This movie is the proof that the world is becoming a sick and dumb place

Best movie ever!

It's fun, it's light, [but] it has a hard time when its tries to get heavy.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

A serial killer who likes to photograph the bodies of his victims stabs a streetwalker through the neck with an icepick, only to discover that his latest target is a male undercover cop in drag. Sergeants Fontain (Pamela Hensley) and Buckhold (David Young) arrive on the scene moments later to find that the killer has fled and that they are too late to save the life of their colleague. So begins this lurid early '80s psychological thriller that is totally preposterous, yet which offers up so much silliness, sex and slasher-style violence that I found it impossible not to enjoy.As the police continue their investigation, fashion photographer Adrian Wilde (Michael Callan) becomes their chief suspect: you see, he's been visiting his shrink a lot lately, suffering from dreams in which he brutally murders his models using modus operandi identical to those in the real-life slayings. As the dreams and murders continue, Adrian himself begins to wonder if he is the killer, but there are several more camera-carrying suspects for the viewer to choose from, including psychiatrist Frank Curtis (Seymour Cassel), bald bartender Alec (Robert Tessier), and even Adrian's own brother, stuntman B.J. Wilde (James Stacy), who has only only one arm and one leg.Intertwined with this murder storyline is a soap-opera style romance between Adrian and beautiful blonde Mindy Jordache (Joanna Pettet) which makes Double Exposure feel like a TV movie at times, a fact not helped by a cast better known for acting on the small screen. As a result, the sex and violence that punctuates the film only seems all the more exploitative: it's a bit like watching an episode of Hart to Hart, but with full frontal female nudity and graphic killings (come to think of it, Stephanie Powers in the buff would have made that series sooooo much better).The film's most entertaining moments occur during Adrian's dreams, in which the photographer, wild eyed and ranting, coaxes a beauty into a swimming pool before drowning her, kills another woman by throwing a rattlesnake into a bin liner and popping it over her head, strangles a hooker who flaunts her wares, and slashes a naked chick across the throat and breasts. Sexy highlights include Adrian romping with a babe called April (the same woman he slashes in his dream), the lucky photographer getting it on with Mindy (who moans her appreciation), and B.J. Wilde getting to grips with a female mud wrestler.The film eventually reveals the killer to be none other than B.J., who is even more emotionally troubled than his brother, the guy having never got his head round the idea that his mother was a whore (and probably a little bit upset over being cursed with such a silly name). It is never adequately explained how a bloke with only half his limbs could be such a successful murderer (strangling that hooker would have been especially hard) or, for that matter, how he manages to tie up Adrian in the supremely daft denouement.7.5 out of 10, rounded up to 8 for IMDb.

Here's something a little different from Crown International Pictures: a giallo-flavoured slasher with a strong psychological angle and a decidedly nasty edge. DOUBLE EXPOSURE tells the tale of a photographer plagued by nightmares in which he kills a string of young and beautiful women, and a real-life series of killings taking place at the same time. Could he really be the serial killer responsible? DOUBLE EXPOSURE feels very much like an '80s-era giallo along the lines of A BLADE IN THE DARK or NOTHING UNDERNEATH. It has an unusually vicious edge to it for a Crown International film; it's not that it's particularly gory - and it's certainly nowhere near as gory as your average Italian giallo - it's just that the murders are ruthless and mean-spirited. Being a Crown film, there's ample nudity if you're after that, along with a very low budget that gives a schlocky look to everything that occurs.The cast give solid rather than unspectacular performances and there are supporting turns for a few familiar faces like Cleavon Little. Michael Callan is pretty good as the weirdo lead, covered in sweat and acting deranged for the most part, although anybody with any experience of this particular genre of films will guess the identity of the killer early on in the proceedings. Nevertheless, DOUBLE EXPOSURE is a breath of fresh air when compared to Crown's typical output (i.e. low budget sex comedies).

A cast of 1980's TV movie and TV series guest stars (Misty Rowe, Pamela Hemsley,Clevon Little, Seymour Cassel among several others)in the story of a photographer who has dreams about killing his models. Of course the models and other people start turning up dead causing all sorts of complications.Over done not very good thriller has enough nudity and violence to get an R rating but not enough good material to engender any real interest. This is best described as the sort of movie that gave the cable channel Cinemax the alternate name of Skinamax. I really can't see the point of watching this unless you need to see every sleazy thriller out there. (I also have to comment that this film is filled with smoking, to the point that it becomes laughable when anyone lights up)

Michael Callan plays a smarmy photographer who seems, nonetheless, to be regarded as a perfect "catch" by any woman that runs across him; could this have anything to do with the fact that he also co-produced the film? He's a "hero" whom it's very difficult to empathize with, so the movie is in trouble right from the start. However, it's troubles don't end there. It has the production values of a TV-movie (check out that head made of clay or something, near the end), and the ending cheats in a way that I can't reveal, in case anyone wants to see the movie (highly unlikely). Let's just say that the killer knows more than we were let to know he knows. (*1/2)