best movie i've ever seen.

This is a must-see and one of the best documentaries - and films - of this year.

An old-fashioned movie made with new-fashioned finesse.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Most of this was filmed in the Riviera which was owned by Zadora's husband at the time. The script really doesn't develop much of a story about the gangster our night club singer is in love with. She is being held under protective custody at the Riviera Hotel in Las Vegas when she agrees to testify against him after being gang raped in prison. Some plot lines defy logic, i.e. the snipers are always aiming rifles at her hotel room window. Doesn't she ever close the drapes? I rarely ever leave my curtains open in a room. Some scenes pad out too long like where she's playing poker and tells her opponent all her strategy each time she draws a card. The car chase scene is hilarious also, but why would a girl be an expert shot leaning halfway out a car window? The real villain was one of the good guys, but he remained unpunished for trying to rub his own witness out.

Sweet and naive, yet sassy and sexy Las Vegas casino lounge singer Bobbie Warren (the adorably diminutive and dynamic Pia Zadora) gets incarcerated at a brutal women's penitentiary after refusing to testify in court against her mobster boyfriend. The little songbird quickly changes her tune after she's assaulted in the shower by several vicious predatory lesbians. Bobbie is put in the protective custody of cranky senior cop Lt. Thurston (a marvelously sardonic Telly Savalas) and his cute eager beaver younger partner Clint Morgan (an engaging performance by Desi Arnaz Jr.). Meanwhile, two assassins try to bump Bobbie off.Directed with considerable go-for-it flair by Matt ("The Witch Who Came from the Sea") Cimber (who also plays one of the hit-men), with a sprightly, jazzy score by Arthur B. Rubenstein, several thrilling action scenes (a wild stunt involving a car racing through the lobby of a packed casino is the definite exciting highlight), garish, gleaming, lively cinematography by Eddy van der Emden, a snappy pace that rarely lets up, and enthusiastic acting from a bang-up cast, "Fake-Out" really delivers the infectiously silly and entertaining goods. Popping up in nifty supporting parts are Larry Storch as an obnoxiously slick sleazeball talent agent, George "Buck" Flower as an undercover policeman posing as a drunken cowboy gambler, and co-screenwriter John Goff in a funny bit as a gay man who hits on Savalas. Best of all, Pia Zadora positively lights up the screen with her endearingly perky and radiant presence: Whether she's heartily belting out a catchy song on stage during the opening credits or leading the tough lady prison inmates in a hilariously bawdy Jane Fonda-style work-out aerobic exercise session, the divine Ms. Z brings a charm, energy and bubbly good nature to her juicy starring role that's an absolute joy to watch.

Welcome to Remake Hell (and you thought that was just happening today!). Face it, Remake Hell is eternal. It's been going on for decades and hasn't just been happening in the past 10 or so years. This time in 1982's FAKE-OUT, director Matt Cimber reshoots (almost scene for scene) his own prior fiasco from 1975, LADY COCOA (see http://www.imdb.com/title/tt0073259 for details about this turgid 1975 mess). This time, Pia Zadora takes on the lead role (originally portrayed by Miss Lola Falana in LADY COCOA), and the results are NO noticeably better. Both films suck, and FAKE-OUT's addition of more noteworthy supporting stars (like Telly Savalas and Desi Arnaz, Jr.) doesn't help matters any. It wasn't a bad plot to begin with, but Cimber doesn't elevate the story or improve the writing since his 1975 outing with the same material. It's a wonder he hasn't remade this film four or five MORE times over with other Vegas headliners like Taylor Dayne or Mariah Carey! That said, this is still great fun for Zadora fans (or hecklers). But if you've seen LADY COCOA you may become easily bored by the grade-Z script, cut-rate production values (the Riviera casino looks pretty shoddy, actually), and the predictability of it all. There is one apparently notorious (and charming) shower scene early on in the film where we learn that Pia's acting skills have a definite ceiling. As she's made to cooperate sexually with some fellow inmates, she turns on this blank stare that we all know (and love) from moments such as these in THE LONELY LADY. It's like a trademark for Pia. Kinda like that strange, Kabuki stare that Faye Dunaway would occasionally give off after a tirade in MOMMIE DEAREST. Strange stuff, but compelling for its utter badness.I have to say I was really disappointed in this Matt Cimber extravaganza. It started out OK but as soon as I figured out this was a remake of an earlier, abysmal project, I found myself checking my watch to see how much longer it would run. That was at about the 15 minute mark. Pia's opening "number" (the only one in the flick) over which the titles are displayed is pretty fun stuff -- in a thoroughly cheezy way, of course. Freeze-frame moments of Pia shaking her booty, complete with added optical effects are perfect. Too bad FAKE-OUT didn't contain more of these types of scenes.

Pia Zadora has done some strange things in movies...most of them bizarre, like her role in Butterfly, with the incestuous theme.This film, though, is way bizarre. It's soft-core porn, really. The nudity and the strange lesbian kiss from actress Connie Hair, now a political PR flack for several conservative organizations, make it a film most will not enjoy. I doubt that Ms. Hair would enjoy references to this film these days.I don't like the "women in prison" genre anyhow, but this one is pretty egregious.That said, Pia Zadora is always as cute as a bunny, and I wouldn't miss any of her films, no matter what. Love ya, Pia!