If you don't like this, we can't be friends.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

At the end of the 70s, Fernando di Leo's career was going downhill, avalanche-style. The producers of Madness (a.k.a. Toy) generously provided him with two heaps from the used car dealer next door and a ramshackle hut in the Abruzzo region including posters of Marlon Brando and John Travolta on the wall – conditions that made di Leo so enthusiastic that he churned out a script for the libido thriller kammerspiel of the year, at least in his head. Enter the world champion in eye rolling, ex-Andy Warhol protégé Joe Dallesandro, as an escaped convict looking exactly like the village plumber ... and ricky-tick he's laying pipe to two low-rent lascivious gals desperate for a nice and thorough rape ("It wasn't bad at all ... Were you so keen due to abstinence? I enjoyed it. Whenever you feel like it, I'm all yours"), refined with some of the most harrowing canzone from the Italo hit parade 1979 (plus Luis Bacalov's score directly nicked from di Leo's by far best work, Milano Calibro 9). Amateur actress Lorraine de Selle is showing her beaver off for most of the ninety endless minutes, but - pardon me - that's not the reason why the word "lousy" might haunt you for a few days. Another sample of Dallesandro's dialogue, per favore? "And now screw. Show us what men like." It's only a short stop to Joe D'Amato from here. His porn flicks, for sure.

"Madness" or "Holiday Massacre" superficially looks like another umpteenth "Last House on the Left" rip-off, but actually it's not. LHotL and all of its copies revolve on two major themes, namely rape and revenge, whereas this flick doesn't feature any 'actual' rape and certainly not any revenge. This is merely a typical late 70's/early 80's sexploitation effort with a bit of additional violence near the ending. Joe Dallesandro, the handsome but slightly eccentric star of various Andy Warhol movies, stars as a badass fugitive convict in a very remote and rural area. He escapes from a prison that doesn't look like a prison and kills a farmer with a pitchfork. He has to pick up the loot from a previous heist in a countryside cabin, but the place is occupied by three people on a summer holiday weekend. Now, since this is an Italian exploitation thriller, it means that the "victims" are in fact equally sleazy and heinous as the criminal. Sergio is supposedly happily married with his wife Liliana, but has an affair with his nymphomaniac sister- in-law Paola. Paola herself is a genuine bitch on a continuous quest for lust and power. "Madness" is a competent but not highly memorable thriller. The plot is predictable and all too quickly reverts to clichéd situations and detestable conclusions. Women's right activists, in particular, should avoid this movie at all costs, since the script proudly concludes that women provoke being rape victims and end up enjoying it after all. The film does benefice, however, from the isolated cabin filming location. Fernando Di Leo perfectly manages to create an atmosphere of despair and inescapably. You can also almost sense the heat and sexual oppression through the screen. Di Leo is of course a very experienced and visionary director. He wrote and directed multiple downright brilliant crime/gangster movies "Manhunt", "Caliber 9" and "The Boss". Another strongpoint of the film is excellent soundtrack by Louis Bacalov. Recommended, but perhaps only if you're familiar with European – and then particularly Italian -exploitation from the late 70's and early 80's.

Written and directed by the magnificent Fernando Di Leo, whose brilliant 'Milieu-Trilogy' ("Milano Calibro 9", "La Mala Ordina", "Il Boss") stands out as the absolute highlight in Italian crime cinema, "Vacanze Per Un Massacro" (aka. "Toy") of 1980 is a delightfully sleazy Thriller that is often unfairly referred to as a mere "Last House on the Left" rip-off. Fact is that Kidnapping and Hostage situations were themes that were immensely popular in Italian 70s and early 80s cinema (the most outstanding example being Mario Bava's masterpiece "Cani Arrabbiati" of 1974), and that, apart from sleaze, violence and a hostage situation, this film hasn't too much in common with Wes Craven's debut shocker. It is interesting to see how Italian genre/exploitation directors liked to utilize everything as widely as possible: Di Leo simply re-employs the brilliant score (by film composer Bruno Nicolai and Progressive Rock band Osanna) to his own greatest masterpiece "Milano Calibro 9".A married couple Sergio (Gianni Macchia) and Liliana (Patrizia Behn) and the wife's nymphomaniac younger sister Paola(Lorraine De Selle), who has an affair with her sister's husband, are spending a week-end at their cottage in the mountains. As fate wants it, the violent criminal and prison-escapee Joe (Joe Dallesandro) is looking for something in exactly the same house. When Sergio has gone hunting and Liliana has gone shopping, Joe enters...The political incorrectness of Italian Exploitation cinema - one has got to love it. A rape-victim complimenting her rapist for his skills as a 'good lover' is quite unimaginable in present-day cinema. "Vacanze Per Un Massacro" is gritty, violent and full of delightful sleaze and nudity. However, it is not as gratuitously sadistic as some other Italian hostage films, such as Aldo Lado's "L'Ultimo Treno Della Notte" ("Night Train Murders", 1975) or Ruggero Deodato's "La Casa Sperduta Nel Parco" ("House on the Edge of the Park", 1980), both of which are rightly labeled "Last House on the Left" rip-offs (as opposed to this film). The performances are pretty good. Especially Joe Dallesandro, the favorite actor of every sleazebag-director of the 70s, is very good in his role of the thug. Sexy Lorraine De Salle (who is best known for playing the lead in Umberto Lenzi's "Cannibal Ferox") is very good in the role of the seductive, manipulative bitch, and furthermore she's naked for about half of her screen-time. Gianni Macchia who plays the husband, had appeared in Di Leo's own "La Mala Ordina" ("Manhunt", 1972) before. Patrizia Behn, who plays the wife, is virtually unknown, but beautiful and delivers a good performance in her role as the film's only likable character. One hilarious aspect about "Vacanze Per Un Massacro": All the Sleaze and Violence is taking place underneath a giant portrait poster of John Travolta. Apart from a few extras in the beginning, the film only features four characters.With the exception of the wife, all characters are dirtbags, which may lessen the ability to care for them, but enhances the wonderful grit-factor. The score is obviously great, as it is the same that was used in "Milano Calibro 9". Overall, "Vacanze Per Un Massacro" isn't as good as Di Leo's fantastic Mafia trilogy, but nonetheless highly recommendable to fans of gritty and sleazy Exploitation cinema, and my fellow Di Leo fans in particular. 7.5/10

A husband and wife (Gianni Macchia and Patrizia Behn) go to their country cottage along with the wife's younger, university-student sister (Lorraine DeSalle) with whom the husband is having a secret affair. They run into an escaped convict (Joe Dallesandro) who has hidden a cache of money in the cottage. The convict gets the upper-hand over the husband and holds the trio hostage, having his way with both of the women. It doesn't really end well for anybody.Although it was directed by the respected Italian genre director Fernando DiLeo, this is actually an Italian "terror film",a sleazy and disreputable cycle films that involve lower-class cretins brutalizing, raping, and generally terrorizing wealthy bourgeois-type characters. These films were all indirectly influenced by the notorious American film "Last House on the Left", but the more proximate influence was no doubt other Italian films like "Late Night Trains" and "Hitchhike". These films differ somewhat from "Last House" and the American "rape-revenge" films in that they generally have a little less gory violence and trade more in humiliation and softcore sex. The victims in the Italian films are often unsympathetic hypocrites who might be as bad or even worse than their lower-class assailants. Most controversially, the (invariably sexy) female victims in these films almost always manage to develop a case of sexual Stockholm's syndrome either willingly having sex with one or more of their attackers, willingly having sex with one and getting raped by the others (a la "Straw Dogs"), or worst of all getting raped but ending up enjoying the experience.Lorraine DeSalle plays the sexual Stockholm syndrome victim here. But she's such an amoral, grasping, nymphomaniacal character to begin with, who is willing to betray her sister and manipulate both of the men in any way necessary in order to get her own hands on the money, that her character doesn't come off as particularly offensive (just not very believable). The wife is a good character and the husband is OK (albeit totally unsympathetic). The real weak link is Joe Dallesandro, who plays the lone criminal (usually in "terror" films there's more than one criminal). This would have been FAR more effective if this role had been played by another American, David Hess, who was the villain in "Last House", "Hitchhike", and most notorious and harrowing Italian "terror" film, "House by the Edge of the Park". Former Warhol "superstar" Dallesandro though is much more of a male model than an actor and not very menacing (it's kind of like being held hostage by "Zoolander").This is better than any of the Italian "terror" films except "Hitchhike" and "Late Night Trains" (but that's not much of a compliment). It's better made, but far less harrowing than "House by the Edge of the Park" (although the gorgeous DeSalle, who was in both films, somehow manages to have even more nude scenes in this one). It's not nearly as good though as any of DiLeo's police thrillers or his better sexy melodramas like "Being Twenty" and "The Seduction". I'd still recommend it I guess, but keep your expectations kind of low.