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This is a WAY-Y-Y over-the-top send-up of girls-in-prison movies. Perfectly cast, it's a comic book on film and great fun to watch. Of course, the scene stealers are Warhol alumni Pat Ast as the matron Edna and the Plasmatics' Wendy O.Williams as "Charlie". Both of these ladies are gone now but their contributions live on in this cult classic. Fast paced and with a great soundtrack, you can watch this over and over and still pick up stuff every time. Unfortunately, there is too much female nudity (for a change) that distracts rather than titillates but this is still a rocking movie. The climax is a kicker as well. Good treatment from the folks at Anchor Bay.
 

This movie is a stone cold WIP classic. This is about as much fun as you can have watching a Women In Prison movie! The best way to describe this movie would be to say that if Russ Meyer made a female prison camp movie, this would be it, only better. The star, Phyllis Davis, is right out of a Russ Meyer movie. Same build, same smart mouth. She is most famous for being Dan Tana's secretary on the TV show Vegas. She has got to be one of the best looking women to ever appear in an WIP movie.
 

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As Roxie and Velma worked their way through the criminal and judicial systems, the creators of CHICAGO were astoundingly clever in superimposing a musical version of each step in the process on the "real" one, for examples, the on-site police investigation of Roxie's crime ("Funny Honey"), Matron Morton's introductory speech to her new charges ("When You're Good to Mama"), Flynn's entrance ("All I Care About"), and Roxie's defense ("We Both Reached for the Gun"). My favorite comes during Roxie's trial when Flynn, more showman than counselor, displays his philosophy on defense strategy with the glitzy "Razzle Dazzle".
 

In the venerated tradition of THE BIG BIRD CAGE and CAGED HEAT comes a modern women-in-prison film with a twist. Convicted of a crime she didn't commit, Sarah McKinney (Oxenberg) is sentenced to hard time at the Women's State Correctional Facility, a notorious prison run by a crooked warden and a staff of sadistic, lecherous guards. Against her will, Sarah is forced to participate in the prison's debased, humiliating "work release program" -- a sex club where inmates are forced to perform erotic dances and dole out illicit favors for the prison staff and depraved county judge. Sarah's only hope for freedom lies in exposing the crooked system -- if she can survive long enough to get her message heard.
 

This is Roger Corman's version of Gladiator and Caligula rolled into one, years before them! And it's not bad, either. Beautiful slave girls must fight to the death in the arena in ancient Rome as a novelty for the jaded Romans. The gladiator girls learn to fight and then use their skills to revolt and escape. Sort of a feminist take on Spartacus.

Brutal female fury breaks loose in this blistering saga of professional women gone bad! Ten beautiful working girls decide they've had enough of the rat race and find a quick way to solve their problems: robbery. The criminal she-pack turns to jewelry heists (with water pistols!) to make ends meet; unfortunately, their biggest score lands the girls in prison after a bloody gunfight. Life behind bars offers only two choices for survival: submit to the degrading sexual demands of the female warden and her sadistic guards, or bust out!
 

How much trouble can you get into abroad when trusting strangers? Quite a bit if you witness the film 'Brokedown Palace' which is sort of a female version of 1978's 'Midnight Express'. In that film, based on a true story (which won Oliver Stone his first Oscar in the category of Best Adapted Screenplay), an American named William Hayes was caught trying to willfully smuggle drugs out of Turkey and was caught at the airport and sentenced to life imprisonment. That film showed his criminal attempt, his capture, his trial, his sentencing and his torture at the hands of prison officials which was disturbing to watch at times. Director Alan Parker was able to capture the sadistic aspects of human rights gone awry and the film had depth, brutal imagery and an overwhelming sense of violence necessary to the film's point.
 

Pam Grier in a women-in-prison movie? Why did no one think of this sooner? OK, they did. Several times. But this one is different. Black Mama, White Mama is a bizarre update of The Defiant Ones with a little Cool Hand Luke and Chained Heat thrown in for good measure. Grier stars as Lee Daniels, a pimp-and-drug-lord's moll who's looking for a way to escape both prison and her thug boyfriend. The dynamic Margaret Markov ably backs her as rich-girl-turned-revolutionary Karen Brent. The two meet in the friendliest Third World prison ever (Tickling games in the shower! What girlish fun!), and before you can say catfight they're chained together at the wrist. A quick prison break later, our feisty ladies are being chased all over the undefined tropical island by the police, revolutionaries, and dueling pimps.

This notorious Canadian sexploitation cult classic is one of the most sick and sadistic features ever released to a general audience, and the only film that producer David F. Friedman, the king of sleaze himself, was so ashamed of that he removed his name from it. Statuesque, buxom blonde Dyanne Thorne is Ilsa, the ruthless commandant of a Nazi medical camp who subjects her patients (mostly naked women) through the most painful and brutal tortures she can think of to prove the superiority of the female sex to Nazi high command. At night she goes through the male prisoners like boy toys to be discarded and castrated the next day ("Once a prisoner has slept with me, he'll never sleep with another woman!"), until she meets a man she can't conquer in bed. It proves to be her downfall. Vamping it up with a corny German growl, Thorne leers with gargoylish delight at her latest diabolical tortures: grotesque, gangrenous infections, exploding sex toys, boiling alive, and a dinner centerpiece involving a naked girl, a noose, and a melting block of ice that leaves her dangling by meal's end. Directed with an artless bluntness and a cold cynicism, it's a brutal, nasty film, utterly tasteless yet perversely fascinating. It was reportedly shot in a week on sets left over from the sitcom Hogan's Heroes, and proved so successful that it spawned two official and one unofficial sequels.
 

Set in Brazil near the Amazon River, young women are herded together in a human stockyard bound for foreign cities, Brutalized by the slave traders who have become their captors, as violence, rape and romance run rampant in this exotic action-adventure. I'm afraid this one doesn't get very good reviews however it's a must for any serious WIP movie collector.
 

After you've seen a few dozen women in prison (WIP) movies, it becomes hard to remember which is which. Oh sure, Chained Heat (1983) is the Linda Blair classic, and I'll remember Women in Cages (1971) for Pam Grier's turn as a wicked warden, and Ilsa will always be Ilsa... But, once you get past a few memorable ones with recognizable actors or weird settings, you get to a vast, sprawling morass of virtually indistinguishable movies. Oh sure, some are better than others in various ways, but they can all be described as "that movie about the innocent chick who gets sent to prison and has to deal with the tough inmate/guard/warden until she's released/rescued/escaped." The Naked Cage falls into that category at one level.

A Women In Prison film from director Kuei Chih-hung (who also did Killer Snakes), Bamboo House Of Dolls takes its cues from the entries in this sub genre that came before it but does the 'chicks in chains' thing with a decidedly Hong Kong slant to it.Instead of nasty Nazis, this time around the culprits are the Japanese (a very common antagonist in Chinese cinema of this era), whose soldiers run a concentration camp for Chinese women during the second world war.

While most of them are repeatedly assaulted and raped by the Japanese forces, one of the Officers (Lo Lieh of countless Hong Kong classics such as The One Armed Swordsman and Executioner From Shaolin, as well as the Spaghetti Western/Kung-Fu hybrid, Blood Money) lends them a helping hand and proves to be more sympathetic than the rest. In reality, he's an undercover spy and he starts helping some of the girls escape. There's also a subplot involving a hidden box of gold that some of the female prisoners know the location of, but none of whom are willing to tell their captors about.
 

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This is the 1984 Cirio Santiago version of Caged Fury, not to be confused with the 1948 version which is apparently about a "Psycho lion tamer [who] uses the big cats to commit murders" in a circus. It also should not be confused with the 1993 porn flick Caged Fury which starred such adult film luminaries as Tiffany Minx and Peter North. Furthermore, this movie should not be confused with the 1989 women-in-prison movie of the same name that starred Erik Estrada in addition to porn stars Janine Lindemulder, Ron Jeremy, and Julia Parton in minor roles. Okay, so just to recap, this is a review of the 1984 movie... the one without circus animals or porn stars (as far as I know).

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I read somewhere that the Showtime channel commissioned a bunch of the old exploitation and schlockmeisters to remake old films for a series on the channel. I picked up a movie a while back produced by Roger Corman called The Death Artist which is a faithful remake of A Bucket Of Blood. The Death Artist was Roger Corman's contribution to the series. Girls In Prison is the result of commissioning some of the old AIP people to make a Women In Prison movie. There was an AIP movie made in 1956 called Girls In Prison, but even though this modern version is set in the 1950s, the plot of this movie is different from the 1956 movie.

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There is a leech-eating scene.... need I say more? At one point, during the requisite prison cafeteria food-fight scene, several of the actresses literally crack up and start giggling during their lines.

One of the actresses, a doctor, was actually not half bad (in comparison), and I felt very sad for her; the rest of the actresses didn't seem to take the script seriously at all, and who can blame them? They were probably coeds promised free beer if they showed up and read from cue cards. This movie is so very bad that it's actually hysterically funny.

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