Karry Best movie of this year hands down!

Scanialara You won't be disappointed!

IslandGuru Who payed the critics

Chirphymium It's entirely possible that sending the audience out feeling lousy was intentional

Coventry You just got to love opening sequences like the one in "Seven Women for Satan" … During the intro there's a naked girl running through the woods, chased by a hunting dog and a malignant looking dude on a horse, until she falls off a cliff and splits her head open on a rock. Then the camera zooms out on the face of the guy and we notice how he's simply sitting behind a desk whilst his secretary waiting for him to sign some papers. "Oh I'm sorry, I was lost in my thoughts…" he then says! Sweet, I have stumbled upon yet another completely bonkers movie. Even if you only understand a minimum of French and have a look at the original title, you immediately know that "Seven Women for Satan" hasn't got anything to do with Satan or ritual sacrifices, but simply revolves on the flamboyant escapades of a perverted and mentally unstable count during his weekend in the countryside. This is, in fact, another sleazy variation on the classic milestone "The Most Dangerous Game" about a lunatic's disturbing hobby of hunting people – preferably hot naked chicks - in the forest for sports. Well actually, this is more than just a variation on the 1932 classic, as writer/director/actor Michel Lemoine had the pretension to directly link his protagonist to Leslie Banks' legendary villain in "The Most Dangerous Game". Count Zaroff supposedly is the original Count Zaroff's son but he exchanged his private island for the remote French countryside. He also can't afford to be unemployed anymore, so he's an office clerk from Monday to Friday and a maniacal killer during the weekend. Zaroff is a genuine weirdo who hallucinates about dancing with deceased woman but actually runs his car over the live ones. His butler once pledged to prevent the Zaroffs from killing, but he's obviously doing a lousy job. There isn't any depth in the screenplay and the build-up certainly doesn't pay attention to suspense or sinister atmosphere. Really, the only useful thing to do during this film is count the girls that are lured for Zaroff's deceptive trap and hope they'll reach seven rapidly. Half of the film is pointless and tedious padding footage, like the overlong erotic dance act in which a statue inexplicably transforms into a muscular black guy (???), and the other half exists of psychedelic sleaze that eventually grows tiresome as well even though all the girls look ravishing. I have the impression that it was Michel Lemoine's intention to imitate his pal Jean Rollin and make a deliriously kinky sex-thriller. "Seven Women for Satan" is a French production, so inevitably it also stars Jess Franco regular Howard Vernon ("The Awful Dr. Orloff", "Zombie Lake"). Lemoine himself surely has the looks of a crazy killer, but not the talent to depict one.

gerard_bechard To the unaware and on the surface, this film may seem like a 70's exploitation film but it has deeper meanings. This film is almost unknown and has never received wide distribution. It was banned in France -- it's country of origin. It is one of the few "real" horror movies to come out of Europe.In this film, Boris Zaroff, initially represents the new France of business and corporate take-overs but has fallen under the spell of the old world via a portrait of the dead Anne De Boisreyvault -- a former inhabitant of the château. If Boris is to be kept on the true and narrow, schooled as a true Zaroff, he must reject this misty-eyed romantic view of turn of the century France. It is no accident that the dead woman under whose spirit Zaroff has fallen was buried in 1912 -- just before the onset of the Great War -- the war that destroyed the leisured lifestyle of the aristocrats of old France.Unknown to many is that this movie is said to be an unconscious archetype: it derives much of its power from one of Europe's oldest and most potent myths, the ancient story of The Bride of Corinth. The tale tells of a young man who visits the family of his intended. He finds the house empty and everyone seemingly gone away. He decides to stay and that night his bride visits him, only to tell him that she is already dead.The story was first recorded in the 2nd century AD in Phlegon's Marvels. It was popularized in the 18th century by Goethe who made the woman a vampire.In it's purest form, the story is actually about the death of the old gods, the end of nature and the triumph of the new European order -- rational, anti-pagan Christianity.Likewise Boris falls in love with the spirit of the dead Anne De Boisreyvault -- fallen in love with the ghost of a world long gone.The background and music fit this film well.There is also one scene with a Negro. It's not your typical Hollywood Negro character, IE The Hero. He represents the dark unconscious mind of a white woman's unrestrained sexual drive.

christopher-underwood This is barely worth it's given rating but despite the slow pace, the nonsense story, the pretentiousness and the dialogue I liked it. I guess the well shot nudity helped but also the slightly odd angle (to call it surreal would be far too flattering) and surprising jolts of violence amid the sleepiness. The way the Count turns upon his first victim is a real shock and the couple trying out the historic torture instrument certainly get a surprise, as do we. Hard to recommend though because it is hardly quality stuff and certainly does not live up to Mr Lemoine's claims for the film. But then if you are not expecting too much and know something of the genre you could do worse. It's certainly as good as many of the below par and over rated Jess Franco movies.

goblinhairedguy Michel Lemoine's glassy-eyed face is well known to Eurocult fans, as he spent years appearing in almost all genres, including several striking, if little-known titles, like "Sex on the Beach" and "Death on the Fourposter". As a director, he made several softcore erotic features (including the noteworthy Les Desaxées) before drifting into hardcore. But he had an irresistible urge to dabble in the fantasy genre, although it was generally frowned upon in France -- and this title is the result. His directorial stylings imitate those of his mentors -- Franco, Benazeraf and Rollin -- naive, dreamlike, disorienting -- but he lacks the idiosyncratic, iconic style of his betters, making many of his sequences risible in their pretentions. In fact, Peter Tombs claims in his notes for the DVD that the intention was generally parodic (or at least something of an homage). To most eyes it will play as a rather crass, but sumptuously enjoyable, wallow in exploitation tropes, lacking narrative logic or thematic consistency, but delivering the naked and the absurd in spades, along the lines of Polselli or Brismee.