11 Unapologetic Movies from the 1970s That Don't Require Your Admiration

      These 12 unapologetic films from the 1970s prioritize entertainment over respect.

      But Before We Begin

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      We’re not discussing movies that received an X rating, which belong to their own classification. Nor are we referring to films like Serpico, The French Connection, and Mean Streets that portray shamelessness with a certain classiness.

      Instead, we are focusing on films that shock without restraint and sensationalize for the sake of pure—if not exactly pure—thrills.

      So, let's dive in.

      Smokey and the Bandit (1977)

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      Smokey and the Bandit features an extended car chase—what an exhilarating chase it is—complemented by a straightforward, flirtatious interaction between the Bandit (Burt Reynolds) and runaway bride/hitchhiker Carrie (Sally Field).

      While everything feels outdated, from the CB radios to hitchhiking, it's utterly captivating. The movie also boasts entertaining casting, including Jackie Gleason as Sheriff Buford T. Justice and Paul Williams as Little Enos Burdette.

      Fans of Dukes of Hazzard will appreciate the parallels between the film and the show, sparking lively debates over who originated what first.

      Caligula (1979)

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      When Penthouse founder Bob Guccione aimed to create a mainstream film, the outcome was Caligula—a depiction of the hedonistic Roman emperor featuring notable celebrities.

      Starring the bold Malcolm McDowell alongside Teresa Ann Savoy, Helen Mirren, and Peter O’Toole, it is infamous for its extravagant sexual scenes.

      The script was penned by esteemed writer Gore Vidal, who distanced himself from the project after director Tinto Brass significantly altered it.

      The Texas Chainsaw Massacre (1974)

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      A gloriously unashamed film (just look at that title) that capitalizes on grotesqueness. It stands as one of the most compelling and impactful horror films ever made, infused with a gritty atmosphere that oozes sex and violence.

      With the sounds of animals and buzzing flies, The Texas Chainsaw Massacre makes its lack of boundaries clear right from the start, even before Leatherface revs his chainsaw for the first time.

      Ilsa, She Wolf of the SS (1975)

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      Ilsa, She Wolf of the S.S. pretends to embody lofty principles with a ludicrous opening title, but it ultimately serves as a vehicle for the narrative of Ilsa, a sinister Nazi warden who believes women are more adept at enduring suffering than men and, therefore, should fight for Hitler.

      She demonstrates this belief through a series of “experiments” on women, who are hardly modestly dressed. Let’s all agree: “They couldn’t produce this today.”

      Directed by Don Edmonds, this Canadian film even caught the attention of Gene Siskel, who labeled it “the most degenerate picture I have seen in downtown theaters.” We can’t determine if that’s a positive or negative review.

      The Driller Killer (1979)

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      Abel Ferrara is known for crafting classic films like King of New York and Bad Lieutenant, but he initially made a name for himself with The Driller Killer. (His debut was an adult film in which he also performed.)

      Ferrara appears in The Driller Killer, which tells the story of an artist in New York City who vents his urban frustration by embarking on a murderous spree armed with a power tool.

      The film found itself on the UK’s list of “video nasties,” criticized for its extreme content.

      Dolemite (1975)

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      While we adore Dolemite, having a pimp as the protagonist certainly signals a sleazy film.

      Rudy Ray Moore’s endlessly amusing Blaxploitation character emerged from his raunchy stand-up routines, recounting tales of a streetwise hustler named Dolemite who famously declares, “Dolemite is my name and f—ing up motherf—ers is my game.”

      Dolemite also represents a triumph of independent filmmaking, a theme explored in the recent Dolemite Is My Name, featuring Eddie Murphy.

      Thriller: A Cruel Picture (1973)

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      Considered one of the finest exploitation films ever produced, this Swedish creation by director Bo Arne Vibenius stars Christina Lindberg as a mute woman who suffers through a series of unimaginable traumas, which Vibenius does not shy away from depicting.

      Ultimately, she finds a double-barrel shotgun and embarks on a well-deserved revenge spree.

      The Last House on the Left (1972)

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      We despise this film because it is so shockingly effective. One of the most unflinching 1970s movies, it possesses a raw quality that renders its violence and cruelty even