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Best movie of this year hands down!

A lot more amusing than I thought it would be.

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Lounge singer Tony Trelos (Peter Carpenter) thinks he has hit the big time when he hooks up with Andrea (Dyanne Thorne), wife and talent scout for wheelchair bound music producer Martin. What Tony doesn't count on is Andrea having more interest in flings and offing her husband than having Tony shatter the Billboard top 10. Throw in her bizarre past (Martin's wife was murdered mysteriously & his daughter hates Andrea) and it looks like Andrea is one tough femme fatale.Pushed as a horror flick (check out the poster), this is actually a pretty bland thriller-sexploitation melodrama. The film's only fantasy type element is that Trelos wakes up at the end and discovers it was all a dream...right before meeting Andrea for the first time. Cue ominous music. Lead Carpenter sure seems to like himself as he produced and co-wrote the screenplay in which he sings and shows of his muscles a lot. He also co-wrote and starred in BLOOD MANIA the year previous to this. Future ILSA star Thorne is good as the manipulative Andrea though.

I gave this film a 6 and is that ever generous. The reason I gave it that much is simply because of Dyanne Thorne. Without her, this movie would have totally tanked and there'd be no legitimate reason to ever see it. The problem with this mediocre film is that it doesn't go far enough. There should have been more nudity instead of those god awful songs. The singing isn't so bad but oh those lyrics just make my brain hurt thinking about 'em! The sexploitation elements are all there alright but they are very underused, which basically was the trouble with a lot of these kinds of films made in the 70's: they just didn't go far enough. Had they pressed a hard R rating instead of a very soft R, this movie probably would have been a lot more watchable than it is.

Lurid thriller from the Crown International Pictures vault provides one of the sleaziest tales of wanton lust, infidelity, and unscrupulous greed ever lensed, with a few violent on-screen murders thrown in for good measure. The inimitable Dyanne Thorne is in it, and that fact alone makes it worthy of investigation.A tacky Tony Bennett-style lounge singer abandons his pregnant girlfriend when he becomes intimately involved with the bitchy, high-strung wife(and soon-to-be widow) of a bigshot record industry mogul. Just to prove what a no-class opportunist scumbag this creep is, he soon takes to screwing her dim-witted stepdaughter as well.If you're on a hunt for cheap thrills in the immortal 70s drive-in/grindhouse tradition, Look no further than POINT OF TERROR...it's such an uncurbed blast of raffish overindulgence that it makes something as famously profligate as BEYOND THE VALLEY OF THE DOLLS appear subdued by comparison. Surprisingly, it actually works in a fallacious, all-wrong sort of way, though a preposterous non-ending cripples it significantly. A potentially gratifying watch for fans of excessive, tawdry thrillers, and such a distinctly 1970s relic that you might come away from it smelling like Hai-Karate.4/10

The previous reviewer (weho90069) summed up the this film quite succinctly, but did he stress the title's musical contribution enough? Only by seeing it would you be able to know just how eye-rolling a production number can actually be. A horrendous musical intro kicks off the film as the opening credits roll, with the lead character Tony Trelos aping about on stage in a blazing, red suede suit with waterfall fringe. The 'live' performances go from bad to worse, as we soon see the actor singing to the rafters in his regular venue, The Lobster House (that is, after a quick shag before curtain). It is in this setting we see Andrea shopping him with her eyes, adding him up as he performs seemingly only for her. Andrea's cool, calculating gaze tells us that it's more than stage talent she's wanting to sign.Lyrically speaking, the theme song "Lifebeats" (which is repeated throughout) is the narrative that clues us in on the inner world of Sir Trelos. It is this song that he cuts for his first record that proves to be too much for his new rep Andrea, as she abruptly halts the recording session with a dash of her hand, barking out a "FROM the TOP!" It was either ending too soon for her, or else she just couldn't sign off on the vocal at that point. Either way, it gives us another chance to hear it some more. The singer does have his moments vocally-speaking, but we all do when we play American Idol Home Edition. The draw for Trelos' fans is obviously not in his throat.I recommend you watch POT, but better still, really listen--"Lifebeats turning into Lovebeats... Lovebeats turning into Lifebeats, moving in and taking over me...".Wow, man.