Cugini Carnali translates as First Cousins, but this movie was also titled The Visitor, Hot and Bothered, La Prima, Loving Cousins, and High School Girl.

This is the story of Nico d’Altamura (Alredo Pea, who was also in two other commedia sexy all’italiana, the Dagmar Lassander-starring Classe Mista and the Edwige Fenech movie The School Teacher), who is a shy sixteen-year-old who falls in love with his city-born cousin Sonia (Susan Player, Invasion of the Bee Girls, Malibu Beach).

This comes from director Sergio Martino, who you may know better from his early 70s master class on making giallo — Your Vice Is a Locked Room, and Only I Have the Key, All the Colors of the Dark, Torso, The Strange Vice of Mrs. Wardh, The Case of the Scorpion’s Tail — or his sexy bedroom movies with Edwige Fenech.

Nico comes from a more provincial family than Sonia, and while his parents are strict, they have their secrets. His father is sleeping with the family maid (Rosalba Neri, Lady Frankenstein) and also waiting for their uncle to die, but he keeps alive either out of spite or to keep sleeping with prostitutes. When Sonia comes to town, she causes a scandal by wearing miniskirts to church and sunbathing nude, but let’s face it, Nico has no idea what he’s in for.

Martino was a genre hopper. The year after this movie, he made two poliziotteschi (Gambling City and Silent Action), a giallo (The Suspicious Death of a Minor), and Sex With a Smile, which features Barbara Bouchet, Fenech, and Marty Feldman. This may not be his best movie, but it’s not his worst.

Directed by Igor Auzins and written by Forrest Redlich, who created the Australian soap opera E Street, High Rolling has Tex (Joseph Bottoms) and Alby (Grigor Taylor) leaving behind their carnival jobs to head to the Gold Coast. They soon meet a hitchhiker named  Lynn (Judy Davis) and, along with two dancers, Barbie (Wendy Hughes) and Susie (Sandy McGregor), hijack a bus.

Tex is the impulsive American dreamer, while Alby provides the grounded, albeit reluctant, Australian counterpart. Their chemistry is the engine of the film, fueled by a 1970s obsession with the open road as a symbol of ultimate freedom.

What I didn’t like is that they get the Corvette they drive in by knocking out a gay man, Arnold (John Clayton) and then stealing the sports car. This scene is a jarring reminder of the year this came out. Using a marginalized character, even if they are the drug-dealing bad guy, as a punching bag to facilitate the protagonists’ journey complicates the likable rogue personas the movie tries to build for Tex and Alby.

At least the girls get to do their version of Donna Summer’s “Love to Love You Baby.” And you get to see Chantal Contouri from The Day After Halloween and Thirst on the bus.

Also: Before she became an international multi-award-winning actress, Judy Davis made her film debut in this movie as Lynn.

I have to speak with pride for my Italian filmmaking countrymen: they do not give a fuck.

Any other movie these days that would put a child in danger would not do what director Enzo G. Castellari and writers Tito Carpi, Gianfranco Clerici, Vincenzo Mannino and Leonardo Martín do in this movie.

When the question is asked, “Does this go too far?” I assume Castellari laughed and drank another shot of J&B, delirious in the director’s chair.

Castellari claims he saw Bullitt and wanted to make this, but he probably was thinking of The French Connection. I mean, Fernando Rey is in it, just to assure us that, yes, this Italian movie will be stealing a lot from that movie.

But who cares? This is the story of a tough cop, Vice-Commissioner Belli (Franco Nero), battling perhaps even tougher bad guys, the kinds of drug dealers that’ll blow up their own men just to take out a few lawmen. These new criminals are so disgusting that even the the old-school organized crime bosses like Cafiero (Fernando Rey) try to take them out, only to learn that some of their most loyal men have decided to work for the other side.

Even after all the work it takes to convince Commissioner Aldo Scavino (James Whitmore) that he has a case, Belli must watch as the old man is killed. Soon, the new mob beats his lover Mirella (Delia Boccardo) into submission and then well…runs his daughter over with a car.

Any other movie would hold back from this and do it off-screen.

Welcome to Italy.

In Erica Schultz’s The Sweetest Taboo: An Unapologetic Guide to Child Kills In Film, she refers to this scene as one of the best ever made: “…High Crime’s car death is definitely top tier.” It’s shocking, so wild that I had to rewind it to ensure I had just seen what I thought I had. So when Belli goes wild, killing off everyone in his path — and looking suave doing it, I’m secure enough in my manhood to say Franco Nero is smoldering — we understand. I mean, we just watched his kid fly over the roof of a car and get run over.

When I was researching this movie, I saw that someone on Letterboxd referred to its soundtrack as dull and plodding. I want to go total Inspector Belli on that person, throwing the kind of slaps that an Italian action hero is known for. I was humming along the entire film and it’s been trapped in my head ever since. I don’t know how anyone could watch this and not fall in love with this movie.

I’m still trying to figure this out.

Made as Nightmare at Blood Castle, this is about Dr. Arthur Blackwood (Bill Greer, who co-wrote the script with Deedy Peters, who were a comedy team; he would go on to write and produce House Calls, Goodnight Beantown and Charles In Charge; she would be in 17 episodes of House Calls), who runs his own sanitarium and is doing experiments on the forces of evil. Deedy also plays his wife in this, who is working with the sheriff (Jim Dean) to figure out why some teens have been killed. She should be looking inside her own house, as her husband has a hunchback (Pierre Agostino) and they’re whipping girls and locking people up in cages.

This is the kind of movie that has a wig budget, a spaghetti monster, guillotine suicide and dialogue with lines such as “When I saw Mr. Zolak’s head severed from his body, I felt a definite sexual thrill. I must be very careful.” Also snakes.

Somehow, this is PG. 1970s PG. You know what that means.

Director Charles Nizet also made The Ravager, Voodoo Heartbeat and Rescue Force. There’s nothing like this, a regional movie in the desert that has women put in coffins with poisonous snakes and it feels perverted but it’s not as dirty as it feels, which means that it’s really deranged.

A cave blows up at the end. I still, as I said, have no idea why.

You can watch this on YouTube.

Here’s a drink.

Spaghetti Monster (based on the drink from Strawbs Bar in Leeds, England)

• 1 oz. vodka
• 1 oz. gin
• 1 oz. rum
• 1 oz. tequila
• 4 oz. orange juice
• .5 oz. grenadine

1. Shake up everything with ice in a cocktail shaker other than the grenadine.
2. Pour in a glass and top with grenadine.

It just makes sense that the Third Reich would regroup in Las Vegas, I guess. FBI agent Mark Adams (John Gabriel) poses as a member of a Sin City organized crime gang to get into the world of war criminal Count von Delberg (Kent Taylor) and stop him from his plan to counterfeit U.S. dollars. He’s helped by Israeli agent Carol Bechtal (Vicki Volante), whose parents were killed by von Delberg during the war. But the Count hasn’t slowed down or gotten with the times. He’s working with the Bloody Devils, a motorcycle gang, to carry out his plans.

This started as a spy movie called Operation M, then became The Fakers, and a few years later, bikers — real bikers, the kind that get busted for weapons charges during filming — joined the cast.

You know who else is in there? Colonel Sanders. He’s in one of his KFC restaurants. The Colonel had sold the restaurants in 1964 but retained ownership of the Canadian stores and served as a brand ambassador, even as he began to despise the way the new owners made his chicken cheaper and less to his taste. In 1975, he said, “My God, that gravy is horrible. They buy tap water for 15 to 20 cents a thousand gallons, then mix it with flour and starch to make pure wallpaper paste. And I know wallpaper paste, by God, because I’ve seen my mother make it. There’s no nutrition in it, and they ought not to be allowed to sell it. Their fried chicken recipe is nothing in the world but a damn fried doughball stuck on some chicken.” KFC has paid for product placement in this movie, which may seem strange, but the Colonel also shows up — as does his chicken — in some Herschell Gordon Lewis movies. The Godfather of Gore used to serve up the original recipe as his craft service. The Colonel is also in Blast-Off Girls, The Big Mouth and The Phynx.

John Carradine plays a pet shop owner. That’s enough to make me watch.

Directed by Richard Rush (The Stunt Man) and written by R. Wright Campbell, this is the tale of Poet (Jack Nicholson), a gas station attendant with a short fuse and a soul-crushing job. When a run-in with the notorious Hells Angels leaves his bike damaged, Poet doesn’t cower. Instead, he demands restitution. This display of suicidal bravery impresses the club’s charismatic leader, Buddy (Adam Roarke), who invites Poet to trade his mundane life for a permanent seat on the open road.

As a “prospect,” Poet is initiated into a subculture of beer-soaked brawls, police harassment, and brutal turf wars. However, the actual danger isn’t the rival clubs or the law; it’s the volatile romantic triangle that forms between Poet, Buddy, and Buddy’s restless girlfriend, Shill (Sabrina Scharf). What begins as a quest for freedom quickly spirals into a claustrophobic power struggle where the code of the road is tested by jealousy and betrayal.

“The violence, the hate, the way-out parties…exactly as it happens!” Roger Ebert said, “The film is better than it might have been, and better than it had to be.” He noted that, unlike so many other biker movies, everyone in this looks filthy, as they should.

Shot on location in Northern California, the film utilized actual members of the Hells Angels (including Sonny Barger) as extras and technical advisors, lending an unsettling air of legitimacy to the way-out parties and chaotic ride sequences. While Nicholson was still a few years away from Easy Rider, his performance here serves as the blueprint for the rebellious, anti-authority persona that would define his career.

You can watch this on YouTube.

The Hellcats bury Big Daddy, who was killed by their mob contact, Mr. Adrian (Robert F. Slatzer, who directed this as well as Bigfoot), when he learned that the crook was also a snitch for Detective Dave Chapman. All of these relationships are symbolized at the start of the film — the biker gang is burying their boss while the cops and the crooks watch from a distance.

Adrian decides to kill off Chapman when he’s on a date with his fiancée Linda (Dee Duffy, who was a Slaygirl and Miss June in the Matt Helm movies The Ambushers and Murderer’s Row). Dave’s brother, Monte (Ross Hagen, who was also in The Sidehackers), returns from the war to learn what happened. He and Linda decide to act like a biker couple and get revenge.

He does so by getting drawn and quartered longer than the leader of the gang, Snake (Sonny West, a member of Elvis’ Memphis Mafia). This earns him the right to have sex with Sheila (one-and-done actress Sharyn Kinzie) and brings our protagonists into the gang’s scam to bring back drugs from Mexico.

Tom Hanson, who directed Zodiac Killer, shows up here as Mongoose. Gus Trikonis, who made Nashville Woman, The Evil, She’s Dressed to Kill, and more, is Scorpio. Tony Lorea, who plays Six-Pack and also acted in Supercock, went on to be the assistant director of Sweet Sixteen, The Glove and Ladies Night. Was this entire gang made up of exploitation movie directors? Where’s Bud Cardos?

Also known as The Campus Corpse, Here Come the Delts and The Curious Case of the Campus Corpse, this was directed by Douglas Curtis (The Sleeping Car) and written by David Ketchum (Agent 13 from Get Smart) and Bruce Shelly.

Craig Lewis (Jeff East) pledges a fraternity along with Barney (Charles Martin Smith), a super-smart kid. They’re asked to run down a mountain only in jockstraps to prove how bad they want to join. Craig is a runner, so he’s fine, but when the other guy gets hurt, Craig runs off to get help. When he returns, the other man is dead and instead of calling the police, the frat decides to hide the body.

This has the weirdest plan: After hiding the body for a week, Rod (Brad David) and Phil (Jim Boelsen) force Craig to go to Barney’s classes. Then, they take the corpse to a ski lodge and make it look like he died going down the hill. Does it work? Hmm…

This looks like a TV movie and wildly vacillates between goofy comedy and thriller. It makes no sense and is kind of a mess. I loved it.

You can watch this on YouTube.

Based on The Face of Night by Bernard Brunner, this is the last film for director Henry Hathaway, who directed True Grit, The Sons of Katie Elder and Call Northside 777. It’s a blaxploutation film that was distributed by American-International Pictures; amazingly, Hathaway had turned down Rooster Cogburn.

Re-released as Super Dude, this is all about heroic black cop Ken Ramsey (William Elliott) and Julie (Marki Bey), who has been addicted to heroin and forced to do sex work. She used to be the girl he loved back in high school; now he wants to save her from Richards (Michael Lerner).

This is competently made and the fight scenes look good. That’s not why one usually watches blaxploiutation. Still, an interesting footnote in a great career.

You can watch this on YouTube.

After pretty much creating the nurse cycle for Corman with The Student Nurses and then directing The Velvet Vampire, Stephanie Rothman and her husband Charles Swartz left New World for Larry Woolner’s new Dimension Films. It was still exploitation, and she didn’t have much creative control, but it was more money and the opportunity to own some of the movies that she was making.

Rothman directed Terminal Island and The Working Girls, wrote the script for Beyond Atlantis, offered some creative ideas to Sweet Sugar and re-edited The Sin of Adam and Eve. After stops and starts, as well as writing Starhops and taking her name off it when the film didn’t reflect what she wrote, she eventually left movies.

We’re all the worse for this, as her films are progressive in 2024 and had to be incendiary in the 1970s.

This starts in a rental car office, where we meet Chris (Aimée Eccles, Ulzana’s Raid, Paradise Alley) and Judy (Jayne Kennedy!). Well, Judy isn’t in this, but Jayne Kennedy is always a welcome actress in any film. Chris has issues with her boyfriend, Sandor (Solomon Sturges, son of Preston, who is also in The Working Girls), who pretty much berates her at any opportunity and is only concerned with writing acerbic bumper stickers. He flips out that he doesn’t have a working car, so she has to hurry home and fix it — the women in this movie don’t just have agency, they’re all more capable than the men — and that’s when she rides in the same taxi as Dennis (Jeff Pomerantz). This leads to Dennis trying to get them to stop fighting, staying overnight, having his girlfriend Jan (Victoria Vetri, Playboy Playmate of the Month for September 1967 and 1968 Playmate of the Year; she’s also in Rosemary’s Baby, playing Terry Gionoffrio, and in Invasion of the Bee Girls) break up with him and sleeping with Chris.

Before you know it, Dennis is introducing Jan to the couple, and all four are in an intertwined relationship. That soon becomes five when the women — who are just as in charge of their sexuality as the men — fall for a lifeguard named Phil Kirby (Zack Taylor, The Young Nurses). Yet he feels a little lonely and starts looking for someone else. At this point, I was marveling at how beautiful everyone in this movie is. And that’s when Phil’s partner, Elaine (Claudia Jennings, there’s a reason to watch this!), is introduced. Sure, she’s a lawyer representing his ex-wife in the divorce, but she wants him.

Everyone decides to get married, but Jan doesn’t want commitment, even if they have the opportunity to be with different people within their poly group. But then people start showing up trying to be part of the group, and some go wild and try to firebomb their house. Dennis even loses his job. Elaine decides to figure out how to make group marriage legal, which leads all five to get married. And wow, I lied before, because Judy ended up with Dennis, so now there are six. I mean, seven! Chris is pregnant.

How progressive is the California of Stephanie Rothman? Not only can these people all create their own marriage, but their gay neighbors Randy (John McMurtry) and Rodney (Bill Striglos) are also able to be husband and husband, 22 years before the first legal same sex marriage in America.

Other than the John Sebastian song “Darling Companion” and the stereotypical mincing gay couple, there’s a lot to celebrate here. It’s erotic, sure, but never feels filthy or even exploitative. This is at once a humorous but thoughtful take on the good and bad of being married to six people. As always, Rothman’s work is nearly current today, and many of her movies were released before I was born.

This was re-released by 21st Century as a double feature with The Muthers.