Highly Overrated But Still Good

From my favorite movies..

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

Massage Parlor Murders! (1973)** (out of 4) Mildly entertaining exploitation movie has a couple detectives trying to track down the person who is murdering massage parlor ladies. Soon one of the detectives gets involved with one of the girls and you just know who the killer is going to go after next.MASSAGE PARLOR MURDERS!, also known as MASSAGE PARLOR HOOKERS, isn't the greatest exploitation film ever made but as long as you go into it with rather low expectations there's enough here to keep you entertained throughout its 80-minute running time. Obviously, if you're looking for a well-made picture then it's probably best that you watch something else but if you enjoy these types of low-budget, odd-ball movies then pull up a chair and enjoy.The film benefits from having some very attractive ladies throughout the film and yes there's plenty of nudity from them. The nudity factor is never distasteful and it really just plays out as business as usual. The performances are obviously all over the place but it's interesting to see George Dzundza pop up a few years before THE DEER HUNTER. The violence and gore level is rather low, although the first murder is actually well-staged. I'd also argue that the ending played out nicely and delivers a good outcome for our creep.

The Massage Parlor Murders!. Exactly what it sounds like. Typical 1970s drive-in yarn from the 42nd St. grind house fare offering a LOT of medium local talent and a lack of budget for proper coverage of actors, AND dubbing.So many scenes are MOS, it suggests the problem of NOT having enough dough to re-shoot, or ADR. Still, these particular films from that segmented era of time bring forth some of the most fascinating artifacts. For starters, the mark of vintage NYC in the day when things couldn't have been for in-your-face blunt. There is certainly that. Also, it is commendable what some filmmakers can accomplish with such limited resources. There's plenty of ambiance and character (by character I mean NYC itself) to provide the common viewer with fascinating elements beside the random thrills.What we have is, naturally, a homicidal nut , preying on the sleazy, lustful, and unfortunate looking women working Massage Parlors in the Times Square area. The premise alone could have been grounds for an ABC or CBS movie-of-the-week (MOW), however, the production company, big-wigs, whom-ever and however you wish to refer to them, needed a quota on nudity and cheap violence. Naturally, directors Chester Fox and Alex Stevens pad out the running time with said filler content to the point that it becomes predictable and boring. That's not always a bad thing, except that naked women with fake blood poured on their bodies hardly makes an impression. Onto more positive aspects, we have a few great lead performances.George Spencer as lead Detective Rizotti. He's honest and straight-forward with a slight humor to him. Right out of a typical cop show of the times, thrust into the degrading and cheap sex and violence. As most films are time capsules, he is never-the-less entertaining and endearing in his own right. John Moser displays absolute charisma as side-kick Det. O'Mara. He has movie star looks, ferocious physical attributes, and a sensitive demeanor. A perfect leading man, who, baffling enough, only has an alleged "Dallas" episode as his following credit on this site! (?) It's a shame he didn't carry this one through as the head detective, and other higher budgeted projects like it. Then there's the always remarkable Sandra Peabody (nee Cassell) of original 'The Last House on the Left (1972') fame. It's assuredly criminal that she, herself, never rose above such tawdry affairs as this. She always displayed perfect commitment to pathos in every role she had in her short B-Movie career. Each performance finely tuned to fit not only the character, but the script and intentions themselves. Fans of her, and they are many, will be satisfied by this aspect alone, if nothing else.The rest of the cast consist of obvious raw, inexperienced NY talent that bring forth endearing ambiance, which says a lot considering there isn't too much credibility among the rest of the production values amid the pedestrian circumstances. 'Massage Parlor Murders!' is none-the-less a film to be loved by it's adorning fans despite it's stance in a long line of sub par drive in fare which remains mediocre at best. Really, it's no higher than a Roger Corman picture from New World Pictures at that same time, yet all those films resonate positively and still hold up to this day. "Massage" and it's peer titles do not.

MASSAGE PARLOR MURDERS! is a cheap and scuzzy exploitation horror movie with that gritty, on the street vibe. No matter that most of the story takes place in the same room simply dressed up to look different each time, this is a film that delivers the good for fans of 1970s grindhouse cinema. The story is about a psycho working his way through the girls at a massage parlour, offing them in particularly grisly ways, while the cops (including one guy who looks like a cross between George Peppard and Kevin Costner) track him down.It's a simple film simply told, one that manages to cram in as much exploitative material as is humanly possible. Filming in the streets of New York circa 1973 is a treat for fans of the era. The acting is quite horrible, but the film manages to fit no less than two cameos from well-known actors; George Dzundza and Brother Theodore both shine as potential suspects, the latter in particular with a hilarious monologue. MASSAGE PARLOR MURDERS! manages to fit a ton of nudity into the running time, although not as much sex as you'd expect. Add in cheesy music, a random scene of an overweight guy dancing in a tutu, a car chase, and a series of sloppy but nasty gore murders in the H.G. Lewis vein, and you have a perfectly acceptable piece of exploitation fare.

A religious-fanatic psycho targets frequently-nude massage parlor girls who give new meaning to the term "table service" if the money is right. How can one possible screw that up that gold exploitation scenario? Just ask the makers of MASSAGE PARLOR MURDERS, because they manage to turn it all into one big, colossal bore with an aimless and meandering plot, endless filler, padded scenes, lethargic pacing, a mostly dull cast, a sleep-inducing light jazz score akin to what you'd hear in a waiting room and a surprisingly conservative hand when it comes to dishing out the sleaze. Sure, a dozen or so chicks get naked and there are moments of (mild and poorly executed) violence, but you can see better elsewhere in hundreds of other more entertaining films from this era. I always wondered how a film like this could have possibly bypassed the entire video revolution of the 80s and 90s without ever getting released on home video but now I fully understand why: It's boring as hell!Police Lt. Jimmy Rizotti (George Spencer) and Det. Danny O'Hara (John Moser) are on the case when a topless masseuse named Rosie (Chris Jordan) has her face smashed into a mirror and is then strangled with her own bra. Numerous other ladies soon bite the dust as the cops try to get to the bottom of things, Jimmy deals with his nagging / uptight wife Emily (Marlene Kallevig) and Danny starts getting cozy with Rosie's more straight-laced roommate Gwen (Sandra "I never appeared in another film after LAST HOUSE ON THE LEFT" Peabody / Cassell). Though we hear numerous eyewitness accounts of the killer being a clean cut businessman, the investigators spend most of their time interrogating scumball types like a pervy parlor owner who sits around reading Screw Magazine and Rosie's sugar daddy "Mr. Creepy" (George Dzunda in his film debut). They also pay a visit to an insane astrologer, who's played by the inimitable Brother Theodore. He rants and raves about a bunch of nonsense ("My sleeping pills are messing up my horoscope and when I listen to rock n roll my eardrums bleed!") until one of the cops can't take it any more and punches him in the gut!Some of the victims have acid poured on their bodies and one is sliced up, but these scenes really aren't gory and every scene involving action of any kind is clumsily directed and edited as to remove any possibility of them having any impact whatsoever. There's also an extended car chase, long scenes of people walking around in the streets accompanied by pointless narration or voice over, lots of theater marquees (which are at least fun to look at), a male customer stripping down to a one-piece leotard and doing ballet (?!) and an even more WTF scene set at a swinger's party where everyone frolics around nude and have chicken fights in a swimming pool filled with balloons. There were just two scenes I found amusing in this one. The first is the opening bit showing one of the girls (Annie Gaybis) fleecing every red cent she can out of a guilty married man and the second was a scene where a bunch of the girls sit around knitting, bitching about how weird their customers are and talking about going to see SHAFT'S BIG SCORE. Other than that, I found my attention focusing on the clock counting down the minutes until it would finally end.This was filmed under the title "The Seven Deadly Sins" (a concept that eventually helps the detectives unravel the mystery... although it makes no sense whatsoever!) and was reissued to theaters under the title "Massage Parlor Hookers" with the tagline "If you've never been to a massage parlor, this is a visit you'll NEVER forget!" Ironically, I doubt I'll remember a thing about this one a week from now. Keep your eyes peeled for Frank Henenlotter movie regular Beverly Bonner (BASKET CASE), who can be spotted for all of five seconds as a massage girl in a red dress.