This movie doesn’t even take place in 2047, but I can only assume that Al Adamson and Sam Sherman saw Star Wars get hot and said, “Let’s put some tits on that.”

Overpopulation in the future is pretty bad, so the Controller (Erwin Fuller) makes sex illegal. Cindy (Catherine Erhardt) lives with her wicked stepmother — The Widow (Renee Harmon) — and two stepsisters —  Bella (Bhurni Cowans) and Stella (Adina Ross) — you know the story. You understand that she has a fairy godfather (Jay B. Larson) and that she’ll hook up with her Prince Charming, here named Tom Prince (Vaughn Armstrong). And yes, she disappears and he looks for her.

You may not expect robots to enforce the law against sex and the fact that this is a musical.

I love that the Canadian VHS release of this movie was so cheap that it was a duplicate of the hotel version of this movie. At six minutes, a voice tells viewers that the preview is over and that they must select to watch the whole movie and charge their bill. I can’t imagine anyone buying this thinking they were going to see more sex and instead getting more musical numbers.

Robert Sand (Jim Kelly), agent of D.R.A.G.O.N. (Defense Reserve Agency Guardian Of Nations), is just trying to play tennis when he gets called in to save Toki Konuma (Essie Lin Chia, Doomsday Machine), an ambassador’s daughter. This brings him into conflict with another group called Warlock who want the freeze bomb, a new weapon, and use drugs and voodoo ritual murder to get what they want.

They’re led by Janicot (Bill Roy), who has a whole army of people willing to dress up in voodoo costumes, along with an evil woman named Synn (Marilyn Joi) and even a vulture named Voltron.

Based on the book by Marc Olden, this was directed by Al Adamson and written by B. Readick and Marco Joachim.

It’s got a great cast, including Felix Silla (who has a whip and that’s worth watching this for just that moment), Cowboy Lang, Little Tokyo, Regina Carroll and even Aldo Ray as the leader of D.R.A.G.O.N.

It also has Jim Kelly flying with a jetpack like he’s James Bond. That’s worth watching this movie for. Oh yeah — he also punches two dudes right in the cock. And not over the course of the movie. I’m saying he gives them both Roshambo at the same time.

Whatever title you’ve seen it as — The Possession of Nurse Sherri, Black Voodoo, Beyond the Living, Hospital of Terror, Killer’s Curse or Hands of Death — you have to admit that you won’t forget this Al Adamson movie.

It’s somewhat inspired by Circle of Friends, a cult that was supposedly run by George G. Jurscek, who believed that a great political and economic collapse would occur before the year 2000. Or maybe it was actually run by a group of people that included Margaret L. Reinauer. They saw themselves as a capitalistic commune that was out to make its members healthy, wealthy and wise. So yes, while they used Gnostic Christianity, Anthroposophical Teachings and — you knew he’d get in here — the books of  Hal Lindsey to preach the end of the world, they also owned security, real estate, investment and construction businesses.

That’s where Reanhauer, the cult leader’s name, comes from.

Sherri (Jill Jacobson) is possessed by his spirit after he dies during an operation and he becomes a green chromakey blob that you could animate on your phone today and it’d look so much better. But hey, this is a small budget in 1977. Now, she’s out to kill all the doctors who let the cult master die unless her nurse compadres Tara Williams (Marilyn Joi) and Beth Dillon (Katherine Pass) can dig up the body of Reanhauer. Also: football hero Marcus Washington (Prentiss Moulden) has lost his eyesight and needs the aid of Tara, which means that yes, Marilyn Joi will be topless.

Did you ever wish that you could combine a possession movie with a New World nurses saga (thanks to Ian Jane for putting that in my head)? Then this is the only movie that I know that has ever tried to do that.

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Radley Metzger is probably the best regarded director of the Golden Age of adult. Once he moved from softcore to hardcore, he started to use the name Henry Paris. What he didn’t change was that he was able to shoot his films in some great locations, including the Olympia ballroom and the lobby of the Royal Manhattan Hotel, which was made to look like a restaurant.

Barbara Broadcast (Annette Haven, who was a consultant for Brian De Palma and Melanie Griffith’s coach for Body Double) is a best-selling author and celebrated liberated woman. As she dines in a fancy restaurant, she gives an interview with Roberta (C. J. Laing, bestill my heart), a journalist who wants to know her story.

As they talk about life and, well, sex, fans come up to meet Barbara and outright couplings — Sharon Mitchell is a waitress, after all — happen all around them. There are also asides, such as Barbara meeting an executive (Michael Gaunt) who can’t meet with higher ups without being with her first and Roberta being inspired enough to have an encounter in the kitchen with a dish washer (Wade Nichols). Depending on the edit you get of that scene, you may get more than you expected.

Finally, Barbara and Roberta consummate their interview and meet Curley (Jamie Gillis) who tells them of his slave (Constance Money). This scene was intended for The Opening of Misty Beethoven and Metzger edited it into this movie. Money sued him and was paid for this movie, as she’d only agreed to be in his earlier film and not this one.

Where so many of the Metzger/Paris films are high class — not that this isn’t — this honestly is a move toward an honest to goodness no apologies dirty movie. Most odd is the fact that one of the songs in this film, “The Big One,” is the theme to The People’s Court.