Barbed Wire Dolls (1975) — Probably Franco’s best women-in-prison film, which features all the genre clichés: rampant lesbianism, the butch warden, the pivotal male prison doctor, the inmate who’s already cracked, etc., etc., ad nauseam. Franco is one of those directors who uses nudity as a wardrobe choice. No point in going into the plot; the clichés above pretty much tell the story.
Linda (1981) — This used to be widely available on tape in America (cut, of course) as Captive Women. It’s another captive-women flick made special only by the presence of stars Katja Bienert and Ursula Buchfellner — very beautiful, very naked. You know, I did some research on Katja Bienert. She was born in 1966. Linda was shot in 1980. You do the math. What the hell have I gotten myself into? Stop judging me!
Sadomania (1981) — This women-in-prison outing stars the notorious, exotic transsexual Ajita Wilson as the mean warden. It’s not one of Franco’s sexier (or explicit) outings, but there is plentiful nudity and an umpteenth simple-minded plot variation on The Most Dangerous Game.
Vampire Blues (1999) — Further proof that the madman is still at it, this is a really poorly acted (including Franco himself in a bit part), poorly conceived, shot-on-video, nudity-filled joke. It has horrible music by a horrible band, whose title song is played over and over again. It stars Rachel Sheppard as some girl haunted by vampiric imagery. And she’s the worst fucking actress I’ve seen in quite a while. It was worth every frickin’ dime I spent on it.
Voodoo Passion (1977) — A bright, beautiful and kinky tale, it’s set in Haiti which, I suppose, explains the voodoo part. It’s about a woman who visits her husband who lives in Haiti with his hot, frequently naked sister (the succulent, platinum-blond Karine Gambier). God knows what that’s all about. But it sets the stage for a colorful palette of sex and voodoo, just like the title promises. Also known as Porno Shock.
Rolls Royce Baby (1975) — I always thought that Female Vampire, aka Erotikill was the ultimate Lina Romay film. Almost every frame contained her and her willing nudeness. Boy, was I wrong! Rolls Royce Baby is pure Lina Romay. It’s pretty much all about her picking up hitchhikers for some backseat romping. She’s nonstop nude. What we’re left with is an image of her vagina so thorough and vivid, you could accurately draw it from memory. This is not, however, a Franco film; I cheated. It was directed by Franco’s former frequent producer, Erwin C. Dietrich, who gave Lina/Franco fans what Franco never quite could. Go figure! —Richard York
Long after the 
Thor doesn’t even really act like the Thor of the comics. He acts like Fabio after a week’s training of Hooked on Phonics. Posing and winking like a pro wrestler, he walks around shirtless, downs gallons and gallons of beer, and greets visitors to Banner’s apartment by asking, “Why must you pound on my door with such insolence?” This is where you know director Nicholas Corea wanted to hit the button on the mixing console marked “LAFF TRACK.”
Ah, the 1980s. It was a simpler time: a time of magic, miracles, demons and gods. A time when a cult horror director could commandeer a $25 million budget to construct an amalgamation of thoughtful British science-fiction and American horror. A time when Steve Railsback was considered a viable leading man. I speak of the infamous flop 
Cannon Films clearly didn’t know what it had signed on for. Lifeforce flopped, with reviews generally negative or worse (although Gene Siskel liked it). But aided through hindsight and extended editions, Lifeforce is a geek classic. Certainly no one involved phoned it in; Hooper’s direction (never better) captures the style and dry wit of the classic Hammer 
Cage is Joe, one of those expert hit men of the movies: He doesn’t miss, but he’s getting too old for this shit. Instead of killing strangers on a freelance basis, he wants to meet someone and settle down. While on assignment in Bangkok, Joe meets Fon (Charlie Yeung,