sleazy Chanbara movie, with countless naked Japanese cuties and very bloody sword-fights, which means that when the screen isn't full of tits (no muff: this being a Japanese film the ladies keep their hands in front of their nether regions at all times), there's severed body-parts flying everywhere instead. Sometimes, Ishii even combines the two, having his naked Bohachi women whipping out weapons and partaking in the violence themselves—something I'm all in favour of.

The name of the game here is clearly 'exploitation excess' meaning that on top of the all the wonderful big-breasted Asian babes and bright crimson blood, viewers can also expect a smidgen of torture, a smattering of lesbianism, and some opium-fuelled sex (with hero Shiro entertaining not one woman, but four!), all realised with hyper-stylised direction that uses strong experimental lighting effects to really add to that cool 70s vibe.

Salo, or the 120 Days of Sodom (1975)

Set in the Nazi-controlled, northern Italian state of Salo in 1944, four dignitaries round up sixteen perfect specimens of youth and take them together with guards, servants and studs to a palace near Marzabotto. In addition, there are four middle-aged women: three of whom recount arousing stories whilst the fourth accompanies on the piano. The story is largely taken up with their recounting the stories of Dante and De Sade: the Circle of Manias, the Circle of Shit and the Circle of Blood. Following this, the youths are executed whilst each libertine takes his turn as voyeur.

Despite being almost 40 years old, Salo is probably the most cruel and repulsive film ever made, not just here in Italy but in the whole world. It depicts the worse atrocities inflicted to humans by humans. The true dark side of human nature: When evil is born out of simple boredom, when it comes naturally. It is a necessary evil if you can endure it.

The Forbidden (1966)

This documentary explores assorted "forbidden" topics from all over the world. Among the subjects depicted herein are a racy TV commercial for a female martial arts school, rowdy teenagers protesting a strict curfew on the Sunset Strip, an underground lesbian club in Geneva, a portable topless bar, and various strip acts from different parts of the globe.  

Director Lee Frost was one of the all-time great drive-in grindhouse filmmakers who made everything from biker flicks to blaxploitation items to hicksploitation outings throughout the course of his remarkable career. Frost churned out more than his fair share of mondo documentaries as well. This wild, racy, and snappy number rates highly as one of Frost's finest and most entertaining entries in this particular beloved exploitation sub-genre. Among the topics addressed herein are a terrifically trashy commercial for a karate school complete with a nasty would-be rapist and a hot chick taking a shower, a portable topless bar, an underground lesbian club in Geneva where two gorgeous gals get it on with each other as part of an initiation ritual, rowdy teenagers protesting a strict curfew on the Sunset Strip, a middle-aged Swedish woman killing both her husband and his younger mistress in a grisly automobile accident, and a French femme fatale who murdered three guys in order to get a man she was smitten with closer to her. The footage on strip clubs and their often bizarre customs all over the world is especially choice stuff: a risqué Paris nightclub, sexy Brussels strippers, virgin strippers at some posh high-class London club, and, best of all, Nazi strippers in East Berlin whose acts have heavy political overtones. Naturally, there's an absurdly solemn narrator relating lots of rather dubious "facts" throughout. The neatly varied score includes some sweet bluesy wailing and an insanely rippin' surf-rock instrumental. Of course, there's a wondrous plethora of tasty female nudity on constant parade as well. The sharp cinematography alternates between bold color and crisp black and white. At a brisk 65 minutes this flick is never dull and races along at a ceaseless speedy clip. A total pip.

The Red Nights of the Gestapo (1977)

An illustrious group of German industrialists plot to overthrow Hitler by negotiating a peace treaty with England. Disgraced, but dedicated Nazi officer Colonel Werner von Uhland is assigned by his superiors to ferret out these deceitful dissidents and stop them before it's too late. von Uhland recruits a bunch of beautiful women to seduce these traitors and undermine their conspiracy.

Unlike the typical example from the short-lived but oddly prolific Nazisploitation subgenre, THE RED NIGHTS OF THE GESTAPO does not deal with the dehumanizing activities in Nazi concentration camps but rather with all the salacious perversions that a group of renegade anti-Nazi Germans get down to when they are holed up in a castle one night under the supposed pretext of plotting Hitler's downfall. What is even more surprising is that the plot is not only based on a book by one of the supporting characters but is ostensibly driven by actual historical events like Rudolph Hess' defection to Britain in early 1941 seeking to sign a Peace Treaty, the proliferation of anti-Hitler sentiments among key figures in the German bourgeoisie which came to a head in the unsuccessful "Night of the Long Knives" assassination attempt on Hitler's life, Hitler's march on Russia in mid-1941, etc.

The Gestapo blackmail Hess' right-hand man (after bugging his apartment and threatening him with the kidnapping of his son) into organizing a party which would gather together the leading figures of the uprising. But, for most of the film's running time, the Gestapo's intentions seem not to find out how the latter plan to overthrow the Nazi regime but rather to prove that even these would-be saviours of the Fatherland have their sordid weaknesses: aided by a handful of truly loose women, the meeting degenerates into one sleaze marathon which ends with the unceremonious gunning down of all concerned by SS troops. As can be expected, there is a sheer barrage of nudity on display exacerbated with the pre-requisite traits of lesbianism, paedophilia, sado-masochism, etc. Unfortunately, there are none of the familiar Euro-Cult faces or even a rousing score which would make all this palatable; what we have instead are an abysmal SS anthem, "Lullaby for Monsters"(!!), whose lyrics have to be understood to be disbelieved, stiff acting (pardon the pun) including a female Hitler impersonation and a hilariously defiant farting gesture from one silver-haired stud of an aristocrat!

Serena: An Adult Fairytale

When I was 13 years old, nothing captured my imagination like provocative VHS artwork for 1970s and 1980s T&A films scattered among the racks at the local video store. One of the ones that stood out to me was the art for the 1977 R-rated version of Cinderella. I never actually got a chance to see it, but I suppose that might be why I pulled Serena: An Adult Fairytale from the DVDTalk screener pool. Of course, once one is not 13 and is therefore allowed to see these movies, the truth is that the VHS artwork is always better than the movie itself. Serena has some bizarre moments that threaten to give the film an actual personality, but it's no different.
Serena is named after Serena, the adult film star who plays the down-trodden protagonist, which is weird, because the character is actually named Cindy. Cindy lives in a Hollywood home with her three domineering step-sisters, who force her to do the chores, and also occasionally have sex with random strangers in the house. Obviously, being forced to have sex is terrible, but it's a strange torture because the only part of the experience she seems to dislike is the moment her sisters demand she participate (as if she would have sex with the same men, in the same order, at the same time of day of her own free will, but here it's torture because her sisters get to "tell" her to do so). A fairy godmother (China Leigh) watches over Serena, narrating the story and occasionally participating in it.

Love Play (L’Essayeuse) (1976)

Studio: Caballero

Emmanuelle Parèze works at a shop selling sexy lingerie. She tries on the garments for her male customers and has an affair with one of them. His wife is frigid and when she finds out what is going on she employs Emmanuelle to teach her about sex. Emmanuelle is brought to the mansion by the chauffeur and they have sex in a car park on the way. On arrival Emmanuelle is grabbed by two black male servants – the infamous scene is severely cut in the American version (the original French film was banned and destroyed) and they throw her in the indoor pool and jump in after her. All this is watched by the wife.
Emmanuelle and the wife then begin lessons with a lesbian session. This is watched by the chauffeur and the maid, both masturbating. The maid then joins in. The next lesson involves making an assignation to have sex with a waiter at a country hotel in the back of the open-topped limo. A passing male cyclist is invited to join in. Then Emmanuelle takes her student to a mixed sauna to join in the orgiastic activities. The wife now thoroughly converted, with her husband she arranges a very lewd game of hide and seek in the woods for their like-minded friends, followed by an orgy indoors.

Golden Age of Porn: Young Seka

Year: a collection of movies in different years, released in 2004
Country: United States
Genre: classic, group, straight, anal, DP
Length: 56 min.

Description:
Seka is, without a doubt, the undisputed queen of blue cinema. See her when she was young and fresh, yet posessed of the erotic fury which made her the legend she is today. Watch her suck, f**k and eat cum better than many of her contemporaries. Seka: the first is still the best.
Starring: Seka

Pretty Peaches 2 / Pretty Peaches 3

I'm a fan of the director's movies and these are definitely two of his best, from the last part of his career.
Pretty Peaches 2 involves Peaches meeting her crazy "uncle," who's played by Ron Jeremy in one of the funniest roles I've seen him in. In this one, Peaches is played by Siobhan Hunter and she makes the character seem more intelligent than in the previous film and part 3. She's not a brilliant actress but she's well cast.
Ironically, her scenes are less interesting than the ones with Tracey Adams, who really steals the show as Peaches' mother, but everyone in the cast does a good job in their roles. Very entertaining.
Pretty Peaches 3 has Tracey playing Peaches' mother once again, but this time Peaches is played by Keisha. A lot of people think that part 2 is better than part 3, but I disagree. I think that part 3, while not as focused in terms of the story, is actually funnier than part 2 and reminded me more of why I love adult movies from this era, because I can watch them from beginning to end and enjoy the acting and craziness of the story along with all of the really hot and well shot action. This time Peaches is looking for spiritual enlightenment. She meets all sorts of strange characters.
The video quality on both of these movies is excellent. Part 2 looks better than part 3 and is in widescreen because it was released to theatres. Part 3 is full frame but still looks much better than my old VHS tape.
I'm not sure what the other reviewer was talking about with the white flashing. They take up maybe 1/10 of the frame, not 1/4, and to me they just look like splices in the print that was used to make this DVD. From what I can tell, there's no way to get rid of splices because that's how they edited the movie. Anyway, they were not annoying to me and I don't think they could have made this movie look any better than it does. I'm very happy that I bought this disc

Oui, Girls (1981)

During the 60's and 70's, many magazine companies were booming left and right. The major players were, of course, Playboy, Penthouse, and tons of low budget magazines that were storming the shelves to create competition.

Oui was no exception, only with this, it was also a porn movie as well as a magazine. The movie is more of a fictional film rather than a "Profile" video. The movie uses some of the girls that have appeared in the magazine. I won't give away the plot as that would spoil the plot for those who are into such films. Please understand this film was made around the 1970's, a time when the porn industry was still growing. There is lots of sex, lots of nudity, and it's on DVD.

Oddly enough, the quality of the film is actually pretty good for a VHS to DVD conversion. It's almost as if it was remastered for the fans of this film or anyone who is into retro movies. The sound quality is still about the same as it was when it was made, so the sound will be of the 1970's quality. Since this is a porn movie, don't expect an oscar winning performance. Definitely for adults only. This is mostly for fans of the retro porn industry.

Expectations + Confessions (2013)

Expectations and Confessions of a Woman were both Anthony Spinelli directed movies which came out in 1977. Both movies feature attractive and demure brunettes as the stars and both films touch upon the theme of the philandering housewife who's stuck in a dead-end marriage and needs a little something to spice up their lives.

The first movie, Expectations, is the story of a bored housewife Margo (Delania Raffino) who answers an ad in an underground newspaper and switches identities with a free spirit, a `loose' woman Montana (Chris Cassidy). While the plot was thin, the scenes were hot. I was surprised at how Expectations touched upon taboo subjects such as sexual assault and incest. There was a scene between Raffino and Joey Silvera which, despite its brevity, was very intense. Another plus is the music. It isn't the typical music for an adult film. It was surprisingly good. When Margo is writing to her friend about her marriage the music strikes a solemn tone. When she has an interracial lesbian scene the music is upbeat.

The Chateau (1971)

 German slavers capture and torture beautiful women.

"The Chateau, often called Chateau of Discipline, is one hell of a callous film that utterly deserves roughie status. It is the final film on the box set, and after the brilliantly disturbing, but shortened, Love Slaves, I thought The Chateau wouldn't hold up as much and deliver the goods. But not only did it continue the deservedly labelled depravity found within this box set, it also surprised me with its scenes of brutal sex and bondage-themed torture. Straight from the debauched pages of the Marquis De Sade, the sadism from the Chateau made me feel dirty and slimy with sweat - one of those rare films that requires you to shower yourself off afterwards, although you might need a chainsaw to get the filth off this time.

We begin with a drunken excuse for a man wandering the grubby streets, hunting for food and stealing alcohol from black dudes. He talks to us via his thoughts, explaining how he nearly had it all. He confides that he fell in love with a woman called Tracy, a woman that came to the chateau like every other woman in hopes of fulfilling her dreams of fame and fortune. He goes even further, explaining that he is on the run from the authorities while principally concealing the brutal criminal activity that he lauded inside the brutal walls of the chateau. The narration by the drunk suddenly ceases and so the story begins…

Punk Rock (1977)

A young girl runs away from home after going to bed with her mother's lover. Once she's on her own, she finds that there are a large number of men who are more than willing to help her repeat her sexual transgressions. This high calorie eye candy reaches near-classic status.

Neon Nights sets a standard against which all other films must be judged. Cecil Howard (the man behind Firestorm, The Last X-Rated Movie, Platinum Paradise, Snake Eyes, Babylon Pink, etc.) has given us a hot hard-core odyssey into the phantasmagorical mind of a troubled girl. He illuminates the blue-movie screen with all the tour de force of erotic invention. In bed, bewitched and motionless, Sandy is levitated in a remarkable sensual special-effects sequence that must be experienced. The bizarre storytelling reaches its carnal climax with a steamy, Fellini-esque orgy in which flashing lights, billowing smoke, and blissful faces all merge in a veritable celluloid bacchanal in which she gets thoroughly ravished. Visually there has never been an X-rated film like Neon Nights.

The Raspberry Reich

Includes Audio Commentary with Bruce LaBruce
(Second Audio Track)

A film about modern left Germans adopting the culture of extreme left-wing movements of the 1970s. The female leader of the Raspberry Reich, Gudrun, forces her straight male followers to have sex with each other to prove their mettle as authentic revolutionaries. From the outrageous and provocative director Bruce LaBruce.

Bruce LaBruce's satirical swipe at terrorist chic is a gleefully irreverent swipe at, well, just about everything. The film combines a porn sensibility (complete with badly dubbed voices) with a high camp transgressiveness that reminds of early John Waters. Indeed Raspberry Reich seems unsure as to whether it wants to be John Waters or a parody of Marxist Jean Luc Godard.

Like John Waters early work this film has got plenty to offend everyone, but its also pacily directed and witty and boasts a terrific over the top character in Gudrun, the sexual and political revolutionary with ways too many causes. 

Fongaluli (1972)

Eccentric Professor Leviticus Wirtsus is obsessed with crossbreeding animals of different species. His research leads Wirtsus to discover a LSD-type substance called Fongaluli. The leaves of this substance cause Wirtsus' beloved lobster Shirly to transform into a beautiful human female. However, unless Shirly has a steady supply of Fongaluli leaves she will revert back to being a lobster. Wirtsus goes to a remote tropical island to find more Fongaluli leaves. During his travels Wirtsus encounters a libidinous female giant, a merry family of incest practicing freaks, a helpful sailor, and a fearsome jungle witch. 

Punk Rock (1977)

Rugged private eye Jimmy Dillinger (well played to the tough guy hilt by Wade Nichols) finds himself embroiled in a seedy and dangerous world of drugs, murder, prostitution, gangsters and white slavery when he searches the sordid New York City punk rock scene for missing teenage runaway Jenny Jordan (fetching brunette Susaye London).

Director/co-writer Carter Stevens offers a pleasingly sleazy wallow in the extremely coarse'n'nasty neon slime: we've got excessive profane dialogue, a few attractive ladies deliver a nice smattering of tasty female nudity, a smidgen of raunchy sex, a constant snappy pace, hard-boiled narration, a remarkably tricky and complex plot, authentically grimy urban cesspool locations, a grotty tone, a heated shoot-out, and a genuinely startling surprise downbeat ending that packs a potent punch right to the gut. Moreover, there's a nifty rogues' gallery of colorful low-life characters: Richard Bolla as huffy, cynical cop Detective Joe Giovanni, Bobby Astyr as twitchy, wormy hoodlum Igor, Elda Gentile as brash pimp punkette Vanessa Garbo, Crystal Sync as sweet'n'saucy hooker Jana, Jean Sanders as zonked-out junkie dancer Nan, and Randy Coppasquatto as Vanessa's slimy henchman Ralphie. Best of all, there's a mighty vivid and flavorsome evocation of the grubby 70's Big Apple underground punk milieu, complete with first-rate raw and energetic live stage performances by the punk bands the Fast, the Squirrels, Spicy Bits, and Elda and the Stillettos. Prudence Prevails' gritty cinematography does the trick. The funky pulsating score likewise hits the groovy spot. A lot of deliciously down'n'dirty fun.

La Femme Objet (1981)

A science-fiction writer creates a sexy robot-girl.

La Femme Objet is the story of a science fiction writer who is completely addicted to sex. He needs it from morning to night and cannot be in the presence of a woman without making love to her, whether she is asleep, in the process of washing the dishes, or anything else. The story begins with his girlfriends Sabine (Helene Shirley) leaving him, telling him as she parts that she wants to live and his demands are literally killing her. The next girlfriends suffers the same fate, as does the secretary he hires and a woman who is designing sets for the movie adaptation of his latest book. Realizing that no living woman can satisfy him, he sets up a laboratory in the basement and builds a true to life, remote controlled robot woman- his "female object" (Marilyn Jess). At first life is good, as the stunning, busty blonde robot can not speak- and wouldn't complain if she could- and satisfies his every sexual whim. He ironically observes, "She is more feminine than any woman I have ever known".

LA FEMME-OBJET remains a peculiar beast in the history of Continental carnality. Originating from an intelligent and literate script that proves a particularly cruel spin on the Pygmalion myth with a dash of Frankenstein, the film offers an incisive critique on the pornographic representation of men (as virile and irresistible) and women (as available and accommodating) by expanding upon these stereotypes, taking them to grotesque extremes.

The Sex Garage (1972)

Conceived as a supporting short for its theatrical release and forever since screened together with the same director's legendary L.A. PLAYS ITSELF, the barely over half an hour SEX GARAGE can rightfully be considered an unofficial third movement to that film, even elaborating on themes touched upon therein. If that film cruelly juxtaposed the evil that men are capable of inflicting with the purity and innocence of nature which the human race has carelessly squandered and destroyed, this astonishing black & white featurette - amazingly shot over a single day - takes matters yet another step further with an implied as much desired immersion with modern technology as one character attempts to make love to his motorcycle, inserting his rigid member into the exhaust pipe and tenderly rubbing his copious ejaculate into the upholstery ! Both the freewheeling cinematic style – frequently favoring extreme close-ups of both machinery and genitalia – and the iconography of high speed vehicles and their leather-attired drivers, not to mention its kick ass soundtrack alternating girl groups with classical music and appropriately soulless synthesizer bleeps, align this featurette with Kenneth Anger's revered cinematic patchwork SCORPIO RISING. Cast members are anonymous and unfamiliar. Both Bijouworld and John Rowberry (as editor of the 1991 Adam Film World Gay Video Directory) list Paul Barresi and the late Bob Blount, who died in an accident shortly after completing the Joe Gage classic L.A. TOOL & DIE, as participants – who copied from whom ? – but I can't vouch for either one as even repeated viewings have kept me from anything resembling a positive i.d.

The Violation of Claudia (1977)

Sick and tired of her husband's (Don Peterson, aka Marc Anderson of Chuck Vincent softcore films) lack of attention, Claudia (Sharon Mitchell) decides to do what all bored cinematic housewives end up doing, she takes up tennis. While her husband slaves away at a thankless job, our heroine is tutored in the finer points of tennis by Kip (Mr Jamie Gillis.) Balls against racquets soon become balls against vulvas as she takes up with her persuasive instructor...who has big plans for Claudia. Afternoons of tennis become evenings of prostitution, as Kip sends Claudia out on several "assignments" which include lesbian amputees (the legendary "Long" Jean Silver), fussy transvestites, cheap wigs, and bald fat men with dessert fetishes. Claudia soon tires of being an exploitable orifice and heads home, only to find her husband...