Christopher (Bob Behling, CUJO) and Celia (Jane Ryall) flee to Mykonos and turn avenging angels on anyone they deem to be perverted (which is a bit like calling the kettle black since Christopher boffs an adorable-looking goat when Celia's not in the mood). Gays, lesbians, prostitutes, hippies, rapists, druggies, various fornicators, and even an African-American private detective hired to trail them by their mother are among the victims as the siblings tour the picturesque settings (although they train their camera more on the murders than the monuments), but they may have met their match in a mute shepherd (Nikos Tsachiridis).

Writer/producer/director/edtior/uncredited cinematographer/lyricist Niko Mastorakis learned his trade in Greek television and made his first film DEATH HAS BLUE EYES, a low-budget paranormal action flick, in 1976. After seeing THE TEXAS CHAIN SAW MASSACRE (and learning how much money it made), he decided to mount a similarly low budget, but far more violent and sexually-perverted. He reportedly put to paper a list of every violent means of death he could conceive of on a Thursday, made a similar list of every twisted sexual act he could think of on a Friday, and wrote the script over the weekend. Although leads Behling and Ryall had modeling backgrounds (both had also appeared in the Greek/British co-production THE DEVIL'S MEN/LAND OF THE MINOTAUR with Peter Cushing and Donald Pleasance the previous year), British Jessica Dublin (also in THE DEVIL'S MEN) already had some cult films under her belt (and more to come), and Tsachiridis had been acting since the fifties (130 credits, according to IMDb), most of the supporting cast were people that Mastorakis approached on the street who didn't look Greek and could speak English (Mastorakis has a small role himself). Despite the carnage and bigotry (or religious fanaticism) on display, few if any cult movie aficionados would be offended by this admittedly crass-but-successful concoction (for a movie that throws in everything but the kitchen sink when it comes to perversion, the narrative is anything but predictable despite the flashback structure); in fact, some find it incredibly funny. For all of its nudity and crudely-fashioned grue, ISLAND OF DEATH gained most of its reputation from being banned in several countries (although it had been severely trimmed for its theatrical release in the UK, it was the full-strength cut that arrived on videotape and became a Video Nasty; all previous UK editions were subject to BBFC cuts until Arrow's 2010 submission). The success of the film sales-wise allowed Mastorakis to hone his craft on larger budgets as director and producer (including J. Lee Thompson's THE GREEK TYCOON). His most prolific period was the mid-eighties and early nineties in America (although he returned to Greece for his tense and atmospheric chiller THE WIND with Meg Foster and Wings Hauser, which is well-worth seeking out).