Blood and Sex Nightmare

Blood and Sex Nightmare

A lascivious boyfriend takes his virginal girlfriend to an adult retreat for a passionate weekend unaware of the camp-ground's history of murder and rape.

Libidinous sexually frustrated jerk Nick convinces his frigid virginal girlfriend Amy to go with him to the remote woodland swingers resort The Pleasure Mountain Adult Retreat. However, the... . You can read more in Google, Youtube, Wiki


Blood and Sex Nightmare torrent reviews

Joana M (fr) wrote: I started to watch it with my little cousin around 3 times. Couldn't finished yet. In one word: BORING. Super boring by the way. If your are above 3 don't try to watch (Y)

Simon D (us) wrote: I am not the correct audience for this type of film. It seems to me that, if you took four average American dramas took cuts of the boring bits and put them together you'd end up with a film like this. OK the weak stories came together a bit at the end but was there really a point to this other than to test out the directors wobbly hand technique, by the way, that didn't work unless you wanted to give the audience a headache.

Joackim L (fr) wrote: Filmen var fruktansvrt dlig, typisk Steven Seagal film som borde brnnas.

Edmund C (ag) wrote: So enjoyable to watch films featuring Canadian funnyman Seth Rogen and his buddies! Fellow countryman Jay Baruchel is also onboard, and so are Jonah Hill, Paul Rudd and Jason Segel (guaranteed fun!), along with Katherine Heigl and director Judd Apatow's wife, Leslie Mann :)

Sebastian O (it) wrote: One of the top 5 worst animated films I've ever seen. Utterly boring, weird-looking, and the fact that the 9-year-old protagonist is voiced by a 40-year-old man doesn't help.

Roxanne D (de) wrote: I'm still struggling to understand this film, but it seems to be about a wife and mother who feels trapped in her respective roles and tries to convince her husband to give her his responsibility-not so much because she wants to be bread winner per se, but because she wants something else in life. Within the context of her family she feels delegated to wife and mother, and those roles clearly don't fulfill her. The problem seems to be then, that she doesn't feel like she can break away from her family and fulfill her goals, and when she realizes that her husband will never give her what she needs, she takes her life in response. But then, she shouldn't have to break away from her family to find fulfillment: she should be able to have it within the confines of her family. But the film clearly states that the latter is not possible. However, she wasn't interested in a mere outlet: she wanted Frank to stop working all together. She wanted complete control over her family. She wanted her husband to lounge around, 'figuring out who he is' while she worked and supported him and her kids. She clearly wanted to delegate her husband to mere husband and father. April realizes however, that she will never have complete control over her family, and especially Frank, and it is that realization that drives her into the hopeless emptiness.

Blake P (it) wrote: Christine is a cat, a jungle red loving femme fatale that could lure any man into her clutches with just the right lighting and just the right sort of desperation. She gets off on manipulating those weaker than her; she's a sadist with looks good enough to help establish her innocence when need be. Murder isn't far from her brain when the relationship between she and her object of desire is threatened. She'd do anything to keep herself, and her most recent boy toy, protected in the cruel world in which we live. Christine is also a 1958 Plymouth Fury, the type of car motor fetishists gawk at and purchase no matter the cost. And she's alive, ready to kill anyone who isn't her owner. Which is exactly why she's so dangerous. We first meet her before she's even off the assembly line, a place where she maims two men who push her over the edge. Little Richard and Buddy Holly blare through the stereo whenever she's feeling especially bloodthirsty. The interior lights up like a Christmas tree when she's in the mood to off whoever's inside. Driving, it seems, is not as important as extermination. So when the film jumps ahead twenty years, we're more than disturbed -in the two decades since we last saw her, she's probably slaughtered hundreds of men and women that didn't much tickle her fancy. In our reintroduction to her is she sitting in a scruffy man's desolate yard, dusty and in pieces. She looks like the survivor of a brutal race against Herbie. No one should want her. Unless they're cash strapped and have a thing for automobiles that used to be great. So naturally, she attracts the attention of a pair of teenagers, one a wimp and one a stud. The stud, footballer Dennis (John Stockwell), sees garbage when he steps in front of Christine's cracked headlights. But the wimp, Arnie (Keith Gordon), sees a treasure in the making. Already socially inept, being the owner of a car Steve McQueen'd be proud to drive might propel him to status comparable to Dennis's. And it'd be nice, anyway, to have the fixing up of a car help him take his mind off the unceasing psychological battles brought on by bullies and by his own skinny covering of self-confidence. But not long after he hands his cash over - the man selling sympathetically drops the price to $250 - does Arnie metamorphose into the guy he's always wanted to be: suave, self-assured, and a little cocky. He's shed his bulky glasses and now dominates conversations. He's kind of a dick. And kind of as convincingly tough as one of John Travolta's cronies in "Grease" (1978). Clear, though, is that something's very, very wrong; and Dennis, alarmed by the change in his friend's demeanor and by the weirdly commanding presence of Christine, takes it upon himself to get to the bottom of the starkly unbelievable mystery. "Christine," of course, is starkly unbelievable, too. No matter how hard one tries, it's impossible to have a car with a mind of its own serve as a villain without a laugh of disbelief to follow a death scene. Having not read the source material, which is, famously, a minor Stephen King novel, it's difficult to tell how much better the story worked on the page as opposed to on the screen. Here, it's involving but also slightly dizzy, the well-made dead teenager movie that doesn't have the premise to soundly back everything around it. John Carpenter, who directed and co-scored "Christine" as a contractual obligation following the financial failure of 1982's now classic "The Thing," wasn't so enamored with the text being adapted himself. "It just wasn't very frightening," he lamented in a 2015 interview. "But it was something I needed to do at that time for my career." That the film manages to be a classic case of cinematic professionalism that cannot overcome a middling story is impressive. Carpenter could switched onto autopilot. But instead he makes "Christine" an admittedly ridiculous horror movie that surprisingly never puts forth a shoddy exterior. If we could more easily accept its antagonist, we'd have something stellar. But we can only kind of do such a thing, and so the movie's competently produced though modestly unnerving.