ThrillMessage There are better movies of two hours length. I loved the actress'performance.

TrueHello Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

AnhartLinkin This story has more twists and turns than a second-rate soap opera.

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Falconeer "The Bitch" is one of countless exploitation films dealing with the sex lives of the "jet set" crowd, (today they are known as the '1 percenters.) This film offers a tawdry look into a very decadent lifestyle, led by people with no real morals or concern for anything other than their own pleasure. Days are filled with shopping sprees at Cartier and fashion shows, and nights are spent at tacky London discos, or bed hopping. The wealthy circle is rather small, so it seems like everyone has already slept with everyone else, and everybody knows everyone's secrets. Joan Collins is admittedly very good as Fontaine Khaled, the forty-something socialite who made her financial stake by marrying an Arab billionaire, who foolishly gave her everything she could want, before he discovered her extra marital affairs, and quickly divorced her. In this film, an inferior sequel to "The Stud," Fontaine must use her own "skills" to survive. And survive she does, quite well actually. This is super-trash on the highest level. We have violent mob bosses, nude swimming pool orgies, sex with the chauffeur, fixed horse races, jewel smuggling and endless discotheque scenes. And there is an endless display of thick mustaches, thick ties, and thick Euro accents. In fact "The Bitch" might just be the most stereotype "70's movie" ever made. Is it good? Not really; it is very uneven. Some scenes are just awful, like the lengthy dance sequences that are obviously just time filler. But just when you are about to turn it off, it gets interesting again for a while. Because although it might not be good cinema, it is strangely entertaining, and at times, fascinating. Of course it is all fantasy, but somehow we know that there are people who actually live like this, and this film provides a window into that World. Collins is a lot of fun here too. The first film, "The Stud" was somewhat of a commentary on how the working class are used and exploited by the upper class, and it condemns their decadent lifestyle. This sequel however, forgets all of that, and just embraces that lifestyle, and wallows in the decadence. The moral? There is none..other than "every man (or woman) for themselves, and the one who ends up with the most toys wins..

jaibo Pretty half-hearted sequel to The Stud, losing Tobias and concentrating on Collins' turn as the bitch of the title, Fontaine Khaled. Whereas a case can be made that the first film said something about the way "the jet set" chew up and spit out working class flesh, this one is little but enamoured by its decadent rich characters, and the lame gangster sub-plot - which ought to be the dramatic centre of the film - goes nowhere (although it still all leaves a pretty nasty after-taste, with every character exposed as morally rotten and alone).Gerry O'Hara - an okay British exploitation director elsewhere - sets up a few stylish shots, mostly involving mirrors; his mise-en-scene seems to imply that these characters are trapped in a world of reflections in which they watch themselves bonk, bitch and banter, deal and double cross into a vapid infinity. The mirroring even goes as far as having The Stud playing on the plane in which Fontaine crosses the Atlantic, but the idea isn't really followed through. It's a fake diamond, like the one leading man Nico Cantafora smuggles into London using Fontaine, not any kind of sophisticated crystal cabinet. Too many of the moments are dead and needless; there's some campy fun to be had from the disco dancing (especially in the gay disco segment) but Nico is an uninteresting protagonist, and Collins has to carry the film by her own limited, although charming, means.The saddest thing here is the appearance of Ian Hendry - clearly not a well man - as a clichéd London gangster, and the original stage Jimmy Porter Kenneth Haigh in the thankless role of Fontaine's accountant and rejected suitor.

Sally Roberts This film is really a load of tosh and a waste of Joan Collins' considerable acting talents - BUT - if you grew up in the 1970s you will have a certain nostalgic affection for it. I remember very well the iconic nightclub "Regine's" on which Fontaine Khaled's disco was based - even with the same squared dance-floor - and the fashions with lots of bright colours, flashy jewellery and designers such as Yuki.The dialogue is absolutely appalling and the delivery by most of the actors stilted to say the least.If you "suspend disbelief" and take this film for what it is; a piece of nostalgic, escapist fluff; then you are in for quite an enjoyable way of passing an evening - AND you'll enjoy all the 70s disco music!

MARIO GAUCI The sequel to THE STUD (1978), also based on a Jackie Collins novel, is more of the same - if more elaborately plotted, taking in a diamond heist, fixed horse-races and the mob! The stud this time around is the Italianite but ultra-resistible Micheal Coby and the girl with whom he shares a brief moment of bedroom bliss turns out to be working for the mob - headed by a campy turn from Ian Hendry (who seems to have just strayed in from GET CARTER [1971]).The mix is as before: tawdry shenanigans in lush settings to (a literally dying) disco-beat. Collins again does a dry-run for what eventually became her signature role, that of Alexis Colby in the long-running TV soap opera "Dynasty". As I said, these films are bad but a fun one-time viewing nonetheless.