Añade un argumento en tu idiomaAfter a business deal with the mob goes down in flames, a realtor enlists his sexpot girlfriend to help him get revenge.After a business deal with the mob goes down in flames, a realtor enlists his sexpot girlfriend to help him get revenge.After a business deal with the mob goes down in flames, a realtor enlists his sexpot girlfriend to help him get revenge.
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I remember one night in the fall of 1992 I watched this steamy erotic-thriller on a movie channel, and since then I have been hooked on Shannon Tweed films. Can you blame me as good as the woman looks. Shannon is perfect in this film from every sexy scene she does to the great acting. I just enjoy that love scene with Shannon and William Katt I call it love on a rooftop! Not only is this just a movie of sexy scene after scene, but the plot keeps you interested as Shannon Tweed and William Katt discover a scandal and benefit in the process while Shannon gets her revenge on a man who caused her hurt from the past. Last Call is another one of those movies that I have in my video collection, it is special to me because it was the first movie I watched featuring the sexy Shannon Tweed.
My review was written in November 1990 after watching the movie on Paramount/Prism video cassette.
"Last Call" is a very sexy made-for-video feature from the team who recently hit with "Night Eyes". February release through Paramount should score heavily with the intended voyeur market.
"Night Eyes" had a cleaned-up afterlife in broadcast tv using the title "Hidden View". "Last Call" is similarly structured to allow for a tamer version. For video, it exists in unrate form (reviewed here) as well as an R-rated cut.
Shannon Tweed follows in Tanya ("Night Eyes") Roberts' uninhibited footsteps as the alluring heroiee who teams up with yuppie real estate wiz Wiliam Katt to pull off an elaborate scheme designed to skin unscrupulous investor Matt Roe.
Roe has royally screwed Katt in a land development deal involving mafioso Jospeh Campanella and Tweed's job as Roe's personal assistant allows her to get important papers for Katt to use against the creep.
It turns out (with black & white flashback sequences filing in the details) that Tweed has her own hidden agenda of revenge against Roe. Ultimately they gain control of his secret bank accounts and bleed him dry.
En route there are numerous sex scnes involving Tweed, as well as her erotic dance routines in a nightclub as a performance artist. Stella Stevens, who like Tweed got an early career boost as a model for Playboy magazine, is also extremely hot in a sex scene with Roe, who just happens to be the boyfriend of Stevens' daughter (played by Karen Elise Baldwin).
The necessity of packing int ons of steamy footage to a complicated storyline gives "Last Call" a unique structure. Genre fans will be fascinated by the final reel packing in lickety split plot twists and switches to make u for lost time in the sack. Director Jag Mundhra stretches credibility, but it's fun to watch.
Tweed lets it all hang out in a performance that transcends the exploitation content. Stevens, as always, is a delight and proves there's no age limit for sex symbols. Katt does an okay job but his character is unfortunately written as not much more sympathetic than the villain Roe.
"Last Call" is a very sexy made-for-video feature from the team who recently hit with "Night Eyes". February release through Paramount should score heavily with the intended voyeur market.
"Night Eyes" had a cleaned-up afterlife in broadcast tv using the title "Hidden View". "Last Call" is similarly structured to allow for a tamer version. For video, it exists in unrate form (reviewed here) as well as an R-rated cut.
Shannon Tweed follows in Tanya ("Night Eyes") Roberts' uninhibited footsteps as the alluring heroiee who teams up with yuppie real estate wiz Wiliam Katt to pull off an elaborate scheme designed to skin unscrupulous investor Matt Roe.
Roe has royally screwed Katt in a land development deal involving mafioso Jospeh Campanella and Tweed's job as Roe's personal assistant allows her to get important papers for Katt to use against the creep.
It turns out (with black & white flashback sequences filing in the details) that Tweed has her own hidden agenda of revenge against Roe. Ultimately they gain control of his secret bank accounts and bleed him dry.
En route there are numerous sex scnes involving Tweed, as well as her erotic dance routines in a nightclub as a performance artist. Stella Stevens, who like Tweed got an early career boost as a model for Playboy magazine, is also extremely hot in a sex scene with Roe, who just happens to be the boyfriend of Stevens' daughter (played by Karen Elise Baldwin).
The necessity of packing int ons of steamy footage to a complicated storyline gives "Last Call" a unique structure. Genre fans will be fascinated by the final reel packing in lickety split plot twists and switches to make u for lost time in the sack. Director Jag Mundhra stretches credibility, but it's fun to watch.
Tweed lets it all hang out in a performance that transcends the exploitation content. Stevens, as always, is a delight and proves there's no age limit for sex symbols. Katt does an okay job but his character is unfortunately written as not much more sympathetic than the villain Roe.
Did the people who made this film really believe that someone who had gone out of his way to rent a Shannon Tweed vehicle would be interested in real estate intrigues? The plot of this film is so convoluted that for the first 20 minutes you are literally lost, as the screen is filled with characters talking and you don't know who they are or what they are talking about. If you still want to check it out, if only for Tweed, be warned: a) It's not one of her best films, b) there are only two fairly explicit sex scenes, and they are pretty brief. I was more amazed with Stella Stevens' appearance; for a 54-year-old ex-sexpot, she still looks great. (*1/2)
First, the good: Shannon Tweed is beautiful in this film and some great clothes. I also liked the vibe and aesthetics of the club (and the clubgoers) where she did her weird performance early in the film. I like Shannon Tweed's big hair. And I like some of the music as well.
The bad: All the rest. You can tell this movie was written by a man because they made Paul incredibly lame and unlikable but he still gets to bed Cindy. He seems like a slime from the beginning of the movie, but it was confirmed for me when he sees an unconscious man who may still be alive but instead of calling for an ambulance or the police he just leaves and focuses on his business, then goes and uses that as leverage to get into Cindy's home and then her bed. When he finds out he's been taken advantage of by an obvious crook, I don't feel sorry for him in the least. Oh, and earlier in the film, he also insults Cindy's neighborhood when he insists on giving her a ride home. Then, after getting attacked by some goons later, he immediately agrees to her getting involved in an obviously dangerous situation. He also makes rude, sarcastic comments to her throughout the film. Just awful. I kept thinking, "She deserves better."
Finally, the "love" scenes are awful, passionless, and underwhelming. I believe I'm watching the edited version, but even so, the actors have zero chemistry.
S/N: There are some audio issues and awkward editing and acting choices throughout the film.
The bad: All the rest. You can tell this movie was written by a man because they made Paul incredibly lame and unlikable but he still gets to bed Cindy. He seems like a slime from the beginning of the movie, but it was confirmed for me when he sees an unconscious man who may still be alive but instead of calling for an ambulance or the police he just leaves and focuses on his business, then goes and uses that as leverage to get into Cindy's home and then her bed. When he finds out he's been taken advantage of by an obvious crook, I don't feel sorry for him in the least. Oh, and earlier in the film, he also insults Cindy's neighborhood when he insists on giving her a ride home. Then, after getting attacked by some goons later, he immediately agrees to her getting involved in an obviously dangerous situation. He also makes rude, sarcastic comments to her throughout the film. Just awful. I kept thinking, "She deserves better."
Finally, the "love" scenes are awful, passionless, and underwhelming. I believe I'm watching the edited version, but even so, the actors have zero chemistry.
S/N: There are some audio issues and awkward editing and acting choices throughout the film.
There are only two reasons to see this one (no, not Shannon Tweed's breasts, which you can see almost anywhere) --
1. Stella Stevens was 54 years old when she made this film, but gives a far hotter performance than you usually get from women less than half her age. Some gals just have IT -- Stella always has, and I guess she always will. Enjoy!
2. The black and white print shirt worn by the villain in the scene in which he gets his comeuppance is the single most hilarious garment in the entire history of human civilization. Enjoy!
1. Stella Stevens was 54 years old when she made this film, but gives a far hotter performance than you usually get from women less than half her age. Some gals just have IT -- Stella always has, and I guess she always will. Enjoy!
2. The black and white print shirt worn by the villain in the scene in which he gets his comeuppance is the single most hilarious garment in the entire history of human civilization. Enjoy!
¿Sabías que...?
- PifiasThough the flashback sequence at the start of the film is supposed to be set in 1968, a poster for Vampire Circus is seen four years too early.
- Versiones alternativasReleased on video in the US in both R-rated and unrated versions.
- ConexionesReferences El circo de los vampiros (1972)
- Banda sonoraMother's Milk
Written, Co-Arranged and Performed by Michael Bishop
Engineered and Co-Arranged by Scott Summers
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Detalles
- Fecha de lanzamiento
- País de origen
- Idioma
- Títulos en diferentes países
- Last Call
- Localizaciones del rodaje
- 6210 Rockcliff Dr., Los Ángeles, California, Estados Unidos(Opening scene home)
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
- Duración1 hora 30 minutos
- Color
- Mezcla de sonido
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