Recensioni degli utenti

It is 1975, and George Manning is a happily married man living in San Francisco. On his 40th birthday, a family emergency necessitates his wife Karen travelling to a different state, leaving George alone but for the wind and the rain. Or so he thinks, for fate brings him guests that night: two young ladies named Jackson and Donna, who say they're lost. After inviting them in to warm up and dry off, George and the ladies get to know each other better; and it becomes clear that they don't plan on leaving his home any time soon- whether he wants them there or not.

Directed by Peter S. Traynor from a screenplay by Anthony Overman and Michael Ronald Ross (as well as an uncredited Jo Heims) 'Death Game' is a camp comic-horror both entertaining and underwhelming. Exploitative and overblown, the film is a product of its time, reflecting the anxieties and fantasies of the post-Vietnam War period. Indeed, if one were to examine the film in the context of that conflict, one could say it shows how the illusion of security and order that many Americans had was shattered, how they became vulnerable and helpless in the face of an unpredictable, hostile enemy, and how they struggled to cope with the aftermath and consequences of a most violent encounter.

While this and other interesting ideas are raised- the warped reality of a male sexual fantasy, for one, or the indifference of fate and the effects of abuse on the psyche- the variety of themes in 'Death Game' are only ever really hinted at and never fully explored. The narrative doesn't break any new ground and features few surprises, unfolding in a linear and generic fashion, populated by scene after scene of mental and physical torture that leaves a grisly aftertaste. The abrupt ending of proceedings is also jarring, feeling rushed and completely out of left field in the face of the lengthy brutality that came before it.

Though tame when compared to modern films such as 'Hostel', which go all out on the gore and violence; 'Death Game' still disturbs and unnerves. The characters of Jackson and Donna are utterly unhinged, unpredictable creations, with no morals or empathy to speak of. Psychopathic and merciless, they are reflections of the fears the middle classes had of many in the hippie movement; of the Mansonesque types who stole into homes and left destruction in their wake. Though similar in ways to 'Straw Dogs' or 'The Last House on the Left' through its depiction of home invasion and violence; 'Death Game' differs with its tone and style, which are more humorous and exaggerated than realistically gritty.

David Worth's artsy cinematography creates an eerie, claustrophobic atmosphere, while he manifests dread and tension through his use of shadows, distorted angles and close-ups. Worth employs an array of creative techniques- such as double and triple exposures, slow motion and freeze frames- to enhance the macabre, nightmarish quality of the film, while his work as editor of the picture gives it a brisk pace and smooth flow. His work on 'Death Game' is one of its main strengths; elevating as it does the material from a simple exploitation flick to a stylish, visually striking psychological horror.

Jimmie Haskell's score also comes as a boon to proceedings in general, providing a fitting musical accompaniment to the film's mood and tone. Haskell composed two original tunes for 'Death Game': 'Good Old Dad', a cheerfully ironic song that plays during the opening credits, contrasting with the horror that follows; as well as 'We're Home', a haunting, melancholic song that plays during the closing credits, reflecting the aftermath of the ordeal. Memorable and stirring, Haskell's score adds to the film's atmosphere, enhancing its scenes of tension, violence and insanity.

Much like its narrative, the performances in 'Death Game' are a bit of a mixed bag. On the one hand, Sondra Locke and Colleen Camp are delightfully over-the-top as Jackson and Donna, delivering convincing, captivating portrayals of people completely enslaved by madness. They share an electric chemistry and keep you on the edge of your seat throughout. On the other hand, Seymour Cassell plays George as an exceedingly apathetic fellow, who lacks charisma and charm, ending up as nothing more than a plot device for the two ladies to play with. Allegedly, Cassell hated working under Traynor and refused to loop George's dialogue once filming wrapped- explaining why, in the final cut, it is David Worth you hear whenever George speaks. At any rate, Locke and Camp's exuberant performances make the film worthwhile; with or without Cassell's voice.

At the end of the day, Peter S. Traynor's 'Death Game' is a rather underwhelming effort, though it does have elements deserving of praise. Stars Sondra Locke and Colleen Camp make for a terrifying twosome, delivering energetic, unhinged performances that are highlights in both their filmographies, while the atmospheric score and David Worth's artistic cinematography are striking and unforgettable. Although the narrative doesn't come to much, contains few surprises and unfolds in a linear way, there are some memorable moments in 'Death Game.' It just might not be something you'd play again in a hurry.

Okay, now it's time for my take on the film. I've read so many meaningless reviews that only serve to mislead and miseducate. So, first, here is the basic plot: Seymour Cassel portrays George Manning, a husband and father, living the idyllic family-life. He's got the perfect wife, lovely children and a beautiful home, just on the outskirts of San Francisco, in the (seemingly) peaceful middle of nowhere, to be exact. While his wife and kids have left town for the weekend, he is left all alone on his 40th birthday. This is where it all begins.

On this stormy night, he is greeted by two young women, whom he takes in for shelter while they call a friend and await arrival to be picked up. The girls, Jackson (played by Sondra Locke) and Donna (the delightful Colleen Camp) seem endearing at first, and are more than impressed by the lush surroundings of George's home. They warm up to George, resulting in a somewhat unwelcome sexual episode. This is where most people are wrong... the film does NOT contain "tons of nudity". Yes, there's Sondra showing off what no one wanted to see, and Colleen who gets the "cutaway" every time she disrobes, which is typical as I've never seen her in a nude scene before. She has done a lot of exploitation films, even T & A films, yet offered no T & A, which made me wonder whether or not these reviewers were correct. In fact, the initial sex scene involving the three of them is done in a tasteful manner, with a dizzying series of dissolves, and overall steaminess (not in the sense that it comes off steamy, it just looks like someone left the kettle on too long).

The morning comes and George awakes to the girls who are still at his house. Reality sets in and he realizes he made a bad call. The girls claim that their friend never showed up, which puzzles George. He offers to take them home, but they insist on dancing around the issue. During breakfast, the girls pig-out... big time. George gets irritated by their behaviour and now he wants them out. Through several difficulties, it becomes evident that the girls are no longer "teasing", they are seriously disturbed. Eventually, George finally manages to get them in the car and drives them into San Francisco. He drops them off and heads back home.

As George arrives home, he notices a figure stirring upstairs, only to discover that his journey was all-for-not, as the girls have returned. It is clear that George is now a prisoner in his own home, with no fore-seen conclusion. The girls' bent personalities really begin to shine, as they tie George up and put him through several ongoing tortures, which transcends the remainder of the film into this abyss of nightmarish absurdity.

The film has a very surreal, bad dream-like quality and the tone is nothing short of completely "off-kilter". Very much at home with others of the genre like "THE LAST HOUSE ON THE LEFT" and "HOUSE ON THE EDGE OF THE PARK", yet not as graphic.

The film's duration, an 87 minute running time, seems un-ending. And, yes it does have one of those "curve-ball wallop" endings, not so much in a good sense, but rather in one of those "time to make a mold" instances.

A few things of note: Cassel's performance is completely dubbed, by someone else, which sort of adds to the atmosphere in an odd way, and what may dictate his true feelings concerning his involvement in the picture. Colleen does have a couple of nude scenes, the "hopping on the bed" sequence and the weird and dreamy "window tapping" scene towards the end of the film. Supposedly, this is all based on a true story, which was a commonly used "hook", especially in the golden days of '70's exploitation fare, and more than likely, is a falsehood. The production designer, Jack Fisk worked on this film along with assistant set dressers, his wife Sissy Spacek and Bill Paxton. And, last but certainly not least, that damned song "Good Old Dad" will drive anyone into a sadistic, maniacal rage. It has to be the WORST song I've ever heard, and that says a lot. Not to mention, that it is played throughout the film, continuously, in long, overdrawn montage sequences that take you to nowhere, and leave you there!

Overall, I had wanted to see this film for years, and after finally viewing it, I must say that it fell short of what I had expected, yet I did not dislike the film. There are plenty of good ingredients to add up to an un-nerving cult classic, but instead we are left with a level of confusion, rather than curiousity. Despite a few shortcomings, the film is worth watching for the performances and atmosphere, and a chance to see Cassel in action while John Cassavetes had his back turned.

A First American Films Release. Distributed by Levitt-Pickman Film Corporation.

A really twisted film where two psychotic young lesbians (Sondra Locke and Colleen Camp) turn a middle-aged man's life upside down when they invade his home and harass him while his wife and kids are out of town. This starts off very much like the ultimate male sexual fantasy at first, but ultimately turns into a demented nightmare.

Amidst all the ensuing mayhem and insanity, this could have used more sexual depravity and titillation to make it more effective. As it stands, these teenagers are more irritating than anything else. Yet this is still one bizarre experience and certainly a sight to see, at least once. I've never seen Sondra Locke show so much range, at least not in any of the movies I've seen her in up to this point. Colleen Camp has some good moments of lunacy.

I kind of liked that goofy theme song about "My Good Old Dad" which pops in and out during the course of the wackiness. And in my opinion, the ending is perfect.

This film should be put in a special category, "Movies that make you feel like you're on something." In this category would be Yellow Submarine, Eraserhead (or any Lynch film), Ken Russell's and Nic Roeg's and Jodorowsky's whole catalog, etc.

It is a bad movie, no doubt about it, and incomprehensible how it got made, or why, but that just makes it more fascinating. Thrill to the sight of Eastwood's then-girlfriend giving a truly unhinged performance and wonder if she's really acting or not! Listen to Colleen camp alternately scream and laugh hysterically as she beats up a tied-up guy in a bed and ponder how she ever got another acting gig again! Thrill to the sound of one of the weirdest choices of theme song ever recorded! Stare in awe at what appears to have been a cinemascope movie squeezed onto your t.v., and contemplate how much more dizzying it would've looked on the big screen! Feel this movie melting in your brains, not in your hands, as it gets ever more insane, leading up to a climax so stupefyingly cheap and abrupt it could only be attached to this movie!

Saw this as a kid on cable, watched it because it was rated R and promised nudity and sex. Got a *little* more than I bargained for, but wasn't displeased or even shocked (Fellini's Satyricon was on right before it--Lord, how I stayed out of a mental hospital is a miracle). If you like weird movies that simulate being on drugs this film is for you, at least if you have a taste for old, poorly done exploitation stuff.

...Imagine this. On one dark, rainy night, two sexy young blonde girls show up on your doorstep, soaked to the skin. They feed you some sob story about being lost and, being the trusting gentleman that you are, you invite them in. Once inside, the flirtatious girls waste no time striping seductively to their underwear. One thing leads to another and before you know it, the three of you are in your hot tub.... This might sound like every red-blooded man's fantasy but the next morning things turn nasty. Those sweet girls turn "psycho girl" on you. They tie you up, slap on some freakish make-up and proceed to inflict their sickening mind games on you. Will you live to regret your night of three-way nookie? That is basically what this film is about. It is no masterpiece of drive-in cinema but well worth seeing if you enjoy those kinds of low-budget movies. Fans of Nikos Nikoladis' 'Singapore Sling' might also want to give this a look. Both films have the same basic premise and some might come to realise that 'Sling' is not so original after all. Although do not go expecting the same amount of sleaze as 'Sling'. Also, look out for one of the best 'what-the-hell' endings you will ever see.

What to do when you're a happily married man but your beloved wife is out of town on the night of your fortieth birthday, yet two sexy young girls show up at your doorstep, literally throw themselves at you and invite you for a threesome in your own sauna? You kick them right back out on the street, of course! That'll teach them to interfere with a perfectly happy family! Well, that is what you should do in order to prevent guaranteed catastrophes to happen the next morning, but admittedly very few male individuals are likely to respond like this. Neither does the handsome George Manning in "Death Game", so he's stuck up with two obtrusive chicks in his house. Their behavior gets more psychotic with each hour that passes, until they even set up a fake trial against poor tied up George. "Death Game" is not a very good movie, but that's merely because there was too little money available for the execution and because Peter S. Traynor has no clue how to direct a suspense movie. The basic premise is quite unusual for a 70's exploitation movie (usually slavering hillbillies terrorize poor young girls instead of vice versa) and the whole concept is actually very much ahead of its time! Especially nowadays, the horror genre brings forward a lot of movies revolving on brutal home-invasions. People are subjected to fear and torture in their own houses and it's a very popular and money-making concept at the moment, like for example in "Funny Games" and "The Strangers", but this crazed little movie already did something similar in the 70's! The 40 first minutes of "Death Game" provide silly entertainment (Sondra Loncke at the breakfast table) and irresistible trashy goodness (that soundtrack!!), but unfortunately the second half of the film is incomprehensibly boring and unexciting. It shouldn't be, since the girls get more deranged and all, but it suddenly feels as if the writers' inspiration had vanished and only padding remained. There are still two fantastic highlights to experience near the end, though! One involves a pussycat (did you know glass windows aren't cat-proof?) and the other is a stupendously laugh-out-loud hysterical ending. Even a threesome wouldn't have such a fantastic climax! Now if you'll excuse me, I'm going to search for that awesomely catchy "Good Old Daddy" theme song on YouTube!

This film essentially begins with a man by the name of "George Manning" (Seymour Cassel) saying goodbye to his wife "Karen Manning" (Beth Brickell) as she goes to visit their son living in another state. That night two young women named "Agatha Jackson" (Sondra Locke) and "Donna" (Colleen Camp) appear on his doorstep totally drenched due to a thunderstorm and asking to use the telephone. Being a good person George allows them inside and even gives them some food and dry clothes while they wait for a friend to come and pick them up. What George doesn't know is that these two women aren't nearly as sweet and innocent as they pretend to be and soon he will regret ever meeting them. Now rather than reveal any more I will just say that this film started off rather well but then things took a turn for the worse with one extended scene continuing for what seemed like an eternity--and it became quite tedious from that point on. That being said, I have rated this movie accordingly.

It's a bad movie from the 70s about killer lesbian hippies taking on the establishment. Sort of like a "Thelma & Louise" without any feminism. Both painful and compelling, the film had tense and giddy, while also wishing it would just end.

And then the end came and I was utterly baffled and amused. The final 10 seconds of the movie over, I blurted over and over, "What the hell was that?" I backed up, watched it again.

Then I forced my girlfriend (who had not seen the movie) to watch it.

"That is pretty weird," she said.

Pretty weird? It makes no sense at all! Wow! If you enjoy odd, bad film, I think you'll love this movie. Even when it's at its worst, it's fun. There's the 1970's moustache "wakka-chikka" aspect. Then there's the campy screaming semi-naked young women. And then there's the goofy, straight-faced, comical horror movie aspect.

Given the ending, I assume the people making this film knew they were joking. They had to know. Or else they thought the ending was deep. I don't know. But I am forced to admit that I really, really enjoyed this film a lot.

Execreble 'warning' film could easily be written off as low-budget trash were it not for the talent involved (both on-camera and off). Three good actors--Sondra Locke, Seymour Cassel and Colleen Camp--are lost at sea in ugly thriller about a happily married man who tries to help out two comely young ladies while his family is away, but ends up a prisoner in his own home. This is "Kitten With a Whip" with two kittens, a sex scene in a hot tub, and a lot of angry shouting--mostly about guilt and castration. Production design is credited to Jack Fisk & Co. (!), while Fisk's wife, Sissy Spacek, served as one of the set dressers; this hardly matters however, as David Worth's cinematography is so muddy, the set design is the least of the film's many problems. Quickie exploitation nonsense opens with the information that the story is true, but ends with a credit telling us the characters are fictitious; the rest of the film--including the direction, the screenplay, the dubbing and the music--is equally insecure. Locke is quite convincing acting deranged, but who wouldn't be with a knife held high in the air? 90 minutes of pure tedium. NO STARS from ****

It's actually a real shame that this film wasn't better, as it features a story line that does a good job of turning the tables on the common exploitation theme of men brutalising women, and it's also quite scary if you put yourself in the position of the lead character! The basic plot revolves around George; a 'happily married' man who picks up two young girls and seduces them at his house. However, after giving him some information that he REALLY didn't want to hear, George finds himself at the girls' mercy. The film has just three central performers, and while many other films work well from this sort of base; this one doesn't, or at least; not really. Director Peter S. Traynor doesn't really have enough ideas to keep the film entertaining throughout; but luckily, The Seducers does have its moments. The majority of the film is suitably sick and twisted, and the two central women are nasty enough to make the film a nightmare for most men. The Seducers is nowhere near as malicious as many similar seventies thrillers; but its decent enough entertainment for fans of this sort of thing. Unfortunately, the stretched plot ultimately lets it down - but it's an interesting film at least, and I somewhat enjoyed it. Just a word of warning, though – you'll have trouble getting the theme song out of your head!

This is an atrocious movie. Two demented young women seduce and torture a middle aged man. There's not much to give away in regards to a plot or a "spoiler". I would only comment that the ending is nearly the most preposterous part of the flick. Much of the film involves Locke and Camp cackling obnoxiously, all the while grinning psychotically at the camera. Add to this a soundtrack that repeats again and again, including a vaudevillian song about "dear old dad" that suggests an incestuous quality the viewer never really sees. The music is annoying at first, then ends up subjecting the viewer to a torture worse than that depicted on the screen. The theme here is of youth run amok, understandable as a reaction to the '60s, but done with little imagination or style. Avoid it!

I want to start by saying this is a near perfect movie and those people who dislike it are clearly the wrong audience as they have sticks up their keisters and are subjected in being snobby wannabe critics.

This movie is yummy though. After the obligatory soft core scene, the film has satisfied its exploitation promise. But the two lead female lead launch into the great part of the film. These characters just seem like they're just having a ball and there's a ton of quotable cult film dialogue.

They are cute and terrifying. Poor George. You done messed up. It's a cautionary tale that reads like slapstick Penthouse forum turned horror movie. "I can't believe it happened to me".

Bottom line. Please excuse the previous review by fellow top critic Daggerborn which was just freshly released same day. If you go into a film with the thought to be critical, you simply won't enjoy it. And that's how I know that guy's mindset was.

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EDIT (OCT 19 2024): It looks like the previous reviewer "Daggerborn" has ultimately deleted his review. This tells me that he saw my review and got so offended that he deleted his. I take this as a win on my part!!

A middle-aged husband and father left alone on his 40th birthday decides to celebrate it with two 20-year-old hitch-hikers he lets in his house on a stormy night. After a steamy, delirious three-way sex scene in a bathtub, the two girls claim that they are both underage and reveal themselves to be obviously psychotic as they destroy his house and torment him with increasing violence. You have to hand it to the movies. In real life it is almost always the older men abusing young women, but in movies like this of course it's always the opposite. Someone once described this as "a middle-aged male sex fantasy gone wrong". That seems like a pretty accurate description.

On the plus side the story is never COMPLETELY unbelievable, although if it had been based on true story, you definitely would have heard the story. The acting is good. Seymour Cassell is always good even if he's rarely the lead. Colleen Camp brightened up both small roles in many big-budget movies and larger roles in many low-budget movies in the '70's. She's good here as always and has a few surprising nude scenes. Even Sondra Locke is pretty good (ironically, years later Locke would sue ex-husband Clint Eastwood for ruining her career--well, this is the kind of stuff she was doing before she met him).

On the negative side this story is still pretty unbelievable. The antics of the two girls are often more annoying (for both the protagonist and the viewer) than truly frightening. There's some gratuitous animal cruelty (and delivery boy cruelty). Worst of all, is the song "Good Old Dad", which as annoying as it is, is ironically appropriate to the movie at least, but the filmmakers insist on playing it at length again and again and again. It reminded me of the similar Umberto Lenzi-Carroll Baker film "Paranoia" where the villains try to drive the heroine insane by playing one annoying song repeatedly, except that it's not part of the plot here--the filmmakers are doing it to the viewers. I wonder if there is a soundtrack to this movie available. If so it probably a double LP of this one song playing over and over and over. The movie also features one of the most ridiculous deus ex machina endings since "The Bad Seed" (and it is also surprisingly similar to the ending of the English-language version of "Paranoia"). And look what's written on the side of the truck in the last scene. I guess they didn't didn't think too much of that thing with the cat.

I guess that this movie is based on some kind of a true story.... It's about two young girls who molest a grown man for 48hrs.; I don't see where the terror comes into play here.... There are some "weird' and "surreal" sequences in the movie. And the two girls (Sandra Locke and...ah...oh well) play the roll of two psycho-man haters to the hilt...they do a pretty good job (although some of it is just a tad over the top). The movie's not good, and it's not horrible; it's just really really dated! I mean this thing is dripping with the 70's.... It's not really bad if you like that sort of thing...you know...that thang?

They really, really don't make them like this any more. Truly a product of a confused 70s mind, this mega-lo-budget and badly shot home invasion flick is preposterous on many levels, but manages (only just) to remain watchable to the end.

Plot: Two random girls first seduce, then terrorise a random guy in his house.

What this film really needed in order to achieve the necessary darkside edge it seemed to be wanting, was for Girl 'A' and Girl 'B' (uh, what were their names again? let's call them... Trixie and Marigold) to be a lot more menacingly deranged than they were. It's like the director probably told them to "act all crazy now, gals" and their response was to behave like a couple of 9 year olds at a pillow-fight party who just had their first taste of alcohol, instead of getting all nasty and evil like the storyline would suggest.

The result is a one-note film that features a lot of squealing, cackling, howling, and trippy drugged out sequences that make even less sense than was probably intended, and which gradually lull the watcher into a kind of acceptably bored hypnosis. The ending will then jolt you back to reality, and make you wonder what you just saw.

If you have an especially strong appreciation of 70s bad-sploitation then add an extra star to my rating, if you are a normal person then minus 3 or 4 stars.

This 1977 cult movie has two crazed lesbians (Sandra Locke & Colleen Camp) appearing at the home of wealthy socialite Doctor George Manning (Seymour Cassel), in hope of help in locating a residence they can't seem to find. But these two have other plans in mind, when they find out George's wife is out of town, they end up taking control of the residence, tying up the George, killing a delivery boy while destroying the place all in one evening. Bizarre and disturbing movie, but the two get there just reward in the same bizarre way as the movie ends. Most will either dislike it right off or get caught up in this ludicrous movie after about 30 minutes into it. Either way some even consider this a cult classic.

Larry Dodson

When fantasy becomes a nightmare. "Death Game" is a raunchy, dangerous and bizarre cocktail of a late 70s stark psychological thriller with an edgy exploitative edge and some convincing performances by Sondra Locke, Colleen Camp and Seymour Cassel.

George Manning is a happily married and successful man who encounters two supposedly lost girls one night at his doorstep. Inviting them in from the pouring rain he accommodates them, but obviously this leads to more with the voluptuous girls having something else on mind. However George learns this fling is costly, as they begin to terrorise him.

For most part it's all about the manipulative girls tormenting their victim psychically and mentally (which at beginning tell us that it's based on a true story), no real surprises other than for an ending that simply comes out of nowhere. It feels like stage play, as most of the interplay is mainly played out in the household between the three characters as it goes down a twisted path. It's cruel, at times intense and really driven by the ballistic, unhinged performances of Camp and especially Locke's disturbed turn. Sure their acting gets a tad annoying, but that's part of their characters. Cassel is perfect in the role as the desirable object. Director Peter S. Traynor's intrusive handling shows by the camera placement and the abrupt styling of the editing, although there's definitely an uneasy underlining crafted with many under-lit set-pieces. The brooding music however had some odd choices, like the constant loop of hearing "Good old dad" played. Fitting, but over-kill.

Rudimentary, but interesting curiosity.

"The party is over."

Set in San Francisco in 1975, the film follows George Manning (Seymour Cassel) a successful Bay Area businessman with a wife and two children. After receiving a call from the grandparents regarding their son having appendicitis, George's wife takes off to attend leaving George alone at home on his 40th birthday. On his first night alone during a rain storm, two young women Jackson and Donna (Sondra Locke and Colleen Camp) arrive at George's home with claims they are lost and ask for shelter. George allows this, but after the two seduce him and entice him into a threeway, the following morning things take a darker turn as the two subject George to blackmail and torture of psychological and physical nature.

1977s death game is one of a number of low budget exploitation films that was produced simultaneously by real estate magnate Peter S. Traynor after previously producing projects like Steel Arena and Truck Stop Women. Traynor worked primarily as a producer on these films, he did venture into the director's chair on two occasions with Death Game and Evil Town 10 years later. For a first time effort Traynor shows reasonable sure handedness behind the camera making a film that seems well made despite a lack of experience behind the camera, but it tests your patience with abrasive characterizations and repetitive meandering structure.

The movie has a decent enough premise with a family man getting seduced into infidelity with two young attractive women only for the care free lovemaking leading to a horrific experience, and the setup is quite good establishing itself. But once the setup happens, it's basically variations on the same scene happening over and over again. Once George sleeps with Jackson and Donna they start revealing their true selves as liars, manipulators, and gleeful sadists who take no shortage of pleasure in making messes and shrieking and laughing at the top of their lungs. Even when things get supposedly more intense with George bound and faced with potentially life threatening injuries Jackson and Donna continue engaging in over the top shrieking mischief and there's so little done to create a variation on that it becomes a chore to sit through. With that said, there are some good points in the film's favor. Sondra Locke despite being aggravatingly annoying there are moments where Locke can become quite threatening and intimidating with standouts such as a scene where she threatens reporting George for statutory rape or a Kangaroo Court consisting of herself and Donna in the film's third act. The movie has a good twist on typically women in peril roles with a man who's reasonably secure in his masculinity and success at the mercy of two women, but aside from maybe a criticism that men are somehow responsible for their creation (with some not so subtle hints of molestation and absenteeism given by Jackson and Donna), it doesn't really have much beyond that.

Death Game is a cut above your average exploitation film thanks to a somewhat more subversive approach to a well trodden ground, but a repetitive structure and leads who are either bland or aggravating make this a challenging sit. It's got good elements to it, but a lack of polish makes them harder to appreciate.