Undoubtedly the best heavy metal horror item made in the manically headbangin' 80's, which admittedly doesn't sound like much considering how utterly abysmal many other entries in this odd little fright film sub-genre like "Hard Rock Zombies," "Blood Tracks," "Terror on Tour," and the especially ungodly Jon-Mikl Thor-starring stinker "Rock'n'Roll Nightmare" tended to be. That aside, this one still deserves props for downplaying the excessive splatter and needlessly flashy special f/x razzle-dazzle in favor of focusing on adolescent high school characters who are depicted with greater acuity and plausibility than the norm for a mid-80's teen-targeted scarefest. Moreover, the film's pointed sardonic parodying of both ridiculously overblown 80's heavy metal stupidity and the nauseating self-righteousness of the uptight killjoy conservative stiffs who claimed it was the devil's music are very clever and on the money funny (famed Greed Decade heavy metal god Ozzy Osbourne has a hilarious bit as a smarmy anti-metal TV evangelist!).
Marc Price (the hopelessly dweeby Skippy on "Family Ties") gives a surprisingly strong and winning performance as Eddie "Ragman" Weinbauer, a geeky, socially awkward and severely persecuted heavy metal aficionado who's constantly picked on by the stuck-up jerk preppie bullies who make up the majority of the student body at Lakeridge High School (the cruelty and mean-spiritedness of the high school kids is nailed with painfully credible accuracy). Eddie's life takes a turn for the worse when his rock star idol Sammi Curr (an impressively whacked-out portrayal by Tony Fields) perishes in a hotel fire. Hip local disc jockey Nuke (KISS front-man Gene Simmons in a cool cameo) hooks Eddie up with Sammi's final, unreleased album, which when played backwards resurrects Curr's malevolent spirit back from the dead. Sammi encourages Eddie to sic him on all the vile scumbags who make poor Eddie's life the proverbial living hell, only to have meek Eddie prove to be a most reluctant would-be accomplice. It's up to Eddie, assisted by token nice girl Leslie Graham (likeably essayed by the lovely Lisa Orgolini), to stop Sammi before things get too out of hand.
Ably directed with commendable thoughtfulness and sensitivity by character actor Charles Martin Smith (who also briefly appears as a nerdy school teacher), smartly written by Michael S. Murphy, Joel Soisson, and Rhet Topham, and capably acted by a uniformly up-to-snuff cast, this surefire sleeper even comes complete with a handful of nifty "jump" moments (an outrageous attack in the back of a car by a grotesquely lecherous long-tongued mutant thingie rates as the definite highlight), a rousing "Carrie"-style high school dance slaughter sequence, a neatly utilized Halloween setting, revenge being correctly shown as a truly ugly business, and a solid central message that you shouldn't make a particular over-hyped person your hero strictly because of the calculated anti-establishment posturing said fellow does to qualify for that special status.

The old axiom that bored people are boring people is well demonstrated in "Women in Love." The script, taken from D. H. Lawrence's novel, contains an endless flow of concepts that are, at best, sophomoric.
What a pity so much effort went into so vacuous an exercise; what an empty array of characters given such attention. In spite of high production values, this film comes across as tedious as its personnel.
A revisit in 2001 merely confirms a 1969 impression of juvenille minds in adult bodies, dawdling nowhere, and fumbling every step of the way.