The producers of The Disco Exorcist certainly have a love for seventies exploitation films, perhaps too much love. Their dedication to recreating the warp and weft of that genre leads to a little too much self awareness and winking, and not quite enough coherent plot or drama. There's plenty of bared breasts and blood, though, if that's what you're looking for.
Rex Romanski (Michael Reed) is carefree seventies swinger, spending his free hours between sleeping with beautiful women and indulging in narcotics at the disco, dancing the night away. He cares little for the women, spending a few sexy nights with each and then moving on, and most of them grumble about it, but don't really hold a grudge. Until he meets Rita Marie (Ruth Sullivan). Rita, in addition to being touchy about ill treatment by men, is a voodoo priestess of some sort. She and Rex meet on the dance floor, and quickly segue to her bedroom, and it seems as if they are meant to be together forever.
That is, until Rex meets famous porn star Amoreena Jones (Sarah Nicklin, Reed's real life wife) on that same dance floor, and the two fall instantly in love. Rita does not take this well, and curses Amoreena, pulling out a clump of her hair for later use in her diabolical spells. The rest of the film is a succession of sexual encounters, dancing, porn shoots, orgies, and of course blood drenched murder by demon possessed women.
Sex and nudity are ladled out in great, steaming bucketfuls, almost to the point of soft core pornography, though curiously Amoreena never exposes her breasts. Either she keeps her top on, or her bosoms are covered by an arm or piece of furniture, even when she is supposedly having raucous sex with Rex, or shooting a porn film, though no other women seem to share this reluctance. The plot never really makes much sense. It's clear that Rita is exacting revenge on Rex, and perhaps all men since those only incidentally connected to him do not escape her wrath. But what precisely she is doing is never really clear. Amoreena and others have fits of possession, where their eyes go black and they are controlled by some dark force, and Rita raises up a few dozen dead women to work her will, but it all seems to be a muddle, with little rhyme or reason.
The gore and blood effects are exuberant and executed with gusto, though often incredibly cheesy. That works as something of a feature, though, since the film enthusiastically embraces cheesiness in all its forms. The performances, sets, effects and story are campy and played with a humorous edge, enhanced by such things as several Clu Gulager themed gags, and this winking attitude gives The Disco Exorcist what level of enjoyment it has, while at the same time severely limiting it. From the (one hopes) prosthetic penis involved in a brutal manual castration, to the blood covered naked women to the zombie makeup to the wildly overplayed sex scenes, the film goes for the jugular. It is certainly not for all tastes, perhaps not even for many. At times, this is a very seedy film, and perhaps the most disturbing scenes are not those involving brutal murder and violence (though the film does have at least one good jump scare) but rather the orgy near the end of the film that ends so unfortunately. Regardless, fans of exploitation films, particularly those from the seventies, will find a lot to love here. For everyone else, rent it.
Original Teaser Trailer
Red Band Trailer
Green Band Trailer
Wild Eye "Hijacked" Trailer
Wild Eye Trailers