Very best movie i ever watch

Terrible acting, screenplay and direction.

I gave it a 7.5 out of 10

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

Un Posto Ideale Per Uccidere is an exploitation thriller which mixes the laid-back hippie attitudes of the 60s with the permissive approach to cinematic sex and violence of the 70s. It comes from Italian director Umberto Lenzi, at the junction where his career was steering away from adventure and thriller movies and sailing into gorier, more controversial waters. Ultimately Lenzi would offend the world with films like Mangiati Vivi! (a.k.a Eaten Alive), and the notoriously sickening Cannibal Ferox. At least Un Posto Ideale Per Uccidere isn't particularly offensive or nasty – it's just a routine thriller with a splash of sex and nudity, obvious plot developments, a fashionably downbeat ending, and a toe-tapping soundtrack that is blissfully unrelated to the events on screen!Dick (Ray Lovelock) and Ingrid (Ornella Muti) are a young Scandinavian couple travelling around Europe. They pay their way by selling pornographic photos of themselves. Unfortunately for them, their scheme is uncovered by the somewhat unforgiving Italian police and they are instructed to leave Italy at once. On their way to the border, their car runs out of petrol and they are forced to seek help at a large, secluded villa. Here they meet Barbara Slater (Irene Papas), wife of the NATO colonel who owns the villa. Barbara seems edgy and nervous, especially when she finds them attempting to steal her husband's petrol, but nevertheless invites the couple to stay. It becomes increasingly apparent that Barbara is not to be trusted. Her behaviour seems erratic and at one point she seduces Dick. The young couple slowly come to learn that Barbara has an ulterior motive for having them in her home. Seems she recently murdered her husband and has his body stashed in the trunk of his car…. now she plans to frame Dick and Ingrid for her ruthless crime.The film has a few interesting elements and is comparatively subtle by Lenzi's later standards. There is some attempt to set aside time for proper character development, so that the eventual misadventures which befall the protagonists carry a little more weight. The problem is that the characters are rather dull, and the actors aren't really charismatic enough to overcome this. Eugenio Alabiso edits the film quite well, using a variety of flashy techniques to create a sense of atmosphere in several scenes. But again, the central story is too weak and uninvolving – in the end, no amount of flashy editing can overcome the film's pervasive air of dreariness. Once Un Posto Ideale Per Uccidere reaches its glumly depressing climax, one realises that very little has really happened. It is a slow-burning film which doesn't build to anything of note. Collectors of these old Italian exploitation-era movies might find something to hold their interest, as will fans of the stars, but for wider audiences there's not a great deal in the film worth getting excited about.

This is one of those films that plays out exactly as you might expect, almost by-the-numbers. A young couple get arrested for selling 'dirty pictures' (one of the titles for this release) although the pictures sometimes show nothing more than Ornella Muti naked in a photo-me-booth. They end up in the mansion of a rich lady (Irene Pappas giving a performance less lively than some of the furniture and obviously wishing she were elsewhere) because they run out of gasoline, and when she finds them in her garage syphoning off some fuel she realises she has a use for them. Anybody who doesn't realise what she is up to in about five minutes could only have seen ten movies in their lifetime. It plays out like an old episode of the TV show 'Thriller' with some nudity added (though Pappas obviously has a body double) and some hippy/flower-power shtick thrown in replete with cheesy music which is probably the best thing in this predictable yawn of a movie. Only of interest to Ornella Muti fans if they're not above barely-legal leering.

Another from the Shameless stable of exploitation films. They go on about how they've tracked down missing scenes, remastered it all and redone the soundtrack... it's like a kid telling you how they've done an amazing drawing and you then look at it... Oasis of Fear is a bit, well, rubbish.It's about a young couple who travel around Europe in a zippy yellow open top sports car flogging porn mags to locals (that dates it). But once the movie settles down it hits you that it's just not very good, a bit amateurish. The trailer is the best thing about it.It starts off okay with a George Beatle type track, but soon becomes irritating. The bloke, all 29in waist and big hair, is from the Cliff Richard school of acting. Actually Cliff was a bit more charming than this. The girl is alright in a Kate Middleton kind of way. It belongs to an age where you had to make your own entertainment, when you only had Dixon of Dock Green on the black and white telly, while going to the movies to see a big colour film - and a woman get her kit off - was a real treat, real decadence.You rent these films for a bit of sauce and unPC fun - you don't really expect to be so bored by it all. It picks up for the last half hour, but really drags until then.

Danish student Ingrid (Ornella Muti) and her English boyfriend Dick (Ray Lovelock) decide to sell pornography illegally in Italy, and at the beginning, they make a lot of money and spend a great holiday time there. Then they are arrested by the police, and their rebellious attitude (especially if you remember, this was 1970) doesn't help much. They end up on the street without a Lira in their pockets, and when a rich lady (Irene Papas) offers help, it seems a stroke of luck and they are not suspicious at all...La bella Ornella in one of her earliest movies is very playful and looks best in a kind of Indian temple dancer costume here. All in all, "Un posto ideale per uccidere" is not a particularly dark or violent film, but with enough suspense. The rapid cut by Eugenio Alabiso - who also had his hands on genre classics like "Tutti i colori del buio" and "Lo strano vizio della Signora Wardh" - helps to speed it up a bit. Note: My Italian DVD is said to be transferred from the original negative with a running time of 83:49 min.