'Apocalypse tomorrow', also known as Invasion of the Flesh Hunters[3]) is a 1980 horror film directed by Antonio Margheriti (under the pseudonym 'Anthony M. Dawson') and starring John Saxon, Elizabeth Turner, Giovanni Lombardo Radice, Cinzia De Carolis, Tony King and Ramiro Oliveros.

[4] The film opens with a flashback to the Vietnam War, where Norman Hopper is bitten by a U.S. POW Charlie Bukowski, who is infected with a virus that leaves people with a craving for human flesh.

Hopper wakes up from a nightmare about this incident and receives a phone call from Bukowski, who invites his old comrade out for a drink.

Hopper instructs his wife Jane to wait for him in the house and walks in front of Mary's window.

Dr Mendez calls Jane and tells her that Norman might be experiencing the same symptoms and that she should bring him to the hospital for a checkup while he listens to the conversation, after which he leaves the house.

They are at a fancy piano bar, where he explains to her that the virus causes a biological mutation due to psychic alteration.

Norman voluntarily goes to the hospital and talks to a doctor about his symptoms and his well-founded suspicions about Dr. Mendez's intentions with his wife.

Jane points his gun at her head, and two shots are heard just as the police arrive on the scene.

Locations included the Savannah College of Art and Design, CNN Center, and the Candler Discount Mall.

The opening Vietnam War sequence re-used props and costumes from Antonio Margheriti's previous film, The Last Hunter.

Actor John Saxon had gotten a badly translated script, in which the gory parts were left out.

On Blu-ray, Kino Lorber Studio Classics released a high-definition, brand new 4K master version on March 17, 2020.

[7] Patricia MacCormack of Senses of Cinema critiqued, "Although the film has been maligned by critics, who claim Margheriti disinherited his adeptness at the gothic by meddling in the vulgar genre of high-gore, the sympathies he evokes for perversion as at turns tragic pathology and strange alternative desire, the disdain with which he represents hyperreal examples of ‘normal’ male sexuality and the extraordinary versions of human flesh he presents for our pleasure, a pleasure which compels us into a world of perversion and desire beyond the palatable, are all continued thematically if not stylistically in this film.

Margheriti's use of Radice and gore brings him from the gothic worlds of Bava and Freda into a subgenre more often associated with Fulci, Umberto Lenzi and Deodato, yet he remains faithful to his perverse paradigms.

"[10] LA Weekly and The Spinning Image list this movie as belonging to the vetsploitation subgenre.