Midnight Intruders (1973)

... aka: Wife, The

Directed by:
Gary Graver

Striking metaphors abound in the deeply artistic opening sequence as shots of a couple making love is inter-cut with airplanes rolling down the runway, blasting off into the air and yes, finally landing. Or is that just an easy way to eat up six minutes of screen time in a film that runs just shy of an hour? You be the judge. After the hilariously dubbed-in "ewws!," "ahhs!," "uhhs" and "oh yeahs!" subside, the man heads straight for the bathroom and is shown shutting the door no less than four times. Why? I have no clue, but doing it four times certainly takes a little longer than just doing it just once. We learn that the love birds are actually a married couple; Alan (Alain Mayniel) and Alice (Francoise Darc) Savage, and they're having some problems in their relationship. Alan is about to head out to San Diego on a business trip, and makes sure to chew Alice out on the way to the airport for not pressing his sports jacket. What's a woman to do? Well if you're Alice, you find solace in the arms of one of L.A.'s biggest man-whores (Alexandre Chapuies) while hubby is out making sure the bills get paid.

Upon returning home, Alice phones up lover boy (who happens to be in bed with two other women when she calls), starts talking dirty to him and convinces him to come over. The two have sex in the sauna, then move on to the bed where he rubs lotion on her feet and then simulates sex by sticking his finger in between her greasy toes over and over again (seriously? yuck). The two start going at it again in front of the mirror and then go at it a third time ("Let's do it Roman style!"), little realizing that her husband has finished up his meeting early and will be catching a midnight flight home. While Alice and her lover are having sex for a fourth time in the shower, Alan barges in on them. The two men get into a fight, Alan smashes the gigolo in the head with an ashtray and stuffs the body in the closet. He then comes after Alice and tries to stick her hand down the garbage disposal, so she stabs him to death and sticks his body in another closet. And then something truly amazing happen... the film actually becomes interesting for about fifteen minutes!

A pair of cat burglars, a man (Tom Hart) and a woman with the craziest, biggest hair I've ever seen (Lyllah Torena), break into the home through a sky light on the roof. They steal money, terrorize poor Alice with a gun, stick her arm under scalding hot water and then shoot her up with heroin. These sequences completely stand out from the comparably boring soft porn first forty minutes by employing distorted sounds, strange music and even stranger experimental camera angles to capture a truly demented, nightmarish feel. Some shots are out of focus, the camera bobs back and forth right into characters faces and even tilts backwards 180 degrees at one point. Unfortunately, once the burglars are out of the picture, the film becomes dull and inept once again. Special cautionary note to all you psychos: It's probably not a good idea to speed when you have a dead body in the trunk of your car.

Aside from the burglar sequence, this movie is all about sex. The lead actress (who seems like she's about to burst out laughing during all five of her sex scenes) is fully nude throughout the film and the extremely deep, slowed-down male lover's special sex voice is hysterically funny on lines like "You sure do have a nice ass, baby" and "Hang on lover, you're gonna go for a ride." There are tons of super-tight close-ups of kissing and the dialogue is so porn-level raunchy at some points I'm not going to repeat it here.

Director/writer/d-o-p Graver (who passed away a few years back) had a long, diverse and very interesting career, which involved acting in numerous horror and exploitation films (including several for Al Adamson) and being an extremely prolific cinematographer on various B pictures (such as THE TOOLBOX MURDERS) and even most of Orson Welles' later projects. In addition, he worked steadily as a assistant/second unit director and editor. Under the name "Robert McCallum," Graver also made nearly 100 hardcore porn features, some of which garnered him top adult film awards and are now considered classics. He didn't direct quite as many mainstream films, but did leave us with the terrorized-babysitter chiller TRICK OR TREATS (1982), the slasher-on-a-boat mystery-thriller MOON IN SCORPIO (1986) and the very entertaining Karen Black vehicle EVIL SPIRITS (1990).


I don't recognize any of the cast and the three leads all use (probably fake) French-sounding names, possibly to try to give this some artsy cred. MIDNIGHT INTRUDERS is often listed online as a 1987 film, though that year is simply the year it was issued on VHS (in a very misleading slasher-style box) by the not-very-well-known company Even Steven Productions. The same company released SWINGERS MASSACRE (1975), the porn-star-cast ROBOCOP rip-off DROID (1988) and the shot-on-video horror anthology SATAN'S STORYBOOK (1989), hosted by porn queen Ginger Lynn Allen.

★1/2

Los pasajeros (1975)

... aka: Passengers, The
... aka: Travelers, The

Directed by:
José Antonio Barrero

One of the harder-to-come-by titles on the Paul Naschy filmography, this was never officially released in America or any other English-speaking country... and it's easy to see why! This is a bizarre, confusing 'art-house' effort of very limited appeal. Thankfully, I was able to at least get a copy complete with fan-made subtitles so I could at least try to play along. The quality of the print was pretty terrible though and appears to have come from a television broadcast. Two young male hitchhikers; the outgoing and free-wheeling Carlos (Rex Martín) and the more sensitive, serious and pensive Luis (Luis Greco), are walking down a stretch of barren country road when they run across a brassy, middle-aged female hitcher named Veronica (Aurora Bautista). After sharing a bottle of booze, all three are picked up by Henry ("Henry Gregor" / Heinrich Starhemberg), a very stern-looking and apparently also very-wealthy man in a silver Rolls Royce. Once night falls, the man offers the three room and board at his home and the three agree to the arrangement. Once there, they discover that Henry is just a chauffeur, butler and servant to Mr. Aquenatos (Naschy); an intelligent, eccentric (to put it mildly!) and quite possibly mad chap who likes to change identities with the same frequency he changes clothes. He's first seen as a King, then as a Nazi, Napoleon, Genghis Khan and other historic figures throughout the film.

All three of Aquenatos' guests decide to stay on for dinner and a movie (with Veronica a bit leery of his attempts to seduce her) and are then asked by their host if they'd like to live there and work on a stage play he's developing. Despite his and the butler's odd behavior, the three agree. The guys are even allowed to have a couple of female friends; Isabel (Loreta Tovar) and Maria (Eva León), over to stay. Aquenatos sets up a stage in the backyard and the gang get to work, but something's not quite right. As it turns out, there's one identity Aquenatos isn't too blatant about and that's his true identity... and he finds no need to look silly running around in a cape, red tights and plastic horns. Or brandishing a pitchfork, for that matter. His motivation is simple. He wants their souls. Henry wants to spill their blood to "remedy that wind of rebellion," but Aquenatos decides that "It'd be better to keep them prisoners of their appetites and desires." Yes, the dialogue is that pretentious and there's tons of it. Unfortunately for the guests, the show doesn't go on for most of them when Henry decides to have it his way and start butchering them.

Naschy has a fun and interesting enough role here, but the film is completely stolen by co-star / producer Starhemberg, his hilariously bizarre (though fitting) facial expressions, his stiff upright shuffling around the estate and his overall demented character. The very tall actor (who passed away in 1997) was an honest-to-goodness real-life prince; whose family fled to Latin America from Austria while WWII was in full effect and the Nazis were invading their country. He ended up appearing in (and sometimes financially backing) over a half-dozen horror films while there, including four for director Leon Klimovsky; THE DRACULA SAGA (1972), DEATH OF A HOODLUM (1975; which also featured Naschy), TRAUMA (1977) and THREE DAYS IN NOVEMBER (1978). Needless to say, it's quite amusing seeing someone of royal lineage running around groping women and watching people have sex, stabbing others to death and doing other vicious and perverted things with his eyes looking like they're about ready to pop out of his head. After he murders one of the ladies, he carries her to the backyard and begins making love to her body while it burns on a pile of leaves and branches. In another crazy scene, a matador (!) breaks down outside the home, asks to come in for water, gets on the stage, strips completely naked and then is chased around the yard by the turned-on butler. That ends up being just be a dream. Or is that a fantasy?

Director Barrero and his crew also don't play by the usual rules in presenting this strange material. The cinematography (by Francisco Sanchez) is interesting right from the opening credits, with several nice shots doing a 360 degree spin. There are lots of close-ups of paintings and eyeballs, and the camera often tilts, turns or spins during the strangest times. There are also several very long shots where the camera is stationary for minutes at a time. During an unbroken take that lasts at least three minutes, we get to see Naschy and Starhemberg gorge themselves on chicken and wine without uttering a word to one another. There's another of these super-long takes when Naschy uses a brush to color his eyebrows and sideburns, try on numerous fake beards and then apply eye-liner.



I'm not really sure what to make of all this (there's even a crudely animated segment of a hunter shooting a rhinoceros at one point!), but it sure was interesting to watch. It's also interesting to theorize what it all means. Or what these people were on when they came up with this. But, as usual, I like to leave that up to you to decide.

★★1/2

Fat Black Pussycat, The (1963)

Directed by:
Harold Lea

With a sketchy production history, it's no wonder this thing is so damn jumbled and confusing. Originally an ordinary, by-the-numbers detective / crime drama, this made zero impact upon its original release, with poor box office receipts reflecting that. Michael A. Ripps, who had previously turned the 1957 flop BAYOU into the 1960 hit POOR WHITE TRASH via the title change and more exploitative added footage, got ahold of the film and decided to do the exact same thing with it. Around 30 minutes of footage was eliminated from the original cut and new scenes (primarily some bloody slasher murders and people sitting behind desks talking) were added to turn it into a seedier, more violent film. The identity, and motive, of the killer was also changed. At least one of the lead characters completely disappears from the finale, a double (seen only from behind!) fills in for the other and for some reason multiple characters have the same name. Was it really necessary to name three different characters Dave? There's also a Harry and a Harold, as well as an Edward, an Edie and an Ellie.

Things begins with a naked woman crawling into an alleyway and dying. The victim - Edie Eichorn - was a free-spirited beatnik known to get around. Detective Dave Walsh (Frank Jamus) and his partner Edward Bono are called in to investigate. Dave starts by visiting The Fat Black Pussycat Cafe and Theater (the victim had a matchbook from the establishment in her purse), where he meets a girl named Jean who agrees to take him to a party to meet several of Edie's acquaintances. There, the detective meets a slew of bizarre performance artists, struggling actors, musicians and writers and all-around weirdo's. Nope, this film doesn't paint the beatnik crowd in a very charming light. All of the guys are are loud, obnoxious, needlessly violent drunks, pot-heads and/or mental cases. The women are basically just sluts, airheads or bitchy ("I heard she got killed by a sex fiend. Ain't that a laugh?") One couple - the guy decked out in a hilariously fake goatee - head out to the fire escape for some fresh air. A black-gloved killer sneaks up behind them, throws the guy over, stabs the girl and then tosses her over the side, too. A black pussycat, previously seen chillin' next to Edie's body, then cuddles up with both corpses.









Back at the party, Dave gets in a scuffle with two beatniks and is knocked unconscious with a chair. He wakes up to strange music on the couch of a woman he'd bumped into (literally) at the party. The woman turns out to be anthropologist and NYU professor Janet Lynd (Janet Roman) and the bongo drums are a recording of "a ritual puberty chant of the Watusi Tribe" (?) Janet reveals she was at the party because she's working on a paper about the beatnik subculture. Naturally, a romance blossoms between the two, while the newly added scenes depict more women getting their throats cut and some hilariously awkward dialogue scenes of policemen and mental health professionals sitting around and discussing what drives the psycho...

Commissioner Kriegen
"I'm quite certain you've got some eloquent theory prepared on the neurotic drives which compel this poor unfortunate to behave in this paranoid manner. The poor soul, though legally sane, is mentally ill."

Professor Le Blanc
"That was quite an eloquent dissertation, Commissioner. All of which may I humbly submit is not true. This person's m.o. is a paranoid schizophrenic with homosexual tendencies if male, lesbian if female, while in this schizophrenic state."

Sergeant Thomas Frank:
"You mean they can change their sex drive when they're a schizo?"

Professor Le Blanc:
"A true schizophrenic has a complete personality change!"

Commissioner Kiegen:
"You mean if somebody wanted to fake it, they could get their kicks either way? AC / DC?"

I have no idea what Ripps was getting at trying to link up the beatnik / NYC art's culture, homosexuality and psychotic behavior, but it seems like he had more than a little disdain for both artistic types and gays. One of the suspects is a gay artist named Brom (Avital Carme), who's innocent of the previous murders, but slits a woman's throat anyway when the police corner him. He's then shot to a bloody pulp using a machine gun. When the killer is finally revealed, we learn that they too are a gay nutjob. In addition, Mr. Ripps added another absurd concept to this film that involves cats. Apparently, felines always show up at murder scenes because they can pick up on the brainwaves of dying people using their ESP (!!) abilities.

Strangely enough, this sloppy hodgepodge contains no less than five people who'd achieve some level of fame during their lifetime; probably since it was filmed in Greenwich Village where all those real-life unhinged homos artistic types like to hang. The first is Manny Dworman, a former musician who's best known for opening the world famous "Comedy Cellar" in Manhattan (where Jerry Seinfeld, Ray Romano and many others got their starts). Secondly, there's Hugh Romney (playing an anti-violence ranting beatnik at the party) aka "Wavy Gravy;" a guy who helped to feed the four-hundred-thousand patrons of Woodstock, is well-known for his charity work and has a popular flavor of Ben & Jerry's Ice Cream named after him. Actors Leonard Frey (who'd earn a Tony Award nomination for his theater work and an Oscar nomination for FIDDLER ON THE ROOF), Frank Marshall movie regular Hector Elizondo and prolific character actor Geoffrey Lewis (the father of Juliette Lewis) all have small roles. I actually don't recall seeing either Frey or Elizondo in the movie, probably because their scenes were amongst the cut ones. Lewis however is seen twice; one getting punch at the beatnik party and another time harassing Detective Dave in the park before a bomb goes off. Oh yes, the film also has a bomb.

The cinematography isn't bad, and there's a jazz music score (The Don Bader Group appear).

Something Weird Video, who try to spin this film's disjointedness into a positive on their website (can't say I blame 'em since they have to find some way to unload this turkey), paired it with 1966's THE BLACK CAT for the DVD release. As per their usual, the disc is loaded with lots of great (mostly cat-themed) extras. They also released the original version of the film (minus Ripps' scenes) on VHS. The cut scenes are also included on the DVD.

★1/2

Nu ji zhong ying (1973)

... aka: Bamboo House of Dolls, The
... aka: Bamboo Women's Prison

Directed by:
Chih-Hung Kuei

In 1971, producer Roger Corman and director Jack Hill had a big hit on their hands with the women-in-prison exploiter THE BIG DOLL HOUSE. The film was shot in the Philippines on a modest budget and its mix of sex, violence and sadism packed drive-ins and grindhouse cinemas around the world and ended up turning a huge profit. Corman would go on to produce a number of similar films immediately afterward; WOMEN IN CAGES (1971), THE BIG BIRD CAGE (1972) and THE HOT BOX (1972) being the first few out of the chute. The pinnacle of the craze usually considered Jonathan Demme's CAGED HEAT (1974), which would go on to become a cult classic. As the decade wore on, other filmmakers from around the world followed suit to try to cash in, and the films themselves became increasingly more tasteless. In Canada, there was the notorious ILSA series, which began in 1974 and starred Dyanne Thorne as a sadistic Nazi commandant who delights is sexually torturing her female inmates. These films led to a boom in Nazi prison camp torture movies, which were especially popular in Italy. Another chief contributor to the subgenre was director Jesus Franco, who made around ten women-in-prison films produced in both Spain and Switzerland. And then there's Bamboo House of Dolls from Hong Kong; a Shaw Brothers Production heavily influenced by the Corman films.

Bamboo is pretty interesting in many different ways; it actually predates (and thus possibly influenced) the first Ilsa film in its concentration camp setting by a year, it's a bit more sadistic than what Corman was churning out at the time, it's set during World War II and it features three Caucasian actresses in lead roles (something not too common in Hong Kong cinema at the time). It's also very entertaining if you like these kind of things.

As the film opens, Japanese soldiers invade a Chinese hospital and start shooting the place up. After gunning down several dozen people (including women and children), the soldiers are instructed to round up the remaining women and take them to "The 13th Women's Concentration Camp." Amongst the women are three American Red Cross nurses; blonde-haired, blue-eyed tough cookie Jennifer (Birte Tove, a Danish soft-corn actress), the more demure and innocent Mary (Roska Rozen) and large-breasted nympho Elizabeth (Niki Wane). The soldiers also manage to snuff out a rebel and drag his wife, Yu-Lan (Hoi-Suk Lee), off to the camp as well. Immediately upon arriving, the women are given ripped t-shirts and panties to wear and are subjected to various tortures at the hands of sadistic Commander Inoue (Hsieh Wang), his equally evil lesbian head guard Mako (Terry Liu) and the dozens of guards and soldiers that populate the place. The prisoners are frequently slapped, kicked and pushed down, have their hair pulled and get killed at any sign of disobedience. During their first day there, the ladies get to see a woman whipped to death and another get fried when she tries to escape over the electrified barbed wire fence surrounding the place.

If things couldn't get any worse, the women are also forced into becoming sex slaves to entertain the troops. During a long rape montage, we get to see each of the ladies manhandled. An innocent blind girl named Hu Lizhu has her legs sliced up with a sword and is forced to walk on broken glass before getting thrown down on the glass and raped. Mary - who has been singled out by the alpha lesbian of the place - is pinned down by two guards and raped by Mako (who has a special strap-on for such occasions). Jennifer (who the commander has a thing for) and Yu-Lan are also slapped around and raped. As for Elizabeth... Well, she just get enough of it. And therein lies a major problem with this film, and that's tone. It's virtually impossible to laugh at Elizabeth tossing off her unsatisfactory lovers after we've just seen dead-serious scenes of women being abused and viciously killed. Yes, there's so much pain, screaming, crying and all-around misery to go around this place that even an out-of-nowhere food fight couldn't even make me smile.

The film also abruptly switches gears at around the mid-way point. After a first half dedicated almost entirely to death, torture and wall-to-wall T&A, the second half mostly lays off the sexploitation and goes the action movie route. Yu-Lan (suffering from a case of temporary amnesia after being struck in the head one too many times) was told the whereabouts of some hidden gold bars before being apprehended. There are two male alliances in the camp (both posing as guards) willing to risk their lives to help Yu-Lan escape and locate the treasure. Yu-Lan insists five of her friends; the three nurses, the blind girl and a student named Wang Xia (Hsia-ying Lo), come along. Their first escape is botched and they find themselves tied down to stakes in the heat and denied water for days. Their second attempt, with help from a man named Cui Guodong (Lo Lieh) is more successful and the rest of the film follows him and the ladies as they brave the wild to reach the gold while a bunch of soldiers try to track them down. Amongst the women there's also a spy working for the bad guys.

Despite the tonal issues, the fact this never strays very far from the standard W-I-P template and the fact several of our lead characters face a rather anti-climactic fate, this is still a watchable, highly entertaining and healthily-budget trash flick. It's nicely shot, has good sets, a decent music score from Wang Fu Liang (including a great credits theme) and nice location work during the second half, which takes place around waterfalls and the mountains. The acting really isn't too bad, either. It's also packed with action. There's cat fights, sword fights, gun fights, karate fights, bayonet stabbings, impalements, explosions, electrocutions, car chases, foot chases, snake attacks, forced boot licking and much, much more.

★★1/2

Host, The (1960)

Directed by:
Jack Hill

Made while director Jack Hill was still a student, this black-and-white short (which runs about half an hour) is rumored to have been the inspiration behind the third act of APOCALYPSE NOW (Francis Ford Coppola was one of Hill's classmates at UCLA). It also marks the film debut of actor Sid Haig, who'd be a popular exploitation film supporting player throughout the 60s and 70s before gaining a new generation of fans in the 2000s thanks primarily to his frequent casting in Rob Zombie movies (his "Captain Spaulding" from HOUSE OF 1000 CORPSES and THE DEVIL'S REJECTS is probably one of the more popular genre characters of the new millennium). Hill and Haig made a grand total of eight films together (most of which were produced by Roger Corman), including the wonderfully demented, blackly comic SPIDER BABY (1964), the frequently messy, very interesting and sometimes even brilliant vampire tale BLOOD BATH aka TRACK OF THE VAMPIRE (1966), the classic 'blaxploitation' Pam Grier vehicles COFFY (1973) and FOXY BROWN (1974) and several women-in-prison films that helped laid down the foundation for dozens of future chicks-in-chains releases.

Haig plays an unnamed fugitive from a Mexican prison who's riding around somewhere in the desert when he comes across an old, large, crumbling house. He goes in looking for water and ends up meeting a beautiful, bizarre-acting Indian woman (Sharon Bercutt) as well as a crazed Spaniard (Joseph Hanwright). The Spaniard immediately tries to shoot him, but he jumps for cover. The Indian woman follows him inside, mutters something about how her people are afraid to come out because of the man and how they believe he's preventing rain and thus keeping their corn crop from growing. She also encourages him to kill the guy. After being shot at a few more times, Haig obliges by poking out the Spaniard's eyeball with a tree branch and then bludgeoning him to death. That evening, the Indian woman's tribe (all wearing hoods) emerge from the shadows to dismember the corpse with machetes. Haig begins to think he's struck it rich when he discovers gold and jewels there the following day, but then realizes the Indians may have other ideas in mind.

Aside from the curio value of seeing Hill and Haig get their start, this certainly isn't anything to write home about. It's a typical student film done within the limitations of a student film budget and might remind one of a lesser Twilight Zone episode. The photography is OK and there are a few nice images (particularly at the very beginning), but the storyline is muddled and confusing, the acting is amateurish and the score is a bit overbearing. Hill also edited it. The assistant director was Egyptian-born Farouk Agrama, who'd go on to make several horror features himself (under the name Frank Agrama), such as QUEEN KONG (1976) and DAWN OF THE MUMMY (1981).

The film has been restored and can be found as an extra on the SWITCHBLADE SISTERS DVD (released by Rolling Thunder Pictures in 2000).

★★

Vahset kasirgasi (1985)

... aka: Brutal Storm

Directed by:
Kadir Akgün

In Turkey during the 70s and 80s, their crazy ass film industry cranked out dozens of cheapies which directly copied films from other countries. And by directly, I mean often line-for-line and scene-for-scene. In essence, these films were actually remakes. Apparently, it was assumed that these films would never, ever leave the country (and apparently the original versions would never enter!) so they had no fear of being sued for copyright infringement or plagiarism. Copies of these inferior clones eventually started to leak out; some were actually released to VHS in countries such as Greece and Germany, then they began showing up as black market tapes and then bootleg DVDs in the U.S. and now some have popped up on the internet. Some were copies of hit blockbusters, such as The Exorcist (or as they called it, SEYTAN), Jaws, Young Frankenstein, E.T., Star Wars and Rambo, but some of their choices for films to remake were downright bizarre. I've already seen and reviewed THIRSTY FOR LOVE, SEX AND MURDER (1972), which was a carbon copy of the not-especially-well known Italian giallo THE STRANGE VICE OF MRS. WARDH (1971). And now I've seen Brutal Storm, which copycats the barely-known Spanish chiller IT HAPPENED AT NIGHTMARE INN (1973), of all things.

Nightmare Inn (which is actually a pretty good film) starred Aurora Bautista and Esperanza Roy as, respectively, sanctimonious, bitter, hypocritical and controlling Marta and the weak and passive Veronica; a pair of murderous, middle-aged, ultra-religious sisters who own and operate an inn located in a popular tourist area and butcher women they view as being of loose moral character. This film features sanctimonious, bitter, hypocritical and controlling Naide (Nur Incegül) and weak and passive Cahide (Leyla Akin), who (surprise) own and operate an inn located in a popular tourist area and (even more surprisingly) butcher women they view as being of loose moral character. But hey, according to the opening narration; There are only two kinds of people in this world; the righteous who think they are sinners and the sinners who think they are righteous. The sisters are first scene hacking up a side of beef with cleavers while bitching about the "naked tourists invading our town" and how they'll all burn in hell. One of their female boarders, Hale, is caught sunbathing topless on the roof. During a scuffle, Naide screams "You sinful bitch!" and pushes her down the stairs, where she's impaled on a bronze statue. Instead of going to the police, the ladies decide to hack up the corpse and throw the pieces into an oven.

Nightmare Inn also featured blonde British actress Judy Geeson as Laura; a woman who shows up at the inn looking for answers when her sister disappears. This one features a blonde girl named Nalan, who shows up there looking for answers after her friend goes missing. Nalan is told that her friend has already checked out but is skeptical of that, rents a room and starts snooping around. Another free-spirited, obnoxious (and loud) girl named Dilek gets under the sisters' skin by constantly laughing, being drunk, making fake lesbian advances at Naide, running around in her bikini and dancing for men on the beach. Naide stabs her to death. Songül (Songül Gündüz), a single woman with an infant daughter, comes along next and Naide doesn't seem to appreciate the fact that the baby may have been born out of wedlock. Eventually realizing that three unexplained disappears probably means that something is seriously wrong, Nalan (who'd already been kicked out for asking too many questions) decides to check back in with her male friend Kaya (posing as her fiancée) to investigate some more.

The film seldom strays from the original source material. It's also technically inept. I'm not entirely sure (because the quality of the version I saw was in such poor shape), but this appears to have been shot on video. It's full of zoom shots, lingering shots of people at the beach, poor editing cuts, poor lighting, horribly inappropriate music cues and filler scenes that seem to last an eternity. There are several scenes of the characters walking down the street that go on for minutes and another of Naide walking through a field feeling herself up (after watching a couple have sex) that never seems to end. Aside from the husky-voiced Incegül (who also appeared in Bloody Mansion of Death for the same director) as the nastier of the two sisters, the acting is pretty bad. There are two topless scenes (one from the sunbather and another a shower scene) and a couple of bloody moments (including a decapitation).

One of the most memorable aspects of this film is the music score. The movie not only lifts its plot, dialogue and characters from another film, it also steals music from at least a dozen other films! Music from the first three Halloween movies makes up the bulk of it, but you can also hear snippets from other films, such as Deep Red, Cannibal Holocaust, Friday the 13th Part 3 (yes, the opening disco theme lives again!) and others. Nalan even attends a dance party at one point, where they play the Ghostbusters theme song! I didn't recognize all of the music, though. Some of it sounds lifted from an action movie (or movies) and doesn't fit the material at all. The film would get a lower rating if it wasn't all so funny.

SBIG