A color-blind psychiatrist Bill Capa is stalked by an unknown killer after taking over his murdered friend’s therapy group, all of whom have a connection to a mysterious young woman that Capa begins having intense sexual encounters with. —IMDb
The man once cited by none other than François Truffaut as one of American cinema’s greatest talents, filmmaker Richard Rush helped launch the careers of such cinematic luminaries as Jack Nicholson and Francis Ford Coppola, though his own stalled after The Stunt Man in 1980. A New York City native whose training in the U.C.L.A. film department fueled his passion of movies, early work as a recording engineer helped Rush learn the technical side of filmmaking, while working in industrial films gave him an eye for continuity and flow. Dubbed “the first American New Wave director” after his 1960 directorial debut Too Soon to Love (which he also wrote and produced) was acquired for distribution by Universal, subsequent exploitation flicks Hell’s Angels on Wheels (1967) and Psych-Out (1968) established him as a filmmaker who could turn out an entertaining quickie on short notice. After Getting Straight became Universal’s highest grossing film of 1970, Rush’s unique style of social satire… read more
The perfect bad movie to distract yourself with. I have one thing to say though: Jane March must be one of the worst actresses in the history of Hollywood, even though this history is filled with bad actresses who got into acting just because they were ready to open their legs wide enough and often enough.
Like every worst impulse of De Palma cranked up to eleven; or perhaps even a post Basic Instinct 'Hollywood giallo' with an amazing cast and a twist ending so transparent that it has to be a MacGuffin to some other, more elaborate, psychological interpretation. I'd call it a car crash of bad cinema, but so much of the film seemed deliberately "off-kilter" that I couldn't help but warm to the unreality of it. Like Shattered Image, Ruiz's equally wooden attempt at a straight to video thriller, the film is full of purposely abstract production designs, decorative camera angles, odd colour coding, flat performances and occasional symbolic gestures that seem to suggest a somewhat delusional, trancelike state; as if the entire film is taking place within the character's own imagination.