ClassyWas Excellent, smart action film.

Huievest Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Haven Kaycee It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Francene Odetta It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

GUENOT PHILIPPE I don't believe that no user at all has noted the obvious relation between Robert Harmon's HITCHER and this item of course made long before. I gues you have many gems of tis kind lost in distributors vaults and not necessarily released thu DVD. I won't add much but just enjoy...

Coventry Considering this film's notorious reputation, the copious amount of praising reviews, the unusually high rating (for this type of cinema) and some of the most promising keywords available on IMDb (like "Extreme Violence", "Explicit Sex" and "Grindhouse"), I can't help feeling a little bit disappointed with the final result. "Autostop Rosso Sangre" is a good film, but my personal expectations were set to see a non-stop orgy of shocks & sleaze combined with an involving story, but eventually the wholesome is simply a bit too "light". Still too controversial and nightmarish for most mainstream audiences, mind you, but genuine cult freaks and die-hard sick puppies are likely to remain behind with the feared sentiments of "Is that it?" The film is shamelessly promoted as a cash-in on "Last House on the Left" (one of the a.k.a.'s even literally repeats the title of Wes Craven's milestone) and it's fairly easy to see why, even apart from the fact it stars David Hess in a similar role. The set-up also handles about a family suddenly terrorized (physically as well as emotionally) by a fugitive psychopath; only this plays as a road movie with the creep aiming to reach Mexico by car instead of entrenching himself inside the house of innocent people. There are two major differences between this film and the majority of "Revengesploitation"-efforts, however. First and foremost the script doesn't really build up towards the typical & anticipated vengeance-climax and, secondly, the victimized family isn't the most piteous and sympathetic one, neither. The first twenty or so minutes extendedly introduce Walter & Eve Mancini during the last days of their annual camping trip at a cheerful site in sunny California. Walter is an alcoholic and unsuccessful reporter of Italian descent who practically rapes his own wife, continuously humiliates her in front of the other campers and enjoys aiming a hunting riffle at her. On their way home, Eve picks up a hitchhiker against the Walter's will and their already depressing lives rapidly turn into an even bigger hell. All the attempts to get rid of the unwanted passenger result in disturbing bloodbaths and gradually a strange and unsettling triangular relationship develops itself. For approximately 80 minutes, "Autostop Rosso Sangre" is a gripping & compelling mixture between road-movie, psychological thriller and down-to-the-ground exploitation. The story bathes in a mysterious atmosphere and the photography and soundtrack (courtesy of Ennio Morricone) are ultimately stylish, yet the violence is brutal (but sadly too minimal) and the sex and nudity are totally gratuitous. You actually often wonder whether you should feel enchanted by the beautiful imagery or disgusted with the depraved characters and their actions. Franco Nero enormously impresses as the rotten husband – and this time he's even allowed to talk English with a heavy Italian accent – and cult bogeyman David Hess is once more naturally menacing as the perpetrator. Corinne Clery is gorgeous and nevertheless comes across as a strong woman despite her inglorious and severely anti-feminist role. "Autostop Rosso Sangre" makes an abrupt stop around the 80 minutes checkpoint and afterwards continues its journey on a twisty & bumpy road with several unlikely obstacles. --- Warning: Here There Be Spoilers --- The DVD box clearly states you're watching the fully uncut 104 minutes version, yet something happens that usually marks the end of a film. However, the story continues, introduces some new characters and even alters the persona's of those we already know. Particularly the end shot is thoroughly bizarre. Is Walter supposed to reprise Adam's role of fugitive pervert? Sure he acted like a bastard from minute one, but he isn't a criminal. You could claim the final twenty-five minutes are innovating and in fact those that truly distinguish this film from the majority of inferior "Last House on the Left" imitations, but at the same time they're the only ones that move by at an incredibly slow pace and feel redundant. This is unquestionably a 70's euro-exploitation highlight, but still it could be better. For total perfection with a similar storyline, check out Mario Bava's "Rabid Dogs".

MARIO GAUCI I have to say that this violent Italian thriller exceeded my expectations, making up for an overly familiar central situation (the hostage/road movie type) by being pretty smart overall – but it keeps piling on the twists and, consequently, goes on twenty minutes too long! The film also benefits from being well-cast: Franco Nero as the alcoholic small-time reporter husband, Corinne Clery as his desirable, wealthy yet indignant wife and David Hess in his all-too-typical role of the psychotic criminal (which, in the accompanying interview, cites as being his favorite). Ennio Morricone’s exemplary score effectively complements the generally tense proceedings, while also providing the occasional ironic comment upon them. Notable too is the location work, convincingly duplicating Northern California in the mountain regions of Italy! The director of this film is best known for broad comedies and romantic dramas; his irregular stint in the exploitation/thriller genre reaps considerable rewards by loading the picture with exciting action and suspense touches (including some fashionable nastiness, and an attack on the protagonists’ car by a truck that’s straight out of Steven Spielberg’s DUEL [1971]!).The 17-minute featurette finds the three stars offering individual fond (but, occasionally, amusingly contradictory!) recollections of the shoot – while also paying tribute to its late, talented creator.

AngryChair Intense, off-beat Italian thriller is an underexposed classic.Fueding married couple, traveling across the country, make the mistake of picking up a hitch hiker who turns out to be a violent bank robber. But that's only the beginning of the story.Skillfully well done thriller is gripping in it's wildly turning plot. The cinematography is stylishly good, with some beautiful country side filming locations. The music, though seemingly out of place at times, is great too. In addition there is a decent amount of violence and some nudity.The real highlights of this film though are it's three stars, who seem to be in a show-stealing competition all through out the film. Franco Nero does a convincingly good performance as the alcoholic reporter, who has grown tired of his wife. Corinne Clery is fetching and talented as Nero's equally weary wife. The terrific David Hess makes for another great villain, also having played a crazed criminal in both Craven's Last House on the Left (1972) and another Italian exploitation film House on the Edge of the Park (1979).For those who are seeking an unconventional thriller or just a fan of Hess, this film will be a well rewarding watch.*** 1/2 out of ****