christopher-underwood Bearing in mind this is an early Ferrara, coming after Driller Killer and Ms.45 I should perhaps not have been so surprised at its failings. It is far better than the former but some way less good than Ms.45 and there is the problem of censorship. There are cut and uncut versions of this available but all versions lack chunks of material originally cut and now presumably lost. This accounts for some glaring jump cuts and a freeze frame on a sex scene that had me thinking my disc had stuck. Splendid camera-work as usual and worth seeing just for the glorious night shots of 42nd Street and Times Square, now nicely tidied up, I understand. Here the neon sizzles almost as much as the strippers in the clubs. Melanie Griffith seems to do all her own sex dance near nude scenes and probably gives the best acting performance. Most of the cast overact like crazy and much of the dialogue seems very stilted making it difficult to take much very seriously. Not least the karate crazed series killer who although he doesn't speak (nor even have a name) manages to look ridiculous all the same. The kills are grim, even in their trimmed form, especially intercut with the 'dancers' and the nightclub scenes are suitable sleazy. Its just all a bit predictable and with the edge maybe taken off with those cuts not quite as terrifying as I'm sure the director intended.

SeriousJest Take Melanie Griffith, Rae Dawn Chong, and Maria Conchita Alonso, cast them as strippers and show them dancing topless, add a young Billie Dee Williams and Tom Berenger talking smack to each other with some stereotypical 80s-NYC lines, insert a psycho ninja slasher (played by an actor who, curiously, was never identified in the credits), and set all of this amidst slummy, early-80s Times Square (before the New 42nd Street cleaned it up). Now you've got a fun 80s-NYC classic. Don't get me wrong, this is not a good film in terms of actual quality (other than the acting, which I thought was awesome). The story is not that creative or unique, the script calls for over-dramatization at times, the soundtrack is wack, and the fight stunts are not top-notch (along those lines, Berenger, who plays an ex-boxer, punches a wall in one scene, and his wrist is positioned in an improper way that would probably result in an injury). However, the cast, the setting, and my nostalgia for 80s-inner-city movies made this film a good way to kill 96 minutes…and just because I strongly suspect that director Abel Ferrara didn't mean for this movie to be campy doesn't stop me from enjoying laughing at it.

MARIO GAUCI This early flick from Abel Ferrara piles on the sleaze as it deals with a group of strippers being hounded by an unknown night-time assailant; from a surprisingly good cast for such cheap exploitation fare, Melanie Griffith scores best as the most popular stripper around, who also happens to be her moody boss (Tom Berenger)'s ex, indulges in a lesbian relationship on the side (with fellow stripper Rae Dawn Chong) and turns into a full-blown junkie when the latter dies at the hands of our good friend, the serial killer. Nice clean family fare, then, right? While the film remains watchable throughout and even has a handful of amusing sequences (most notably when, having been mistaken for the killer, the wrong guy gets beaten up in the kitchen of one of these clubs) and performances (in particular, Michael V. Gazzo as an irascible strip-joint owner), it is seriously damaged by a frankly dull hero (or rather anti-hero, since we're basically talking about an ex-boxer-turned-pimp here) and a very silly villain (a karate expert/fitness freak/budding writer). Billy Dee Williams also stars as an irate cop disgusted by all the squalor around him and Rossano Brazzi turns up for a free plate of pasta as the pre-requisite "respectable" mobster overseeing NYC's underworld. For the record, the film was originally bankrolled by Twentieth-Century Fox but they eventually sold the property to an independent company in view of its objectionable content and a cleaned-up, padded-out version eventually made the rounds on US TV and European videos; also, the actor playing the serial killer remains uncredited to the end, just as the killer's name is never known throughout the film.

innocuous This may be worthwhile to rent if you're a Melanie Griffith fan, since she's nude in about 40% of her scenes, but the movie leaves a lot to be desired overall.Much of the tension is supposed to be derived from Berenger's guilt over the outcome of a boxing match several years earlier, but we never really connect with him in this regard. In fact, Berenger's acting is really sub-par here...worse than "Sniper". The idea of personal redemption is there, it's just not realized.Jack Scalia does a good job with a thankless part. Billy Dee Williams is handed a role with ridiculous dialog and ultimately looks like an idiot when he reverses himself completely in order to express respect for Berenger's character following the "final conflict".The assorted character actors do a much better job, but they can't make up for the absence of any logical plot progression and realistic dialog.Finally, unlike some other reviewers, I don't really have any problem with the fact that we never really understand what motivated the murderer. These sorts of answers usually don't come tied up in neat little packages labeled, "Sexually Abused by Father", or "Sister Died at the Hands of a Drunken Physiscian". In the ORIGINAL version of "Two Minute Warning", we never found out why the sniper went a-sniping, which was, in my opinion, an order of magnitude superior to the butchered version with the sub-plot of the burglary thrown in to make sense of it all for the middle-class viewers.Not recommended to buy or rent, but it may be worth watching if you see it come on the late show and you can't sleep. By the way, the "uncut" version is not substantially different from the other versions, except for a bit more skin.