Karin Schubert Movies

Exploitation vet Jewel Shepard (Hollywood Hot Tubs 2 stars in the kinky, Spanish-language softcore romp Christina. Shepard plays Christina von Belle, an heiress notorious for her sexual escapades, who gets kidnapped by a bunch of lesbian guerillas and subjected to a series of brutal sadomasochistic games. ~ Sidney Jenkins, Rovi

In this softcore sexploitation film by Paco Lara, Christina (Jewel Shepard) is the wealthy heiress to a publishing fortune, kidnapped by a variety of evil men or women who sexually use her as they wish and then pass her on to the next group, willingly or not. In-between the sex are some obviously fake martial arts battles between women, and a non-existent storyline which has Christina falling asleep at odd moments so dream sequences can be added to the pastiche. Parental guidance is in order. ~ Eleanor Mannikka, Rovi

This standard softcore film actually has a plot of sorts that is adapted from a story by Honoré de Balzac, about a young model/prostitute named Venus (Josephine Jacqueline Jones) who comes to Paris from Martinique in the 19th century and encounters a series of lovers, male and/or female. Venus first captures the heart and the eye of young sculptor Armand (José Antonio Ceinos), who makes a statue of her called the "Black Venus." Venus's amorous attentions are next focused on the wealthy bisexual Madame Marie (Karin Schubert), causing Armand to downslide into depression -- partly because Venus is making money to support them through this prostitution. Later on, Venus falls for innocent teenager Louise (Florence Guerin) in Paris, and the two of them eventually move into the Spanish mansion of an art collector. The art collector, however, has more than a passing interest in the Black Venus statue -- and his greed bodes ill for everyone. ~ Eleanor Mannikka, Rovi

Laura Gemser began her popular series of Black Emanuelle films with this raunchy item from director Adalberto Albertini. As a free-spirited photographer in Africa, Emanuelle has numerous sexual adventures patterned after the successful French Emmanuelle series (note spelling). Cult favorite Karin Schubert co-stars and has a lesbian scene with the beautiful heroine. While Albertini made several unrelated Emanuelle spin-offs with different actresses, Gemser continued her role primarily under director Aristide Massaccesi (aka "Joe D'Amato"), who added graphic gore-violence to heighten the series' exploitability. Emanuelle in Bangkok was the somewhat tame sequel, but over the next two years, Massaccesi and Gemser graduated to exploring snuff movies and bestiality in Emanuelle in America and even more gruesome material in Emanuelle Among the Cannibals. ~ Robert Firsching, Rovi

Frustrated desire motivates the Sicilian newlyweds in this improbable sex comedy when they are discovered to be brother and sister just before their marriage can be consummated. They receive this news in a very unwelcome telegram, and spend much of the rest of the film trying to alleviate their frustration by various stratagems. Some of them are fairly innocent, such as novel-reading and pious works; others include seriously considering the option of incest. They have a number of embarrassing sexual encounters outside their relationship, but are saved from even more demeaning situations when a second telegram informs them that the first was definitely a mistake. ~ Clarke Fountain, Rovi

Bluebeard is the retelling of the now familiar story of a wealthy aristocrat who marries and murders and marries again. Baron Von Sepper (Richard Burton), the BlueBeard of the story, meets and marries Anne (Joey Heatherton) who becomes suspicious of Von Sepper when she finds evidence of his murders shortly after their wedding. Van Sepper then, in graphic detail, tells Anne the stories of his former wives' lives and deaths. The movie, directed with ham-handed archness by Edward Dmytryk, attempts to tell the story as a black comedy. Despite an array of beautiful women, including (Virna Lisi), (Nathalie Delon) and (Raquel Welch), nothing can distract from the abysmal performances of Burton and Heatherton. The film has some nice costumes and is beautifully photographed by cinematographer Gabor Pogany, but all the humor is unintentional and the actors, particularly Richard Burton all seem to wish they were elsewhere. ~ Linda Rasmussen, Rovi

L'Attentat is a political thriller based largely on a true story (the Ben Barka affair), which recounts how the French government and the American CIA connived to have a socialist in exile murdered before he could return to his homeland and start a revolution. Darien, a French journalist (Jean-Louis Tritignant), lures his friend Sadiel (Gian Maria Volonte) from his safe refuge in Geneva to appear on an American-made TV show. In doing so he is, perhaps unwittingly, setting him up for murder. Captured at the border by the French police, Sadiel is given over to a mysterious general from another country who tortures him to try to find out who his supporters are. ~ Clarke Fountain, Rovi

This French historical comedy/farce, loosely based on Victor Hugo's play Ruy Blas, benefits greatly from having Louis De Funes and Yves Montand in the roles of Saluste and Blaze. Saluste is a nobleman who has been exiled from court and sent to collect taxes in the countryside. Blaze is his assistant, who manages to help the overtaxed peasants behind his boss's back. When Saluste decides to resume meddling in the monarch's affairs using Blaze as his henchman, his schemes backfire badly. ~ Clarke Fountain, Rovi

This politically oriented spaghetti western, chronicles the exploits of a mercenary who aligns himself with a revolutionary. Their goal is to liberate a peaceful professor and his students who are being held hostage in Texas. The mercenary's real reason for joining him is that the revolutionary knows the location of a cache of gold. En route to Texas they run into a strange wooden handed gunslinger who likes to smoke marijuana. The gunman is accompanied by his pet falcon. Tension between the mercenary and the rebel rise throughout the movie, but when the opposing forces attack, they unite. ~ Sandra Brennan, Rovi