Made in eighteen days for less than half a million dollars, Black Caesar went on to become a big hit, and AIP were quick to demand that Cohen provide a sequel as soon as possible. Adding to the time pressure on Cohen was the fact that his star, Williamson, would soon be leaving the country for some shooting overseas.
Betty proves, in the best Turkish cinema tradition, to be quite a fighter in her own right, taking on a somewhat pointless undercover mission that involves her dressing as an Indian squaw and ultimately leading a climactic charge that saves the hide of the hopelessly outgunned Swing.
At the end of the day, I have to shrug and surrender to my baser side and say that Michael Carreras probably needed to be kicked in the shin at least once. Possibly more than once, but at least once. Allow me to explain myself. Michael Carreras was the son of Hammer Studio founder James…
In fact, judging from the man’s writings alone, I’d imagine that any attempt by him to describe any normal type of human sexual congress would be one of the most excruciatingly awkward, squirm-inducing things you could possibly read.
An expedition crew — comprised of four women and two men — heads out from the planet Cynro toward the unexplored planet Tem 4 in response to a mysterious distress call. Due to the length of the voyage, many months have passed by the time of their arrival, at which point the conveniently humanoid inhabitants of Tem 4 claim no knowledge of the signal.
Emboldened, perhaps, by the success of the first film and the amount of creative leeway given him by Toei, Ito this time largely dispensed with genre trappings and delivered a film that was even more obviously the product of a singular directorial vision.
Neon disco windchime nude dancing, and so many David Carradine buffalo shots per minute that to merely gaze upon them is enough to drive sane men mad.
It’s really one of Hammer’s most impressive, quirkiest efforts. Regardless of how bad things were for Hammer in the 70s, the movies that came out of it were usually very good and very interesting.
Female Prisoner #701 is a thrilling piece of exploitation cinema, as well as a challenging work of visual artistry. But, as great as it is, it merely set the stage for what was to come.
The Pinky Violence films of Norifumi Suzuki represent one extreme of the tendency of Japanese exploitation films of the seventies to combine a very high level of craftsmanship with an unflinching preoccupation with human behavior at its most sleazy and mysteriously perverse.
In retrospect The Land that Time Forgot would have been a poetic place for Amicus to end — with volcano erupting, boat sinking, and its stars facing a seemingly hopeless situation. Instead, they decided to show us the aftermath of the collapse, and give us Milton Reid in a skimpier outfit than Sarah Douglas.
It looks beautiful, the actors and the characters that they play are incredibly appealing, the action is wonderfully staged and literally non-stop, and the atmosphere is so rich with romance and intrigue that it’s enough to send you into a ninety minute swoon.