Anton Rothschild plays a sick office clerk who (1) beats a woman to death with an ashtray and then has sex with her corpse; (2) follows a woman to her isolated country home (on work time, no less) and rapes her; (3) rapes another woman (again on work time)who dares to fight back, so he kills her in a flaming car crash; (4) urinates into a cup of coffee and serves it to his oversexed female co-worker; (5) picks up a hitchhiking whore who promptly strips and masturbates herself in the passenger seat; Rothschild promptly inserts his fingers and thumb into her and rubs the scent behind his ears. The whore then humps the car's gear shift and the two later have a slow-motion orgasm scene that must been seen; and the list goes on. Director Bo Vibenius has to be as twisted as the characters in his films, and the film's most disturbing scene finds Rothschild picking up a six-year-old girl right off the playground, driving her to a remote stretch of country, and eating a bag of candy with her, clearly contemplating what on earth he could do to her. He lets her go, though, but then the young girl is portrayed as the aggressor by asking "Shall we meet again?" to which our indignant rapist-murderer replies, "No!" This is one of the sickest, most demented pieces of cinema I have ever seen, but it is so well-thought out, so well executed, and so well-played that it cannot be denied that it is essential viewing for the fan of extreme exploitation films. If you can throw political correctness and any problems with misogyny out the window, you can undoubtedly enjoy this incredibly sick yet fascinating feature, and as any good director would do, Vibenius waits until the end of the film (literally in the last sentence of dialog) before he throws the sickest, most vile and perverse plot twist to the viewer, which, of course, I shall decline to reveal, because if you have not been so offended by the film's end that you have destroyed your copy you deserve to enjoy that last bit of ironic perversity.