The Ribald Tales Of Canterbury -1985- -classic- !!link!! Here

Virtually ignored by mainstream critics. Variety dismissed it as “barely animated burlesque.” The LA Times mentioned it only in a roundup of “video nasties.” Conservative groups called it “depraved,” which only boosted its rental numbers.

However, viewing "The Ribald Tales of Canterbury" through a modern lens requires an appreciation for its historical context. The 1980s was a decade of transition; the freedom of the 70s was clashing with the conservative political climate of the Reagan era, and the threat of AIDS was fundamentally changing the industry. In this light, the film acts as a final, hedonistic hurrah for the 35mm adult feature. It represents a time when adult films were still screened in theaters, attended by couples, and reviewed by mainstream critics. The film’s leisurely pace and dedication to plot reflect a time when the audience was expected to stay for the duration, rather than skip to specific acts via digital scrubbing. The Ribald Tales Of Canterbury -1985- -Classic-

The film’s charm lies in its complete lack of pretension. It knows it’s cheap. It knows it’s silly. And it revels in it. The Wife of Bath is drawn with a cartoonishly enormous bustle and a voice like a Brooklyn truck driver. Chaucer himself appears as a drunk narrator who keeps losing his pages. The animation occasionally forgets to color in a character’s arm, leaving it flesh-colored on a flesh-colored background—bloopers that fans now celebrate as features. Virtually ignored by mainstream critics