paulofullmoon
Joined Jan 2023
Welcome to the new profile
Our updates are still in development. While the previous version of the profile is no longer accessible, we're actively working on improvements, and some of the missing features will be returning soon! Stay tuned for their return. In the meantime, the Ratings Analysis is still available on our iOS and Android apps, found on the profile page. To view your Rating Distribution(s) by Year and Genre, please refer to our new Help guide.
Badges2
To learn how to earn badges, go to the badges help page.
Reviews13
paulofullmoon's rating
Oh, well... Here in my region (Northeast of Brazil), there is a popular term used to refer to something with a very low quality: PEBA. And I think that it is the ideal adjective to describe this. Yes, this is an extremely "peba" movie!
Poor Ajita Wilson. After a few years enjoying kind of a stardom in the sexploitation circuit (her notoriety was such that she was considered for a role in Fellini's "La Città Delle Donne"), the Venus of Ebano had her career severely damaged as a result of some scandals and bad choices in the early 80s. Thus, in the final chapter of her life in show business (1983-1985), she was almost only cast for hardcore porn, with the exception of two ultra cheap Italian woman-in-prison productions shot back-to-back by a certain Gianni Siragusa (who?). One of them is this "Detenute Violente".
Although the print I watched was with terrible quality (the original widescreen aspect ratio was clearly cropped to adjust to a full screen presentation), it is possible to note that little to nothing can be saved here. The atrocious English audio matches very well with the total lack of talent of the cast. Ok, Rita Silva as the sadistic lesbian warden is not that terrible, and Ajita's magnetism compensate her modest acting skill, but all the remaining members of the cast can't even breath in a convincing way! I will give a credit to the protagonist, Linda Jones, only for her exhuberant face
The premise could have resulted in an interesting WIP film: Jones plays a woman whose sister was killed in what was considered an accident, but she believes it was a murder. After knowing the only witness of the tragic event was arrested, our heroine decides to enter the prison passing for a inmate in the hope of having access to the witness and eventually discover the name of her sister's killer. However, the cruel warden makes things very difficult.
All the clichés of the genre are here: the torture of prisoners, a corrupt governor, lots of badly simulated lesbian sex etc. This is not a problem when we have as director a master like Jess Franco, but the complete ineptitude of Siragusa makes the experience of watching this film painful. I don't know if we can consider there was a director here. Everything seems improvised by the cast, and the aesthetic of a poor telefilm rules. The mediocre music is so repetitive and sometimes out of place that gets annoying.
A curious detail is that in her sex scenes, Rita Silva is always with her panties on, while the other actresses have no problem in being fully naked. Well, perhaps the cruel lesbian warden still had some prudishness.
Poor Ajita Wilson. After a few years enjoying kind of a stardom in the sexploitation circuit (her notoriety was such that she was considered for a role in Fellini's "La Città Delle Donne"), the Venus of Ebano had her career severely damaged as a result of some scandals and bad choices in the early 80s. Thus, in the final chapter of her life in show business (1983-1985), she was almost only cast for hardcore porn, with the exception of two ultra cheap Italian woman-in-prison productions shot back-to-back by a certain Gianni Siragusa (who?). One of them is this "Detenute Violente".
Although the print I watched was with terrible quality (the original widescreen aspect ratio was clearly cropped to adjust to a full screen presentation), it is possible to note that little to nothing can be saved here. The atrocious English audio matches very well with the total lack of talent of the cast. Ok, Rita Silva as the sadistic lesbian warden is not that terrible, and Ajita's magnetism compensate her modest acting skill, but all the remaining members of the cast can't even breath in a convincing way! I will give a credit to the protagonist, Linda Jones, only for her exhuberant face
The premise could have resulted in an interesting WIP film: Jones plays a woman whose sister was killed in what was considered an accident, but she believes it was a murder. After knowing the only witness of the tragic event was arrested, our heroine decides to enter the prison passing for a inmate in the hope of having access to the witness and eventually discover the name of her sister's killer. However, the cruel warden makes things very difficult.
All the clichés of the genre are here: the torture of prisoners, a corrupt governor, lots of badly simulated lesbian sex etc. This is not a problem when we have as director a master like Jess Franco, but the complete ineptitude of Siragusa makes the experience of watching this film painful. I don't know if we can consider there was a director here. Everything seems improvised by the cast, and the aesthetic of a poor telefilm rules. The mediocre music is so repetitive and sometimes out of place that gets annoying.
A curious detail is that in her sex scenes, Rita Silva is always with her panties on, while the other actresses have no problem in being fully naked. Well, perhaps the cruel lesbian warden still had some prudishness.
Although this film is listed by many sources as the last effort of Andrea Bianchi, actually it was his penultimate work, shot in 1991, but only released in 1995. Between the shooting and the release, Bianchi did the equally obscure "Formula 3 - I Ragazzi Dell'Autodromo" (1993), after which he retired.
For many people, my interest in Bianchi's filmography may sound weird, after all the man never enjoyed the same cult status as a Fulci, a Lenzi, or even a D'Amato. But there is somenthing in him that attracts me. Perhaps, is the fact he made one of my favorite zombie gore fests, the masterpiece "La Notte Del Terrore" (1980). Or because he also directed the insanely delightful "Malabimba" (1979). The fact is that I can't be indifferent to any film directed by Andrew White (his English alias). And this means that I have to endure a lot of terrible things.
And here we came to this"Bambola Di Carne", quite a charmful title for a very weak product. It was shot in Prague, and judging by the name of the executive producers it was a co-production between Italy and Czech Republic. There is no mention to a scriptwriter in the opening credits (I wonder why?), but it is said that the film was based on a novel by Oscar Wilde!!!!! Well, I never read any of his writings (and I probably never will do), but considering his notorious reputation, it is hard to believe in any similarity between what is seen here and a Wilde work. The script of this movie is terrible. It is something like a soap opera spiced up with long (and boring) erotic segments.
The "story" is about a lady called Jenny (the unknown Pilar Orive, who resembles a poor version of Janine Reynaud) who is about to marry a widow old man, who has a daughter (the also unknown Sonia Franco), who will not accept her father's new bride. Pure soap opera, right? The widow sends his bride together with his daughter to supevise the restauration of a castle, and the evil daughter (stupidly called Lolette) will take the occasion to make Jenny's life a hell. It wouldn't be that bad if we were treated to some evil plans by our Lolette, but being an erotic production, the bulk of the running time is devoted to badly staged scenes of nudity and sex. To make things worse, none of the ladies (in my opinion) is particularly gorgeous, with Lolette owning breasts so small that wouldn't require the use of a bra.
There is a scene with Jenny, Lolette and a horse that is beyond ridiculous. The intent was sounding controversial, but I really doubt one can really be shocked with such a stupid situation. Sonia Franco does her best to look sensually wicked (and her face is interesting), but what could she do with a script devoid of any substance? There is no space for character development or coherence. Little is left to a plot in a genre that demands constant flesh exposition, and if one is not interested in the sex material, the tedium is inevitable. Not even the music, composed by Nico Fidenco (under the alias of Donimak) manages to be interesting.
Andrea Bianchi proved to be an interesting filmmaker in the the horror genre, and in the 70s he was efficient helming some sex comedies too, but during the 80s, he was lost in the world of hardcore pornography, occasionally returning to legitimate cinema with some softcore dramas and a couple of horrors. But, is "Bambola Di Carne" his worst legit film? Oh, no. Just before this, he directed something much worse, the almost unwatchable "Una Donna Da Guardare" (1990).
For many people, my interest in Bianchi's filmography may sound weird, after all the man never enjoyed the same cult status as a Fulci, a Lenzi, or even a D'Amato. But there is somenthing in him that attracts me. Perhaps, is the fact he made one of my favorite zombie gore fests, the masterpiece "La Notte Del Terrore" (1980). Or because he also directed the insanely delightful "Malabimba" (1979). The fact is that I can't be indifferent to any film directed by Andrew White (his English alias). And this means that I have to endure a lot of terrible things.
And here we came to this"Bambola Di Carne", quite a charmful title for a very weak product. It was shot in Prague, and judging by the name of the executive producers it was a co-production between Italy and Czech Republic. There is no mention to a scriptwriter in the opening credits (I wonder why?), but it is said that the film was based on a novel by Oscar Wilde!!!!! Well, I never read any of his writings (and I probably never will do), but considering his notorious reputation, it is hard to believe in any similarity between what is seen here and a Wilde work. The script of this movie is terrible. It is something like a soap opera spiced up with long (and boring) erotic segments.
The "story" is about a lady called Jenny (the unknown Pilar Orive, who resembles a poor version of Janine Reynaud) who is about to marry a widow old man, who has a daughter (the also unknown Sonia Franco), who will not accept her father's new bride. Pure soap opera, right? The widow sends his bride together with his daughter to supevise the restauration of a castle, and the evil daughter (stupidly called Lolette) will take the occasion to make Jenny's life a hell. It wouldn't be that bad if we were treated to some evil plans by our Lolette, but being an erotic production, the bulk of the running time is devoted to badly staged scenes of nudity and sex. To make things worse, none of the ladies (in my opinion) is particularly gorgeous, with Lolette owning breasts so small that wouldn't require the use of a bra.
There is a scene with Jenny, Lolette and a horse that is beyond ridiculous. The intent was sounding controversial, but I really doubt one can really be shocked with such a stupid situation. Sonia Franco does her best to look sensually wicked (and her face is interesting), but what could she do with a script devoid of any substance? There is no space for character development or coherence. Little is left to a plot in a genre that demands constant flesh exposition, and if one is not interested in the sex material, the tedium is inevitable. Not even the music, composed by Nico Fidenco (under the alias of Donimak) manages to be interesting.
Andrea Bianchi proved to be an interesting filmmaker in the the horror genre, and in the 70s he was efficient helming some sex comedies too, but during the 80s, he was lost in the world of hardcore pornography, occasionally returning to legitimate cinema with some softcore dramas and a couple of horrors. But, is "Bambola Di Carne" his worst legit film? Oh, no. Just before this, he directed something much worse, the almost unwatchable "Una Donna Da Guardare" (1990).
BLOODY PSYCHO (1989)
This is one of the most medíocre entries in the "Lucio Fulci Presenta" series. Worst than this only the abominable "Hansel E Gretel". I still need to watch "Luna De Sangue" and "Le Porte Dell'Inferno" to stablish a ranking of all the eight titles.
"Blood Psycho" has a terrible and confused plot, with an ending that made me wonder "what the hell was that?". And if the story in itself is a big mess, the uninspired direction by Leandro Lucchetti (who?) does its best to kill us of tedium. Watching this in the company of a criterious cinephile friend must be very funny, but, unfortunately, I checked it alone. Some scenes were embarrassingly ridiculous, like the horrendous flashback showing a silly incident that happened when the protagonist was a child. The scene, bearing a tacky sentimentality typical of soap operas, features two of the most inexpressive child actors I ever saw! Another atrocious moment involves the male protagonist with a woman on a bed doing sex games with yogurt in a stupid rip off of the already stupid "91/2 Weeks" (Adrian Lyne, 1986)!
The gore scenes are few and totally inefficient, mainly due to the poor choice of the menace, kind of a mummy riding a wheelchair (!), whose cheap aspect denounces how low was the budget. And the soundtrack, considered the only highlight by some reviewers on the web, doesn't help at all. Personally, I don't like when they put a "pop" theme to play during horror scenes. This was quite common in Italian horror cinema of the 80s, but I think it destroys any attempt at creating tension. The death scenes were so weak that I felt less bored during the many talky moments, despite the fact that the dialogues were mediocre and nothing interesting was discussed by the characters.
Of the entire cast, only Paul Müller can be saved, although like in other films of the series, he was wasted in an useless supporting role.
Is there anything I liked here? Well, yes, the late 80s feeling and the castle. I always appreciated old European castles and the one used here is fascinating. So bad that they wasted the chance of making a good ghost story.
Lucio Fulci can't be blamed, as it seems his name was merely used for commercial reasons, and he wasn't directly involved in these movies, except for the ones he directed.
This is one of the most medíocre entries in the "Lucio Fulci Presenta" series. Worst than this only the abominable "Hansel E Gretel". I still need to watch "Luna De Sangue" and "Le Porte Dell'Inferno" to stablish a ranking of all the eight titles.
"Blood Psycho" has a terrible and confused plot, with an ending that made me wonder "what the hell was that?". And if the story in itself is a big mess, the uninspired direction by Leandro Lucchetti (who?) does its best to kill us of tedium. Watching this in the company of a criterious cinephile friend must be very funny, but, unfortunately, I checked it alone. Some scenes were embarrassingly ridiculous, like the horrendous flashback showing a silly incident that happened when the protagonist was a child. The scene, bearing a tacky sentimentality typical of soap operas, features two of the most inexpressive child actors I ever saw! Another atrocious moment involves the male protagonist with a woman on a bed doing sex games with yogurt in a stupid rip off of the already stupid "91/2 Weeks" (Adrian Lyne, 1986)!
The gore scenes are few and totally inefficient, mainly due to the poor choice of the menace, kind of a mummy riding a wheelchair (!), whose cheap aspect denounces how low was the budget. And the soundtrack, considered the only highlight by some reviewers on the web, doesn't help at all. Personally, I don't like when they put a "pop" theme to play during horror scenes. This was quite common in Italian horror cinema of the 80s, but I think it destroys any attempt at creating tension. The death scenes were so weak that I felt less bored during the many talky moments, despite the fact that the dialogues were mediocre and nothing interesting was discussed by the characters.
Of the entire cast, only Paul Müller can be saved, although like in other films of the series, he was wasted in an useless supporting role.
Is there anything I liked here? Well, yes, the late 80s feeling and the castle. I always appreciated old European castles and the one used here is fascinating. So bad that they wasted the chance of making a good ghost story.
Lucio Fulci can't be blamed, as it seems his name was merely used for commercial reasons, and he wasn't directly involved in these movies, except for the ones he directed.