iMDB Rating: 6.2
Genre : Drama
Stars : Orhan Gencebay, Necla Nazir, Mahmut Hekimoglu, Kahraman Kiral." />
Movie Quality : BRrip
Format : MKV
Size : 700 MB
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According to legend, a group of women escaped from Atlantis just before the destruction of the continent. They took refuge on a mysterious island, and founded a kingdom. Men who dared approach the island, were devoured by these sexually voracious Atlanteans, and thus they were called "gobblers".
Cheesy and campy like normal, but not his best work
A bumbling taxi driver takes a man to visit his scientist friend in a small town, where he unknowingly comes across his secret experiments trying to bring the collections of mummies buried nearby back to life.
Not nearly as madly funny as previous Capulina efforts, even though this one manages to get a bit more serious in offering a horror tone to compensate even though it's still got some good solid laughs to it. I get the feeling it's more about wordplay and one-liners than the slapstick which is where the level of humor is unbalanced, so most is lost in translation, yet the incorporation of the mad scientist subplot allows for some fun and it's not really a boring effort. The endless procession of mummies stacked together, their badly deformed appearances looking really cool, the mad scientist lab and the construction overlooking a large villa on a hilltop creates some fine horror-based attitudes, leaving this one slightly lower yet still highly enjoyable.
Unrated/PG-13: Violence and Language
Nights of the Round Bed
Following his ambitious yet poorly received LES CHIENNES, Michel Lemoine retreated to undemanding and therefore foolproof fluff with such episodic girlie shows like LES PETITES SAINTES Y TOUCHENT and LES CONFIDENCES EROTIQUES D'UN LIT TROP ACCEUILLANT (literally : The Erotic Confessions of a Too Inviting Bed !) before embarking on what was to become his most idiosyncratic work, the sex & horror hybrid LES WEEKENDS MALEFIQUES DU COMTE ZAROFF. While it perfectly accomplishes its primary purpose of unveiling as many lovely soft porn starlets as can be crammed within an hour and a half, CONFIDENCES clearly shows fatigue setting in, its maker resorting to formula film-making and recycling many stylistic devices that worked for him in the past (note the many mirror images employed during sex scenes), not to mention his by now repertory cast of actresses. Fortunately for admirers of the female form, these ladies run the gamut from pretty to perfect, with nary a dog in sight !
Go go dancer Dominique (much-missed Olga Georges-Picot, who flung herself from her apartment window in 1997 and whose eclectic career encompassed everything from Alain Resnais' art-house hit JE T'AIME, JE T'AIME to occasional gay pornographer Jacques Scandelari's glossy but empty BRIGADE MONDAINE) bumps into a former lover and takes him back to her place where he's immediately intrigued by her circular bed. Having bought the piece of furniture at the local flea market, she recounts how it has seemingly followed her throughout her adult life, turning up at various mostly sexual occasions, confusingly shown as erotic episodes involving other actresses with differing character names ! This device has lead many less attentive sources to accredit the movie's narration to the bed itself (à la Sam Weston's BETWEEN THE SHEETS) and only makes sense when Dominique reveals late in the proceedings that she has made it all up in an attempt to Sheherazade-like retain her paramour's attention this time around in a twist superbly complemented by Georges-Picot's sad-eyed beauty which made her so right for Bernard Borderie's CATHERINE, his undeservedly snubbed supposed follow-up to his long-running ANGELIQUE series.
Photographed with his customary precision by Philippe Théaudière and scored on auto pilot by Guy Bonnet, both Lemoine regulars by now, the movie benefits from extended displays of female physical splendor. A good starting point for the ignorant as well as a welcome reminder for the veteran voyeur, it offers a long line-up of fondly remembered or unjustly forgotten stunners like the effervescent Anne Libert, prominently featured in the early works of Jean-François Davy and Spanish sleaze maestro Jess Franco, tricked into an impromptu threesome with a supposedly jilted fiancé and his buddy. Naughty Nathalie Zeiger's childlike capacity for wreaking havoc was well exploited by Lemoine in LES CHIENNES (not to mention Daniel Daërt's near companion piece LES FELINES) and here she provides yet another memorable tease as a pretend underage con artiste milking portly senior citizen Georges Guéret, a welcome character actor in many a skin flick, for all he's worth. Another suicide victim, ravishing redhead Marie-Georges Pascal (memorable in Davy's BANANES MECANIQUES), appears in perhaps the picture's most baffling sequence as she performs a little pony dance on the bed for her whip-cracking elderly choreographer !
The Lemoine household must have been going through a rough patch at the time, as the director has cast his spouse and all time class act Janine Reynaud in what must surely rank as the least glamorous role of her career, appearing with her magnificent red mane done up in curlers at the hairdresser's and solidly slapped around by future hardcore stud Jacques Insermini, her husband from FELINES ! Just past 40 at the time and still a world class beauty with screen presence to spare, she suffers the additional narrative indignity of having to battle for her portly lover's favors with Marie-Hélène Règne, a little blond upstart half her age ! Creamy Martine Azencot and her incredible rack, burnt on this reviewer's retina since their twin appearances in Lemoine's best film LES DESAXEES, again leave an indelible impression in a tasteful group grope Mikey taking full advantage of his perpetrator's privileges by putting himself at the center, squeezing them tickets like a man possessed ! set to the strains of Wagner's "Tannhaüser". Ah, nothing like a bit of culture to get the juices flowing !
Sleazy, oily pulchritude doesn't come much better than 'Island of Sin
Island of Sin is a quite, special special. Now, that would be special in the sense of the film being both spectacularly goofy and wildly unsavoury in equal doses. This ignoble work is the absolute quintessence of true- blue Grindhouse madness; as the 'film' is little more than a palsied celluloid skeleton to hang on a veritable cornucopia of egregious acting; delightful amounts of gratuitous nudity; arbitrary acts of violence, and some monumentally poor attempts at disco dancing. (all the young people here are blessed with all the grace and physical coordination of an arthritic chicken recently shorn of its head) Any two of the latter ingredients is usually enough to keep someone like me watching with full-beam eyes, but having all this sleazoid bounty in one wholly insalubrious film is almost too good to be true! Sleazy, oily pulchritude doesn't come much better than 'Island of Sin'.
The perfunctory plot is yet another popular riff on the drive-in standard of: oily nut-balls who invade a bourgeois home, and proceed to wreak a fleshy tumult of grimy nastiness, and, frankly, this is achieved with aplomb via the preternaturally lurid film-making vernacular of Kostas Doukas. The dialogue and performances are uniformly atrocious, merely adding to the hysterical tone of this, quite literally insensible work of sun-bleached depravity. Life is simply too short NOT to experience the cinematic wonderment of 'Island of Sin'.
Despite Li Ching, This Did Not Grab Me
This is a film about the movie industry, about favors, hooking up etc. It is mostly set in Copenhagen and the story begins with the son of a big producer going to Copenhagen from Hong Kong trying to seal a deal. He gets involved with the Denmark girls. I have to admit that its not good that the best thing I can say about the film is some of it is in English, so its not difficult to follow. There is nudity, not too gratuitous but its there. Li Ching gets involved in this and I wish she didn't. This is the first film of about 10 that I've seen her in where she doesn't quite appeal to me, despite her obvious beauty. I cannot recommend this film, its muddled, the story doesn't keep you interested and its somewhat dated. My one smile: At a club, the people there are dancing to a muzak version of Bread's "Make It With You". I don't know if it was intentional. Despite Li Ching, I'd say skip this.