Although not a ‘good movie’ in the recognized sense, D’amato stills manages to create an on-the-hoof masterclass in Disco-Era Euro-Sleaze and pulls off his usual trick of combining erotica, horror and exploitation in a manner that makes a modern cult film lover ask the question: Who was the original target audience for the movie?  Personally, I kind of enjoy the celluloid whiplash of porn and violence (a effect taken to its logical conclusion in D’amato’s Emanuelle in America with it’s hardcore/hardgore styling) that the director serves up and the tropical setting is ideal for this type of affair.