terrible... so disappointed.

It's entirely possible that sending the audience out feeling lousy was intentional

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

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Emanuelle Escapes from Hell is a classic Italian WIP flick with lashings of the old ultra-violence and loads of nudity & sleaze. This is one of trash auteur Bruno Mattei's many collaborations with Eurosleaze superstar Laura Gemser and a sequel to his previous Emanuelle film Violence in a Women's Prison (aka Emanuelle Reports from a Women's Prison).The film opens with a strange, almost avant garde play being performed by Emanuelle and her two friends to the rest of the prisoners, they have face-paint on and their faces are lit with a luminous green light as they describe themselves (their characters?) in bizarre prose to the audience. Suddenly it breaks into a frenzied riot when Warden suck-up, Albina starts insulting the play and bombarding the actors with rotten tomatoes. Eventually we come to learn that Emanuelle is incarcerated because she was in the process of uncovering a corrupt government official's involvement in a drug smuggling ring and was framed for possession of drugs then sentenced to 5 years in prison.She is intensely disliked by sadistic warden Colleen (Lorraine De Selle - Cannibal Ferox, Violence in a Women's Prison, The House on the Edge of the Park) and her equally cruel guards, as well as by the warden's pet prisoner - the aptly named (due to her Albino-ish looks) Albina. Subsequently we see Emanuelle on the receiving end of plenty of beatings, an attempted drowning, and threatened with a switchblade by these corrupt prison officials. Meanwhile, four convicts being transported to death row arrive at the prison to be housed temporarily. The convicts, lead by Italian exploitation regular and Gemser's real-life husband Gabriele Tinti, manage to escape and overrun the prison then take the warden hostage. Here the fun escalates - the men run wild, raping the female prisoners and shooting anyone in their way. In one scene the most psychotic of the bunch, the razor-wielding Blade, forces two lesbian lovers to dance with their male blow-up doll Bobby(?!) before violating them. Later on after her lover is killed by him, the other lesbian hides his dropped razor in her snatch and seduces him, resulting in one mutilated penis! Overall, this is one fun little flick and a stellar effort from Bruno Mattei. There's plenty of the mandatory WIP sleaze - lesbianism, rapes, beatings, some vicious cat fights, the odd bit of gore, and a classic game of Russian roulette where the losers brains end up splattered all over Gabriele Tinti's face! Strangely enough, Gemser manages not to lose her clothes for the entire duration of the film, but there's plenty of other naked bodies on display for all you perverts. The first half of the film is straight-up WIP goodness, while the second half is more of a escaped-convicts-on-the-rampage type scenario but still excellent nonetheless. 8/10

Leave it to chronically shameless Italian exploitation movie sludgemeister supreme Bruno Mattei to make one of the most delectably revolting and depressing 80's chicks-in-chains features, a gloriously ghastly el schlocko marvel that gleefully caters to the lowest possible denominator in the sleaziest manner imaginable. The always sexy and smoldering Laura Gemser stars as feisty investigative reporter Emanuelle (of course), who while serving hard time in the grimy joint runs afoul of the sadistic warden, the equally brutish guards, and pallid, pasty-faced big nasty bleach blonde top con Albina. Four ferocious deathrow-bound male convicts led by the cheerfully vicious and maniacal cop killer psycho "Crazy Boy" Henderson (a first-rate cackling dirtbag performance by Gemser's real-life husband Gabriele Tinti) are shipped to the hoosegow for temporary detainment en route to a one-way trip to the electric chair. The dangerous quartet take over the prison and proceed to get it on with the man-hungry, sex-starved female inmates! The leave-no-skanky-cliché-unaccounted-for pandering script delivers a ripely overabundant catalog of marvelously explicit and excessive gutter-crawling depravity: cat fights, shower scenes, lesbianism, savage stick beatings, grisly throat slicing, bloody shoot-outs, rape, strangulation, an especially wince-inducing castration (ouch!), even a "Deer Hunter"-derived Russian roulette sequence! The deathlessly lousy and, naturally, atrociously dubbed dialogue boasts such gut-busting tin-eared gems as "Filthy slut Irene; I'm open to anyone's offers" and the truly immortal taunt "I'll bite your nipples off!" Obviously shot on a paltry five'n'ten cent budget, with shoddy, muddy cinematography, spare, almost barren sets (the prison looks like an old abandoned warehouse -- and probably was exactly that), and an annoyingly monotonous sub-Goblin synthesizer score, this thoroughly foul and fetid festering scuzzpit of a flick's pervasive cheapness and seediness actually enhances instead of detracts from the relentlessly sordid and gloomy tone. A splendidly squalid slimebucket treat.

This is really a tough movie to forget, and surprisingly easy to watch considering how trashy and low-tech it is. Basically, Mattei uses his same grimy super-low-budget look as he did in NIGHT OF THE ZOMBIES and RATS: NIGHTS OF TERROR. However, in this film, much like it's predecessor CAGED WOMEN, this trashy look actually really helps it out, evoking some odd sort of fantastical feel to a usually mundane setting.The movie takes place in a women's penitentiary, but I honestly doubt any women's prison was ever in any way like it is presented. The convicts are almost all at least decent-looking and are a little too keen on fighting each other or having pseudo-lesbian exchanges, every-time showing off a little more than their panties for the camera. The one-up this film has over CAGED WOMEN is the fact that it actually has something resembling a plot as well as some pretty hard-edged violence. Four male prisoners (led by Gabriele Tinti, the only good actor of the group) take over the women's prison and proceed to terrorize the locals. The acting and music are a little less polished (read, pretty darn bad) but they actually really add to the atmosphere of the whole thing.I really enjoyed the quasi-utopic view of the four male prisoners basically having everything they want right at their fingertips (much like how the four survivors in DAWN OF THE DEAD had everything they wanted within an abandoned shopping mall). All four of the men are sick, depraved perverts and are in the most condusive environment possible for their sort of behavior. Just imagine what happens when you put sex-starved male convicts together with sex-starved female convicts? (A pretty good idea for a movie!) It's also funny to see a lot of fairly classy actors basically making fools of themselves. Lorraine De Selle looks extremely uncomfortable, as does Carlo De Mejo in his last major role.My only big complaint is that the good characters get killed off way too quickly and stupidly. The goofy guy who keeps the razor blade in his teeth seems to get the most horrible death imaginable, even though he was the most likable of the four male convicts, go figure. The ending is a little hard to decipher as well. Hats off to Mattei though, as his editing has never really looked better. There's also some surprisingly stylish sequences near the beginning and ending of the film, notably the oddly-lit Theater sequence and the flashback montage, which is aided greatly by Luigi Ceccarelli's simplistic synthesizer music. It's a pretty good film overall, surprisingly, if one takes into account the budget (or lack there-of) involved.