preppy-3 Two psychos (Alex and Ricky) invade a get-together of rich people. They take over and proceed to humiliate, rape and torture the guests.Sick and vicious. Why people say this is a horror classic is beyond me. For starters ALL the acting is bad but the worst is from David Hess playing Alex. His dialogue is terrible and he over over OVERacts constantly. He gets annoying real quick. The script is pathetic--full of very stupid people who do dumb things left and right. At multiple times during the film they could have escaped to get help but never do. There is graphic female nudity. It's in your face and has no point other than to turn on guys in the audience. The violence is pretty graphic but (to me) was obviously fake. Surprisingly when it wasn't sick or degrading it was boring! There is a (stupid) twist at the end that didn't help matters. Unless you're turned on by seeing nude women being raped or tortured this movie isn't for you. Just terrible.

chaos-rampant Let's be honest here: you didn't come to this for an elaborate mise-en-scene (such a horrible word) that reveals an allegory on the displacement of modern man. Hell, you don't even know what a mise-en-scene is. You don't care. It sounds like something you would like to punch a hole through. Do you like balloons or ribbons? No, you're a guy who likes guy stuff: dynamite, karate, trucks, kickass movies.No, you came to this because you know David Hess is going to hole up in a fancy cottage house holding hostage a host of snotty New York characters who think they are too good to boogie down with disco. Because he's going to be wearing a lemon yellow jacket and something close to an afro and he's going to oogle and leer at women in that perverse way between rapist uncle and protective big brother. Giovanni Radice is going to be his imbecilic sidekick. Girls are going to get undressed whether they want to or not, a razor is going to be put in use.So by all accounts this must be the brutal, intense, grueling experience other viewers describe. Deodato is involved and that used to mean something back in the day. But it's not, not really, and I'm not just preening with aloof jadedness here.No, it's glorious exploitation as the term used to have meaning. Hysterical, cheesy, dirty, but so enjoyable. There are no politics here, just one long sexual fantasy about forceful sex and degradation that can be enjoyed equally well from both ends. David Hess exudes raw animal magnetism and gets to have his way, that is until the mandatory moral denouement. The ladies get to enjoy being had or play along for the game. That is all.Now the guerrilla shots from inside a moving car at the beginning of the film that capture night rolling down on New York, these are pure film poetry to my mind. As far as a film New York off the beaten track is concerned, I rate these highly and next to Jean Rollin's cold cityscapes from Lost in New York.

cherootvendors I am probably the only person (apart from Ruggero Deodato, perhaps) who will ever give this film such a high rating. There is no doubt about it: this rip-off of The Last House on the Left is a trashy, sleazy movie, but for an exploitation film it has a sense of style and élan that sets it apart from other such efforts in the genre. (Even as I write this review I cannot believe I am using words like 'élan'...) But for some reason that I will try to explain, I really loved this movie.The plot of Park sees two working class low-lifes (Hess and Radice) gate crashing the party of some chic Manhattan socialites. Initially there is fun and flirtation, but when the snobbish jibes get too close to the bone, Alex (Hess) becomes a little touchy and turns psycho with his cutthroat razor...With its stylish New York setting and cheesy disco score by Cannibal Holocaust composer Riz Ortolani, The House on the Edge of the Park makes for glossy, tongue-in-cheek grindhouse fare. The film is well-directed by Deodato, fresh from the controversy of Cannibal Holocaust, and sees another bravura performance from Hess as the Krug-like Alex. It is also surprisingly tense and well-paced, giving it a slight edge over that other Last House rip-off, Late Night Trains (1974). But like its model, at the centre of this film is a prolonged torture-humiliation sequence that still makes this movie a cause for concern with the British censors: in it, a pretty young partygoer is sadistically menaced by Alex and his razor, while he croons her name in incredibly disturbing fashion. It is a shocking and unpleasant scene to be sure, but this is, after all, a horror movie. Apart from this one scene it would be difficult to explain why this film had such problems with the BBFC and the DPP. It must have been the overall concept (working class thugs invading a middle class home) and the depiction of violence against women (although there is plenty of violence against men, too). Of course, it's more likely to have been the ambiguity of some of the female characters, who find these louts strangely exciting and fascinating, but especially Alex with his brooding, Neanderthal presence. At any rate, the film is still heavily cut in Britain and has yet to find a strong fanbase along the lines of other exploitation movies. Well, I like it!Film: **** Nastiness: ****

Barry Convex http://www.youtube.com/watch?v=-PO16uVP6zoThe central character of the film is Alex, a full time mechanic and part-time rapist. While his full time job is established after the opening credits, unfortunately, his part-time job is established BEFORE the opening credits. The film begins with Alex driving on the road alongside a fetching young woman. He forces the woman off of the road, jumps into the passenger seat of her car, and violently rapes and strangles her to death.Some time later, we see Alex at his mechanics, garage getting ready to go out for a night of disco dancing. Accompanying Alex is his friend Ricky, who looks up to Alex in a big brother sort of way, and also appears to be mildly retarded. Before they get a chance to leave, however, a rich young couple experiencing car trouble, pull in to the garage. After fixing their car, the boyfriend, Tom, invites Alex and Ricky to a small party as a gesture of good will. Alex, who has eyes for the Tom's smokin' hot girlfriend Lisa, eagerly agrees. After they arrive at the party, and pleasantries are exchanged, Ricky begins dancing with one of the beautiful young women at party. As the other rich snooty partygoers egg him on, it becomes obvious to Alex that they are mocking RickyFOR MORE, CLICK ON THE LINKhttp://www.youtube.com/watch?v=-PO16uVP6zo