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Very very predictable, including the post credit scene !!!

It really made me laugh, but for some moments I was tearing up because I could relate so much.

Blistering performances.

The movie really just wants to entertain people.

Okay, this is my second cheerleader movie in a row I'm reviewing having previously commented on The Cheerleaders. In this one, Jo Johnson is Kate, an aspiring reporter who joins the college cheer team to expose them for their sexual hijinks but ends up finding out about a corrupt fix involving the football games. Ms. Johnson is quite a sexy brunette here surrounded by a blonde Colleen Camp as Mary Ann, another blonde Cheryl "Rainbeaux" Smith as Andrea, and a female of color Rosanne Katon as Lisa. Yes, there's some sex scenes with the requisite nudity and some funny lines and sequences but there's also some nice dramatic ones concerning much of the plot I mentioned. If I hadn't read the credits on Wikipedia and this site, I would have been fooled this was actually written by two women but it's actually two men as one of them is really director Jack Hill (as "Jane Witherspoon"!). Still, it sometimes felt like there was a feminist spin in some of the scenes and I liked the way the tone changed partly on a dime. So on that note, I recommend The Swinging Cheerleaders.

The commercial success of this lead to Jack Hill getting to make the much more fun,though maybe even more poorly made and much worse acted, Switchblade Sisters right after this. So something good, or well, better came out of this film getting made.The budget for this films is just too low to even have the cheerleaders do any full routine. The credit sequence of them is all you get to see, though you get to see those same shots and same stock footage football footage over and over again. Very little T and A for a plot that is a set up for a porn movie that never takes place. Smith was pregnant when she made the film and one fan of hers told me the appeal is that her breasts are huge. Well they are and her armpits are unshaved. Can humor still be found in her being excited about being gang banged as a way to lose her virginity? That's up to you. Why bring this up? Well that's about all that's worth noting. This is an exploitation film without much exploitation and by the time this was made the stakes were pretty high on exploitation. This is almost like a 1950's B and W nudie movie only it's in color and made almost 20 years after that was the style for these things.The girls give decent performances, considering the crap material, most of the male cast members are awful and it just goes no where for a long time. Only real highlight is a confrontation scene with the wife of a teacher who confronts one of the cheerleaders and threaten's to "carve her name into one of the cheerleaders tits so when she flops them out for him he'll know she knows." Or words to that effect. What the movie needs is more outrageousness like this, the plot is too thin to be taken seriously but sort of is and really it just seems like the story is on life support until it can finally quietly die.Flatly made by the usually flat director Hill. He can't be blamed for the lack of money that is heavily in evidence, but shows no real imagination in getting around those problems the way other better directors of the era did.The film is dated but not enough so for it to be fun on that level either,though perhaps the way it depicts men is actually more dated than the way it depicts women. Look elsewhere for something entertainingly trashy not here.

Special credit must go to the ever-surprising and enterprising Jack Hill for making the single most wickedly subversive film in the popular 70's cheerleader sub-genre. Sure, it certainly delivers the prerequisite ample doses of silly slapstick humor and tasty sex and gratuitous nudity, but along with that sleazy stuff we also have a remarkably astute critique of gender roles and sexual stereotypes as well as a deliciously sly and playful sense of anarchic humor.Sassy Mesa University underground newspaper reporter Kate (winningly played by lovely brunette sprite Jo Johnston) decides to pose as a cheerleader in order to get the straight dope for an article on "female exploitation in contemporary society." Kate soon discovers that there's much more to being a cheerleader than just sexy short skirts and fluffy pom-poms. They're actually troubled individuals with serious issues: Sweet Rainbeaux Smith is a frustrated virgin who's eager to learn more about sex, Colleeen Camp is a snotty, stuck-up rich bitch who always gets what she wants, and Rosanne Katon ("Playboy" 's September '78 Playmate of the Month) is having an affair with a married college professor. The seemingly cocky and sexist star football player turns out to be a nice, sensitive guy and the allegedly radical hippie college newspaper editor ultimately gets exposed as a hypocritical misogynistic phony. Moreover, both the shady campus dean and the duplicitous football coach are involved in a numbers racket. Wow, talk about campus unrest! Besides the unusually sound plot and provocative political subtext (both very rare and welcome qualities in the often schlocky and strictly superficial cheerleader sub-genre), "The Swinging Cheerleaders" further boasts a wonderfully lush'n'plush look, uniformly solid acting, nifty policeman bits by crusty character actor John Quade and veteran Hollywood stuntman Bob Minor (who also popped up in "Coffy," "Foxy Brown" and "Switchblade Sistors" for Jack Hill), and a hilariously wild'n'wacky slapstick finale. Clips from this gem are featured in the acclaimed Errol Morris documentary "The Thin Blue Line."

A feminist reporter (Jo Johnston) who wants to write an exposé on how cheerleading degrades women decides to infiltrate the cheerleading squad. Once accepted, she realizes that the cheerleaders aren't bad and finds out that the football games are rigged. She also falls for the team's quarterback (Ron Hajek), and this does not sit well with his girlfriend - the head cheerleader (Colleen Camp).Semi follow-up to 1973's "The Cheerleaders" is a disappointment. Too many subplots, amateurish performances and writing ruin this loser. Directed by Jack Hill ("Coffy," "Foxy Brown"). My evaluation: * out of ****.