Late, great Grade Z drive-in exploitation filmmaker par excellence Al Adamson really outdoes himself with this gloriously ghastly sci-fi soft-core musical comedy atrocity which plumbs deliciously dismal and dopey depths in sheer celluloid silliness and jaw-dropping stupidity. In the grim totalitarian future of 2047 sex has been deemed an illegal act by the Big Brother-like impotent bumbling idiot the Controller (an amusingly goofy Erwin Fuller). However, sweet'n'sexy Cinderella (radiant blonde cutie pie Catherine Erhardt) remains determined to change things for the better. With the help of her effeminate Fairy Godfather (a flamboyantly campy Jay B. Larson), Cinderella attends a grand gala ball with the specific plan of seducing handsome stud Tom Prince (the dorky Vaughn Armstrong) and teaching everyone that making love is a positive, pleasurable and wholly acceptable activity.Adamson directs this ridiculous yarn with his customary all-thumbs incompetence, staging the incredibly awful'n'inept song and dance sequences with a totally sidesplitting lack of skill and flair. The uproariously abysmal "We All Need Love" number with people in absurd animal costumes awkwardly prancing about the forest is a hilariously horrendous marvel; ditto the equally abominable "Mechnical Man" routine featuring a bunch of clumsily cavorting robots. Louis Horvarth's crude, static cinematography, the tacky plastic miniatures, Sparky Sugerman's groovy throbbing disco score, the copious gratuitous nudity (ravishing brunette hottie Sherri Coyle warrants special praise in this particular department), the brain-numbingly puerile attempts at leering lowbrow humor (Roscoe the Robot law enforcer is especially irritating), and the uniformly terrible performances (Renee Harmon's outrageously hammy portrayal of Cinderella's wicked overbearing stepmother cops the big booby prize here) further enhance the strikingly abundant cheesiness to be savored in this delectably dreadful doozy.

This movie was a typical low-budget Al Adamson sci-fi flick. Most of the actors were sub-par, with the exception of Sherri Coyle. She is absolutely gorgeous in the opening scene with Art Carcaro as they attempt to figure out how to make love. Her body is curvaceous, her hair long and silky and her eyes sultry. She makes you wish you were there with her. Then Roscoe the Robot and his stormtroopers barge in, catching Sherri and Art "in the act". The poor things are then taken away for punishment.While in the Reduction Chamber, and after the silly video from the Central Controller, Adamson manages to sneak in a subtle hint of lesbianism in Stella, the reducer. While preparing Sherri for reduction, Stella deliberately and flirtatiously disrobes Sherri by removing her plastic bubble wrapping covering, revealing her beauty. Stella is loving every minute of this! While Sherri turns to Art and struggles to comprehend what is about to happen to her, Stella softly touches Sherri's face and turns Sherri's head in her direction as if to say, "It will be okay. I'll take care of you". Too bad the scene then breaks away to other nonsense. I would have liked to see it develop more.After more nonsense, we then return to the Reduction Chamber and Sherri is all beautifully laid out on the reducing table, completely nude. I found this highly arousing. (So did Sherri - her nipples are erect.) The door to the Chamber opens, Roscoe returns and he orders the reduction of Sherri to "Proceed". Sherri just lays there, shakes her head and closes her eyes, thinking, I can't believe this is happening to me! She is totally vulnerable. Stella then flicks some dials on her console and then looks at Sherri as she pulls the lever to begin Sherri's reduction. Adamson was smart enough to give us an overhead view of Sherri's reduction and as we watch her beautiful figure shrink to about 12 inches in height. She looked beautiful throughout. It is too bad we don't see what happens to her after this scene. She unfortunately is "reduced" right out of the plot. It is also too bad that Adamson didn't have other scenes with other babes getting reduced in the Chamber.I loved this scene. It was stunning. Sherri made for a lovely Reductee. I have fantasized about this involving all my girlfriends since the first time I saw it about fifteen years ago. I hope I am living in 2047, so I can see my dreams come true.Without Sherri Coyle, this flick would have been a total flop.

Life in some future fascist or near fascist state which severely restricts personal freedoms is a recurrent theme both in modern literature and for film makers. Such works post us warnings about undesirable trends in our society to watch out for; but to be effective they must also be entertaining. Unfortunately most of the books are probably more effective in posting the warnings than in entertaining us enough to become really widely read; whilst with the films the problem is usually the other way round. The first such work to become really widely known was probably George Orwell's "1984" (first published in 1948), and this is still readily available both in the form of a book and as a film.Watch or read it: and then, when you are feeling a little depressed by man's inhumanity to man, reach for Cinderella 2000. This is a feather light low budget film comedy based on the same theme which provides effortless but unrewarding viewing; and as with 1984 the calendar has now passed beyond its erstwhile period. Most of the comedy is laid on with a trowel although there are just a few genuinely funny moments. To exercise your mind in the long intervals between these you can focus it on the question of whether this film will gain a new extension of life by being released as a DVD or whether it will finally disappear into oblivion as existing tape copies deteriorate past redemption. There are many worse films appearing as DVD's these days, and frankly I do not care much what happens either way.So far the best of the films of this genre has probably been "The Handmaiden's Tale", but I would very happily swap them all for a well made film of Jack London's towering novel "The Iron Heel". Ambitious as this would be, it still seems incredible that no modern film maker has yet dared to attempt it (IMDb only lists a B/W silent version made in Russia in 1919).

This film is roughly what it sounds like: a futuristic version of the Cinderella legend but with songs and (fairly tame) sex scenes! The film is not sure what it wants to be and pretty much ends up a mess. It's more expensive looking than most of director Al Adamson's films but it's not at the same budget level that viewers have come to expect from sci-fi films. The actors are pretty bad and unlike most Adamson films, there are no former big namers or B actors. Some of the music is OK but it's easy to see why Cinderella 2000 has been forgotten for so many years.