Cortechba Overrated

ChicDragon It's a mild crowd pleaser for people who are exhausted by blockbusters.

KnotStronger This is a must-see and one of the best documentaries - and films - of this year.

Stephan Hammond It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Sam Panico The poster says it all: "The movie that has no limits of evil." When people talk about grimy, evil pictures, this is the one they're talking about. Quentin Tarantino called this "the roughest revenge movie ever," and that's including I Spit on Your Grave and Last House on the Left, one would suppose. After all, Elle Driver in his Kill Bill directly takes her look from this film, with outfits that match her eyepatch.Frigga (Christina Lindberg, Teenage Playthings, Exposed) is a simple farm girl who's been silent since she was a kid, thanks to being raped. Her loving parents spend all of their money to try and get her voice back with speech therapy. One day, she misses the bus and ends up going on a date with Tony, who seems like a real ladykiller. Turns out he is — he gets her hooked on heroin, telling her that she needs it every 48 hours if she wants to live. To pay him back, she has to become a prostitute for him.Frigga — possibly named for Odin's wife (and Odin is one eyed, after all) — cannot be tamed. She escapes twice and scars the face of the first john who tries to sleep with her. As punishment, Tony takes her eye — a scene shot with the cadaver of a young girl who had committed suicide. Remember what I said above — this film takes no prisoners.Tony has sent a letter home to her parents, telling them she hated them and would never be back. In answer, they both commit suicide. Add in the death of Frigga's only friend, fellow prostitute Sally, and it's time for revenge. She starts charging more for whatever her clients want to do to her, all so that on every Monday, she can learn the skills she'll need to kill everyone and everything.What follows is a leather overcoat clad Lindberg — a gorgeous creature of pure hatred and violence — destroying everything. Even two cops who try and take her out are decimated in slow motion in a tour de force scene that Rob Zombie could only dream of shooting — sound dropped out, violence given to full display. The film flirts with art while keeping both feet mired in exploitation — there's a lesbian scene and in some versions, a hardcore insert — but gorgeous shots of police sirens with electronic music droning mark this as just as much masterpiece as masturbatory fodder.Finally, after killing all of her clients, Frigga challenges Tony to a duel. Getting the better of him, she buries him in a hole, ties a rope around his neck and like some cowboy in a spaghetti western, makes a horse run away, killing him. She watches, mute, as the man who ruined her life finally dies. What can be left after this? She has become Shiiva, Death, the destroyer of worlds. Her family destroyed. Her friend dead. Even the police, who could not help her, dead at her hand. She drives the cop car into the distance, sirens blaring as wind and sound fills the soundtrack.This isn't a movie for everybody. But it's why I love movies — it's an experience. I can't recommend it to everyone, but if you're here and reading this, you know that you'll probably love it. Heck — you've probably already seen it.Lindberg — who claims herself that she was a horrible actress — goes all in here. She injected water and saline into her veins for the heroin shots. She learned how to fight. Hell, she got arrested after practicing shooting her shotgun — in public no less. She owns the screen in this.Read more at http://bit.ly/2iqIpEn

Spikeopath Exploitation cinema in all its glory, or not, depending on your own personal peccadilloes! Directed, written and produced by Bo Arne Vibenius, Thriller - en grym film (AKA: They Call Her One Eye) is an infamous picture for a number of reasons, reasons that would take a whole page to write about. So use your mouse and google it because this review isn't interested in dabbling in such fare.Plot sees a young Madeline raped by a paedophile and rendered mute by the experience. Into early adulthood and Madeline (played superbly by soft core porn starlet Christinia Lindberg) unwisely takes up the offer of a lift from the odious Tony (Heinz Hopf). Pretty soon she's addicted to heroin and working as a prostitute. However, Madeline is biding her time, for she has plans, plans that spell doom for all her abusers.Does this film have artistic merit? Absolutely! In fact if you take out the inserted pornographic close-ups, which are pointless since we already know what Madeline is going through (a supposed marketing tool of the era apparently...) then this is a kick-ass film. It's a two parter, where the first half shows all of Madeline's misery, with sexual disturbance and body horror, then we switch to Madeline's fight back, where we get one of the coolest anti-heroines of 70s exploitation. She's sporting an eye patch, a glorious black trench coat, and weapons, oh yes! There are weapons, hands, guns and cars, oh my! It's here where Vibenius asks the question about justifiable revenge, whilst the super slow-mo approach to the violence will either be viewed as indulgent or classy (I'm with the latter camp).It is what it is, grungy and grimy, operating in a specialist niche of cinema, but worthy in that it didn't conform, and it has proved influential. It's just not a date movie or something to watch with you mom! Right, I'm off for a bath. 7/10

evileyereviews This lovely flick was neat. By this I mean that if you are looking to appreciate a foreign flick with a mean streak, with funky acting, hilariously fake blood, and a revenge sequence whose reality is only topped by its audacity, then this "neat" flick is for you. For the real sickies out there, check out Thriller: A Cruel Picture, which has added some unnecessary stock footage of hardcore porn to this cult classic. Getting back to our story, how could such drudgery get any respect? Through all of the corniness, goofy action, and contrived story-telling, this classic creates an atmosphere that must be seen to be believed. The gritty camera work, the psychotic score, the painful attention to detail gives this flick repose in unimaginable realms of respect. Not for everyone, this exploitation flick has earned its way through ethereal means that might hint of genius. Or not. Late.Evil Eye Reviews

Perception_de_Ambiguity The director allegedly stated that he intended to create "a commercial-as-hell crap-film" and as far as I'm concerned this describes it well, even if it could have been made a MUCH more satisfying viewing experience. Elle Driver, or whatever her name is, shoots down her tormentors way too easily. I guess that's what the extensive super-super-slow-mo is for, to cover up how uninspired the killing scenes are. Unfortunately seeing a 3-second sequence of a guy getting hit in the stomach and dropping to the floor stretched out to a full minute just gets boring after 20 seconds; yes, he will hit the floor and stop moving, we get it, move on. And to me it sounded like they used the exact same goofy scream for every kill.Another thing that hinders the fylm from being all too satisfying is that the ending fails to look beyond the successful revenge. Her kidnapper pimp gets her hooked on heroin so she is depending on him to receive her shots twice a day or else she will undoubtedly die (or so the fylm is trying to tell us). But what happens after the picture is over, she's running out of heroin and is short on money for a rehab? Will she die? The fylm did its best to establish the plot's necessary heroin device this way to make us believe that she will, or least it leaves open how she will overcome this obstacle. (The ambiguity excuse doesn't count here.) But even without this problem, what is Elle Driver going to do with her life? Did she learn anything from this adventure, or is the moral here that once a strong person gets victimized for too long (s)he will become a victimizer on her/his own (on her rampage she kills anonymous, innocent people, absolutely without any necessity, just for the heck of it, apparently). We learn little about her personality even though the camera occasionally even takes her position.If the fylm can't explain a plot point it just cuts to the next scene and it's full of obviously convenient turns, revelations and expositions. The prostituted girl gets unlimited freedom from her KIDNAPPER, as well as loads of money. Breaking out? Escaping? She didn't even have to do that. And why anyone would learn how to drive a car like a rally driver for the purpose of getting revenge by shooting people I will probably never understand. Does this skill prove useful to her in the course of the picture? No. But even if it would have proved useful it would have been just as silly and the setup would have looked very obvious. She also learns martial arts, which she uses ONCE in the film, and that is against two police men that are trying to arrest her. Police men that she WAITED for after killing two of the pimp's henchmen. Police men that MAGICALLY know that a crime was committed in some godforsaken warehouse at a godforsaken port.Of course none of the henchmen can even aim their mouths to a baby bottle, let alone aim guns to hit an unsuspecting target. And of course Elle Driver can't aim any better either when it comes to shooting the final enemy at the fylm's 75-minute mark. The running time is at stake here. Eventually she kills him in a slightly more original way, but even this is rather mild and anticlimactic. In general this certainly is no 'I Spit On Your Grave' in regards to vicious revenge. Elle Driver has little interest in making her tormentors suffer. Not the best thing for an exploitation flick. The things it does right are the simple plot (during the first half we witness the torment, and in the second the revenge), the one-dimensional characters, the female nudity and it even has hardcore sex scenes (although with somebody else's bare ass standing in for the main lady's).All this criticism aside, I found it to be an entertaining enough fylm, if it just wasn't so frustrating. The material could have been a winner in the hands of a better filmmaker.