Fresh and Exciting

A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

It would be unfair to call this a knockoff of Last House on the Left because its pretty different, besides David Hess basically reprising his role from that movie and the themes of sexual degradation. This seemed to be more an attempt to turn Last House into its own sub-genre, Hessplotation lets call it. But whereas the rape in Last House was really really really far away from ever being mistaken for sexy, this movie was generally putting titillation ahead of torture. It really was shot well and some of the acting was surprisingly good, but the twist was insulting and the gore pathetic. On the other hand, if you're looking for a movie from 1980 that perfectly evokes the spirit of the 70's, you'd be hard pressed to do better than this. Best paired with bumps of coke off the end of a blade.

This is another one of the video nasties that was banned in Britain. They eventually allowed it in, but only after almost 12 minutes was cut.It certainly started off with a bang. Alex (David Hess) stops a car and rapes the driver. It establishes just what a dirtbag he is.Later, he and a friend manage to worm their way into a party. I could not figure out who would want to invite him. All this ties together at the end, but it was very confusing when it happened.Alex is just a twisted psychopath and takes over the gathering to do his nasty deed. It was more of Alex preening and boasting than any actual action. There was a rape and brutality to a young girl, but mostly it was just aggressive behavior that never really led anywhere.The ending was great and left you with a sense of justice being done.

Perhaps one of the most infamous violence-exploitation films ever made, and for good reason!Slick rapist and his simple-minded buddy get invited to a snobbish get-together, where they quickly take over the house.Disturbingly dark, oddly erotic, and subtly directed, Deodato's House on the Edge of the Park is an unforgettable tale of lust and violence. While the violence of this film is extreme, Deodato is careful not to let any of the characters become uninteresting. Even as the story is a somewhat convoluted, the occurrences on screen between the villains and their victims keep the audience well on edge. Also of note is the haunting music of Riz Ortolani, the song 'Do It To Me Once More' being especially appropriate for the film.The cast is fairly good, the best is undoubtedly David Hess. Hess is no stranger to playing sleazy B villains, as he brings such fierceness to every character.If you're seeking a sleazy exploitation film, or just a strong guilty pleasure, House on the Edge of the Park may just work! Definitely not for all (or even most) tastes. ** 1/2 out of ****

This got re-released in 1985 in my area when the first wave of "X" rated horror films (like Re-Animator and Day Of The Dead) swept the theaters.However, unlike some drek (I'm looking at you "Mutilator.") THIS was worth finding.It's a thriller with horror scenes in it. And David Hess just EATS the scenery with his role. I always enjoy watching him play his style of utter creep. It made the film.The payoff at the end was the only wrong point. They knew all along he was the one who raped that one guy's sister? So they set this up? Allowed the humiliation and pain? Just to get him in the end? Bullcaca! Just have them kill him and his pet geek. No need for the rape angle at all.The pet geek by the way was Giovanni Lombardo "John Morghen" Radice. The same guy that got his head drilled in "Gates Of Hell" and got his wanger lopped in "Cannibal Ferox/Make Them Die Slowly." He has a knack for scene making himself.And Lorraine De Selle, another CF/MTDS veteran was also there. She's better than you think.But Hess owned the film. Thumbs up to him.