directed by Curt McDowell (THUNDERCRACK); starring Velvet Busch and Mark Ellinger; a busy prostitute during businessmen’s lunch break. Continue reading
This film is a sequel in name only to Valley of the Dolls (1967). An all-girl rock band goes to Hollywood to make it big. There they find success, but luckily for us, they sink into a cesspool of decadence. This film has a sleeping woman performing on a gun which is in her mouth. It has women posing as men. It has lesbian sex scenes. It is also written by Roger Ebert, who had become friends with Russ Meyer after writing favorable reviews of several of his films.
It’s deadpan-droll throughout (with at least as many highly quotable lines as Rocky Horror), cod-moralistic, carefully balanced between satire and melodrama, gratuitously focused on women with outsize breasts, and shot and edited with astonishing mastery. Much of Meyer’s film language, as Ebert points out, is redolent of ‘pure’ silent cinema: to-the-point storytelling and earnestly expressive performances, plus montage sequences worthy of Slavko Vorkapich.
— Tony Ryans, Sight & Sound Continue reading
Plot: This picks right up where KILINK VS. THE FLYING MAN ends with Kilink dead after a fall off a building. But, as a narrator cautiously tells us, this is not the end of Kilink’s story. Sure enough, he is alive a few minutes later and planning his next scheme. This entry has Kilink getting involved in a war between two rival gangs over some microfilms that has pictures of Turkey’s bases and missiles on it. This one plays like a EuroSpy film. and has quite a bit more action than the first two with Kilink getting chased all around Istanbul.
DVDRip, B&W. Continue reading
From imdb: I believe Hanoch Levin is Israel’s only great playwright. He’s best known for stark, stylized black humor about petty people who are unaware of their own pettiness. It’s a little as if Samuel Beckett were writing about Ralph Kramden. I’ve never seen a good translation of his work. The best representation on film is _Floch_. While not exactly sugar-coated, it’s a mite more pleasant than many of his stage plays. Continue reading
FLAMING EARS is a pop sci-fi lesbian fantasy feature set in the year 2700 in the fictive burned-out city of Asche. It follows the tangled lives of three women — Volley, Nun and Spy. Spy is a comic book artist whose printing presses are burned down by Volley, a sexed-up pyromaniac. Seeking revenge, Spy goes to the lesbian club where Volley performs every night. Before she can enter, Spy gets into a fight and is left wounded, lying in the streets. She is found by Nun–an amoral alien in a red plastic suit with a predilection for reptiles, and who also happens to be Volley’s lover. Nun takes her home and subsequently must hide her from Volley. It’s a story of love and revenge, and an anti-romantic plea for love in its many forms. An avowedly underground film which was shot on Super 8 and blown up to 16mm, FLAMING EARS is original for its playful disruption of narrative conventions (the story is a thread rather than a backbone in the film), its witty approach to film genre, and its visual splendor. Continue reading
Sexy Barbarella roams 41st-century space with her blind guardian angel, Pygar. Directed by Roger Vadim; actors Jane Fonda, John Law, Anita Pallenberg, Milo O’Shea, David Hemmings, Marcel Marceau, Claude Dauphin
In this notorious film version of the popular French comic strip by Jean-Claude Forest, Jane Fonda plays a sexy yet innocent space-age heroine in the year 40,000 A.D. who never gets herself into a situation that requires too much clothing. BARBARELLA opens with the titular heroine stripping down to nothing in zero gravity among strategically placed credits. From there Barbarella embarks on a mission to find a peace-threatening young scientist named Duran Duran (Milo O’Shea) by order of the president of Earth. En route, she’s attacked by killer dolls, is strapped into a contraption known as the Excessive Machine, and falls in love with a blind angel. Continue reading
This 1980 attempt to cut in on the “midnight movie” market created by The Rocky Horror Picture Show has become a camp classic for all the wrong reasons. The Apple is fascinating because it takes a conceptual wrong turn at every angle: the ‘futuristic’ production design looks garish and cheap instead of sleek, the tone constantly veers back and forth between comedy and melodrama and the script is a mind-boggling muddle of religious overtones, heavy-handed “showbiz” satire and silly attempts at an anti-totalitarian message. The Apple’s serious intentions are further crippled by weak performances: George Gilmour makes a stone-faced, emotionally inert hero and Catherine Mary Stewart is too bland a romantic lead to inspire any interest in the film’s romantic subplot. The only actor who escapes unscathed is Vladek Sheybal, who applies a light comedic touch to the villainous Mr. Boogalow that escapes the rest of the cast. Despite these seemingly insurmountable flaws, The Apple remains surprisingly watchable if one has a taste for schlock: director Menahem Golan keeps up a speedy pace that delivers the film’s bizarre melange of mismatched elements at a breezy clip and the outrageous musical score delivers an unintentionally funny but always catchy musical number every few minutes. The finished product seldom makes sense but delivers so much sheer oddness at such a high speed that it is virtually impossible to be bored by this film. As a result, The Apple will probably baffle most viewers but trash devotees will find it to be a ‘schlock musical’ classic worthy of Can’t Stop The Music or Grease 2. ~ Donald Guarisco, All Movie Guide Continue reading