Three things got me to watch this film: Persis Khambatta. Donald Pleasence. Post-apocalyptic. Then I found out that Fred Williamson was also in it and I raced to find this. Perhaps I shouldn’t have been so hasty.
Released as Il Giustiziere Della Terra Perduta (Vigilante of the Lost Earth) 4 years after Mad Max and 2 years after The Road Warrior, this Italian schlockfest proves why you need the right director to make a great shitty movie instead of just a shitty movie. Trust me. There’s a difference.
First, we have a long wall of words to set the movie up.
Robert Ginty (The Exterminator, TV’s The Paper Chase) plays The Rider, who has arrived on his computerized motorcycle to do something and save someone. Also — there is an AI on his bike called Einstein that is the most grating cute computer in perhaps the history of film. He is the Bob of bots.
I love that this movie sets up The Rider as this awesome hero and he dies ten minutes into the movie by crashing into the “Wall of Illusion.” Yes, the greatest motorcycle rider of his time does not know how to avoid a giant wall.
Luckily for him and not for us, The Enlightened Elders bring him back to battle the totalitarian state run by Prossor (Pleasence). Along with the help of the Outsiders, he frees McWayne, but loses the scientist’s daughter Nastasia (Khambatta).
Then, The Rider joins a ritual brawl, fighting the cast of every post-apocalyptic movie ever made: karate dudes, truckers, punk rockers, soldiers, Amazons and more. He wins their trust and they battle the Omegas and their Megaweapon, but not before his motorcycle and Einstein are destroyed.
Existential question: can he still be The Rider when he has nothing to ride on?
Finally, the good guys win, Einstein is brought back and the Prossor who was killed turns out to be a clone. Yep, Fred Williamson was a traitor and they’re setting up a sequel that never came.
Director David Worth would go on to do Kickboxer, but you can really tell the difference in end of the world films when a normal person and a maniac like Fulci, Sergio Martino, Joe D’Amato or Enzo G. Castellari direct the movie. Also, this film needs a George Eastman heavy to show up and threaten the manhood of The Rider, ala Warriors of the Wasteland.
You know why Fred Williamson is awesome? Because he was already in Italy working on a movie and wanted to stay longer, so he tracked down the director David Worth and asked for a role so his work visa could be extended. He loves Italy just that much.
In case you didn’t pick up my subtle jabs at this film, I didn’t really enjoy it all that much. The poster is way more awesome than what’s inside. And if you’re going to pick an end of the world movie, we’ve already shared plenty that are way better. But who am I to get in the way of you watching a giant truck run over a beep boop robot?
If you want to watch it, there’s a Mystery Science Theater 3000 version. Or you can watch it on Con TV or Amazon Video.
Remember when we discussed Horror House on Highway 5? Well, there’s another house, this time on highway 6. There, a doctor lives in a bomb shelter and awaits the second coming of Elvis Presley. There’s also a killer armed with an axe.
Four college students are searching for the horror house and want to prove the reality of ghosts when a possessed soda machine hurts one of them. That brings them to a clinic that is really the horror house.
I think I love the original — love is a strong term, I think — because it may be amateurish, but it looks better on film. This shot on digital video film loses something as the cheese in it is way more evident. It feels more amateurish than the first, if that’s even possible.
There’s all sorts of weirdness in here, so much so that I can’t totally dislike the film. Weird symbols ala Fulci, discussions about multiple versions of reality all happening at once, random characters showing up only to get killed and an ending that approaches — but does not match — the strange close of the original.
I’m glad there’s a sequel and I’m pleased that Richard Casey is still making movies. I just wish that they were better than this one. I kind of wish he’d write the script and oversee the film with an actual crew, DP and director, as he definitely has some great themes. He just needs a team to make them happen.
H. Rider Haggard’s She, A History of Adventure pretty much set the rules for the Lost World genre and presented a white goddess warrior queen named Ayesha who rules a kingdom in the middle of Africa. It’s been adapted many times for the screen, starting in 1899 with Georges Méliès’ The Pillar of Fire. Probably the best-known version is the 1965 Hammer film, She, which features Ursula Andress, Christopher Lee, Peter Cushing and John Richardson.
This movie? It’s inspired by She but if you were expecting something close to the book — or something normal — you’ve picked the wrong film.
This movie is a quest, or a series of quests, and it’s packed with fully realized worlds and costumes that are on screen long enough to get you invested before they go away. It’s literally a Jack Kirby Fourth World comic come to celluloid realization with none of Kirby’s storytelling panache. Sandahl Bergman (Conan the Barbarian) plays She, who is traveling with Tom and Dick (Harrison Muller, 2020 Texas Gladiators), two brothers looking to save their kidnapped sister. Shandra, She’s sidekick, comes along too.
There are werewolves who just want to fuck. Nazis who just want to kill. Communist mutants with mental powers who just want to do BDSM whip torture to She. Mummies with chainsaws. The film alludes to the fact that its 23 years after Cancellation, a nuclear war, so it’s post-apocalyptic whole also referencing sword and sorcery, yet it was made before Conan turned Italian film backlots into ancient carbon copies of Cimmeria. It is one weird film, never sure if it wants to be a comedy or an action film.
Honestly, have you ever played Dungeons & Dragons on LSD? This is how I imagine that this movie was created. They just got people in a room, got them high and gave them a few D10s and a Monster Manual.
This is all directed by Avi Nesher, who brought us the batshit crazy Doppelganger with Drew Barrymore before becoming a critical darling in his home country of Israel. Obviously, this movie is not one he’d care to bring up.
Also, this movie is packed with strange music choices, like a song from Justin Hayward of the Moody Blues during the credits, along with contributions by Motörhead and Rick Wakeman.
Have I properly conveyed just how strange this all is? Then you’re probably wishing you could see it. The gray market and YouTube are your friends. Yes, in a world where nearly everything gets a blu-ray high-end release, this one remains unreleased.
Zombi 2 has nothing to do with Dawn of the Dead, which was re-edited by co-producer Dario Argento, rescored by Goblin and released in Italy as Zombi. It was a huge success and nothing succeeds like more, more and more. As Italian copyright law allows any film to be marketed as a sequel to another work, producer Fabrizio De Angelis quickly decided that it was time to make that sequel.
Originally, Enzo G. Castellari (1990: The Bronx Warriors, Warriors of the Wasteland) was asked to direct, but he didn’t feel like he was the right director. The second choice was Lucio Fulci, who had handled violence so well in Don’t Torture a Duckling, and screenwriter Dardano Sacchetti, who had worked with Fulci on The Psychic (and would go on to write nearly all of Fulci’s most famous films).
Under the working title of Nightmare Island, the story was intended to be a mix of The Island of Dr. Moreau and classic zombie movies such as I Walked with a Zombie. What emerged was a frightful force of nature that takes Romero’s film, jettisons the political undercurrents and gives viewers exactly what they want: more zombies, more gore, more blasts of pure insanity. In short: more, more, more.
The film begins a zombie being shot in the head, letting you instantly know that this film is not going to wait around and take prisoners. That’s followed by an effective on location New York shot, as an abandoned sailboat bumps and drifts before being boarded by harbor police, who discover that only one somewhat living creature remains: a zombie who kills one officer before being shot and falling overboard.
The owner of the boat, Anne Bowles (Tisa Farrow, The Initiation of Sarah), is questioned by the police about the whereabouts of her father, who she hasn’t seen in months. Meanwhile, at the morgue, the dead cop begins to stir.
Upon meeting Peter West (Ian McCulloch, Doctor Butcher, M.D.) she decides to follow her father to his last known location: the Caribbean island of Matul, sailing there with Brian (Al Cliver, The Beyond, Endgame) and Susan. This is where the movie goes from slow first gear to pure menacing rollercoaster. It’s also where sanity leaves the production, as a zombie battles a shark, an effect achieved by feeding shark tranquilizers and having shark trainer Ramón Bravo play the zombie. This scene was created by producer Ugo Tucci and shot without Fulci’s approval by Giannetto De Rossi.
On Matul, Dr. David Menard (Richard Johnson, Beyond the Door, The Comeback) is running a hospital but also researching voodoo, leading to his wife Paola (Olga Karlatos, Murder Rock and Prince’s mother in Purple Rain) flipping out on him. But don’t get too attached to Paola, as she soon is snuffed out by a zombie in what is this film’s most celebrated and reviled scene, as a zombie sneaks up on her and smashes through a door, jamming a wooden splinter into her eye. Any other film would show this in shadow or off camera. Here, Fulci descends to his basest form and takes the window of the soul and pierces it for all to see.
Menard soon tells Anne that her father is dead before asking everyone to check in on his wife. Of course, she’s dead. But even worse, zombies are eating her corpse, a scene rendered in loving detail that seems to go on forever. They escape to a graveyard of ancient conquistadors who rise from the ground in another astounding sequence. Susan’s throat is torn out and the three survivors battle their way to a hospital where they face off against a zombie horde — a scene insisted upon by the producers.
Only Anne and Peter escape, locking the zombified form of Brian below deck. As they approach New York, they learn that the city has been overcome by the undead. We see zombies slowly walk across the Brooklyn Bridge, effectively bringing us back to Dawn of the Dead all over again.
Zombi didn’t just make money. It made more than the film that inspired it and led to a wave of 1980’s Italian gore shockers, as well as giving Fulci the cachet of the goriest director of them all.
Even the music in this film stands out, thanks to the work of Fabio Frizzi, who was influenced by Caribbean music and the Beatles’ “A Day in the Life.”
I can’t be objective about this film. I realize Fulci’s shortcomings but it’s such an effective shocker, unafraid to punch you repeatedly in the face. Loud, bombastic, brutal and ridiculous — that’s why it’s a movie that gets played in my blu ray player every few months. Just look at that ad campaign — WE ARE GOING TO EAT YOU! — and know that this is a movie made to entertain on all levels.
Look at that Boris Vallejo poster! Between that and Persis Khambatta (Megaforce), this seemed like one of those movies I had to see. Even better, it’s alternate title, Phoenix the Warrior, is awesome!
Starring Kathleen Kinmont as Phoenix (she’s also Kelly Meeker in Halloween 4: The Return of Michael Myers) and Khambatta as the evil Cobalt, this film is all about a pregnant woman who gives birth to one of the few men on earth. There’s also a Reverend Mother who is in control of all the sperm and has a religious hold over all of the women.
Oh yeah — there are also the Rezules, who worship television. How awesome would it be that if instead of zombies, they were dressed up like characters from famous TV shows? Archie Bunker ruling the Badlands of the end times? This movie could have made that happen.
When I was a kid, I wrote a comic book called Cola War (get it, Cold War?) where there was no water so everyone only consumed soda and religiously followed the soda that they drank. It was a great idea until someone explained to me that to create soda, you needed water. None of that logical thinking was applied to this movie.
That’s one of the downsides to watching so many movies. You get yourself excited and then, the chase is, as Lemmy taught us all, often so much better than the catch.
You can catch this on Amazon Prime. For a film packed with naked women and lesbian religious gangs, you kind of wish that it was a lot more entertaining. Well, you can’t get everything, I guess.
I am in love with film. It inspires me every single day. And so does rock and roll. I have a few rock and roll rules that rule my life and I’ll share one with you: if you don’t like The Ramones, I really don’t trust you.
Sure, you can tell me every Ramones song sounds the same. And I’ll tell you that you’re an asshole — Bonzo Goes to Bitburg sounds nothing like Pet Sematary and those two songs sound nothing like Now I Wanna Sniff Some Glue. The Ramones got me through my first year of advertising, keeping my sanity as I worked eighty hours a week and I will forever be in their debt.
This movie makes me insanely happy because it posits a world where The Ramones are the biggest band in the world, big enough to cause a major stir when they come to town. Roger Corman originally wanted Cheap Trick or Todd Rundgren for this, but come on. Only one band could make this work.
The students of Vince Lombardi High School are as good at driving educators insane as they are bad at actually learning. Foremost among their number is rock and roller Riff Randell (has P.J Soles ever been lovelier?) who dreams of writing songs for the Ramones and meeting Joey Ramone.
When new Principal Togar (has Mary Woronov ever not been great in a film?) takes her ticket to the concert away from her, she and her best friend Kate have to figure out how they’ll get to meet their heroes, win true love and escape the drudgery of high school.
There’s a moment here where Riff imagines Joey in her bedroom singing “I Want You Around” to her. It breaks my heart in the best of ways — pure teen worry and angst and then there’s Joey — geeky, gangly, goofball Joey — the hero who comes to her room and there’s this pure puppy love bliss. No other band could have been in this film and communicated punk rock swagger and danger while still having this tender sweetness.
I love PJ’s clothes in this film. That may be because the low budget of the film meant that they couldn’t afford decent clothes for her, so she spent her entire salary on her outfits.
Between Don Steele, Clint Howard, Dick Miller and Paul Bartel, the only members of my favorite actors club not in this film are weirdo Italian gore icons like John Saxon, Ivan Rassimov and George Eastman to make it perfect. Fuck that — this is perfect. The end of the film, where Miss Togar snarls at Joey, “Do your parents know you’re Ramones?” makes me get up and cheer out loud.
Talk about punk rock — The Ramones were only paid a total of $25,000 for acting in this, so they had to play shows every night to make up for it. Meanwhile, Dee Dee fought a roadie, OD’d in jail and woke up in the ER with a $3,000 medical bill. But that’s OK — Dee Dee was such a shitty actor in this that he only got two lines: “Hey, pizza!” and “Hey, pizza! It’s great! Let’s dig in!”
There’s also a giant mouse and mouse children that somehow go to this school for some reason. Who cares!
I love the end of this movie, when the school violently explodes as The Ramones rock out and Screamin’ Steve Stevens goes wild. It’s absolutely, totally perfect — and makes me wish that in my teen years, when no one in my high school knew or cared who The Ramones were, that Dee Dee would come and get me so high I’d wake up in the emergency room with one awesome story. Gabba gabba hey, indeed.
Before you get to the salesy blurb, this is my favorite project every time we do one. There’s some art from me inside, including some Deadly Spawn stickers that you can only get if you order RIGHT NOW.
DIA #12 is just slithering with fantastic content, a lot of which leans heavily toward ravenous monsters that eat you alive. No, I’m not talking about your wireless phone company or your cable provider, I’m talking about THE DEADLY SPAWN, that 1983 indie horror flick about alien spores that fall to Earth and immediately start eating people. And the more they eat, the bigger they grow! Director Douglas McKeown talks to us about his role in creating this low budget masterpiece.
Jack Neubeck may be better known for his work in the theater, but we’re so excited to present an interview with him regarding his appearance in cult faves INVASION OF THE BLOOD FARMERS (1972) and SHRIEK OF THE MUTILATED (1974). Jack talks to us about his experiences making these two cartoonishly grisly pics, as well as his memories of working with cult filmmakers Michael and Roberta Findlay.
Bret McCormick is a lifelong film fan who achieved what has got to be every monster kid’s goal; after making his own scary movies on Super 8, he worked his way up to working for B-movie icon Roger Corman, as well as making numerous contacts with independent filmmakers like S.F. Brownrigg, Robert A. Burns, and Larry Buchanan. Bret has written a new book called TEXAS SCHLOCK, that is part memoir, part commentary, and a vital document about regional filmmaking. Bret talks to us about his book, as well as his own 1986 ultra low budget gorefest THE ABOMINATION.
We’ve also got plenty of commentary ourselves. J.H. Rood has a profile of American serial killer Ed Gein, who inspired some grisly cinematic flickers. Sam Panico has a major crush on CATHY’S CURSE, and Victor C. Leroi discusses Tobe Hooper’s THE FUNHOUSE as part of his Video Nasty series. Lana Revok writes about Manson TV docudrama HELTER SKELTER, and newcomer Roger Braden highlights ALONE IN THE DARK and PSYCHIC KILLER as two must-watch movies. Dustin Fallon takes on WITHOUT WARNING, that 1980 alien-on-earth movie that is really sort of like a FRIDAY THE 13th film, with an alien instead of a mad slasher.
And of course, all of these are accompanied by the pulpy newsprint ads that you love to see in DIA! Hearken back to that era where you got your vital info about what was at the movies by picking up the local newspaper, and you were frequently greeted by sleazy adverts that promised all sorts of gruesome thrills.
Each issue of DRIVE-IN ASYLUM comes with a 4×6 matte print of a random vintage movie ad, and we’ve also got some fantastic die-cut DEADLY SPAWN stickers, too — but the number of SPAWN stickers is limited, so order early to be sure you get one!
5.5 x 8.5, black and white (some pages are printed on colored paper), 52 pages.
In 2015 — remember when — the US government outlawed gasoline, only allowing the elite, the military and law enforcement to use it. No one is allowed to own or use a car and those who go against the law are called Burners, who are policed by the DVC (the Department of Vehicle Control).
Red (Darren McGavin, Carl Kolchak himself) is a Burner who loves his 1980 Trans Am. His son, Cameron, has no interest in cars and continually gets upset at his father for breaking the law.
Another Burner is working with a Senator to make civilian use of cars legal again, but as he’s on his way, a DVC squad led by McBain (Doug McClure, SST: Death Flight, TV’s The Virginian) intercepts him. Dolan, one of the crazier DVC members, blows the guy up with a grenade launcher. Shana, another team member, is upset about this and how the matter has been handled.
Red keeps trying to get Cameron into cars, including having him watch a race between him and Indy, a Burner who races a Mustang. But Cameron is more into Indy’s daughter Jill, who shows him how to drive a dune buggy. While the two older men race, they run afoul of the DVC.
Cameron and Jill have better plans — they go to a barn to have sex. Of course, the DVC attack them, kicking Cameron’s wimpy ass and stealing Jill. It’s up to the two Burners to save her.
Shana helps them out and Cameron and Jill use Red’s Firebird to drive the Senator to the meeting while Red gets to know Shana better.
Is it a coincidence that this Canadian movie — and the Canadian band Rush in the song “Red Barchetta” — both created a world where racing cars were illegal?
This movie never gets as good as the poster. Or as what it should be about. That said, Darren McGavin does this material a favor and seems like he’s having fun. It’s an interesting concept and I wish it had been better, but there you go. As Orange Goblin says, “Some you win. Some you lose.”
In the Christian year 2015, the insensitivity of man finally triumphs and hundreds of atomic bombs devastate all five continents. Terrified of the slaughter and destruction, the few survivors of the disaster seek refuge under the ground. From that moment begins the era that will come to be called “after the bomb” — the period of the second human race. A century later, several men, dissatisfied with the system imposed on them by the new humanity, choose to revolt and live on the surface of the Earth as their ancestors did. So, yet another race begins, that of the new primitives. The two communities have no contact for a long period. The humans still living below ground are sophisticated and despise the primitives, regarding them as savages. This story begins on the surface of the Earth in the year 225 A.B. (After the Bomb)
Rats the Night of Terror begins with a punk gang investigating a mysterious town. Let’s meet the folks we’re going to spend the next 105 minutes with. Kurt and Taurus (Massimo Vanni, Warriors of the Wasteland) share the leadership responsibilities, but Duke really wants to take over. Then there’s Chocolate (Geretta Geretta from Demons), a poorly named black woman who gets flour all over herself and dances around while yelling, “I’m whiter than you!” Obviously Italian directors in 1984 were not yet “woke.” Lucifer and Lilith are, of course, a couple. At least she has plenty of fashion sense, traveling through the end of days wearing a cape and fedora. Noah is the resident genius, while Video is an expert at video games. Yep, that’s why they brought him along, despite the fact that there are no video games left. Deus has a shaved head with a strange symbol, is given to mystic rantings and has on one of The Warriors’ vests. Finally, we have Diana, who wears a studded headband and is the girlfriend of Barry Gibb lookalike Kurt, and Myrna, whose scream is ready to reduce your eardrums to quivering masses of cartilage.
Surprisingly, the gang finds plenty of food in this town. Of course, they also discover plenty of mutilated bodies and lots of rats. But at least the town looks nice, maybe because it’s the same set as Once Upon a Time in America.
Why aren’t the rats eating the food? Look, this was written and directed by Bruno Mattei and Claudio Fragasso, so you better be ready to throw logic into the cold, dead void of space. What else can you expect from the team that brought you Zombie 3, The Other Hell, Robowar and Emanuelle Escapes from Hell? And you may also know Fragasso from another film that makes perfect sense, Troll 2. Just like that film, which has nothing to do with the movie it succeeds, this was billed as the third part of Enzo G. Castellari’s BronxWarriors series. Again — check logical storytelling at la porta.
Luckily for our heroes, they discover a hydroponic growing system that’s made the kindest bud ever known to man. Just kidding — the crops are fruit, vegetables and plants, along with purified water.
Night falls and everyone goes to sleep in the same room. Lilith and Lucifer have sex while everyone else either watches or performs their signature character move, such as polishing a guitar or meditating. Our young lovers get stuck in their sleeping bag while everyone laughs at them, using that hearty guffaw that only Italian dubbed voices can perform. Lilith ends up deciding not to have any more sex — her Southern accent is beyond reproach — and Lucifer stalks off, while she zips herself back into that troublesome sleeping bag.
That’s when our merry band discovers that while they may have dressed for a Road Warrior ripoff, they took a wrong turn at Barter Town and ended up in a slasher film.
Even after the bombs drop, you should know better than to have sex in one of these affairs. That means we can cross off our demonically named couple. He just falls into a hole of rats whereas she gets stuck in that cursed sleeping bag as rats climb in. When the rest of the crew discovers her, a rat climbs out from her mouth in a scene that’s sure to make you either laugh uncontrollably, puke out your last meal or some combination thereof.
I just had a flash — the way everyone is dressed in this film, including Kurt in his white shirt and red ascot, it’s as if the Scooby Gang tried to escape New York. The costumes in this film are fabulous! Good work, Elda Chinellato!
This film sets new standards for rats killing humans. How did they achieve such special effects? One assumes that someone was off camera, just tossing rodents at the unfortunate cast. Well, one doesn’t have to assume, because that’s pretty much exactly what happened, PETA be damned.
Meanwhile, Noah gets attacked by rats, so they decide to scare the rodents off with a flamethrower. Bad idea, unless you enjoy barbecuing your friends. Then, they discover that the rats have eaten their tires off of their motorcycles. How did they do such a thing? What do you mean they cut the power? How could they cut the power, man? They’re animals!
Myrna continues to scream at any and every opportunity while our heroes barricade themselves into the building and wonder, “Has there ever been worse dubbing in a film?” No, my friends. No, there has not. Instead of just asking you rhetorically to imagine the diseases a rat can give you, this film lists them at length.
Who is the biggest enemy? Duke or the rats? Well, Duke may be shooting at them with a machine gun, but he hasn’t eaten anyone from within yet. The good guys keep giving Duke chance after chance, even after he’s more than proved that he’s a ne’er do well. Eventually, he blows himself and Myrna up real good.
Diana just can’t take it any longer, so she slits her wrists. Then, Video learns that the building they’re hiding in was an experimental station for something called Return to Light. Not “Remain In Light.” That’s a Talking Heads record. Also, the rats are super intelligent and see this place as an affront. ”This is worse than being dead,” says Kurt, while he sashays in his little pirate costume.
Have you ever thought, “It must be really fun to be an actor?” Then you weren’t in this movie. For the entire running time, giant piles of rats are poured everywhere and anywhere and on just about everyone.
The rats finally try to break the door down to the control room and all hell breaks loose. Meanwhile, these guys in yellow hazmat suits and masks from The Crazies start walking through the streets.
Deus is killed by Myrna’s corpse and even Kurt is killed by a bunch of rats that fly at him from every angle. Video and Chocolate are then saved by the people in the hazmat suits, who have been gassing all of the rats.
Here’s where Rats: The Night of Terror unveils its shock ending. The hazmat guys are the people from Delta 2. Chocolate then says to one of her rescuers, ““Once, someone told me they read in a book that we all lived on the Earth together, that we were all brothers. The book was called the Bible, and it said that God created man and animals.” The leader of the men takes off his mask and he’s no man at all — he’s a human rat!
It’s a twist ending that isn’t explained and doesn’t make any sense at all! It would be like Peyton Farquhar shat his pants at the end of An Occurrence at Owl Creek Bridge instead of getting lynched!
Rats: The Night of Terror isn’t a good movie. But it’s a great movie. A movie that you can tell people about and they’ll say, “That’s not a real movie.” But it is. It totally is.
Hours before a nuclear attack, couples that have been matched by computer are taken to an underground shelter so they can eventually repopulate the Earth. A great plan, if it wasn’t for the vampire bats!
Starring Jackie Cooper (Superman), Richard Jaeckel (Grizzly), Bradford Dillman (The Swarm), Star Trek: TNG’s Diana Muldaur, Lincoln Kilpatrick (who has an amazing scene where he tries to find a way out by climbing up and out) and more, this post-apocalyptic film is very 70s. There’s a lot of talking, not much action and plenty of in-fighting.
Can what’s left of humanity get along long enough to make some post-bomb babies? Will the bats bite their butts? Will you be offended when a rape scene turns into a seduction because this is the 70’s? These questions and more will all be answered.
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