Terror Express

Directed by Fernando Baldi, this Italian train-bound thriller is pure exploitation, its plot clearly inspired by the success of infamous shocker Last House on the Left and its many imitators (most notably, Aldo Lado's Night Train Murders).

Like so many disaster movies of the '70s, the film begins by introducing us to various passengers destined for a most unpleasant journey, and the three despicable slime-balls responsible for their suffering: David (Werner Pochath), Ernie (Carlo De Mejo) and Phil (Fausto Lombardi). After an excruciatingly long establishing shot of the train leaving the station, the film gradually picks up speed, with the trio of dirt-bags making eyes at all of the hot women, and causing trouble for the conductor (Gino Milli), who makes extra cash by pimping out lovely hooker Juliet (Silvia Dionisio) to the passengers.

The sleaze starts when dissatisfied wife Anna (Zora Kerova, from Cannibal Ferox) allows Ernie to have sex with her in the washroom; the couple strip off and get down to business, but to Anna's surprise, they are joined by David, the men forcing her into a standing-up threesome (one riding up front, the other in the caboose?). Meanwhile, Phil tries to break into Juliet's cabin for a little fun of his own.

One of the passengers, a policeman escorting prisoner Peter (Gianluigi Chirizzi) to Germany, intervenes, but is overpowered by the thugs, who take his gun; Peter is released and his handcuffs used to constrain the copper.

Not sleazy enough for you so far? Well how about this then? Sexy teenager Evelyn (Fiammetta Flamini) is feeling hot, so her father (Roberto Caporali) suggests she gets naked, which she does, before slipping back under her bed covers. Dear dad then goes to visit Juliet, insisting that the hooker wears his daughter's nightdress and lets him call her Evelyn. That's right... dad's got a thing for his daughter! Naughty, naughty!

From here-on in, its continuous sex and general debauchery, until the train stops so that a wheel-tapper can inspect the train, at which point nice-guy convict Peter decides to play the hero and fight back. I was hoping for some satisfying violence to round off the film, the three extremely irritating baddies fully deserving of grisly and graphic demises, but Baldi really fumbles the ball here, his trio of obnoxious jerks killed off in really lame fashion: David is hit by a passing train (at least I think that's what happens; it's unclear and very dark), Ernie is pushed off the train while it is moving, and Phil is stabbed by Peter, the actual stabbing occurring off the edge of the screen.

There's enough depravity to keep most exploitation fans happy for the duration, but the ending needed to be much stronger to qualify the film as a classic of the genre. 5.5/10, rounded up to 6 for IMDb.

I've got to say, I'm a big fan of these 'Last House on the Left' rip-offs, even the ones that most people seem to hate are often held in relatively high esteem by me; but one of these sorts of films that I didn't like much was Aldo Lado's 'Night Train Murders', and unfortunately it would seem that trains and The Last House on the Left don't mix, as Terror Express is another lacklustre rip-off. Something that this sort of film really needs is a resoundingly nasty lead character; and while Terror Express offers up three potential candidates, not one of them steps up and becomes this villain, leaving the lacking in the most important area. It actually gets off to a good start as three young men on a passenger train begin slightly irritating the guests on board. This leads the audience to believe that there is more in store, but unfortunately it never really gets going once the scene has been set. From there, the trio end up 'taking over' the train and use their new found power to terrorise the guests and rape the women.

It has to be said that there's a fair amount of sleaze in this film, which will be pleasing to many viewers; but there's hardly any blood. Director Ferdinando Baldi seemed to think that he could get away with replacing the blood with sex scenes, and he may have gotten away with it too; if he could film a brutal sex scene. The idea that these men have taken the train by force goes out of the window once it gets to the sex, as the people that you would expect to be powerful and forceful seem all too keen to show their women a good time, and despite one very tame 'sandwich' sequence, none of the sex is particularly interesting. Since a lot of the film is taken up by these sex scenes, this becomes a massive problem. Films like this are often lacking in style, suspense and credibility; but you know you're watching a bad one when it's boring you. As you might expect, none of the acting is up to anything; and the central three in particular stand out for being rubbish. The direction is lacking in style, and there's very little tension or suspense; making it difficult to care what is going to happen. Overall, this is a pretty crappy example of an exploitation film, and I can't recommend it.

"La ragazza del vagone letto" (1980), directed by Ferdinando Baldi, is a quintessential product of its era, merging eroticism with thriller elements in a manner that is both provocative and perplexing. The film follows the story of a young woman who finds herself entangled in a web of deceit and danger aboard a luxurious overnight train. From the outset, it is clear that Baldi intended to create a tense and sensual atmosphere, and to some extent, he succeeds.

The plot unfolds with a series of encounters that are as steamy as they are suspenseful. The lead actress delivers a performance that oscillates between vulnerability and seduction, effectively capturing the complex emotions of a woman caught in an unpredictable situation. Her interactions with the various passengers-each with their own secrets and motives-drive the narrative forward, creating a tapestry of intrigue that keeps the audience guessing.

Cinematographically, the film leverages the confined setting of the train to amplify the sense of claustrophobia and tension. Baldi's direction is competent, though not groundbreaking, making effective use of close-ups and shadow play to heighten the erotic charge of the scenes. However, the film's pace suffers from occasional lapses into melodrama, with certain scenes dragging on longer than necessary, disrupting the otherwise taut suspense.

The erotic elements, while central to the film's appeal, often feel gratuitous. The nudity and sexual encounters, though tastefully shot, sometimes overshadow the plot rather than enhance it. This aspect might appeal to some viewers but can be seen as detracting from the overall narrative coherence. The balance between eroticism and thriller is delicate, and here it often tips too far towards the former, reducing the impact of the latter.

The supporting cast, though not particularly memorable, fulfills their roles adequately. They serve as pawns in the unfolding mystery, each contributing to the labyrinthine plot that keeps the protagonist-and the audience-on edge. The dialogue, laden with double entendres and subtle hints, adds to the film's charm but occasionally dips into the cliché, reflecting the era's cinematic tendencies.

The soundtrack, a mix of haunting melodies and seductive tunes, complements the visual style, though it occasionally overpowers the scenes it is meant to enhance. The film's technical aspects-lighting, set design, and costume-are handled with a level of professionalism that elevates the production value, despite the overall narrative shortcomings.

In sum, "La ragazza del vagone letto" is a film that straddles the line between eroticism and thriller, offering a glimpse into the genre conventions of the early 1980s. While it has moments of genuine tension and sensuality, it ultimately falls short of being a cohesive masterpiece. It is an interesting watch for those curious about the genre or era but may leave others wanting more substance and less titillation.

Another sadistic and ultra-sleazy late 70's/early 80's revenge movie?? Wes Craven sure launched a popular trend with his "Last House on the Left" Although "Terror Express" is more like a rip-off of other rip-offs, like "I Spit on your Grave" and especially "Night Train Murders". Storywise, this movie has absolutely nothing new to offer so the only thing left to do for director Ferdinando Baldi was to multiply the sleaze-factor by a thousand! This is actually just a soft core porn flick that gets a little bit rough near the ending. On the night train from Rome are three hopelessly imbecile loser running amok. They provoke the male travelers and sexually harass the females. Things get a little out of control and a traveling convict comes to the rescue of a prostitute who keeps being screwed around by the three. This is a very tame movie and there wasn't even enough budget to buy a couple bags of fake blood. This type of movies is generally infamous for the brutal rape sequences and the discriminating behavior towards women, but the sex in "Terror Express" isn't unsettling at all. On the contrary, these 'rapists' spend more time orally pleasuring their victims then getting some themselves! The music is great, the dialogs are unintentionally hilarious and the characters are the most ridiculous ones I ever beheld. The villains are wimps and the train-passengers are so motionless they look like part of the set. If you like your exploitation as sleazy as it gets, this is your film. However, your hunger for blood and controversy will definitely not be stilled. "Terror Express" should be in the porn-section of videostores.

As the other comments have made clear, "Terror Express" is another entry into the "Last House on the Left" subgenre that garnered some interest in the '70s and early '80s. When juxtaposed against the unflinching violence of LHotL, "Terror Express" is a mild affair, going instead for the more marketable fixture of steamy sex scenes (which are choreographed and paced in a manner to curb all boredom). Clocking in at around 80 minutes, the film doesn't waste much time with needless details, and instead gets right down to business (so to speak) as 3 smarmy thugs take over a compartment of an express train, inciting rapes and a few violent confrontations. The violence lacks the sadistic bite of LHotL and is more action-oriented. The cast plays like a "who's who?" of Italian gore veterans, from Zora Kerowa ("Make Them Die Slowly"/"New York Ripper"), Venantino Venantini ("City of the Living Dead"), Carlo de Mejo ("City of the Living Dead"), Fausto Lombardi ("Rats: Night of Terror"), and a bunch of actors from Andrea Bianchi's "Burial Ground" (no, not the creepy dwarf).

"Terror Express" ultimately amounts to highly entertaining, lowbrow trash. It looks as if everyone involved had a blast on the project, and this enthusiasm is infectious toward the viewer. Some of its stabs at social commentary are flat (and downright laughable), but honestly, who sees an exploitation flick of this nature for the writing?