One of the best films i have seen

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Mostly, the movie is committed to the value of a good time.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

I'm one of those "Dangerous Babes" mooks, and I was holding this title back as more of a treat than most of the others, but when I settled in for that YELLOW HAIR AND THE FORTRESS OF GOLD thing, I was so aghast at the sight of that sorry effort, I decided I was gonna watch something worthwhile after all. And this one sat there conveniently at the ready on the disk. With no fanfare, proceeded, grumpy mood. Well, quickly saw it doesn't disappoint. I'd never heard about these movies before (save one, my reason for purchase) and I am just relieved that they're not all a buncha tripe. Look, I don't mind (that much) about dated movies and low production values and yammering scripts BUT DO GIVE ME DECENT PEOPLE ON-SCREEN and this one has it. Chestnut mare Susan Romen is way way way up there as a modern-day looking girl in a movie that is now almost fifty years old, so that says a lot. Of course it's dated material (the hippie bit, and look at the hairstyle of Mary Mary), but it looks good and Susan is just great! It's a small movie, but far more likable than so many of the junk in the rest of the "Dangerous Babes" set. I would agree with the complaint that the drug use is overly long, shee-ite, sure looks like a how-to guide for beginners. But if you like pretty actresses the way I do, then there's a whole lot of watching for you here.Of course, the story is trite. What obviously happened in real life is totally noteworthy, though. Old Uncle George wrote a script he knew he was gonna direct. He cast himself in the lead role, and arranged himself an adventure. Moto cross motorcycles, a plane, a boat on the high sea, and, a-ha, wait for it, but of course, yes, being in bed with a young, lissome, nubile, perfectly-formed, long-legged, long-haired, utterly naked girl.Do I blame the old guy?No. Of course not. Oh, I understand. Of course I do.And it's really all kinda sweet. There's not one vaguely-disgusting thing in it, though the prudes would no doubt insist to disagree.One bad thing though. And it's very sad. Susan Romen didn't become a star. She seems to have gone into hiding. To this day. Well, it was the Early Seventies, whatcha expect? Today, in something like this (just better made), she'd have been a star. Back then, it was scandalous. And a scandal back then was more like tar-and- feather time, well, exaggerating (though not completely), but you get my drift.If the movie deserves a bad rep, it shouldn't be for the sex scenes, but for the haphazard filming as it rushes along, the further it goes, meandering about with dirt bikes, and the hopelessly inept wooden acting by the old guy himself (just hanging on for the hot chick) and that main baddie who comes across as a bit of a tortoise playing the part of a sea-lion.As for Annik Borel, another reviewer is excited about her, and, yeah, cute, with long, long legs, but so absolutely disconcertingly cold and stern-eyed in that sex scene, she is obviously more suited for print modeling.But I can tell you, it's one helluva lot better than YELLOW HAIR AND THE FORTRESS OF GOLD. And guys would crawl over searing tarmac strewn with broken glass to be with Susan Romen as their very own Candy.

A middle-aged man gets involved in a whirlwind romance with his child's young babysitter when his wife goes away for the weekend.This melodrama centres on wishful thinking where middle-aged males can end up partying with young women who find them very attractive. It's highly unlikely stuff of course but the film is quite a bit of fun nevertheless. It's another counter-culture influenced exploitation film released by b-movie producers Crown International Pictures in the aftermath of the breakthrough of new youth-focused films like Easy Rider (1969). I find this period and these themes in American movies to be very satisfying though and this one is yet another one I liked. It's a very melodramatic, almost soap opera style story which constitutes the main narrative thread of the film although its spiced up for the cinema with the inclusion of sex, drugs and hippies. The secondary story, reveals that the wife character is a secret heroin addict and she ends up being coerced into letting some drug pushers use the family boat to facilitate a major drug deal. So, this is a film which has a little bit of everything for anyone at all interested in these counter-cultural exploitation flicks from the period.Interestingly, this one is sort of like a spiritual follow-up to the previous year's film The Babysitter (1969) which also stars George Carey in the lead role. Both that film and this one deal with similar material while combining a melodrama with thriller elements. Weekend with the Babysitter has the poorer reputation of the two it seems but for me this is a movie which is definitely unfairly regarded. I have always found it to be consistently entertaining and interesting and I would certainly consider it to be one of the most fun Crown International releases out there.

Weekend With the Babysitter : George E. Carrey stars as Jim, a well-off B-movie director who falls for his kids' babysitter. It's not hard to understand the attraction: his wife, a washed up actress-turned-junkie, is pretty damn irritating. Plus, the babysitter gives him some tips on the ridiculous script he's working on--a motorcycle gang/hippie movie. Trouble mounts while the director and babysitter are exploring free-wheeling good times (under the guise of doing movie research) when Jim's wife gets in too deep with some drug dealers by offering up her husband's fancy boat to complete a drug deal in exchange for another fix. What's funny about this film is that its predecessor, The Babysitter (1969), also stars George E. Carrey in what amounts to the same part. In this one, George E. Carrey is credited as co-writer of the film's plot. Funnier still is the babysitter, played here by Susan Romen, is named Candy, which is the namesake of the earlier film's babysitter as well, as depicted by Patricia Wymer. The most "meta" connection between the two is that, when Candy review's Jim's new script, she criticizes the dialogue, noting that "people don't talk this way." For all we know, she could have been reading the script of the earlier Babysitter film--although it's amusing to note that the Candys in both films enjoy saying "Ciao, baby!" This one is mostly entertaining, although the 1969 film is better by a thin margin.

Square middle-aged movie director Jim Carlton (nicely played by George E. Carey, who also produced the picture and co-wrote the story) befriends sweet, but foxy and enticing teenage babysitter Candy Wilson (a winningly warm and sincere performance by gorgeously voluptuous brunette stunner Susan Romen). Candy shows Jim the real swinging 70's youth scene and eventually has a steamy May-December fling with him. Meanwhile, Jim's pathetic shrewish junkie wife Mona (a perfectly bitchy Luanne Roberts) runs afoul of slimy drug dealer Rich Harris (a pleasingly nasty portrayal by James Almanzar). Director Tom Laughlin, working from a pretty thoughtful and sensitive, yet still quite trashy and melodramatic script by James E. McLarty (who has a small part as friendly dock worker Smitty), admirably doesn't wallow in the sleaze to the ninth degree; instead Laughlin offers a tasty, vivid and refreshingly nonjudgmental evocation of the happening early 70's youth culture (the sequence where several affable hippies teach Jim the proper way to toke on a joint is a real hoot!). Yes, this film does deliver a generous sprinkling of yummy female nudity and a few fairly hot soft-core sex scenes, but overall it's not the all-out crassly lurid piece of pandering sleaze that its premise suggests it might be. The hippie characters are shown in a positive light while Jim is drawn as a basically decent and well-meaning guy. Carey and Romen are both fine in the lead roles; they receive sturdy support from Annik Borel as Harris' kinky bisexual girlfriend Doris, Anthony Victor as browbeaten, sympathetic flunky Sancho, Bob Bernard as amiable longhair A.K., and Gloria Hill as fetching, flighty hippie chick Mary Mary. Both Jack Steely's sharp cinematography and Robert O. Ragland's groovy-jammin' score are up to par. A cool little flick.