‘Euridice lives imprisoned inside a metaphorical hell-house, in a country ruled by a dictatorship regime.
Having already served her time, she is waiting to be transferred “somewhere else”. However, the State Processor in charge of the prisoners transfers has been mocking her for days… maybe even years.
A long lost lover (Orpheus), contacts her asking to see her again. Euridice accepts, hoping that something will change yet she is also afraid of any changes.’
Plot Synopsis by Lucia Bozzola
It’s the last night of summer 1962, and the teenagers of Modesto, California, want to have some fun before adult responsibilities close in. Among them are Steve (Ron Howard) and Curt (Richard Dreyfuss), college-bound with mixed feelings about leaving home; nerdy Terry “The Toad” (Charles Martin Smith), who scores a dream date with blonde Debbie (Candy Clark); and John (Paul Le Mat ), a 22-year-old drag racer who wonders how much longer he can stay champion and how he got stuck with 13-year-old Carol (Mackenzie Phillips) in his deuce coupe. As D. J. Wolfman Jack spins 41 vintage tunes on the radio throughout the night, Steve ponders a future with girlfriend Laurie (Cindy Williams), Curt chases a mystery blonde, Terry tries to act cool, and Paul prepares for a race against Bob Falfa (Harrison Ford), but nothing can stop the next day from coming, and with it the vastly different future ushered in by the 1960s.
The Back Cover wrote:
The creative team behind If You Don’t Stop It … You’ll Go Blind delivers this uproarious collection of racy sketches. The off-color laughs come fast and furious as the cast spoofs the Lone Ranger and Tonto, nudist colonies and the legal system. Along the way, there’s an important lesson in bus-riding courtesy. The dirty-minded players include Vic Dunlop and Judy Mazel; watch closely for a young Robin Williams.
jbels on IMDB wrote:
This movie seems to have been made from a very old dirty joke book. You can see the punchlines coming a mile a way, and yet there is something strangely charming about this movie. Perhaps it’s the fact that something like this could never be made today. All I know is that The Little Red Riding Hood skit made me laugh so loud, I had to rewind it and watch it again. If nothing else, it is only 70 minutes long, so if you hate it, it won’t be two hours of torture like most movies.
Art House Erotica, 23 September 1998
Author: Stefan Kahrs from Canterbury, England
La Marge is the kind of film conventional film critics hate to review, because it does not quite fit into these little genre boxes they have in their heads.
In its cinematography and story-telling La Marge is very much like an Art House picture: we have emotions, tragedy, laughter, silence, pictures telling a story, plot twists, slow pace, all the ingredients you might expect in the most toffee-nosed productions only people with a university degree are supposed to enjoy. And yet, it is also a piece of erotica, shamelessly exploitative and very effective in its abundant use of (mostly) female nudity and its sex scenes. Continue reading
IMDB user review:
Mattei’s trashy sexual “pseudomentary”
9 July 2006 | by Scott-from-Modesto (United States)
Libidomania is great for what it is, an ambitious and exploitive attempt to categorize and critique every manner of paraphilia in graphic detail, but it all has no shock value as most of the movie is comprised of dramatizations of different fetishists in action and different extreme angles on sexuality from around the world. You get some nice gory dramatizations such as a penile dismemberment (a great effect that beats the one in Cannibal Holocaust hands down), a sex-change operation, and a gut-slicing necrophiliac plus a woman wearing a prosthetic penis to stand in for a transsexual. Figure in some sleazy historical scenes like a nun getting head from a bishop, too. At least Mattei keeps it sleazy. Continue reading
“Movies about making movies are usually concerned with the frantic desperation of a shoot, with crises popping up by the minute and everyone rushing about madly. Not so in Rainer Werner Fassbinder’s film, allegedly about his experiences making Whity on-location in Spain. The first quarter of the film is taken up with a long scene in a hotel lobby which might have been directed by Michelangelo Antonioni. The lassitude and sense of sexual longing is almost suffocating, as members of the film within a film’s cast and crew down drinks, break glasses, nuzzle on couches, or stare blankly into space. With the arrival of more money to continue the production and of the film’s director (Lou Castel playing a handsome version of Fassbinder) and the film’s star (Eddie Constantine more or less playing himself — there is even a reference to his Lemmy Caution character), the energy level picks up — especially when the director begins throwing hourly tantrums. And Fassbinder’s narrative becomes more fragmented, featuring short snippets of conversations among the various characters, most of them complaining about someone else on the crew screwing things up. In one long and very funny scene, the director carefully reads a newspaper containing an article about him while a half-dozen other characters around him drift away. There is some witty use of music, too; three Leonard Cohen songs from his first album drone on during the long opening scene in the lobby, and later, a party scene plays out to Ray Charles’ “Let’s Go Get Stoned.” This is all likely to be more amusing to those in the know about Fassbinder and his methods; less informed viewers are likely to see it as so much navel-gazing.” Continue reading
Plot Synopsis - by Hal Erickson
In Slither, James Caan plays Dick Kanipsia, a recently paroled car thief whose plans to go straight are interrupted when his best pal Harry Moss (Richard B. Schull) is shot and killed. As he lies dying, Moss advises Kanipsia to seek out fellow crook Barry Fenaka (Peter Boyle), who knows where a huge amount of money stolen by Moss is hidden. Aware that he himself is a marked man, Kanipsia has to play it cool en route to Fenaka. This proves difficult when his erstwhile travelling companion, dopehead Kitty Kopetzky Sally Kellerman, robs a roadside diner in his presence. Since nothing is ever quite what it appears to be in Slither, perhaps we shouldn’t tell you any more. This truly serpentine tale served as the feature-film directorial debut of Howard Zieff, the former TV-commercial helmsman responsible for the famous Spicy Meatball ad.