Huievest Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Michelle Ridley The movie is wonderful and true, an act of love in all its contradictions and complexity

Darin One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Staci Frederick Blistering performances.

jameswilliams784 Wow, this could have been a great movie. The story could be very compelling. A boozing husband and a sheepish wife go on a camping trip. They stop to pick up a hitchhiker and then the trouble starts. Turns out the hitchhiker has just stolen some money and also ditched his fellow criminals. Now he gains control of this couple and forces them to drive him to a safe location. The problem in this movie is the acting. There is not one decent performance in the whole cast. Corine Cery as the wife is the best, and I have seen her in other movies and she is much better. Same with Franco Nero, a very good actor but he seems to have been asleep or something during this movie because his acting is horrible. The worse acting job is Devid Hess as the hitchhiker. We should feel either extreme hate or at least get some kind of feeling from this guy and we get nothing. He did not scare me, I felt nothing about him. From what I gather from others he is supposed to have played a lot of this kind of character. I guess he is supposed to be some kind of psychopath, but it just did not ring true to me. In a movie like this with this story, I should feel some sympathy for the wife and I don't. The only thing this movie has going for it is plenty of Corine Cery naked. Thats the only reason this gets 4 stars and thats a push.

Leonard Smalls: The Lone Biker of the Apocalypse Not a bad little exploitation yarn. We have Hess from 'Last House' to spice it up, he always plays a great psycho. He almost verbatim repeats his character from "House on the Edge of the Park" but that's okay. We're not sick of it yet! In this new age of torture porn and despicably uncool modern horror, it's refreshing to see where these things came from. Here you go."Hitch-Hike" is a rip off of Mario Bava's classic road-horror, "Kidnapped," with a dash of "Last House on the Left" and sprinkle of "Race With The Devil" thrown in for good measure. While it is less entertaining and way less convincing than "Kidnapped," it still works as a fun little romp for those who are not schooled in Italian horror and exploitation. Seems that more folks are discovering Blue Underground nowadays and you vets will recognize that in reading the reviews on here. For those of us who've done the research, this obscure, newly released film does deliver on many levels but nothing we haven't seen before. Watch Franco Nero who rocks the house in what has to be the most despicable man ever portrayed in a film. No redeeming qualities to be found there. I thought he pulled it off wonderfully.There are many, many Italian exploitation/sleaze/horror films that you should have seen before this one if "Hitch-Hike" shocks you at all.Oh yea- the soundtrack is awesome.7 out of 10, kids.

Coventry Considering this film's notorious reputation, the copious amount of praising reviews, the unusually high rating (for this type of cinema) and some of the most promising keywords available on IMDb (like "Extreme Violence", "Explicit Sex" and "Grindhouse"), I can't help feeling a little bit disappointed with the final result. "Autostop Rosso Sangre" is a good film, but my personal expectations were set to see a non-stop orgy of shocks & sleaze combined with an involving story, but eventually the wholesome is simply a bit too "light". Still too controversial and nightmarish for most mainstream audiences, mind you, but genuine cult freaks and die-hard sick puppies are likely to remain behind with the feared sentiments of "Is that it?" The film is shamelessly promoted as a cash-in on "Last House on the Left" (one of the a.k.a.'s even literally repeats the title of Wes Craven's milestone) and it's fairly easy to see why, even apart from the fact it stars David Hess in a similar role. The set-up also handles about a family suddenly terrorized (physically as well as emotionally) by a fugitive psychopath; only this plays as a road movie with the creep aiming to reach Mexico by car instead of entrenching himself inside the house of innocent people. There are two major differences between this film and the majority of "Revengesploitation"-efforts, however. First and foremost the script doesn't really build up towards the typical & anticipated vengeance-climax and, secondly, the victimized family isn't the most piteous and sympathetic one, neither. The first twenty or so minutes extendedly introduce Walter & Eve Mancini during the last days of their annual camping trip at a cheerful site in sunny California. Walter is an alcoholic and unsuccessful reporter of Italian descent who practically rapes his own wife, continuously humiliates her in front of the other campers and enjoys aiming a hunting riffle at her. On their way home, Eve picks up a hitchhiker against the Walter's will and their already depressing lives rapidly turn into an even bigger hell. All the attempts to get rid of the unwanted enger result in disturbing bloodbaths and gradually a strange and unsettling triangular relationship develops itself. For approximately 80 minutes, "Autostop Rosso Sangre" is a gripping & compelling mixture between road-movie, psychological thriller and down-to-the-ground exploitation. The story bathes in a mysterious atmosphere and the photography and soundtrack (courtesy of Ennio Morricone) are ultimately stylish, yet the violence is brutal (but sadly too minimal) and the sex and nudity are totally gratuitous. You actually often wonder whether you should feel enchanted by the beautiful imagery or disgusted with the depraved characters and their actions. Franco Nero enormously impresses as the rotten husband – and this time he's even allowed to talk English with a heavy Italian accent – and cult bogeyman David Hess is once more naturally menacing as the perpetrator. Corinne Clery is gorgeous and nevertheless comes across as a strong woman despite her inglorious and severely anti-feminist role. "Autostop Rosso Sangre" makes an abrupt stop around the 80 minutes checkpoint and afterwards continues its journey on a twisty & bumpy road with several unlikely obstacles. --- Warning: Here There Be Spoilers --- The DVD box clearly states you're watching the fully uncut 104 minutes version, yet something happens that usually marks the end of a film. However, the story continues, introduces some new characters and even alters the persona's of those we already know. Particularly the end shot is thoroughly bizarre. Is Walter supposed to reprise Adam's role of fugitive pervert? Sure he acted like a bastard from minute one, but he isn't a criminal. You could claim the final twenty-five minutes are innovating and in fact those that truly distinguish this film from the majority of inferior "Last House on the Left" imitations, but at the same time they're the only ones that move by at an incredibly slow pace and feel redundant. This is unquestionably a 70's euro-exploitation highlight, but still it could be better. For total perfection with a similar storyline, check out Mario Bava's "Rabid Dogs".

MARIO GAUCI I have to say that this violent Italian thriller exceeded my expectations, making up for an overly familiar central situation (the hostage/road movie type) by being pretty smart overall – but it keeps piling on the twists and, consequently, goes on twenty minutes too long! The film also benefits from being well-cast: Franco Nero as the alcoholic small-time reporter husband, Corinne Clery as his desirable, wealthy yet indignant wife and David Hess in his all-too-typical role of the psychotic criminal (which, in the accompanying interview, cites as being his favorite). Ennio Morricone’s exemplary score effectively complements the generally tense proceedings, while also providing the occasional ironic comment upon them. Notable too is the location work, convincingly duplicating Northern California in the mountain regions of Italy! The director of this film is best known for broad comedies and romantic dramas; his irregular stint in the exploitation/thriller genre reaps considerable rewards by loading the picture with exciting action and suspense touches (including some fashionable nastiness, and an attack on the protagonists’ car by a truck that’s straight out of Steven Spielberg’s DUEL [1971]!).The 17-minute featurette finds the three stars offering individual fond (but, occasionally, amusingly contradictory!) recollections of the shoot – while also paying tribute to its late, talented creator.