Ah, Napoli! The Italian landscape has given us such romantic visions, such as Laura Belli. From her film debut in the period drama La Monaca di Monza (1969) to the actioner La Polizia ringrazia (1972) to her last theatrical release, the mobster thriller Da Corleone a Brooklyn (1979), Laura has given audiences everything they want, that is except one thing: skin. Oh, to be so beautiful and so skingy. It blues the balls so bad it hurts. The closest she’s come to showing off some skin was in Umberto Lenzi’s Milano odia: la polizia non può sparare (1974), or Almost Human. From the director of the grindhouse classic Cannibal Ferox (1981) you expect exploitation, but Laura, as a kidnapped heiress, only shows her panties when some bad guys pull up her skirt. Too little, too late, but there’s always time for a look at her mature behind for comparison.