Powerful

It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

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

Exactly the movie you think it is, but not the movie you want it to be.

This amusing but failed film is starred by two lovely ladies of the 'Red Lips' detective agency , both of whom are on the track of missing people . "Red Lips" are two female agents (Janine Reynaud as Diana and Rosanna Yanni as Regina) attempting to find abducted models and dancers . Two tough as well as scantily dressed detectives , the world's deadliest and most dazzlingly female spies , including their lipstick kiss as their trademark . A pop artist called Klaus (Adrian Hoven) aided by his right-hand , a hirsute werewolf-like assistant, Morpho (Michel Lemoine) , the latter a villain who cruelly kidnaps and murders his victims , result to be the main suspects for the missing and killings . At the end takes place a twisted surprise about the murders . Colorful but mediocre rendition about European spy subgenre , an usual genre during the sixties , not taking any situation seriously ; being realized in similar style to famous strip-cartoon thrillers as Modesty Blaise , Diabolik and Barbarella . This very campy picture contains thrills , action , phantasmagoria , tongue-in-cheek , absurd situations , but being middlingly developed . The picture was made by the time in which Franco directed nice movies such as The sadistic Baron Klaus , Rififi En La Ciudad , Miss Muerte or Diabolic Doctor Z , Necronomicon and Gritos en la Noche , developing a consolidated professionalism , as his career got more and more impoverished in the following years, but his endless creativity enabled him to tackle films in all genres, from "B" horror to erotic films . The main and support cast -with everyone having fun- is passable , but they are really wasted . The best of the interpretation results to be Adrian Hoven in a double role as a cunning villain and sporting an eye patch, including some enjoyable moments . Furthermore , a sympathetic Manolo Otero , he was a Latin lover as well singer , early deceased , who married Eurotrash goddess Pilar Velazquez , in fact here he sings a charming song . And other uncredited actors in brief appearances as Claudia Gravy , Pilar Clemens , Marta Reves , Julio Pérez Tabernero and even writer Vicente Molina Foix . Atmospheric original music by Jerry van Rooyen , including jam session , disco music and a catching leitmotif . Evocative cinematography by Jorge Herrero being filmed on location in Manga Del Mar Menor , Murcia and Andalucia . The motion picture was middlingly directed by Jesus Franco and was followed by a sequel titled ¨Besame Monstruo¨ or ¨Kiss Me Monster¨ shot back to back with similar casting and technical team . Jesus Franco was a Stajanovist filmmaker who realized 203 movies . However , here he doesn't use his trademarks , as he pulls off a traditional narration , without zooms , neither lousy pace . As the picture belongs to Franco's first period in which he made passable flicks . Jesus uses to sign under pseudonym , among the aliases he used, apart from the names Jess Franco or Franco Manera, were Jess Frank, Robert Zimmerman, Frank Hollman, Clifford Brown, David Khune , Toni Falt, James P. Johnson, Charlie Christian, David Tough , among others . Franco used to utilize usual marks such as zooms , nudism , foreground on objects , filmmaking in ¨do-it-yourself effort¨ style or DIY and managing to work extraordinarily quickly , realizing some fun diversions, and a lot of absolute crap . Many pictures had nice photography , full of lights and shades in Orson Welles style , in fact , Franco was direction-assistant in ¨Chimes at midnight¨ and edited ¨El Quijote¨ by Welles . He often used to introduce second , third or fourth versions , including Hardcore or Softcore inserts or sexual stocks many of them played by his muse Lina Romay . In many of the more than 200 films he's directed he has also worked as composer, writer, cinematographer and editor. His first was "We Are 18 Years Old" and the second picture was ¨Gritos en la Noche¨ (1962) , the best of all them , also titled "The Awful Dr. Orlof" , it's followed by various sequels such as El Secreto del Dr. Orloff (1964) aka "The Mistresses of Dr. Jekyll" , " Orloff y el hombre invisible (1970) aka "Dr. Orloff's Invisible Monster" and finally "Faceless" (1987) . He also directed to the great Christopher Lee in 4 films : "The Bloody Judge" , ¨Count Dracula¨, ¨The Blood of Fu Manchu¨ and ¨The castle of Fu Manchu¨ . Jesús's influence has been notable all over Europe . From his huge body of work we can deduce that Jesús Franco is one of the most restless directors of Spanish cinema and often releasing several titles at the same time. Many of his films have had problems in getting released, and others have been made directly for video. More than once his staunchest supporters have found his "new" films to contain much footage from one or more of his older films . Jesús Franco is a survivor in a time when most of his colleagues tried to please the government administration. He broke up with all that and got the independence he was seeking. He always went upstream in an ephemeral industry that fed opportunists and curbed the activity of many professionals . But time doesn't pass in vain, and Jesus' production has diminished since the 90s ; however he went on shooting until his recent death .

Sometimes I feel like I'm repeating myself when it comes to commenting on Jess Franco films, but it's not my fault that the majority of his movies that I've seen suffer from the same two problems: static pacing and barely coherent plotting. Both of these also plague "Two Undercover Angels", though at least there's no crazy ZOOMing in this one. Another problem - for which Franco can't be blamed - is that the English dubbing often sounds as if the dubbers were making up the dialogue on the spot instead of reading a translated script! Despite all that, the film is colorful and fun to watch as a precursor to "Charlie's Angels" (with an added layer of Franco perversion, of course), and both Rosanna Yanni and Janine Reynaud are knockouts. My favorite of the two is Yanni: awesome hair, perfect face, and a very feminine but also very strong and fit body; seeing her working out is almost worth the price of admission alone. ** out of 4.P.S. I must say that my appreciation of Franco went up after watching his DVD interview. He is honest, down-to-earth, and has a sense of humor; he admits that he hates the misleading title "Sadisterotica"!

As Tim Lucas has pointed out, Jess Franco has made some of the best and some of the worst of European exploitation. The man made so many films that the majority fall somewhere in between, usually falling on the negative side of the spectrum. Two Undercover Angels is one such film. On the plus side are a terrific soundtrack, some good photography, and the occasional moment of genuine Franco lunacy. The downside: everything else. That the storyline is a mishmash of genres wouldn't be so important if Franco knew what kind of spirit or tone he wanted to aim for. The editing alternates between avant-garde and sloppy. But absolutely inexcusable are the English-language script and the dubbing. I have a high tolerance for much of the Franco dialogue that some critics refer to as "relentless and risible," but this was too much even for me. The banality of the dialogue seems inherent to the material: the dubbing-script translation makes matters worse by making much of it incoherent. As far as the technical aspects of the dubbing are concerned, there are repeated scenes in which characters speak but the actors' lips don't move. While not a disaster, this is a far cry from such amazing fare as She Killed in Ecstasy and The Bloody Judge.

Crafty Diana (ravishing redhead stunner Janice Reynaud) and ditsy Regina (lovely blonde knockout Rosanna Yanni) are a couple of sexy super sleuths known as the Red Lips. The gorgeous gals go after perverted pop artist Klaus Tiller (a nicely sinister turn by Adrian Hoven), who's killing various models, actresses and exotic dancers for the sake of his extreme art. Director/co-writer Jess Franco relates the eventful plot at a steady pace and maintains a cheerfully silly tongue-in-cheek tone throughout. Reynaud and Yanni make for gorgeous and appealing leads; their natural and unforced easy'n'breezy chemistry keeps the picture humming. The rest of the cast is likewise solid, with nifty contributions by Chris Howland as gallant British detective Francis McClune, Marcelo Arroita-Jauregui as the bumbling Inspector Tanner, Manolo Otero as dashing Italian playboy Vittorio Freda, and Michel Lemoine as Tiller's freakish werewolf-like henchman Morpho. The delicious Dorit Dom burns up the screen with a couple of sizzling hot striptease set pieces at a swinging nightclub. The polished cinematography by Jorge Herrero and Franz Hofer gives the film an attractive vibrant look. Jerry van Rooyen's robust jazzy score hits the groovy spot. While this flick is admittedly pretty mild and innocuous stuff compared to Franco's more racy and explicit movies, there's nonetheless a good-natured quality evident throughout which makes the whole thing an entertainingly goofy diversion. A real campy hoot.