The story, as several reviewers have noted, follows the Booby Gentry ballad.

Glynnis O'Connor, as a young woman coming of age in rural Mississippi. Robby Benson is good, although the story itself awkward at times, and at times when the plot is revealed outright embarrassing, with an improbable twist.

When this film came out, I saw this in the theater. It was considered radical at the time, much like "Summer of '42" in that there is a secret revealed which audiences clamored to see. Unfortunately, what is revealed is that Mr. Barksdale has taken liberties with Billy Joe; and Billy Joe eventually ends his life.

Glynnis O'Connor does well, portraying confusion, frustration and passion; the melange of emotions of a young woman, who wants to find love. One of the final scenes, when she encounters Barksdale on the Tallahatchie Bridge, is quite touching and sad. She sounds to him a world-weary adult, after all that has happened she tells Barksdale to basically, move on. Nothing can be done. It is time to let go. Moving in its finality, she is a young woman going out in the world with nothing but a suitcase; when he asks her what she will do she says "somehow I'll manage".

The ballad is evocative of earlier, hazy days in the country. While I have not lived in Mississippi, I have visited it and South Georgia, and also resided in rural northern Florida for a time. There is still the sense of the south, a slower pace, even today.

If you like movies of this era, you may enjoy this. The cinematography reflects the stillness and unspoiled beauty of the rural South. 8/10


It's interesting that most reviewers of this film seem to want to resolve one way or another the question of whether Billy Joe was gay or not. Music buffs prize the song for its ambiguities, but IMDb reviewers want the film to explain everything. Actually the film is all the better for leaving things unresolved. The passionate way that Billy Joe talks to and kisses his girlfriend Bobbie Lee might be interpreted as a genuine manifestation of desire, or it might be his desperate attempt to convince himself that he's heterosexual. Similarly, it's not clear whether Billy Joe was raped by the older man, or whether he slept with him willingly. My own interpretation is that Billy Joe is probably unsure of his own sexuality. After he confesses that he has slept with a man, Bobbie Lee tries to comfort him by saying, "I know you're not a man like that - I couldn't be wrong about you"; Billy Joe responds, "Well, you are wrong." It's not really relevant whether the character is gay or not; the important thing is that, at this stage, one sexual encounter with a man has led him to believe that he must be gay. As for whether he slept with the guy willingly, he says, "I knew what was happening". Also, it's unlikely that Bobbie Lee would let the other man go free, as she does in the final scene on the bridge, if she thought he had raped and caused the death of her boyfriend. If she thinks that Billy Joe went with him willingly, this scene makes more sense. But again, this doesn't necessary mean that he was gay. It could be that the conservative attitudes of 1950s Mississippi made it difficult for young people to feel comfortable with any sexuality at all - Billy Joe wants to have sex with his girlfriend, but that's taboo, and she is reluctant to go all the way, so he jumps at the first chance he sees for real sex, even if that means sleeping with a man. In either case, the film works as a satire on the small-minded attitudes of rural America, and the assumption, fuelled by Christianity, that sex is dirty and sinful. The tragedy of the film is that Billy Joe's society can't accept the idea that sex, whether straight or gay, is a natural urge. Since Billy Joe has internalised these attitudes, they destroy him.


Ode to Billy Joe is a great coming of age movie about a young man who obviously has homosexual tendencies in the early seventies. This of course was unheard of then but is celebrated in our modern age. Robbie Benson (Billy Joe) was not raped as others would like for you to believe, but rather explored his true feelings. Many individuals have used alcohol and drugs to try to escape their feelings about the way they truly feel. Sadly sometimes they go to extremes to hide their true self as demonstrated in the ending of this great American classic. It is sad that this is a reality for some individuals who don't have the support that they need to live a wonderful and happy life.


An excellent movie my today's standards. There are no "F" words, no visual sex, & the only nudity is a brief shot of the top portion of a woman's breasts (no nipples shown) before the camera cuts away to another scene. I would recommend this to any parent wanting a movie that they can show in a mixed audience of teens/pre-teens. If it were made today, it would probably receive a PG rating.

Robby Benson & Glynnis O'Connor play their parts well. The movie manages to capture the haunting atmosphere of the song by Bobbie Gentry. I saw it for the first time when I was 15 in 1976 and I still love to watch it.


The title says it all.

The story was great....a plot, a love story, a struggle, etc....

The acting wasn't great, but it was good. I think all the actors did a fair job.

The only real problem with the movie was its dialogue. It was so verbose that it was unrealistic that, even in the 50s they would speak that way.

It's like every sentence had to be stated in absolute verbose perfection as if it was being read from a book. Real dialogue needs to sound like people would actually talk.

An exceptional performance by Robbie Benson, btw.


The song was awesome. Bobbie Gentry song is classic. I'll give some credit to this movie. It's a much better adaptation of a song to a movie, than Harper Valley PTA. Also the movie has a good southern Gothic feel to it. The movie though was mediocre but watchable. Glynnis O'Connor and Robby Benson (excellent chemistry in this and Jeremy(a better movie) make this a worthwhile effort. I have something to say about the comments of the boy being raped in the movie. It was rape. Even if it was consensual (which the boy thought it was) the boy was under 18. That is statutory rape. Even if he had tendencies or was gay or bi, that older man was taking advantage of him, a minor.


Well, all I want to say is that this movie was a really great movie. It starred Glynnis O'Connor as Bobbie Lee Hartley and Robby Benson as Billy Joe McAllister. Bobbie Lee and Billy Joe fall in love but can not be together because Bobbie Lee is not allowed to date. But Billy Joe tries anyway and when they finally are allowed to date, an event happens that you did not see coming. You have really got to check this movie out!! It is like my favorite movie of all-time! I know a lot of people that commented on this movie wrote something about bad Mississippi accents..Well they are not from Mississippi and they have no right to say anything bad about how horrible this movie is based on something like that! There is nothing wrong with their accents, thats just how it is supposed to be, and if you don't want to hear accents, then don't watch the movie. But if you aren't a total idiot, I recommend that you see this movie. I give it 2 thumbs way up and 10 stars!! Wooo!!


I just watched Ode to Billy Joe today because my mother and aunt talked me into it, and I am 13 and I have the biggest crush on Robby Benson(in his younger years of course). I was so shocked at how the ending turned out, but of course I knew he would jump of the Tallahatchie Bridge from the song. I have to say, at the end I was crying a river and I really thought this movie was great. I really think that because Billie Joe was drunk, he may not have realized the reality of what was going on when that man raped him(in my opinion it was rape). I think he was just extremely ashamed because he knew that was totally unacceptable in that time and very scared and didn't know what to do. So, that is why I think he jumped off the bridge. If you ever get a chance to see this movie, go for it. You won't be disappointed, trust me.


Bobbie Gentry's album ODE TO BILLY JOE knocked The Beatles' SGT. PEPPER off the top of the American music charts in the 1960s, and the title track became a musical touchstone for many of that generation. It was a ballad, and it offered the story of a rural Mississippi farm girl who learns through casual conversation over the kitchen table that Billy Joe McAllister has jumped off the Tallahatchie bridge. Simply written and performed, Gentry's song had an aura of mysterious tragedy, for clearly there was some unknown relationship between the singer and Billy Joe--and while Gentry implied a great deal, she did not specify the details, leaving her listeners to wonder and make interpretations of their own.

One of the most popular ideas about the song was that Billy Joe was black, and that the "something" he and the singer had been seen throwing off the Tallahatchie bridge was their secretly born infant--and in many respects this interpretation fit the details of the lyrics Gentry wrote. But Gentry herself left the mystery intact, and although often pressed over the years, she wisely never specified exactly who Billy Joe was, what the relationship had been, what had been throw off the bridge--or even if the "something" thrown off the bridge was even relevant.

Enter Hollywood.

Presumably the powers that be rejected the idea of making Billy Joe black--and there is some justification there, for Gentry never said he was, and if indeed he was black the entire plot of the film would be obvious the instant the character appeared on the screen. So they came up with a different twist. In the mid-1970s, Hollywood considered homosexuality to be the dirty secret to end all dirty secrets, and films still generally presented gay characters as desperately unhappy at best.

Now, the general idea that Hollywood came up with wasn't in and of itself bad--and if you consider what might have been done with it the possibilities are really intriguing. But what they did with it in fact was an entirely different matter. Not only is the plot and script bad, they are so bad that they are downright embarrassing, and whenever the film is mentioned I find myself unable to suppress a reflexive cringe.

But there is a tremendous irony here. When Hollywood wants to a movie about Mississippi, it almost never actually goes to Mississippi; instead, the director goes to Florida, or South Carolina, or Georgia, or just shoots the film on a Los Angeles backlot. The result, of course, is that it looks like anywhere except Mississippi. But while Max Bear is no great shakes as a director, he actually did film the movie in Mississippi, and what's more he filmed it around the old Talliahatchie bridge, so for once they got at least that much right. And the cast is also quite good, particularly lead Glynnis O'Connor. So the elements were there: it looked right, the cast was strong, and they had an idea with potential. But in truth, that just makes the actual result that much more unfortunate.

If you're a fan of the song, or if you grew up in Mississippi as I did, you might want to sit through this film once. But trust me: once will be enough. And if you don't care about the song and have no interest in seeing what rural Mississippi actually looks like as opposed to what Hollywood thinks it looks like, you need to avoid this one like the plague.

Gary F. Taylor, aka GFT, Amazon Reviewer


Okay, making a film of the Bobbie Gentry song was a dubious idea to begin with; but it's hard to imagine a more boorish attempt. I lost count of the references to the Chattahoochie Bridge ("nothing good ever happened on that bridge") and the repetitions of the name Billy Joe McAllister. Forgivable, perhaps. What's less so is Herman Raucher's painfully expository dialogue ("Bobbie Lee, you know the Rural Electrification Project doesn't provide power to remote areas!"), the cast's excruciating Southern accents (all bad, but not even uniformly so)and the teenagers' Gone With the Wind diction. Though Jethro's intent was apparently serious, this film is high camp and can be enjoyed thus: Treat it as a frat boy drinking game. Watch the film with a bottle of tequila, and take a long swig every time someone says the word "bridge".


What a phenomenally horrible film! I am completely and utterly surprised at two things - 1) The relatively high rating and 2) the relatively successful careers the two lead characters have had. The girl was OK, I guess, but Billy Joe! Oh jeez. I don't think my judgment is too heavily influenced by the god awful hillbilly accents either.


I just found a copy of this classic 1970's chiller on ebay. To my surprise, it is just as effective watching today as I remember seeing it as a child. There are many genuine thrills and chills as Barbara Parkins plays a young woman returning to the creepy mansion where she was traumatized as a child. Barbara Stanwyck plays her mother. Both actresses, fresh off their respective 1960's TV series' "Peyton Place" and "The Big Valley," give excellent performances. Parkins was an underrated actress and is truly memorable in her role of the terrorized girl. She is also very beautiful. Stanwyck is dignified and elegant and this film is a reminder of the great talent that was hers. This movie is a forgotten gem. It would be great to see it released on DVD someday.


TASTE OF EVIL is a wonderful suspense film from two horror masters. The director John Llewellyn Moxey, who directed such great horrors as: Desire the Vampire, Killjoy, No Place to Hide, Home For the Holidays, and the famous TV film The Night Stalker, all made-for-TV movies. The other horror master, writer Jimmy Sangster, who wrote excellent horror for: the TV film GOOD AGAINST EVIL, TV film SCREAM PRETTY PEGGY, many Hammer Horror films and the most famous and scariest KOLCHAK: THE NIGHT STALKER episode, HORROR IN THE HEIGHTS. I'm glad I have this film, it is fantastic!

SUMMARY: At a young age, Susan Wilcox (Barbara Parkins), is traumatically raped and goes into shock. She is taken to a mental institution. Many years later, her mother Miriam Jennings (Barbara Stanwyck) takes her home to their gigantic mansion. While home, Susan sees her stepfather, Harold Jennings (William Windom), dead and his dead body floating around the house. However, Harold seems to be on a business trip and phones home everyday. Is Susan going crazy and why are there more dead bodies piling up? What is the secret of Susan's homecoming?

I love the setting in the creepy old mansion. The dead bodies give me the creeps. I really love this movie. The acting is so-so, Barbara Parkins does the best. RECOMMENDATION: Scream, Pretty Peggy. *** 1/2 stars, 9/10. SEE THIS MOVIE IF THE CHANCE COMES UP!!!!!!


A Taste of Evil is an unintentional funny movie. As mentioned before, story revolves around a daughter who comes home to an estate on the outskirts of San Francisco. Movie has an excellent lovely Barbara Parkins, underrated legend Barbara Stanwyck, Roddy McDowell, and Arthur O'Connell, most notably for "Bus Stop" with Marilyn Monroe. It is interesting because the first half of the movie is focused on Barbara Parkins and then the 2nd half is focused on Barbara Stanwyck. Movie has unintentional funny moments. Here are some of them. Barbaba Parkins calls the caretaker to see what is for dinner because the mother is out all night shopping, cold cuts and salad. However, the camp award goes to Barbara Stanwyck. The funniest scene, which my friend and I keep laughing at, is when Barbara Stanwyck is cooking. Barbara acts so bi-polar with a manic look on her face, she yells at Barbara Parkins as they leave to hunt, "Work up a healthy appetite, I'll have hamburgers piled right up to the ceiling." You have to see the scene to see what I am referring too. As the movie progresses, you see funny scenes as a Raggedy Ann doll floating in the bathtub. All the humor is on Barbara Stanwyck's facial expressions in the 2nd half. There is a surprise twist but guidelines won't allow me to tell you what it is. Enjoy and this is a must to keep your video collection. I am glad I taped this off t.v. 15 years ago.


This movie is absolutely haunting! I have never forgotten it and am still feeling the slowly growing horror it produced back then when I remember it now. I first saw this film as a little girl.

I need to get a copy of this wonderful film for my own. I searched filmographies of Arthur O'Connell to actually get the title for this film. It was spooky and so memorable to me even as a child. I remember the playhouse, I remember the sound of Barbara Stanwyck's voice, especially with key lines. What a film! I remember all the nuances. Add this to your collection as well, it will stay with you for sure. I can't say that many movies have remained with me the way this one did.


Unlike most of the family movies today this one does not find a need for profanity or hidden innuendos to make it work. It is light hearted and easy to follow for most any age yet has enough comic relief for adults to be entertained from the gnomes. Although there is some bare bottom nudity it is easily explained to children without any concerns (if a fairy grows to human size her clothes no longer fit!). The only aspect that I found unnecessary was the interaction with the teacher.

There are no Oscar winning performances or brilliant morals to this story of a fairy (Chantelle Stander) that loses her memory and is taken in by a widow (Maxwell Caulfield) and his daughter (Charlotte Savage). The story line works very well for anyone that likes fairies and fairy tales, no matter your age.

As family movies go, I would let my grandchildren watch this one.


What a film, excellent is not the word for it. Suitable for the whole family it has you glued to the seat the whole way through. Maxwell Caulfield plays a brilliant part throughout, it is very funny and a bit sad it parts. It is one that can be watched over and over again and still have the same effect. My whole family absolutely love the film and have watched it so many times I have lost count. Maxwell Caulfield should make so many more films like this he is certainly great in this one, much better to see him as the nice guy than the villain. We hope to see him again on screen very very soon in the United Kingdom, we are so short of good actors here.


ok, I must admit that I have been only admiring the beauty of Maxwell Caulfield in this movie. he is just damn cute. but again, this is also a good movie for the whole family to watch. easy to understand. this kind of disney-like movie is never a bad choice when you are just looking for fun time in viewing. rent the tape and watch it.


Tom (Maxwell Caulfield) lives in England with his young daughter, Melissa (Charlotte Savage). A recent widower of 16 months, Tom is struggling to get back to his work as a children's fantasy writer. Also, his habit of reading only fairy tales to Melissa irks the local teacher, Miss Martinet (Mia Sara). Yet, one day, a tiny fairy, Crystal ( (Chantelle Stander) travels from her magic world to Tom's house, for she greatly admires his writings. Unfortunately, she bumps into a tree and, suddenly, she is a human-sized, scantily-dressed woman-fairy. Amnesia, also, hits Crystal and when she comes knocking on Tom's door, she is so confused that Tom invites her in and vows to find her family. The more he sees of beautiful Crystal, too, the more he is attracted to her. But, alas, an evil supernatural being known as the collector (Jeff Fahey) comes to town, also, for in her present state, the collector can capture the fairy and put her in a bottle. To prevent that, two elves likewise enter the human world to look for Crystal and protect her from the evil forces. What a tangled web! Will Crystal survive? This is a good family film that's art direction is tremendous. From the country setting to the fairy costumes to the special effects, this film looks very, very beautiful. It also has an imaginative plot and a capable cast, with Caulfield making a nice, caring father. Stander, too, is a lovely fairy while Sara is a hoot as the specs-wearing, didactic teacher. But, be cautioned parents. There are some dark elements, with Fahey giving the collector a frightening persona. Also, some may find the brief minutes of Crystal's lack of clothing (nothing is shown, only implied) objectionable. However, most families will find the film very worthwhile, more so than some major feature releases. If you are looking for something new to show to your loved ones, Dazzle should fulfill your wishes nicely.


Dazzle is an enchanting balance of light-heartedness and innocent humor.

Surprisingly, the movie is cleverly woven. Nice touches include Tom as an author of children's books about faeries as well as Shakespeare's fairy play within the play, Midsummer Night's Dream.

The gnomes Oddkin and Bodkin impart amusement, keep the comedy cheerful, and provide balance for the mildly menacing antagonist, the Collector.

Melissa is disarmingly charming. Tom and Crystal share a believable chemistry. Ms. Martinet adds a touch of complication as both the skeptic science teacher, rival love interest, and, ironically, the school play director. Tom's publisher and son help with unobtrusive story exposition.

The movie is warm without being maudlin.

Highly recommended.


I had high hopes for this film, since I have been a big fan of the novel on which it is based. The film exceeded my expectations in every way. Although quite faithful to the book (with many lines of dialogue and narration moving straight from Scott Heim's poetic prose), the movie has more drive and focus and pulls you so far into the troubled characters. Credit for the movie's strength goes all around -- director Araki put his mark on the story without taking it over. He got uniformily good performances (and somehow managed to direct scenes that any reader of the book would have thought completely unfilmable). Kansas has never looked better, or more sinister. The music is used well throughout.

And the acting is terrific. The two youngest leads, Chase Ellison and George Webster, were entirely convincing in their scenes (and I hope they feel proud of their work, seeing as how there's no way they'll get to see this movie until sometime next decade). Michelle Trachtenberg and Jeff Licon have fairly thankless roles, playing characters who are somewhat less clear and crucial in the film than their characters were in the book. But they don't sweat that, they just play what the screen play has them do, and they excel. Licon, especially, I think, although Trachtenberg is at a disadvantage, as her part is really pretty small.

And for me, at least, I think Mary-Lynn Rajskub, Brady Corbet, and Joseph Gordon-Levitt give about as good performances as one can give. Rajskub is so good that she gives the other actors in the film a space to react that is almost visible. Corbet is quiet and intense; if his performance sometimes lacks motivation, it is probably deliberate, as his character is struggling with identity and memory. And as for Gordon-Levitt, man, that guy can act. I really have a hard time thinking of any acting performance ever that has affected me as much.

It is a difficult story, although I felt it ends hopefully. Hopefully, you will agree. Content is very strong, although perhaps not NC-17 strong. Not for kids. Adults, if you can get past the 2nd scene, you can get through it, but there is a lot of outlawed sexuality and violence. It is painful to watch at times, but to me at least, that's because the actors and the director managed to immerse me in the characters.


Just got back from the Sundance Film Festival. I am still processing this powerful movie and the stunning reminder of the cost some of life's choices bring to our lives. I was amazed at the brutal honesty of this story. While I cannot say enough about the acting, Brady Corbet's subtle portrayal of Brian should be honored and remembered for a very long time. Bravo to all involved with this movie.

Before seeing this movie I could only remember that the novel, Mysterious Skin, had been disturbing. Greg Araki has made this novel into something that cuts emotionally but could also have a great impact in how people learn to deal with a painful past and the defenses they have built up to protect potentially devastating secrets.

Anyone who wants a movie to move them, to make them feel and to think should do everything they can to make sure they do not miss Mysterious Skin


"Mysterious Skin" is a mysterious movie. Not mysterious in a boring, unoriginal way, where the screenwriter screws you around with information; mysterious in the way that the characters are opening up in front of you, and yet they're still enigmas; their depths hidden in plain view. It is the story of two teenage boys who were both sexually abused by the same man when they were younger. You already probably think the movie is dark and heavy, but it's not; it imposes no message on the viewer, and does not come to any easy conclusions. It has a strange tone throughout  a little like remembering something terrible and being unable to deal with it properly.

The movie has a lot of sex in it, but it does not comment on the sex. Sex is just an important part of the characters' lives - to Neil because he is gay and enjoys sex with older men (he works as a rent boy); to Brian because he is not sexually driven, and is surrounded by something he wants no part of.

When the two boys were younger, they were sexually abused by their gym teacher, played by Bill Sage. Neil remembers this almost with fondness; the beginning of his sexual exploration. Brian can't remember it at all; he blanked the episode out of his memory. The movie follow Brian through his journey to find out what happened during those holes in his memory, and Neil on his sad, slow decline from happiness.

While Brian is seeking him out, Neil earns enough money to travel to New York, where he continues his lifestyle until, in a scene I found difficult to watch, he is drugged, beaten and raped by one of his clients, after which he goes back home to his mother (played by Elisabeth Shue). Eventually, Brian tracks him down to find out what happened to him when he was younger.

This could easily have been the material for a heavy drama that forces a message down the audience's throat, but what makes "Mysterious Skin" so good is its refusal to resort to black and white morals. It is true that the gym teacher is under-developed as a character, but at least he isn't shown as a two-dimensional bad guy; children who are victims of abuse often like the abuser, and it is brave of the movie to suggest that Neil actually enjoyed it at the time, not knowing how it would affect him later in life, or what was being done to him. People may find this aspect of the movie makes them uncomfortable, but it is supposed to. It's rare to find movies so honest about victims of abuse.

The movie has a certain tone that's a little difficult to place; a certain lightness in details such as Brian's theory that he was abducted by aliens during his black-outs. It's not levity; more the feeling of trying to tolerate a damaged life. It has a certain erotic charge; it doesn't deny that Neil enjoys sex, nor does it suggest that he would have been straight and 'normal' were he not abused  the audience is left to decide the extent of the damage done to these boys. Some people don't like movies like that; they want the movie to do all the work for them, and give them a neat little message that they probably already know. I prefer challenging movies that dare to go to new places. Such movies are not always good, but they are always interesting.

It's difficult to get "Mysterious Skin" out of your head after you see it, and part of its strength comes from the two leads: Brady Corbet as Brian, and especially Joseph Gordon-Levitt as Neil. I knew the latter actor from his goofy role in "3rd Rock From the Sun," and was amazed by his work here.

"Mysterious Skin" ends with the image of Neil and Brian in the old house of their coach, Brian lying with his head on Neil's lap, and it's the performances that make the image haunting. It's not sexual attraction that brings them together, but need and confusion. Poor guys. Brian blanked out the episodes because he couldn't face the truth, and Neil can't face it either, though he thinks he can. He even convinces himself he's happy. The smiling, friendly coach damaged them more than they know, but the movie's strength is in the fact that it doesn't make us pity them.


Tom Beringer was excellent as Lewis Gates. The whole idea of Native Americans of a century ago, residing in the wilderness mountains of Montana is so mesmerizing. I loved it!!! I would love to be able to go back in time and make the same discoveries on the back of a horse.


I have seen most of Tom Berenger's movies, and I feel that this may, perhaps, be his best effort. I have seen this movie half a dozen times, and it continues not to bore me. The story was different and interesting. Admittedly, there are a few instances the when the acting isn't Academy Award caliber, but on the whole this was very good entertainment.

After seeing this movie, I felt that Tom Berenger would definitely have a been a more preferable choice than Robert Redford in "The Horse Whisperer".


I really enjoyed this movie and have recommended it to many people. The acting was excellent, the writing wonderful, with believable, interesting characters and plotting. All in all, a first class production. I thought the director did a superb job giving enough location shots to make you swoon while allowing the actors do what they do so well. Plus the intrigue of wondering about the likelihood of all the events that transpired was provocative. If you're over 30 and have a single, adventurous bone in your body, not to mention a romantic one, you'll love this movie!


I truly enjoyed this movie. It came and went in the theaters very quickly, much to my disappointment.

Tom Berenger and Barbara Hershey are excellent as a mismatched pair. They do a superior job convincing us of their relationship -- in my opinion as good as any Tracy/Hepburn team-up.

The premise is slightly unbelievable, but if you suspend your disbelief you will really enjoy a fine romance/western/fantasy/adventure.

The only knock I have is the excessive use of profanity for no reason.


The clever marketeer is he is, Jess Franco naturally also cashed in on the huge temporarily success of psychedelic spy movies like Mario Bava's ultimately sensational "Danger: Diabolik!". Franco is the ideal man to shoot a similar film, as he could freely insert as much sleaze, kitschy scenery and absurdly grotesque plot twists as he wanted to. And he partially understood this very well, as "The Girl from Rio" revolves on a man-hating organization, led by a funky dressed lesbo, that plots to turn all men into obedient slaves! Unfortunately (for them, at least), the diabolical plans conflict with the daily business of a feared crime syndicate boss, played by George Sanders. All the right ingredients are well-presented, yet this is a surprisingly weak and unsatisfying adventure movie. The plot is rich on imagination, but seemingly only on paper, as the action is quite tame. The film is also very colorful...but not too bright and especially shocking was the total lack of vicious sex. There's a bit of nudity, sure, but too few according to normal Franco standards. All the characters are sick in the head, so the least I expected (or hoped for) were more perverted undertones or frenzied themes. Franco obviously had a bigger budget as usual to work with, and I must say he spends that money well on more convincing set pieces and talented cast members. Particularly the veteran actor George Sanders ("Village of the Damned", "Psychomania") is one of the best players ever to appear in a Franco production. Too bad even he can't save "The Girl from Rio" from being a huge letdown. A legendary Euro-smut filmmaker like Jess Franco could and should have done more with this concept. Shame, shame, shame...


There are certain scenes in this film (like the hero's first meeting with super-villainess Shirley Eaton) where it seems to be on the edge of breaking sexual taboos and doing its premise (females want to rule the world by making men slaves) justice, but it never dares to. The result is a film with no sexuality and some tame violence. Despite the choppy plot, the film is not overly bad until its climax, where its amateurishness runs rampant (terrible editing, overuse of stock footage). Worth seeing only as a curio. (*1/2)


Take the secret agent / James Bond craze of the sixties, mix in some concepts from Sax Rohmer's female Fu Manchu femme fatale and stir in some absurdest twisted revisionism by director Franco - you have the man-hating lesbian Sumuru, or "The 7 Secrets of..." - better known as "The Girl From Rio" in the USA, recalling "That Man From Rio," which has nothing to do with this. Yes, this does take place in Brazil, we must give it that. Sumuru, or Sumitra as she's also referred to, is like an evil version of "Modesty Blaise," played here by actress Eaton with that familiar coy smile which most of us first became acquainted with in "Goldfinger." There are numerous close-up shots of her staring off camera, slowly opening her mouth, probably while watching something unpleasant (however, she is doubled in her key lesbian scene). She controls an entire army of female warriors, colorfully costumed, and rules a city called Femina or something (just outside Rio de Janeiro?). These concepts, which previously appeared in "The Million Eyes of Sumuru," sound terrific, but, despite some intriguing set design & visuals, it follows the same campy atmosphere of, for example, the very dated "Some Girls Do," which came out around the same time and which also featured a female army. At first glance, the sight of all these armed females, usually lined up in a row, catches one's interest, but, after 15 minutes or so, you realize there's nothing else there beyond just setting up the visual.

The plot follows what seems like a secret agent, a male, arriving in Brazil with 10 million dollars. He catches the attention of the local crime lord (Sanders, hamming it up as an elderly Bond-type villain), who sends dark-suited thugs in bowler hats to accost him. This sets everything up for a 3-way conflict between the agent, the crime lord and the mysterious Sumuru (the crime lord wants Sumuru's secrets). Sumuru also keeps various prisoners in glass cages - maybe that's one of the secrets. This sounds exciting but there are problems which go beyond just a slow pace; there are many shots which could have used a lot of tightening: one shot of an arriving airplane, for example, stays on the craft as it settles to a near stop, as if this had never been captured on film before. There's a similar approach to a typical sunset, as if there's something unusual about it. The fight scenes are very substandard, as if the filmmakers had to use the first takes. To add some production value, there's a scene of the real Rio carnival about midway through. I'm guessing there were various budget problems, especially evident in the climactic battle, where fake sound effects and smoke cover up a lot of bogus action, such as the lack of even real-looking guns - it calls to mind those times when kids use plastic guns and pretend bullets are being fired, falling over unconvincingly. There are touches of sadism, such as torturing a character to get answers, and female nudity, an early depiction of such after some restrictions were lifted. But, mostly, you'll be rolling your eyes. Hero:3 Villains:5 Femme Fatales:5 Henchmen:4 Fights:3 Stunts/Chases:3 Gadgets:4 Auto:4 Locations:6 Pace:3 overall:4


Now this is a real turkey by the overrated director Franco, who gave us such classics as "Las Vampiras/Vampyros Lesbos". Yes, I think that bad films can be great fun. I adore the hilarious howlers of Doris Wishman, Dwain Esper and Ed Wood jr., but this one proved to be too much for me. It is the first film I rated 1. Where should I start? The screenplay is idiotic to the utmost. The dialogue is unbelievably bad. The directing seems to be nonexistent. The best music cue (used repeatedly in this film) was taken directly from the movie "Der Hexer" (1964). And it's BORING! Poor Shirley Eaton and George Sanders! In one shot Sanders reads a Popeye comic while his henchman torture a girl (this aspect is probably the intellectual highlight of this movie). The only thing that baffled me was that Franco promptly showed female nudity whenever I thought the movie would gain from it - this is real directing skill! Still, I'm afraid that a movie in which actors pretend to shoot with machine guns by shaking them is not really worthwhile.


You can't see this movie because Traci Lords lied about her age to get into pictures. Nonetheless, this is a great porn movie. Traci gives a fine performance. She and the rest of the ladies obviously enjoy what they are doing. The men do, too.

Though the script is nothing to write home about, the acting is acceptable and the sex is great.


This film should not be seen, due to it featuring an underage performer, and if you watch it you are a horrible, horrible person.

But if you were to watch it anyway, I would expect it to have a very nice scene involving a maid, which would be made better by the fact that unlike most newer films, the actress seems to be having a good time. I would thoroughly enjoy this. And since thats really the only memorable part, I'll just give a brief overview of what I would expect to find.

Scene 1 = 9/10 (Worth watching just for this)

Scene 2 = 7.5/10 (Not bad, +1 for the end)

Scene 2.5 = 10/10 just for horrible humor, epic.

Scene 3 = 7/10 (Feels like it was thrown in at the end, but its interesting enough)

Scene 4 = 7/10 (Good, end was kind of a let down)

Scene 5 = 7/10 (Would have been 8.5 if a certain substance ended up on her face instead, such a waste...)

Scene 6 = 8/10 (Kind of a combination of 2 scenes. The outdoors one has a few really nice parts. The indoors one isn't anything special.)

Scene 7 = 8.5/10 (Nice surprise, good way to end the movie)

Overall I would give it an 8. And if you don't have enough time for the whole thing, just watch the first 20 min or so, you'll thank me.


Actually she was 15yrs old , She only made 1 porn movie at age 18 before FBI arrested her , so all her movies were made when she was underage , Some other pornstars investigated during the early 80's and possibly appeared in porn movies underage include Alexandria Quinn , Kristara Barrington and Ali Moore , These other girls didn't draw as much attention possibly due to the fact they weren't very popular or overly attractive , at least one of the pornstars appears alongside Traci Lords in more than one movie , There is one movie were possibly all of the actors appear making nearly the entire female cast underage at the time the movie was filmed. Does this still happen today ?

To the guy from netherlands , first of all , she was arrested the day after her 18th birthday , would have been 8th may , thats late 87 is it ? and you say she coulndt have possibly made any movies before she turned 16 , yet she was penthouse pet in September 84 and the story read she had starred in dozens of porn movies , so she starred in dozens of porn movies prior to September yet her first movie according to you wasn't produced and released until late 84 ?


Nude women float in a space as a woman's voice hums along. Lannie, played by the multi skilled Traci Lords (Tracy) has been dreaming about naked women again. Why? Her mom (Helga Sven) brings up boys and tells her about a new man, Mr. Kennedy (Don Hodge), who she thinks likes her, but is too shy to say anything.

Mark Radner's (Shone Taylor) hangs with Jeff (Tom Byron) and Kevin (Marc Wallice) talking guy talk. Kevin brings up Debbie and Jeff gets teased about not getting any. Mark blackmails his pilfering maid. He brings her upstairs for a triple teaming.

Lannie and friends share girl talk by the pool. Debbie, (Bunny Bleu) goes topless with Cheryl (Susan Hart). Lannie takes the cue and follow. Cheryl talks about how she lost her virginity while babysitting with Bill (Greg Rome). She was nervous about going down at first, but he made her comfortable. Debbie boasts of making guys "beg for it." Kevin says he make girls like Debbie beg for it. The friends left when Mrs. Waters show up. She has her sights on Mrs. Waters Mr. Kennedy.

Mrs. Radner (Maria Kay) is peeved at boyfriend (Herschel Savage) for driving fast. She "recovers" and comes unto him. She assures him that her son Mark isn't home. Mark hides and watch as they go at it by the fountain. Scene is too short. Richard Mailer and his people should have extended it, or exclude the sex scene between older people like Helga Sven and Don Hodge.

Lannie, Jeff, Debbie and Kevin meets. Taking the hint from Kevin, Jeff takes Lannie in the kitchen. Debbie teases Kevin before sex. Lannie's dress get wet and she teases Jeff after getting naked. He gets too excited and finishes before starting. Lannie later pleasures herself to Jeff. The scene cuts back and fort between Lannie and a DREAMT encounter with Jeff (Tom Byron) outside on a picnic table.

It's like being teased without teasing. Some anticlimactic artistry by director Richard Mailer: The debut sex scene of the highly sought after Kirstie Elizabeth "Traci Lords" Knussman is during a dream sequence. Viewers get a sample of her distinctive "sexual terrorist" moans. Traci Lords would later write that her first filmed scene was spontaneously done in a kitchen with Tom Byron. Byron has a "sweet, dopey, puppy-dog thing" which apparently tingled her. The production crew proceeded to seize the moment as they were in the act. In any event, THAT encounter isn't in this movie. Lords wrote of a poolside three way BEFORE production of What Gets Me Hot! Herself, another female and male. Regard for her allegedly rose when news of said escapade made the industry rounds. She didn't get paid for it.

Other than their numerous on-screen copulation, there's been no mention by Lords of a personal relationship with Tom Byron.

Mark talks to Kevin, then seduces Kevin's girlfriend Debbie at his house. He becomes her master. Making her get naked for some secret tongue pleasure from Wendy(Leslie Thane). Louis (David Sanders) joins in. Wendy tongues Debbie until Mark tells her to open her eyesshocking her. A foursome happened.

Debbie tells Lannie Kevin is a boy. She wants a man like Mark. Lannie has other plans after finding out what gets her hot. She looks over at Cheryl (Susan Hart). (Some poetic money shot of sorts). We now know Traci Lords was, how they say, "gay for the stay" in porn. It could be the effects of the drugs.


I thought that it was a cute and funny. A great start for a new director and writer. It builds off of a fun evening with a couple trying to save their relationship with a threesome, but turns into the uncomfortable and funny situations that are created after-wards.

Than you add in the group of friends to fan the flames and add a little extra action of their own, and you get this fun film.

I think it's a great start and can't wait to see where this new directors career is going to go. I was especially impressed when learning that they were able to create this project with a budget of only around $5,000. It adds to the fact that there is something to be scene from Vince Rocca and Mike Hutchinson in the future.


A buddy gave me a screener copy of this and it cracked me up. It's a low budget indie-ish movie that totally reminded me of Clerks and Chasing Amy. If I didn't know any better, I'd be suspicious that this was made by the same guy.

It's very one room stage play-ish. But it keeps your attention. There are some JackAss scenes that seemed to be inserted for shock value, but they were funny.

The acting is soft, but not bad. Some of the people were really good and I'm surprised I haven't seen them before. The lead Zack is a great example. That guy has a familiarity that I could swear I seen him before, but when I looked him up, he wasn't listed in anything. The women were HOTT. My god, I was mesmerized every time the blond was on screen. I'm not even sure if she spoke, I was just in awe.

I didn't think the David guys character would do what he did, and if he did, I thought he'd back away. May sound riddle-ish if you haven't see it, but once you do, you'll get my drift.

Overall, knowing this is a first movie, and was made by a guy who never made a movie before, it was great.


This movie is particularly weak. Near the end there are about five or ten minutes which are mildly intriguing and provide only surface tension, but mostly this is a super lame attempt at crude comedy. The box seems to scream out that it is a Clerks wannabe, and the guy at the store told me that if I liked Clerks then I'd like this, but I don't' think that's true. Sure, this movie focuses around coworkers and their interactions with customers, but it ends there. In Clerks, Dante hates his job, which is what makes it work. In this movie David has a bachelor's degree but is so happy working at a billiard supply store that he doesn't feel the need to use it.

The DVD cover features a quip from Kevin Smith, but don't be fooled. Smith must have been washed over in hero worship. This film makes direct references to Dogma (Rufus, the 13th apostle) and Chasing Amy (fingercuffs) and includes a character named Silent Bobbette who is a female version of Silent Bob (but looks more like Jay trying to dress up like Silent Bob).

This movie doesn't live up to any indie hype it has.


Kisses And Caroms is one of the funniest movies I have seen in a while. I'm big on independent films and when you have a good story, threesomes, billiards how could you not want to see this. Besides all of the T&A I have to say that the cinematography really pulls the story together. The best part of this movie is that even though they had all the eye candy that every independent film should have, they had a good moral to the story. As a movie director and producer creating a movie can be either really easy or really hard, but these guys definitely make it look easy. I have to say if you like American Pie or any other perverted comedy this is a must see. If only pool halls carried some of those hotties...Maybe someday.

Mike


SO, I am probably one of the first people in the whole world to see this movie.

All I can tell you is its soooo great. I am not even sure what else to say.

The writing is wonderful...funny, and has the rough, Indie feel to it. Is never boring. Gets and holds your attention for the entire flick.

The Characters in the film are amazing. Very well written and the actors do a Fantastic Job.

This movie is definitely not a PG-13 Flick. It has its raunchy moments...but is never over the top. (Well, OK..maybe a bit...at times..) I would call it a Clerks meets the Billiard Sales World. ;)


I stumbled across this film at a friend's house one night, and wasn't that eager to watch it since it's not usually my type of film, but I am very pleased I did. Kisses and Caroms is a hilarious indie film which packs the jokes in thick and fast, but also has rounded, believable characters and a truly enjoyable plot. As something of an indie film-maker myself, it's exciting to see a film like Kisses and Caroms, because it manages to use it's indie status to it's advantage - free of studio interference, Vince Rocca has crafted an outrageously funny film which could never have come out of Hollywood, whilst still not falling into the traditional pitfalls and clichés of independent film. The characters DON'T endlessly monologue in a desperate "trying to be Linklater" way, there's no "trying to be Tarantino, Rodriguez or Smith". Instead Kisses and Caroms is a sex comedy which doesn't try to be anything more, but although it doesn't aim to be any kind of higher-art, the film leaves you happy and inspired, and to me, that's more important than anything.

If you get a chance to see this film, take it - you won't regret it.


I was lucky enough to check out this indie film and I was thoroughly impressed. The Kevin Smith influence is obvious, though the film pulls it off well. Lots of sophomoric humor offset with some great moments. The cinematography "felt" a little "indie"- as in not shot by an ASC member, but still felt solid. The same goes for the editing. The writing had to be the best part- lots of great one liners and witty banter. The guys were funny, the girls attractive- the way it needs to be in the type of flick. Clearly the film is a labor of love and it shows. It was shot on a prosumer video camera- probably the way Kevin Smith himself would do it if he were to start his career at this moment. Yet, the film is more watchable than many of the Hollywood films out at the moment. Imagine what these guys could do with a budget... Highly Recommended!


I was looking forward to seeing this film due to the hype I was reading on the IndieClub web site. This film on many levels disappointed me.

Bad sound: I had trouble hearing several lines and the sound bite of the doorbell always sounded the same which made it sound like an obvious add on. Poor editing: nearly all scenes lingered too long. Cutting a few seconds off the end of each clip would have really helped the pacing.

The main story line is weak - we have an introduction to the situation at the start of the film - but then the story is dropped only to return at the very end of the film. Plus the characters are always talking about things that have happened  its always better to show the audience than to tell. And there is too much unfunny toilet humor in the film which seems to be used as filler. This film is modeled after the film Clerks but takes place on a billiards shop. It seems that every character entering the store is retarded. Many of the jokes are taken from the old Month Python routine where a customer comes into a bookstore and asks if they sell books. The video quality is generally good but they should have used better lighting instead of just the ambient light.


This fun little romp into the world of billiards is just as good or better than many films I've seen in all the various video stores and yet I had to schmooze my way into obtaining a screener copy. It amazes me how even after you've completed a pretty darn good movie, you have to wait and wait for it to see any kind of release.

The film itself is a romantic comedy that most of the time hits it's mark and flows well and maintains interest. The language is pretty bawdy at times, but accurate in representing the culture-du-jour and the characters are all believable and relateable (I'm sure neither of those words are readable, let alone definable).

The title is a bit esoteric, and at first glance makes me think of Hershey's Kisses and chocolate carobs, but watching Nicole Rayburn as Tara certainly took my mind off everything else. To quote a famous line from one of my all-time favorite movies, "Schwing... Yada, yada, yada".

Bottom line, a fun film, a great first film, and entertaining to the last ball.


one of the best no/low budget movies I've seen since clerks. its funny, witty, and very entertaining, will make you wish only one thing, that it was longer. Vince knew what he wanted when he made this movie and it'll leave you wanting more.. Kisses and Caroms is a story that i felt like i've lived too many times a girl trying to prove something to her man and it backfires, or does it?? guys don't know what they want until its too late and thats one of the premises of this flick.. love the billiards angle of the movie too, adds another bit of fun as well. also the sexiness of it sure did a lot to make me want to add this movie to my collection and watch it quite a bit. Quite a job was done in the casting process to make this movie what it has become, how vince got so many top quality actors in the flick is beyond me but you will be thankful for that fact. some movies you just never get tired of and you just feel the need to watch em over and over again, this is one of those movies.. don't miss out.. i promise you its worth every moment of your time.


"Kisses and Caroms" is the debut feature film by indie up'n'comer Vince Rocca. According to the back of the DVD, a girl arranges a threesome to show her ex-boyfriend she is his dream girl, but blinded by his penis, he believes their relationship is best left alone. Through the antics of offbeat characters at a billiard pro shop, he realizes all his fantasies in her, but is it too late? The film comes with high praise from film-maker Kevin Smith: "Kisses and Caroms is as assured a first film as I've ever seen. Crackling with strong performances, this sexy little day-in-the-lifer is worth your time." Seeming a cross between "Clerks" and "American Pie", at 81 minutes this indie comedy looks highly amusing, and very good things could well be coming to Vince Rocca.


I love Ginger Lynn, first off. I remember being a knee high little twerp, stealing her videos from my dad and "watching" them. It was nice to see her in something again. This is a way good movie. The cast is great, the direction is great, and the jokes are great. I laughed, I cried (not really), I even bought some old Ginger Lynn videos because of K&C. This is definitely not one for the kids (that is, unless you're a really irresponsible parent) and it'd probably be best to not let them watch this one. I'm really looking forward to seeing if Vincent Rocca makes another film. I'd really like to see what else he can do and how far his career can go. I think K&C is the start of a beautiful film career.


This was a great movie really enjoy the viewing of it. It is fun but yet has some very real meaning. The movie has a real light side that makes it very enjoyable. I would recommend this movie to anyone. The actor and actress do a very good job in their roles. The movie really make you think about relationships and how they could turn in many different direction. I also liked the back drop for the movie it was easy to follow and enjoy. I also like the way the plot was carried out throughout the movie. There was a nice even follow in the movie. The character in the movie were just right but not over bearing. All the character seem to flow together and match each other perfectly.


been watching the progress of this movie since i first found out about it on the view askew web board and knew i needed to see it.... after watching the trailer i knew it was going to be one of the greatest movies id be allowed to see by the evil gnomes who choose my movies very carefully.. the type of movie this is really isn't done enough and the quality of the writing will amaze you... its tough writing a review for something while not saying too much about it but i really hate to spoil movies for other people, as i hate having them spoiled for me... let me just say to you.... awesome frickin' awesome

check out Kisses and Caroms, you surely will not be disappointed...


This indie sex comedy lives up to its billing. Kisses and Caroms builds up to a humorous and satisfactory climax. There is quite an array of offbeat characters that enter in and out of the Billiards store! For something that was made on the ultra-cheap, I was impressed with the production value; excellent sound, good lighting and all around technically competent.

The DVD has an excellent menu system, including a "Flash" tease. I also loved the play on Dreamworks' opening logo! "Helium" was a nice bonus, as well.

As some others have commented, I would like to see where Mr. Rocca's career goes. It seems that he has the smarts and creativity to pull off something special.


I happened to see a sneak preview of this film and let me say, this is one indie to seek out.

For starters, the script is solid, with more witty dialog than a Kevin Smith film. The story is unique, sexy, and absolutely hilarious. I don't want to give too much away, but the story is about Zack and his girlfriend who have a threesome with a friend of theirs.

The story takes place after the threesome at the Billiads store where they all work. Zack wants to be a player, but his girlfriend doesn't want to give him up. hilarity ensues as Zack handles all the activity at the billiards shop while trying to figure out what happened and what to do.

The acting in Kisses and Caroms is far and above that of most indie films, and even a great deal of Hollywood films. Zack, you've probably seen the main character in countless commercials from high speed internet to jock itch. Well, not jock itch, but you get the idea.

The supporting cast shines just as well, in both the men and women that surround the main character. There are no weak performances at all in this film.

That quality is a definite credit to Director Vince Rocca, who helms this fun movie with the skill and talent of world class athlete.

Be sure to pick this film up. This is one to OWN!!!!!


What a great, indie-comedy debut. A funny portrayal of love, lust and well threesomes. A combination of Kevin Smith's Clerk's and American Pie, this film definitely deserves all the praise it can get. Strong cast, script and nice cinematography. The temptations of bachelorhood's are displayed in a way that any normal sex-obsessed guy would want them to be, and you can really "identify" with the character of Drew Wicks...well, most of us can at least. A hilarious cameo from Ginger Lynn Allen just tops this film off for me, and is one of the funniest films I've seen for it's while. Basically, I urge everyone to go and buy or rent or watch of whatever this film. It's one of the best debut films you'll see this year!


I thoroughly enjoyed this film. It had many hilarious, lighthearted moments that had my eyes watering from laughter. The flip side is that while it made me laugh, it was also exploring some real issues about relationships and commitment and man's difficulties doing either! I enjoyed the sexy scenes but was pleasantly surprised to find that there is a lot more to this film than the box art suggests. Add to that some great acting and a couple of amazingly beautiful, sexy, hot, talented, (did I mention sexy) ladies, and you have a sure fire winner! I watched this film with my wife, and I can honestly say that there is something in this film for men and women alike (specially when you watch it together)enjoy!


I got my screener copy of this movie over the weekend and couldn't wait to check it out. You see, I was pointed in the direction of this movie a couple years ago, while the filming was still going on.

The movie tells the story of Zack (Wicks), a billiard store owner torn between his love for his ex-girlfriend, Jen (Stanzione), and the temptations of bachelorhood.

To be completely honest, I wasn't sure what to expect. It looked like it had some potential, but I was worried about the story and quite frankly, with indie films, you can weed through a lot of junk to get a few gems.

I'm not going to give this a sizzling review, but I did like it a lot. If you like Kevin Smith movies, I think you'll get a kick out of this film. I honestly hadn't paid any attention to the fact that the film makers were influenced so much by Kevin Smith (Dogma, Clerks, Chasing Amy) but it wasn't far into the movie that I noticed a few subtle (and a couple very clear) Kevin Smith film references.

In fact, according to the site, Kevin Smith gives it his seal of approval: "Kisses and Caroms is as assured a first film as I've ever seen. Crackling with strong performances, this sexy little day-in-the-lifer is worth your time." - Kevin Smith, Director Clerks, Dogma

K&C feels a lot like Clerks, but is still fresh enough to enjoy. I expected less than I got in regards to overall quality and story. Unlike Star Wars Episode I, which didn't live up at all to my expectations, Kisses & Caroms was a pleasant surprise. I'm definitely going to be watching out for more Vince Rocca films, just as I kept the name Kevin Smith in my head after seeing Clerks.


Vince Rocca and crew have accomplished something that is very rare these days, a romantic comedy with balls. Kisses and Caroms could possibly be the first "anti-romantic comedy," a fresh, witty film that explores relationships with a- no-bullshit, tell it like it REALLY is attitude. The acting is spot on in this indie film and the dialogue is sharp, honest and above all funny. I watched the film by myself and burst out laughing at least six times. Trust me coming from a cynical bastard like myself that is a HUGE compliment. The characters felt real and you could relate to their problems and attitudes towards sex, and the dreaded relationship issue. Back to the dialogue, this is one of those films that has you repeating the dialogue to your friends' days after and stealing the words for yourself. See this movie! You'll laugh and you might even learn a thing or two about life, sex, relationships and pool. I can't wait to see what Vince has cooked up for his next project.


Take Kevin Smith's cult flick Clerks, change the convenience store to a billiard shop, and make the leading ladies really hot, and you'll end up with Kisses and Caroms. Oh yeah, make it in color too! Zack's problem comes almost right out of Chasing Amy. He doesn't feel experienced enough sexually to be in a committed relationship with his very hot ex-girlfriend, who for some reason adores him. Unlike Chasing Amy however she's willing to let him get 'experienced' with her a la menage a trois. Most of us can only wish to have his 'problem'. It's actually my only real beef with the movie, as I wanted to smack him around for being such a moron for breaking up with her in the first place! The movie is complete with its funny moments with annoying customers and such. My personal favorite is a 'small' joke when a midget comes in.

Basically, if you love Clerks, you gotta check out this homage to it. If you don't, go rent a movie about pizza or something.


What a complete surprise this movie was. It's funny... poignant... and VERY sexy.

For his first film, Vince Rocca has delivered a great piece of entertainment... enough to make Kevin Smith jealous.

He has a solid cast, especially Nikki Stanzione, who I'm shocked not to have seen before this film. And Nichole Rayburn just sizzles on the screen... add that to some snappy dialogue, and you are in for a treat.

Also look for a great cameo from Ginger Lynn Allen... I really do think this woman has some great performances in her, no pun intended. I would love to see her in some larger roles.

And, the soundtrack is fantastic! Honestly, I would buy a CD with these songs on it in an instant. So, anyone affiliated with Kisses and Caroms, please release the music on cd, or tell us how to track those songs down.


Vince Rocca did a great job on this one. I've seen a lot of comparisons here to Kevin Smith's 'Clerks' but I enjoyed this indie a whole lot more. This is definitely a flick to chill out with on a Saturday night. I thought it was very funny and Vince did a great job with the sound & cinematography IMO. I knew from watching the trailer that I would enjoy this film and I surely did! The women are especially hot too.

This film is a fine example of what can be accomplished by the independent filmmaker. And it should surely serve as inspiration/example to those of us who aspire to make indies. If you get a chance to see the screener for this you should--you won't be disappointed. Great job on this everyone!


"Kisses And Caroms" is a quirky and highly entertaining debut feature film from Director Vince Rocca. It is a fun filled and (sometimes) raunchy romp through suburban LA and the lives of two central characters (Zack and Jen), and their nutty friends and neighbors. Much of it takes place in a billiard shop which is a very colorful and appropriate backdrop to the story. The pool hall is actually an allegory about life and relationships, of how men and women play mind games and try to control one another. But beneath the shtick and slapstick, beneath the flashy pomp and circumstance, there's a really sweet story of longing, love, lust, friendship, hope, and learning to appreciate what you have while you have it. The screenplay is smart and sassy. The ending has a twist that I didn't see coming. The mostly unknown cast and bootleg/homespun feel of K+C only enhances its authenticity, bringing to mind some of the earlier works of indie pioneers like Robert Rodriguez and John Waters. Very clever indeed.


This is a great film. A really original screen play and a solid independent comedy. The film takes place in suburban LA and it focuses on billiard store owner Zack who frets between his ex-girlfriend Jen and the sex life of an active bachelor. His girlfriend wants to organize a threesome to prove to Zack that she can be the woman of his fantasies. Zack has sidekick is his buddy David. A guy who idolizes Hugh Hefner. The film is filled with wacky but well thought out characters including a hilarious angry midget and a gun wielding psychiatrist. I laughed all the way through and was really amazed at the production quality of this indie comedy. It was funnier than almost any studio comedy I saw this year. Vince Rocca has a truly original movie here and I can't wait to see what he does next.


As self-assured a film as any I've ever seen, Vince Rocca's Kisses and Caroms gives me just the boost I need to start my own career as a independent filmmaker. Threesomes, porn stars and billiards? What more could anyone ask for? The flick follows in the path of Kevin Smith while at the same time blazing it's own unique path by putting a spin on the classic romantic comedy rules, i.e. the boy spends the whole movie trying to get the woman who he has no chance of getting and instead puts the female character in that most unenviable situation. Why exactly this movie wasn't excepted to Sundance or Slamdance is beyond me, as in this world of low quality crud, we need more movies like Kisses and Caroms out there. Definitely deserves a 9.


This film is a classic comedy. I would recommend this one up there with Clerks, Swingers and Old School. This is well shot who ever did the editing was solid. I'm not sure if this is out yet in the movies. It should be out soon. The girls are extremely hot. I would like to have seen more of the girls but then I've always got those type of movies in the top shelf of my closet. The acting was good. I think that this is going to launch many new faces and new careers in the business. Looking forward to see your next project. I am going to watch it again there were a couple of scenes with some very funny lines. I'm not sure if these were the same guys that did Clerks. It feels like the same type of humor very witty and sharp dialog.


I love how I can relate to the main characters. They're all just screwed up enough in the head that I feel like I'm watching my own life on the screen(except my life isn't quite that exciting.) I don't know anybody who couldn't relate to this movie, or find it hilarious! They did a great job on this one. I wanna see more movies like this one. It makes me feel like I'm not as far off as I thought. The main characters put it all on the line. They're like open books. The producers of this one did a great job putting it all on the line for the audience to see. I haven't seen a movie like this since "Kids" and "Clerks". Great job guys!


This is quite an accomplishment for a no-budget film. Good acting (not a common no- budget commodity), beautiful, intelligent and 3-dimensional women and quirky philosophies that really make you think.

You should check out this movie for yourself, especially if you like CLERKS and guy-trying- to-figure-life-out-while-sleeping-gorgeous-funny-women-along-the-way type films. A funnier, fun SIDEWAYS.

In sum (10 lines required, here): It's funny It's smart It's inspiring to filmmakers who believe a good story, along with support from competent actors and DP's and friends and crafty, is all you need.


This film took me by surprise - I confess I was expecting yet another low-budget-low-interest indie flick, but Kisses & Caroms doesn't fall in such category.

This independent gem tells the story of a girl who setup a threesome with her ex to show him she's still the best. Perfect excuse to make a sex film, right? Well don't worry it goes far beyond that, and the film explores with humor and no boundaries men vs. women somewhat tumultuous relationships.

The cast deliver an outstanding performance, making their characters to be believable, and thanks to well-written dialogs and effective storytelling, Kisses & Caroms is a pleasure to watch. Add to this a great production value, sexy babes - including cult icon Ginger Lynn Allen - and topped with a great score, all this will make you wonder if the film is truly a low-budget production... Kisses and Caroms is guaranteed to keep you away from the Fast Forward button of your remote control.


BAY OF BLOOD (or TWITCH OF THE DEATH NEVER) is a brilliant film. The idea behind it is original and it's still a one-of-a-kind flick, even if the movie itself inspired a gazillion slashers. Regarded as the granddaddy of slashers, BAY OF BLOOD has a unique concept behind it that none of its duplicators have successfully copied: the concept of people being murdered one by one, not by just one killer but by several killers, in very gruesome ways, all in the name of super dry, jet black comedy.

There's something surprisingly stealthy about Mario Bava's approach to the deliberately confusing story. Throughout the labirynth like story-line, we bounce from one character to the next, never having enough time to get to know the people in the movie to care enough for them and when they are killed, their deaths suddenly take a surprisingly modern twist. Unlike most slashers out there, like FRIDAY THE 13TH or even HALLOWEEN and their endless sequels, many critics have said that in order for the horror element in those movies to work, you have to care about the people getting killed. Many critics have dismissed the whole slasher genre just on that basis: the films are not horrifying because the people getting killed either deserve it because they're annoying or the acting was really bad, or just because the writing was terrible and the characters were just token characters and it's not scary to see token, cardboard characters getting killed. Well, in BAY OF BLOOD, the ingeniously scripted story transcends this. The characters in BOB are not really deep or even memorable but their introduction to us, the viewer, is so quick and their deaths are so gruesome and so sudden and unexpected that the fact we know little about them hardly matters. It hardly matters because the killings aren't being made by a single killer with a singular reason but by several killers, whom all have a confusing number of reasons (which can all be traced to greed), with few of the killers knowing that others are also killing other people at the same time and as the film progresses, the killers, in turn, also become victims themselves. This is the brilliant aspect of BOB. People just kill each other left and right in a neverending succession of blood and violence, each people completely indifferent to each other. Watching this made me giggle and wince. The story cannibalises itself repeatedly, every ten minutes or so, snowballing into an all-out blood bath. The effect this creates is like being trapped inside a time-loop, in which the same thing happens over and over AND over again. Combine this with the fact that the story's actions happens mostly within a brief time-line (except for the beginning, everything happens on the same day) BUT that it also goes back and forth in time, with flashbacks and such, and BOB, oddly enough never feels grounded to one specific time. The killings in BOB feel different than anything I've ever seen in a horror film. Each killing is seemingly detached from the story itself and the film takes an all new unique approach, as the deaths come to the fore while the rest fades in the background. It almost feels like we're watching the killings happen "live". There isn't a single lone female survivor, or a surprise ending like most horror films (there is a surprise ending in BAY OF BLOOD but it's not a killer coming back to life).

The acting is good but the cast is mostly anonymous (deliberate?). Except for Claudine Auger, the rest of the cast seemingly all meld together. The location and sets were also good. Only the music was inappropriate at times and the cinematography was sometimes annoying, with Bava's constant use of out-of-focus shots, which I don't like at all. My favorite scene in BOB is the one when Claudine Auger goes to the bathroom. Arf!!!

Though I consider BAY OF BLOOD to be brilliant, the film is dated and there's a certain aloofness to it that even if it serves the story to a certain extent, this aloofness is carried to an unfortunate extreme which makes the film feel not as "passionate" as it could have been or should have been. I guess aloofness is a Bava trademark, which is one of the reasons why I'm not a big Bava fan. Except for HATCHET FOR THE HONEYMOON, I've haven't been impressed by most of his films. Well, BAY OF BLOOD has impressed me a lot and I have to say that it's probably my favorite Mario Bava film, along with HATCHET. All in all, I think BAY OF BLOOD is a unique, one-of-a-kind gruesome movie. Anyone who didn't like it just didn't get it.


Many films on the Video Nasty list are horror cinema's answer to well-respected classics; The Last House on the Left offers a new spin on Ingmar Bergman's The Virgin Spring, Island of Death is a more brutal telling of the story of Bonnie and Clyde and, indeed, this Mario Bava film owes its plot to the French classic, La Ronde. Bay of Blood is often noted as being an obvious inspiration on the Friday the 13th series, and when taking things such as the setting and a certain murder sequence into account, that is certainly true; but let's not forget that this is also a fantastic movie in its own right. The film starts off with a glorious sequence that opens inside a beautiful manor house. We watch as a wheelchair-bound baroness is brutally strangled, only for the rug to be torn from under us moments later when her assailant is the next one to bite the bullet! It has to be said that the film never tops its opening sequence, but Mario Bava's gore-fest manages to remain fascinating all the way through, as it turns out that the first murder scene sets off a violent chain of events that results in a very high body count.

This film would be properly categorised as a slasher, but its Italian roots ensure that it's often labelled a Giallo, and indeed Mario Bava does include Giallo elements; from black gloved killers and an array of odd characters, all the way to an amazingly convoluted plot. Indeed, the storyline here gets so complicated at times that it's liable to give the viewer an extreme headache, but Bava is always on hand with another glorious murder scene, and as the film features thirteen deaths in it's eighty one minute running time - there's certainly no lack of the red stuff. Bava ensures that the murders are suitably varied, and we get treated from an array of methods of dispatch, including axes, a spear through a lovemaking couple and an excellent scene that sees someone skewered to a wall. Mario Bava's eye for detail doesn't wane with this film, as despite being a grisly slasher; there's still more than enough time for beautiful scene setting. The bay itself looks great and excellently lends itself as a location for savagery, while the decors of the character's homes are elaborately Gothic. With the pitch-black ending, the director shows us that the film isn't meant to be taken seriously, and overall, Bay of Blood is both influential and a great time - and therefore shouldn't be missed by horror fans.


A handicapped and wealthy countess, who owns the lands of a disputed bay, is hanged by her husband and he is immediately killed. The crime scene is forged to simulate a suicide of the old woman. Later, two young couples are murdered in the bay. The inheritors of the fortune of the countess want the possession of the place and kill each other, in a bloodshed bath in the area.

"Reazione a Catena" is a gory slash movie with a different characteristic: there is no serial killer, but almost a chain reaction of murders. The deaths are motivated by the greed of different persons, and their motives are based on the interest of the civil construction in the ecological area, and the reluctance of the elder countess in selling her property. None of the character is innocent, except the two young couples that arrive in wrong the place for fun. The camera, with many closes and movements, is quite different. The black humor is very sharp; most of the deaths are very original and the conclusion is silly. The copy of the Brazilian VHS is a little dark, but it is watchable. My vote is seven.

Title (Brazil): "Banho de Sangue" ("Blood Bath")

Note: On 06 July 2009, I saw this movie again on DVD.


Eat your heart out, Jason Vorhees! Mario Bava's wicked slasher fantasies predate your Friday the 13th escapades by almost a decade. And `the Bay' is a much more efficient location than your pathetic Crystal Lake, I may add. Mario Bava is my favorite director of all time for multiple reasons. The most important one is that he's such a diverse storyteller. He brought us tense, atmospheric horror (Black Sunday) as well as colorful kitsch (Danger: Diabolik). This Bay of Blood is something completely different yet again. Twitch of the Death Nerve (another a.k.a of this film) is a blood-soaked satire, portraying 13 of the most stylish massacres ever shot on tape. The local countess of the bay-community is brutally slain by her husband. Then he himself is butchered by a mysterious third person. What follows is an irresistible search for the killer in which greed and ruthlessness overrule the more normal human emotions. Okay, the plot may not be very solid (which is an often heard reproach regarding Bava's work) but as a social satire, Bay of Blood is very effective. `Everyone's a killer when money and power are involved', Bava seems to shout out. The humor is oppressed, but it's definitely present throughout the whole filmif you don't see that, I pity you because the film's power depends on it. And then there's the gore! Needless to say this movie is light-years ahead of its time when it comes to showing explicit violence and detailed gore. The killer's hatchet plants itself in victim's heads and throats vulgarly while the camera seems to zoom in on the corpses endlessly. And then STILL this is an utterly stylish horror film. Only Bava can shoot filth on tape and make it look like art! The cast isn't very memorable, but who cares?? They die anyway so you don't need to pick favorites! Only main actress Claudine Auger impressed me, but I think that had more to do with her beautiful appearance. See Bay of Blood for the gore! See Bay of Blood for its importance as it was one of the most influential films in the genre! See Bay of Blood, period. I hate to sound pretentious butif you don't like this film, you haven't got the slightest idea what the horror industry is all about. That statement goes for Bava's entire repertoire, by the way.


Known by many different titles, among them "A Bay of Blood", "Carnage", "Twitch of the Death Nerve", and "Last House on the Left, Part II", this marvelously gory predecessor to slasher movies is a fine exercise in style by Italian master Mario Bava.

A prime piece of bayside real estate is being coveted by some ruthless and sadistic individuals; one body after another drops, hence the title "Reazione a catena", translated as "chain reaction" in English. In addition to our major players, anyone else foolish enough to drop by (including a quartet of playful youngsters) is fair game. The film is packed with some memorably graphic mayhem; the sickle to the face will always be my personal favorite, although there's also a nifty decapitation, and a show-stopping, prime example of coitus interruptus that was ripped off later in "Friday the 13th, Part 2". Carlo Rambaldi, later a creator of creature effects in such films as "King Kong" (1976), "Alien", "E.T. the Extra-Terrestrial" and "Cat's Eye" is the man behind the gore here, and his work is outstanding.

What will give this film the edge over the many North American imitators that it inspired is the elegance and flair that Bava (also serving as his own cinematographer here, and doing an excellent job) brings to the proceedings. The film is beautiful to look at; the setting is wonderful. I'll also find hard to forget the striking image of an octopus slithering over the face of one of the many victims. The film is also enhanced by the lovely music of Stelvio Cipriani, which at times involves lots of percussion and becomes heavily atmospheric.

This film gets right down to business pretty quickly; in short order two of the characters get knocked off although the first nine or so minutes, rather effectively, play out without dialog.

This is a genuinely great film that deserves a certain amount of respect, both for its entertainment value and its influence. I highly recommend it.

9/10


A husband hangs his wheelchair-bound ancient wife of wealth and is subsequently stabbed viciously. A developer, illegitimate son, and heiress(with her patsy husband who obeys her every command)all wish to secure the dead woman's land and bay for there's quite possibly a very lucrative tourist future in the area. Four young, horny adults make the mistake of stopping by the dead woman's empty home and fall prey to a killer spying on them. A neighboring couple who live nearby are against any development laying concrete over a place once dear to them(the husband, an avid bug collector, worries that it will disrupt his chances to collect any future insects..his wife, a supposed clairvoyant reads doom in her cards). The film shows the ongoing bloodshed committed by certain individuals who attack from behind so that they can gain the inheritance of prestigious land all to themselves.

One killer uses a spade to tear open a beautiful Scandinavian woman's throat, shortly after burying that blade into a young man's face(..and subsequently pulling it out;a very impressive gruesome sequence that puts a lot of slashers to shame). A young couple having sex get sandwiched when the killer decides to place his spade away for a moment using a spear, thrusting it into the male's back through the unfortunate french chick on bottom..the spear kill in Friday the 13th Part 2 pales in comparison. One woman gets beheaded, one is stabbed in the stomach with a pair of scissors, there are nasty strangulations, and a shotgun blast that puts everything about the gain of wealth by any terms in perspective.

The granddaddy of all slashers, this is Mario Bava unhinged letting loose his greedy characters to kill and maim. Nearly every last character is corrupt and dies. The ones who commit the final act of violence may prove that Bava was allowing this particular film to be so gratuitous as a means to poke fun at those loathsome heirs graveling for the scraps of their dying rich relatives.


Despite some dodgy camera-work (rapid zooms and shots thrown in and out of focus), a few plodding moments and some dated looking scenes involving 'groovy' teenagers, Mario Bava's A Bay of Blood is still an entertaining slasher/giallo movie, made even more notable by the fact that it heavily influenced Sean S. Cunningham's 80s classic, Friday the 13th, made almost a decade later. The waterside setting, randy teenagers, inventive bloody murders, vengeful son, and surprise ending were all elements borrowed from Bava's movie; all Cunningham had to do was dumb down the story a tad and he had one of the most successful horror movies of all time!

In Bava's movie, a wealthy elderly woman is killed by her husband, who has been talked into committing the murder by his daughter and her greedy spouse, who wish to inherit and develop the titular bay. The murderous husband is then killed immediately after, by an unseen assailant. As the film progresses, more and more people are killed in gory fashion, until Bava reveals that there are several killers responsible and each has their own reason for committing the murders. The film ends with a ridiculous twist, which makes one wonder whether Bava was having a bit of a laugh at the audience's expense.

Filling his movie with plenty of bloody mayhem and nudity, Bava establishes the slasher formula that would prove successful for so many imitators. The bloody death scenes include throat slashings, hangings, strangulation, and impalements to keep gore-hounds happy, whilst those who appreciate a bit of T&A with their horror will be more than happy with a gratuitous skinny dipping scene featuring a full frontal from Brigitte Skay.

Since A Bay of Blood has so much going for it, it is a shame that it tends to drag in places and has many dark scenes in which it is hard to see what is happening. However, this is such an 'important' movie that I do urge any self-respecting horror fan to see it, if only to witness the film that initiated a whole sub-genrethe slasher.

If IMDb allowed it, I would award A Bay of Blood a rating of six and a half out of tensince I cannot do this, I will round my score up to a respectable seven.


Mario Bava's TWITCH OF THE DEATH NERVE (aka BAY OF BLOOD) is often noted as one of the main influences of the more modern "slasher" film, including Friday THE 13TH and many others. It's influence is obvious in these new films, and Bava's film, though older, is just as strong, if not more so than it's numerous followers.

The film starts with an aging land-owner (or bay-owner, to be more precise...) who is murdered in the first scene. Her killer is then murdered right after - putting the wheels in motion for 11 more grisly deaths. It seems that there is great dispute over who owns the bay and what is to be done with the property, and all those that try to "gain" from it are brutally dispatched...

TWITCH OF THE DEATH NERVE is a fine "classic" slasher that gets lost in it's own storyline. As the killer/killers are hashed-out, the story begins to lose some momentum in trying to reconcile itself. Regardless - slasher fans will probably pop a boner for this one, as most of the deaths are pretty twisted, even by today's slasher-standards. Definitely a must-see for the genre fan...8.5/10


I've seen Mario Bava's giallo splatter "classic" about three times in my life and it never really appealed to me. With the exception of several fairly gruesome demises scattered throughout, "A Bay of Blood" (aka Twitch of the Death Nerve, Bloodbath, Carnage, or Last House on the Left Part II) is slow moving with some dull characters and absolutely no creepiness at all. The plot revolves around the residents of a bay that has the eye of several business people who want to buy it and turn it into a high class resort. After the countess refuses to sell over the land, she is mysteriously killed along with her husband. Soon, more people - including some horny kids turn up slaughtered. I just see nothing all that spectacular about this film aside from it's undeniable shaping of the slasher genre, yet it is just plain forgettable and the gore effects aren't anything to marvel over either. Sorry Bava fans but "Baron Blood" takes the cake over this...


Mario Bava's beautifully filmed and highly bloody thriller is hailed as the grandfather of the slasher film and rightfully so.

Fueding over a piece of valuable bay-side property leads to a series of violent murders and a list of strange greedy suspects.

Reazione a catena (also known as Bay of Blood or Twitch of the Death Nerve) is a true example of the Italian technique of film making, it's style over substance. With this film we have a complex and at times difficult to understand plot, dashed with some dark humor, but the film leaves an unforgettable impression thanks to Bava's sleek direction and some of the wildest murders you will ever see on the big screen. In fact, many of said murders would later be ripped off for the Friday the 13th films. The fluid camera work is inventive and colorful. The filming locations are nicely scenic, making for a raw and atmospheric setting for the film. The locations are deceptively tranquil as they're surrounded by violent, manic chaos. The music score is haunting and beautiful too.

The cast of the film does well over all, although being dubbed into English it gets difficult to appreciate the talents of any actor.

At any rate Reazione a catena is classic Bava, some of the great directors finest work in fact, and an excellent example of the Italian horror genre for those who have yet to discover it. Definitely not for the squeamish though!

**** out of ****


Largely cited as the inspiration behind Carpenter's Halloween (1978), Cunningham's Friday the 13th (1980) and the hundreds of countless other gory slasher movies, this is an entertaining horror film from Mario Bava, who is probably the greatest of the Italian genre directors. He is also an incredibly talented cinematographer, as you can tell with many clever, artistic touches and how his camera looms for some time over the tranquil lake-front setting in between the very graphic murder sequences. This is an art concept; coupling savagery and the ills of man (greed, lust) with the beauty and serenity of nature, with loud shrieks occasionally piercing through the calm. It's a shame that the later copycats failed to realize the potential found here.

There's a high enough body count and creative kills to entertain most fans of these type of movies. If you try to deeply analyze the plot, you will be somewhat disappointed. But if you can appreciate this as a colorful piece of the macabre, you will love it. There are several jump-out-of-your-seat moments (the best being a surprise awaiting a man who opens his front door) and a truly nasty neck slashing. There's also some brief nudity. The ending is a huge surprise, but definitely more than a little hard to swallow. Then again, this sense of playful parody helps to diffuse some of the gore. If you love horror films, I recommend this one!


I was so disappointed with this movie. After reading reviews and user comments here and elsewhere, comments mentioning the "dream-like" qualities of this movie, the surprise ending, the colorful imagery - the name "Columbo" was even mentioned - I was expecting an eerie, thought-provoking who-dunnit giallo crossing Dario Argento with Poirot. Wrong. This is a stupid body count movie that easily could have been a made-for-American-TV creepshow crap film if some of the graphic violence was removed. The only thoughts you'll be provoked into are thoughts about exactly what method will be used to kill the next victim. The imagery isn't all that colorful, either, certainly not matching Dario's worst movies. The surprise ending is extremely brief, less than 3 minutes, and utterly stupid. Can you tell I hated this movie?


Mario Bava is one of my all-time favorite directors and arguably THE greatest Horror director who ever lived. This man's repertoire simply includes more masterpieces than that of any other Horror director. His most essential masterpiece is "La Maschera Del Demonio" (aka. "Black Sunday") of 1960 (my choice for the greatest Horror film ever), but his filmography includes countless other masterpieces that come very close, such as the ingenious Giallo-milestone "Blood And Black Lace" (1964), numerous wonderful Gothic-tales, such as "Kill Baby... Kill! (1966) or "The Whip And The Body" (1963), or the brilliantly nasty 1974 crime thriller "Cani Arrabiati" (aka. "Rabid Dogs"), just to name some of the fantastic films the world of cinema owes to this great man. While "Reazione A Catena" aka. "A Bay Of Blood" aka. "Twitch Of The Death Nerve" (this is reported to be the film with the most a.k.a. titles) of 1971 is not nearly one of my favorites from Bava, it nonetheless deserves a solid rating of 9 out of 10. "A Bay Of Blood" is not quite as beautiful and moody as some of Bava's other films, and, to me personally, it is not quite as fascinating either. Yet, it cannot be denied that this film is immensely entertaining and even more influential. The plot, which revolves around bloody murders among the inhabitants of the eponymous Bay, may not be the most complex ever, but it sure is demented enough to satisfy every true Horror fan. And the manner the film is executed is nothing short of brilliance. "A Bay Of Blood" is extremely gory, yet very stylish, and maintains a morbid and gripping atmosphere throughout its 85 minutes. The greatest aspect of "A Bay Of Blood", however, are probably the ultra-demented characters.

If there is one film that the Slasher-genre owes its existence to, it is this one. The bay is a superb location for a film of the kind, and makes it even more clear which film Slashers like "Friday the 13th" were inspired by. "A Bay Of Blood" sometimes is labeled as a Giallo. It is certainly not a typical example for Horror's most glorious sub-genre which was single-handedly invented by Bava himself, but it is also undeniable that "A Bay Of Blood" does include many Giallo elements. It is also one of the first films to include aspects of the future Slasher flick, and, along with Sergio Martino's awesomely nasty Giallo "Torso" (1973), it is THE film that influenced the genre the most. From the first minute, the film has a delightfully morbid atmosphere and an incredibly macabre sense of humor. One of the goriest films of the early 70s, "A Bay Of Blood" is outrageously violent for its time. Hatchets get smashed directly into faces, throats get slashed, and all that is shown in explicit detail. Remember, this was made several years before Dario Argento's Gialli became really gory starting with his masterpiece "Profondo Rosso", and "A Bay Of Blood" even puts a stronger focus on violence in explicit detail. The performances may not be the most important aspect of "A Bay Of Blood", but the cast includes several greats of Italian genre cinema, most memorably the great Luigi Pistilli (one of my favorite actors), the beautiful Claudine Auger, and Laura Betti, who also starred in Bava's "Hatchet For The Honeymoon". As mentioned above, "A Bay Of Blood" is not nearly one of my favorite films by Mario Bava. Even so, this is a brutal and stylish milestone that single-handedly buries all American slasher films, and that must not be missed by any Horror fan.


I had watched this (with my mother in tow!) many years ago on Cable TV – in fact, back when I wasn’t yet a Euro-Cult devotee and, consequently, ended up being rather lukewarm on it. This is Bava’s third “body count” movie after BLOOD AND BLACK LACE (1964) and FIVE DOLLS FOR AN AUGUST MOON (1970); however, given that teenagers are also involved here, this is the one which became the virtual template for all the teen slashers which stormed Hollywood in the late 1970s/early 1980s.

The narrative – in which members of the same family kill each other off because of an inheritance – brings to mind not only the “old dark house”-type thrillers like THE CAT AND THE CANARY but also the celebrated black comedy from Ealing Studios, KIND HEARTS AND CORONETS (1949). Incidentally, Bava’s film has also been seen as a black comedy in some quarters – but it’s rather difficult to concur, in view of all the typical giallo viciousness (reportedly, former Bava collaborator Christopher Lee walked out of a screening of the film because of its excessive violence!). Still, the fact that no sooner has a murder been committed that the killer is himself brutally dispatched adds a refreshing touch of irony (since usually there is only one killer) – none more so than during that knockout ending!

There’s no denying that the murder set-pieces are the film’s true raison d’etre: to this end, Bava devises varied and often stylized methods in which to dispose of his 13 victims – strangulation, stabbing, gunshot, decapitation, meat cleaver in the face and, most infamously perhaps, a double spearing (which, in 1980, was imported wholesale for the first installment of Friday THE 13TH!). A pretty good cast, too, was assembled for the film (Claudine Auger, Luigi Pistilli, Leopoldo Trieste, Laura Betti and Isa Miranda) but most of the characters they portray are unsympathetic; Auger and Pistilli may be the film’s real protagonists, but they only appear halfway through the film – and, interestingly, their relationship vis-à-vis the murders mirrors that of Macbeth and Lady Macbeth in Shakespeare’s play! The seemingly insignificant opening sequence – in which we follow a fly buzzing around until it plunges to its death in a bay – is, in fact, a clever foreshadowing of what is to come.

Stelvio Cipriani’s memorable score is deceptively light most of the time, but rises to admirable percussive crescendos during the murder set-pieces. The film had a handful of alternate titles both on its homeground (3) and abroad (4); it’s rather a pity that the R1 and R2 DVD editions do not make use of the best titles: personally, I would have preferred TWITCH OF THE DEATH NERVE to A BAY OF BLOOD and ECOLOGIA DEL DELITTO to REAZIONE A CATENA! The English-dubbing is not too bad (even if the audio is, typically for this second Bava collection from Anchor Bay, regrettably low in spots), but I wish the option of listening to the original Italian soundtrack had been offered; at least, the latter is available on the Raro Video disc and, according to Bava authority Tim Lucas, that version actually includes several alternate takes (as well as an accompanying featurette) – and being currently discounted, I took the opportunity and picked up a copy for myself!

Tim Lucas’ audio commentary on the new Anchor Bay disc imparts a lot of information despite having the occasional silent passage: most interesting was the film’s genesis as Dino De Laurentiis’ initial foray into the giallo genre (he eventually backed out of the project) and as a collaboration between prolific genre screenwriter Dardano Sacchetti and Mario Bava (after the former had had a falling out with Dario Argento) - but Lucas informing us about the sad fate of some of the participants (heroin addiction, hardcore pornography, murder and incarceration, suicide) makes for a rather gloomy track.