Charlie (Annette Haven) is a beautiful, but reserved young woman. When her husband Steve (Wade Nichols) arranges for them another couple to spend a romantic weekend together on a secluded section of California beach, it becomes clear to Charlie that in order for her to enjoy true pleasure, she will have to break free of her reserved shell.Read More »
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Troubled and sexually repressed Rosemary has serious issues with her estranged father abandoning her as a little girl at an orphanage. Rosemary neglects the carnal needs of her boyfriend John, so John turns to prostitute Unis to satisfy his lascivious desires. In the wake of her father’s sudden passing, Rosemary sinks into a deep depression and finds herself caught up in a surreal erotic nightmare world of sex and death.Read More »
Metzger’s Farewell to Charms
Dries Vermeulen6 March 2010
The last and least-liked of Radley Metzger’s explicit quintet shows the talented filmmaker now almost dispensing with plot altogether, a trend he previously toyed with on his free form BARBARA BROADCAST in a radical departure from the classic three act structure, borrowed from stage and screen lore since times immemorial, he previously and rigorously adhered to. Though he has never gone on record about it, my guess is that Metzger realized he had pretty much expanded the fornication film form to its genre-imposed limits with THE OPENING OF MISTY BEETHOVEN and was now gently phasing himself out of what was indeed increasingly becoming an industry (rather than art form) he had entered somewhat reluctantly in the first place out of economic necessity as the commercial availability of hardcore had made simulated screen sex obsolete. Read More »
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Veteran director Bob Chinn gets credit, albeit likely more for his role as creator of the Johnny Wadd character and series than any actual input to the film in question. With the always stunning Leslie Bovee given a run for her money by the equally gorgeous Annette Haven, pretty Desiree West and even Thorpe’s Halloween dress-up domme providing sufficient aesthetic focus, the film is possessed of a more appropriate streetwise feel than the fairly iffy lead feature. Suffused with mood lighting and 70’s cop show trope and feel, Colberg graduates from the more static VFW Hall and hotel room filming of All Night Long to a far more location heavy, clearly cinematographic and more highly budgeted affair playing into and lending sufficient weight to Wadd’s tracking down of “sex ritual murderer” the “Black Widow”.
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