What a beautiful movie!

one of my absolute favorites!

Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

I am not sure what the point was, and I am not too sure about the terror except for maybe that one scene.Tony Trelos (Peter Carpenter) is a "Tom Jones" style singer at The Lobster House. He is eyed by Andrea Hillard (Dyanne Thorne) of National Records. She is married to Martin (Joel Marston- an Eric Roberts style actor) who is in a wheel chair. She is constantly cheating on him and is upset he is always spying on her because he suspects her of cheating-go figure. Oh yea, love triangle with the daughter (Lory Hansen) who is finally introduced when the film is two thirds over.Available on multi-packs. Not worth the time to watch.Guide: sex and nudity (Dyanne Thorne aka Ilsa)

Point of Terror has the funniest opening credits I've seen in a long while, with its writer and 'star' Peter Carpenter singing a god-awful song while gyrating crazily in a red, mega-tassled jacket and circulation-restricting trousers. It's truly cringe-worthy stuff, boding well for fans of trash cinema, for whom horribly dated fashion, awful music and crap dancing is all part of the fun.As success-hungry lounge singer Tony Trelos, Carpenter doesn't disappoint, regaling the viewer with further diabolical warbling throughout while squeezing into more ridiculously tight fashion disasters. Tony's unmistakable sense of style and rugged manliness doesn't go unnoticed by the ladies, with big-breasted queen-bitch Andrea Hilliard (Dyanne Thorne)—wife of wheelchair-bound music mogul Martin (Joel Marston)—soon digging her claws in, promising Tony fame in exchange for sex.Their special arrangement soon begins to go awry, however, with Andrea dragging her heels in getting Tony his record contract and Martin becoming suspicious of his wife's unorthodox business arrangements. An unfortunate pool-side 'accident' puts paid to Martin's jealousy, but when Andrea's sexy step-daughter Helayne (Lory Hansen) shows up at her father's funeral, catching Tony's roving eye, and the singer's ex-girlfriend announces that she is pregnant, the stage is set for further acts of lustful violence.Deceit, death, money, greed and sex: Point of Terror features all the expected ingredients of a regular murder/mystery potboiler, but distinguishes itself with a glorious excess of trashiness; not only do we the get all the gaudy early-70s trappings, with strong primary colours and some groovy split screen editing accentuating the tastelessness, but there's gratuitous nudity (narcissist Carpenter taking any opportunity to bare his ass and Thorne, the one and only She Wolf of the SS, flaunting her impressive assets), alcohol and drug abuse, sexual harassment in the workplace, and random violence, including a frenzied knife attack and a high-dive onto some rocks. It's far from great film-making, but it sure is entertaining.Unbelievably, the film's outrageous finalé manages to be just as jaw-droppingly nutzoid as the opening credits, with a shock twist and a trite cyclical narrative device that makes a mockery of all that has gone before, but which somehow suits the whole crazy affair to a 'T'.

Smarmy and ruthlessly ambitious, but handsome and sexy lounge singer Tony Trelos (a perfectly slimy portrayal by hunky beefcake Peter Carpenter) works at a local nightclub in order to keep himself afloat. Tony meets mysterious wealthy man-hungry vamp Andrea Hilliard (the almighty Dyanne Thorne in peak predatory form), who promises to secure Tony a record contract with a major record label. However, things don't work out exactly like Tony hoped they would. Director Alex Nicol, working from a blithely trashy script by Ernest A. Charles and Tony Crechales, relates this entertainingly tawdry tale of greedy, deceit, and betrayal at a steady pace, delivers a handy helping of tasty gratuitous female nudity and leering soft-core sex, and tosses in a few murders for good measure. Moreover, the enthusiastic cast attack the lurid material with definite zest: Thorne and Carpenter really sink their teeth into their juicy parts, Leslie Simms has a hammy field day as Andrea's booze-sodden best gal pal Fran, Joel Marston contributes a pleasingly nasty turn as Andrea's bitter and overbearing crippled husband Martin (Andrea's big confrontation with Martin in front of a pool is a total corker!), and Lory Hansen brings considerable sweet charm to her role as Andrea's cute, perky, innocent stepdaughter Helayne. Better still, the groovy swinging songs, Tony's marvelously kitschy sub-Tom Jones nightclub act (Tony's first number in which he's wearing a ghastly red jumpsuit complete with flowing fringe is a tacky gut-buster!), Robert Maxwell's garish cinematography, and the gloriously lame "surprise" twist ending add immensely to this movie's substantial campy appeal. A complete schlocky hoot.

A woman cowering in fear. A masked madman brandishing a butcher knife. "Demons long locked in the depths of the mind come out to destroy the weak and believing!" Explore "the outer limits of fear". That's the poster. I don't think I've ever seen a movie so misrepresented by the advertising. Or happier about it. Not another tired, early 70s slasher film by any means, this riot is about a sleazy side-burned lounge singer (Peter Carpenter) picked up by a sleazier female record promoter (Dyanne Thorne) who sees something special in the guy. We can guess what it is, since most of the movie is shot at Carpenter's crotch level. Meanwhile, Thorne's jealous wheelchair-bound husband isn't going to take his wife's infidelity sitting down. Enter Thorne's kittenish daughter Lots of wonderfully bad faux 70s pop songs, over-heated dialogue and teeth-gnashing, and two outlandish murders. Dig it.