Diagonaldi Very well executed

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

GurlyIamBeach Instant Favorite.

Mandeep Tyson The acting in this movie is really good.

alexx668 A good film by sleaze-master Joe D'Amato? No chance. Wait a minute, this one actually isn't too bad. Emanuelle's (notice, one "m", not Emmanuelle ©) forays into the aristocratic decay lifestyle get weirder and sleazier, culminating in the snuff footage in the end (modeled after Pasolini's "Salo", how ironical). It's not all bleak however, as Joe has a sense of humor. Case in point, Emanuelle and cohort having sex in the next room to an orchestra playing, and hysterically editing the sex with close-ups of the geek musos playing Ludwig's fifth. Or what about the ending? Emanuelle getting a vacation as a reward for her investigative journalism, only it turns to be a movie decor. It is only a movie after all. Hah.

Justin Kelly This really seems like the directors had a bunch of ideas and then tried to work a story around it, and then after scripting and shooting the first half, they took an entirely different direction for the second. After about an hour of boring Cinemax style soft core porn with one out of left field bestiality scene, I was beginning to get bored. Then all of the sudden, the movie goes hardcore. It is quite strange because it seems all previous scenes went out of their way to keep the sex strictly Cinemax and then get as graphic as your average pornography. Ten minutes after that the movie takes another strange turn and edges ever so lightly into the world of snuff. It takes a lot to disturb me, but the images used in this part of the movie put even Ilsa to shame. All of that is well and good for this renowned exploitation film, even with the strange contrast of the light opening half with the decidedly heavy second, HOWEVER we run into a huge problem with the story. The acting is passable for this type of flick, I didn't expect Oscar nomination worthy performances. The story, if you want to call it that, was definitely an afterthought, as Emanuelle is an undercover reporter. Just what her assignment is is never clear, it appears to be some kind of expose on sex clubs, and SPOILER SPOILER in the end is never resolved. As a matter of fact, I don't think any particular storyline here was solved. We are basically watching an excuse to see this one woman sleep with as many people as possible, and other people sleep with each other too. SPOILER END. Overall I can't recommend this movie for exploitation fans. There are movies that manage to squeeze all of this action in with a real plot and a fun time. This movie became a chore to sit through up until the last act, and then the ending blew all the good will that came from it. Stick to your Ilsa and Pam Grier prison flicks for your fill of this type of fare.

haildevilman Every film she's in has her as the most desired female in every land she goes to. Desired by both males and females. I can COMPLETELY understand why.Of all the Gemser-D'Amato films that I've seen, this is the best. The snuff angle could have been better but otherwise it's just great. It was a bit incoherent at times but I couldn't wait to see what came next. D'Amato made it clear his intention was only to entertain fans of this type of film. He definitely succeeded.And Goddess Gemser was the perfect choice.This film could feed conspiracy theories as well. It would have you believe that all millionaires are secretly into some kind of sick perversion.

John Nail (ascheland) At its outset, "Emanuelle in America" is like most '70s Eurotica, with naked women cavorting through every other scene, frequently having simulated sex with whichever man happens to be around, or with each other. The "plot" is just a series of scenarios meant to move the title character from one sexy situation to the next for a little less than two hours. In this case, Emanuelle (Laura Gemser) is a libidinous fashion photographer and photojournalist who travels to various locations (and not just in America, though she is New York-based), not-so-surreptitiously snapping photos of wealthy people having sex (almost no one questions why she insists on wearing that ugly pendant, even while she herself is having sex). But mixed among all this softcore humpage are scenes of bestiality, hardcore sex and very graphic (but faked) snuff film footage. Perhaps what makes these scenes so "shocking" is the casual way in which they're presented. First you're watching a half-hearted lesbian coupling in a steam room, then next thing you know you see a woman fondling an erect horse penis (surprise!). Then it's back into hard-R territory, until you suddenly see a woman performing fellatio (on a man, not a horse), presented in a decidedly triple-X fashion--particularly jarring when, up until this point, Emanuelle's America is a land where men seldom even remove their shirts to have sex, let alone their pants. There's more hard-X scenes to follow (none of which involve Gemser), but whatever prurient thrills that provides are quickly dashed by the horrific "snuff" film footage that follows. Scenes of women getting hot oil poured down their throats and getting nipples torn off are a definite mood-killer, yet they're presented matter-of-factly here, making their brutality that much more appalling.That's not to say I hated this movie. The gorgeous Laura Gemser is a compelling screen presence, though to be a sex goddess she's quite detached in her sex scenes, looking more like she's posing for a still photograph. And though it's alternately goofy, tacky and revolting, director Joe D'amato makes sure "Emanuelle in America" is never boring. Love it or hate it, you'll never forget it.