If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Luci, she is a slutty 15 year old English schoolgirl who comes home one day from school to find her Mum as dead as a door knob in the tub. You see her Mum has cut her wrists. Fortunately for Luci, her Mum's childhood friend is now a very successful upper-middle class doctor who has decided to take Luci home to his family (on a trial basis). And the seduction begins.It's a very slow and boring movie, but apparently some reviewers really get off on seeing an underage girl involved in these shenanigans. -- including stripping. I don't.I watched this mostly because I wanted to see Diana Dors who oddly is in the film for 2 seconds and has no lines!The underage girl went on to doing some Hammer horror movies and sex romp films.If you saw Pretty Poison, you know the plot of this movie. They are roughly the same film, only Dew Barrymore isn't as attractive.Frankly, I would have rather seen Taste the Blood of Dracula than this one.

BABY LOVE seems one of the most exciting of the '60s youth movies; not only it's thematically daring, but it's interesting, lively, thrilling, thanks in equal measures, I suppose, to real qualities of style and to a nymphet's nudity. It's such a lovable movie. The sulfurous story gets a slightly sleazy B treatment, wholly appropriate for a B subject. The girl in this movie stands out as one of the genuinely exciting realist portraits of women in the cinema.The tendency might look a bit misogynistic—not only is this girl, Luci, the acme of depravity—but look at her mother—and at her adoptive mother …. The one member of her new family who completely capitulates is the adoptive mother. By comparison, her new father and her new brother seem slightly more principled, anyway; though they're counterbalanced by guys like the ugly one who assaults the girl in the movie theater, and the family friend who does his best to seduce the girlie.Is the schoolgirl Luci merely naughty? Is she nasty? The movie suggests she's mentally disturbed.The mellower Shannon Tweed will also seduce a whole family—husband, wife and son—in A WOMAN SCORNED. But Shannon's was a thriller, meant to please more than to shock.Babe Hayden was, as known, 15 yrs old in BABY LOVE, her nude scenes are great and very rewarding; she went on to play in some defining B movies of the '70s, being perhaps the iconic '70s British cult actress. Nowadays she's 56.

Warning: Explicit nudity, lesbianism and all-around bad behavior make this a very poor choice for showing your kids or your 80 year-old mother.Wow. This is one sleazy movie and it's a shame, as a really good film seemed like it was hiding within and could have resulted had the direction and script been a little more clever and a little less sensationalistic. The disturbed relationships of all concerned did have the possibility of making a fine film.The movie starts with a middle-aged woman (Diana Dors) committing suicide. Her 15 year-old daughter inexplicably goes to live with her old lover and his new family. This really doesn't make much sense--you'd think there'd be SOMEONE related to her or a foster home instead of this person who she'd never even met. This is very contrived, but so be it. Once in this home, you are never sure how much this girl connives or just happens to fall into bizarre sexual relationships with the son, wife and tries desperately to have sex with the father!! In many ways, she appears to seek emotional love and support in the only way she understood--with her body. All in all, a surprisingly dark and twisted series of events that is rather hard to believe--especially in the end of the film when she is revealed to be a bit less naive than in the rest of the film.Sadly, had this movie taken more of the high road it actually could have been quite challenging but good entertainment. The Freudian aspects as well as as the idea of a sick family whose dynamics are thrown for a loop with the introduction of this troubled teen is fascinating. Think about it--because of their own inadequacies and unfulfilling relationships they each, in turn, seek it out in the girl. This could have been an interesting film that was less exploitation and more psychological. But, instead with glimpses here and there of the girl's body and lots of innuendo, the film just seemed more like soft-core porn than anything else.By the way, the 15 year-old in the film really was 15--making you feel, perhaps, a bit dirty for watching it. I just assumed she was of consenting age and was surprised when I looked it up on IMDb to see that somehow they got away with making a skin flick with an underage girl. That's rather sad.

This extremely rare British film of the late 1960s features the debut of Linda Hayden, who went on to appear in a succession of horror films and the 'Confessions' sex comedies, and an early appearance of Keith Barron, known to British audiences as a prolific character actor to this day.The story, of a sexually-precocious and beautiful 15-year old who takes revenge for her mother's suicide by using her body to seduce not only her mother's former lover, but also is wife and son, is probably unlikely to be shown again in today's paedophile-aware society. Scenes where she lets a disgusting lecher in a cinema start touching her up, and on another occasion seemingly consents to gang rape, are both unlikely and perverted. The film does however have a lot going for it - a relentlessly downbeat yet gritty storyline, an illuminating probe behind the outward respectability of an ordinary middle-class family, and the physical assets of Linda herself, who reveals everything but full-frontal.On the negative side, the ending is an anti-climax and suggests a loss of interest in the story by this point. Linda whilst undeniably sexy, sports a very variable northern England accent and variable acting talents - excellent in some scenes, less so in others. It's clear that subsequent casting directors saw more in her physical assets than her acting skills, considering the low-budget and fairly dire movies she went on to appear in. The lesbian scenes between her and the relative unknown playing Keith Barron's wife are probably the most memorable. All in all, an interesting combination of a 'kitchen-sink', very British, family drama, with sexual situations which would not be allowed in a film today - especially considering Linda herself was only 15 when she made it.Another viewing may bring out some hidden depths, but on first sight this was disappointing. A better-developed story and more care over the acting could have made this a classic of its day.