With the undertitle "a story of sex and violence", this Last House on the Left-type exploitationer doesn't excuse itself. A very cheap production with unknown actors (lots of women in hotpants and disco dues and men with greasy moustaches and tight blue jeans... Zora Zerova was the only actor I recognized) and dull photography in brown, grey and orange color schemes. The story is about a couple of female convicts, a leftwing political terrorist and her jaded band of robbers, whores and dykes, who've escape from prison and hide out at a luxurious mansion where they hold a judge and a female basketball team hostage. The schtick being, of course, that its the females that bring the terror and havoc this time around! Highlights include female-on-female rape, the gals forcing the judge to pee his pants, forced dogfood-eating and of course lots of nasty, hateful dialogue! Not the strongest or best in its genre, but I liked it, these nasty Italian disco era exploitation flicks are always enjoyable at worst (and from all the wrong reasons).

This is really bad. Awful dubbing, rubbish acting, badly shot, choppily edited and generally terrible.I also didn't like the fact that the scummy rapist judge didn't get shot at the end and was allowed to completely get away with forcing himself on another woman! that was a sickening scene and its a fairly misogynistic film.However, there are 3 plus points. All of them are the foxy women. Erica (Ada Pometti) is particularly sexy and has a great but brief sex scene. Patrizia Funari has a nice backside which is shown off. And the girl who isn't listed here but plays 'Susanna' is very gorgeous.I shall be checking out more of their films!However, they were the ONLY three plus points and thats why the film gets 3 from me. 1 POINT for each sexy woman!

A dangerous quartet of vicious female criminals -- ruthless Communist terrorist Monica, predatory aggressive lesbian Diana, dumpy cow Betty and insatiable nympho slut Erica -- break out of jail and hijack a school bus full of lovely young teenage girl tennis players. The ferocious foursome seek refuge in the swanky house of a powerful judge. Naturally, things go from already pretty bad to much, much worse. Director Conrad Buegnel really pours on the succulent scintillating sleaze with commendable glee and gusto: we've got rape (Erica has her wanton way with the hunky bus driver!), lesbianism, voyeurism, gratuitous nudity, catfights, verbal harassment and degradation galore, all served up hot'n'nasty in a tight and snappy 75 minute running time. Moreover, such delectable damsels as Lilli ("To Be Twenty") Carati, Ines ("Eyeball") Pellegrini, Marina ("SS Extermination Camp") Daunia, Dirce ("Porno Holocaust") Funari, Ada ("French Sex Murders") Pometti, and Zora ("Cannibal Ferox") Kerova all dutifully doff their duds and bare their beautiful bodies in the name of blithely low-grade and unapologetic down'n'dirty exploitation. Pippo Caruso's funky, hard-grooving, pulsating rock score, an incredibly crappy'n'sappy insipid pop theme song, Nino Celeste's grotty photography, a tense last reel siege situation between the cops and the convicts, the laughably lousy dubbing, a pleasingly downbeat ending and the excessively coarse dialogue further enhance the infectiously scummy and sordid fun. Only a clunky political subtext that's articulated in a few heavy-handed speeches by Monica to the judge detracts a bit from the slimy merriment, but that minor fault aside this baby overall rates as a perfectly putrid piece of utter grindhouse trash.

The plot outline for this film promised so much, a group of French/Italian (its difficult to tell) female prisoners break out of their prison, and set out on the run, killing a few police officers and kidnapping a bus load of young tennis players, this seems a perfect setting for an "erotic thriller", but as is to be expected from a very low budget European film from the late seventies, the film fails to live up to any of this potential. This film is a laughable, poorly dubbed, appallingly edited story which tries to be intelligent, managing to achieve the seemingly impossible combination of pretentiousness and stupidity. The film has few redeeming features, but the main one is that it is quite a good laugh to watch with a few mates when drunk, especially at the hilarious musical score and the cheap and nasty production values, (at one point it actually switches from widescreen to normal, then back to widescreen a few minutes later). If you wanted you could probably kid yourself into thinking this was an art-house film since its foreign and attempts to deal with "issues" in societies, which it does rather clumsily, otherwise just watch it and laugh.