Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

"Emanuelle in Prison" is rather a variation than a sequel to „Violenza in un carcere femminile": even though Laura Gemser plays the same part as Emanuelle, Gabriele Tinti plays the leader of the criminals now, without any connection to „Violenza..." where he played the doctor. Anyhow, Emanuelle performs a theater play at prison in such a boring manner that inmates throw rotten tomatoes at her. Nevertheless, she still seems somewhat too popular to the guards. They are trying to humiliate Emanuelle, but their efforts fail, she's got nerves of steel and experience from the previous flick. The situation at the prison changes radically when armed male prisoners attack the guards and take control. The prison is besieged, and it's time to kill... Nothing special for the genre, in fact a bit lackluster, but the haunting soundtrack by Luigi Ceccarelli deserves mentioning; it reminded me stylistically (not quality-wise) a bit of Keith Emerson's compositions for Argento's „Inferno".

"Women's Prison Massacre" is the last of the "Black Emmanuelle" series of films and this time director Joe D'Amato abandons his trademark sleaze for an attempt at an exploitation flick with a plot.Emmanuelle (Laura Gemser)has gotten a bit too close to exposing a corrupt government official during the course of her investigative journalism, and he has her sent to a vicious women's prison on trumped up charges. 4 dangerous male convicts (including Gemser's real life husband Gabriele Tinti) are transferred there to be held until their trials and manage to create jailbreak mayhem a nasty hostage showdown with police.I really wanted to like this film, but I just couldn't do it. The plot is a fractured mess, the acting awful and this film is so evasively shot (not enough film or budget for much visual explanation or gore, I guess) that I didn't even know what was supposed to be happening in most of the sleazy scenes (the razor blade castration, horny female convicts ripping one of the guys apart) until I read the DVD liner notes. Also gorgeous Gemser keeps her clothes on the entire time, and the actresses who do disrobe are less than stunning.3 stars, one for Laura Gemser having a genuine beauty and screen presence that deserves something better than this drivel, one was a whole lot of accidental comedy ("I'll bite your nipples off!" and the blow up doll are the first examples that come to mind), one for Lorraine De Salle sticking it out in a film where she looks extremely uncomfortable in every scene (as if she's ashamed of being in this throwaway, whimpering end to an otherwise fun series).

This is in fact part of the "Black Emanuelle" series. Not that the series had any continuity from one film to the next anyway. In this, the last of the series, Emanuelle (Gemser) is wrongfully imprisoned because she was on the brink of exposing criminal activity in the local police department. There is a flashback sequence which explains this. How anyone could watch this film and NOT notice this, saying it is NOT an Emanuelle movie is beyond me. In the opening scene the prison holds a stage play of monologues where each girl tells her name and story. Gemser's character clearly states "My name is Emanuelle, and I am a woman." I sincerely hope that the people who are leaving comments about films on the database have at least SEEN the films they are talking about. Unless of course they're just seeing some edited US video release.

This is really a tough movie to forget, and surprisingly easy to watch considering how trashy and low-tech it is. Basically, Mattei uses his same grimy super-low-budget look as he did in NIGHT OF THE ZOMBIES and RATS: NIGHTS OF TERROR. However, in this film, much like it's predecessor CAGED WOMEN, this trashy look actually really helps it out, evoking some odd sort of fantastical feel to a usually mundane setting.The movie takes place in a women's penitentiary, but I honestly doubt any women's prison was ever in any way like it is presented. The convicts are almost all at least decent-looking and are a little too keen on fighting each other or having pseudo-lesbian exchanges, every-time showing off a little more than their panties for the camera. The one-up this film has over CAGED WOMEN is the fact that it actually has something resembling a plot as well as some pretty hard-edged violence. Four male prisoners (led by Gabriele Tinti, the only good actor of the group) take over the women's prison and proceed to terrorize the locals. The acting and music are a little less polished (read, pretty darn bad) but they actually really add to the atmosphere of the whole thing.I really enjoyed the quasi-utopic view of the four male prisoners basically having everything they want right at their fingertips (much like how the four survivors in DAWN OF THE DEAD had everything they wanted within an abandoned shopping mall). All four of the men are sick, depraved perverts and are in the most condusive environment possible for their sort of behavior. Just imagine what happens when you put sex-starved male convicts together with sex-starved female convicts? (A pretty good idea for a movie!) It's also funny to see a lot of fairly classy actors basically making fools of themselves. Lorraine De Selle looks extremely uncomfortable, as does Carlo De Mejo in his last major role.My only big complaint is that the good characters get killed off way too quickly and stupidly. The goofy guy who keeps the razor blade in his teeth seems to get the most horrible death imaginable, even though he was the most likable of the four male convicts, go figure. The ending is a little hard to decipher as well. Hats off to Mattei though, as his editing has never really looked better. There's also some surprisingly stylish sequences near the beginning and ending of the film, notably the oddly-lit Theater sequence and the flashback montage, which is aided greatly by Luigi Ceccarelli's simplistic synthesizer music. It's a pretty good film overall, surprisingly, if one takes into account the budget (or lack there-of) involved.