Pulsions cannibales

Vietnam vet Norman Hopper (John Saxon) has suddenly begun to relive the nightmare of war in his dreams. He receives a phone call from an old army friend, Charlie Buckowski, that he rescued in Nam, Buckowski and another man Tom Thompson had been found in a Viet Cong prison with a craving for human flesh and both had since been in a mental hospital for psychological analysis. Hopper turns down the offer of meeting his old mate as he is struggling with demons of his own, he believes his wife may be an adulteress, he is also attracted to the very young girl next door and more importantly he is stressed at his increasing craving for raw meat and blood. Buckowski goes on a shooting rampage and kills a few people and is locked up again, but then escapes along with Thompson and he urges Hopper to help them escape the city. Saxon a fluent Italian speaker and a veteran of many Italian films, jumped at the chance of working with the great Margheriti and was immediately impressed by the directors rapport with actors and his talent behind the camera, Saxon was also attracted by the seemingly novel idea that war might be spread by a virus, he was shocked though when during filming he suddenly realised that the virus was a cannibalistic one and he refused to be in any of the scenes containing such acts. For those who like the adventure aspect of a jungle set Cannibal film, this might disappoint slightly, except for a few flashbacks this is entirely set in Atlanta and plays more like a Nam Vet action film with some gore on the side. Still though, the characters are interesting and time is given to their development, Saxon impresses as the troubled Hopper, which is hardly surprising, but he may have been helped somewhat by his depression at the time, due primarily to financial problems he had after the break-up of his marriage. His fellow actors including John Morghen recount that he was rather aloof and distant and not much fun during filming. Margheriti was renowned for his period set Gothic costume dramas and Cannibal Apocalypse was a big change of style for him, gone are all his trademark stylings and in come the more appropriate washed out colours and a steely grey look of the city. The gore is for the most part pretty tame by genre standards but its still effective. The faux disco score was tacky as hell and at times seemed inappropriate to the visuals, but this is still a fun film, and is recommend to fans of the genre

While on a mission to rescue two servicemen captured by the Viet Cong, "Captain Norman Hopper" (John Saxon) is bitten by one of these men when he attempts to pull him from the pit. Afterward both of the men are committed to a psychiatric hospital while Captain Hopper is allowed to return to civilian life. Unfortunately, it doesn't end there as one of the men named "Charlie Bukowski" (Giovanni Lombardo Radice) is temporarily released and not long afterward suddenly goes berserk which results in the deaths of at least two people. Then upon being returned to the psychiatric hospital he and the other serviceman by the name of "Tom Thompson" (Tony King) manage to escape along with a nurse named "Helen" (May Heatherly) who was bitten by one of them and shares the same craving for human flesh as they do. Now rather than reveal any more of this movie and risk spoiling it for those who haven't seen it I will just say that this turned out to be a fairly decent type of "zombie film" even though it didn't necessarily fit the technical parameters for that particular sub-genre. The acting was decent and the plot moved along quite well. In any case, for what it's worth I liked the movie and I have rated it accordingly. Slightly above average.

This is a movie that follows a lot of the conventions of a zombie movie, the main difference being that instead of being dead, these flesh-eaters are alive, just taken over by a virus that turns them into deranged cannibals. It's an interesting concept, and this film features a lot of interesting scenes that you just don't see portrayed too often, such as a bizarre molestation in a film theater, and a long, tense standoff with a crazed gunman in a resale store.

This movie shows the influence of Dawn of the Dead all over it, from the resale store biker rampage and standoff to the final scenes, in which a group of four with the exact same gender/ethnic makeup as in DotD hole up against outside invaders. The interesting twist this time is that THEY are the pursued flesh-eaters, rather than the other way around.

This movie, while having rich and deep cheese deposits, also actually has some quality to it. It sustains a creepy and tense tone tied around John Saxon's growing obsession with consuming human flesh, and his struggle and fear about giving into those impulses. Saxon carries off his 'upright soldier' persona so well that one both empathizes with his struggle, and fears what will happen once his intensity is channeled into being evil. The direction is actually very good, with many shots carefully composed to create and sustain a great deal of tension and menace. And then there's just the story, which covers the first days of a viral outbreak as it begins to spread and people begin to wake up to what is going on, which is also pretty fascinating.

There's also an additional layer of tension to the movie (compared to a traditional zombie movie) in that after someone's been bitten, you aren't sure WHEN they will start turning into a crazed flesh-eater. In a regular zombie movie, they're dead until they wake up again, here they're a normal person until suddenly they just snap, which is cool.

Though this is supposed to be an 'extreme gore classic,' it's pretty tame by today's standards. When your big gore payoff shot has been done to comic effect in Death Becomes Her, the edge is pretty much gone.

Okay, now onto the individually delightful cheese elements: Stock helicopter footage opens the picture. There should be some kind of film festival of movies that incorporate unrelated stock footage, the supreme champion obviously being Hell of the Living Dead.

A guy pets a dog with an obvious explosive around its neck. He explodes—and then the funky disco music begins! What's more, the music was actually pretty good! Please note: potential cannibals should not keep huge slabs of unwrapped bloody meat in their fridge. I mean, obviously everyone does, but if you suffer from cannibalistic tendencies… A young girl comes onto John Saxon (who wouldn't?) by wanting to borrow a hair dryer. Her hair is not wet. She then reveals herself as an unhinged psychotic while blowing him (um, with the dryer) while he's trying to have an important phone conversation (with another unhinged psychotic), which would earn a punch in the mouth from me (but I am not susceptible to nubile vixens). Motorcycle chase in warehouse/resale store! Hard-bitten detective asks about mad gunman: "Is he subversive? Queer? Black? Commie?" Uptight mother advises daughter to stop "acting like a hussy!" They set real rats on fire! That's not nice.

There are EXTENSIVE background materials on the DVD, one of which tells two interesting stories: 1) That John Saxon couldn't understand enough of the script (badly translated from Italian) to know that he was in an extreme gore flick, and 2) Radice tells an incredible story about refusing to kill a real pig, leading to his "accidentally" almost severing an assistant's hand with a meat cleaver. Oops. But the docs get boring pretty quickly.

Hey, there are lot of other reviews of bad and cheesy movies (plus a lot of good movies) on my website, Cinema de Merde, which you can find through the URL in my email address.

With a title like CANNIBAL APOCALYPSE, one might go into this movie expecting an all-out war between humanity and roving bands of flesh-eaters, seeking out human snacks. Well, that would have been great. Instead, we get a few hungry people chomping on a few necks.

John Saxon is serviceable as the Vietnam vet plagued by anthropophagic flashbacks about his former military comrades. Also, the idea of a viral, cannibalistic epidemic is a good one, hearkening back to Cronenberg's RABID. So, the story isn't bad, as long as you don't expect it to live up to it's overblown title...

Cannibals in the Streets occupies that peculiar middle ground where ambitious exploitation cinema meets budgetary reality, resulting in a film that's neither memorably trashy nor genuinely effective. This 1980 entry into Italy's zombie boom feels like a workmanlike effort from a director clearly more comfortable behind the camera than wrestling with coherent storytelling.

The film's greatest asset lies in its grimy urban atmosphere. Margheriti and his cinematographer capture a decaying cityscape that feels authentically post-apocalyptic, with shadowy alleyways and abandoned buildings providing a suitably oppressive backdrop. The practical effects, while uneven, occasionally achieve moments of genuine visceral impact - particularly in the film's more intimate attack sequences where close-quarters camera work heightens the claustrophobic terror.

John Saxon delivers a committed performance as the weary scientist, bringing gravitas to material that doesn't always deserve it. His weathered presence anchors scenes that might otherwise drift into unintentional comedy. Elizabeth Turner, as the resourceful journalist, demonstrates solid screen presence despite being saddled with dialogue that veers between exposition-heavy and laughably stilted.

Where "Cannibals in the Streets" stumbles is in its pacing and tonal consistency. Margheriti seems uncertain whether he's crafting a serious horror film or embracing the genre's more exploitative elements. This indecision results in sequences that feel disconnected, with momentum frequently grinding to a halt for unnecessary subplot diversions. The film's final act, while featuring some of its most intense moments, feels rushed and somewhat arbitrary in its resolution.

The score deserves particular mention for its effectively minimalist approach, using synthesized drones and sudden musical stings to create unease without overwhelming the sound design. However, some dubbing issues typical of the era occasionally pull viewers out of crucial dramatic moments.