Hookers and Vice

Violent pimps, drugs, seedy back alleyways – what’s better than a sleazy 80s hooker movie? It wasn’t always this way – think Nights of Cabiria and Vivre sa Vie – but the 80s were less romantic about prostitution, which is just more realistic at the end of the day. And the ultimate hooker movie is Vice Squad, which will blow your socks off. If there was a way to see this on 35mm, I’d be lining up for days.

Many of these films cross over into vigilante territory, but that deserves a category all its own.

10 to Midnight (1983) 6/10

Charles Bronson’s plastic surgery looks great, there’s a naked man slashing nurses, but otherwise this is a fairly routine if outrageously sleazy Death Wish-adjacent Cannon outing.

Angel (1984) 7/10

A 15-year-old high school student is a Hollywood hooker by night in this clichéd classic, most famous for its Rory Calhoun performance and poster which helped it become a big hit on VHS.

Avenging Angel (1985) 6/10

Betsy Russell steps in as Angel, tracking down a killer in seedy LA, in solid sequel with good 80s soundtrack and moments of humour.

Bad Lieutenant (1992) 9/10

Harvey Keitel puts his body on the line with a bravura performance in shocking but sincere Abel Ferrara character study; powerful stuff.  See also Shocking Sinema

Blue Nude (1978) 7/10

Italian attempt at a gritty New York drama, this has wonderfully sleazy backdrops, porn actors in regular roles, and a shocking, Taxi Driver-like ending, but remains very obscure.

Crimes of Passion (1984) 7/10

Kathleen Turner and Anthony Perkins go to town in Ken Russell’s lurid fantasy – not well received at the time, it’s thought-provoking, very funny, and still shocking, with something to offend most.

Cruising (1980) 7/10

William Friedkin’s dark, authentic and provocative exploration of New York’s S&M underground is still as unique and unsavoury as it was when it came out.  See also Shocking Sinema

Fear City (1984) 6/10

Abel Ferrara’s tale of Times Square strippers stalked by a psycho killer (and martial arts enthusiast) falls a little flat despite its seedy elements and cast including Tom Berenger and Melanie Griffith.

Hardcore (1979) 9/10

George C. Scott is sensational in Paul Schrader’s own lurid version of Taxi Driver which, while dated and with a too-neat ending, tackles its subject brilliantly, showing off LA at its seediest.

Kinjite: Forbidden Subjects (1989) 6/10

Charles Bronson’s final Cannon outing sees him tracking down a seedy organisation forcing underage girls into prostitution – a morality tale with leather gloves, whips, Vaseline, and dildos.

Streets (1990) 6/10

Christina Applegate plays a runaway teen on the streets of Venice Beach in this earnest and well-drawn drama.

Streetwalkin’ (1985) 7/10

A high school dropout works as a prostitute in enjoyable film which despite the unoriginal plot has a great theme song, Times Square backdrops, and a statuesque Julie Newmar in memorable role.

Stripped to Kill (1987) 5/10

Roger Corman-produced B movie, with standard slasher plot, plenty of senseless nudity, and big 80s hair; not great, but enjoyable while it’s on.

Taxi Driver (1976) 10/10

The ultimate dirty New York movie, this is memorable not just because of what’s on screen – it’s the psychological themes, which along with the Bernard Herrmann score, pack an absolute wallop.

The Teenage Prostitution Racket (1975) 5/10

Smart but exploitative and ultra-sleazy (there's a version with hardcore inserts) story of girls drawn into a web of prostitution; depressing, hard hitting, but not too sordid for Ennio Morricone to do the score.

Tightrope (1984) 6/10

Clint Eastwood took a chance playing a kinky cop in this dark and interesting New Orleans-set thriller that holds its tension despite being a little too long.

Vice Squad (1982) 10/10

Exploitation masterpiece with the ultimate scumbag (Ramrod), endless grime and slime, and nail-biting violence that will ensure you never look at a wire hanger in the same way again.

Whore (1991) 7/10

Theresa Russell is a cynical hooker talking directly to camera in Ken Russell’s amusing and tasteless retort to Pretty Woman; based on a play, it’s talky, but the central performance holds it together. aka If You Can’t Say It... Just See It