You won't be disappointed!

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

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Ruggero Deodato was a late comer to the 'Giallo' genre with the half cooked 'Off Balance' (1988), deciding to make a move away from the shock tactic films he had made a name for himself with; namely 'Cannibal Holocaust' (1979) 'The House On The Edge Of The Park' (1980), and 'Cut And Run' (1985). 'The Washing Machine,' set in Budapest, begins with Vida and her businessman boyfriend Yuri arguing about an engagement ring he has given her (it has the wrong name on it), Vida is displaying an awesome amount of cleavage which forms a large part of the character she plays. That night, Ludmilla claims to have found Vida's boyfriend chopped up and stuffed inside her washing machine, and thus Police Inspector Stacev is called to the house of the three Kolba sisters; Vida, Ludmilla, and Maria. Upon his arrival the body is gone without a trace and Ludmilla is accused by her siblings of being a drunkard with a far too lively an imagination. However it is obvious something happened, as individually they approach the inspector with strange tales of what happened that night. Resistant at first, he can't help himself from being drawn in as they one by one seduce him;"Why do you think she spied on us, half naked, every time we came home… we could see her watching us, which only made it more exciting. We'd do things for her alone… That night we gave her quite a show… Does this excite you Inspector?"Dialogue such as this lends the film a strange sort of eroticism (not Eros, not Mania, but I would say Ludus).Of course the Inspector is caught in the 'eye of the storm' of the sisters' erotic games. This is too much for his partner Irina, who commits suicide after he opens a closet (literally) revealing his secret passion for sado-machosism. This suicide does not seem to trouble him though, actually the viewer becomes unsure if it actually happened, or if Irina just disappeared from the film. The youngest sister Maria is in a favourite scene as a volunteer with the blind, she takes them on an outing to a museum. The scene becomes very 'black' as silently Maria and the Inspector 'make out' in full view, and the blind whose care she is charged with panic thinking she has left them stranded. A darkly humorous and erotically charged 'Giallo' sequence, that would be at home in the seventies heyday. This voyeurism is well served by Deodato's use of high angled shots looking either up or down on the action throughout the film. Deodato came late to the 'Giallo,' indeed waiting until the genre was passed its prime. In order to make a Dario Argento style film, Deodato involved people with 'Giallo' credentials. Cinematographer Sergio D'Offizi shot Lucio Fulci's 'Giallo' Don't Torture A Duckling (1972), and Argento collaborator Claudio Simonetti of 'Goblin' fame composed the score.Short on strong 'Giallo' themes, like seeing and not seeing, the 'gaze,' (although strong on voyeurism), and not containing gender confusion (although strong on Ludus), the film is essentially an exercise in Argento style.

Despite an incredibly stupid English language title ("The Washing Machine"), this is a real return to form both for the Italian giallo genre and for infamous Italian director Ruggiero Deodato. Ironically, Deodato never really directed too many giallo back in their 70's heyday. (He was either making nihilistic Third World cannibal films or being put on trial in Italy or other places for making nihilistic Third World cannibal films). In the late 1980's and 1990's, however, he made two fairly decent ones in a row(after "Stagefright" and "Opera" probably the best two of that period), "Off Balance" in the late 80's and this one a few years later.This movie is about a cop who is trying to find out which of three sexy prostitute-sisters (a very aggressive one, a deceptively shy one, and a mysterious one in between) was responsible for killing their thuggish pimp. This naturally involves him having sex with all three. The end is not entirely unexpected, but enjoyable nevertheless.Like Fulci's movie "Aenigma" made a few years earlier this was filmed in Eastern Europe after the fall of the Iron Curtain, obviously in an attempt by the declining Italian film industry to open up new markets, and more importantly, to save money. Unlike with the Fulci film though, the unknown Eastern European actresses here are not only very sexy, but also pretty good (especially the one playing the middle sister). Mostly though it's Deodato's effective directorial style that really does the job. The movie has enough sex in it that it could be mistaken for one of the multitude of "erotic thrillers" that were big at the time (after the success of the Hollywood thriller "Basic Instinct"), but this movie is actually GOOD,and deserves to be included more as a late entry in the vastly superior giallo genre. Anyway, if you like decent gialli, or are willing to see an "erotic thriller" that DOESN'T mightily suck, be sure to see this one.

Ruggero Deodato is, of course, best known for the exploitation classic Cannibal Holocaust; but he's directed a few lesser known films that aren't too far behind in quality - and this stylish, sexy romp is certainly one of them! It's true that I like good sleaze more than most people, but I can honestly say that if you've been intrigued by Giallo's such as Silvio Amandio's Amuck or Luciano Ercoli's Forbidden Photos of a Lady Above Suspicion, The Washing Machine is sure to delight! The focus with this film is purely on the sex scenes, and Deodato has managed to create a thriller that is surprisingly erotic, as he makes great use of his actress' assets! The film focuses on three sisters (intriguing enough on its own), who have to call the police when the body of a pimp named Yuri is found in their washing machine. However, when the inspector arrives, the body disappears - but this is a copper that doesn't let a case go easily, and after taking the decision to devote all of his free time to both the case and the three sisters in question, he soon finds himself a part of their sex games.Given the plot and the fact that it stars three very sexy women, you would be forgiven for thinking that The Washing Machine is merely soft-core porn. Director Ruggero Deodato apparently said that he made this film purely for the money, but I find that hard to believe as great care and attention seems to have been put into the film. The lighting in many scenes is fantastic, while the score and lush Gothic locations enhance the surreal plot. Even the acting isn't bad, which is a huge rarity for Italian cinema. The three ladies make up the backbone of the film, and as you might expect; every scene that features them is a treat. The girls' look sexy whether they're dressed or not, and I'm pleased to say that all three of them spend more time in the latter state! The story plays second fiddle to the sex scenes, but it's admirable that a movie like this has a story at all. Deodato ensures that the movie flows well, and that there's always something of interest when none of the characters are having sex. Overall, The Washing Machine is extremely sleazy and surprisingly erotic; and while I may be praising it too highly, I've got to say that I really enjoyed the film and recommend it to anyone that likes their sleazy horror films!

Utterly demented thriller (giallo?) about three twisted sisters that fall for the same type of men and use their washing machine as a killer device. Police inspector Alexander Stacev is bound to go nuts as all three sisters turn out professional liars and dedicated to get him in bed. It's hard to believe that this light-headed, almost comical horror cheapie was directed by Ruggero Deodato, creator of notorious Italian gut-munchers like "Cannibal Holocaust" and "Last Cannibal World". Judging by the ludicrous premise and absurd story-twists, Deodato must have been suffering from an identity crisis, or something! There's more gratuitous sex and nudity in "The Washing Machine" than in the average Shannon Tweed TV-thriller, but the actresses are bustier (especially the Polish Kashia Figura) AND there's splatter, too! What more could you possibly wish for? A terrific musical score, perhaps? There's that too!